Blue lick over the a chord

Of course many players use the vocabulary in different places and it still sounds great. In the chord diagrams below you see both the minor and major pentatonic scale in the key of A. Veil of maya type riff. Learn how your comment data is processed. Em sweep with harmonic tendencies.
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In this article you will learn:

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Solo Guitar – Blues Licks and Solos

We've provided a backing track for you to jam over. This technique will put you into the Bluesman expert Club. I'm not a fan of tuning the guitar down, because the guitar sounds brighter, more powerful and heavier in A This will Blow you away an off the wall technique combining arpeggios with a walking baseline it creates a magical sound. Notice the slides and slurs in this lick, which can be just as important when getting a jazz sound over the blues as the notes themselves. Enable Video Cookies The above arrangement adds a few complexities to the standard acoustic 12 bar blues.
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Guitar basics: how to solo over a bar blues chord progression | MusicRadar

The best way to learn how to make this scale sound good is to learn licks and phrases from the great players. This may be the easiest way to start improvising on the piano: So, feel free to experiment with adding slides, hammers, and pull-offs when learning this line on the fretboard. Place your first finger on the first fret of the G String. Really spend some time with this ornamental approach as it will add a lot of flavor to your playing.
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The Mixolydian Pentatonic Scale is built by taking the notes of the Major Pentatonic Scale, , and raising the last note by a half step to form the intervals b7, which is why it outlines the 7th chords in a blues so accurately. Because of how the major scale is built, you can also play this pattern from the 5 th or 9th of the major scale. In this section, you study a number of characteristic Scofield soloing concepts over common chord progressions. To finish your study of Kenny Burrell licks, you learn a double time line over a ii V I progression. Otherwise, this lick uses only notes from the major scale. As the triads climb up the neck, they repeat a rhythmic pattern that Kurt loves to use in his playing, and that Bill Evans also applied to his piano solos. For instance, when soloing over a blues in A, you could use the minor pentatonic to play over the D7 chord and play the major pentatonic scale over the other chords.
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