Here's a slightly (!) heavier groove, based on a simple rhythm guitar pattern (Main Sequence).
This time, the lead (2nd) sequence is is played faster (1/16th notes), and adjusted to fit a single Bar of 4/4.
This is a 12-bar solo/outro from one of the songs on Buddy Guy & Junior Wells' seminal album "Alone & Acoustic". Buddy plays this one acoustic solo. If you want to play it like Buddy, you have to grunt at the end of the second bar.
I transcribed this one a while ago and never put it up, but I decided that that was a waste, so here it is. If anyone wants me to write a little commentary on what's going on here, please send me a note.
Again, you may find working on this by itself at first helps when you put these all together. This part is a fiddle tune called "Rory O'More".
Now for the ending tag. After the first four measures of this part, you can repeat the whole thing, but I threw in a little lick to wrap it up. The real song repeats quite a few times with different verses (I think the vocalist was Bessie Smith, but I haven't actually herd the song in quite a while). The thumb is still doing Travis style bass thing, but now it's just a root to root (up an octave) movement. The melody is really syncopated and it may take some time for you to get the hang of it. Stick with it and practice slow until you get it and once again it will improve your overall fingerstyle skills. Good luck and send me a message if you're struggling or confused, I'll be glad to help in any way I can.
I have included two exercises here that helped me on my way to shred-dom. Note, shredding does not really require much skill, not at the basic level. "Shredding" as I use the term, is playing licks (usually classical-based) at very high speed. The lick can (and often is, in the situation described in the description) be improvised.
To pull of a basic shred session, you need two things:
1) Total alternate picking. This is required for blazing speed without too much thought. Not that thought isn't good, but it takes more time.
2) A knowledge of (at least some) scales. There are seven forms of the A major scale, and you have to learn as many of them as you can. All of the basic scales (i.e. major, minor, and all of their derivatives) have seven basic forms on the fretboard, because, of course, of the seven notes in the scale that the scale can start from. These scales are usually written in 3-note per string form, which makes them easily shreddable. Try it - your top speed on a 3-note per string will almost certainly be higher than on, say, a two-note-per string pentatonic. I am not going to present all of the scale forms here, but they are easy to look up. On the exercise presented here, if you map out all of the notes you play on a fretboard chart, you will have the A major scale in 2 octaves. There are three more notes, on the high E string, left in the 3-note per string format scale (duh).
Anyway, onto the lick!
Play this at a low speed, so that you can get all of the notes cleanly. But, I'm just going to be honest with you here - if you crank up the distortion, you can play this lick as fast as you can and it will (probably) sound fine. So, just don't worry too much about making all the notes perfect. Use alternate picking all the way through! That means up-down-up-down, regardless of string transfers! Its easy here, because you will always be starting a new string on a downstroke. Just make sure you get the picking right! Its more important to get the correct picking than (almost) anything else. If you already have perfect alternate picking, don't worry so much about it. You can loop this track to play as many times as you want without stopping, and thats what you should be doing - playing it as many times as you can, slowly increasing the speed. When you have mastered it, move on to the next exercise.
P.S. This lick comes from Dream Theater's Overture 1928. Well, not the whole thing, but the second half anyway.
This is just my take...to show you how easy it is...
Yeah...believe me...it sounds better on the guitar....my composer usage sucks BTW...maybe the melody sucks too...but you can do better....cheers!.
Check this out. Not finished.
Where do I use a C aeolian scale?
In my opinion, the most important thing about using a scale is this: Scales sound best when played over chords created from that scale
In music, scales are used to create chords, and there are known formulas for this creation. You already know what the notes are for a C aeolian scale (C D Eb F G Ab Bb), so let's look at the chords created from these notes:
- C minor: C Eb G
- D diminished: D F Ab
- Eb major: Eb G Bb
- F minor: F Ab C
- G minor: G Bb D
- Ab major: Ab C Eb
- Bb major: Bb D F
How did I figure this out? Well, I took each note in the scale, and constructed a chord based on the note 2 intervals above and 4 intervals above (this isn't standard terminology, but it might make it easier to learn). For the first chord based on the C, I took C, then skipped the D and took the Eb, and then skipped the F and took the G, resulting in C - Eb - G which is a C minor chord. For the 2nd chord based on the D, I took D, then skipped the Eb and took the F, and then skipped the G and took the Ab, resulting in D - F - Ab which is a D diminished chord. I repeated this same procedure for all the notes in the C aeolian scale. Listen to the example below which shows the C aeolian scale played over C minor, Bb major, and Ab major. Note how it sounds good no matter what the chord.
In this example, the picking is about as simple as it gets. The chords are also simpler than in the previous example, requiring at most three fingers to hold down.
In this lesson I'm attempting to show that Blues soloing is not just in the standard pentatonic position.Here is a sample of what I mean.With every chord movement I am trying to follow and compliment the change without making it obvious.Also,phraseing plays a big part... something I STILL need work on... I'm getting there.I hope this is helpful. set to AcNylon.