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Griff Hamlin
Page 2
Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
Introduction
This book is the culmination of many years of teaching private students how to solo over
blues songs. It was always a challenge for me to figure out the best way to get the
secrets and the tricks into a manageable form. After 25 years of playing the guitar, I
have forgotten many of the ways I got to where I am today. In the process of writing this
book, I was able to rediscover the simple, straightforward approach to blues soloing that
has worked for me.
The title Playing Through The Blues is a nod to the secrets well discuss later. The real
trick to playing good blues is to be aware of the chords going on behind you and change
your approach with them. In this way you play through the blues and not on top of the
blues. You sound more sophisticated, and more confident in your solos.
There are a couple of assumptions Im making about you, as the reader. First, that you
can at least read TAB, if not a little bit of music. If you are good at playing by ear, then
you should be okay with reading the TAB and listening to the audio examples to get the
timing and the feel. If youre not as good by ear, make sure you work with the slower
examples before tackling the faster versions.
Second, Im assuming you have at least basic guitar skills. You should have a grasp of
most basic guitar chords including major, minor, seventh, and barre chord shapes. For
each solo example, Ive included the rhythm parts. The rhythm parts that Ive provided
are good, standard, blues rhythm patterns that could be used for most songs or jam
sessions.
If you find that you need more work on your technique and speed, I use and
recommend a product called Pentatonic Power. It is a book similar to this one, and
includes hundreds of exercises and audio examples all based around the Pentatonic
Scale. The Pentatonic Scale is basically the same as the Blues Scale well use in this
book. The difference is only one note. My private students all learn the examples in this
book along with many of the exercises in Pentatonic Power. I use them concurrently
with good results.
At the end of each chapter there will be a sentence or two telling you what you must be
able to do before moving on. Make sure that you can do what is required. Each chapter
builds upon the one before it. If you try to jump ahead, you will almost surely get lost.
When you practice your scales and the licks in this book, its best to use a metronome if
at all possible. Start slowly with your scales and never increase the speed at the
expense of the notes. Make sure you hear every note perfectly at the given tempo
before moving on. I used to have a rule for myself that I had to be able to play the scale
three times in a row, perfectly, before I would move on. Even if I played it right twice, but
then messed up on the third, I would start over.
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Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
Stepping up to take a solo at your first jam session or band rehearsal can be an
extremely unnerving experience. Most everyone gets the jitters and all of a sudden cant
remember how to play anything theyve learned. Some people call that stagefright, I
call it an attack of stupid. The better you learn the examples, and the better you ingrain
these patterns in your fingers, the better off youll be when its your time to step up.
Are you ready? Lets get started!
Page 4
Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
And here is a fretboard diagram of the scale. I call this fingering of the scale Box 1.
There are other fingerings we will cover later in the book.
EXAMPLE 1-1
Learn this scale and practice it every day. No, wait, practice it ten times a day. No, wait,
practice it 100 times a day! Practice it slowly and evenly. Dont try to speed up until you
can play it without making any mistakes, and remember to use your metronome. This
scale is the sound of the blues. The better you know it, the more confident you will be
the first time you step up to solo.
After you have mastered the A minor blues scale, you can play the minor blues scale
starting on any note of the sixth string. For example, I started the minor blues scale on
an A note in the example above. Starting on A makes it an A minor blues scale. If you
were to start the scale on C, it would be a C minor blues scale. Below, is the C minor
blues scale in TAB:
2006, Griff Hamlin
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Playing Through the Blues A Guide For the Lead Guitar Player
11
11
11
11
10
10
10
10
Griff Hamlin
10
11
10
11
11
11
EXAMPLE 1-2
Page 6
Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
A
A
D
E
Bb
Bb
Eb
F
B
B
E
F#
C
C
F
G
C#
C#
F#
G#
D
D
G
A
Eb
Eb
Ab
Bb
E
E
A
B
F
F
Bb
C
F#
F#
B
C#
G
G
C
D
Ab
Ab
Db
Eb
Check out the music below for a 12 bar blues in the key of A. Heres what to remember:
Bars 1 4 use the I chord.
Bars 5 and 6 use the IV chord.
Bars 7 and 8 return to the I chord.
Bars 9 and 10 are the V chord, and IV chord.
Bars 11 and 12 are called the turnaround. The simplest turnaround is to use
the I chord for both bars 11 and 12.
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Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
A7 (I)
D7 (IV)
E7 (V)
A7 (I)
D7 (IV)
A7 (I)
The most common variation of this pattern is called a Quick Change Blues, where bar 2
uses the IV chord and all other bars are the same. It is also common to go to the V
chord on bar 12.
Before you move on, you should be able to play the I, IV, and V chords in any key.
Page 8
Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
full
full
EXAMPLE 3-1
I use my third finger on the 7th fret note, and my middle finger to help bend it up to
match the pitch of the second note, which I hit with my first finger. The note on the 7th
fret of the 3rd string is a D. However, once you grab it and bend it up a full step as
indicated, its an E, not a D anymore. Bending is just another way to get to a new note,
much like sliding or hammering on. If you bend a note a half step, it should sound like
the note one fret up from where you start. If you bend a note a full step (or whole step,)
it should sound like the note 2 frets up from where you start. In the case of the previous
lick, the second note should sound the same as the first once it is bent. Heres a picture
of my hand doing this bend:
Page 9
Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
Below is a half step bend lick. Notice that the note is not only bent up step, it is then
released back to pitch. The TAB note in parentheses should not be played, it indicates
that the note should still be ringing.
1/2
1/2
1/2
EXAMPLE 3-2
Heres another common whole step bend. Once again, the second note should sound
like the first note after its bent.
full
full
full
EXAMPLE 3-3
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Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
full
EXAMPLE 3-4
full
full
EXAMPLE 3-5
Before you move on, be able to play along with the recorded examples.
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Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
EXAMPLE 4-1
Pull-offs are basically the opposite of hammer-ons. Pull-offs go from a higher note to a
lower note. The nice thing about a pull-off is that you can give the note a little flick to the
side with your finger as you pull it off. This technique will keep the volume consistent.
A pull-off is notated with a slur mark like this in TAB:
EXAMPLE 4-2
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Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
If you combine a hammer-on and a pull-off, you get what I call a tweedly, so named
because of what it sounds like to me. Youll pick the first note, then quickly hammer-on
the second and pull-off to the third. Usually these are pretty quick, and add some
coolness factor to your solos.
EXAMPLE 4-3
Heres a couple of licks that use hammer-ons, pull-offs, bends, and tweedlies all
together.
EXAMPLE 4-4
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Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
EXAMPLE 4-5
EXAMPLE 4-6
EXAMPLE 4-7
3
3
3
Page 14
Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
EXAMPLE 4-8
As with most licks, the key is to play these slowly and perfectly many times before you
try to increase the speed. Most people try to do hammer-ons and pull-offs too fast which
will make them out of time. Keep them evenly spaced just like they were picked notes.
Use the audio examples to help you stay on track.
Before you move on, be able to play along with the recorded examples of all of the licks.
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Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
A7
2
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Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
D7
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A7
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f
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Playing Through the Blues A Guide For the Lead Guitar Player
A7
Griff Hamlin
E7
D7
A7
5
7
SOLO EXAMPLE 1
Solo Analysis and Tips
1. Dont worry too much about getting the bends up to pitch right now. When you
practice your bends, always try to get them up to pitch .When you practice solos,
dont worry about it, there are too many other things to focus on.
2. Notes in parenthesis are NOT to be played. They are simply held from being
played already.
3. While Ive notated when I chose to use hammer-ons and pull-offs, dont be afraid
to insert some of your own, or not use the ones Ive described.
Before you move on be able to play along with the recorded example. From this point
on I will assume that you can execute hammer-ons, pull-offs, and tweedlies. The licks
and solos are only going to get faster and more difficult from here.
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Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
Normally, eighth notes break each beat into 2 equal pieces. They create the familiar
one & two & three & four & feel that were used to in rock music. In a swing feel, each
beat is divided into 3 pieces. Instead of one & two &, we get one & a two & a three &
a four & a. Dividing each beat into 3 pieces creates what are called eighth note triplets.
Below is the A minor blues scale written in eighth note triplets. Listen to it first, then play
along.
EXAMPLE 6-1
You will use triplets A LOT in your solos, so get used to practicing your scales in triplets
as well as eighth notes.
Once you can do triplets, its not too hard to turn them into swing eighth notes. Simply
remove the & from one & a and youve got it.
I know thats not the easiest thing to explain in words. The next example is of the A
minor blues scale played in swing eighth notes. Listen to it a few times first, then play
along.
EXAMPLE 6-2
Before you move on be able to play along with the recorded examples.
Page 19
Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
Chapter 7 Moving On Up
In This Chapter: By the end of this chapter you will be able to play a different fingering
of the A minor blues scale. You will also learn how to combine it with the fingering you
already know.
The notes in the A minor blues scale are A, C, D, D#/Eb, E, and G. As you probably
already know, theres more than one way to play those notes on a guitar. Theres
actually five different ways to finger the blues scale on the guitar. Box 1 was shown at
the beginning of chapter 1. Here is the next fingering up the guitar neck - I call it Box 2.
Here is the TAB for the A minor blues scale, Box 2:
10
10
11
10
10
10
10
11
10
10
10
11
10
EXAMPLE 7-1
Practice this one as much as you practice Box 1. Once you get Box 2 under your
fingers, play it starting on every fret. You should also practice Boxes 1 and 2
consecutively. Notice how the two boxes share many notes and fit together. The better
Page 20
Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
you can see this on your fretboard, the less likely you are to get lost in the middle of
your solos.
Here is a picture of your fretboard with the notes of the two boxes. Notice how they
share several notes.
Try playing the following pattern, which combines Boxes 1 and 2. This is a really
important pattern to master. Many great blues legends have used this in nearly every
solo they play.
10
10
10
10
11
EXAMPLE 7-2
Before you move on be able to play along with the recorded examples.
Page 21
Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
A7
D7
6
5
6
5
6
5
6
5
A7
5
4
5
4
5
4
5
4
6
5
6
5
6
5
6
5
D7
6
5
6
5
6
5
6
5
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
Page 22
Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
A7
E7
6
5
6
5
6
5
6
5
6
5
6
5
6
5
6
5
7
6
7
6
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6
D7
A7
5
4
5
4
5
4
5
4
E7
6
5
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5
6
5
6
5
A7
7
6
7
6
7
6
7
6
6
5
Page 23
Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
Heres the solo which utilizes triplets, swing eighth notes, and both Boxes 1 and 2.
Enjoy!
A7
D7
A7
10
10
10
10
D7
8 5
A7
5
7
7 5
8 5
5
7
E7
8 10
10
10
10
10
f
10
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Playing Through the Blues A Guide For the Lead Guitar Player
D7
10
A7
E7
10 10
10
Griff Hamlin
101010
10 10
10
8 5
13
A7
D7
A7
5
5
D7
16
19
A7
8
9
8
9
10
10
3
10 10 8
10
3
8
10 8 10
8
9
8
9
8
9
8
9
10 10
E7
10
11 10 8 10 8
10 8
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Playing Through the Blues A Guide For the Lead Guitar Player
22
D7
10
10
11 10
10
10
10
A7
3
5
E7
24
A7
Griff Hamlin
SOLO EXAMPLE 2
Solo Analysis and Tips
1. Notice in bar 1 Ive used box 1, and then box 2 in the second bar. This is a
common technique used by many famous blues players throughout history.
2. Its a little tricky to start the lick in bar 4 on the second half of beat 1. It is common
in blues to NOT start your licks on a downbeat, so get used to that. Listen
carefully to the audio example and try to really lock in on that.
3. The lick in bar 21 is a pianistic lick I hear a lot. I use my third finger and pinky to
do the opening slurs.
4. Dont worry about the vibrato that is notated. If you cant do it now, you will later.
It will come in its own time all by itself, so dont force it.
Before you move on be able to play along with the recorded examples.
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Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
Page 27
Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
Example 1
EXAMPLE 9-1
Example 2
EXAMPLE 9-2
Page 28
Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
A7 (I)
D7 (IV)
E7 (V)
A7 (I)
D7 (IV)
A7 (I)
The secret, quite simply, is to play the major blues scale (Box 2) over the I chord, and
the minor blues scale (Box 1) over the IV and V chords. Its so simple! But just wait until
you hear how cool it sounds.
Heres the 12 bar blues again with labels for when to use the major (Box 2) sounds and
the minor (Box 1) sounds.
Page 29
Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
A7 (I) Box 2
D7 (IV) Box 1
E7 (V) Box 1
A7 (I) Box 2
As you get more comfortable, you can actually try using the major (Box 2) or minor
blues scale (Box 1) over the I chord. However, you must always use the minor blues
scale (Box 1) over the IV and V chords.
When soloing, in order to play through the chord changes, you have to really listen
carefully to whats going on behind you. Its not that hard to learn the scales and play
them as needed. Whats hard is to notice that the chord has changed, and more
importantly, to anticipate that chord change. As you gain experience, the chord changes
will become so natural that your lines will flow from major to minor and back with little
thought on your part. You will simply imagine which of the major or minor sounds you
want to hear, and it will come from your fingers automatically.
Earlier I mentioned that playing over a minor blues is the easiest because theres
nothing to think about. If you have a blues in a minor key, meaning the I chord is a
minor or some minor type of chord, youll play a minor blues scale throughout the entire
tune no matter what happens in the chord changes.
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Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
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Playing Through the Blues A Guide For the Lead Guitar Player
G7
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G7
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Griff Hamlin
G7
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Playing Through the Blues A Guide For the Lead Guitar Player
D9
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Griff Hamlin
G7
3
4
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Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
C9
G7
G7
C9
12
12
3 5 3
3
3
G7
D9
6 3
12
6 5
12
3 5
C9
3
8
6 8
8 6
G7
Page 34
Playing Through the Blues A Guide For the Lead Guitar Player
G7
D9
C9
Griff Hamlin
G7
C9
8 7 5
G7
3 6 3
hold bend
5 3 5
hold bend
C9
3
D9
3
f
4 3
Page 35
Playing Through the Blues A Guide For the Lead Guitar Player
G7
6
7
D9
Griff Hamlin
G7
SOLO EXAMPLE 3
Solo Analysis and Tips
1. Bar 1 actually looks like the 2nd bar because of the pick-up notes.
2. The lead in is a great standard lick using the G major blues scale (Box 2.) From
there, I use Box 1 on bar 2 because its the IV chord.
3. The step bend in bar 7 takes us from minor to major sound over the I chord
there. The subtle use of bends can make dramatic changes in the sound of your
solos.
4. The quick slide in bar 16 is fun. You could do it with hammer-ons or pull-offs if
you prefer, but I like the sound of the slide. The notes are actually a peek into
Box 3.
5. Theres a really common trick at the end of bar 21. You might wonder where that
4th fret note comes from. Its hard to explain, and its really just one of those
things you do in blues.
Dont move on until youve got it. The next ones a killer!
Page 36
Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
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10
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10
EXAMPLE 12-1
Page 37
Playing Through the Blues A Guide For the Lead Guitar Player
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Griff Hamlin
13
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12
EXAMPLE 12-2
16
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Page 38
Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
EXAMPLE 12-3
Heres a diagram of all five boxes on the fretboard
Notice in the picture above how the sequence of 5 Boxes repeats. After Box 5 comes
Box 1 again. This is helpful in keys where Box 1 would naturally fall somewhere above
the 7th or 8th fret. By the time you get up to Box 5, you may run out of room on your
guitar neck. If youre practicing the Boxes and run out of room, just drop the Box by 12
frets (an octave) and continue.
As an example, lets say youre in the key of D minor. Box 4 starts on the 17th fret, which
might feel awkward. As an option, go down 12 frets to the 5th fret, and all of the notes
will be the same, just one octave lower.
Here are a few licks that use Boxes 3, 4, and 5, and in some cases more than one.
Page 39
Playing Through the Blues A Guide For the Lead Guitar Player
10
11
10
10
13
Griff Hamlin
10
12
13
10
Box 3
EXAMPLE 12-4
12
10
12
14
12
14
13
15
15
15
Box 4
EXAMPLE 12-5
3
EXAMPLE 12-6
Page 40
Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
3
3
12 10 12
10
12
10 12 13 14
12
14
12
14 12 14
13 15
16 17
15 17
20
Boxes 3 through 1
EXAMPLE 12-7
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Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
Page 42
Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
0
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2
0
0
1
2
0
0
1
2
0
0
1
2
0
0
1
2
0
0
1
2
B7
0
0
1
2
0
0
1
2
0
0
1
2
2
0
2
1
2
2
0
2
1
2
2
0
2
1
2
3
2
2
2
3
2
2
2
3
2
2
2
0
0
1
2
0
0
1
2
0
0
1
2
0
0
1
2
B7
2
0
2
1
2
2
0
2
1
2
2
0
2
1
2
2
0
2
1
2
2
0
2
1
2
2
0
2
1
2
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Playing Through the Blues A Guide For the Lead Guitar Player
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0
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0
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2
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0
0
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0
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0
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0
0
1
2
0
0
1
2
0
0
1
2
0
0
1
2
0
0
1
2
A7
0
0
1
2
0
0
1
2
0
0
1
2
0
0
1
2
0
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1
2
0
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1
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3
2
2
2
3
2
2
2
0
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1
2
0
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2
0
0
1
2
B7
0
0
1
2
3
2
2
2
3
2
2
2
3
2
2
2
3
2
2
2
0
0
1
2
3
2
2
2
A7
Griff Hamlin
0
0
1
2
3
2
2
2
2
0
2
1
2
2
0
2
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2
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0
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2
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Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
Page 45
Playing Through the Blues A Guide For the Lead Guitar Player
E7
Griff Hamlin
3
3
A7
3 2 0
E7
3 3
5 7 7 7
8 7 5
5
6
3
B7
3
3
3
10
10
10
7
9
8 7 5
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Playing Through the Blues A Guide For the Lead Guitar Player
10
A7
E7
B7
12
Griff Hamlin
11
3 3
9 11
9 11
11
11 9
11
E7
14
11
12
12
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16
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14
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14
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12
16
14
12
16 14
14 13
12
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12 12 15
15
A7
14
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14
12
12
12
14
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3
16
15
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15
14
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Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
18
E7
20
22
9 12
3
15
15
17
A7
17
17
12
14
15 16 14
15 16
15 17 15 17
B7
112
19
18
15
14 12 14
19
3
12
9 12
f
17
17
15
17
15
12
12
12
12
15
14
12
14
14
14
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Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
23
3
3
3
3
E7
17
15
17 15
16
15
14 12
14
12
14 13 12
10
12
12
SOLO EXAMPLE 4
Solo Analysis and Tricks
1. I started this one off in Box 4 specifically to show you that a lot of solos dont start
in Box 1 and stay there. Be able to start the major or minor sounds any place,
any time.
2. Notice the open position E minor lick (Box 1) in bar 4 that leads in to the A7
chord in Bar 5. At this point I didnt even think about boxes but actually used
notes from the chord. Chord tones ALWAYS work and can save you from having
to worry about whether or not youre in the right place.
3. Pay close attention to the double stops in bar 13 as theyre another common
move.
4. The climb in bars 18 through 20 demonstrates a good way to work on getting
through Boxes within your solo. Its a good example of how to work your way up
to a new area on the neck.
5. The last few bars take all of the basic boxes and move them up an octave. Its
always a good idea to get used to working in the high frets. The guitar cuts
through the band better up there and it takes some practice to get used to
working in the smaller frets.
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Playing Through the Blues A Guide For the Lead Guitar Player
Griff Hamlin
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