Building a Blues Solo Across 2 Choruses

Building a blues solo across 2 choruses

The most common length for a blues guitar solo is two choruses (twice round the 12 bars). This lesson looks at some concepts that can be used to build a solo.

We’ll use Eric Clapton’s solo on “Tore Down” (from the album “From the Cradle”) to discuss some of the following concepts (but I could have picked any number of great blues solos, which all exhibit similar characteristics):

Ø Question and Answer Ø Telling a Story Ø Rhythm Ø Register Ø Climax Ø Rests Ø Dynamics Ø Concise phrases

Question and Answer “Call and response” is at the heart of the blues. Playing a phrase and then “answering” it with another phrase is a great way to develop ideas in a coherent manner in any style. Clapton does this throughout the solo, with just about every phrase being “answered”, and some phrases (eg #7) consisting of a question and answer within them.

Telling a Story Think of playing licks when improvising as being like introducing characters in a story. You don’t want to introduce too many at one time. Take one idea/character and develop it before adding another. Build on each idea, and have them interact with each other like characters having a conversation. Don’t give everything away right at the beginning, take your time and develop the plot/story/solo. Hear, for example, how Clapton uses Phrase #1 throughout the solo (#7 and #9 are very similar). And also how the solo unfolds in a measured, logical way.

Rhythm The use of rhythm is an essential part of improvising. Compare the use and effect of repetitive rhythms vs rhythms that are varied (for example, much of the solo is quaver-based, but there are triplets thrown in (for example, in the second half of Phrase #1).

www.aucklandguitarschool.co.nz Density of rhythms – adding more notes per beat (has the effect of “accelerating”) – listen to Phrases #6 and #8. It’s well worth practicing the following - increase the density from the last 4 bars of the first chorus through to bars 4/5 in next chorus.

Register Moving into a higher register is a classic way to build a solo (Jimmy Page’s solo on Stairway to Heaven is a great example). Clapton’s whole solo on Tore Down is played the above 8th fret, and notice where he changes register/position and the effect that has (esp Phrase #8). You’ll find that playing in a higher register helps to create tension. (Similarly, playing in a lower register is an effective way to reduce tension).

Climax The peak of the solo is also often the highest note. The solo builds to an emotional peak. Notice that in Clapton’s solo, this peak doesn’t occur at the end of the solo, but is in Phrase #8.

Tension and resolution This is a key musical principal. It applies to all elements of music, and creates “forward motion” in the music. On a basic level, you can use the notes and rhythms you play to provide tension and resolution, but also dynamics, tone, register etc etc.

Rests Leaving space helps to define the phrases. It allows (1) the listener to absorb what you played and (2) you time to think about what to play next. As the solo builds, the rests might become shorter, adding to a sense of urgency.

Dynamics Playing louder and/or digging in harder with the pick is an effective way of building tension, excitement and intensity. Stevie Ray Vaughan was a master of this, and would also grab the strings with his bare hands to wrench even more emotion out of the notes (check out Albert King!). Don’t forget you can play softer too – gripping the pick lighter and “stroking the strings”.

www.aucklandguitarschool.co.nz Concise phrases When you’re playing a lick, think about cutting it in half. Force yourself to stop “halfway” – this an effective way of helping you to avoid playing long, rambling phrases.

Tasks

1) Listen to the solo, follow along with the transcription and try and really hear the concepts described below. 2) Work on learning to play the solo phrase by phrase. 3) Apply some these concepts yourself (one at a time initially) when you’re jamming over a blues.