The novelty in this example is the movement of the left hand on the fretboard. Pay close attention to the recommended fingering.
Ex. #11
We move into higher positions, playing on boxes 4, 5 and 1. Be careful of all the bendings done with the 3rd finger, which is often combined with the use of the 4th finger on the upper string.
Ex. #12
Always in the high positions, we alternate some slide bendings, obtaining a very country-type sound, which is also typical in blues.
After a series of single licks, we can see how these are involved in a blues chorus in A. There is nothing here that we haven't already seen. The entire solo, very simple because of its educational nature, is based on the pentatonic scale of A minor, and is useful in seeing how well this adapts to all the chords of the song. The only variation is to bar 7, where C# is present (third major of A7), which is needed to emphasize the harmony of the chord. This passage, very common in blues, includes the third level minor (note C) that connects in acciaccatura to the C#.
You can download in mp3 format the base song including the solo or the single base, useful for experimenting with your improvisations.
Base + Solo (602kb)
base (2.133kb)
In the next section we will see how to build a blues lick, using the techniques analyzed up to this point in a progressive form, with the objective to learn the more interesting variations of the blues, both from a melodic and harmonic point of view. In this way we can acquire a good mastery of the modern blues language, which is very useful in all musical types.
|
|
|
