Oh hi. Eric Madis here from JamPlay.com.
Welcome back to the next lesson in Memphis leads.
You may recall in the last lesson that we did Memphis lead dyads in the E seventh, the A seventh and B seventh positions.
What we're going to do in this lesson is actually build an exercise for these using these little sequences of dyads to actually play
an entire solo over an E shuffle.
Now you want to go back to that original E shuffle that we had the one that we did that was the Jimmy Reed shuffle which was this.
Ok, so using that as a model what we are going to do now is we're going to build a solo.
So let's start off with our descending number one in E.
Now you may be noticing now that I'm using 12/8 time or playing in triplets or going three, one, three.
This is a really effective way of playing in a shuffle time for blues
because it's 4/4 time but if you super impose a 12/8 over that, in other words, instead of one, two, three, four.
You have one, two, three, one, two, three, one, two, three, one, two, three.
You still maintain the 4/4 structure but you fill it up nicely with a very rhythmic type of sound.
So we have descending number one in E and we're going to do this four times.
Now see that you could see would fill up the first four measures of a twelve bar blues
but that gets a little redundant so what I'd like you to try doing now is do descending number one twice.
Then do descending number two once and ascend in E again.
So now we've gone through four measures of this twelve bar blues.
So now we want to do is we want to ascend in A because now we have to play over the A chord.
We have one more measure in A so let's descend number two or the same lick backwards.
Now we have to go back to E because we have two measures of E so we're going to descend number two in E and ascend one more time in E.
Now we have one measure of B seven so we're just going to descend from B, so here from the seventh fret.
And now it's time for A. So let's do the same thing, let's do descending number one in A.
Again, that's descending number one in A.
Then we're going to hit the low E and do a turnaround. This time I'm going to show you a new turnaround instead of this.
Instead of that turnaround I'm going to show you the Freddie King turnaround.
Actually this is a Lightning Hopkins turnaround it precedes Freddie King but Freddie King really popularized this turn around.
This one looks like this, we hammer-on the third string, first fret and follow with the second and first strings. Ok.
Now we're going to come down almost like a blues scale here, we're going to come down now the second string, third fret, second fret and open.
Third string we're going to go to second fret, open, hammer-on the first fret and second fret on the fourth string.
Again, repeat that.
Ok, we're going to go ahead and we're going to use the tag that we did before.
Ok. Again, that tag was the same thing that we used in the first lesson.
E, G sharp, A, B flat, B or E, fourth fret, open A, first fret, second fret, form the B seven sharp nine chord.
So that whole turnaround and tag will look like this, hit the low E and again, the Freddie King turnaround is. Ok.
Let's come down the second string, third string, fourth string and tag.
Let's run through that turnaround and tag one more time.
Ok good, now we're going to put the whole thing together.
So we're going to do descending number one in E and repeat.
Now descending number two in E
and ascending in E.
Ascend in A
and descending number two in A.
Descending number two in E
and ascend in E.
Up to the seventh fret now descend number one in B. Descend number one in A.
Turnaround.
Why don't you take a few minutes and run that over because I know that's a lot of information.
We'll come back and repeat that in just a few minutes.
Thanks this is Eric and I'll see you in the next lesson.