Ex­am­ple Blues solo 4

Guitar Techniques - - INTRO -

The bulk of notes here are drawn from an A7 arpeg­gio. The only ex­cep­tion is the C note, which is used as a grace note to the C#.

Here, it’s mainly the A mi­nor Pen­ta­tonic scale. The ‘curl’ on the C de­notes that it is bent to­wards the C# (3rd of A7) only it never quite makes it (and is cut off as it rises, rather than be let down in any way).

Next, we have a vari­a­tion on the main mo­tif used in the first three bars; how­ever, this time, rather than a C ham­mer­ing on to a C#, we have a B ham­mer­ing on to a C in an­tic­i­pa­tion of the fol­low­ing chord (C is the of D7).

This mod­i­fied form of the orig­i­nal mo­tif is then con­tin­ued through the D7 chord, but then re­verts back to the orig­i­nal at the end of bar 6 in an­tic­i­pa­tion of the A7 chord in bar 7. Apart from the short mo­tif, also note that there is a much larger theme be­ing re­peated; ba­si­cally, the first four bars are re­peated in a mod­i­fied form.

Here, chro­matic notes from the pre­vi­ous bar are used to ap­proach what is, ef­fec­tively, a melody com­posed en­tirely of E7 chord tones. Then, at the end of bar 9 and start of bar 10, we get the same ap­proach played down a tone for D7.

Com­po­si­tion­ally, here we see a re­turn to the theme strad­dling bars 2 and 3, and 6 and 7.

We fin­ish with a chro­matic ap­proach to the root note of E7. I hope you agree that this makes for a more mu­si­cal and less hap­haz­ard blues solo.

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