exe the tle of Robben For tel: 01483 500800 for details meet your et tutor: ROBBEN FORD STYLE Scr) Guthrie takes a look at some soloing ideas to try out over last month's dominant blues study.take a short phrase ~ the old “L woke up 1 morning’ chestnut suggests itself! ~ and try using diferent notes to represent each syllable, playing it the way you would imagine someone singing i you can vary the length and emphasis of each note 10 obtain a range of effects from of this short phase tones of voice. To stretch the companison a litle further, you've probably noticed how some ‘much as you could say it in various politicians like 10 pepper theie speeches with ‘sroups of three: "We have a proud history of lying to the public, at this very moment we are lying to the public and in the Future we shall continue lying to the public.” ~ and this repetition of an idea, with just enough variation cach time to avoid total monotony, can make the {dea appear better than it really is, During these moments when, mid-solo, you suddenly ran out of ideas, your safest bet can often be to play something rhythmically similar to your last lick ~ fs within the repeating hythmic motifs in places like bars 15 and 17. ‘theory time Anyw theoretical requirements for the accompanying {@FCD backing track. As you'll sce from the transcription af the demo solo, the progression here is constructed from dominant seventh chords, which gives the blues player @ number of options regarding note choice. A lot of players will instnetively use the good old By minor pentatonic scale for the whole thing: y let's have a look at some ore specific AS ES BoB FA for perhaps throw in a5 to create a By blues scale: API EIA ERO: oo 8 Rh FA This sounds faisty musical as long. as you treat the 35 with caution - it's effective when used as lead-up t0 the 4 or § (as in the pick-and Fingers doublestops towards the end of bar 7) but you should avoid landing on it at the end of a phrase: technically i's a wrong” note, and it ean clash horribly with the 5 in the chord you're playing over! The problem with seales like these Is the bi. Although it’s a staple ofthe blues tradition, it doesn't always agree with dominant progressions = it sounds great over, say, the IV chord (E37) but it clashes with the natural in the I chord. If, for instance, you play a Ds over a B:? chord and You're not happy with the outcome, the best tactic is to hammer, slide or end one feet higher to D. These two notes complement each other well, as long as you play them in the correct order ~ | fst, please! Alternatively, you might bend it slightly sharp, into that lovely, dity-sounding mierotonal arca between Db and D (as in the First note of bar 4), I's certainly worth experimenting with the different degrees of ‘sharpness’ you can ‘obiain when bending a )2 if in doubt, consul, Jeff Beck for further reference material! Pre guthrie's @tCD gear The WEED dee was eae sing ery len Fe ing Sctyneauitar with 2 PO ste pkup nthe ie psiton. This satan tough an oven Corto Hain sp, hich smite up and run trough the evstomary TA ae Unt Pr an wee garth Yap with ow the guitar Sear tuned outa his ne he dr any uaty was the Feu of big the oe cee ae You 3. (Of course, you might equally start out with a B, major pentatonic: NSDQ LEER (ete ere) This gets round the $3 dilemma nicely but runs the risk of sounding too ‘happy’ to be authentically bluesy ~ over the I chotd, i often sounds mote subtle to approach the natural 7 from the }2 below it, as in the first part of bar 15, Furthermore, you'l want to avoid the note D altogether when the [V chord comes rourd.. The best w the to approach problems like this Is (0 use ales merely as guidelines and to focus more on listening out for the chord tones. I? contains the notes By, D, F and Ay: Bx? comprises Es G, Bb and Ds; while F7 comprises F, A. C and Ex Bearing, this in mind, you can judge how sell the note ‘you're playing complements the chord over which You're playing it. Iu particular, you should ensure that the important notes in your phrases (such as the Tong ones, the loud ones and the final one) are in compliance with the harmony. As long as you'r listening carefully to what you're playing, Yyour ears will do the rest and your ability to ‘on the good motes will improve, as so much stuf dos, with practice Just to confuse th situation a lithe more, here's another seale forthe collection: AENOEA = H6. BoB F G omic, but the}? has This is basically @ minor pent been replaced with a natural 6, which not only wworks acceptably with the I chord but also complements the IV chord {as demonstrated towards the middle of bar 5). Experimentin this scale should generate some jazzier-sourding with variants of your standard blues licks ~ theory buffs may recognise st as a Dorian mode with the 2 and y7 taken out. To become Familiar with this roup of notes, try mapping out 1wo-note-per Sieing positions in each area of the neck; you'll find there ae five in total, one starting on each note of the seal, ‘One final note: as you look throwgh the transcription, you may well have noticed some chromatic moments, bar 15 being pethaps the ‘most conspicuous example. Let's not wory too ‘much about that nos, though; there's a mote detailed look at chromatic licks coming up next month, See you then... 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