Chords for My Favorite 12 Bar Blues Intro Solo - a guitar lesson with my favorite Albert King blues licks!
Tempo:
122.45 bpm
Chords used:
Ab
Abm
E
A
Eb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
What would you say is your favorite 12 bars of blues guitar?
Just guitar solo wise.
For me, it's Albert King's
1966 recording of Crosscut Saw.
I love the vibe.
I love the feel of the song.
I love the way that he physically plays with his fingers, but most of all I love the phrase structure.
I've always thought it was a great thing to teach my students to get them to make sense when they play 12 bar blues.
So we're gonna take a look at it today.
I'm Mark Wien from Jack's Guitar Tracks.
If you look below this video in the video description,
you're gonna find links to the PDF that you can print out with a tablature.
You're gonna find a link to the original recording of the song here on YouTube and some other resources for you to use.
The first thing we're going to talk about is the fact that I don't have a pick in my hands today.
Albert King played his guitar left-handed.
He had it pretty much strung normally with light strings.
He'd pull the strings down to bend them and he used his thumb and his index finger
to pick instead of actually using a pick.
You can see that [E] in some of the videos that I'm gonna share underneath.
For right now, I'm just gonna be picking with my fingers.
I like the sound.
When I start playing this kind of thing, it's a little sharper sounding.
I think it gets closer to the sound of Albert than if I was to use a pick and [D] play normally.
We're gonna take a look at this in three four bar phrases.
This is kind of how I break down most [E] 12 bar blues.
This one especially is great for this because it makes a lot of sense.
It's got this great question and answer structure to it.
It's one of the things I love teaching my students because [Ab] it really gives them the ability to hear how someone like [Abm] Albert King or
even just how somebody would sing a 12 bar blues and actually melodically make sense.
So the first phrase, the first four bars,
[Em] [Abm]
we [C] start off with a pickup phrase.
One, two, three, [Abm] and four, and one.
[F] All right, and what the pickup phrase does is it gives your your line a little bit of authority.
You're coming in before the first full measure of music.
This actually starts [G] on the and of three.
So one, two, [Abm]
three, and four, and one.
And [Eb] the notes are [Ab] eight on the third string,
nine twice on the [Abm] second string, and
seven on the first string.
That seven is the minor third of that pentatonic scale.
We're in the key of A flat by the way.
And what a lot of guys will do is whenever they play that minor third in a [E] pentatonic scale,
they'll give it a little quarter step tweak.
[Abm] All right, pushing it towards the major third.
[Cm] So it fits over the the [B] seventh chord, the chord that we're playing over a little bit [Em] better.
So that's the [Ab] first phrase.
[E]
That's the question.
And then he answers it.
[Dbm] He starts off on the first string on the seventh fret,
whole step bend, [Abm] and seven four, and then seven four [Eb] again, and then four on the next string.
[Abm] And then he plays the ninth fret on the second string, which is actually the root of the scale again.
And then the minor third with this, you know, the tweak on the seventh fret.
Alright, this is cool.
You get this a little bit of a development of a really simple idea there.
Alright, so all together one, two, three,
[E] two, three, [A] four, one.
[Abm]
Then move on to the next one, two, three, four.
[Ab]
[A] [E] [A] Alright, so that part there, [B] we start on the ninth fret on the first string, bend it up a whole step,
and then the [E] seventh fret, a little tweak.
Nine, nine, and [B] then he kind of quietly plays the seven at the end [Abm] of that phrase.
[Gb] Then we move back down to the fourth [E] fret,
[Eb] four, whole step bend on seven, [Abm] and then seven four,
[B] and then
[C] two more of those sevens with the quarter [Ab] step bend,
and then you resolve on the A flat on the fourth fret on the first string, which is the root.
The last [A] phrase,
[Ab]
[Eb] [E]
[Ab] [Db] [Abm]
[Ebm] [Abm] we're actually going to break it down a little bit.
The third phrase in a 12-bar blues [C] usually is [Bb] the busiest.
It's almost like you're making a [Ab] statement and answering it, you're restating answering it,
but the third phrase [B] is kind of like the [A] punchline or the place where the story really gets told.
So we're starting off with a whole step bend from the sixth fret
[Eb] up to the E flat there, and then we play the E flat on the fourth fret on the second string,
[Ab] and then the fourth fret on the first string.
You notice I use my first finger for both of those, and [Ebm] then seven four seven [Db] on the second string,
[Ab] [D]
and [Ab] then he goes [Eb] four on both the first and second [Gbm] strings,
[Ebm] seven four on [Dbm] the second string,
[Ab] and then he ends that phrase on the sixth on the third string.
[Db] [Ab]
[Dbm] To me, that's kind of the [Ebm] first half of the phrase of the question, and then
[Abm] [A] [B] [Ab] [Eb] that part to me is the answer from this, right?
So four [Abm] on the second,
[Eb] second again,
[Dbm] whole step bend from on the seventh on the first fret on the first string, [E] and then seven four,
[B] doing those little [Bm] quarter step bends on seven [Ab] again, and then you're gonna play the the root, the A flat on
the first string on the fourth fret, but then he immediately in the next beat goes up to the same note on the second string.
[E] I love, you hear Clapton do this, you hear Freddie King do this a lot.
A lot [Ab] of guys where they'll play the [N] same note on two strings,
and it actually enhances the phrasing, it gives us something a little bit extra.
[Ab] Here,
[Dbm] [B] what [Ab] we're doing is we're going [Gb] nine seven [A] on the second [Eb] string,
[Db] eight and then six, [B] and then four, a little quarter step bend, because that's also the third, that note [Ab] there, and
then he's going six on [Eb] the fourth string, fifth string,
and he's [Gb] walking from four, [G] [Ab] five, and six on the fourth string up to the root of the A flat chord, right?
And that's a great ending lick for anything.
[Ebm] [B] [Ab] [Eb]
[Gb] [G] [Ab] So this solo, I'll play the whole thing one more time.
You can kind of get a sense of what the whole structure is gonna be like.
Notice I count the long
rests in here.
I want to make sure that where I'm playing is actually where I'm supposed to be playing, otherwise
it really doesn't sound like the melody.
One, two, three,
[E] two, three, [A] four, one, [Abm]
three, four, one, two, three, four, [D] [A] [Abm]
[A] one, two, three,
[Ab] and [A] [Abm]
[A] [E] [Abm]
[Ebm] [G] [Ab] [N]
there you have it.
All right, I hope you found this lesson useful and that you enjoyed it.
Remember in the comments below, leave any questions or suggestions you have for future lessons.
In the video description,
there are links for the printable PDF and other resources, including the original recording of this song.
You can listen to, and don't forget to hit subscribe, please.
We're gonna be having a weekly lesson.
I've got backing tracks coming out, all kinds of resources for you, and you'll get notifications
Just guitar solo wise.
For me, it's Albert King's
1966 recording of Crosscut Saw.
I love the vibe.
I love the feel of the song.
I love the way that he physically plays with his fingers, but most of all I love the phrase structure.
I've always thought it was a great thing to teach my students to get them to make sense when they play 12 bar blues.
So we're gonna take a look at it today.
I'm Mark Wien from Jack's Guitar Tracks.
If you look below this video in the video description,
you're gonna find links to the PDF that you can print out with a tablature.
You're gonna find a link to the original recording of the song here on YouTube and some other resources for you to use.
The first thing we're going to talk about is the fact that I don't have a pick in my hands today.
Albert King played his guitar left-handed.
He had it pretty much strung normally with light strings.
He'd pull the strings down to bend them and he used his thumb and his index finger
to pick instead of actually using a pick.
You can see that [E] in some of the videos that I'm gonna share underneath.
For right now, I'm just gonna be picking with my fingers.
I like the sound.
When I start playing this kind of thing, it's a little sharper sounding.
I think it gets closer to the sound of Albert than if I was to use a pick and [D] play normally.
We're gonna take a look at this in three four bar phrases.
This is kind of how I break down most [E] 12 bar blues.
This one especially is great for this because it makes a lot of sense.
It's got this great question and answer structure to it.
It's one of the things I love teaching my students because [Ab] it really gives them the ability to hear how someone like [Abm] Albert King or
even just how somebody would sing a 12 bar blues and actually melodically make sense.
So the first phrase, the first four bars,
[Em] [Abm]
we [C] start off with a pickup phrase.
One, two, three, [Abm] and four, and one.
[F] All right, and what the pickup phrase does is it gives your your line a little bit of authority.
You're coming in before the first full measure of music.
This actually starts [G] on the and of three.
So one, two, [Abm]
three, and four, and one.
And [Eb] the notes are [Ab] eight on the third string,
nine twice on the [Abm] second string, and
seven on the first string.
That seven is the minor third of that pentatonic scale.
We're in the key of A flat by the way.
And what a lot of guys will do is whenever they play that minor third in a [E] pentatonic scale,
they'll give it a little quarter step tweak.
[Abm] All right, pushing it towards the major third.
[Cm] So it fits over the the [B] seventh chord, the chord that we're playing over a little bit [Em] better.
So that's the [Ab] first phrase.
[E]
That's the question.
And then he answers it.
[Dbm] He starts off on the first string on the seventh fret,
whole step bend, [Abm] and seven four, and then seven four [Eb] again, and then four on the next string.
[Abm] And then he plays the ninth fret on the second string, which is actually the root of the scale again.
And then the minor third with this, you know, the tweak on the seventh fret.
Alright, this is cool.
You get this a little bit of a development of a really simple idea there.
Alright, so all together one, two, three,
[E] two, three, [A] four, one.
[Abm]
Then move on to the next one, two, three, four.
[Ab]
[A] [E] [A] Alright, so that part there, [B] we start on the ninth fret on the first string, bend it up a whole step,
and then the [E] seventh fret, a little tweak.
Nine, nine, and [B] then he kind of quietly plays the seven at the end [Abm] of that phrase.
[Gb] Then we move back down to the fourth [E] fret,
[Eb] four, whole step bend on seven, [Abm] and then seven four,
[B] and then
[C] two more of those sevens with the quarter [Ab] step bend,
and then you resolve on the A flat on the fourth fret on the first string, which is the root.
The last [A] phrase,
[Ab]
[Eb] [E]
[Ab] [Db] [Abm]
[Ebm] [Abm] we're actually going to break it down a little bit.
The third phrase in a 12-bar blues [C] usually is [Bb] the busiest.
It's almost like you're making a [Ab] statement and answering it, you're restating answering it,
but the third phrase [B] is kind of like the [A] punchline or the place where the story really gets told.
So we're starting off with a whole step bend from the sixth fret
[Eb] up to the E flat there, and then we play the E flat on the fourth fret on the second string,
[Ab] and then the fourth fret on the first string.
You notice I use my first finger for both of those, and [Ebm] then seven four seven [Db] on the second string,
[Ab] [D]
and [Ab] then he goes [Eb] four on both the first and second [Gbm] strings,
[Ebm] seven four on [Dbm] the second string,
[Ab] and then he ends that phrase on the sixth on the third string.
[Db] [Ab]
[Dbm] To me, that's kind of the [Ebm] first half of the phrase of the question, and then
[Abm] [A] [B] [Ab] [Eb] that part to me is the answer from this, right?
So four [Abm] on the second,
[Eb] second again,
[Dbm] whole step bend from on the seventh on the first fret on the first string, [E] and then seven four,
[B] doing those little [Bm] quarter step bends on seven [Ab] again, and then you're gonna play the the root, the A flat on
the first string on the fourth fret, but then he immediately in the next beat goes up to the same note on the second string.
[E] I love, you hear Clapton do this, you hear Freddie King do this a lot.
A lot [Ab] of guys where they'll play the [N] same note on two strings,
and it actually enhances the phrasing, it gives us something a little bit extra.
[Ab] Here,
[Dbm] [B] what [Ab] we're doing is we're going [Gb] nine seven [A] on the second [Eb] string,
[Db] eight and then six, [B] and then four, a little quarter step bend, because that's also the third, that note [Ab] there, and
then he's going six on [Eb] the fourth string, fifth string,
and he's [Gb] walking from four, [G] [Ab] five, and six on the fourth string up to the root of the A flat chord, right?
And that's a great ending lick for anything.
[Ebm] [B] [Ab] [Eb]
[Gb] [G] [Ab] So this solo, I'll play the whole thing one more time.
You can kind of get a sense of what the whole structure is gonna be like.
Notice I count the long
rests in here.
I want to make sure that where I'm playing is actually where I'm supposed to be playing, otherwise
it really doesn't sound like the melody.
One, two, three,
[E] two, three, [A] four, one, [Abm]
three, four, one, two, three, four, [D] [A] [Abm]
[A] one, two, three,
[Ab] and [A] [Abm]
[A] [E] [Abm]
[Ebm] [G] [Ab] [N]
there you have it.
All right, I hope you found this lesson useful and that you enjoyed it.
Remember in the comments below, leave any questions or suggestions you have for future lessons.
In the video description,
there are links for the printable PDF and other resources, including the original recording of this song.
You can listen to, and don't forget to hit subscribe, please.
We're gonna be having a weekly lesson.
I've got backing tracks coming out, all kinds of resources for you, and you'll get notifications
Key:
Ab
Abm
E
A
Eb
Ab
Abm
E
_ What would you say is your favorite 12 bars of blues guitar?
Just guitar solo wise.
For me, it's Albert King's
1966 recording of Crosscut Saw.
I love the vibe.
I love the feel of the song.
I love the way that he physically plays with his fingers, but most of all I love the phrase structure.
I've always thought it was a great thing to teach my students to get them to make sense when they play 12 bar blues.
So we're gonna take a look at it today. _ _ _ _ _
I'm Mark Wien from Jack's Guitar Tracks.
If you look below this video in the video description,
you're gonna find links to the PDF that you can print out with a tablature.
You're gonna find a link to the original recording of the song here on YouTube and some other resources for you to use.
The first thing we're going to talk about is the fact that I don't have a pick in my hands today.
Albert King played his guitar left-handed.
He had it pretty much strung normally with light strings.
He'd pull the strings down to bend them and he used his thumb and his index finger
to pick instead of actually using a pick.
You can see that [E] in some of the videos that I'm gonna share underneath.
For right now, I'm just gonna be picking with my fingers.
I like the sound.
When I start playing this kind of thing, it's a little sharper sounding.
I think it gets closer to the sound of Albert than if I was to use a pick and [D] play normally.
We're gonna take a look at this in three four bar phrases.
This is kind of how I break down most [E] 12 bar blues.
This one especially is great for this because it makes a lot of sense.
It's got this great question and answer structure to it.
It's one of the things I love teaching my students because [Ab] it really gives them the ability to hear how someone like [Abm] Albert King or
even just how somebody would sing a 12 bar blues and actually melodically make sense.
So the first phrase, the first four bars, _ _
_ _ _ [Em] _ _ _ _ [Abm] _
_ _ _ _ we [C] start off with a pickup phrase.
One, two, three, [Abm] and four, and one.
[F] All right, and what the pickup phrase does is it gives your your line a little bit of authority.
You're coming in before the first full measure of music.
This actually starts [G] on the and of three.
So one, two, [Abm]
three, and four, and one.
And [Eb] the notes are [Ab] eight on the third string,
nine twice on the [Abm] second string, and
seven on the first string.
That seven is the minor third of that pentatonic scale.
We're in the key of A flat by the way.
And what a lot of guys will do is whenever they play that minor third in a [E] pentatonic scale,
they'll give it a little quarter step tweak.
[Abm] All right, pushing it towards the major third.
[Cm] So it fits over the the [B] seventh chord, the chord that we're playing over a little bit [Em] better.
_ So that's the [Ab] first phrase.
_ [E]
That's the question.
And then he answers it.
[Dbm] He starts off on the first string on the seventh fret,
whole step bend, [Abm] and seven four, and then seven four [Eb] again, and then four on the next string.
[Abm] And then he plays the ninth fret on the second string, which is actually the root of the scale again. _
And then the minor third with this, you know, the tweak on the seventh fret.
_ _ Alright, this is cool.
You get this a _ little bit of a development of a really simple idea there.
Alright, so all together one, two, three, _ _
[E] two, three, [A] four, one.
[Abm] _ _
_ _ _ _ Then move on to the next one, two, three, four.
_ _ [Ab] _ _ _
[A] _ _ [E] _ _ [A] _ _ Alright, so that part there, [B] we start on the ninth fret on the first string, bend it up a whole step,
_ and then the [E] seventh fret, a little tweak.
Nine, nine, and [B] then he kind of quietly plays the seven at the end [Abm] of that phrase.
_ _ [Gb] _ Then we move back down to the fourth [E] fret,
_ [Eb] four, whole step bend on seven, [Abm] and then seven four,
[B] and then _
[C] two more of those sevens with the quarter [Ab] step bend,
and then you resolve on the A flat on the fourth fret on the first string, which is the root.
The last [A] phrase,
[Ab] _ _
_ _ _ [Eb] _ _ [E] _ _ _
_ [Ab] _ _ _ _ [Db] _ [Abm] _ _
[Ebm] _ _ _ [Abm] _ we're actually going to break it down a little bit.
The third phrase in a 12-bar blues [C] usually is [Bb] the busiest.
It's almost like you're making a [Ab] statement and answering it, you're restating answering it,
but the third phrase [B] is kind of like the [A] punchline or the place where the story really gets told.
So we're starting off with _ a whole step bend from the sixth fret
[Eb] _ up to the E flat there, and then we play the E flat on the fourth fret on the second string,
[Ab] _ and then the fourth fret on the first string.
You notice I use my first finger for both of those, and [Ebm] then seven four seven [Db] on the second string,
[Ab] _ _ [D] _
and [Ab] then he goes [Eb] four on both the first and second [Gbm] strings,
[Ebm] seven four on [Dbm] the second string,
[Ab] and then he ends that phrase on the sixth on the third string. _ _
[Db] _ _ _ [Ab] _ _ _ _ _
[Dbm] To me, that's kind of the [Ebm] first half of the phrase of the question, and then
[Abm] _ [A] _ [B] _ _ _ [Ab] _ [Eb] that part to me is the answer from this, right?
So four [Abm] on the second,
[Eb] _ second again,
[Dbm] whole step bend from on the seventh on the first fret on the first string, [E] and then seven four,
[B] _ _ doing those little [Bm] quarter step bends on seven [Ab] again, and then you're gonna play the the root, the A flat _ on
the first string on the fourth fret, but then he immediately in the next beat goes up to the same note on the second string.
_ _ _ [E] _ I love, you hear Clapton do this, you hear Freddie King do this a lot.
A lot [Ab] of guys where they'll play the [N] same note on two strings,
and it actually enhances the phrasing, it gives us something a little bit extra.
[Ab] Here,
_ _ [Dbm] _ [B] what [Ab] we're doing is we're going [Gb] nine seven [A] on the second [Eb] string,
_ _ [Db] eight and then six, [B] _ and then four, a little quarter step bend, because that's also the third, that note [Ab] there, and
then he's going six on [Eb] the fourth string, fifth string,
and he's [Gb] walking from four, [G] [Ab] five, and six on the fourth string up to the root of the A flat chord, right?
And that's a great ending lick for anything.
[Ebm] _ [B] _ _ [Ab] _ [Eb] _ _
[Gb] _ [G] _ [Ab] _ So this solo, I'll play the whole thing one more time.
You can kind of get a sense of what the whole structure is gonna be like.
Notice I count the long
rests in here.
I want to make sure that where I'm playing is actually where I'm supposed to be playing, otherwise
it really doesn't sound like the melody.
One, two, three,
_ [E] _ two, three, [A] four, one, [Abm] _ _ _ _ _
three, four, one, two, three, four, _ [D] _ _ _ [A] _ _ [Abm] _ _
_ _ _ _ [A] _ one, two, three,
[Ab] _ and _ [A] _ [Abm] _ _
[A] _ [E] _ _ _ _ [Abm] _ _ _
_ [Ebm] _ _ _ [G] _ [Ab] _ _ [N] _
there you have it.
All right, I hope you found this lesson useful and that you enjoyed it.
Remember in the comments below, leave any questions or suggestions you have for future lessons.
In the video description,
there are links for the printable PDF and other resources, including the original recording of this song.
You can listen to, and don't forget to hit subscribe, please.
We're gonna be having a weekly lesson.
I've got backing tracks coming out, all kinds of resources for you, and you'll get notifications
Just guitar solo wise.
For me, it's Albert King's
1966 recording of Crosscut Saw.
I love the vibe.
I love the feel of the song.
I love the way that he physically plays with his fingers, but most of all I love the phrase structure.
I've always thought it was a great thing to teach my students to get them to make sense when they play 12 bar blues.
So we're gonna take a look at it today. _ _ _ _ _
I'm Mark Wien from Jack's Guitar Tracks.
If you look below this video in the video description,
you're gonna find links to the PDF that you can print out with a tablature.
You're gonna find a link to the original recording of the song here on YouTube and some other resources for you to use.
The first thing we're going to talk about is the fact that I don't have a pick in my hands today.
Albert King played his guitar left-handed.
He had it pretty much strung normally with light strings.
He'd pull the strings down to bend them and he used his thumb and his index finger
to pick instead of actually using a pick.
You can see that [E] in some of the videos that I'm gonna share underneath.
For right now, I'm just gonna be picking with my fingers.
I like the sound.
When I start playing this kind of thing, it's a little sharper sounding.
I think it gets closer to the sound of Albert than if I was to use a pick and [D] play normally.
We're gonna take a look at this in three four bar phrases.
This is kind of how I break down most [E] 12 bar blues.
This one especially is great for this because it makes a lot of sense.
It's got this great question and answer structure to it.
It's one of the things I love teaching my students because [Ab] it really gives them the ability to hear how someone like [Abm] Albert King or
even just how somebody would sing a 12 bar blues and actually melodically make sense.
So the first phrase, the first four bars, _ _
_ _ _ [Em] _ _ _ _ [Abm] _
_ _ _ _ we [C] start off with a pickup phrase.
One, two, three, [Abm] and four, and one.
[F] All right, and what the pickup phrase does is it gives your your line a little bit of authority.
You're coming in before the first full measure of music.
This actually starts [G] on the and of three.
So one, two, [Abm]
three, and four, and one.
And [Eb] the notes are [Ab] eight on the third string,
nine twice on the [Abm] second string, and
seven on the first string.
That seven is the minor third of that pentatonic scale.
We're in the key of A flat by the way.
And what a lot of guys will do is whenever they play that minor third in a [E] pentatonic scale,
they'll give it a little quarter step tweak.
[Abm] All right, pushing it towards the major third.
[Cm] So it fits over the the [B] seventh chord, the chord that we're playing over a little bit [Em] better.
_ So that's the [Ab] first phrase.
_ [E]
That's the question.
And then he answers it.
[Dbm] He starts off on the first string on the seventh fret,
whole step bend, [Abm] and seven four, and then seven four [Eb] again, and then four on the next string.
[Abm] And then he plays the ninth fret on the second string, which is actually the root of the scale again. _
And then the minor third with this, you know, the tweak on the seventh fret.
_ _ Alright, this is cool.
You get this a _ little bit of a development of a really simple idea there.
Alright, so all together one, two, three, _ _
[E] two, three, [A] four, one.
[Abm] _ _
_ _ _ _ Then move on to the next one, two, three, four.
_ _ [Ab] _ _ _
[A] _ _ [E] _ _ [A] _ _ Alright, so that part there, [B] we start on the ninth fret on the first string, bend it up a whole step,
_ and then the [E] seventh fret, a little tweak.
Nine, nine, and [B] then he kind of quietly plays the seven at the end [Abm] of that phrase.
_ _ [Gb] _ Then we move back down to the fourth [E] fret,
_ [Eb] four, whole step bend on seven, [Abm] and then seven four,
[B] and then _
[C] two more of those sevens with the quarter [Ab] step bend,
and then you resolve on the A flat on the fourth fret on the first string, which is the root.
The last [A] phrase,
[Ab] _ _
_ _ _ [Eb] _ _ [E] _ _ _
_ [Ab] _ _ _ _ [Db] _ [Abm] _ _
[Ebm] _ _ _ [Abm] _ we're actually going to break it down a little bit.
The third phrase in a 12-bar blues [C] usually is [Bb] the busiest.
It's almost like you're making a [Ab] statement and answering it, you're restating answering it,
but the third phrase [B] is kind of like the [A] punchline or the place where the story really gets told.
So we're starting off with _ a whole step bend from the sixth fret
[Eb] _ up to the E flat there, and then we play the E flat on the fourth fret on the second string,
[Ab] _ and then the fourth fret on the first string.
You notice I use my first finger for both of those, and [Ebm] then seven four seven [Db] on the second string,
[Ab] _ _ [D] _
and [Ab] then he goes [Eb] four on both the first and second [Gbm] strings,
[Ebm] seven four on [Dbm] the second string,
[Ab] and then he ends that phrase on the sixth on the third string. _ _
[Db] _ _ _ [Ab] _ _ _ _ _
[Dbm] To me, that's kind of the [Ebm] first half of the phrase of the question, and then
[Abm] _ [A] _ [B] _ _ _ [Ab] _ [Eb] that part to me is the answer from this, right?
So four [Abm] on the second,
[Eb] _ second again,
[Dbm] whole step bend from on the seventh on the first fret on the first string, [E] and then seven four,
[B] _ _ doing those little [Bm] quarter step bends on seven [Ab] again, and then you're gonna play the the root, the A flat _ on
the first string on the fourth fret, but then he immediately in the next beat goes up to the same note on the second string.
_ _ _ [E] _ I love, you hear Clapton do this, you hear Freddie King do this a lot.
A lot [Ab] of guys where they'll play the [N] same note on two strings,
and it actually enhances the phrasing, it gives us something a little bit extra.
[Ab] Here,
_ _ [Dbm] _ [B] what [Ab] we're doing is we're going [Gb] nine seven [A] on the second [Eb] string,
_ _ [Db] eight and then six, [B] _ and then four, a little quarter step bend, because that's also the third, that note [Ab] there, and
then he's going six on [Eb] the fourth string, fifth string,
and he's [Gb] walking from four, [G] [Ab] five, and six on the fourth string up to the root of the A flat chord, right?
And that's a great ending lick for anything.
[Ebm] _ [B] _ _ [Ab] _ [Eb] _ _
[Gb] _ [G] _ [Ab] _ So this solo, I'll play the whole thing one more time.
You can kind of get a sense of what the whole structure is gonna be like.
Notice I count the long
rests in here.
I want to make sure that where I'm playing is actually where I'm supposed to be playing, otherwise
it really doesn't sound like the melody.
One, two, three,
_ [E] _ two, three, [A] four, one, [Abm] _ _ _ _ _
three, four, one, two, three, four, _ [D] _ _ _ [A] _ _ [Abm] _ _
_ _ _ _ [A] _ one, two, three,
[Ab] _ and _ [A] _ [Abm] _ _
[A] _ [E] _ _ _ _ [Abm] _ _ _
_ [Ebm] _ _ _ [G] _ [Ab] _ _ [N] _
there you have it.
All right, I hope you found this lesson useful and that you enjoyed it.
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