Guitar Techniques - - PLAY -

Eric kicks off with some melodic B ma­jor Pen­ta­tonic phras­ing (B-C#D#-F#-G#). The ‘elas­tic’ ap­proach to rhythm is im­me­di­ately ap­par­ent, given the syn­co­pated phras­ing in bar 1, then the swung semi­qua­vers in bar 2. It’s un­likely that two con­sec­u­tive takes would be iden­ti­cal, so while you want to be in con­trol of the big­ger pic­ture, al­low some room for ex­pres­sion. Some wide bends and semi­qua­ver/triplet flur­ries then see Eric shift his at­ten­tion to the shape 1 B Blues scale (B-D-E-F-F#-A) for the un­der­ly­ing B ma­jor chord.

Eric stays in this ter­ri­tory for the next four bars – un­til the end of the chord pro­gres­sion. The phras­ing is a lit­tle more con­stant, with min­i­mal pauses and lots of quar­ter tone ‘blues’ bends, slides and se­lec­tive vi­brato. These are ab­so­lutely key if you want to nail the Clap­ton feel – much more im­por­tant than fancy licks, though if that’s your thing, I re­fer you to bar 9.

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