[Bars 1-4] The
concept at work in our first Vaughan-inspired study is to punctuate
each C minor pentatonic phrase (C Eb F G Bb) with a harmonically
appropriate C9 chord voicing. This is surprisingly difficult to do,
especially at this tempo, so make sure you kick things off at a
manageable pace and turn up the heat as your accuracy and coordinating
comes together.
[Bars 5-8] Continuing
along similar lines, here our harmonic sequence shifts to the expected
IV chord (F9) before returning to the I in bar 7. We add the b5 into the
single-note mix to create what is commonly known as the 'blues scale'
(R b3 4 b5 5 b7) although this is far from the only melodic device used
within the blues idiom. What we do get with these notes, however, is all
the fun of pentatonic with a sense of extra dissonance, tension and
bluesy grit so you should definitely familiarise yourself with this set
of melodic intervals.
[Bars 9-12] More
'blues scale' action here in bars 9-10, along with a shift to a more
chord-tone based soloing approach in the final two measures. It's
important to watch how Vaughan 'boxes-in' the strongest notes of our
underlying C7 tonic chord (C E G Bb), albeit in single-note form – a
simple but highly effective improvisational device in many forms of
music and not just blues phrasing.
[Bars 1-4] Simple,
direct and bold statements are the order of the day for our second solo
study. don't be afraid of space (Jimmie certainly isn't) and don't
forget to clamp a capo onto the 1st fret so that our open string
pull-offs are now in the key of F. From a notes perspective, it's F
minor pentatonic all the way (F Ab Bb C Eb).
[Bars 5-8] Here
we see how Jimmie expertly combines the first and second forms of minor
pentatonic scale, the E minor and the D minor shapes along with a
selection of open string-fretted note unisons. Melodic lines of this
nature originate from the Mississippi delta region and date right back
to the origins of the blues genre.
[Bars 9-12] We
conclude our first 12-bar chorus with a simple, though effective,
descending phrase derived from the F 'blues scale' (F Ab Bb Cb C Eb),
maintaining interest through multiple repetitions by rhythmically
placing the phrase at varying points within each bar. Clever stuff!
[Bars 13-16] Jimmie
is equally adept at horizontal and vertical motion whilst negotiating
pentatonic scales and here we see him in horizontal mode. Vaughan
breathes life into our old friend, the minor pentatonic, with a choice
selection of slides and bends.
[Bars 17-20] As
Jimmie is going in the 'fingerstyle' direction, he really needs to use
pull-of s and hammer-ons when he wants to turn up the pace when soloing.
It's not that easy to alternate pick across the strings with one
finger, although Jimmie sometimes tremolo picks on one string using his
second finger. Here we see how he might negotiate some rapid pull-off s
derived from, you guessed it, the minor pentatonic scale of F!
[Bars 21-24] Here's
that tremolo picking technique. For the C note in bar 21 Jimmie flicks
his second finger back and forth across the string, resting for support
and balance by placing his thumb either on the bass strings, the guitar
body or the top edge of the neck. Yet more rhythmic ingenuity in bar 22,
with a clever triplet comprised six-against-four figure, before a
couple of well-placed 9th chords bring our study to a close.
