Hot Geetar 2

[hardheartedbill]

I'm taking up from the first one so look at it if your confused

this is a classic Page lick that outlines the chords, as you can see from the first post you want to outline the chords at some points to resolve your blues scale musings

it's from Lemon Song in the fast part

Page is in E , start with your G# @ the 16th fret high E, this is the major 3 of the E chord pulloff to the 12th fret E (E the root) play the 15th fret B string, a D the b7 of E. ene on the 12th E, your spelling out an E7 chord the I chord

-------16--12---------12

------------------15

the A7 chord is done like this, just move the top 2 notes down a 1/2 step G ( b7 ) E (5th) and C# ( maj 3)

-----15---12------------12

---------------14----

for the B7 (V) just move the IV chord shape up a whole step ( just like barre chords move )

-----17---14-------------14

-----------------16--

notice how the first note is the end of the blues scale patter bumped up a 1/2 step, the Maj3 , just like what we did in A in the first post on the 3rd string, same concept differnt fingering

[hardheartedbill]

notice that you dont have to have every note in a chord to imply it's sound, each of the 3 above have the major 3rd, thats the important note when outline the I IV and V chords

[Brooks]

yep. the 3rd & 7th are called the "color tones",

they make the chord major/minor/dominant.

Amin7 = a c e g

A7 (dominant) = a c# e g

Amaj7 = a c# e g#

notice the root A & 5th E stay the same,

just the color tones change.

bills concept is crucial for breaking out of the blues box rut;

you can play your usual blues box licks,

but try to resolve to (or emphasize) the color tone

of whatever chord your playing over.

[specialk]

Feynman was just explaining all this to me the other day. The dude is as good a guitar master as he is a luthier, I'm tellin ya!

[hardheartedbill]

thanks for the replies, hope this is helping some people

[harry65]

great job bill, taking that idea a step further...............in a typical 1,4,5 progression(let's say key of A for arguments sake) try playing A pentatonic major over the 1(A) chord and A pentatonic minor over the 4(D) and 5(E) chords , a step beyond that is A mixolydian over the 1(A) chord and A dorian over the 4(D) and 5(E)chords , i love the sound of a major 6th bent up to a minor 7th in a bluesy way................................