One of the first things most of my students go for when playing over a slow blues is more speed, and that doesn’t usually work out as intended.
The thing with speed is that most of the times you’re dealing with a double – quarter notes go to eighth notes which are twice as fast, and from there it’s sixteenth notes which are twice as fast as eighth notes.
After the sixteenth notes it’s 32nd notes which are… kind of silly fast
But what if there were some options for soloing over a slow blues where you use rhythms that are different, but not twice as fast? You’d have a much better chance of nailing them 🙂
Here’s a video with a couple of ideas for you to try.
34 replies to "Slow Blues Rhythmic Solo Ideas…"
I love your lessons. Well done.
On this lesson the backing track is hard to hear behind what you are playing.
Griff–I would like u to tab out Summer time by Janis Joplin and the big brother
Holding co
Is it alway about the money?
Just what I was looking for as a start for just playing around. Great lesson.
Very helpful, thanks Griff.
Very nice! Thanks again😎
Great Idea ! Maybe it was just me, But hearing the Organist, and then the Lick, did not sound like it was in the right key.
maybe would have sounded bettr up the fret board.
on new Blood presser meds. Still I Appresitae All you do Griff. thanks, Bbrother!
nice post thanks for sharing
Thanks! There’s a lot of that stuff going on in the Slow Blues.
Cheers Griff
for the lesson 😎🎶
I cracked myself up as I was playing along with the video, I found a cool little lick that just came out of nowhere! Thanks Griff!
Another great lesson, I like the way it take you across to the next bar so you could follow the chord changes if you know what notes you need to end on,I could probably find the root of each chord & the 3rd of the one chord but get lost after that, any lessons on that would be great! ☺
Hey Griff,
Really great lesson, were you using an effects pedal, because for slow blues the extra effects are stunning. All Good.
Michael-St Andrews- Australia May 2016
When playing backing tracks do you play them thru your amp? If so, how is this done. Thank you again for the terrific lessons.
Nice lesson
I’m so glad you understand old people like me.
And me, lol!
Hey Griff, remember watching my sister, level 10 piano, playing triplets with her left hand and playing 16th notes with her right hand at the same time. Kinda like your lesson but different.
Love your videos – thank you,
Ken
Thanks Griff, I think some teachers think counting is so obvious and basic that they don’t go there. But I’m not ashamed to say it is the area I have the most trouble. Could you touch on how to count 16th note triplets? With that I could probably learn 70 to 80% of the songs I want to play.
I really look forward to your lessons each day .I am a student at 71 with your program.I enjoy it.
Thanks Teach, great timing lesson !
thanks amigo.
So simple. You have a nice way of making it easy to understand. Thank you!
You are a great inspiration….thanks so much.
I cracked myself up as I was playing along with the video, I found a cool little lick that just came out of nowhere! Thanks Griff!
Thanks, I have been doing scales but they sound dead. DUH, a backing track makes lots of difference. Thanks, I plan to buy your on line training soon.
Griff – glad that everything went well in the northwast. Surprisingly, I have been trying the 4 vs. 3 recently as a rhythm for fun. Good to hear your support of it in blues. Another fine lesson.
John.
I love your downloads,I can tell you have a good time.
This is a good lesson. I have worked on these scales so much that the only thing I do once I have gone through several scale drills, is work on emotion, off notes and how to fit them in, call and response, holding notes with different count variations, and of course speed when I want it. It can sometimes be challenging when you want to put as much variety into these lead solos as possible. I virtually follow Gary Moore exclusively in how he was able to make his guitar so emotionally viable when he did his solos.
Paul
Good stuff, Griff!
Very good lesson
Griff I’m a little confused about the five pentatonic position in major and minor. Seem every teacher has there version of the position location on the neck . Thanks Dennis
I suggest you call them the five pentatonic “boxes” or “shapes” rather than “positions”. Their position on the neck depends on which pentatonic scale you are using, often Emin, Amin, or Gmin for example, whether it’s a major or minor scale you want, and which shape you decide to use, and that is it, regardless of who is teaching!
Rod in Ottawa
I always like the way you are able to explain what it is you want us to learn. I’m an older guy and appreciate the gift you have to not just teach, and explain it clearly and relateably, but to always keep it interesting.
This is a gift that not all people possess, let alone teach.
Keep up the great work, and thank you.
Mark
Hi Griff,as usual well explained