![]() I have been compiling a collection of great Blues solos for some time and finally got around to putting them together into a book! There are 18 exceptional blues guitar solos in here in TAB and notation and each has performance notes to help you play them and tips on how to make the most of them. Here's What JustinGuitar Says About the Blues Lead Guitar Solos Book ![]() Justin has built up an impressive learning resource on his website and has amassed over 1,650,000 subscribers across his two YouTube channels, JustinGuitar and JustinGuitar Songs. With over 20 years of experience as a professional guitarist and educator, Justin Sandercoe has become one of the most popular and trusted guitar teachers online. Whether you're a complete beginner, becoming an intermediate player, or you just want to learn some songs, JustinGuitar has a book to help. You can find that kind of lick in Eric Clapton‘s playing.The JustinGuitar series of books are excellent resources for learning to play the guitar. But this time there are more effects and movements. The position used is the same as in the first lick. This is followed by a transverse flight to the tonic note G, on the high E string at the 15th fret. To give life to this kind of phrase, the bends are essential. The famous bluesman was accustomed to licks with the tonic located on the 2nd string and blocked with the index finger: it is called “ BB Box“. Lick n° 3 (bars 5-8)įor this lick, I got inspired by BB King. Pay attention to the effects and techniques that make the blues so special. The final phrase is based on the famous minor penta position. You will notice the perfect symmetry between the first 2 bars, and also the use of chromaticism to bring an almost jazzy side. One of my favorite lick ideas is to focus harmonically on the V-IV sequence ( D7-C7). Nevertheless, be careful to negotiate the exit. This type of phrase can of course be extended as long as you like. In blues or rock music, repeating notes in licks is cool and sounds well. Now everyone has 4 bars to play and this dialogue last during 3 full grids. ![]() As for the lead phrases, they are based on the famous minor penta position (here in G, 3rd fret) or its extension. The rhythmic part supports the groove of the piece and beats 2 and 4 (also called “weak beats”). We speak about antecedent and consequent. Indeed, each group of four bars can be divided into 2:Ģ bars of rhythm and 2 bars of solo phrasing. A quick look at the score and you’ll see the natural breakdown of this 12-bar grid. The inspiration for this song is Come When I Call by John Mayer. The first roundīut before we go deep into that, let me first start with a full grid. The rest of the grid follows a very classical pattern in the alternation of degrees: two measures of IV ( C7), two measures of I ( G7) and then the sequence V-IV-I-I ( D7-C7-G7-G7).īecause of its internal structure, easily divided into groups of two or four bars, the blues is an ideal playground for practicing the famous “question and answer” concept. We start with G7 and then, in bar 2, we find the chord of the IVth degree in order to bring a light harmonic movement: it is what we call a “quick change”.Īs this variation is not imposed, we could also have stayed four measures on the G7 chord. ![]() The harmonic progression is quite simple and is based on 3 chords (degree I = G7 / degree IV = C7 / degree V = D7) arranged according to a pre-established order. ![]()
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