FIG1 CHORD CHART & A BLUES SCALE SHAPES

Guitar Techniques - - VIDEO MASTERCLASS -

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!

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