Three Blues Guitar Styles 1
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Performance Notes - Exercise 1 This exercise references the great BB King and his approach to a slow minor blues. Key aspects of his style include a fast, controlled vibrato and a mastery of bending techniques. In addition there is a great deal of space in his playing meaning that he will often sustain one note throughout the bar or even leave several beats empty. Try playing this with a clean guitar tone so you can hear every nuance. Three Blues Guitar Styles Written and Performed by Stuart Ryan www.stuartryanmusic.com © Stuart Ryan 2012
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COUNTRY GUITAR BLUES LICKS MUSIC
Transcript of Three Blues Guitar Styles 1
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Performance Notes - Exercise 1This exercise references the great BB King and his approach to a slow minor blues.Key aspects of his style include a fast, controlled vibrato and a mastery of bendingtechniques. In addition there is a great deal of space in his playing meaning that hewill often sustain one note throughout the bar or even leave several beats empty.Try playing this with a clean guitar tone so you can hear every nuance.
Three Blues Guitar StylesWritten and Performed by Stuart Ryan
www.stuartryanmusic.com
Stuart Ryan 2012
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Stuart Ryan 2012
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Performance Notes - Exercise 2
Stuart Ryan 2012
The playing of blues masters jimi hendrix and stevie ray vaughan is full of emotiveideas, creativity and phrasing. this slow major blues examines several of the mainelements of their playing from their use of doublestops and octaves to their totalcommand of melody and the major pentatonic scale.
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Stuart Ryan 2012
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Stuart Ryan 2012
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Stuart Ryan 2012
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Stuart Ryan 2012
Performance Notes - Exercise 3
One of the greats of modern blues guitar, Larry Carlton came to prominence as asession player in the 1970s. This style of blues is heavily influenced by jazz andtherefore contains greater harmonic sophistication. In bar 10 a min 13 arpeggio isused to outline the F#min7 chord whilst the lick in bar 11 is derived from the Bsuperlocrian scale, one of the fundamental concepts for adding tension to the vchord before the subsequent release to the I chord. In addition the B7 chord is actually replaced by an F7 - this chord is a flat 5th or tritone away from B7 andresults in a tritone substition which adds even more colour and dissonance to thev chord.
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Stuart Ryan 2012
