Country Solo #1
This first solo is built using the basic techniques seen in the previous pages, in the harmonic base of C major made of 4 measures per chorus, for a total of two chorus's, that you can find in the appropriate section. We will now analyze the fundamental points of the solo.
Chorus 1. Measure 1 - Chord of C
The pinky presses the first two strings at the eighth fret. If you maintain the pressure of this finger during the final bending with the ring finger on the third string, the harmony of the C major chord will be emphasized.
Chorus 1. Measure 2 - Chord of F
In the first part of the measure, we see a triad of F to which the VI° and the II° (the D and G notes, rispectively) are added, all through the use of the hammer-on. Note the use of the III° minor (G#), that gives the final part of the phrase a blues-like fingerprint.
Chorus 1. Measure 3 - Chord of G
Use of the pick and the middle finger of the right hand, that simultaneously play the third and second stings. Pay attention to the passage from the notes D-E-D on the third string, the the G is held fixed on the second string. To finish, after having played the pair of notes A# (second string) and D (third string), put the G# note in bending by 1 semitone to B, while the D remains in resonance.
Chorus 1. Measure 4 - Chord of C
The initial fingering harmonically forms the chord of Cadd9, to which the ligato between the D (II°) and E (III°) notes comes into play. The successive scaling of double notes is to descend to the same triad of C.
Chorus 2. Measure 5 - Chord of C
Three notes in groups of four sixteenths that creates a frequently used rhythmic movement. In this case, the country sound comes from the ligato between the G and A notes on the second string. To finish, the sequence of Bb, A, G, E carries the melody to the next measure, in F major.
Chorus 2. Measure 6 - Chord of F
The F note on the third string, is played at the same time as the A on the second string, defining the chord of F major. In the second part of the measure, a classic example of bending and release played by keeping the little finger pressed on the first two strings, in a situation similar to that already seen in the first measure.
Chorus 2. Measure 7 - Chord of G
This is the most difficult measure of the solo. Pay attention to the indicated pickings, that in the second part requires the classic use of the pick-middle finger. A sequence of double notes on the third and second strings is elaborated, that are chromatically carried in an ascending direction, following a frequently used system used by keyboardists.
In the last movement of the measure, give alot of attention to how the left hand must work. In fact, there is the pick, ring finger and finally the pick-middle finger. The first two notes, D and B, have sixth intervals. Harmonically, this passage brings to a conclusion the solo on the final lick of the next measure.
Chorus 2. Measure 8 - Chord of C
While the 3rd finger presses the tenth fret of the fourth string (C note), the 1st finger presses the Eb note on the third string at the eighth fret. As soon as both notes are played by the pick and the right middle finger, we perform a bending of one semitone on the third string, carrying the Eb note to E, maintaining the pressure on the fourth string and then letting the two strings re-play. This lick has a typical sound of the pedalsteel guitar.
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