Levenson Barry, ADVANCED CONCEPTS FOR BLUES GUITAR SOLOING. Metodo del chitarrista dei Canned Head. CD TAB.

About Advanced Concepts for Blues Guitar Soloing
By Barry Levenson. For Guitar. Blues. Book with CD. 65 pages.
Welcome to Advanced Concepts for Blues Guitar Soloing the next level up from Barry Levenson's first book Exciting Concepts for Blues Guitar Soloing. In the first book, Barry explored motific development, conceptual playing over chord changes, phrasing, target notes, bending techniques and advanced position playing. In this volume Barry has transcribed ten solos from his Storyville CD's Heart To Hand, Closer to the Blues and Hard Times Won. He has analyzed key concepts and techniques in these solos by isolating specific measures and going into in-depth explanations of the more pertinent concepts that comprise these solos. Also, at the end of the book Barry have included a brief discography of CDs and/or songs that will help shed light on these concepts. The solos are the result of all the years of playing, learning, studying, and more playing. Barry hopes that they can be useful in some small way to help others to find their own means of self-expression. Barry Levenson is the lead guitarist for the world famous blues/rock/boogie band Canned Heat.


The Three T's
Touch, Tone, Taste.
Here are some thoughts on finding your own individual style through the medium of blues guitar.
The Three T's, touch, tone and taste, could be essential concepts for your musical selfexpressIOn.
Touch is almost self-explanatory. The way your fingers connect with the strings, how hard and
soft you pick, do you pick with your fingers or just the pick or a combination of the two? Picking
up near the bridge creates a harder, more trebly sound. Picking near the neck creates a softer,
bassier sound. In the middle, creates more of a mid-range type of tone. All places where the right
hand can pick should be experimented with to find different sources of expression. Do you use a
hard, soft or medium pick? This is another element that contributes to your touch. Don't be
afraid to experiment until you find what's right for you. A good way to start is to listen to a
player that really moves you and explore their touch. If it works for you, you can incorporate it into your playing. All these things come into play when you are trying to express yourself through wood, wires and tubes.
I think it is important to remember that the amplifier is just what it says. It amplifies the sound
of your touch. B.B. King once stated, "My volume control is in my right hand." You can project
a considerable amount of volume with a not-very-Ioud amplifier by picking or plucking the
string with authority. Picking lightly with a loud amplifier, in my opinion, does not give a strong,
authoritative sound.
Think of your right hand as a dynamic/volume control. Tum your amplifier on at approximately
3. See what a volume difference you can generate by picking extremely quietly and shifting to
picking with force.
Some great players to listen to for their touch are obviously the great B.B. King whose use of
rakes, trills and vibrato give him one of the world's most recognizable sounds. Charlie
Christian's barely amplified but forcefully played electric guitar was one of the most expressive
sounds in guitar history. Wes Montgomery's incredible right-hand thumb gave him an
unparalleled sound. It's all in the touch of the hands, not so much the amplifier. These great
players gave every note its own treatment as they strive to express their soul and musicality
through the instrument.
Also, in your arsenal of touch should be the mastery of left hand vibrato, hammer-ons, pull-offs,
slides, slurs, rakes and harmonics. Most of these terms are self-explanatory to most guitar
players, but many are overlooked when it comes time to plug in and play! Try playing a simple
blues phrase of five or six notes and see how many colors and articulations you can add to the
lick through the use of the above techniques.
All these things contribute to an individualistic sound. By experimenting with just your guitar
and no amp, you will start to develop your own touch. Sometimes your playing can be covered
up by volume from the amplifier. The greatest players are expressive at ANY volume.
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