Today I would like to show you some blues licks you can play on your acoustic guitar. However I also want to take it one step further, and show you how to connect these licks together to create a really cool acoustic blues solo. It will sound like you have a bass guitar playing along with you. This kind of stuff really impresses!
Learning to play blues on the acoustic guitar can sound great, especially in the key of E. The reason why is that it allows you to use a lot of open strings in your blues licks. The open strings will have your licks resonate more than if you were in a key that had mostly fretted notes.
For this lesson, it is assumed that you are already somewhat familiar with the 12 bar blues progression. Here it is, in the key of E, if you need a refresher:
Best Acoustic Electric Guitars 2023: Electro Acoustics For All Levels
Knowing and having this progression in your ear is a very important part of learning how to play blues on your acoustic guitar.
Lets get started by running through the following blues licks. Each lick will relate to a certain part of our 12 bar blues.
The lick above will be used for the E7 chord in our blues. It will be slightly varied each time it is used.
Soukous To Maskanda: 10 Guitar Greats From Africa
This is a classic blues turnaround lick. It will be used in bars 11 and 12 which is commonly referred to as the turnaround. The purpose of the turnaround is to turn the tune back around to the start again.
Each blues lick above sounds great on its own, and can certainly be used in this way. However, we can also connect these licks together to have a more complete sounding blues on our guitar.
You may have noticed that each acoustic blues lick above started with an open string. The great thing about a blues in E is that you can use the low E and A open strings of your guitar to sound the root notes of the E7 and A7 chords.
Blues Guitar Solo #1, Acoustic Flatpicking
Learning to play your blues licks in this way sounds awesome! It gives the impression that there is a bass playing along with you, and has a much more complete sound about it. For best effect, you want to make sure that the open string rings out or drones as you play the lick.
Here is the resulting blues you get when connecting your acoustic licks together, while taking advantage of the low E and A open strings where possible:
In the example above, I have used the same basic blues lick idea for the E7 chord in bars 1 - 4 and again in bars 7 - 8. There are some slight variations each time, and in bars 7 - 8 the lick is played in the upper octave from the 12th fret.
Best Acoustic Guitars For Beginners (2023)
Every other lick remains the same or very similar to when it was first introduced. In addition to the low E and A open strings ringing through, I have also added some notes to create a better sounding bass line to go with our blues licks.
The above is just one example of how to play a blues on your acoustic guitar. You can modify and simplify it however you like. It’s the use of the low open strings, to give a more complete sound, that I want you take away from this lesson.
Be sure to take your time with these ideas. Get them down as they were first introduced in this lesson, and then work on connecting them together. You should also have a go at creating your own blues licks and solo’s using this approach.Welcome to 12 Ways to Play Better Blues Guitar, a lesson series designed to give you a solid foundation in this essential style. Last time, I showed you how to make your single-note licks pop with chord hits. In this lesson, we’re going to look at improving your soloing by using motivic development—taking motifs or little ideas and seeing how you can develop them.
Top 50 Famous Blues Songs To Play On Guitar
The idea is to create a solo that has a certain kind of connectedness and unity, because it’s based around some related ideas instead of just whatever lick you happen to come up with at the moment—that and to make sure that you always have something to play because you know how to take the first few ideas you come up with, reuse them and turn them around in ways that make sense. So it’s just a kind of efficient musical way of looking at taking your ideas and building them into an entire solo.
We could take a really simple pentatonic lick like shown in the pickup measure and first bar of Example 1, and turn it into a longer idea in the last two measures. Example 2 is based on the same idea, but at a higher pitch level. Because of the nature of the E minor pentatonic scale (E G A B D), an approach like this works over both the I and the IV chords, and Example 3 shows how to use it on the second four measures of the 12-bar form.
With a simple idea like that, you could also incorporate a bit of chord-voicing action. In Example 4, the downbeat of bar 1 places the flatted seventh (D) and root (E) under the fifth (B) for an E7 chord, and the lick ends with an echo resolution (an answer to a phrase) on a double stop (B–D) that implies E7. You could go through this with whatever lick you started off with, taking short phrases, building them into longer phrases and creating that call-and-response between the odd bars of the first two lines (measures 1–4 and 5–8) of the 12-bar blues.
Amazon.com: Guitar Techniques, May, 2016 No. 256 Play Your Best Acoustic Blues
Things are a little different if you play a major third (G#) over the I chord; that note might sound a little weird over the IV, as it clashes with that chord’s flatted seventh (G). So to avoid this problem, just play a lick with G# over the I chord, lowering that note to G for the IV chord, as shown in Examples 5 and 6. Example 7 extends the above concepts to the second and third lines of the 12-bar form. Again, you’re just seeing how far you can take a short phrase and land with it.
Examples 8 and 9 show how to take a longer pentatonic lick, starting on the “and” of beat 1, and responding with a shorter phrase. In Example 10, things get mixed up with an eighth-note triplet lick including the major third on the I chord. Check out how I avoid the problem of using that G# on the IV chord, by placing it on the “and” of bar 2, beat 4, to anticipate the return to the I in the last measure.
Variations like these leave plenty of room for some chord hits if you want them, and Example 11 shows where you might place them in the first eight measures of the 12-bar form. For the last four measures, you can use the same kind of rhythms, but you’ll have to switch up the notes to acknowledge the V chord (B7), as depicted in Example 12.
Gitarrennoten Und Gitarrenzubehör, Die Zupfgeige, Gitarrenfachgeschäft, Noten & Werkstatt
To build intensity in a solo—and you’ve probably heard this approach a million times—you might milk a lick by repeating it numerous times. Example 13 demonstrates this idea using a seven-note lick that is first played in bar 1 and restated until bar 5, when it resolves on the IV chord. Example 14 shows a variation in which the lick is repeated similarly, but not exactly the same each time.
So by going from idea to idea, and by having a few different tools for how to repurpose each idea, you have a way to start with a short fragment and build it out or bring it down. You can use some repetition, move things around, and put in a few chord hits to create this ongoing narrative way of playing through the 12-bar blues choruses that you’re soloing on. Everything is connected; it’s a very musical and very storytelling way of playing that is more than just thinking, Well, I think I’ll play this lick and then I’ll play that lick.
Example 15 brings it all together in your longest figure yet—three complete choruses on the 12-bar blues. I hope that gives you plenty of ideas to keep developing your soloing by making it more organized and musically satisfying. In the next and last lesson in this series, I’ll show you more about how to use the 12-bar form as a road map for improvisation.
Blues Guitar Solo #17, Acoustic Flatpicking
David Hamburger is a composer, guitarist, and instructor based in Austin, Texas. He is the author of our best-selling Acoustic Guitar Method.What better way to set the mood for a song than an intro on the acoustic guitar? Blazing solos and badass riffs are all nice and good, but nothing grabs the attention of a crowd quite like a few unplugged notes, an opening statement before the voice takes over, a few precious bars that invite the
0 Response to "Best Blues Acoustic Guitar Solo"
Posting Komentar