Csi ag BC | CTC | UTE Screaming “4 Css _— Mer | (Slight Return) VOTER toa yt -sld i hy 9 wm) wel! t I] :This month we conclude our two-part Paul Gilbert lesson with a scary blues jam. elcome to the second part of four two-month masterclass with US shred-mcister Paul Gilbert Last month, we saw Paul blasting over a Hilborne original with a neo-classical ‘ig, a style that Paul was renowned for in his Hacer X days. This month its time for our good fiend the 12-bar blues in A. If any of you have seen any of Paul's instructional videos, you wil [now that he is a master of rapid pentatonic/blues leks. Check out his Jimi Hendrix tribute album for more ofthe same. ‘the title. Yes you've probably noticed the immense sont fie. Well, there isa reason behind this. Every time we do a masterclass, Phil and I sit for ages Ascussng possible song titles, so this month we thought we would continue the theme of one of Pau’ excellent Guitar World columns from the tatly Sos. We also wanted to have a longest tile song ttle in at ever! Very childish, 1 know. ‘This track is another Phil Hilbomne original tat hasan early 22 Top vibe. Don't forget, Paul isa ridiculous guitars, so try to pick out licks ind ideas that you could fit into your own style The backing track wil provide a great vehicle for your own improvisational ideas. Derformance notes Exercise 1 illustrates Paul's trademark blistering salo pat, Bars 1-8 introduce the tune with some Tad-back blues licks based around the A minor pentatonic sale Pay close attention to the phrasing, espe Paul's use of string bending and vibrato. This section concludes with an ascending single string pentatonic line Bars 9-13 include more A minor pentatonic Sdeas, plus licks that uses the A blues scale: A CoD SANS 18 ANSE Paul also introduces the A major pentatonic scale: oe RA 22 Te Notice how he mixes both major and minor pentatonis to create a hybrid scale. He also uses the two scales to negotiate the chord changes. Bars 14-16 introduce some of Paul's signature tree note per string pattems, with the help ofthe [blues scale and A Dorian: A= nes move in opposite svections ut remain hermoncaly and rele corre. = eee om 0 DA fetsom wes 1 w plained on page 92 This section concludes with some major pentatonic phrases Bars 17-20 sees Paul using notes from Mixolydian over the E chord, He also includes the natural note as a passing tone: Paul concludes this setion with more licks based around A Dorian, A blues, and A minor pentatonic Bars 21-28 include more pentatonic, blues and Dorian licks, plus a fast string-skipped pentatonic phrase at bar 23. Throughout this section itis important to keep things flowing: also check out more of Paul's cool sting bending. Bars 29-32 kick off with some fast legato lines ‘based around E Mixolydian, plus fat pentatonic lines with chromatic embellishment. If you find this typeof playing tricky, target each group of ites to the appropelate beat and practise at a slow tempo. Bars 33-36 introduce the break-down section and include wrenching bends and phrases based around A blues and A Dorian. Paul also performs a fast picked bending idea at bar 35. Bars 37-38 include yet more fast scalar patteras that fuse both fast picking and legato phrasing ars 19-40 kick off with an ascending pentatonic line, Notice how this run is grouped, as it should be played with a straight fee. Bars 41-44 include a classic Gilbert lick. Based around the majorfminor blues scale, this lick fearures the same fingerings in both the positions itis played in. I is concluded with some fat two handed tapping ideas. For ease of learning this lick, I have quantised it to each beat Bars 45-46 includes some bluesy siding double stops, performed with fast picking. Bars 47-49 see Paul playing more bluesy pentatonic licks. Look out for the pinched hharmonic at the end of bar 47.e Bars 50. include more three-note-perstrins {A Dorian licks, plus more pentatonic phrases, Look out forthe muting in bar 52 Bars 55-56 conclude the main part of the tune, witha fast two handed tapping pattern that shifts up the G string. Bars 57-62 included more laid-back blues phrases over the tune's outro, Take care with the Pitch of the bends during bar 61 Bars 63-65 incorporate tricky wide-stretch three-note-per string pentatonic pattern. Once again, practise this slowly to start with. Bars 66-71 concludes Paul's solo with more Dorian/biues-style phrases. Tae end section should be played freely, so once you've ot the licks under your fingers, go for i Exercise 2 shows the rhythm part played by Pit Hilbore. The main riff is based around a standard I, 1V, V progression in A, but also features a number of riff and chordal ideas. Phil also includes some great sliding chord voicings that should produce plenty of ideas for you to spice up your blues rhythm playing, Bar 33, introduces the break-down section, The thythm For he WECD sso, Pal ve hare ol Gilbert mde uth ima ita ard Ere Ba 5-4 au stings Uhrough zany VOD wth ne ftewing stings Vol Gain Bass Mid Tred Drve eee Pl asses 1m its or the yt pr Pied ‘sly PS goed iti Le lon Ape 10 malt ed playing here is pretty sparse, so watch your counting. This part concludes at bar 44 with @ high register £749 chord. The outro is introduced at bar 57 and includes a second guitar playing some sliding ixths that outline the chord changes. 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