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 #2935  by Robey
 Sun Jan 15, 2006 3:06 pm
This is a really fun & bluesy tune to play. The main lick is infections. I can't quite figure out which scale sounds the best during the lead. Any suggestions? Bad ears my way! :-)

Maybe an A blues in the first two lines, and then a B blues when the chords go to Bm?

Many thanks.

 #2936  by Robey
 Sun Jan 15, 2006 3:07 pm
I mean the main lick is infectious! Infections, of which I've had several in the sinus area this season, suck.

 #2939  by Billbbill
 Mon Jan 16, 2006 3:54 am
I blend blues and mixolydian over the A & E. That's in the key of A over the A and in E over the E. I also slip into B blues but only over the Bm. This is a tricky one to get the "right" sound.

Lean on the blue note in A (C) and E (G) for that edgy feel. When not going for that edgy feel I'll hammer onto the third (in A - C# and E - G#) from the blue note within a particular phase - often followed by resolving to the root (A or E).

 #2952  by Robey
 Mon Jan 16, 2006 5:26 pm
Hey thanks so much. I'm glad to hear that it's not *strictly* my bad ears. This is sounding better but will take a bit of practice to sound fluid.

Thanks Bill. :cool:

 #2955  by Billbbill
 Mon Jan 16, 2006 6:10 pm
No prob Robey.

I don't know "where you are" in terms of your guitar scale knowledge, only my own progression. When I started playing leads I wanted to know what scale the lead was in and I would just go off without any structural knowledge to work from. Occasionally I'd get something nice but the process was hap-hazard at best. The major or blues pentatonic with their 'no wrong note' status were somewhat deceptive and seductive as they (for me anyway) tended to lull me into a false sense of accomplishment.

It's only when I ventured deeper (due mostly to some leads sounding not quite right) into blending scales to create phrasing that at once made a 'statement' and then followed with a complementary phrase, that I felt I was making some serious headway.

Think in terms of stringing meaningful phrases together, while understanding that one phrase can rely more on major accents, while the next may rely on blues accents etc.

A great example that comes to mind because it's so in your face would be Jimi Hendrix' lead in 'The Wind Cries Mary'. He plays a purely blues phrase right in the middle of what for the most part is a major scale lead. Absolute genius.

The trick is to make it cohesive.

I've rambled enough, but I thought this deserved a little elaboration.