00:00Hey everybody, Andy Timmons. Welcome back to Melodic Muse for Guitar World. And we're
00:21continuing talking about building, and today we're going to put some of these pieces together
00:25and play over a C-sharp minor blues. So I'm going to be trying to do the best I can to
00:30play some really beautiful melodies with bending, and I hope it inspires you. So let's get into
01:25it. So here's the chord progression.
01:55So
02:25as I start the solo, you know, I've always kind of have some kind of potential direction in mind.
02:33I want to start simply, and as the lines build, you'll see that I'm kind of ascending up the neck,
02:39as even though it's just one time through a blues form, and I might continue playing as the band
02:44vamps up, but even just this one time through the form, it's got a certain direction. It's
02:51starting kind of low, and building up, and building excitement, and kind of climaxing
02:55in a certain way before the band comes in fully. So when I start off on that C-sharp minor,
02:59I might not be remembering verbatim what I played, but some of the basic things that I was
03:07doing, and it's all really revolving around bending melodies through the chord tones, right? So I'm
03:12going to be very aware that if I'm on C-sharp minor 7, I know where the root is, where that
03:18third is, particularly, the fifth is, and where the flat 7 is, and where the root is, right? So
03:25I played something to the... right? So I'm making a melody, bending up to the 9th. Another common
03:39thing I do quite a bit is, even though I'm bending up to a scale tone, I might bend again to the next
03:45scale tone, and that's what I'm doing. I'm bending up to the 9th from the C-sharp, and then adding
03:52another half-step to that by achieving the third. Because again, I know that's kind of... that's
03:57what's outlining that harmony. That's what's giving you the tone of the chord. But I'm really
04:06featuring more of the 9th, because it's more of a... it's more of a kind of a tension note.
04:10Then I resolve it in a way, so I'm coming back down to the root, and eventually back down to the
04:17fifth. You know, the next... in the next phrase I get into, I'm bending further up through. There
04:34I get up, I'm getting up into this position here in the 9th fret, where I'm bending from the 5th
04:39to the flat 7th. Now that's a minor 3rd bend. So this time I'm not going up to the next
04:46scalar pitch, I'm actually skipping a tone, going to the next pitch. So that's... but I start by
04:53bending to that 7th, and that's a nice tension tone, because we're still on a static C-sharp
05:00minor. So that note, that's the sixth scale degree. So it's a kind of a cool... it's like
05:08that, the 9th, where it wants to resolve. So, but I'm bending up...
05:17Do that kind of thing all the time.
05:28Because I'm wanting to gather even more energy and kind of a climax to the solo,
05:32and then when it gets to the 5 chord, I utilize this bend.
05:38That's a very bluesy way of approaching the 5 chord, in that I'm starting on the root,
05:46bending from the flat 3rd to the 4th. And instead of releasing the flat 3rd,
05:53it's flat 3rd plus. It's not quite the major 3rd, not the minor 3rd.
05:58It's all right.
06:05Then I slide all the way up here, to where I'm fretting the F-sharp, I mean, yeah,
06:11the F-sharp bending up to the G-sharp. Here's the first time we get into a chromatic bend.
06:18So I'm achieving the root,
06:23letting it descend to the natural 7th, into the flat 7th.
06:28And all the way up to that high C-sharp bending from B to C-sharp.
06:45Actually, I think I included the flat 9, didn't I?
06:49So there's a chromatic all the way up to the flat 9 from the flat 7th.
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