For our final section we will be putting all of our theory and new skills together in a great blues piece. The track is in a slow 12/8 time signature, which is more traditionally called a “slow blues” and features all the best of B.B.King. We also use a different key, D Blues, to push us out of any comfort zone we have worked into with the previous units. Click here to check out the Materials Section below to access backing tracks and a transcription of the full solo in interactive tab!
Lick one brings together all the theory we have talked about when playing over the 1 chord in a key. We combine the D7 arpeggio shape with the D major and minor pentatonic in that position. We also slightly move positions and use our new skills to create an amazing bluesy bending line that you can use in so many places! Pay close attention to the 1/4 bend, or 1/2 bend, as these make a big difference to the sound. Here are the scale shapes we use.
Lick 2 brings us to the 4 chord, where we shift positions and shift scale shapes. As you now know, we will be using the 4 chord arpeggio (G7) as well as the pentatonic boxes in that area of the neck (which is box 4 in major and box 3 in minor). Part of the battle here is finding all ofthis, but if you start with either the G7 arpeggio shape or the D7 CAGED chord in that position, you won’t go far wrong! Here are the shapes.
Lick 3 brings us back to the root chord of D7. We are utilising the D7 arpeggio as well as the D major and minor pentatonic in that position to play these awesome licks. Really take note as to how the chord tones of the D7 or D major arpeggio really keep this sounding focused and sweet. As you play through it, note which chord tones we end each section on in terms of root, third, fifth or flattened seventh. The scale shapes are identical to Lick 1, just without the minor.
Lick 4 is played over the 5 chord initially, then we roll through our 4 chord and 1 chord with a turnaround. Although we don’t specifically highlight any arpeggios here, we do specifically choose that first bend as it’s an A, bending up to a B and back down again. This is great chord tone targeting as we hit the note of the chord. We then use our major and minor pentatonic in the key of G blues to roll through the rest of the licks. These are the same scale shapes used in the second lick.
In our final lesson, Dan summarises the full solo as well as offering a few tips and tricks to beable to take all of the theory and skill set you have learnt, and bring it into your own playing.Here are a few things to remember:
You've now completed and taken a huge step forwards in your guitar playing journey.
Feel free to bask in glory for a while, or go ahead and try another course if you're hungry for more.