ffimf;m*mg frmffise

*hords

Tired of noodling up and dorrn the sa,me fretbox sha,pe?

sruaRT Bul.rt supplies some new blues id'eas to ma,ke
your solos rea,lly spa,rkle.
nIs n-rontht blues is in the key of B minor
and 1'ou can be improvised over in tu'o
ways. The first ls to use the B minor
pentatonic scale (see fretbox) throughout the

*fiole blues - this is the easiest option and r.vill suit

less experienced players. The second, more
difficult idea ls to play licks and arpeggios around
ihe chords. The advantage oftliis approach is that

it will give 1'our solos more direction and rvill

create an altogether sr'veeter sound.

ES"&

I3"$fl

e"S& FeHS"}*S3YK

The opening bar uses a Beck-sti'le Brn aqreggirr

shich fits ri'ith the ke1'chord. thetr motes t<-r an A#

note to outline tlte third o{ the F#7 chorcl. Brrr 2
chord througl-rout iurcl the solo ltirs rr
brief parise on atr F# rtote - tlie fifth ol the cliord.
At tlie beginning olbar jl. I'rn trsiltg rrtrotlter
.rrpeggio iclea. but ihis tinre {br Ern irnd Enr7.
finishing on a B note ri'hich links niceh'to the Bnr
cliord in bar 4. A simple s'hole-tone bend florri -\
to B, ending on F#, takes care ofbirr 5, then a B
hrrs a Bm

blues scale lick ending on G# provides a

comfortable journey lroni Bm to E7. The notes in
bar 7 simply follorv the root notes of the chords, as
does the final bend and slide in bar 8.

I,E&DEqG TR,OIrx R,lIgTITftT

Try to play notes s'hich nre pirrt ol the current
chord in vour solos, but don't get hurtg up on the
idea all the titre - solos r.r4iich :rre too hearili'
arpeggio-based can become cheesl' and obrjous'
One technique \-ou nliw like to tn-is risutilisilg the
chorcl shape under 1'our finqers as il rou're plarinq
a rhr.thn'r part. then picking sirlgle notes frorlr thirt
'urini-chorcl' shape. Tn to cottre rrp rtith versictns
ofthe chorcls tliat irre in roughh the saute pl:rce on

EEffGElr

Ths,

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: . .:i' i::,i:.

Flsb:sal0;,asshom,in

lhe.iO

lt,:., .'-:..'.

.:'...

EEEiilEl',:,,,..,.,"'.:''rir'.'rr.

..

rr

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:',, .':r',i,

'r..

r,

A cunp$6:'baeking tlqqh,in'r,''

$e ksy gtB.'rttitm1,:U$t,,8i[Gl .
of

tlie lretboarcl. ot'rour solo sill iunlp irbortt irtrd

tte

Bm Sgf&lqi$er:soalQs,

''

or,fiy'rs&$ifom lhg',
chordlarpeggim ts orcab a',
shown,

lose neloclic sense.

Idealh'- r'ou shotrld be able to constnrct ir solo

that consists ofchord ttotes sltcre rou neecl thetlr.
iurcl passinq notes s ltich are pirrt of the ltonre scirle
in behleen. -{dd in a dirsh of phrasing (ie don't
pl.n'a11 tlie timel) irnd rou should be ri'ell on the
s-av to being thirt rnost rirre of utusiciirns - :l
nielodic blues plal'er. E

more melodh- solor',

mmffiffimffim
grn?

{4rn

Fe:ltatonic

ba6ed solo is simply to select single Dotea from these Ghords, changing
chord ln time with the track. The Bu pentatonic scale is also showD.

Shom here are the six chords the piece is based ilouDd (F#7 wtu

usually substitute for F#7(*9)' The eesiest way to play an arpegglo'

mmm'mffimm
!'*'i el};!rg;gir!
$haF.

n:!:? at?egg;o

*h*pe

G *rpegg!+
sh:r]to

Once you've mastered the solo as written, try tbe sliEhtly more dlfficult
option of playtng a Eolo based on the fuu arpeggios of each chord. For

rssuE

20;urr

1996

f+7 &rpeggis
shirpe

F;?{*3i

arpeggle eh:rpr:

ltnt Feniiltorit
{t xtb gtel}

the F#7(#9) chord, I've showD the extra #9 note - an A - in plnk. There's
also a trlckier version of Bm pentatouic for more general soloing.

s& EEEGEEE8'

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I_? TO 3$,
SELECTI{
NEWLINEOJ
,iqCOUSTICS

UUSICBOOX
BO{
@y trrd lt easier to sluply jm to thls chord
aheet, keepiDg the at?eggto
slapes in mlud as you play.
You

trr.|.?TtEj.rt?r?t
;ur,v 1996

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