Guitar Techniques - - PLAY -

Some rapid al­ter­nate pick­ing and shape 4 B mi­nor Pen­ta­tonic way up at the 14th fret be­gin Eric’s sec­ond round. You can hear he’s re­ally dig­ging in with the pick on those high notes and ex­ag­ger­at­ing the stac­cato hits to em­pha­sise the silent pauses. All that string bend­ing can be hard on the fin­gers, so be sure to take reg­u­lar breaks.

A pause at the end of bar 17 fa­cil­i­tates a shift to a kind of hy­brid be­tween an E7 arpeg­gio and shape 4 B mi­nor Pen­ta­tonic. This tapers off with a long sus­tained note, lead­ing to an­other shift that has lots in com­mon with B mi­nor Pen­ta­tonic shape 1, but adds a G# (the 6th in this key) plus a few ma­jor 3rds (D#). As this am­bi­gu­ity be­tween ma­jor and mi­nor is such a key fea­ture of the blues, there’s no one rec­om­mended way of view­ing it. Play it through a few times and it will be­come sec­ond na­ture – hope­fully prob­lem solved!

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