Stormy Monday Blues Lead Solo (Part 1)

For more information from the source site of this video please visit: secretguitartea...
This is a sample lesson from the Secret Guitar Teacher web site (see link above). The lesson is part of an Intermediate Level course called 'From Blues to Jazz'.
Here's the abridged transcript:
A great way to learn to improve your soloing technique and style is to take a close look at some of the solos played by great guitarists. For this lesson I decided to work through the first verse of the solo played by Duane Allman - it's the first solo on the recording.
Here's the first couple of licks. I play this using the fourth position blues scale pattern. Notice that we reference it to the 7th fret as if it was in the key of E. This is because the blues scale in E gives us the Country scale in G, the major key of this song.
Let's take this a chunk at a time. Over the G9 chord we play
...that's three fast hits on the note at the 8th fret on the B string then two full-tone bends on the 10th fret at speed... Then as the chord moves up a semitone to Ab9 he reflects this change by bending up to the full tone and then back.
This is a very interesting case of 'stretching' the scale by bending a string a semitone further than normal to accommodate an unusual chord.
Then we move up to the top string to play a new lick over the G9. The first lick is repeated then it's into a prebend..notice the little letters 'PB' above the tab.
The 11 in brackets tells us this is a halftone bend - it means play at fret ten, but bend to make it sound as if played at fret 11...
So that whole phrase again in slow motion ...and at full speed.
As we make the next change to the two bars of C9, this scale pattern can be temporarily abandoned and we concentrate in on a lick based on the C7 chord.
This is where knowing your chord formulas really pays off. Let's take a quick look...The formula for a 7th chord is 1 3 5 b7 which means that the C7 takes it's notes from the first, third, fifth and flatted seventh steps of the C Major scale.
The formula for a 9th chord is 1 3 5 b7 9 - so it is simply the same notes as the C7 but with one extra note added - the ninth note of the c major scale - D -
As C7s and C9ths are pretty interchangeable in Jazz and Blues, you can play a lick based on either whenever you see a C7 or C9 in a sequence.
So in this case we start on the b7th, the Bb note on the 6th fret top string...
...and using the fourth note in C - the F at the 6th fret on the B string as a passing note we land on the G - the fifth note in the key of C... and bend it up a tone and a half to the flat 7th the Bb.
OK. So we're halfway through the verse. This might be a good time to go back over what we have covered so far and consolidate. I find it takes many times of repeating a solo with this much detail in, to get it down.
So we'll take a break at this point. Once you feel ready, please join me in part 2 of this lesson where we'll continue to work through the rest of this solo verse lick by lick.
See you then

[@ahmedzeid4957]

Man , you have changed my life ! I always wanted to play the blues and here i go ! you are the best teacher anyone could have !

[@brianamato1078]

Great sound. Are you playing thru a pedal? Which one?

[@MDLinzee]

Unfortunately, there’s a low freq tone running under the audio track on this video, making it hard to listen to for long.

[@alanmcdowell977]

Stormy Monday Blues Lead Solo (Part 1) where is [part 2] Stormy Monday Blues Lead Solo

[@julianeubauer3416]

Where can I find part 2?

[@SecretGuitarTeacher]

Go to www.secretguitarteacher.com and sign up for the FREE thirty-day trial (no credit card details required). Navigate to the SGT Classic section of the site and find the course called: SGT Classic: From Blues to Jazz. These videos are part of that course.

[@licksnkicks]

Omg you are an amazing player as well as a great teacher! I loved your blues playing! Loved it absolutely!

[@Ruby_The_Dog]

One of the best lessons I have seen!!!!

[@hunterjumper5892]

Thank you Sir. Very inspired performance and lesson. Really enjoyed it.

[@royenfield2]

dare i ask...where is stormy monday solo pt 2?

[@makemoneyquad3254]

Remarkably thorough. Lavvv it

[@stephenbinder4623]

great lesson. how do I see part 2?

[@adityamehta2819]

why would two people dislike this.. by the thank you sir

[@downhill240]

Interesting lesson! Thanks for sharing.

[@MrJudo2go]

Watch your lessons and think you always have some much to offer. About this, I suppose it's subjective. I thought the 1st way was better. Although I love the Allman Brothers version, to me the Wayne Bennett Bobby Bland version has a classic sound that's fantastic too.

[@detlefruschin7973]

I understand that's an old lesson, but maybe it is still useful to make a comment. What you said really gave me some insight. Many thanks! However as someone else already wrote the choice between the major and the minor pentatonic is a matter of taste. I find the "country scale" even more boring because it lacks the tension between the major thirds in the chords and the minor thirds in the scale. One thing you said I feel is incorrect, though. You announced that you "play this using the fourth position blues scale pattern", which has the index finger on the seventh fret, but actually the solo uses notes on the 8th, 9th, and 10th fret of the upper three strings. The C natural on the high e string 8th fret is not within that major pentatonic pattern. But what is is then? The position Duane used here is known as the B.B. King box. Explanations of what scale that is vary. If we let half tone bends out of consideration then it is clearly G Mixolydian (or C Major, if you like), right? Did you want to keep things overly simple for us students?

[@kevinbarnhart2795]

What I like is you don't have to watch a long ass lecture before anything happens.

[@steamkidsdad]

So when I see something in tab write. 10(12) that means bend up to the note the 12th fret will make?

[@andrewauld1234]

Great lesson but I can't find the lesson for the second part. Help!

[@kevinbarnhart2795]

Question. I been exploring different scale modes, and my question is , what other modes would go with this kind of slow blues grove?

[@kevinbarnhart2795]

I been struggling with the solo on this song for a long time. I experimented with these modes and this is what I came up with. I did Dorian over G and C, I did G mixolydian over the G 9 , G9# , G9, C mixolydian over C9, G mixolydian over the walk up to A minor, A major pentatonic, B major pentatonic, and then moved in for the kill with G minor pentatonic on the turn around. I had "whoahh moment when it came together. It works great with or without a distortion pettal. Do the half steps with a slow bend. Very nice. Thanks.

[@lindatorre]

can you teach the first solo you did using the G minor pentatonic scale? (or post the tab) For me, that one was way cooler.

[@lindatorre]

***** Yes, I was able to pick up a lot of it. I'll check out your site as well...thank you!

[@Ruby_The_Dog]

Using the blues scale express more pain but you loose the brightness and the attack of the country scale. I guess It has to do with personal taste and weather conditions, cloudy = blues scale while sunny = country scale.

[@adityamehta2819]

here is the second solo lesson kzbin.info/www/bejne/h3qygH2rgJmcnpY