Man I know that this thread is a bit old but I'm getting into blues. I have been learning Hendrix, and SRV and learning the 12 bar blues thing in the proccess. I'm no guitar vurtioso, but I have a developed ear (when it comes to blues) and have the feel for it. Currently I'm trying to learn some SRV licks but I'm a bit backwards I find the easier songs harder to master. I have trouble with songs like pride and joy, and I pick up songs like rude mood a lot easier. I wonder if there is just something behind it all I'm not understanding.
"Ace Frehley was the reason I picked up a guitar, but The Beatles were the reason I wanted to learn to play it"
Post by JFrankParnell on Jan 8, 2011 12:05:11 GMT -5
I've learnt quite a bit lately from this guy. Probly the technique he shows for Cold Shot will help you with Pride and Joy.
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I remember every little thing...as if it happened only yesterday. I was barely seventeen, and I once killed a boy with a Fender guitar. I don't remember if it was a telecaster or a stratocaster, But I do remember that it had a heart of chrome and a voice like a horny angel.
When I was starting out, like most guitarists I was captivated by the blues and blues inspired guitar players.
One thing I thought of fairly early was to think about what made the Clapton's and Hendrix's and later times people like SRV play the way they did. So, I systematically looked back to the people who influenced them...the "three Kings" are obvious people, but there are hundreds of players from the tradition before the british blues invasion changed things.
So...first tip, go back and listen to the guys who influenced the guys you like and learn something of the tradition.
Now...you can learn to play the blues and be "very good" like a player like John Mayer who kind of works a collage of "licks"...or you could develop your own 'style' or at least to play a bit "like" someone by drawing on the same influences.
On a more "practical" side...
Many players play out of characteristic "boxes" and not everything is minor pentatonic. Major pentatonic is very important to the style os someone like BB King...and his "box"...particularly the major 6th note over the minor seventh.
In A... ----------------------------------- -----------10--12b(-14)r12------------- ----9-11-----------------------9------- ----------------------------------- ----------------------------------- -----------------------------------
You can approach that bend in many ways...perhaps a little less than C#, pre-bend to it and drop it...milk such a bend in many ways.
Now...you can turn this very "sweet" major sound "box" into something more "albert king" with huge bends...
A lot of the key to making blues stuff interesting and tell a 'story' is to be conscious of things like the changes and roots and other chord tones...especially slow tunes.
Notice in that last example, it starts on the root and avoids it ending on the e note or fifth. If you were to end it on the root note such as 78th fret d string for instance...it would sound more "final"...but here it sounds like an opening phrase.
If you look at these things in a bigger context, you could 'target' notes and avoid others. Start a 12 bar sequence emphisising a note like the fifth or seventh...target the minor third over the IV chord (the 7th of IV...or the note C in an A blues)...target the #3 perhaps over the return to I. Do something interesting over the V chord, perhaps targeting the 4th (or d note in A) which will be the 7th of the V chord. Now target the root (A) to end the sequence and feel final...or blow through and avoid it to indicate you are going to solo for yet another chorus.
Phrasing and timing and note groupings, playing 3s over 4s or visa-versa...bends and vibratos and slides...all these things have easily as much importance to be a convincing blues player. Even some 'swing' is important for some controlled looseness.
In a slow blues it is "harder" in many ways...play something fast and you can get away with most things and all your details are obscured. In slower tunes, the bends and how short they are to target notes for instance (as in that first example) is important. All the details of bending, how fast you bend to a note, whether you reach it. Similar with Vibrato...speed, how it is applied, when it is applied, how "wide" it is...all these details are more important when things 'slow down.
But even more I think is the bigger picture...with something like a boogie, play a bunch of chuck berry type stops and that's perfectly appropriate...but be very hard to do something like that slow and get away with it.
All these little details and note choices can be studied, you can make up your own and discover your own "boxes" and licks and connecting notes...and practice, have a range of vibratos and bending styles and don't forget to learn more than just the pentatonic minor note choices, learn the notes in the changes (it's only three chords after all)...and try to "say" something in your playing, not just play a string of "licks"...and enjoy!
Mr D.I.Y. Sustainer ;-) [/IMG]New Project...'jazz strat' ... Seagull project and mini PA amplification