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This is a fun lick that flaunts BB King's unbelievable use of my favorite thing rhythm. Find More Details On This Page 's a basic pattern, one I frequently call the House Pattern, with a small variation towards completion that's cool to see in usage. However the main point is (drum roll please) the counting! You get to use a lot of off beats, and even switch between counting swing 1/8ths and straight 1/16ths (Yay!) It's worth your time, even if you do not solo much yet, just for the practice and because it sounds so sweet.
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Eric Clapton and B.B. King 2 of the most amazing and initial blues guitarists to play blues licks have quickly recognizable noises. Is this due to the fact that of their tone? Their phrasing? Their touch? Yes, yes, and yes! These, and many less concrete ideas, tell us who we're hearing. Like many of us, King and Clapton started by copying their heroes' blues licks.
Clapton was motivated by Otis Rush, Pal Guy, and the three Kings, Freddie, B.B., and Albert. Ultimately, King and Clapton changed their hero praise into the special designs we now understand and enjoy. However how and when did the Jell-O set in its mold? The best method to respond to these concerns is to review early and mid-period recordings by King and Clapton, and observe how each guitar player spun brand-new fabric from the threads of their forefathers.
Blues Licks Guitar Lesson Blues Lick # 1: a la King In the mid 1950s, King was under the spell of T-Bone Walker, who combined jazz, R&B, and jump blues into a refined, modern hybrid. Blues lick 1, a hip turn-around lick, reveals the sort of jazzy lines that belonged to King's Walker-inspired vocabulary at the time.
The dissonant Db triad eventually works its way to a C triad (the first three eighthnotes of bar 3) before outlining the tonic Gchord with B and Dits 3 and 5. Blues Lick # 2: Regal King Among King enthusiasts, there is little dispute that Live at the Regal is one of his finest works and among the classic live records.