JOE BONAMASSA GUITAR LESSON

JOE BONAMASSA BEST BLUES ARTISTS ELECTRIC BLUES LICKS GUITAR LESSON

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JOE BONAMASSA TALKS US THROUGH SOME OF THE GO-TO LICKS THAT DEFINE HIS HOT, HIGH-ENERGY STYLE OF BLUES GUITAR.

He didn’t have any of his visiting electrics with him, however a dazzling Gibson Collector’s Choice ’57 Goldtop Les Paul. It sounded staggering through the Lazy J combo we obtained from John Henry’s for the event.

When Joe was connected to and warmed up, he clarified some of his best soul moves for us, lick by lick.

Black Leather - Ernie Ball JB Signature Blues Boy Guitar Strap
Legendary Licks Tab Book
Hand Signed Blues Deluxe Tab Book

Joe exhibits a cool method for adding thickness to soul-filled doublestops by utilizing a more extensive interim. The minor third (top note) is pushed up to the major third, making an incomplete significant harmony, and whatever is left of the lick utilizes a G soul scale (G Bb C Db D F). This would function admirably on the last four bars of a 12-bar soul.

“This is an incredible approach to begin a soul in case you’re with your sticking mates, and perhaps they say, ‘Hey, you kick it off’. Attempt this little lick out for size – its extraordinary for beginning a soul, on the grounds that you get these unpropitious sort of half-curves inside the harmony. It’s a considerable measure of fun in the event that you can get your hands prepared to suspect the progressions and curve down. Furthermore the genuine trap with that is verifying that the inflection’s privilege, in light of the fact that in the event that you don’t get that privilege it simply seems like you’re committing a considerable measure of errors!”

In this lesson, Joe indicates how an information of harmony reversals can help you get thick, substantial sounds, actually when the current harmony’s root note isn’t especially low on the guitar. At the point when the harmony moves from G to C (bar 3), he plays a second reversal C harmony (with G, the fifth, at the base), keeping things low and sharp!

“A standout amongst the most normally made inquiries is the way you get from point A to point B when you’re soloing, for example, when you’re beginning high [among the upper frets] and you need to go drop down on the fretboard. So I contemplate the fretboard regarding pieces.

“So on the off chance that you need to do a falling lick down the neck, you pull [blocks of notes] from each one of these territories. That likewise helps you in mid-solo to simply look down and afterward in case you’re in threat of getting adhered [for where to go next], you can sort of right the boat once it begins posting.”

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