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Guitar Styles Of Eric Clapton Class II Covered tonight –Finish Sunshine of Your Love Review Start of Solo Some alternatives –Pentatonic Scales –Boom Boom.

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Presentation on theme: "Guitar Styles Of Eric Clapton Class II Covered tonight –Finish Sunshine of Your Love Review Start of Solo Some alternatives –Pentatonic Scales –Boom Boom."— Presentation transcript:

1 Guitar Styles Of Eric Clapton Class II Covered tonight –Finish Sunshine of Your Love Review Start of Solo Some alternatives –Pentatonic Scales –Boom Boom – from early Yardbirds.

2 Start with the chords. Next page has the main hook!

3 Sunshine of Your Love From last week. –Have added in a variation. –Listened closely and still feel not a 7 th chord, but that being said I did find one reference that suggested that it was. It was an instructional video – listened closely and still feel it is just a major chord. But the 7 th chord would work. –Take your time on this – you can work on it over time.

4 CD starts with just melody as shown below – later another method can be used.

5 Here adding the power chords on the 6 th could also do 5 th string.

6 3 rd way is to do full D and C chords for 1 st part.

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9 Another alternative is a hammer pull as shown below.

10 2 nd Part

11 A5 C5 G5 A5A5 C5 G5

12 Solo We will just do the first part. Here EC plays Blue Moon as a start. I have included the whole solo but we dont have time to do the whole thing as that would take about 3 to 4 full nights. You might want to pick parts of it out though.

13 Solo – Starts with the song Blue Moon in the first 3 measures. While not as common in Rock as in Jazz this is a technique used by many to start a solo or quote. Listener immediately relates to this. I play it in a lower position and wrote it out in that position as Clapton most likely plays the very first part in 12 th position but for many in class this is beyond where their guitar can comfortably be played.

14 & Slide or bend to the 2 nd note. Clapton bends to the note. Play with distortion

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25 The solo section

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27 The solo can be Claptons or Yours I included the Clapton solo but you may want to do your own solo. If you do your own solo (suggested), then start with the first part of Claptons. He quotes Blue Moon in the opening statement. This is very common to quote another song in the solo. Jazz particularly does that. Lastly, use the book to put the form together.

28 Cocaine Look at the start of this! Just like Sunshine of Your Love!!!

29 Main Idea is similar to Sunshine of Your Love Note the anticipation of the D chord.

30 Pentatonic Scales 5 basic forms for these. By: F. Markovich These are the scales that EC mainly used in the early years.

31 What is a Pentatonic Scale? Penta means five. A pentatonic scale is a 5 note scale as its simplest definition. Unlike 7 tone scales which are called diatonic scales (step – wise). Major scales are diatonic scales. Also the modes are diatonic scales. The black keys on a piano are a pentatonic scale. It is hard to play a bad note using the black keys only on a piano. Pentatonic scales used properly will produce a consonant line but if over used can be boring. You must go beyond just the scale. Remember to use chord tones also.

32 Uses Pentatonic scales are used in all forms of music. Even complex music such as jazz will use pentatonic scales. Blues uses mainly the minor pentatonic but depending upon the player and tune major pentatonic scales are also used. Major pentatonic scales are used extensively in country music. Just listen to the sound and identify the scale in songs that you like. There are really 5 pentatonic scale forms. This makes it easy to use. They are even used in classical music by composers such as Ravel and Debussy

33 Major Pentatonic Scales The formula is the 1,2,3,5 and 6 of the major scale. Notice no 4 th or 7 th degree from the major scale. For those who have learned the CAGED system these are all based off of the CAGED major scale forms. There is some suggested fingering but it can vary.

34 Here is the D Major Pentatonic based upon the C Major Form of CAGED. Note in Green is the root.

35 See relationship between D major scale and D major Pentatonic.

36 Here is the C Major Pentatonic scale in the A form.

37 You could also use 1 and 3 as fingering on the 1 st 2 strings.

38 This is the G Major Pentatonic scale (E form of the CAGED). Notice how similar to the A form (C Major pentatonic on the last page.

39 Most players use a modified fingering for the Major pentatonic scale as shown below but a fingering of 2 and 4 on the 2 nd string and 2 on the 1 st string is also common.

40 Compare these 2 the E form and the A form.

41 A Major Pentatonic – G form of the CAGED

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43 Notice the G and C forms of the pentatonic scale are very similar. Key is the tuning of the guitar with the 2 nd to 3 rd strings being a 3 rd rather than a 4 th appart.

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45 One note on this. I find it easier to do the fingering shown on the E Major Pentatonic and it is different than on the E Major Scale. It affords the player to just move one finger out of the position.

46 Go through these until perfect Practice these every day. Next we will see the relationships to the minor pentatonic scales. The 6 th degree of a major scale is the relative minor. For example: C major has the relative minor of A minor. C D E F G A

47 Minor Pentatonic Scales The formula for these is: 1 b3, 4, 5, b7. Key is to see these as related to the major pentatonic scale. With the addition on one note they become Blues Scales.

48 Here is the first of the minor pentatonic scales. What does it look like in relation to the major pentatonic scales?

49 Here you can see the D major and the B minor pentatonic scales. Notice that the form is the same only the starting note is different.

50 Here is the A Minor pentatonic related to the C major (A form) Another fingering is shown on the next slide. Either fingering is fine to do.

51 Here is the A Minor pentatonic related to the C major (A form)

52 F# Minor pentatonic related to the A Major (G Form).

53 E minor pentatonic related to the G major. Here you can see how the relative minor is the 6 th note of the major scale (dont forget the pentatonic is missing the 4 th and 7 th notes of a major scale. Again on this you could play 1 and 3 on the 2 nd string and 1 on the 1 st string.

54 C# minor pentatonic related to the E major pentatonic (D form of CAGED).

55 Blues Scales From Minor Pentatonic Scales All that is added is the b5 of the scale. When playing solos this note most often resolves to the 5 th or downward to the 4 th. While it can do a skip that is less likely.

56 B blues is like the B minor with just the added b5 of the scale.

57 See the added notes. Note the alternate fingering for the A Minor Pentatonic Scale.

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61 Lots here This is just the forms, next you will need to work with them. On the minor pentatonic scales the flat 3 rd is many times bent up to the major 3 rd in Blues licks unless the song is in minor. Learn where the flat 3 rd is in each scale. It will take some time to master these. Work on them every day.

62 Some examples Any time there is a major chord you can use the major pentatonic scale of the same letter name. Any time there is a minor chord you can use the minor pentatonic scale of the same letter name. Any 7 th or dominant chord you can use the major pentatonic scale. Most of the time you can also use the minor pentatonic scale. In Jazz you can be more adventuresome.

63 Minor Pentatonic Scales In Jazz

64 Try these for yourself Play a chord and record it then apply the pentatonic to it. Some take a bit of time to get used to it. Then try progressions and see if you can find a pentatonic scale that would go against the progression.

65 Boom Clapton did this but the original by John Lee Hooker. Clapton did this with the Yardbirds

66 Words

67 This is what we are aiming for. Whole Thing – 12 bar blues – Notes in E blues Scale

68 This song is based off of the E blues Scale E Minor Pentatonic Scale This is the basic scale but you will notice that in the introduction or first part that you play up to the 4 th fret of the 3 rd string (which is the same note as the 2 nd string open that is in the scale. Clapton uses both of these scales. He has recorded this song as a cover of the John Lee Hooker version. I will include 2 versions of this in the following pages. There are also variations to these.

69 Rest on beat one. Slide up from 2 nd to 4 th fret to start beat 2. Use your middle finger!!! Then back to 3 rd string 4 th fret slide down to 3 rd string 2 nd fret

70 First 2 measures. Note 2 nd measure is just an E and A chord after the E note. Choke the last E chord!

71 This is very cool. Note that I usually slide up to the Bb in the 1 st measure. This is the 3 rd note in the measure. Again back to E A E at end.

72 Here it has moved to A. Measure 6 is A D A. Note that the D is a bit different than you might be used to. Index on 2 nd fret 3 rd string middle 3 rd fret 2 nd string and 4 th fret 4 th string with ring finger. See next slide.

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74 Next 2 are like 3 and 4

75 Measures 9 and 10 now B to E.See next slide of B fingering.

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77 This is the end. Really cool timing on the last phrase with the ¼ notes on beat 3 and 4. Then the E A E. Next slide is putting it all together. I just really like this tune. I have included after this a couple of variations of this. I can honestly say I have heard quite a large number of versions and everyone seems to put their own little signature to it.

78 Put it all togethere.

79 This one uses slightly different chord voicings.

80 Different hook on odd measures. Also harder chords.

81 Tie in to Clapton Eric Clapton listened to and copied many of the blues players from the US. Listen closely to this and you will hear lots of his styles. The blues scales and minor pentatonic and signatures of Clapton. Once you get the swing to this song is sort of plays itself.

82 Wonderful Tonight Slow Ballad in Clapton Style

83 Chords Only 5 chords in the song. We will start in first position. Introduction for most versions is: 4/4 ||: G | D | C | D : || repeated Live version #2 is: First a vamp of 4/4 ||: C |D : || then 4/4 ||: G | D | C | D : || repeated Next we will add in the hook. This is the introduction 2 times and ending 2 times but also between the verses and going into the last verse from the bridge.

84 Introduction to Wonderful Tonight. This is in tablature format. Each line is a string. The top line is the 1 st or the High E string. The bottom line is the 6 th or Low E string. The numbers indicate which frets to play. For example, the first number is On the 3 rd string and is a 4 so you would play the 3 rd string 4 th fret. The Next note is on the 2 nd fret of the 3 rd string then the next is the 5 th fret of the 4 th string (since it is on the 4 th line). Here is the easy version.

85 You have 3 ways to do this. Suggest beginners do first one, Intermediates 2 nd one and Advanced last one.

86 Now for doing it more like the CD Play the root on Beat 1 – arpeggiate the chords – see next slide. Try both in 1 st position and up the neck. Following are 4 examples of doing this. Last one is like the video but others will work just fine.

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88 Learn both with fingers and with a pick. Also try with pick and fingers – called Hybrid picking. Do with each of the following ones:

89 Same basic idea using barre chords. G in the E form. D and C in the A form.

90 Timing is all 1/8 th notes until here. This is more what you want to head for. I would do with pick or hybrid picking but fingerpicking as above works really well.

91 This one is like what is on the video. Learn with both a pick and with your fingers. Really take your time. Use this pattern throughout the song. Notice how the first not is always the root of the chord. You could also move this up the neck with Barre Chords. On the Video though it is done in 1 st position chords.

92 This is the first verse or part of the song. When there are 2 chords in a measure of 4/4 time each usually gets 2 beats. Strum each chord 2 times. This happens in the 3 rd line 3 rd measure of the song. See the * for where. If you do an introduction you would play the first 4 chords.

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95 Soloing Most likely a solo would be off of the main chords 4/4 ||: G | D | C | D : || You could use the G major scale but the main notes would have to follow the notes in each chord.

96 E form -G Major Scale The notes in a G major chord are G B and D. Bottom root is in red – others in light blues The notes in the D major chord are D F# and A. Dont play the G root of the scale! G Chord D Chord 4 C Chord Notes in the C major chord are C, E and G. Practice each of these seperately until you can do them smoothly. Use other notes in the scale as passing notes. Begin and end each line on a chord tone!

97 E form -G Major Scale A form C Major Scale C form - D Major Scale D form - E Major Scale G form - A Major Scale 1 Below are the 5 forms of the major scale. For this song you can approach in a number of ways. But do G major in all 5 forms as a start. Then find the chord tones in each against the G C and D chords.

98 To really learn this Work out all 5 forms (CAGED forms) and where all of the notes are in each of the scales. Work on bending up to notes in the chord and even pre-bends and releases. Take your time on this!


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