FIG1 CHORD CHART & A BLUES SCALE SHAPES

EXAMPLE CHORUS 1

[Bars 1-14] The track starts with a two-bar count-in. The opening phrases are aggressive and reminiscent of players like Albert Collins. Digbin with the pick and make sure you have a solid timing feel. The interval (E ) often referered to as the ‘blue note’ is included as a passing note several times and also throughout the solo. switch from pick to fingers from bar 13 to navigate the turnaround using the 7th and 3rd of each of the chords.

EXEAMPLE CHORUS 2

[BaGrs 15 -26] The p7edal8tone ide7a (using a s5tatic note against in bAar 16 works well and is made easier to articulate by using the fingerstyle picEki1n5g technique. The switch to the 10th fret position is effective here, making bends (13th to virtual 17th frets) in bar 21. This time the turnaround chords are ignored in favour of a Pentatonic based turnaround.

EXAMPLE CHORUS 3 & 4

For this we change up a gear and use the eighth-note triplet rhythm. The turnaround phrase uses a pick and fingers approach and the wide intervals facilitated by this provide an ear-grabbing solution. The switch to the fingers in bar 43 really helps the tone for these Albert King-inspired licks. By digging in with the finger and snapping the string back onto the frets it is possible to get a biting tone. Aynsley then recycles the pedal tone idea we saw in bar 48.

EXAMPLE CHORUS 5

Aynsley continues to build the solo using the fretboard’s higher reaches, adding faster flurries of notes plus more bends and vibrato. note the big jump from the 2nd to the 18th fret in bar 58, and the quickening of pace in bar 60 before the final turnaround where Aynsley brings a well-considered but totally improvised solo to a tasteful close over our turnaround of chromatic 7th chords. Be sure to tune in for Part 2 of this excellent series next month!