Scroll through the lesson and click on notation/video/audio links to load the interactive players.
Please subscribe to get full access to all lessons for only $7.95/month PLUS 1 week free trial.
Riff Interactive lessons are LESS
expensive and MORE
interactive than alternatives!
In The Style of B.B. King -
Lyle: In this lesson you'll learn the 3 solos
in the lesson sample and how they all use little blues riffs made from notes in
the major and minor pentatonic scales. You'll be working in the key
of E. Here's the jam track you'll use for this
Looping Sound Clip 1
irene: What is the best amp and
guitar for blues?
Lyle: Irene - Here's your answer in this sound
The riffs in solo 1 are made from notes in these two positions. The root
notes (E) are highlighted.
bart: Those are not all the notes of the Maj/min
Lyle: No, those are not scales, just riff
locations from notes of those scales. Within those patterns are cool notes to
bend. Here's what I mean:
that how you get licks-by taking notes from within a scale & trying to make
those notes sound good?
Lyle: Yes! Listen to this next sound
Lyle: Who can
tell me what solo 1 starts off with, major or minor pentatonic
Lyle: Right, major! When does it change
Lyle: Yes, in both the 5th and 10th
measures. When ever you have a basic 1 - 4 - 5 blues progression like this one
that uses major or dominant 7 chords,
it's good to start with major pentatonic riffs, then switch to minor pentatonic
riffs during the IV chord. In this case, the IV chord is A since you are in the
key of E.
Lyle: See where the minor pentatonic riffs
happen in the solo at bars 5 and 10 in the progression, right where the IV
chord is (A)?
andre: So what about V chord (B) teach.. what's best to
Lyle: Andre, notice in solo 1, I played a B
note during the V chord in bar 9 to "announce" or define the V chord (B).
Anything goes there on the V chord. There really isn't any hard rules for blues,
you can mix it all up or just play a minor pentatonic for everything. But,
sometimes it's good to know a few tricks using little bits of theory formulas to
help get "your sound" happening. That's what I'm trying to show you in this
p90s: I think
what makes it so cool is that the change is so subtle in the sound between the
major and minor shapes.
Lyle: Let's try
another solo example, this time up an octave. Here's the riff positions for our
major and minor pentatonic notes:
Lyle: Let's look at solo 2 and examine where
the major and minor pentatonic riffs happen:
Rich: What is a
is a riff that is at the end of the progression. You've heard them many times in
blues songs and solos. Here's an example of me playing a
turn-around riff I just recorded:
Lyle: Here's a
couple more examples of turnarounds:
Lyle: Let's look
at another solo that switches back and forth from major and minor pentatonic
notes. Here's the note positions:
something for you to listen to:
Sound Clip 5
Cabe: I hear
Lyle: In solo 3, what does it start off with,
major or minor pentatonic riffs?
Lyle: Right! When does it use
Lyle: yes, 5th
clint: ...and 10
Lyle: Right, just like in solo
PaulM: Teach, towards the
end, if possible, can you combine all video to the lead work you've shown us?
It'd be nice to hear/see it all together.
Lyle: Sure, here it is. I
edited them all together, the edit points are just a little off but you'll get
Lyle: That wraps up this lesson and this 5 part series on the King of the Blues. I
hope you learned some new things that you can use in your own jams.
If you would like further study on this topic or any other topic, email me at
Lyle@theguitar.net for info on how you can get your own customized guitar
lessons like this using Riff Interactive technology. Your private lessons can be
downloaded to your pc for anytime, anywhere study. Thanks and see you at the
next lesson. - Lyle
<< load notation from left
<< load audio from left
<< load audio from left