[Billbbill]

So I did this about a month ago as a first take messin around kinda deal and after watching it again as I was about to delve into the tune again, this time w/ my Taylor instead of the Washburn Rover, I decided it was pretty good...if I say so myself

Anyway as usual thoughts, comments and questions are always welcome.

"..now his preachin' days are through!"

[broomhead]

thanks!!!

These videos are great.you got some neat stuff going on there.

BTW... your my new online "jamming" partner lately..lol

You have a great sense of timing. It's impressive that you can go through 3 or 4 rounds of soloing and keep in time. Most seem to misstep somewhere and loose it for a few beats, but you seem to catch a chord tone on the right spot, which makes the interpretation work for a single guitarist.

If I had any request, it would be a better angle of your fretting hand, as there are some licks here and in your other videos that I'd like to steal from you.

Anyway, keep it up, you've got a fan and I'm sure I'm not alone.

joe

[Billbbill]

Hey Joe,

Thanks. I've been using a metronome for the last one or maybe 2 but not this one as I was just kinda messin around. I think I used it for Black Peter and Ripple. I have some problems here and there with tempo and a few screwups with chord changes a beat or 2 early or late.

It really is easier to do them with the metronome once you get the proper beat going.

Give me an idea of the view you'd prefer. A link to a vid with a view you like or something. I'd be glad to give it a shot. Again this one is what it is because I wasn't planning on using it. If there's a particular phrase you want me to tab I'd be willing to do it. Let me know.

[broomhead]

This is one song I've probably played 1,000 times. It's always been a fun song to solo over (I use a Roland GK-3 GR-20 synthesizer, so it's a fun song to solo with different brass instrument patches)Even more so now that your videos have given me some new ideas. I've got a good handle on most of what your doing and the remaining parts I think I'll be able to pick up after giving the video a "few" more views.

However... the one part where what I'm doing isn't working well is from 6:07->6:40...

if you could tab it or simply give a little explanation of the tones/chords involved it would be greatly appreciated.

As far as my comment about video angle, something in a bit closer to the fretboard. Actually, I was just checking out Jdarks Deep Elem video and the angle/distance he uses in the instruction part of it is quite good.

again, thanks so much for posting the videos and sharing what you know. it's really great to see someone else's takes on these songs. It's really helped a lot with both information and inspiration.

Joe

[HOWEYMAN]

Sitting around on a cold winter day, jamming deep elem. Very cool. Only thing missing.... me, jamming the rythm behing your solos. lololo. Very good playing indeed. inspired me to pick up my cu-stick and play it again.

[bucketorain]

i just jammed with you bill, thanks for that!

[Billbbill]

...
However... the one part where what I'm doing isn't working well is from 6:07->6:40...

if you could tab it or simply give a little explanation of the tones/chords involved it would be greatly appreciated.

Joe

At 6:07, the end of the verse, I'm doing kinda the same thing I do over the E during the verse while I'm singing except on the 12th fret.

e-12--------
b-12-14-------
g----14-12h13----
d------------14


Most of the rest is the 1-4-dominant 7th combination deal like this for E up at the 12th fret

---E7--A---E
e-----------
b--15--14--12-----
g--16--14--13h14----
d--14--14-------15

And then these same shapes over the A and B chords.

At 6:17 I run through these shapes over E

--E7-E7/9-E7--E-E7-E7
b--9---7---9--5--5--9-
g--7---7---7--4--6--7-
d--9---9---9--6--4--9-


Then over the A after the 1-4-dom7 I follow with 2 'A' shapes

b--10----14----
g--9-----14---
d--------14--


The rest is different combo's of the 1-4-dom7 though all the same shapes.

[willmusic]

Thanks!

[Billbbill]

Here's some of my solo ideas for this. Pretty much the respective (E, A & B) mixolydian and minor (blues) pentatonic scales with passing tones and mixing the two paying special attention to phrasing sometimes with the major 3rd and others with the minor third.


These are all the same structures in the 3 different keys at different (though by no means only) positions

()= passing tones
[]= seldom used

The cool emoticons are supposed to be 8's in parentheses


Over E

E Mixolydian

(/) Slide Up (\) Slide Down (h) Hammer On (p) Pull Off (b) Bend (r) Release (v) Vibrato

E|--------------------------------
B|--------------------------------8--
G|-------------------4--(5)--6--7-----
D|-----4--(5)--6--[7]-----------------
A|--7-----------------------------
E|--------------------------------
http://www.guitartabcreator.com


E minor Pentatonic

(/) Slide Up (\) Slide Down (h) Hammer On (p) Pull Off (b) Bend (r) Release (v) Vibrato

E|-----------------------------
B|-----------------------------
G|-----------------------7--(8)--9--
D|-----5--(6)--7--(8)--9-----------
A|--7--------------------------
E|-----------------------------
http://www.guitartabcreator.com


a little lick

(/) Slide Up (\) Slide Down (h) Hammer On (p) Pull Off (b) Bend (r) Release (v) Vibrato

E|--------
B|--------
G|--------
D|----7-5h6--
A|----------7
E|---------
http://www.guitartabcreator.com


Over A

A Mixolydian

(/) Slide Up (\) Slide Down (h) Hammer On (p) Pull Off (b) Bend (r) Release (v) Vibrato

E|---------------------------------5--
B|--------------------5--(6)--7--8-----
G|-----4--(5)--6--[7]------------------
D|--7-----------------------------
A|--------------------------------
E|--------------------------------
http://www.guitartabcreator.com


A minor Pentatonic

(/) Slide Up (\) Slide Down (h) Hammer On (p) Pull Off (b) Bend (r) Release (v) Vibrato

E|------------------------------
B|------------------------8--(9)--10--
G|-----5--(6)--7--(8)--9------------
D|--7---------------------------
A|------------------------------
E|------------------------------
http://www.guitartabcreator.com


a little lick

(/) Slide Up (\) Slide Down (h) Hammer On (p) Pull Off (b) Bend (r) Release (v) Vibrato

E|------5-
B|-------
G|--5/6-----
D|-------
A|-------
E|-------
http://www.guitartabcreator.com


Over B

B Mixolydian

(/) Slide Up (\) Slide Down (h) Hammer On (p) Pull Off (b) Bend (r) Release (v) Vibrato

E|--------------------2--(3)--4--5--7--
B|-----2--(3)--4--[5]-----------------
G|--4-----------------------------
D|--------------------------------
A|--------------------------------
E|--------------------------------
http://www.guitartabcreator.com


B minor Pentatonic


(/) Slide Up (\) Slide Down (h) Hammer On (p) Pull Off (b) Bend (r) Release (v) Vibrato

E|------------------------5--(6)--7--
B|-----3--(4)--5--(6)--7-----------
G|--4--------------------------
D|-----------------------------
A|-----------------------------
E|-----------------------------
http://www.guitartabcreator.com


a little lick

(/) Slide Up (\) Slide Down (h) Hammer On (p) Pull Off (b) Bend (r) Release (v) Vibrato

E|--10/11------
B|---------12--
G|-------------
D|-------------
A|-------------
E|-------------
http://www.guitartabcreator.com


I'll often play the minor pentatonic position but with a hammer on or pull up of the flat 3rd to the major third.

I'll also exclude the 4th ([]) somewhat in the mixolydian.

The biggest thing is merging the 2 approaches, the most obvious being using the major third in the minor pentatonic scale and the minor third in the mixolidian scale.

What I'm designating as passing tones are also part of chromatic run options.

A chromatic run is sometimes a nice bridge to a chord change.

I'll sometimes slip back into E over the 2nd 4 beat portion of the B chord.

Bending a half step is something I often do, sometimes releasing at a chord change to a note that's part of the chord makeup I'm transitioning to.

One very important thing to note is that if you look closely you'll see that between the 2 scale approaches w/ passing tones, all but one note (the flat 2nd?) are being used within an octave. To me this highlights how much 'space' and possibility exists for phrasing.

Internalizing intervals is really important for creating purposeful phrasing that may buck standard scalular ideas within a broad octave based structure.

Does that make sense? hehe

[Candyman1984]

Great Job-very nice!!
You look very comfortable in your chair