ultimate blues stage 4 -...
TRANSCRIPT
The Ultimate Blues Course
Stage #4: SOLOS All About Creating Guitar Solos
- Course Supplement -
ByColinDanielRiffNinja.comThisbookmaynotbecopiedinanyform.Itisforpersonaluseonly.©2018RiffNinjaProductions
UltimateBluesStage4:Solos 1
TableofContents
1.Knockin’..............................................................................................................................3TheScales...........................................................................................................................5RiffPrimer..........................................................................................................................8Some“Knockin’”Riffs.......................................................................................................13SoloTabFor“Knockin’”....................................................................................................28
2.Flood................................................................................................................................30SoloTabfor“Flood”..........................................................................................................45
3.Thrill.................................................................................................................................46SoloTabFor“Thrill”..........................................................................................................62
4.TexasJoy..........................................................................................................................63SoloTabfor“TexasJoy”....................................................................................................75
5.MyBlueJeans...................................................................................................................76SoloTabfor“MyBlueJeans”............................................................................................89
6.LoveU..............................................................................................................................90SoloTabFor“LoveU.”......................................................................................................95
BonusSolo“PlaythePockets”..............................................................................................96LoveU.Solo–“Playin’thePockets”................................................................................101
RiffIndex............................................................................................................................102
UltimateBluesStage4:Solos 2
UltimateBluesStage4:Solos
Soyou’rereadytolearnsomeriffs–thefirststepofyourjourneytosoloing!Allsolosarebuiltbytakingriffsandusingthemasbuildingblockstocreatecompletesolos.Weusetherelatedscalestolinktheriffstogether–allriffsarerelatedtoscales.Youneedtoknowyourscalesfairlywell,especiallytheonesincludedinthiscourse.
YoumustbereallyclearonthechordprogressionsItaughtyouinUltimateBluesStage3–theonesthatrelatetothebackingtrackswespenttimestudying.
TransposingtheoryandagoodknowledgeofI-IV-Vrelativemajorandminor,bothforapplicationtochordsandscalesarenecessary.
Ifyouhavedoneyourhomework,thenyouarereadytotakethisstep!
Let’sgetstarted!
UltimateBluesStage4:Solos 3
1.Knockin’Wearegoingtostartwiththisprogressionbecauseitisfairlystraightforwardandisastraight1/8rhythm.Moststudentsseemtohaveaneasiertimecatchingontotherhythmofstraight1/8whenlearningtosolo.
Forsomeofyou,thefirstfewriffexamplesIteachyoumightbeabittoobasic,butyoushouldstillcheckouttheideasbecauseIusethatasthefoundationtobuildmorecomplexriffsfromthere.
Asaprimerbeforeyoustartyourfirstriffsforthe“Knockin’”progression,youcanplayyourscalesoverbackingtrackstohelpyouadjustyourearsandfingerstotheprogression.
Dependingonyourlevelofability,thereareseveralapproachesyoushouldtry.Forthisprogression,wewillbeusing“E”pentatonicminorscalesonly;diatonicscalesdonotfitverywellintothisparticularsituation.Thiswouldinclude“E”pentatonicminorcombinationsusingtheonepositionandthe3positionsoloscaleinbothoctaves.Don’tforgetyoucanalsouseyourchromaticpassingnotes.
Towarmup,justrunthebackgroundtrack,andmakesureyourguitarisintuneproperly.Allofmytrackrecordingsusestandard“E”tuning(E,A,D,G,B,E).Notricks.Justplayanyofthe“E”pentatonicminorscalesovertheprogressionintimewiththerhythm.Thiswillgetyoustartedifyouhaveneversoloedbefore.
Youcanactuallyplayanynoteinthe“E”pentatonicminorscaleovertherecorded“Knockin’”progressionanditwillsoundmusicallycorrect.Youwilldiscoverthatsomenotessoundbetterthanothersovertheprogression.Someofthisisjustpersonaltaste,andsomeofthiscanbeinthenotechoicesinparticularchangesthatarehappeningasyouplayyourscaleovertheprogression.
Don’tforgettostopwheretheprogressionstopsatthe12thbar,thirdbeat.Getintothehabitofdoingthisasitwillhelpyoulearnhowtostopattherightbeat.Don’tjustplaymindlesslyoveraprogression–listencarefullyforanyscalesectionsyouplaythatsoundgoodtoyouorappealtoyourearinsomeway.Whenyoufindagroupofnoteslikethis,experimentwiththeidea.Ifitsoundsgood,thereisatechnicalortheoreticalexplanationwhy.
UseyourearandalittleintuitionandapplythetheoryIhavegivenyoutohelpcompletethepicture.It’saboutquality,notquantity!
Inthe“Knockin’”progression,youcouldlearntofolloweachchange,butthisdoesnotworkforeveryprogression.Moreonthisinafewminutes!
UltimateBluesStage4:Solos 4
Youcan“noodle”withanyofthenotesinyour“E”pentatonicminorscaleoverthejamtrack.“Noodle”isatermthatwascoinedbyEdwardVanHalenintheeighties–itmeanstoexperimentwiththescalesbychangingtheorderofthenotesandmixingthemup.Anycombinationofyournotescalescanwork,sinceallofthenotesarerelatedtothekeyprogression.
Youdon’thavetoplaythescalestraditionallyfromlowtohighandhightolow.Createyourowngroupsofnotesoutofthescale–trythem,andwhenyoufindsomethingyoulike,repeatit.Thisishowriffsarecreated.
Makesureyouplayyournotegroupsintimewiththerhythmoftheparticulartrack.Becreative–yourscalehasthenotesthatarepossibleforthatparticularprogressionandkey!!
Thiscanbeappliedtoallsixofthebackgroundtracks.Makesureyouplaythecorrectscalekeysforthechordprogressions.Moreonthisaswemoveon.
UltimateBluesStage4:Solos 5
TheScalesYoushouldknowthesescalesalready.Ihavegoneoverfingeringsearlieroninstage#2.Thesescalesshouldbeapartofyourvocabularyandpracticeroutine,sojustateacher’sreminder!
Notalltherecordedtracksareinthesamekeys.Youshouldbeabletomovethescales(transpose)toanykeyorfretpositionneeded.
“E”pentatonicminorisaverypopularkeyfortheguitar.So“Knockin’”isinthekeyof“E”pentatonic.Youcanuseany“E”pentatonicminorscale,plusthethreechromaticpassingnotes:IV-V,VII-VIII,andIII-IV.
Onthenextpagearethebasicscales.
UltimateBluesStage4:Solos 6
UltimateBluesStage4:Solos 7
Openposition
Octave
UltimateBluesStage4:Solos 8
RiffPrimerHereisasimpleapproachthatisverygoodpracticetogetyoustarted.Usingtheupperoctaveofthescale,youcanfollowthechordchangesforthe“Knockin’”progression.Youcanuseanyofthescalestofollowthechordprogression–Icouldhaveabookwrittenjustonthat.
Iwillapplythistotheonepositionpentatonicminor,andapplytothechangesperbar.Hopefullyyouwillstarttoseehowthescaleorscalescanbeturnedintoriffs.Youhavetoknowyourscalefairlywelltogetthis,butitisgreatpractice.
Wewillusetheupperoctaveonepositionfromhightonic“E”tooneoctavelower“E”.youcanapplythisapproachtoallyourscalepatterns–it’smorefunpracticingyourscaleslikethisanyways!
UltimateBluesStage4:Solos 9
Thisistheupperoctaveoftheonepositionscalewewilluse.For“E”,youhaveachoiceofthe12thfretoctave,whichiswhatIwouldstartwith,ortheopenposition.
Hereishowwewillapplythis:
Using1/8notetiminglinesupwiththe“Knockin’”tracknicely.Thisisaonebarphrase,soyoucanplaythisforeverybaroftheprogression.Ifyouarealittleslowatthis,Ihaveanothersolutionforyou–play1/4notesovera2-barphraseuntilyourfingerslimberup:
Withtheonebarphrase,youhavetheextra1/4notethat’stied.Youcaneitherholdontothislast“E”notetofinishbeat#4inthebar,orifyouneedthetimetogetyourfingersbacktothefirststringtostartagain,thencutoutalittleearlybycuttingthenotealittleshortattheend.Thisbuysyouthetimeyouneedsoyoucanstartintimeonthefirstbeatofthenextbar.
Whateveryoudo,donotmissthefirstnoteofthefirstbeatofthebar.Thisisimportantasitdevelopsbettertiming.Thisisespeciallytruewhenyouhavetogotothenextchangeandmoveyourhandposition–especiallyifyouarestrugglingwiththis.
Thesameruleappliestothe2-barphrase,using1/4notes.Inthesecondbarafteryourlastnote,youstillhavetwobeatstogobeforeyouneedtostartthenextbar.Ifyouhavetocutthenoteattheendalittleshort,thendosotomakesurethatyoustartthenext2-barphraseonthefirstnoteofthefirstbeat.
UltimateBluesStage4:Solos 10
Usethesameapproachforthe“A”and“B”changesinthe“Knockin’”track.
The“A”change:
The“B”change,bar#11:
Sincethe“B”changeonlyhasonefullbar,Icreatedanotherscaleprimerexerciseforbar#12wherewehavetostoponthethirdbeat:
UltimateBluesStage4:Solos 11
Mutethefourthbeatusingyourrightpalmtokillthelastnoterightonthefourthbeat.Themuteshouldbeintimewiththerhythmbeat.
Forthoseofyouthatareusingthe1/4notetwobarphraseexercise,Ihavethissolution:
Makesureyoumuteyourlastnoterightontimewiththefourthbeatofbar#12.Youshouldhavethebasic“Knockin’”chordprogressionmemorizedbynow.Ifyoudon’t,hereisthelayoutfortheprogression:
“Knockin’”QuickChart
Boththeonebarandtwobarphrasesworkwellinthisprogression.Theonebarphraseisaverygoodstartingpoint.
Noticethateachchangehasatleast2-barstime,leavingplentyoftimeinbetweenchordchanges.Thatmakesitmucheasiertolineyourscalesupwiththechanges.
UltimateBluesStage4:Solos 12
Noticehowallthesescale/riffexercisesstartandendonthetonicorkeynoteofthescale.Toresolveorendasoloorriff,thisisyourbestnote.Thehumanearhearsthisastheendofthephrase.Thiswillfinalizemusicallywhatyouweredoing.Thisappliestoanykey;allkeysreacttothetonicasabeginningorresolve(ending),sothisnowappliestoallyourscales.
Thetoniccanapplytoeachchordchange.Youcouldchangetonics/keysforeachchangeintheprogression.Ifyourchangesgettoofast,changingkeysforeachchordintheprogressionbecomesmoredifficult,butthe“Knockin’”progressionworkswellchangingkeys.
Sothisbringsustoourfirstriff.
UltimateBluesStage4:Solos 13
Some“Knockin’”RiffsHere’sawaytodevelopyourpositionchangeseasilyandestablisharootfoundation.Thisisdefinitelyforbeginners–ifyouseethisandgetitrightaway,justmoveon.
Theriffsareprogressivelybuiltfromthisoutlinefromeasytodifficult.Thiswillhelpyougetusedtothefretpositionchangesinthisprogression,andtheyarethefoundationalintervalharmoniesusedfortherestofthe“Knockin’”riffsandothers.
Theslideisreallyyourownfeel,whenyouslideuptothepitch,youstartalittlebeforethefirstbeat.Youshouldendyourslideuptothepitchontimewiththefirstbeatofthebar.Idon’tcountthis–it’smoreafeelthing,andthat’swhattheslideupis–youfeelit.However,makesurethatthepitchyouareslidinguptoisonthefirstbeatofthebar.
Riff#1“E”change
Alright,here’stheriffforthe“E”changebars.A2-fretslideisagoodchoice,becauseifyou’reslidinguptothetonicorroot,thentwofretsbelowistechnicallyaflattedseventh(♭7)or(♭VII),theminorseventh,soifyou’reinaminorkey,that’sagreatplacetostartaslideup.
Nowwewillapplythisideatoour“Knockin’”chordprogression“A”change.Remember,thisisa1-barphrase–the1/4noterestattheendofthebarshouldgiveyouenoughtimetoadjusttothenextchange.
ThemostdifficultchangewouldhavetobefromtheE=ItoA=IV.Paymoreattentiontothedifficultchangesinaprogression.
UltimateBluesStage4:Solos 14
Riff#2“A”change
Asyougetmoreconfidentwiththechanges,holdthethirdbeatnotedownrighttotheendofthebar,butdon’tmissthefirstbeatofthenextbar.
Riff#3“B”change
Learntoplayoneoftheseriffsforeachbarofeachchangeintheprogression,oreverytwobarsinstead.Referbacktothe“Knockin’”quickchartforyourbasicoutline.Makeyourslidesrelaxed,butmakesureyouarerightontimewiththebeat–itisthenoteyouareslidingtothatshouldbeonbeat.Theslidemovementstartsalittlebeforethefirstbeat.
Whenyoupracticethisideawiththerecordedtrack,makesureyourvolumebalancesaregood,soyoucanheareverything.Tooloudandyourliveguitarburiesthebackgroundtrack.Notloudenoughandyourliveguitarisbacktoofarinthemixandthebackgroundtracksarethedominantsound.
Rememberyourleadguitarriffsareactuallythemusicalvoiceofyourguitar.Whenyousingasongwithyourvoice,itshouldsitmoreontopofthebackgroundtracksthanunderneathit.Soifyourguitarisyourvoice,treatitsimilarly.
UltimateBluesStage4:Solos 15
Riff#4(added-3harmony)
Fromyour12thfret,firstandsecondstringswhichistherootforthisriff,tothe15thfretfirstandsecondstrings,youhaveaveryimportantnotedistance.ThisisoneofthemostimportantharmoniesinyourarsenalbesidesI–IV–V.Thisisbasedonthekeyofthe“E”pentatonicminor,andthefirststringoutofthetwonotesistherootnote.
Thisisnottechnicallycorrect,butthatisthewaywearerelatingtoitmusically.Itisarootinversionoftheinterval(2-noteharmony).Wearetakingtherootfromthehighestnote.
Youcanaddtheminorthirdintervalharmonyforanychordchange–threefretshigherfromtherootnote,(minorthird(-3)).Thisisanimportantintervalasabuildingtooltosomegreatriffs.
Theminorthirdintervalin“A”minor”:
“A”diatonicminor
“A”pentatonicminor”
Ineitherpentatonicordiatonic,thesetwominorthird(-3)choicesareagoodbetforchoiceharmonynotesintheBlues.
UltimateBluesStage4:Solos 16
Inthisriff,bothfirstandsecondstringnotesareaminorthird(-3)apart.
Forthe“E”stringorfirststring,youhave12thand15thfretnotes:
12thfret = “E” STT =1½tones15thfret = “G” E-F-G =3letters
Forthe“B”stringorsecondstring:
12thfret = “B” STT =1½tones15thfret = “D” B-C-D =3letters
Thiscanapplytoallchangesinaprogressionaslongasyoukeepthecorrectdistanceofaminorthird(-3).Thiscomesdirectlyoutoftheminor,diatonic,orpentatonicscales.
Soinourexampleriff#4,youcouldtakethe“E”riffandtransposeit,ormoveittocovertheIVandVchanges(AandB).Takethe“E”riffthatstartsatthe12thfret,andstartthesamepatternatthe5thfret,andthiswillgiveyouthe“A”riff.Movetheriffsothatitstartsatthe7thfretforthe“B”riff.Thisisareallygoodwaytodevelopsomesoloingideas.
Ifyouhaveadifficulttimeplayingtheriffoverthejamtracksforeachbar,splititupandplayariffeverytwobarstillyougetbetteratthechanges.Tryplayingtheriffforbar#1,thenrestforbar#2,whichbuysyoutimetogetreadyforthenextchange.
Youcanexperimentwithwhereyoustartyourriffwithineach2-barphraseifyoulike.
Howdoyouhearthis?Maybeyouhaveanotheridea?
Yourchoice–becreative,butmakeitsoundgood!!
UltimateBluesStage4:Solos 17
Alternatebars:
Ifyoudecidetoplayoneriffforeachbaroftheprogression,thenuseRiff#5forbar#12.Remember,bar#12hastherestonthelastbeat.
Riff#512thbar“B”change=V
Useyourrighthandedgeofthepalmtomutetheringingstringsoutatthe4thbeat,intimewiththeactualrhythmofthejamtrack.Youcouldusetheseriffstocreatea2-barphrasecombiningeitherriff#1,#4,or#5tocreatea2-barphrase.
UltimateBluesStage4:Solos 18
Riff#6
Soriff#6isacomboofriff#1and#4,creatinga2-barphrase.Youcouldcombinedifferentvariationsof2-barphraseswhichintheendwouldbeagreatideaforacompletesolo.
Ofcourseyoushouldknowthatyoucantransposetheseideasintoanykeyorchangethatisneeded.Remembertogetyourchangesdownintimetothejamtracks.
Youcaneitherplanouteach2-barphrase,makesomenotesontheorder,orwriteortabitout.Youcanjust“wingit”too,tryingdifferentvariationsasyougo.
Ihavenotreallymentionedthisyet,butyoucouldjustplaytheriffsinthekeyof“E”pentatonicminorfortheentireprogression,andthatwouldworktoo,ratherthanfollowingthechordchangewithariffpositionchange.
WhatIamtellingyouisfortheentireprogression–youcouldusejustonescale,“E”pentatonicminor.Iliketomixupmyoptions–someprogressioncyclesIwillusedoublestopriffslikewearestudyingnowandfolloweachchordchangeintheprogressionwithariffinitsrelatedscale.Thenthenextcyclewouldbemoresinglenotes,keepingitwithinabasicpentatonicscaleposition,anddrawingriffsfromthedifferentcombinationsofnotesinthescale.
Theideaistoslowlycollectupsomeriffsyoulikeandlearntoapplythemindifferentpositionsandkeys.Justafewideaswithalittlecreativitycantakeyoualongwaymusically.
Let’stakealookatsomemoredoublestopinspiredriffsfromthethemewehavebeenworkingon.
UltimateBluesStage4:Solos 19
Riff#7“E”pentatonicminor
ThisisagroupofnotesthatChuckBerrylikedtouseinalotofhissolos.Therearemanycombinationsusingdifferentrhythmicfeelandnotechoices.Thisriffsoundsawesomeinthe“A”position–tryittheretoo!!
Makesurethatyouplaytheexacttwostringsthatarerequiredforanyofthe2-noteinterval/doublestops.Especiallyonthesecondandthirdstringdoublestops.Thereshouldbenoextrastringsringingout–itcanaffectthewaytheriffwillfitintoasolo.Dependingonthesituation,someopenstringsorringingoutstringscancausesomereallybadsoundingharmonies.Usetheflatsofyourfingerstoplaythisstyleofriff.
OneofthebiggestissuesIhavehadwithstudentsworkingthesetypesofriffsarethedoublestopnotesusedonthesecondandthirdstrings.Thefirststringtendstowanttoringout,whichisnotthewaythisriffwaswrittenout.WhateverfingersIamusingtoplaythedoublestopswithonthesecondandthirdstring,Imakesurethatthefirststringismuted,justbytouchingthestringwiththesamefingerIamfrettingthesecondandthirdstringswith.Justraiseupthefingerenoughoffthefirststringtomuteit,makingsureyoursecondandthirdstringdoublestopissoundingoutbothnotes.Thiscanhappenveryfast,butyouneedtofirstbeawareofitbecausethiscan’tbeaconscioustechnique.
Youneedtolistentowhatyousoundliketomakesuretherearenoextrastrings/notessoundingout.Thiscancauseasloppysoundingriff,whichyoudon’twant.Usethesuppliedjamtrackstohoneinonyourriffs.
UltimateBluesStage4:Solos 20
Riff#8“E”pentatonicminor
Forthisriffweusetheveryimportantintervalharmonyknownastheminorthird(-3).Ihaveitwrittenoutfor“E”pentatonicminor,butthisriffcanalsobemovedtootherkeysandpositions.The(-3)intervalappearsonthetransitionfromthesecondpositiontothethirdpositioninthe3-positionpentatonicclimb.Takealookatthediagramonthefollowingpage.
UltimateBluesStage4:Solos 21
“E”Pentatonicminor3-positionclimb Thisminorthirdintervalisvery important.Learntorecognizethis particularintervalinthescale. Thisiswhatweareusingforriff#8.
B-3(“B”minorthird)
UltimateBluesStage4:Solos 22
Useyoursecondandthirdfingersforthisinterval,anditwillsetyouupforthenextriff(3rdfinger15thfret3rdstring;2ndfinger14thfret2ndstring).
Youneedtolearntomovethis-3intervaltothepositionsneededforthechangesinthe“Knockin’”progression.Forsomeofmystudents,theyhaveadifficulttimenailingdownthe-3intervalpositionchanges,andsincethisintervalwillbeusedtocreatemoreriffs,youneedtolearntoplaythisriffinthepositionsneededfortheprogression.
Tounderstandhowtorelatethis-3intervalinotherpositions,youneedtousesomekindofreferencesystemsothatyougetthechangeseverytime.Ittakestheguessworkout.Oneoftheeasiestreferencesonaguitarareyourfretpositionmarkers.Forexample,inthe“E”positionscale,theminorthirdintervalisfoundonthe15thand16thfrets.Iusethethirdstringnoteonthe16thfret(the“B”)asareferenceagainstthefretpositionmarkers.Remember,youactuallystarttwofretslowerandslideup,butIammoreinterestedinwhereIamslidingto.The“B”noteonthethirdstringistechnicallytherootnote,anditisaB-3intervalfoundinthe3-position“E”pentatonicminorscale.Sincethe“B”rootnoteisfoundonthethirdstring16thfret,thisbecomesmyreference.
Mostguitarshavepositionmarkersatthe12thand15thfrets.The12thfretiseasy–it’sthedoubledotpositionmarker.Usuallythe15thfrethasasingledotmarkerwhichisthreefretsabovethe12thfret.
Sonowyoucanfindthethirdstring16thfret“B”realeasy.The16thfretisonehigherthanwhereyour15thfretpositionmarkeris.
Remembertouseyourthirdfingeronthethirdstringrootnote–thiswillsetyouupbetterformoreriffoptionsandeasierpositionchanges.
Nowwhatabouttheotherchangesusingthe-3interval?KnowingyourI-IV-Vherecanreallyhelp.Sinceweplaythe“E”riffminorthirdharmonyatthe16thfret,and“A”isthenextchangewewillneed,Iwouldgolowerforthe“A”change.“A”=IVchangeofthekeyof“E”,butwearegoinginreversefromhightonicpositiontoalowerposition.Thisistermedinversion.WeareusingahigheroctaveasthetonicandaloweroctavefortheIVchange.
STTT =2½tonesE-F-G-A =4letters
Ifwegofromlow“E”toahigher“A”,thetechnicaldistancewouldbeaperfect4th,butwearegoinginreversefromhightolow.
TTSTT =3½tonesE-D-C-B-A =5letters
UltimateBluesStage4:Solos 23
NOTE:
I–IV=perfect4thI–V=perfect5th
Technicallywehavetomovethe-3intervalfromthe“E”scalepositiontothe“A”scalepositionlowerbythedistanceofaperfect5thwhichis3½tones=7frets.Togetfromthe“E”position-3tothe“A”position-3,weneedadistanceof7frets.
Sincewefretthe16thfretthirdstringwithourthirdfingerfortherootforthe“E”pentatonicminorposition,16thfretsubtract7frets(whichisthedistancetogettothe“A”position),youhavethe9thfretthirdstring,whichusuallyhasapositionmarker.Thiswillbeyourrootnoteforthe-3intervalinthe“A”pentatonicminorposition.
Remember,youstarttwofretslowerthanyourrootonthethirdstringsoyoucanslideuptotheactualintervalharmonyyouwant,soyouslideupfromthe7thfretthirdstringtothe9thfretthirdstringwhereyourrootnoteforthe“A”positionisfound.
Ofcourseyoursecondfingershouldjustdropdownonthesecondstringonefretbelowyourtonicfretposition.Thisshouldbeano-brainer,thatyoursecondfingeronthesecondstringcanfindtherightfretaslongasyouknowwheretherootnoteonthethirdstringispositioned.
Sochangingbacktothe“E”positionshouldbenoproblemafteryougetthe“A”position,andallthat’sleftforthisprogressionisthe“B”positionorVchange.
RememberIV-V=onetone(twofrets).Thatmeansyouwillfindtherootforthe“B”positiontwofretshigheronthethirdstringwhichwouldbethe11thfretthirdstring.Thisisaneasymark,sincethedoubledot12thfretpositionmarkerisonefretaboveyourrootnotefretpositionforthe“B”position.
WorkthisminorthirdintervalusingthereferencepointersIhavegivenyouoverthe“Knockin’”jamtracksbeforeyoumoveontothenextriff.Ifyoufindthetwofretslidefortheriffisdifficult,leaveouttheslideandlearnyourchangesfirst.Addtheslidelater.
Herearethethreerootnotepositionsweneedforthe“Knockin’”progression.Youwillnoticeeach-3intervalcanbefoundinsidetherelatedchangesscalepatterin3-positionpentatonicminor.
UltimateBluesStage4:Solos 24
Learntoseehowthe-3intervalweareusingfitsintoeachscalepositionthatweneedforthechangesinaprogression.Thiswillmakeitmucheasiertoseewherethenextexamplescamefrom.
UltimateBluesStage4:Solos 25
Riff#9“E”pentatonicminor
Nowifyoucomparethenotesyouplayinriff#9withthenotesthatareavailablein“E”pentatonicminor,youwillfindone“outside”notethatdoesnottechnicallyfitintothe“E”pentatonicminorscalesnotechoices(seediagramonnextpage).Ifyoulookclosely,youwillnoticethattheA+3intervalplayedonthesecondandthirdstring14thfrethasaC♯onthesecondstring,andthisistechnicallyanoutsidenote.IncomparisontoEm,theC♯noteisconsideredamajor6thwhichisaraised6thincomparisontotheminor6thintervalwhichisfoundinthekeyofEm.
Thisfallsundertheoldclassicaltheoryofthemelodicminorscalewhichraisedthe6thand7thnotesofthenaturalminorscale.Thisisafoundationalriffthatisusedalotandisverycommon.ItreallygoesbacktoChuckBerry’s“NoParticularPlaceToGo”.
UltimateBluesStage4:Solos 26
Ifyouhaveyourthreechangesdownusingthe-3intervalinriff#8,playingriff#9willbeeasytoplaceforthechanges.Thisisreallyhowyougettoknowyourguitarfingerboardbetter.Memorizingisnotaseffectiveasapiecebypiecestepprocesstogetmorefamiliarwithyourguitarfingerboard.
Learntomoveriff#9forallchangesinthe“Knockin’”progression.AsIhavesaidbefore,ifyoufindrepeatingriff#9foreachbaristoodifficult,tryoneriffpertwobarsintheprogressionuntilyougetmorecomfortablewiththechanges.Thisisagroupofintervalsyoureallyneedtoknow.
Justtomakemypoint,IamgoingtousetheG+3(Geemajorthird)intervalfoundinthediagramabovetocreateriff#10.
UltimateBluesStage4:Solos 27
Riff#10“E”pentatonicminor
Thisintervalideaworksreallywell,coupledtogethertocreatea2-barphraseusingriff#1,#4,and#7tocombinewith.
Okay,solet’sputthisalltogether.Iamgoingtotakethefirsttenriffideasandcreateasoloforone12-barphraseofthe“Knockin’”progression.Iamgoingtousethesoloapproachandfolloweachchangewiththeappropriatescalepositionriff.ThismeansthatIamgoingtotakethesetenriffsandtransposethemfortheneededchangesintheprogression.
Withthatinmind,letshavealookatourchartandworkthroughthebars.Trya2-baror4-bargroupuntilyoucancompletethesolobyjoiningtheriffstogethertofollowtheprogressionchanges.
UltimateBluesStage4:Solos 28
SoloTabFor“Knockin’”
UltimateBluesStage4:Solos 29
Don’tforgetthatmostofthefirsttenriffsarewrittenin“E”pentatonicminorpositionoctave.ItransposedtheriffswhereIneededtoforthecorrectchordchanges.
Forthe“E”changeinbars#7and#8,Itransposedriff#9,whichwasoriginallywrittenatthe12thfretoctave“E”position,totheopen“E”pentatonicminorpositionloweroctave.Theyarethesamenotes,justoneoctavelower,butvisuallytheydonotlookthesame.Don’tletthisthrowyouoff–itisthesameriff!!
“E”pentatonicminoropenpositionisaveryimportantscaleontheguitar,andmanyfamousriffshavebeendrawnfromthatposition.NoticethatwhenIappliedriff#9forbars#6,#7,and#8,Idroppedthetonicnote(thelastnoteintheriff)andleftitout.Originallyriff#9waswrittentoresolvebyusingthetonic,butatthispointintheprogressionIdidnotwanttodothis.Iwantedtoleaveitfeelingalittlemoreunfinished,likethereisstillmoretocome.
Sothisconcludesourstudyofdoublestops(doublenoteharmonies)appliedtothe“Knockin’”progression.Youshouldbeabletoapplytheseideasnowinother12-barprogressions.
UltimateBluesStage4:Solos 30
2.FloodThisisacommon12-barbluesprogressionusingthefencesittingdominant7thandthe9thchord.The9thchordisactuallyadominant7thchordwiththescale’s“II”oneoctavehigher.IuseaC7thadd9inthe“Flood”rhythm.C=IorVIII,thenIIoneoctavehigheris“9”.
C9th= C-E-G-B♭-D I+IIIV♭VII9th
Inthe“Flood”progression,IliketouseG7(6),C9(5),andD9(5),butthechordsarefencesitterchordsbecausetheycanleantoaminortonalityoramajortonality,dependingonhowtheyareapplied.
Technically,somechordscanhaveseverallabels(names)forthesamechord,dependingonhowitisused,anditdependsonyourmusicaltraining.IfyoureallywantedanaccuratelabelforthethreechordsIusein“Flood”,insteadofmyshortcut,heretheyare:
G7(6) = “G”dominantseventh = IC9(5) = “C”dominant7thadd9th = IVD9(5) = “D”dominant7thadd9th = V
Youseethereasonwhythesechordscansitoneitherside,minorormajor,isbecausetheyhaveahybridblendofmajorandminorintervals(notes)inthechord.Allthreechords(G7(6),C9(5),andD9(5))haveadominant7thchordinsidethenotegroup.Sodominant7this:
I+IIIV♭VII=dominant7th/blues7th
Wenowhaveamajorthird(+3)fromthetonic(root),theperfectfifthorV,whichisneutral,andtheflattedseventh(♭VII),whichistechnicallyminor7th.
Sonowwehavethemajortriad,combinedwiththe♭VIIwhichisminor,theIIor9thisneutral.Itisthemajorthird(+3)thatpushesittoleantothemajorside,whiletheminor7th(-7)inthechordcanhelppushitoverthelinetotheminorside.Itisuptothewriteroftheprogressionorsongtowhichwayitwilllean.
InBlues,thedominantseventhchordisheavilyusedasaminorsubstitution.Inthecaseofthe“Flood”progression,IamgoingtousethepentatonicminorscalealongwiththethreecommonchromaticpassingnoteswhicharefoundinthepentatonicminorscalebetweenIV-V,VII-VIII,andIII-IV.
UltimateBluesStage4:Solos 31
Thisprogressionisleaningheavilytotheminorside,butdiatonicminorforsolosoritsdiatonicrelativemajordonotworkwell–there’stoomuchnoteconflict.Icouldwriteabookonthisparticularsubject,butIwon’tgotherethistime.
Youaregoingtorunintomanybluessongs/progressionthatusethesetypesofchords,andsincethisisabluesbasedcourse,wewilltreatitlikeblues.
Youwillfindthesefencesittingchordsinmanyfamoussongs,andtheycanbeusedtoapplytobothamajororminorchordsubstitution.
Ourfoundationscaleforthesolowillbe“G”pentatonicminor,keepingthediatonicscalesoutofthepicture,andusingthethreechromaticpassingnotestoaddcolourandtensiontooursolos.Thisisatripletbasedgrooveorrhythmicfeel,andcanalsorelateto6/8timesignaturetoo.Ichosetofeelitmoreasatripletcount.Thisisagoodprogressiontolearntosolooversincethespeedortempoisabitslower.
UltimateBluesStage4:Solos 32
TheStringStretch
Wearegoingtolearnhowtostretchstringsinascaleorkeytoaddtoourexpressioninourriffsandsolos.Usuallyastringstretchisgoingtothenextavailablenoteinyourscale,andpitchisveryimportant.Youhavetolearntolistentothepitchthatyou’restretchingtoandrecognizewhenit’satthecorrectpitch.Sometimesthisisnottrue–somestretchesanddoublestopstretchesarenotreallyrightonpitchpurposelytocreateheightandtensioninasolo.Butfirstyouneedtolearntostretchonpitch.
Ihaveaonetonebendonthethirdstringanditsunisonpitchonthesecondstring.Unison=samepitch.Youwillfindthecorrectpitchforyouronetonebendonthethirdstring,twofretsloweronthesecondstring.
Theideaistostretchthethirdstringuptothepitchofthesecondstringnote.Ifyouhavethecorrectfingerandfretrelationship,youcanmovethisonetonebendexercisehigherorloweronthefretboard.Iliketoplaytheonetonebendforeachnoteinascale,bothpentatonicanddiatonicminorworkwellwiththeonetonebend.
Isayit’sabitofanexercisetotuneyoureartowhereyourstretchshouldbeinpitch.Intheendyou’llfindmanyfamousriffsusingthisonetonebend,alongwithotherscalenotestocreatemanydifferentvariations.Thisinitselfcouldbringyoumanydifferentoptionsbyaddingtheonetonebend.
Sowearestretchingthethirdstringexactlyonetonehigherinpitchtomatchourpitchthatweplayonoursecondstring.
Wearegoingtolearnthislittlebendingriffdirectlyrelatedtothe“G”pentatonicminorscales,eitheronepositionor3-positionclimb.
UltimateBluesStage4:Solos 33
Wewillbedrawingourriffsfromthesetwoscales,butyoucouldalsogooneoctavehigherandplaythesamesolo12fretshigher.Thistransposesyouoneoctavehigher;youarestillin“G”pentatonicminor.
UltimateBluesStage4:Solos 34
Riff#11GPentatonicMinor
Hereistheonetonebend:
Sotherealtricktohelpingyougetthepitchcorrectonyourstringstretchisthenoteonthesecondstring.Byusingyourthirdfingeronthethirdstringfifthfret,getunderneaththethirdstringandpushthestringupasyoupickthestring.Youcanuseyoursecondfingerunderneathyourthirdfingeronthethirdstringtohelpyougetthestringtopitch.
Dependingonyourguitar,stringgauges,andfingerstrength,youmayneedtousethatsecondfingertohelpthestretch.Thefirstfingerstaysonthesecondstringthirdfret.Thisisyourreferencepitchwhengettingthethirdstringstretchpitchdown.
Don’trushyourstretch–makeitanicesmoothtransitionofaone-tonebend.Youcanbenduptothenoteandthenstrikethesecondstringthirdfrettocheckyourpitch.Youcanstrikeboththirdandsecondstringstogetherasyoustartyourthirdstringstretch.Thiscancreateaverycooleffectbetweenthenotethatisbeingstretchedtothereferencepitchandthereferencepitchringingoutatthesametime.
Thisisusedinmanyfamoussolos.Whatabonus!!
ChuckBerrylikedtotakethethirdstringtopitchwithadownstroke,thenmuteitandupstrokethesecondstringreferencepitch.Hewoulddo1/4notetimeframestretchesinarow.Thenotesarestaccato(shortinnoteduration),andtheycreateaveryrhythmicstringbendriff.
Nowlet’slookatwaystoapplytheonetonethirdstringbend.Riff#12willbeyourfirstbarofyour“Flood”progression,12-barsolo.
“Flood”isslowerintempoandisagoodprogressionfordevelopingyournewriffs.ThewayItabbedriff#12,Istartabeatearlybeforethefirstbarof“Flood”.Ifyouwanttostartthesoloonthefirstcycle,youcanhearmecountinonthedrums.Startonthefourthbeatofthecountinandyou’llbeintherightspot.
UltimateBluesStage4:Solos 35
Icallthisoverlappingbars,betweenthebar’stimingorstaggeredbars.WhatImeanisthatwestartinalittleearlyonthebarbeforethefirstbarofthe12-barcycle,sotheriffcoversatimeframeoftwobars,whichcreatessomespacebetweenchordchangesandyoursoloriffs.Thiswillbethethemeforthisparticularprogression’ssolo.
Useyourguitar’snotesustainingabilitytogiveyouthefullbarcoverage,ormuteitearlyandbuytimetochangetothenextriffinyoursolo.Iusethisforexpressionortosetupformynextmoveinthesolo.
Ifyoustartyoursoloriff#12beforethesecondcycleof12-barinthe“Flood”progression,youmightfinditalittleeasiertogetstartedinontimeratherthanthecountinbeforethefirstbarofthe“Flood”track,becauseitisonlya1-barcountinandmightbeabittoofastforyou.
Justcounttwobarsbeforeyouneedtostartyourriff.Soforexample,youcouldcountbars#11and#12ofthefirst12-barfor“Flood”,comeinwithyourslidejustbeforethefourthbeatofbar#12.
Remembertheslideisagracenotejustbeforethefirstnoteofbeat#4ofthe12thbar.Itisthefifthfretfourthstringpitchthatyouslidetothatshouldsoundonthe4thbeat12thbar.
Riff#12“G”pentatonicminor
Ifyouarestrugglingatallwiththisriff,learntocountthebarbefore,becauseyouwanttostartonthefourthbeat.Thisisarhythmicfeelyouneedtodevelop;listentoStevieRayVaughan’sstudiorecordingof“TexasFlood”tohearhowhestartshisintroriffonthefourthbeatofthecountinbar.Youdon’thearthecountinbecausethatwaseditedoutinthemixdown,buthestartsinearlyonthebeatbeforetheonebeatofthefirstbar.
P = pick S = slide R = ring Rel = release Str = stretch 1
UltimateBluesStage4:Solos 36
Riff#13“G”pentatonicminor
Nowwehavemovedthestringbendtothesecondstringtobringituponetone.Wearestilldrawingournotesfromthe“G”pentatonicminoronepositionatthispoint.
Thisriffwillstartonthesecondbeatofbar#2andcrossoverintobar#3ofour“Flood”progression.Noticehowforbothriff#12and#13Iendedontheoctavetonicfifthfretfourthstring.Thetonicinwhateveroctaveyoudecidetouseisalwaysagoodchoicetoendonephraseofyoursolosoyoucanmovetothenextphrase.
Sostartingonthesecondbeatinbar#2,ourfirstthreenotesarealldownstrokes.Usingaslightrighthandpalmmute,orgentlyliftingyourfingersoffthefretboardsothestringisslightlymutedasyouhitthefirstthreenotes.Iusemythirdfingerforthethirdstringfifthfretandmyfirstfingerlaysoverthesecondandfirststringnotes,againslightlymuted.
Youliterallydragthetipofyourpickoverthefirstthreenotes,allinadownwardmotionwhileyougentlymutethestrings.Thisisatechniquecalledrakepicking.
Agoodexampleisfoundintheintrosolofor“SultansofSwing”.ThisisaveryfamoussignaturerifffromthefabulousMarkKnopflerwhofounded“DireStraits”.Beforethefirsttennotesoftheintroriffareplayed,ifyoulistencarefully,thereisarakepickingtechniqueusedintheriff.Thisisfoundontheoriginalstudiorecordingof“SultansofSwing”.
Soifyouhavetoseparatetherakepickednotegroupfromthestretchinordertonailitdown,byallmeans.Startbyplayingthefirstfournotes,workingoutyourmutefortherakepick.Onceyou’vegotthatgoing,startworkingonthestringstretchonthesecondstring.Thisstringstretchyouwillfindabitmoredifficultthanthethirdstringstretch.
Tokeepyourfingersinthecorrectfretpositionforyourscale,youneedtouseyourpinkieforthestretch.Useyoursecondandthirdfingerstoassistyouinstretchingyoursecondstringnotethefulltone.Thenoteyou’restretchingthesecondstringuptoisthenext
UltimateBluesStage4:Solos 37
highestnoteinyourscale(firststring,thirdfretifyouneedapitchreferencetogetfamiliarwiththepitch).
YoucanusethesametechniquesandideasIshowedyouearlieron,exceptnowyou’restretchingthesecondstring,sixthfrettothesamenotepitchasthefirststring,thirdfret.
Riff#14Onetonebendusingsecondstringin“G”pentatonicminoroneposition
Tryandkeepyourpinkieatthesixthfretevenifyoufindthatyourpinkieisweak.Youcoulduseyourthirdfingerforthestretchinstead,butthiswilltakeyououtofyourfinger-fretposition,andcanlimityouwhenyouwantcertainnotecombinationsoryouwanttoadvanceasaplayer.Youneedtodevelopyourpinkie–useoneortwootherfingerstoassistwiththestretch,butkeepthatpinkieonthesixthfretsoyougetintoagoodhabit.
Onceyou’vegotthestretchdown,puttherakepickednotegrouptogetherwiththesecondstringstretch.Afterthattherestofthenotesarestraightforwardandjustdescendinthescaletothetonic.Youcanplayanyoftheriffpartsseparately,learningtoworkthemoverthe“Flood”progression.UsethejamtracksIsuppliedtogetthefeelofhoweachpartoftheriffshouldbe.
Youdon’thavetocopyme,orplayexactlythesametiming,butyou’vegottofititintothe2-bartimesegment.
Iliketoleavealittlebreathaftereachriff,soattheendofbothriff#12and#13Ileavesomeroomattheendoftheriff.ThisiswhyIstaggerthebars–itgivesitamorerelaxedrhythmicfeel.
Thistakescareofthefirstthreebarsofourfull12-barsoloforthe“Flood”progression–ontothe4thbar!!
UltimateBluesStage4:Solos 38
Thefourthbarisatransitionalbarthathelpspushtobar#5withtheIVchangebybuildingupalittleinthemusicdynamics.Youcanespeciallyhearthisattheendofbar#4inthesecond12-barcycleof“Flood”whereeventhedrumsgetinonittoo.
I’mfavouring12-barcycle#2asthe12-barsolofor“Flood”,sothenextriffiseffectedbythedynamicbuild.
Thisriffusesthe(-3)intervalin“G”pentatonicminor3-positionclimb.Weactuallyusedthe(-3)riffideaearlieroninriff#8in“E”pentatonicminor.Justrememberourpositionhaschangedbecausewearenowin“G”pentatonicminor.Butitisfoundinthesamenotepositioninthescale,justnowitisappliedto“G”pentatonicminor.
Riff#15(-3)interval“G”pentatonicminor3-positionscale
ThisbringsustothetwobarsoftheIVchangeforbars#5and#6.IwantedtoemphasizetheIVchangeinmysolo,soIwentbacktothatstretchweusedinbar#2usingthesecondstring.It’sactuallyaonebarphraserepeated,andIhavemanytimingvariationsforthis.
IwroteoutabasicframeworkthatyoucouldplayinthefeelIhavewrittenoutor,ifyouwant,playitinadifferenttimingusingthesamestretchandnotegroupingsandkeepingeachnotegroupwithinthebar.
Ifyoudonothavequitethephysicalabilitytoplaythatfast,thenwestaggerthetwobarsandthestringstretchriffisplayedslower(asfarasnotespeedisconcerned),overthemiddleofbars#5and#6.Thisgivesyoumoretimeandcanbejustaseffective.
Playtoyourability–ifyoucan’tplaythatfast,don’tworryaboutit.There’slotsofgreatleadguitariststhatneverplayedfast,suchasBBKing,AlbertKing,orDavidGilmour.Youdon’thavetoplayalotofnotes–afewintherightplacecanmakejustasastrongastatement.It’snotquantitywewant,butquality!
4
UltimateBluesStage4:Solos 39
Riff#16aOnetonebendonsecondstringin“G”pentatonicminor
Ifyoufindthistoodifficult,thentakeyourriffandplayinbetweenthetwobars.Therearelotsofdifferenttimingapproaches.I’llgiveaneasiertimingapproachthatworksjustaswell.Remember,playitlikeyoufeelorhearit.
Riff#16bOverbars#5and#6
Sothistakescareofthefirsthalfofthe12-barandwearenowgoingtoreturntotwobarsofthe“I”changeforbars#7and#8.
Thisbringsustomynextriff.Thisgoesbacktothedoublestopterritoryweworkedonin“Knockin’”,especiallyriff#9.
Iamgoingtogiveyoutwooptions–oneusesaslidemovementwhichisusuallyeasier,andtheotherincorporatestheuseofadoublestringstretch.
Let’sstartbyusingtheslide.
5 6
5 6
UltimateBluesStage4:Solos 40
Riff#17a
Thisisaonesemitoneslide(onefret),andthenoteyouslidetoistheevilflattedfifth(♭Vor♭5),the“Bluesnote”.ThisisthesamenotethatisusedasachromaticpassingnotebetweentheIV-V.
BecauseIwantedtoworkthe“G”changeonbars#7and#8andmakethatchangestandout,you’llnoticeattheendofriff#17thatIemphasizethetonic“G”byplayingittwice.Theslideworksreallywell,butIinsteadprefertostretchthetwostringsa½step/semitone(onefret)higher.It’sabittricky;youdon’twanttooverbend.It’sonlymeanttosoundclosetothecorrectpitch.
Sinceyouaredealingwithtwostrings,thethirdandsecondstringcannotbestretchupwherebothstringsareaccuratelyonpitch.Butyoucangetrealclose.Itcreatestensionintheriffandgivesusabitofabluesnoteemphasisforbothbars#7and#8.
Ichosetorepeatriff#17aforbothbarsintabsolo,butyoucouldmixandmatch,playonebarusingtheslideapproach,andonebarusingthestringstretch.
Riff#17bWithsemitonestringstretch
NoticehowIaddedthedoublestoponthelast1/8noteofbar#8,inbetweenthetwotonicnotes,justforalittleextrapush.
7 8
UltimateBluesStage4:Solos 41
Forthisparticularstringstretch,wearestretchingtwodifferentgaugesofstringsatthesametime.Youneedtofindthathappyspotwhereeventhoughit’snotquiteexact,itstillsoundsgood.
Usethethirdstringnoteasapitchreference.WhatImeanbythatisthethirdstringisreallythestringthatneedstobeexactlyasemitonehigherinthestretch.Ifthesecondstringisoutabit,that’sokay–it’saquickmovementdoneinonebeatusingtriplet1/8notes.
Forthisstretch,useyourthirdfingerandpulldownonyoursecondandthirdstrings,stretchingthetwostringsapproximatelyonesemitonehigher.Holdthestretchandcomebackdowntotheoriginalpitch;allthreeareequal1/8notedurations.
Makesureyoudon’trushthestretchmovement.Makeitsoundlikeyouhaveplayedthreedifferentnotes.Ithappensreallyquickly,butyouneedtogetallthreenotesassmoothandevenintransitionasyoucan.Irarelystretchstringsinadownwardmotionbecauseit’snotthebesttechniqueforalotofthestringstretchesusingsinglenotes,especiallyifIhavetostretchthepitchonetonehigher.SomostofthetimeIampushingthestringsinanupwardmotiontowardsthe6thand5thstrings,butthistimeforthisdoublestopstretchIgiveitaquickpulldown.
Remember,wearedoingaquick1/8notestretch,onesemitonehigher.Trypracticingthisstretchmotion(thethreenotes)veryslowlybeforeyoutrytobringituptospeed.Thesecretisanice,smoothstretchuptopitch,thenwhilehangingonthestretchednote,soundingoutthetwostringsasyouletthestringscomebackdowntopitch.Allinthreeevenpitchesintriplettime.
Riff#18
Herewearecombiningthe(-3)intervalandusingittomovetotheupperpositionofthe“G”pentatonicminorclimbwherewedoaonetonebendandreturnforbar#9.Makesureyouletthetwonotesforthe(-3)intervalringtogether–thetrickistokeeptheseventh
9
UltimateBluesStage4:Solos 42
fretthirdstringnoteringingoutaftertheslidefromthefifthfret.Donotpickthenoteagain–itshouldringoutasyoupickthesixthfretsecondstringnote,andtheyshouldsoundtogetherforthatmomentintheriff.
Riff#19Thedevil’snote–chromaticpassingnote/♭V
Thisriffisajoiningrifffrombar#9to#10andmorphsbeautifullyintobar#10whileincorporatingour♭Vpassingnote.Really,wearemovingfromtheupperregisterofthe3-positionscaletothesecondpositionscale.Youhavetowatchthefingeringonthisone.Youcouldhavedifferentfingeringapproachesdependingonwhatyouplayedbefore,butIreallywrotethisrifftocreateaseamlesstransitionfrombar#9to#10.Notsayingthatyoucan’tusethiselsewhere,Ijustpurposelyusedthetwobarstocreateanicemovementcombiningthe(-3)interval,astringstretch,andachromaticpassingnotetocompletethetwobars.Butyoucouldusetheseideasinanothercontextwithina1-barphraseorovera2-barphrase.Wewillgobacktothisideaagaininanotherprogressionwithafreshapproach.
UltimateBluesStage4:Solos 43
Riff#20
Hereweuseourrakepickingtechniquefromriff#13andaddaonetonestretchonthethirdstring.Makesureyouletthelasttwonotesofyourtripletstretchrakepickmovementringtogetherforthefulleffect.
ThisisaStevieRayVaughanclassicriffliftedfromBuddyGuyandAlbertKingandnowtheRiffNinja.Soyougottapassitonfromgenerationtogeneration,eachtimeslightmodificationsoftimingandnotegroupingsareadded,dependingontheinterpretationofeachindividualplayer’scharacter.Thisisonemightynotegroupandisusedbyvirtuallyeverygreatbluesguitaristinthelast70yearsinsomevariationofsortstofitintoasoloriff.
Riff#21
Hereweareusingthe♭VagaintochromaticallypassfromIV-V.Inriff#19,weusedthesamenotegrouptodescendintheriffoneoctavehigher.Nowweareoneoctavelower,andweascendusingthesameidea,whichnowbecomesaveryrecognizabletraditionalturnaroundorclosingriff.
Iwroteriff#20tojoinriff#21,andthatiswhythefirstnoteofriff#21isonanupstroke.Riff#20and#21becomebars#11and#12forthe12-bar“Flood”solochartcomingup.
11
12
UltimateBluesStage4:Solos 44
AscendingusingthechromaticpassingnotebetweentheIV-Vistechnicallyaraised4th,augmented4th,or♯4,whereasdescendingwouldbeflatted5thordiminished5th.Thesearethesamenotes,theyjusthaveadifferentlabelwhenascendingvsdescending.Ascendingyouraisethenote,anddescendingyoulowerthenote,butit’sthesamenote.ThereforeitisusedtopasschromaticallyfromIV-VascendingandV-IVdescending.
Therearemanyfamousriffsthatusethisparticularideainmanystylesofmusic.Onceyougettoknowthis,Iamsureyouwillbegintorecognizethesameideainotherkeysandapplications.
UltimateBluesStage4:Solos 45
SoloTabfor“Flood”
UltimateBluesStage4:Solos 46
3.ThrillUpnextisaveryoldandverycoolprogressionthatweneedtostudyalittlebit.It’sreallyareviewofwhatIhavetaughtinStage#3,soifyouunderstandthat,wearegoodtogo.ThisprogressionisinspiredbyBBKing’s“TheThrillisGone”.
Theactualchordprogressiongoesbacktothevaudvilledaysofthe30’s.TheoriginalrecordingofBBKing’s“TheThrillisGone”wasplayedinthekeyofBm,andmyversionoftheprogressionisinthekeyofAm,whichisakeyyoureallyneedtoknowsinceit’ssopopular.
Thisisa12-barprogressionwithanunexpectedtwistinthechangesinthelastfourbarsofeachcycleof12-bar.
Let’stakealookatthechordprogression(foundonpage48).Ifyou’rereallysharp,youwillnoticethatthefirsteightbarsarestandard12-barchangeformat,usingminorchords,notdominant7thchordslikewewereusinginourlastprogression(Flood).Soweareusingastrongminorinfluenceinthisprogression.
Let’sputthechordchangesintothetheoryperspectiveofthekeyorscale.ThisisdefinitelyinthekeyofAm.Sevenandahalfbarsoutofthe12-barprogressionusetheAmchord–Amisthetonicorrootofthekeywearein.
“A”minor’sI–IV–V=Am,Dm,Em
Dowehaveallthreechordsinthisprogression???
Well,yes,wedo.Dm7isacorrectharmonysubstitutionforastandardDmandthesamewiththeEm7.WecansaythatinthekeyofAmthatDm7=IV,andEm7=V.WeareobviouslyinthekeyofAm,butwhatabouttherestofthechanges?WheredoestheF+,G+,andG♯+ fitintothepicture,harmonywise?
Here’sthescoop:C+=therelativemajorforAmwhichisthekeywe’rein.“C”major’sI–IV–V=C+,F+,G+.C+isrelativetoAm–remembereverymajorkeyorchordhasarelativeminorandeveryminorkeyorchordwillhavearelativemajor(key/chord).
Therelativemajorwillhavethesamenotesasitsrelativeminor,onlystartingonadifferenttonic.Thisalonewillexpandyoursolopossibilitiesjustalittlefurtheron,whenweputoursolotogetherforthisprogression.
Allright,youshouldbeabletoseehowthisprogressionfitstogether.
UltimateBluesStage4:Solos 47
Am =IDm7 =IVEm7 =V KeyofAmF+ =VIG+ =VIIG♯ =raisedVII
RememberhowImentionedbeforeinStage#3thatinclassicalmusictheyliketoraisetheVIIintheminorkeytocreateaharmonicormelodicminor.
ConclusionistheG♯+ istheraisedVIIof“A”minor.
TheG♯+ chordisusedtocreateachromaticrunascendingbacktothetonicbyplayingaG+-G♯+thenbacktoAm.Thishappensinthelasttwobeatsofthe“Thrill”progressionwheretheG+-G♯+ changesare.
Assoonaswestartagain,itsoundslikeitisresolvedandyoucaneitherendtheprogressionlikethatorcontinueonforanother12-barcycle.
InmyStage#2scalesection,Imentionedthethreemostcommonchromaticpassingnotesandwheretheyareplacedinrelationtoyourkeyscalenotes.
REMINDER:
#1=IV–V(joinedbyachromaticpassingnote)
#2=VII–VIII(joinedbyachromaticpassingnote)
#3=III–IV(joinedbyachromaticpassingnote)
Sointhe“Thrill”progression,wecouldalsorelatetheG♯+ chordasbeingthechromaticpassingnotefromtheVII–VIII.Insteadofsinglenotesnow,weusefullchords.Butthesametheorystillappliesanditworksverywelltobringyoubacktoyourtonicchordof“Am”everytime.
UltimateBluesStage4:Solos 48
ThrillProgression
Whatdoesthisallmeanandhowdoesthisrelatetolearninghowtoplayagreatsolo?Herearesomepointerstowhatstudyingthechordprogressionforthisexamplecandoforyou:
1 Youshouldknowthatthisprogressionispureminorandisnotatrickprogressioninanyway.Itisstraightoutofthe“Am”scaleexceptfortheG♯+ chordchangeontheverylastbeatoftheprogression.Beingthatithasnorealchordtrickmodificationsanditisnotusingthefencesitterdominant7thblueschords,weareinapurediatonicminorkey.
2 Sinceweareinapureminorkey(diatonic),wehavemanyoptionsthatrelatetothisparticularchordprogressioninsoloscales.
3 Wecanusethediatonicandpentatonicscalesinbothrelativemajorandminorkeys.
4 Don’tforget,ifyouwantamorebluessoundingsolooverthisprogression,usethepentatonicminorscalesandyourchromaticpassingnotes!
5 Ifyouwanttoleanyoursolomoretothejazzyendofblues,youcanmorphbothminorandmajorrelativescalestocreatecoolnewsolooptions.
UltimateBluesStage4:Solos 49
6 Anotheroptionistojustblendthem–sometimesleaningalittlemoretothejazzendandthenatapointinyoursolo,workbacktowardsthebluesusingthepentatonicscales.
7 Thisisagreatprogressiontoexercisethediatonicscalesandraisethebarforyourchoiceofsolooptions.Andthatisexactlywhatwearegoingtodointhisprogression.IfyouknowthescalesfrommyStage#2ofthiscourse,youaregoingtoreapthebenefitsofyourgoodstudy.
Here’sthelist:
Thesearethescaleswearegoingtodrawfromtocreateoursoloideasforthe“Thrill”progression:
Amdiatonic–root6pattern(2options)C+diatonic–root6pattern(relativemajor)Ampentatonic–root6(1-positionpattern)Ampentatonic–root6(3-positionscale)
Anddon’tforgetyouhavethethreechromaticpassingnoteoptions.Thechromaticpassingnoteisusedtojointwonotesthatbelonginthescale/keywithatechnicallyoutside,oroutofkeynote.Byjoiningtwonotesinascale/keywithanoteinbetweenthemcreatesachromaticseriesofatleast3notes:3noteseachonefretoronesemitoneapartcreatesa3-notechromaticrun.Therearemanyoptionsfornewsoloideasusingallourscalepossibilities.
UltimateBluesStage4:Solos 50
Allright,sinceIamateacherIliketoremindyouaboutwhatIamtalkingabout,herearethescalesbothingraphandtab/notationforyourteachertoremindyou!!!!
“A”PentatonicMinor
UltimateBluesStage4:Solos 51
Remember“C”majorisrelativeto“Am”–checkoutthenotesinboththesescales–theyarethesame.Thisisrelative.
UltimateBluesStage4:Solos 52
UtilizingchromaticpassingnotesfromIV–V,VII–VIII,andIII–IV:theseareyourbestoptionsinthesetwoscales.Youcouldusethemallinonerifforsolo,orjustselectandmixyouroptionsusingdifferentcombinationsindifferentoctaves.
“A”pentatonicminor1-position
UltimateBluesStage4:Solos 53
“A”pentatonicminor3-position
“A”diatonicminor,fingeringoption#1
UltimateBluesStage4:Solos 54
“A”diatonicminor,fingeringoption#2
“C”diatonicmajor(relative)
YouwillnoticethatIdidnottabandnotatethechromaticpassingnotescaleoptions,andtherearemany.Ifyouknowthepentatonicminorscales,1-positionand3-positionclimb,thenitshouldbeclearwhereyourchromaticpassingnoteoptionsare,orIwillsendyoubacktoStage#2.
Nowwearegoingtowriteasolobarbybarforthe“Thrill”progression,applyingsomeofthesescaleoptions,andgetalittlebitmorejazzyforthisparticularprogression.
UltimateBluesStage4:Solos 55
Riff#22
Thesetworiffscombinedmakethefirsttwobarsofour“Thrill”solotogiveitamorerelaxedfeel.Westartonthethirdbeatofthefirstbarandplayoverthebarline.Bar#1takesalittlebitfromriff#19,andbar#2usesthe“G”stringstretchwhichiscommon,butdoesnotgotothesecondstringlike,say,inriff#11.Instead,youskipastringandusethefirststring,fifthfret.Makesureyouletthesetwonotesringtogether.
Nowwewillrepeatthefirstbarofriff#22,andcreateavariation,stillusingthethemeofthethirdstringstretch,thiswillberiff#23forbars#3and4.
Iamgoingtotaketherakepickingriffin“G”minor(riff#20),andmoveitto“A”minor,andjoinitfora2-barphraseusingthefirstbarofriff#22.Thiscreatesacallandanswerresponsebetweenriff#22and#23.Inriff#20westretchthe3rdstring,butforriff#23,we’llleavethe3rdstringstretchoutandjustrakepickthethird,second,andfirststringswhichcreateabasic3-note“Am”chordinthefirstthreerakednotes.
Riff#23
Bothriff#22and#23canbevariedinmanydifferenttimingfeels,stillusingthesamegroupingbecauseitfallsovertwobars.
Nextuparebars#5and#6,andIamgoingtoplayintothehigherregistertomusicallysuggestachange.Riff#24startsonthetonicofthekeybyslidinguptothe10thfretsecond
UltimateBluesStage4:Solos 56
string.Donecorrectly,theriffworksverywellintotheIVchange.Youneedtobeawareofyourchordprogression.
Riff#24
Youcanletyourendnoteringintobar#6ifyoulike,orleavealittlespacebeforeriff#25,whichstartsonthe3-beatofbar#6.Sametiming,sameriff,withaslightresolvetotakeusbacktothe“I”change.Theresolvedoesnothappenuntilthefirstbeatofbar#7forriff#25.Itoverlapsattheendofriff#25intothenextbar(bar#7).
Ifyouarepayingattention,youwillnoticethatIplaythe7thfret4thstring,whichisatonicnoteforourkey.Byfinishingriff#25onthefirstbeatofbar#7ofthe“I”change,itautomaticallygivesthemusicalimpressionithasendedorresolvedrightintothenextchange.
Iwillgivethissoloalittlemorespacebyleavingoutnotesforabeatortwo,andoverlappingbetweenthebarstogiveitsomerhythmicbreath.Thisisamorelaidbacksong,soletthenotesfromyourriffsbreathe–it’snothowmanynotesyoucanplay,it’swhereyouplaythenotesandthenotechoiceforeachriff.
Riff#25
Againforthelastnote,whichisthestartofbar#7(the“I”change),youhaveaslongastwobeatstoholdthenote,untilournextriffstartsfortheoverlapofbars#7and#8onbeat#3.Youcaneitherletthatnoteringoutaslongasyoulike,orkillitsomewhereinbetweentoleavealittle“breath”beforeyournextriff–yourpersonalchoiceorinterpretation.
UltimateBluesStage4:Solos 57
Thisgivesyoualittlemorethinkingtimetomakeyournextmove.Learntopicturewhereyournextriffisbeforeyouhavetoplayit.Byusingthemusicalspacebetweenournotegroupings(riffs)tomentallyprepareourselvesforthenextriffinoursolobuysyoualittlephysicaltimetosetupyourlefthandfingersforyournextriff!!
YouwillnoticethatIaddedthechromaticpassingnotebetweentheIV–Vonthe3rdstring!
Riff#26
Riff#27takesustothehighestpartofourchordprogressioninbar#9fortheVIchordin“A”minorwhichisF+.AndwhatisthelastnoteIplayinriff#26thattakesustotheF+changeinbar#9?Well,it’san“E”noteonthe7thfret5thstring.AndwhywouldIplayan“E”singlenotejustbeforethe9thbarchangetoF+?Thisgivesyouthemusicalimpressionthatwearegoingup,whichwearefromthe“E”note(whichistheVin“Am”)totheF+chordbasedonthe“F”rootnote.
OfcourseI’msettingupforourbigriffofthesolo–thisisthesummitofoursolobeforewestarttodescendandgobacktoourtonicinthelasttwobarsofourprogression.
Andnowwearegoingtotakesomenotesfromourdiatonicrelativemajorscalediagramsandcreateamorejazzinfluencedriffforbar#9(F+)andbar#10(Em).
Riff#27
Hereweareindiatonicland,workingthenotesfromour“C”majorscale.Inthisriff,wehavetheappearanceoftwonewtriadicnotemovementsinourriff.Whattheheckis
UltimateBluesStage4:Solos 58
triadic???Well,it’smywordforusingthenotesoutoftherelatedscaletocreatetriadnotegroupingsthatfitinandrelatetothechordprogression.
Wehavealittlestudyhere:
Noticeinthediagramthatthenotesoutofthe“D”minortriadandthe“E”minortriadcanbefoundrightinsideofthe“C”majordiatonicscalenotepattern.
Inriff#27,IstartbyrakepickingtheDmtriadovertheF+changeinbar#9ofourprogression.Why??BecauseDmisrelativeto“F”major,andmyriffstartsonthethirdstringtenthfretwhichisthe“F”notewhichistherootnoteofourchordchangeforbar#9.FmajorandDminorarerelativetoeachotherandtechnicallyhavetwooutofthreebasictriadnotesthatarethesame.Thisisagoodreasonwhytheyarerelativemajorandminor.
Yousee,ifyoustudiedStage#1ofthiscourse,youshouldbeabletoseehowIgottheideaforthisguitarsoloriffbyusingmychordknowledgetolineupwithmychordprogression.
Here:
UltimateBluesStage4:Solos 59
Tocreatethe“F”majorchord,Ineedthenotes:
F–A–C
TocreatetheDmchord,Ineedthenotes:
D–F–A
Thesetwochordsarerelative.Getit??
Thegreatestguitarsolosarealwaysrelativetowherethechordprogressionisgoing.
Inthisexample(riff#27),weusetheDmchordtriadrakepickedoverour“F”majorbar#9chordchangeandthenattheendweintroducethenotestothenextchangeinbar#10.IplaytheEmtriadinthelastthreenotesofriff#27andthishelpstomusicallyhinttoournextchangeforbar#10whichwillbetheVchordinAm(Em).
Forriff#28,Iusethesame1/8noteresttrickIdidinriff#27,creatingalittlemoreofanaturalfeel.TherearemanyslightlyalteredtimingstoalmostanyofmyriffideasIhavegivenyousofar.Don’tfightthetimingasmuchaslearntofiteachriffnotegroupingintoyourbarspacemusically.Inotherwords,youcouldplaythesenotegroupswithdifferentfeels,andtheywillstillsoundgreataslongasyouarerelatingthemtothechangeinyourprogression.
YouwillnoticethatIcapitalizedontheEmchordbyascendinganddescendingthethreebasicnotesfromtheEmchord,andthisbecamemyrifffortheEmchangeinbar#10.
Riff#28
Justacoupleofpointersbeforewemoveontothelasttwobarsofour“Thrill”solo.Noticeinriff#27whenIusetheEmtriadattheendofthebar,Iaskedyoutoletthenotesringoutovereachother.That’smoreofapersonalchoiceonwhatyouwouldliketohear.Asyougetbetter,youcanusetheseideaswithslightlydifferentapproachestochangeupthesoundofyoursolos:keepitinteresting,becreative.
UltimateBluesStage4:Solos 60
Thiscouldbeappliedtoriff#28whereinsteadofrakingthenoteswithmutednotes,youcouldjustletthemallringouttogether.
NowIamgoingtotakeyoubacktoadoublenotestringstretchwelearnedinriff#17-B,adoublenotestringstretchofa1/2stepuptothedevil’snoteandbackdown.Thedevil’snote/bluesnote=♭V.Ofcourseriff#17-Bwasplayedin“G”pentatonicminor.SoImoveditto“A”minor,andIamgoingtobringusbacktotheclosingriffinbar#12.
Riff#29a(riff#17-B)
Noticeattheendofriff#28,bar#10overlapsandendsonthefirstbeatofbar#11.Halfwaythroughbar#11,weactuallystartriff#29whichoverlapsintobar#12,andthenweclosewiththechromaticpassingnotefromVII–VIII,ortheraised7thofAminorifyoulike.Theeffectisthemusicalclosureofour12-bar.
Inthelastbaronthethirdbeat,weplaya“G”noteonthefourthstring,fifthfret.Thisistechnicallytheminor7thor(-7)of“A”minor.
Thelastbeatofbar#12isplayedonthefourthstring,sixthfret.ThisisaG♯whichisconsideredtheraisedseventhof“A”minor. WhenwemovefromG-G♯ - A,remember“A”isourtonicandourverynextnoteupinpitchfromG♯. ThiscreatesathreenotechromaticrunfromG–A,and“A”isourkeyortonic!Thismusicallycreatesthesoundofclosure,orgoingbacktothestartandusingitasaturnaround.Eitherway,itmusicallysoundslikeyou’redonewithacycleof12-bar.
IliketovaryhowIcomebackintothe12-barprogressionusingthechromaticideafromVII–VIII.Youcouldusefullchordsifyoulikeinsteadofsinglenotes.Ifyouusesinglenotes,youcouldtrydifferentoctaves,higherorlower.
IliketousetwomajorthirdintervalstosubstituteG+andG♯ changes.
UltimateBluesStage4:Solos 61
HereisanexampleoftheloweroctaveGandG♯ notesonthesixthstring.Don’tforget,youcouldalsoplayfullG+andG♯+ barchordsinsteadofthesinglebassnotes.
Riff#29b(loweroctavesinglenotes)
Myfavtrickistouseinvertedthirds.Well,thatwouldbeanothertheorylesson,soinsteadtakealookathowIskipthesecondstringandusethefirststringwiththethirdstringtogethertocreateaverychordalsound,butit’snotachord.
Islideuprandomly,approximatelytwofretsbelowmystartingnote,sofortheslidetothefourthfretthirdstringusingyoursecondfinger,startonthesecondfretthirdstring.
Pick–slide–ring,andnowwhilethethirdstringfourthfretnoteisringingout,fretthethirdfretfirststringusingyourfirstfinger,andletbothstringsringovereachothertogetabigsound.SameprocedurefortheG♯+invertedthirdforthelastbeatofthebar.AndthislastG♯+intervalpushestheprogressionbackintothe“A”minortonicorkeynotewhereyoueitherendorstartthe12-barcycleagain.
Riff#29c
WatchyourfingeringsforyourinvertedG+3and3intervalsonthelasttwobeatsofbar#12.Useyoursecondfingeronthethirdstringandthefirstfingeronthefirststring.LearningtoplaytheG+3and3withthisfingeringwillhelpyoulateron,astherewillbemoreuseofthisstyleofintervalslateron.
H = Hammer PO = Pull Off
UltimateBluesStage4:Solos 62
SoloTabFor“Thrill”
UltimateBluesStage4:Solos 63
4.TexasJoyAtipofthehattoTexasbluesandStevieRayVaughan,thisprogressionisinspiredby“PrideandJoy”.Stevieplayedthisstraightaheadshufflerhythm12-barwithhisguitartunedtoE♭standard,foryourinformation–ofcourseyouknowthatthiscourseisinstandardtuning.
WhentuningdowntoE♭standard,youcanstillusethesamechordforms,likeyourE7,A7,andB9openchordcombothatIcoveredinStage#3ofthiscourse.Ifeelthatthesechordsworkthebestforthissituation.
IusethebarstyleA7andthekinkbarB9insteadofyourbasicopenA7chordandB7chordforthistrack.TomeitsoundsmorelikethevoicingsStevieRayVaughanusedin“Prideand“Joy”.
UltimateBluesStage4:Solos 64
Weareinthekeyof“E”pentatonicminorforoursoloscales.Stayawayfromdiatonic“E”minor,andifyouwanttoaddtoyourscale,usethechromaticsemitonesfromIV–V,VII–VIII,andIII–IVinyourpentatonicminorscales.
Thetwoextranotesthatmakeupthe“E”minorscale(diatonic)clashsoundwisewiththisprogression,sinceweareusingfencesitterchords.
“E”Pentatonicminor “E”Pentatonicminor “E”Pentatonicminoroneposition 2-position 3-positionclimb
open open
UltimateBluesStage4:Solos 65
Okay,ourfirstfourbarsofoursolofor“TexasJoy”usestheminorthirdintervalasathemetobuildthefirstfourbarsup.Westartwithaverytraditionalblueschoiceoftheminorthird(-3),startingonthethirdandfourthfretsusingthesecondandthirdstrings.Thiscomesdirectlyoutofthe“E”pentatonicminor2-positionopenscale.
Theinspirationforthisideacomesfromthestudiorecordingof“PrideandJoy”whereStevieusedtheideaofthe(-3)tobuilduphissolointhefirsttwobarsofthe12-bar.Itookthisideaalittlefurtherbyusingthisideatotakemeuptotheoctaveattheendofthefourthbar,whichsetsmeupforthenextpartofmysolo.
ThisisnotatranscriptionofStevie’soriginalsoloonthestudiorecording.Therearemanyversionsofthissong,allofthemgreat,allofthemrecognizableasthe“PrideandJoy”song,yettheyarequitedifferentinsomeways.Stevielikedtochangethingsupdependingonhowheheardandfeltthingsatthatmoment.Hissoloswereneverquitethesame,buthekeptthesong’scharacterandqualityintactnonetheless.Arealtruebluesmanneverplaysthesolothesameway,heplaysinthemomentofeachsituationthatheperformsin.StevieRayVaughan’sbrother,JimmyVaughan,saidthatStevieneverplayedthesamenotetwice,nevermindthefirsttime.
ImustadmitthatthiscoursehasbeenarealchallengeformebecauseIcomefromtheStevieRayVaughanschoolofguitar–IlovetoimproviseandplaythesolohowIfeelatthatmoment.ThismadeitdifficultformetodisciplinemyselftosticktotheprogramandkeepitconsistenttowhatIhavewrittenoutinthiscourse.
Thisissuchagoodkeyandchordprogressiontoreallyletyour“bluesflag”fly.Iamsorelytemptedtounleashadifferentideaforeverysolointhisprogression.Forthesakeofyoudearstudentswhoreallywanttolearn,Iamgoingtorestrainmyselfsothatyoucanlearnsomeofthesenotegroupingsandtricks,andthenyoucanletloosetoo.
SomewhereinmyvideodemothoughIamgoingtoletitfly,soyou’dbetterpayattentiontothenotegroupingsIamteachingyoubecauseyouneedtorecognizethemindifferentsituationsasIweavethemintomyimprovisedsolos.
Really,thesecrettotrueimprovisingcomesfromlearningdifferentnotegroupsorriffs,andbeingabletoplaytheseideasindifferentkeysandrhythmictimings,meldingthemtogetherwithyourknowledgeofscales.Thisisagoodplacetostarttobeginyourjourneyasarealbluesman/woman.
Thisprogressionusesafastshufflebeat,ordotted1/8notefeel,andistripletbasedintime.Thismeansthatalotofoursologroupingswillbefasttripletnotecombinations,andthisishowwearegoingtogetintothis12-barsoloexampleusingfourdifferent-3interval
UltimateBluesStage4:Solos 66
positions,movingupthefretboardforeachofthefirstfourbarsofoursolo,endinganoctavehigherin“E”pentatonicminor2-positionoctavescaleposition.
Eachbarusesadifferentminorthirdtoclimbupthefretboardsothatweendupintheoctavescalepositionof“E”pentatonicminor.Iamgoingtokeepitinstraight1/8tripletforeachofthefirstfourbars.
Let’stakealookathowIusedtheminorthirdonthesecondandthirdstringandinspirationfromStevieRayVaughantocreatethefirstfourbarsofour“TexasJoy”solo.Ifyoulistentothestudioversionof“PrideandJoy”,IamsureyouwillhearwhereIgotmyinspirationfrom.
#1 #2 #3
4
9
13
UltimateBluesStage4:Solos 67
Foreachbar,weuseoneminorthirdpositionusingastraight1/8notetriplettiming.Youstrumthisalittlemorethanpickingtomakeitchordalsounding.
#4
16
UltimateBluesStage4:Solos 68
Riff#30bar#1,usingtheB-3intervalistakendirectlyoutofthe“E”pentatonicminor2-positionopenscalethatwasdiagrammedpreviouslyinthissection.Thisisthesameintervalthatisusedforthe2-barturnaroundriffwhichyoushouldbefamiliarwithifyouhavedoneyourstudiesofStage#3ofthiscourse.Manyfamousguitarriffshavebeencreatedusingthisminorthirdandscalepositioncombo.
Checkout:
TubeSnakeBoogie–ZZTopBillyGibbonsusesthis-3intervalmovementforhisintro,andthenusesitaspartofarhythmriffthroughouttheverses,answeringeachvocallinewiththeuseofthe-3interval.
GreenRiver–CCRFogertyusestheB-3intervalasanucleusandstartingpointforhisintroriffandhisfillsinbetweenhisvoicelinesintheverse.
FortunateSon–CCRJohnFogertyusesthe-3intervalexclusivelyforhissolo.
SuzieQ–CCRThistime,MrFogertyusesthe-3intervalintheSuzieQriffintro,it’sjustmoresubtle.It’sthefirsttwonotesintheintroriff.
TheLastTime–RollingStonesThistimethe-3intervalisthecentreofthethemeriffofthissong.
Bytheway,otherthan“PrideandJoy”,theseexamplesareallin“E”pentatonicminor(standardtuning).Remember,StevieRayVaughantunedhisguitardowna½step,sothatwouldbe:
E♭ A♭ D♭ G♭ B♭ E♭6 5 4 3 2 1
UltimateBluesStage4:Solos 69
Riff#30Bar#1(B-3)
Stressthefirstnoteofeachbeatwiththefirstbeatbeingtheloudestorstrongest.Thisisasmoothdownupalternatepicking/strummingmovement.Yourfirstbeatfirstnotestartsonthedownstroke–secondbeatneedstobeemphasizedontheupstroke.Thethirdbeatisonthedownstroke,andthefourthbeatontheupstroke.
Riff#31Bar#2(usingE-3)
ThismakestotalsenseusingtheE-3intervalsinceourprogressionistotally“E”pentatonicminor.That’swhytheE-3=Ichord,andB-3=Vchordworkoverthisprogression.
UltimateBluesStage4:Solos 70
Riff#32(UsingG#-3)
Thishasalittleconflict,notewise,andcreatesabitoftensioncomparedtothe“E”pentatonicminorscale,whichcontainsthe“G”naturalnote,notaG♯!
Icouldgiveyoua50pagetheorylessonatthispointonwhythisG♯-3fitsintothisprogression,allofitisagainsttraditionalclassicaltheoryrules.Itisreallyaconflict,butitworks.Let’sjustsaythatthetonicis“E”forthisprogressionandsolo,andweuseanE7(dominant7th)inthechordrhythm.Yousee,E7hasE,G♯,B,andDnotestocreatethatchord,sothe“G♯”isintheE7chordtobeginwith,andatthistime,thatiswhyweareplayingthe-3intervaloverthisprogression.Oursoloisbasedon“E”pentatonicminorscale,whichhasaG♮ “Geenatural”noteinit,notthe“G♯”,butthedominant7thchordfor“E”hastheG♯noteinthechord,soitworksandsoundsgreat.Don’tgetmestarted–mybookeditorwon’tbehappywithmeeitherifIgoanyfurtheraboutthistheoryrant!
Riff#33Bar#4octaveB-3
3
4
UltimateBluesStage4:Solos 71
OkaythisoctaveB-3catapultsusintothenextchange,bar#5whichistheIVchangeinthisprogressionexample.
Allright!TotheIVchangewhichisbar#5.
Forthekeyof“E”,IV=“A”.Thatmeans“A”istheIVofthekeyof“E”,andinthiscase,“E”blues.“A”istheperfectfourthof“E”.Iamgoingtogoallthewaybacktoriff#17-B.The#17-Briffisbasedonadoublestop,ordiadharmony.That’sa2-noteharmony,stretchingahalfstep,usingthethirdandsecondstringstogether.
Thisgroupofnoteshasbeenusedtocreatesomefamousguitarriffsandisveryfoundationaltoagoodbluesrifffoundation.
Ihavenowmovedthegroupnoteideatothe12thfrettothe“E”pentatonicminorscale,andapplieditinthe“TexasJoy”solo.Thisishowriff#34and#35werecreated.Youwillalsonoticethatriff#34endsonthe“A”noteonthe14thfretthirdstring.Thisemphasizesthefactthatwehavethe“A”changeonbars#5and#6.
Thentoclose,thelastnoteattheendofriff#35isonthe“E”note–14thfret,fourthstring.Thissubtlyhintstothenexttwobarswhichreturnbacktothe“E”changeforbars#7and#8.Wegetanicetransitionbacktothe“E”change.Riff#35isreallyarepeatofriff#34,exceptweendthelastnoteonthe“E”.
Riff#34Bar#5withthe“A”resolveroot
UltimateBluesStage4:Solos 72
Riff#35Bar#6withthe“E”resolveroot
Thistechniqueofemphasizednotesthataretherootnoteofthechangewearesoloingovermakesthatnotegroupfitinwiththechordchangemuchbetter.Byusingthe“A”rootattheendofbar#5(riff#34),youareinthemiddleareaofbars#5and#6,andgivesthe“A”changestrength.Justattheendofbar#6(riff#35),usesthe“E”notetodrawtheearbacktothenextchangeforbars#7and#8whichwillbethe“E”change.Thismakesriff#35weaveitselfrightintothenextchordchange,andofcoursethatmakestherifffitinsound-wisetothehumanear.
Pointslikethiswillmakeyoursolossoundmorepolishedandrefined,andimprovethesoundsofyoursolos.
Wearenowonbars#7and#8forthe“E”change.Wearegoingbacktoriff#11totaketheonetonebendandgiveitalittle“ChuckBerry”flavourwitharighthandpalmmuteonthetriplet1/8restsaftereachonetonestretch.Riff#36isa2-barphrase–wehavetransposedriff#11intothe“E”pentatonicminorscaleposition.Atthispoint,itshouldbeagivenifweareworkingonaparticularprogressionthatIwilltakewhateverriffideathatIamreferencingandtransposeittotheappropriatescale/keyposition.Inriff#11,itwasbasedonthekeyof“G”pentatonicminor–nowwearein“E”pentatonicminor.
Riff#36isa2-barphrasebecauseitdoesnotresolveuntilthemiddleofthesecondbaroftheriffwhichisbar#8ofoursolo.ThisriffsetsusupforthebigchangetotheVchordinbar#9.Thisisthehighestpointofoursolo–it’sthesummitofyourprogression,sotospeak.Bylettingthelastnoteinbar#8whichispartofriff#36(2-barphrase)ringout,youarenowsettotakethenextstepintotheprogression.
Ileftalittlebreathingspaceattheendofbar#8(riff#36)forthebigcrescendoofmysolo,thebigbuild!!!Thisalsobuysyoualittletimetosetupthenextriff.
UltimateBluesStage4:Solos 73
Riff#362-barphraseforbars#7and#8overthe“E”change
Noticemyuseoftheflattedfifth(♭V)harmony(AKAtheDevil’snote)foundonthethirdstring15thfret.Thisisoutsideofthebasic“E”pentatonicminorscalefingeringandIusemypinkytofretthe♭V(flatfive)onthethirdstring15thfret.Thislinesupwithyourhandpositionandcreatesagoodtechniqueformoreriffandsolopossibilities–learntouseyourpinky!
Riff#372-barphraseforbars#9and#10
Herewehavetakenthenotegroupsfromtheendofthesecondbarinriff#22,andfromriff#20,andmorphedittogethertocreatethisverycool2-barphraseforthepeakofoursolo.ThisfollowstheVandIVchanges,andthisiswhywedescendorgodowninnotepitchinthesecondbarusingthescalenotes.ItleavesuswiththemusicalimpressionofdescendingbacktothefinaltwobarsofourprogressionwhereweusetheclosingriffanoctavehigherinunisonwiththeloweroctaveriffthatIrecorded.
Forthelasttwobars,Igobacktothetraditional2-barclosingphrasethatIusedinStage#3.ThiswasoneofthefirstriffsthatIpresentedtoyouinthisentirecourse.ItisbasedontheoriginalStevieRayVaughanstudiorecordingof“PrideandJoy”,whereheusesthisideatoclosealmostallofhis12-barcycles,usingthe2-barcloseinsteadofanychords.
7 8
9 10
UltimateBluesStage4:Solos 74
Again,basedonthe2-position“E”pentatonicminorscalefortheoriginalrecordedversion,Idecidedtousetheoctavehigherchoice–samenotes,sametiming,just12fretshigher.Dependingonyourskilllevelandfingerspeed,havingtodropdowntotheloweroctaveisabitofachallengeafterfinishingthelasttwobarsofyoursoloatthe12thfretposition.SoIplayitinthehigheroctave,andalongwithmypre-recordedjamtrack,thisisacoolexampleofhowyoucanuseanoctaveasawaytoembellishcertainriffswhencreatingasolo.Thesamenotes,thesametiming,just12fretshigher.
Iliketoalternate–sometimesIdroptotheloweroctave,othertimesitismoreconvenienttoplaythehigheroctave–personalchoice.
Riff#38HigheroctaveclosingrifftakenfromStage#3loweroctaveexample
Noticetheveryfirstnoteisthelow“E”opensixthstring.It’seasytoreach,andfillsthespacenicely.Althoughithasalreadybeenplayedinthejamtrackrecording,Ifeelthatitjustemphasizesthepushtotheendoftheriffbyplayingthatopen“E”.Itisgoodalsotouseasatimingreferencetoplaceyourclosingriffintimeperspective.
Youcanplayeitherthehigheroctaveortheloweroctave“E”–IhititfairlyaggressivelyandthenchokeitwithamutebeforeslidinguptotheB-3doublestoptripletforbeats#2and#3inbar#11,beforeIclosebar#12usingthetraditionalIV–Vwithchromaticpassingnotes.
Youcanleavetheopen“E”sixthstringbassnoteoutonthefirstbeatofbar#11orreplaceitwiththeoctaveonthefourthstring14thfretwhichisfoundinthe“E”pentatonicminorscaleatthe12thfretposition.
Ijustfindthathittingthe“E”onthefirstbeathelpsgetthetimingandfeeloftheB-3doublestopthatfollowsalittleeasier.Yourchoice,butifyouaregoingtosoloovermyjamtrackorsoloover“PrideandJoy”,youmostdefinitelyhavetousethisriffideatoclose,becauseitisinallthe12-barloopsofmyjamtrackandcancausemusicalnoteconflicttryingtosolooverit.That’sthecharacteroftheprogressionanditisathemethroughout–youhavetoworkwithit,andit’saclassicbluesmovetoo!!
11 12
UltimateBluesStage4:Solos 75
SoloTabfor“TexasJoy”
UltimateBluesStage4:Solos 76
5.MyBlueJeansAnawesome10-barprogressionthatwasobviouslyinfluencedbyastandard12-barprogression!MyjamtrackisamorphedinfluenceofboththeZZToporiginalversion“BlueJeanBlues”inthekeyofBm,andmyoldfriend,JeffHealey,thelate,greatCanadianbluesguitaristwhoinfluencedmefortherestofmylifeafterIhadtheopportunitytomeetJeffandwatchhimplaywaybackin1986.
IchosethekeyofAmbecausethefirsttimeIheardJeffplay,hepulled“BlueJeanBlues”outandproceededtofloormewithhisinterpretationof“BlueJeanBlues”.YoushouldabsorbandlistentobothZZTopversionsandtheJeffHealey,bothguitaristshavegreattoneandfeel.BillyGibbons,theguitaristforZZTop,iswhatIcallan“oldsmoothie”anditishissong.
Iamgoingtoreviewjustalittlebithere.IwanttoremindyouofthetheoreticalreasonstothisprogressionwhichIfeelwilldefinitelyhelpyouhaveinsightintohowtosolooverthisprogression.UnderstandingindetailtheprogressiondefinitelygivesmeaworldofoptionswhenIsolooverthisprogression,andinsomewaysisveryuniqueandaverygoodsoloplatform.
UltimateBluesStage4:Solos 77
MyBlueJeans–Progression
only
UltimateBluesStage4:Solos 78
InStage#3ofmycourse,westudiedindetailthe“MyBlueJeans”progression,butforthoseofyouwhohavenotstudiedfromtheStage#3course,herearesomeinterestingpointsaboutthisprogression.
1. Thisisa10-barthatwasobviouslytakenfromthebasic12-barprogression.
2. Thefirstninebarsfollowthebasic12-barchanges,withbar#10closingoutinanunusualway.
3. Thischordprogressionispureminor–itdoesnot“fencesit”byusingdominant7thchords(blueschords),andwecanuseallformsofpentatonicanddiatonictobaseoursoloon.
4. Forabluesinfluencedsong,it’sunusualtofindbothgroupsofrelativemajorI–IV–VandrelativeminorI–IV–Vforatotalofsixbasicchordsovera10-barcycle.
5. Thesixchordsare:
KeyofAm KeyofC+(relativetoC+) (relativetoAm)Am=I C+=IDm7=IV F+=IVEm7=V G+=V
6. Theminorchordsinthisprogressionhaveastrongerpresencethanthemajorchords,sotheoveralltonalityoftheprogressionisstillveryminor.
Toconcludeourshortstudy,hereisthecomparisontothebasic12-bar:
Basicfoundational12-barkeyof“A”blues:
UltimateBluesStage4:Solos 79
Omittherelativemajorchordsinthe“MyBlueJeans”progression,anditrevealsanobviousrelationshiptothebasic12-bar.Themajorchordsareusedmoreaspassingchordstocreateinterestingmovementinthechanges,andtheyaretechnicallycorrectwhenweuserelativeminorbasedchordsratherthanfencesitting“blues7th”chords,whichareusedtosubstitutebothmajorandminorchordsdependingonthechoiceofthewriter.
Ifyoucomparethisroughoutlinetotheofficialtabbedprogressiononpage#76,youcanseehowthisprogressionwasinfluencedbythebasic12-barinaverycreativeway.
Iamgoingtousethisprogressiontogetyouintoyourdiatonicscalesalittlemore.
Bluesisusuallypentatonicminorwithchromaticpassingnotes,butIamgoingtousesomediatonicsinglelinesmorphedwithpentatonicminorandchromatictoopenyourcreativedooronscaleuse.Iamnotattemptingtore-createasacover,theguitarwork,eitherintheoriginalBlueJeanBluesorare-makeofthissong.Rather,Iamgoingtotakethisverycoolprogressionandgooffthetraditionalbluespath.
Iamsotempted–Imayhavetoplayallthreecycleswithmyjamtrackonmyviddemonstrationsofour10-barsolo(not12-bar).
Thisprogressioncanbeinterpretedinmanystylisticways,sowecanusesomescaleoptionsthatarenotalwaysavailableinabluesprogressionusingdominant7thchords.
Okay,Ihavethoughtaboutitenough,andhereiswhatIamgoingtodo.Forthedemonstrationpartofmyvidforthis“BlueJeans”progression,Iamgoingtosoloallthreecycles,withonethatfollowsthestepbystepriffsthatwepiecetogetherintabtocreateourplanned10-barsolo,andtwooffthecuffsolos.
AtthispointIhavenotdecidedwhat10-barcycleofthethreecycleswillbemyplannedsoloandwhichtwosoloswillbeimprovised(offthecuff).Iwillkeepyoupostedonthatchoicelateron,sokeeponreading!!!
UltimateBluesStage4:Solos 80
Let’stakealookatthescaleoptionsthatwehaveinreferencetowhatIhaveinStage#2ofthebluesstudyinthisfourstagecourse.Iamgoingtousecombinationsofthefollowingscalediagramstogooutsidetheboxofbasicbluesbecausethisprogressionisinapureminorkey,andharmonywisetherearemoresoloideastodrawfromwiththistypeofprogression.Idonotthinkmysoloexamplesarepureblues–IhearjazzandSpanishinfluencemixedintothepurepentatonicminorblues.Butyoucanbethejudgeofthat–it’sjustawaytocreateadifferentsoundingsolooveracoolprogression.
Allright,thefollowingscalediagramscoverthescalesIwillbedrawingfromtocreatemysolosforthe“MyBlueJeans”jamtrack.Again,thisisinthekeyof“A”minor,anditisapureminorprogressionsowearenotlimitedtojustpentatonicminorscales,althoughpentatonicminorworkswelltoo.
Iwillweaveandblendthesescalestocreatevariationsofdiatonicusingbothmajorandminorrelatives,pentatonic,andthethreebasicchromaticpassingnotes–allconnectedtogetherinsomewayorform.
Youdonothavetouseacompletescaleofanykind–youcantakepartsofeachofthesescalestocreateuniquenotecombinations.
UltimateBluesStage4:Solos 81
Herearethediagrams–youshouldalreadyknowthesescales:
UltimateBluesStage4:Solos 82
UltimateBluesStage4:Solos 83
Thesechromaticpassingnoteoptionscanbeappliedinanyorderwithinthescale,ascendingordescending,andyoudonothavetoincludethemallatanytime.Anycombinationispossible.
UltimateBluesStage4:Solos 84
Riff#39
Herewehaveourfirstbarof“MyBlueJeans”tabbedsolo.Wehavetheuseofchromaticpassingnotesinbeat#2fromIV–Vandinbeat#3fromVII–VIII.Iplaythisideainmanydifferenttimingapproaches–youdonothavetofollowalltheseideasexactlylikeIhavewritten.IliketoplaythesenotegroupshoweverIfeelthesongonaparticularrunthrough.
Iactuallydonotliketoplayoffcharts,butforthesakeofmystudents,Idothissotheycangainfromit.Ibelievethebluesisoneofthemostfreeformsofmusicalexpression,andsinceIdonotfeelthesameeveryday,mysolosdonotinterpretthesamewayeither–onadaybydaybasis.
Bluesistheworkingman’sjazz!!
Don’tbeafraidtoexperiment–youneedtolearntoexpressyourselffreelywhenyousolo–it’sagreatmusicalliberation!!!
Riff#40
Thelastnoteinriff#39canringoutintoriff#40foranice,smoothtransition.Inriff#39Ididnotstarttheactualnotesfortheriffuntilthesecondbeatofthebar.
Idonotstartriff#40tillthesecondbeatofbar#3,keepingwiththerhythmicfeelthatIchosetoapplyinthissoloexample.
Inriff#40,Iaddthesixthnoteoutoftheminordiatonicscaleinthesecondoctave.Ihammerthesixth(VI)note,andcreateaverynicehammeronandpulloffcomboforbeat#3andbeat#4,andahammeronpulloffonthethirdstringinbar#4beat#1.Bothriff
UltimateBluesStage4:Solos 85
#39and#40resolvebyplayingthetonicnoteofourchangewhichis“A”minor,sooursinglenotetonicisusedtoresolveeachriffandemphasizethe“A”changeorthe“I”change.
Riff#41
Forriff#41,Imoveupinthescale,addingtheoctaveIIonthe7thfretfirststring,thenahammeronpulloffmovementtoemphasizetheII.ThishelpspushthesolotothehigherregisterwhichsuggeststhatIamfollowingthechordprogressionasitmovesuptotheIVchange(Dm7).
Riff#42TheIVChange
Thisisamorestraightforwardpentatonicminor,drawnfromthethirdpositionhigheroctaveofthe“A”pentatonicminor3-positionclimb.Theonetonebendrepeatedinaslowtripletfeellikethiscancreatesomeexciting,emotionaldynamics.Idecidedtousethatstretchtoemphasizethe“D”changebytakingthe“D”noteonthefirststring,10thfret,andstretchingonetonehighertothe“E”pitch.Idothistwiceinarow,andthenletthestretched“E”smoothlyreturnbacktothe“D”byslowlyeasingoffthestretchtobringyouback.Remember,“D”isthetonicoftheIVchangeforbars#5and#6.
ThenwehavetheIV–Vinourstretchinrelationtothekeywearein.Again,A=I,D=IV,E=V.Thisiswhythisstretchsoundssogood–it’sgoodoldI–IV–V.
UltimateBluesStage4:Solos 86
Thelastnoteinriff#42isahighoctave“A”noteonthe10thfretsecondstringwhichimpliesthatthe“A”changeisnextinbars#7and#8.
Riff#43Thisriffemphasizesthe“A”changeandtogivealittlespaceIleftarestonthefirstbeatorifyoulike,youcanletthe“A”notefromyourlastriff(riff#42)ringintothefirstbeatofbar#7.Ifyougiveitalittlemorespace,thenextriffcanappearmorepowerful,butitisuptoyouhowmuchroomyouwantgoingfromthelastnoteofbar#6intothefirstnoteonthesecondbeatofbar#7forthe“A”change.
Atypicaldoublestopbluesmovewithabitofchallengeonbeat#3withadoublestringhammerontobringusbacktothetonic“A”.ThestringstretchisrelatedtotheIVandVharmoniesof“A”whichwecreatedbyplayingtheseventhfretsecondandthirdstringstogether.Therootendsupbeingthe“D”noteorIVnoteof“A”whichisourtonicorkeynote.
Whenwestretchthe“D”doublestoponetone,itbecomesan“E”whichistheVharmonyof“A”(thetonic).Whenwehitthefifthfretsecondandthirdstrings,thisdoublestopisrelatedtothe“A”tonic’sminorthirdharmony(-3).OtherthanIVandVharmonieswhichareneutral,whenweusethe-3harmony,itnaturallyemphasizesthetonicbecausewearein“A”minorandthe-3harmonyiswhatmakestheminorharmonyandgivesitthatminorcolour.
Iplayoffthatdoublestopfromthe-3totheP4(IV)andthenhammerontheP4offthe-3harmonyinbeat#3andbringtheriffbacktothetonic.Superstrong“A”minorriffusingIVandVharmoniesandcolouringitwiththe-3(♭III)harmony,whichassoonasweendonthe“A”tonicjustbeforebeat#4,itestablishesour“A”minorkey.ItcannotbebetterthanthatanditshowsyouhowpowerfulourIVandVharmoniescanbewhenwearelookingforgoodsoundingharmoniesthatwecantakeoutofourscale.
Thisriffideawasintroducedtoyoubackatriff#17b,butweuseditinthekeyof“G”minorandinsteadofstretchingthedoublestopafulltone,weonlystretchedita1/2step.
Bynowyoushouldhaveenoughstrengthinyourfingerstostretchthatdoublestopafulltone.Useyourthirdfingerandpulldownonthetwostringstowardsthefloor,notupandawayfromthefloorlikeyouusuallydowhenstretchingastring.Thiswillhelpyougetalittlemoreleveragewhichyouneedbecauseyouarestretchingtwostringsatonce.
Itisimpossiblewhenyou’restretchingtwostringsatthesametimetohavebothoftheminexactpitch,onetonehigherthanthenoteyoustretchedfrom.Bothstringsneedslightly
UltimateBluesStage4:Solos 87
differentdistancesofthestretchtogetitonpitch.Youhavetofindahappymediumbetweenthetwostringswhenyoustretchandthatdecisionisleftuptotheindividualplayer’schoiceandhowheorsheperceivesthecorrectamountofstretchingtobringthetwostringstoitsbestsoundingcompromiseofaonetonebendhigherinpitch,forthetwostrings.
Riff#43
Riff#44
Riff#44heavilyemphasizesthe“A”tonic/keynoteandthiswilltakeustobar#9forthe“E”change(theVchord).(Riff#45and46).Forriff#45,startingfromthe7thfretthirdstring,IslidetotheninthfretthirdstringwhichistherootofmyVchange(“E”),thentothesecondstringeighthfretfora“G”note(theminorthirdof“E”).Thena“C”notewhichisontheeighthfretfirststring(theminor6thof“E”).ThiscreatesaverymelodicjazzyvibetoitandthenIdroponefretlowertothe“B”whichistheVofthe“E”minorchord.
Essentiallyinthefirstsixnotesofmyriffinbar#9,IplaythenoteswhichcreateanEm6thchordifIplayedthemtogether,sothisreallypushestheEmchangeinbar#9.
Nowforbar#10,Istartonbeat#4ofbar#9andeitherplaytheloweroctavechromaticpushorthehigheroctavechromaticpush.Bothhavethesamenotes,justinahigherorloweroctave,yourchoice.
Riff#45isnotatedusingthehigheroctave,andriff#46fortheloweroctave.
UltimateBluesStage4:Solos 88
Riff#45(Upperoctavepush)
Riff#46(Loweroctavepush)
Therearequiteafewdifferentcombosofsinglenoteandpowerchordorchordoptionswhenwegettothechromaticpushinbeat#4ofbar#9,Iwilldemosomeoftheseideasinmyvidpartofthelesson.
UltimateBluesStage4:Solos 89
SoloTabfor“MyBlueJeans”
UltimateBluesStage4:Solos 90
6.LoveU.
Thisisaclassic12-barbassriffrhythminspiredby“LetMeLoveYouBaby”byBuddyGuy.Soloingwillbedoneinthekeyof“C”pentatonicminor;theBuddyGuyversionisin“G”pentatonicminor.
Mybackgroundtrackforjammingincludedinthiscourseisverybusy,sothefirst12-barsoloIplaywillbekindofChuckBerryinfluencedwiththedoublestops.Asabonus,Iwillgooverthe12-barwithaplayingthepocketapproach.Togiveyouonemoreexampleoverthisprogression.
WhenIrecordedthejamtrack,Imadetherhythmtracksinsomeofthe12-barcyclesverybusy.Thisleaveslessroomforaleadguitarsolotofitintothepockets.Wehavetolearntoadaptalittlegoingthrougheach12-barcycledependingontherhythmoftheprogression.
Thefirst12-barsolowillfitinverywellwithjamtrackcycles#1,#2,#5,#6,and#7.Myviddemowillusethefirstcycleofmyjamtack.
Ourfirstriffwillcover#1and#2bars,theriffoverlapstwobarstocompletethephraseandworkswellwithany2-barchange.
UltimateBluesStage4:Solos 91
Earlieronintheriffexamples#8and#9,weexploredusingthenicelypositioned(-3)interval/doublestopinthekeyof“E”pentatonicminor.The“LoveYou”trackusesashufflebeatrhythm(dotted1/8),andusesatripletrhythmfortheguitarsolo.
Youwillfindthetripletworkswelloverthedotted1/8.
Riff#47Yourfirsttwobars:
Thisraisesthebarforarhythmicriffapplyingtotripletfeel.Youwillnoticethatinthesecondbarthirdbeat,Iusedahammeronemphasizingthetonicusingarhythmgroupof4x1/16notesfortwooutofthethreebeats,andonemore1/8notetofinishthistriplethammeronmove.Don’tstrugglewiththishammeronidea–playithowyouhearandfeelit.Iwillsometimeschangemytimingfractioningofthisideaandfitmorehammeronmovementsintothelasttwobeatsofthesecondbar.Iliketochangemynotechoicesonthefly,butworkwithafamiliarideaandre-arrangethenotegroupswithinit.
Forthefirstbar,Iwillusethefamiliar(-3)minorthirddoublestopandchangeupontheflyforthesecondbar.Thiscreatesthe-3themefortheriff.
Iwillgiveyouanexamplebyusingthe-3doublestopthemeforbar#3,butchangemynotechoiceforbar#4.Istillwanttofeaturethetonicwhichisthe“C”atthesecondstring13thfret.
UltimateBluesStage4:Solos 92
Riff#48(Bars#3and#4)
Thepointtoallthisistolearnhowtotakeanideayoualreadyknow,andfititintoadifferentkeyandadifferentrhythmsituation.Ican’tstresshowimportantthis-3(minorthird)intervalistoopenthedoortomanynotecombinationstocreatenewriffs.
Onthatnote(punintended),wewillapplythisanddropdowntotheloweroctaveforourIVchange,keepingwiththe-3theme.
Riff#49(Bars#5and#6)
IusedthechromaticpassingnotefromtheIV–Vintheupperoctaveofthe“F”pentatonicminorscaletohelppushbacktothetonic“C”forourkeynote.I–IV–Vscalescanoverlapeachothertofollowachordprogressionforasolo.Youcouldalsoplaythis12fretshigherinsteadoftheloweroctaveriffIchose–thesamepattern,justexactly12fretshigher.
Ifyoustartedthelowoctaveslideonthethirdfret,thirdstring,tofindyouroctavehigherwouldbethreefretsplus12frets(3+12=15).Rememberyourslidestartsatthethirdfret,soanoctavehigheryouwouldstarttheslideatthe15thfretthirdstring.
Ifyouknowyourriffpatternintheloweroctave,youshouldbeabletoapplyitinthehigheroctave.Thefretsareclosertogether,sowatchyourfingerssotheykeepthesamefretpattern.
UltimateBluesStage4:Solos 93
Riff#50(Bars#7and#8)
HereIusedtheonetonebendonthesecondandfirststringgroupindotted1/8noteorshufflefeel.ThisisthefirsttimeIhaveusedthisbend,althoughinriff#36Iuseasimilarideabutusingthethirdandsecondstrings.Ialsousedthedoublenotestretcha1/2stephigher,whichIusedbackatriff#29,AorB.
ThetimingisalittletrickyinthesecondbarbeforeIdothedoublestringstretch.Toohardtoexplainthisonpaper,butbasicallyIdonotstartthedoublenotestretchuntilIgetintothesecondbeat.Iwantedthatlastonetonebendtoringoutoverthebeatandintobeat#2.
Thisbringsustothepeakofoursolo–playingovertheVandIVchangesforbars#9and#10.Iwantthistobethebusiesttwobarsofmysolo,andsinceeachchangeisonlyonebar,Ihavetoworkmytheme(-3)minorthirdintotwo1-barphrases.Onewillbeforthe“G”change(V),andtheotherwillbeforthe“F”change(IV).
Riff#51Vchange1-barriff(bar#9)
Notimetoresthere–wearegoingtopumpoutthe“G”(V)changeandthe“F”(IV)change.Technicallyspeaking,wearechangingkeyforeachchange,andsotheriffswithdoublestopsarejustmovedtothe“G”and“F”change.
UltimateBluesStage4:Solos 94
Riff#52IVchange1-barriff(bar#10)
Ifyouwerereallyadventurous,youcouldplaythesetworiffsanoctavehigher(exactly12fretshigher).Iliketoalternatethisidea,lowoctavethenhighoctave,alternatingbetween12-barcyclesolos.
Thisbringsustothelasttwobarsofoursolo,backtothe“I”change.
Riff#53(Forbars#11and12)
Hereweusethedoublestoplikewefoundinriff#17bandstretcha1/2step.Remembertopulldownonthestrings,notpushup.
ForthefirsttwobeatsIusetheonetonebendonthethirdstringandholditforonefullbeat,andthenskiptothefirststringandhitthetoniconanupstrokeonthesecondbeat.Assoonasthatnotesoundsthough,youchokeit.Thiscreatesalittlespace,andthenhitthedoublestopstretchonthethirdbeatofthebar.
Thereisnosoundwithoutsilence–therefore,silencecanbeasoundtoo.Leavinglittlespacesbetweencertainnotesratherthanlettingthenoteringoncreatesdynamicsandhelpsintensifyyourmusicalexpression.
UltimateBluesStage4:Solos 95
SoloTabFor“LoveU.”
UltimateBluesStage4:Solos 96
BonusSolo“PlaythePockets”Cheerstoallofmydedicatedstudentswhohavemadeitthisfar!!Itrulywantyoutolearntoplaytheguitarandbecomeabettermusician.Wearegoingtolearntoplaythepocketsandwehavetheperfectsettingforthatifweuse12-barcycle#3fromthejamtrack.(Startsatapproximately49secondsintothejamtrack)
AsIhavesaidbefore,therhythmguitarsinthisjamtrackarebusyandyouneedtoapproachtheminadifferentway.Ichosecycle#3’s12-barbecauseIfeelitisthebusiestofthe12-barcyclesforthisprogression.Ittakesadifferentskilltoworkriffsintothespaceorpocketsleftintherhythmtrack.Theideaistodroptastyguitarriffsinthespaces.Thesameapproachisusedtoplayguitarfillsinbetweenthevoiceinasongtoo!
Eitherway,itisagoodskilltodevelop,andmanygreatartistshavedonethis.TakeBBKingforinstance.Heusuallydoesnotplayrhythmorchords.Hesingsalineandthenplaysaleadlineinthepocket,thenwithoutwalkingoverhisvocalline,hefinishestheriffjustbeforehestartssingingthenextline.
Dependingonthesong,BBwillsometimesbreakuptheideaintodifferentbarfractionstocreatemanyvariationsofplayinginthepocket.
Thecoolthingaboutcycle#3’s12-barrhythmguitaristhatoneguitartrackisasteadypentatonicminorrhythmriffplayedwiththebassguitar,oneoctaveapart,buttheguitarplaysaverystrongsinglenoterhythmriffinthehigheroctaveofthescaleintherhythmofthesecondguitartrack.
Forthefirstfourbarsofcycle#3’s12-bar,wehavealotofroombecauseofthewaytheguitarrhythmriffisplayed.Let’stakealookatwherethepocketis.
Ifyoutakealistentothejamtrackcycle#3,thefirstbaristherhythmriff,withthesecondbarhavingthespaceforourriff.Again,inbar#3,therhythmrifftakesthatspot,butbar#4leavesroomforyourguitarriffagain.Iamgoingtoleanmoretotheuseofsinglenoteguitarlinesusingchromatics,stringbends,andhammeron/pulloffcombinationsforthisexample.
Ifthisseemslikeadifferentlanguagetoyou,thenyouneedtostudyyourscalesmore,likeinStage#2ofthiscourse.
Herearemytwopocketriffsforthefirstfourbars.
UltimateBluesStage4:Solos 97
Riff#54Bars#1and#2
WeusethechromaticpassingnotefromtheVII–VIIIinbar#2beat#2,thenahammeron/pulloff,endingonthetonicforbeat#4.Thetonicisourmostreliableendingnotebecauseit’sthefoundationalnoteofthescaleorkey!Thetonicsuggestsmusicalresolveorendingofaphrase,orgroupofnotes.
Itisagoodstarttounderstandingyourguitarbetter,byknowingwhereyourtonicnotesappearforthescalepositionyouareusing.
Riff#55Bars#3and#4
Makinguseofourthirdstringstretch!Ithastobethemoststretchedstringwehaveonourguitars.Stretchesandhammeron/pulloffslikethelasttworiffs(#54and#55)addcharactertooursoloriffs,creatingmoreexpression!
Noticeinriff#55howthelastnoteofbar#4isthe10thfretthirdstring.Thisisahigheroctaverootoftheverynextchangeforbar#5.
Forgreatereffect,youcouldletyourlastnote(the“F”10thfretthirdstring)ringoutintothefirstbeatofbar#5asthiswilljusthelpemphasizemusicallythe“F”changeinbar#5.Thisisaformofmodalplayingbyusingarootnoteattheendofarifftopushyoutothenextchange.
UltimateBluesStage4:Solos 98
Riff#56
Forriff#56Igoforthesurebetandworkmybar#6riffbackintothetonicinbar#7.Sincethechangeforbar#7goesbacktothetonicor“C”change,Iweavedmyguitarrifftorunbackintothetoniconthefirstbeatofbar#7.NowIdonotusuallyanalysemyplayingtothispoint,butI’mawareofthechangecomingupandIknowIwanttonailthat10thfretfourthstringtonic(the“C”pitch)andemphasizethechangebacktothe“I”chordinbar#7.It’smoreintuitive,butit’sfairlyobviousthatifIendmyriffonthe“C”toniconthefirstbeatofthechangeinbar#7thatitwillmagnifythechangetothe“C”andresolveverynicely.
Ithinkyouwillfindthatifyoujustworktowardsanideayouwillhearit–itfeelsandsoundsrighttotheear.Thereisalotoftheorythatcouldsupportthisidea,butforanoffthecuffsolo,it’smoreintuitionofthehumanear.
Riff#57
Alright,Iletthe“C”noteonthefourthstring10thfretringoutinbar#7,andthenstartonthefirstbeatofbar#8withaonetonestretch.ThenIskiptothetoniconthefirststringeighthfret.Thisisaclassicmoveusedbymanybluesguitargreats–alisttoolongtomention.Youwillfindthatwehaveusedthisideaearlieroninourstudiesindifferentkeys.Checkbackonriff#37,thefirsttwobeatsandriff#53onthefirstbeat.
UltimateBluesStage4:Solos 99
Istressedthe“I”changeformyriffinbar#8becauseIwantedamoredramaticchangeforbars#9and#10whichisreallythepinnacleofoursoloexpression.ThisisbecauseweareontheVandIVchangeswhichwillbringusbacktothe“I”foraresolveorendtothesolo.
WhatIamtryingtosayisthatIfocusedonthe“I”changeforbothbars#7and#8,stressingthe“C”andmakingitrealstrong.NowwechangetotheV=Gwhichisabigmusicalstep–dramatic!
Therearethree“C”notesfoundinriff#57;youhavethetailendofriff#56frombar#6endingona“C”noteforbar#7andlettingitringout.
Forbar#8westartwithaonetonestretchandthesecondnoteinthebarisahigh“C”onthefirststringeighthfret,andthenwedescendbackdowntothelastnoteinbar#8whichisa“C”onthefourthstring10thfret.Sothe“C”ortonicnoteisreallyprominentforbars#7and#8.
NowtoourVandIVchangesforbars#9and#10.
Riff#58Bars#9and#10
Sothisisthehighestpitchpointinthissolo.Iletthe“C”pitchfromriff#59ringoutintobar#9tokeepwiththetheme.Now,eventhoughIplayoverabusyguitarrhythmriffinbar#10,Idon’tplaymuchforthefirsttwobeatsofbar#10,soitleavesroomforthebusyrhythmguitarofftheIVchange(F).
Ithendescendtothetonic,knowingfullwellthatthelasttwobarsinthisprogressionareallaboutthe“I”change.
Endingonthe“C”note,10thfretfourthstringattheendofmydescendingnotesinbar#10,bar#11getsthelastnote,the“C”,theI,thetonic,andI’mgoldenatthispoint.Dependingonhowyoufeel,thiswouldcloseverynicelybecausethetempoisfastandthereisnotrickorturnaroundforthis12-barprogression.Theprogressionjuststayswiththe“I”chordandIletmy“C”noteonthe10thfretfourthstringringout.
UltimateBluesStage4:Solos 100
DependingonmymoodandwhereIamintheactualsong,i.e.verse,chorus,solo,Imightfeellikeringingoutthe“C”noteforbars#11and#12tobenotquiteenough.Although,aswithallofthis,itisamatterofpersonalpreferenceandinterpretation,sohowdoyouhearit??Doesbar#11or#12needalittlemore?Well,wecanfixthat.
I’llgiveyoualittlebonusattheendandmakethisriff#59forthiscourse!!!
Riff#59Bars#11and#12
HereisasimplehammerongroupthatIdroppedintothefirstbeatofthe12thbar.Itagainfeaturesthe“C”tonicbyhammeringoffofittwiceonlytoreturntoletithangthethirdtimewhenwehitbeat#2ofbar#12.It’saquickmovement,andtherearealotoftiming/rhythmicfeelsforthismovementthatyoucouldapplytothisidea.
Forthatmatter,anyofthe59riffswe’vestudiedcouldbeeasilyreappliedwithadifferenttimingandkeytocomeupwithmoreideasbasedonwhatyoualreadyknow,justwithaslightvariation.Thatisthesecrettobeingagreatbluesguitarist.Learntousewhatyouknowinasmanyvariationsandapplicationsasyoucan.PlaytheriffsIhavetaughtyou–youdon’thavetocopymytimingorfeel,butknowthesenotegroupsandseehowtheyfitintothekeyandthescalesyouneedforaparticularprogression.
Becreative,intuitive,andlistenwithacloseandcarefulearandyouwilldiscovermanyvariationsofthesenotegroupsusedinmanygreatsolos,notjusttheblues.
WhenyoucanactuallyheartheseideasIhavegivenyouinotherplayer’ssolos,that’sasuresignthatyourstudyingispayingoff.Thisishowwellyouneedtoknowthese59riffs,sogooverthemmanytimes,andgooverthiscoursetoo!
Thankyouforallowingmetobeyourteacher,andhaveagreatguitarjourney.
UltimateBluesStage4:Solos 101
LoveU.Solo–“Playin’thePockets”
UltimateBluesStage4:Solos 102
RiffIndexRiff#1
Riff#2
Riff#3
Riff#4
UltimateBluesStage4:Solos 103
Riff#5
Riff#6
Riff#7
Riff#8
Riff#9
UltimateBluesStage4:Solos 104
Riff#10
Riff#11
Riff#12
Riff#13
UltimateBluesStage4:Solos 105
Riff#14
Riff#15
Riff#16a
Riff#16b
UltimateBluesStage4:Solos 106
Riff#17a
Riff#17b
Riff#18
Riff#19
UltimateBluesStage4:Solos 107
Riff#20
Riff#21
Riff#22
Riff#23
UltimateBluesStage4:Solos 108
Riff#24
Riff#25
Riff#26
Riff#27
UltimateBluesStage4:Solos 109
Riff#28
Riff#29a
Riff#29b
Riff#29c
Riff#30
UltimateBluesStage4:Solos 110
Riff#31
Riff#32
Riff#33
Riff#34
Riff#35
UltimateBluesStage4:Solos 111
Riff#36
Riff#37
Riff#38
Riff#39
Riff#40
UltimateBluesStage4:Solos 112
Riff#41
Riff#42
Riff#43
Riff#44
UltimateBluesStage4:Solos 113
Riff#45
Riff#46
Riff#47
Riff#48
Riff#49
UltimateBluesStage4:Solos 114
Riff#50
Riff#51
Riff#52
Riff#53
Riff#54
UltimateBluesStage4:Solos 115
Riff#55
Riff#56
Riff#57
Riff#58
Riff#59
HPO