Let me show you how you can use these things.
Let's say we start off using the little seventh chord arpeggio to start off.
Now let's say I'm come up to the country blues lick.
Now it's time for the four chord lick, ok.
Let's go through again if that's not apparent to you, so say we start over with one.
One, two, three, four. Two, two, three, four. Three, three, four. Four.
Now it's time for the fifth measure or the A.
So let's go to..
and let's do that twice.
Ok and let's see.
Ok, B. A.
Ok, so as you can see, what I'm starting to do is actually construct a solo for you and I'm going to do that in the next lesson for you.
So don't worry about getting that down right now.
Let's just look at the example that I was using of playing this.
Lightning's four chord lick and how it fell into line perfectly with the A chord change at that point.
So we had two different licks we could use.
The A seventh sequence and also the lightning's four chord lick but we also have another one
that of course you know from previous lessons and that is we have the Memphis lead dyads and actually we have three of them.
We have descending number one.
Ascending.
Then descending number two.
So essentially you have five licks now specific to A.
So in other words if I'm playing a sequence in E and I'm playing a twelve bar blues in E like for instance the shuffle I did.
Let's say I start off with the seventh chord arpeggios and the double wham.
I can go to…
See I could've used that A seventh or I could've gone…
The four chord lick or I could've used any of the Memphis leads at that spot.
So what we actually have now is, we actually have vocabulary that we can use to play specifically over the A seventh chord.
Now this isn't always necessary if you have accompaniment.
However, even if you do have accompaniment if you could play more specific to the chord change you'll have a lot more ideas for soloing,
a lot more ideas for improvisation than if you rely on always playing in the key of one or E licks to play over all three chords.
That'll be our goal actually.
To get you so that you're always aware of the chord changes that you're playing over and that you can play either to the key of the one
or the key of the tonic, in this case being E or whether you want to play specifically to the chord that you're playing over.
By having those options you have many different strategies that you can follow in your soloing and the more strategies, the more options the better
because then the process of creativity that takes place in your mind has a greater chance of being able to express itself individually.
So when we get together next time
we're going to start working on putting together all of the licks that we've learned in the past into a twelve bar blues.
This is Eric Madis at JamPlay.com. See you next time.