00:00hi this is richard barrett for guitarist magazine welcoming you to another blues headlines
00:04in this one i've taken what i feel are some key elements of slashy style
00:08and put them together over a backing track of course so we'll have a listen to that
00:12and i'll be back in a minute or two to talk you through
01:01there are four distinct licks here but they are played we've stuck them together so you'll hear
01:06it as a continuous solo slash is playing tends to draw from blues rock of course and there's even a
01:12little bit of country there with the way he will use bends and double stops so i've looked to
01:17incorporate that and of course a bit of bridge pickup and a bit of neck pickup the example one
01:23shows a little bit of the way that slash would use bends and double stops he's not a slow player
01:30he's
01:30got chops but he's not always in a rush to show you them so i've gone with this approach where
01:37you'll have quite an aggressive rocky sounding track but he'll take almost a contrasting melodic
01:42approach and what i've done here again that's not exactly what i've played but that's close enough
02:03it's shape one f sharp minor pentatonic and i'm sliding down to use a little bit of shape five
02:10so it's a very i feel a quite well proportioned slash type phrase and it sets us up nicely for
02:17example two example two i've gone with the neck pickup i know that maybe slash wouldn't switch
02:25pickups that much in a solo but i really wanted to show some neck pickup type playing as well so
02:30here it is um and i've gone melodic again and held bends not too much vibrato on those bends always
02:38either um and then done a little bit more of a flurry in the way that he does sometimes when
02:43he wants to add a bit more energy so let's have a look we've got
02:51and in in that little moment there i think there's something of slashes approach he'll do that bend and
02:57try and pitch it as precisely as possible but then come down
03:02and i think that's quite a slash move and that sets me up nicely for this kind of
03:13so i i'm playing around a shape here rather than playing a specific pattern but there's definitely a
03:24that's how i'm starting it and if you think of the beat underneath it look
03:32that rhythm is almost as important as the notes that are played
03:40i mean i could play variants on that phrase all day i mean
03:52the idea is to take
03:57that grouping of notes and take some of the ideas that i've demonstrated and you'll find that you're
04:03coming up with phrases like that too without too much effort i think
04:07example three i'm back to the bridge pickup i've gone to these higher reaches of the fretboard
04:13and i wanted to show a little bit more of the busier side of slashes playing and there are certain
04:19things i think that you can do which will put you in that ballpark so i'll paraphrase what i've played
04:36very much f sharp minor pentatonic and i think that if you look at the way that slash will play
04:45rhythmic
04:45groupings and note groupings on a phrase like this he'll take the two note per string pentatonic and add
04:51a third note and the same on the b string and even on the g and if i just mess
05:00around with that
05:07you can see where i'm getting these ideas from
05:13so in essence it's quite a simple idea but the art if you like is where you decide to do
05:18it
05:19now i've played that and then i've gone
05:24which is a little bit more of a clapton style blues lick
05:29so example four high register still gone back to the neck pickup one of the issues i sometimes find
05:36when i'm doing blues headlines is that a lot of blues especially 12 bar well that's three groups of four
05:42and i like to do four licks so this fourth example is what might happen if our virtual slash was
05:52to take
05:52a second round like a bonus lick so what i've done with this one is gone for the melodic kind
05:58of feel
05:59that i suppose we started with but i want to showcase a couple of extra things including a lack
06:05of vibrato really on these bends and he will often pre-bend up a tone or semitone and then release
06:11so
06:20i'm aware that isn't note for note but let me talk through it again
06:32i end up using uh second and fourth fingers on those bends just because the second one is stronger
06:38nothing wrong with but for some reason i find it quite hard to come out of that and then go
06:44back
06:44to the so don't feel that it has to be a finger per fret or anything i think for this
06:51kind of playing
06:52that's a mistake to be honest i corrected myself there because i'd done a bend up and there's nothing
07:04wrong with that but i feel that what slash does and one of the real notable characteristics
07:10it takes a little bit of confidence to bend and then hit the note especially if you're not using
07:14a lot of vibrato but it's perfectly possible i mean people manage to play the violin don't they that's
07:20much harder so there you have it there's not too much to say about tone or anything with this but
07:26one
07:26thing i would say is not too much gain obviously enough to play this isn't like a crunch sound it
07:32is
07:32lead sound but less than someone like steve lucather or something it's not a searing sustaining sound
07:37or if there is sustain it's more due to high volume with quite a lot of mids in it it's
07:43that kind of
07:44sustain you can hear the definition and the pick attack so um we'll have another listen to the
07:50examples and the solo now and i hope you enjoy them and see you next time
07:56so
08:06so
08:08so
08:17guitar solo
08:38guitar solo
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