Eric CLAPTON’S SECRET Lick for Turnarounds | It’s SO EASY!
ฝัง
- เผยแพร่เมื่อ 28 มิ.ย. 2024
- Eric Clapton’s Secret Lick for Turnarounds | It’s SO EASY and GOOD!
Do you know Eric Clapton’s Secret Lick for Turnarounds? He used it so often with Cream that it became a staple of British Blues players like Peter Green, Mick Taylor and others. The amazing thing about it is that even though it’s SO EASY, it lets everyone know you’re really playing to the turnaround, so it’s a great lick too. Easy and great! What could be better? Enjoy!
Get free TABs here: tinyurl.com/2s3c7c2a
Please help support my lessons by donating here: paypal.com/paypalme/mzabel335
More Classic Rock: • Is This The Most Beaut...
Beginning Blues Soloing Series: • Beginning Blues
Mark Z’s Guitar School: mark-z-guitar-school.teachabl...
0:00 Introduction
0:55 Context in the Blues
2:13 The “Secret” Lick
3:20 Cool Variations
5:50 Demo in the Blues
7:00 End
#ericclapton #clapton #markzabelguitar #markzabel #cream - เพลง
![ความรักของยักษ์เขียว (ทศกัณฐ์) - เดี่ยว ไออุ่น [OFFICIAL MUSICVIDEO 4K]](http://i.ytimg.com/vi/yCCy-QVHqK8/mqdefault.jpg)
This guy is good. He provides clarity for each lesson that's not found elsewhere. I like that. Well done.
Thanks JD! Appreciate the feedback.
The best online teacher
Thanks!
I went to a Music Store and bought a Gibson SG and an Ampeg tube amp Oh like the song by Money is for Nothing and the Chicks are free that was me 1972....But I failed to realize that perhaps you need Talent.. What a hoot the Guitar never learned a thing in the closet....@@MarkZabel
I’m fond of the one at 4:48 and incorporate in one of my original tunes, inspired by Freddie King.
to me eric clapton is a complete blues guitarist, he got the technique and the soul and feel of blues !
That he does! I think it's because he learned by actually studying the older players - the people who invented Chicago Blues - and then he added his own sound and style.
I like how you talk the language of music while demonstrating. This is real teaching. Most tube 'teachers' say the string and fret number and not much else, for the most part. Good job. You deserve some dough for this. Wish you were my dad so I could get better than you...someday.
Thank you! I try not to do the "paint by numbers" style of teaching, because I don't think it helps you grow as a player. It's fun to learn specific songs and licks of course, so a good balance is helpful!
LOL! I think I'm a pretty good dad too. Hope my kids think so! You'll get better than I am for sure. Keep at it and don't let anyone tell you music isn't important! Find out what *you* have to say on guitar, with your voice, whatever the case may be.
You're a great teacher! Thank you for all you do for the guitar community!
My pleasure. Thanks for watching and for your kind comment!
This was great. It's definitely there in the Crossroads licks.
Thanks Geoff!
I must admit, your little insights into theory, really are "lightbulb moments " explained well and simply
Credit where it's due old boy
Wow, thanks a ton Glenn!🎸
EC is as clean and precise as any guitarist!
Wonderful and insightful lesson as always, Mark!
Very Simple and So Beautiful! Thank You so much for the Lesson!!!
You're very welcome. Thank you for watching and for the kind words!
Hi Mark, I've just found you channel and I gotta tell ya I'll be coming back again. You've got a really nice way of presenting and you strip out the crap others leave in and get on with it. Thank you for sharing and for the obviously hard work you put in 👍👍👍.
Thanks a bunch Andrew! Welcome!!
that final lick of your demo in the end was very cool.
Thanks! Glad you enjoyed it.
You should have been my guitar teacher my first 3 years of lessons. Great stuff
Wow, thanks!
Great lesson Mark, loved the suggestion on a turnarounds lesson, both for rhythm and lead.
Glad you liked it!
Love your lessons Mark
Thanks a lot Pete!
Hi Mark! Another great lesson. While I don't play much blues, I still see how this lick could be used in my playing! Thanks as always for sharing your knowledge with us!
My pleasure. I'm glad you can incorporate this into your playing. Thanks for watching!
Wow 😮
Simple, right?
There's a nice example of this on Key to the Highway from the Riding with the King album. The song is in A and Clapton plays a descending E7 arpeggio around the fifth fret then slides the low E up to F#, plays the A at the seventh fret of the fourth string then hits the open A string. Beautiful.
Hi Ron. What time in the song does he do that. Every turnaround I heard ends in E, not A and a number descend on an A arpeggio ending on the note E, which makes sense given that the A-chord precedes the E7 at the end of the turnaround.
That version of the song (as well as the one on Layla And Other Assorted Love Songs) prominently features the lick I'm talking about here.
Great little lesson, thank you!
Glad you liked it!
Great stuff mark! love this :D
Thanks Doug! Glad you enjoyed!
Very nice tip mark thanks
My pleasure. Thanks for watching!
Great video, thanks Mark!
Glad you liked it!
Really cool and helpful 😎
Glad it was helpful! Sometimes the easy ones are the best.
I really like the way you explain this stuff.
Its simple stuff but effective.
Subbed!. :)
Awesome, thank you!
Appreciate your lessons! Always, simple and clear and fundamental. Your demonstrations always show you playing free and easy; it’s easy for beginners to get caught up overthinking scales. You seem to demonstrate that chromatics and passing notes and bending are always cool provided that you land on key notes in time and in rhythm. Think of the wild and unconventional solos of Page, Hendrix and VH. A purist might say what the hell are these guys doing? But they always seem to stay on the tightrope because they find the coolest notes on the chord changes.
Thanks!
Yes, did. What got my attention is playing E yet under chord A. A real treat of doing transition. Many thanks. Sir. Best rtegards. Paul,67
My pleasure. Thanks for watching!
Not only is it great learning things from you, Mark, but it´s refreshing when you affirm that I've already been doing something right. Positive reinforcement, (LOL). As I grow older and wiser it becomes more evident that we can never cover the basics and the fundamentals too much. Thanks a million for your efforts and content.
Thanks George! You're 100% right about the basics. Years ago I studied chess - a lot ... really a lot. At that time the Russians were by far the best in the world. I had the pleasure to study with a emigre from Russia - an international master (IM). We started by studying the most basic King + Pawn ending. I said to him, "That's easy! I know that." He then proceeded to show me more and more about those basic positions than I ever knew. It became clear that he REALLY knew simple things down cold ... and I didn't. I'm not saying that was the only difference, but it was a very big difference.
So while I don't consider myself a "grandmaster" in any sense of the word, I still try to focus on the basics quite a bit. It helps me a lot and I'm glad you enjoy it too!
@@MarkZabel:
Yours quickly became one of my favorite channels, along with Mike Pachelli and creativeguitarstudio. Unless I´m composing and recording I spend ten times the time watching tutorials than I do on any of my guitars, bass or keyboards. The result of having ¨Too Much Time On My Hands¨"I suppose. LOL!
I used to play a lot of chess. Never became good enough at it to derive more pleasure than frustration so I gave it up. (peace).
@@jaelge thanks George! I appreciate it.
Good one !
Thanks!!
Killer lick! I need to add this one to my tool kit 🎸 🧰
Absolutely!
MARK, When David Gilmour plays blues progressions or rock progressions he will use the relative minor or relative major or parallel major or parallel minor. Example if you're playing in the Key of A minor Blues, you can use the parallel A major notes added to the A minor pentatonic scale, you can use the relative Major which would be C major which would give you more of a Happy Tonal Center. If the chord is an A minor chord the target notes are A-C-E but you can use the TARGET NOTES from the parallel Major and TARGET NOTES from the Relative Major. This would be a really good lesson about using target notes from the relative mode and parallel mode in a I-IV-V or i-iv-V blues progression
Thanks Wayne. I'd be very careful with this one. I don't know of any Gilmour song where he targets the major 3rd over a minor chord - "targets" meaning he lands and sticks on that note. It's, of course, possible to play any note over any harmony, but landing and sticking on such a note is another matter. Miles would do that sort of thing for shock value I suppose, and some modern jazz is always "outside". Not my cup of tea, and its relative non-popularity speaks to the general receptiveness of the practice to listeners.
The general rule is that over blues progressions:
1. You can use major or minor tones over a major blues.
2. You should avoid major tones over a minor blues. (This doesn't include using, say, C-major over Am, the "relative major".)
#2 has exceptions, such as when using a secondary dominant substitution.
Interesting thoughts though. I'm putting together (thinking mostly at this point) of a video based on something similar to your suggestion of C-major over Am. The difficulty is in making it simple and accessible to people.
@@MarkZabel You just use the major 3rd as a passing note use it like a b5 in the blues scale when playing over a minor chord. David Gilmour creates a PHRASE A which is using the minor pentatonic while over a MINOR chord then creates a PHRASE B which is using the "major" pentatonic while over a MINOR chord. This creates this SAD to HAPPY tonalities. Its very boring to just play the chord tones/target notes only in the home key, if you use target notes from the Relative mode and parallel mode but you have to use those target notes in a different way because their "Note FUNCTION" has changed. Try to come up with a lesson about this because this would help out how to use the relative mode and parallel mode target notes/chord tones.
@@waynegram8907 Okay.
@@MarkZabel it's called " contextual" when the same notes in a scale have a different function when referenced or related to the rhythm chord. The relative mode has the same notes in the scale when using them in Contextual which is how David gilmour uses them to create this happy to sad phrasing effect it's used in classical composers all the time phrasing 101 classes
I’m confused by the major/minor discussion here. I thought that you can start an Am pentatonic blues and play F# m scale notes to give it a “major” sound? I’m thinking about Crossroads and Black Dog and 1000 other solos. Can you clarify how a C scale would fit on those songs, for example?
This guy is great!
Thanks!!
I like how you split that lick up and moved it around. Not sure if chord shapes/positions was the exact point you were trying to make but that's where my head is at right now. LOL
I'm learning Vince Gill's solo for Oklahoma Boarder line (as played at the crossroads music festival) and as I worked on trying to figure out hard-to-hear details in his phrasing it suddenly occurred to me that if I knew his relative position on the neck and the scale shape he was using, all I needed was to think about the shape of the chord under the scale - the details started to pop.
All his phrases are built for speed using triads - one shape flowing into the next - one lick setting you up to grab the next.
It's not something I wasn't aware of but it wasn't front and center in my head like it should have been. An example of that would be a C barre chord played at the 3rd fret but you can also play that same C chord using the movable G chord shape starting at the 5th fret - or a G barre chord played at the 3rd fret flowing into the G chord using the movable C shape played at the 7th fret.
It's not so much the chords as it is the shapes and the scale patterns you can take to other places on the neck in any key. WITCH CRAFT! :))
I haven't forgotten our conversation about modes either. Haven't reached a complete understanding but I'm starting to see the point you were making about playing a solo in and out of different modes over chords. My problem is that I make things far more complicated than they actually are.
Thanks Mark!
Really interesting comment! Well, the main point is that it's a great lick and super-easy. But there are a couple of additional points one can glean from it.
1. Chord tones. Play chord tones. No better tone than the root of a chord.
2. Chords and scales. Not really part of this, but you noticed I deliberately played over chord tones in the example in different places. Associating chords with scale shapes and arpeggio shapes is really helpful. So, for example, for the 5 common major pentatonic shapes (talkin' country here), each scale shape has an embedded chord inside it. Knowing those embedded chords is hugely helpful.
But it's kind of important to know not just the shapes, but which chord you're playing over. Why? Because then you can play changes far more effectively - especially if the key modulates.
Anyway, the bottom line for me is that all things considered, if you know the basic "cowboy chords", the names of the notes of the fretboard and a few other basics, knowing your major and minor triads all over the neck is one of the best things you can do. That and playing songs. Lots of songs!!
@@MarkZabel It's a very cool lick. I don't practice blues very often but it's one of the first Eric licks I learned. It never occurred to me to break it up like that but when you showed it like that, it made perfect sense considering the kinds of things I've been working with on the fret board.
It would be very cool if you could do a Dickey Betts solo breakdown/analysis over One Way Out. I bet there's all kinds of good stuff in there I didn't know I was playing. LOL
Diggin' the mini humbuckers.
Yeah, they sound great through this amp I think.
Thanks very much, Mark.
You're welcome. Great to see you BTW!
@@MarkZabel Thanks Mark :)
New sub . Glad I found ya 😎
Awesome! Thank you!
Hey Mark, thanks for using the deluxe! I have a 2007 gold top deluxe myself. You don’t see a lot of them, I think they are under appreciated.
Right on! It's a tribute version though, so it's missing some bling (binding). Love the more open sound of the mini humbuckers.
Thanks
My pleasure. Thanks for watching!
@@MarkZabel Mark im 70 yo I've been playing 13 years now im far better now than when I was young
@@goojedooje660 that's fantastic! Keep on rockin'!!
This is Great. Thanks so much for posting, Mark! Peace from Boston.
Thanks so much! Glad you enjoyed it. Greetings from Upstate NY!
@@MarkZabelYour very welcome, Mark! Love upstate NY !! Finger lakes are beautiful!!
@@robertgoodwinr6523 Yes. I live a mile away from Cayuga and plan to be in my kayak in March ... maybe late March!! :)
@@MarkZabel Nice!! I miss some of that big time. I've been woodshedding guitar for a couple years big time and haven't fished/kayak'd for bass since. But I'm loving this instrument! Thanks to you. Here is a vid of me giving it my best! peace th-cam.com/video/BbHuLA5odNA/w-d-xo.html
@@robertgoodwinr6523 Great job with Good Times Bad Times! You've got to get outside sometimes though, right?? LOL!
True very true but in a chromatic ascension the melody will be counter tempo to the harmony. So take a diminished 5th the octave of a diatonic leaves the minor root unresolved but interval between the sharp and the flat notes form a binding tonic. It's makes all the difference
LOL! 😉
Phew. When you said you'll need to practice this and build up your stamina. I was like ahh, I got this no problem. Wrong !! Hardly your speed and my hand tired in about 4 bars. Damn. Wake up call big time ! Great lesson ! Appreciate it big time. I know what I'll be working on. Really gave me an appreciation of how good you are man !!!!!!
Thanks so much! Glad it was helpful!
Cool Deluxe 'Paul.
Thanks!
Thank u🇫🇷👍🏼🍒
My pleasure! Thanks for watching!
Hi Mark was wondering if you have done a guitar lesson on turnarounds. If so cool please sent me a link. Also cool idea how make a turnarounds in different keys like the key of guitar key of g or in the guitar key of A.
Here are a few from the past couple of years.
1. th-cam.com/video/peC2E6LTGfc/w-d-xo.html
2. th-cam.com/video/gSpgwEzDYCw/w-d-xo.html
3. th-cam.com/video/cXkknXSGKJE/w-d-xo.html
4. th-cam.com/video/-XNEbLNsUBs/w-d-xo.html
5. th-cam.com/video/ZauM7UxzlMM/w-d-xo.html
Cool thank you Mark.
Nice Mark, never thought of this idea thanks. Hey all you need now is a Marshall blues breaker amp to match that LP. Can’t think of a better tone that Clapton had can you?
No, I think if was Clapton's tone at its best. Although he did have some great tones on Derek and the Dominoes' "Layla" album. I'll keep my eye out for a bluesbreaker that won't break the bank or get me divorced!
But i did hear that Clapton's entire album Layla had maj recording flaws... so I just began wondering if that could have been his best sound. I could be wrong, 61 year old memory and modes and chords oh... and a FNP cloud many a memory!
@@midi1529 Interesting stuff! "Derek" is the first album Clapton went to a Strat and it kind of defined yet another direction players/producers would go. People already had the psychodelic template for the Strat (Jimi), now they had a blues-rock template too.
Layla is one of my favorite albums. If there are recording flaws, they are well hidden.
sounds like the first 3 notes of BUDDY Holly's that'll be the Day
The intro "That'll be the Day" is a blues turnaround. This lick would coincide with the part where that song simply plays the V chord before starting back at the top. So it's a bit different ... but yes, same context and same basic idea!
Hi Mark, a Clapton lick on a Les Paul rather than a Strat! Wow. (Not to miss the thumbnail with a red Strat).
Yes, BUT, during the 1960s - the heyday of British Blues and when this lick was common - Clapton played a Les Paul, 335, and SG. Only in 1970 with Derek and The Dominoes did he really use Strats. I'm fairly sure his solos with John Mayall are on LPs and his solo on "While My Guitar Gently Weeps" is on a LP (I think).
@@MarkZabel Yes, of course, that's why I prefer his earlier sound, a little more possessed, if I may, than being somewhat clinical in the latter part of his career. You're right, 'While my guitar..' solo was played on George's red LP gifted by Clapton himself!
He also slides up/hammers on to the root from the Major 7th alot.
Yes, that's another common one. Nice!
@@MarkZabel I never actually noticed it myself until I saw it pointed out by that kid Ross Campbell
Good Lesson but maybe would sound better with a Strat and overdrive pedal
Thanks. Clapton generally used a Les Paul straight through a Bluesbreaker amp in the early days when he did this. Then an SG. Only in 1970 did he turn to a Strat. And Peter Green and Mick Taylor also generally used Les Pauls to do it. That's the reason for the choice. More authentic.
You *can* hear him doing this lick on "Key To The Highway" from "Layla and Other Assorted Love Songs" using a Strat, but it's a bit past the heyday of British Blues.
Embedded zorba the greek 2:28
Maybe he played a secret Vamp instead of a turn around 😁😎
LOL! 😀 No, this was Clapton's go-to lick for so many turnarounds in the 1960s and on his Derek and the Dominoes album. So easy, so strong.
*LIVE STREAM SUNDAY, February 21 at 12:00 pm EST*
More Classic Rock Lessons: th-cam.com/video/7Ef_4jqGuEQ/w-d-xo.html
Get free TABs here: tinyurl.com/ybpzjuwm
Please help support my lessons by donating here: www.paypal.com/paypalme/MZabel335
Beginning Blues Soloing Series: th-cam.com/play/PLSVfUQKkNUqYZleav3HIM6ra-a420ZaTN.html
A secret lick, like any other secret, if you let someone ear it, it's not a secret anymore ...
True enough. Now you know too! :)
@@MarkZabel Chuttt, don't say it, it's secret, nobody knows I knpw ..
@@alphascorpii185 Sorry, I'm not following you. I didn't say "nobody knows it". Obviously that wouldn't be true, because Clapton certainly knows it. I think I said few people know it and use it.
@@MarkZabel Oh Yes, I just wanted to make a joke, not a very good one, but as I'm French, it's difficult to joke in another language. But anyway thanks for your videos.
@@alphascorpii185 Ahh, no worries. I understand completely. Your English is far, far better than my French!
rule brittania !
LOL! Awesome!
Is that a MAJIK MUSHROOM in the picture? And is your house shaped like a mushroom? Do u have Hobbit friends?
*It is*, of a sort. No hobbits, but plenty of tomtar around my house!
@@MarkZabel Tomtar ? what's that?
@@overcome8628 It's the plural of "tomte" of course! :)
Your still sliding up from D# to E & double on E to complete it,,, it is just a variation on the D-D#-E
Partly true, but it's one of his 2 signature turnarounds ... both are similar. The first is how you describe. D# to E, then drop an octave. (And the variants I give in the video.) The second is to play the minor 3rd to the major 3rd of the I chord and then to the root of the V chord and again drop an octave.
That's what a lick is - a pattern or phrase. D to D# to E is another lick. It's different, though related. Listen to Clapton and Green between 1966 and 1970. It's all over their play.
Well...now it's not "secret" anymore. Eric may get depressed at this news. 🙂
LOL! I think he'll get over it. Ha!
7:18 for 60 seconds worth of obvious information. 🥴
.
er... don't think he considered anything he did a secret😊
Right. It's on record for anyone to copy, which is why I said it's not really a secret.
The mystery is why so few players do it,because it's super-easy and sounds great!
So the "trick" is to play an E note when the E chord is being played? ...eeh, ok.
Not quite just playing E , but you've got the general idea. Simplest is often best. Listen to Clapton, Peter G, and Mick from that era. Walking down the A (I-chord) to the E (V) note or simply dropping an octave.
A secret lick that's not a secret... Probably tough to "come up with something" that hasn't been done s hundred times for an instructor. Here's another secret that's not a secret: HW + T = S hard work + talent = success. It'll take a long time... but if you're a bit lacking on the talent side you can overcome it with work. I think most benefit from learning theory and applying that to what they've heard and what they want to play. Just do it! Practice!
I have Always thought that Eric Clapton Is the more overated musician in the music history..I mean his solo albums are,apart from 1,very poor.With Cream he wrote something ok..the Derek and the Dominos not bad but nothing special to me.I mean Stevie Ray Vaughan Is from another planet...then I would mention Michael Bloomfield,Gary Moore,Duane Almann, Albert King,Freddy King, Robben Ford,Popa Chubby,Albert Collins, David Gilmour,Brian May,Eddie Van Halen,Jimmy Page,Richie Blackmore,Jimi Hendrix,Angus Young etc..etc...etc...
Hi Paolo. I appreciate the comment, though don't agree its premise or the assessment of his music. He was one of the few guys from the 60s who defined what rock guitar was going to be for the next decade or so and his influence was huge. Guitar isn't a competitive sport or a duel. It's part of communicating through music. I believe Clapton understood that well enough, as do many of the others you mention.
@@MarkZabel I agree with you..music Is not a competition..art Is not Olympic games..for instance I love B.B King album Live at Regal(everybody must listen to this album)but I love Yngwie Malmsteen first 4 albums.I mean two opposite style of guitar playing.but I love both....Eric Clapton doesn't give to me the same emotion that gives to me Gary Moore when he bends the string...his vibrato..his licks.I mean if you have time listen to the last two album that Gary Moore made before passyng away...Close as you get and Bad for you Baby.
@@paolo5861 Thanks Paolo!