burns cic) Pe Ore eee ee me ee ee oe ee ed Guitar Soloing and Acoustic Guitar Soloing, ofers ihe essential ements rey soloist needs. Each DVD or VHS vdeo runs approximately 50 minutes and comes complete ee teen seers Pen ees eee Pe Ca Tg Te oes See eae Po ee rene eee ern eng Pore ner ett To ee ot 82 guitarist and vocalist wth “Jay Leno andthe oh ee er te cae) ‘countless fms, si-coms and shows. Pe ee eed ee ers Se a et ee eee) all improvised music Te teaches you how to get the musi out of your head and ee et ere ees eee Teen eee ter eth Richards, lly Gibbons, Sieve Ray Vaughn ric Clapton and Robben For. Pe ee eee err ence en solo, Packe wth icks and practice ideas, ths DYD wll lp develop your ear and Pee eee nar een eee CET HAL*LEONARD* Mc guitarsoloing | HAL*®LEONARD?Transcribed by Tom Kolb Copyright © 1997 by HAL LEONARD CORPORATION Intemational Copyright Secured All ights Reserved NOTATION GUIDE “Explanation of tablature” Quaner note F_Bighth noes Half note Whole note receives one beat receive I/2 beat cach receives 2 beats receives 4 beats Note names on staff indicates It fret. {i8ting cee! tte af Gt weft fe Fy - —— =— EFGABCDEFGABCDE b “sar in means "at sgn means fiormsetbe note { tolowertte nae fe et (i ep) one et hl tp)WHOLE STEP 1/2 STEP BEND ANDRELEASE SLIGHT PRE-BEND PRE-BEND AND GRACE NOTE BEND BEND BEND RELEASE BEND aes Bi (ike note and_ tend up V2 ‘rng tee 1 vend opate sep) = ‘ptr Enkin UNISON VIBRATO BAR DIVE. VIBRATO BAR PRE-DIVE SLIDE BEND, ‘AND RETURN, situ AND RETURN 7 ra ‘trike iret noe and tide ‘it ba aready beat down oumber "up to second mote) (end bar down by mumber of steps of teps indicated, ke note and return 4 indiated hes ftur 0 psh) brio pitch HAMMER-ON PULL-OFF SLIDE FROM VIBRATO VIBRATO ‘NOWHERE wine W/BAR (ake ft not then sound (with both notes fisted. ake nt (lide rom aew (let hand vibrato ‘aeato wi decent y xing wit “oot andlor tatingerw/ | etsbeow) rating te vito ba) fund wihour picking)” enough Tece to sound second not) lowering the pitch) ava NATURAL HARMONICS PINCHED HARMONICS FRET HAND. ‘MUTING (oes ae played an octave higher than (place finge ighly above fe (wie) or Bombo ins ace ites on sa) nse sing) ee eae pai ee ed 5 percussive soune)|PICK HAND MUTING TAP-ON TREMOLO PICKING STACCATO PHRASING 3 . + (SHORT NOTES) (Garingesrck and eel of picking hand ‘it ote eed ots ae plked pial) dtmpens he sings ost abore te Bridge) w/t finger of pking ee tana: Sesond tvs 04 ‘then fingers pulled off) EXTREME STACCATO, TENUTOPHRASING ACCENTED DOWN STROKE UPSTROKE. ORACCENTED STACCATO (NOTES ARE PLAYED ATTACK PICKING PICKING EVENLYANDHELDOUT) » nov EXAMPLE | A major scale EXAMPLE 2 A blues scaleEXAMPLE 3 When to bend the flat 3rd Ami? Als 7 ee totes Te arc vuse C natural am at ™“ ae, EXAMPLE 4 A “chromatic” blues scale in 2 octaves 2octave ‘A chromatic Blues Seale st roots are circled EXAMPLE 5 Mat tunes the viewer w/ 12th fret harmonics Na 7EXAMPLE 6 CONT. A 10 EXAMPLE 6 CONT. AEXAMPLE 8 Using the “sassy” sounding 3rd EXAMPLE 9 Starting on a C natural and ending on C# 13EXAMPLE 11 Ending on Sth of the A blues scale on IV chord, A " D9 E s sae Wt svoreeeceeeceeeeeept EXAMPLE 12 Ending on a C natural A 14 EXAMPLE 13 Using 5 E9(V chord) D9CLV chord) EXAMPLE 14 Mat’s chords and passing chords in A blues AIS DELS pa DIS AbI3, ATES Adi (chord) (81V) HIV) V)— Tor VI). Guz) (him) paige ee io aEXAMPLE 15 Carlos Santana style unison bend EXAMPLE 16 Carlos’ percussive rhythmic playing Gm EXAMPLE 17 Firs fingerbend Gm EXAMPLE 18 Billy Gibbons style pick harmonics EEXAMPLE 19 Counting 6 degres up fom D {not demonstrated on video) isthe 6h degree of D major sale step of D major EXAMPLE 20 D minor pentatonic, B minor pentatonic, and D major pentatonic Dm Bm — Dmajor_— Dmajor penta penta. = penta ee ee 18 EXAMPLE 21 Shufile playing ais for) Gis 19EXAMPLE 23 Robben Ford style slurs @ EXAMPLE 24 Unison bends. G7 Ny i‘ nN EXAMPLE 25 Eric Clapton style lick that works for a D major or EXAMPLE 26 Stevie Ray style slides AT 2EXAMPLE 27 Stevie Ray slurs 8 EXAMPLE 29 G Blues LickEXAMPLE 30 Singing and playing the same thing at the same time ‘Shue eights 24 EXAMPLE 31 Example in slow motion of singing a lick and then playing it G s 5 Se aT Ts tsa (Sings lick) us (Sings lick) te va, (Sings Hick) mwEXAMPLE 32 A song writen from “simple” chord voicings Am(maj7)add 9 EXAMPLE 33 Using chord voicings to create a melody AB AnH) Di3sus —D9sus_,, DI. EXAMPLE 33 CONT. AB BbI3 AIS aEXAMPLE 34 Some of Mats chord voicings AIS BbI3-—ABI3.AI3(n0 3nd) AIL Als a9 fag” ia" ee Ag DI3_—-Di3sus_D1Xno3rd) DS Di3 jap gage i em ba a Ba tim | Tie 28 EXAMPLE 35 Painting yourself into a comer 29EXAMPLE 35 CONT. 30 EXAMPLE 36 “Hearing” what you are going to play 3