#GuitarSoloTab #GuitarLesson #Blues #BluesGuitar #GaryMoore
Today we take a look to another blues guitar solo, the one from "Cold Day In Hell" that you can find in Gary Moore's great album "Afterhours". I make almost all my medium level students study this solo, for them it's a great opportunity to challenge with an aggressive playing with groovin' 16ths and 8ths triplets and screaming bendings! The key is C#m, scale recognition is easy, Gary uses in this solo exclusively the Minor Pentatonic (he even passes through the blue note only once) but the point is how to play these notes and the watchword today will be "aggressive"!
Here there are some TIPS for you:
1) SCREAMING BENDINGS: Gary Moore literally makes his guitar scream with his bends, if you try to perform these bends without any particular care or intentions, the whole thing will sound very different, more exhausted, more flaccid! What you have to do is hit the string very hard and reach the pitch of the note very quickly. Rakes can help you in adding energy to the pick stroke and hit strong but also try moving the pick a little away from the strings to gain a run-up and hit the strings from further away, landing exactly with the tip of the pick on the string we want to play. At the same time we have to bend the string very quickly landing precisely on the pitch point of the note. This will take a lot of trial and error, I recommend practicing each bend several times to get the right sound. A great shortcut is your ear: listen very carefully to the sound that comes out of your guitar as you try these notes and try to make it sound like Gary!
2) GROOVIN' 16ths: in this solo there are a couple of lines with groovin' 16ths, the first is in bars 2-3 and the other in bars 4-5. To have the right effect it is not enough to scan the notes but you have to "make roll" the rhythmic division. You have to alternate picking and tap the foot in strongbeat. I recommend studying these phrases tapping foot included since from the slowest repetitions.
3) PINCHED HARMONICS: in bars 5-8 there are a phrasing with a lot of artificials harmonics, it starts at the end of the 16ths phrase and goes on for next two phrases with triplets. My advice is to play this part all in downstrokes to have many harmonics as possible. Be careful with the two triplets phrases, they are like a call and answer and are more or less the same phrase in two different octaves. Be sure to make the triplets groove like 16ths at the previous point.
4) MULTIPLE BENDINGS: take a look to the multiple bending at bars 13-14. The second string is quiet light at the 17th fret so bend the string up 2 tones doesn't need too much strongness, intonation of the variuos piches is more difficoult. Here you have to try not to start from the bottom to pull the string progressively harder with each note: think of it as a single bending of 2 tones that we pick several times, we start from the string at rest and with each picking we "put" the string a "little higher". After the first four notes we go back a little and start again from there. Let's change the position of the string by a very small space each time, 2 tones are reached very quickly and there are many notes to divide them into! The multiple bend on the last note of the solo is different, this is a matter of brute force. The fifth string is harder and bending it requires more strength so let's grip on really tight and pull it down with three fingers for a tone and a half, then gather energy and with a burst of nerves add the last tone! It will hurt a little but that bend will come out!
LINKS for DOWNLOAD:
-SCORE and TAB (pdf): drive.google.com/file/d/1eRWqxT8PRaPtb-Amm2lzAoF0gDviRok7/view?usp=sharing
-BACKING TRACK: drive.google.com/file/d/1HyNjpTExcGmwjI9vx7jEX-0H2HekPMcZ/view?usp=sharing
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