Got Those Ol’ Modern Blues

Difficulty HHHHH 20 mins per example

Many of us ask ourselves what direction modern blues is headed in. Soloing techniques, high gain tones, diverse mixtures of modern genres have all played a part in shaping the style, often moving away from the more traditional ‘12-bar’ format. For example, players such as Joe Bonamassa tread a line between the more traditional Chicago-style blues and amped-up Zeppelin style rock. Eric Gales adds his stylish, modern phrasing and sensibility to both well-known classics and his own new material.

There are other modern players out there, but the one I have chosen to highlight for now is Gary Clark Jr. His combination of soulful high gain tones and diverse, often funky, backing seems to encompass what I’m trying to convey. Though some of the phrases are undeniably tricky (especially the rapid alternate picking in Ex 3), this isn’t really designed as a ‘shred’ piece. The four ideas weaved into the example solo are designed to be primarily melodic, staying (mostly) away from the classic pentatonic shapes/licks, crossing over into the natural minor scale. In this case, I’ve done that by using the E minor pentatonic shapes as a framework, simply adding in F sharp and the more dangerous C natural to add melodic interest. I say ‘dangerous’, as C natural has the potential to clash badly unless used as a passing note – or over the C chord as it briefly passes through the chord progression.

Once you’re comfortable with this, it can be transferred to any key and any position of the pentatonic scale. Ideally, you’ll find yourself in a situation where you can dream up melodic ideas within this framework and play them.