Chords for How To Solo Longer In Voodoo Child
Tempo:
102.6 bpm
Chords used:
Eb
Ab
Ebm
Bb
Gb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Hey Blues fans, this is Anthony from StevieSnacks.com and it's time for Free Lesson Friday.
This is going to be an awesome lesson if you are like me and you like Stevie Ray Vaughan's
cover of the song Voodoo Child, but you start to run out of ideas less than halfway through the song.
So, I've been playing along with that song, I don't know, close to 18 years, you know,
struggling as best I can to get through it.
And, I don't know, it didn't take me too many years before I realized, like, I just,
I feel like I use everything I know how to play halfway through and he is still going.
And the reason was, is I hadn't paid very close attention to what he was actually doing.
And then as I got older, I would go to watch Kenny Wayne Shepard play in concert and he
would do like these 10, 12 minute renditions of that song and seemingly never run out of ideas.
And so I started to pay closer attention to how are they able to fill that much space
without sounding overly repetitive.
And basically what I discovered is that I was playing too much.
I was soloing too much and not playing enough rhythm.
So if you actually go and you listen to the song Voodoo Child, you will hear a fair amount
of rhythm and rhythmic playing.
And that is one of the things I want to talk about today that will allow you to solo over
that track for longer periods of time.
Now the big light bulb moment for me when it comes to this subject was when I realized
that there is a big [Eb] difference between,
[Bb]
[Eb]
[Bb] there's a big difference between that and something like.
[Ab]
[Eb]
[Ab]
[Eb] All right, so the first one is what I consider just kind of plain old soloing.
That's where you're playing licks.
You may have a theme that you're sticking to, but nonetheless, that is what we normally
associate with regular soloing over this song.
The second example, that is still soloing, but we have a very tightly orchestrated theme
that we're using here, which is basically walking down through box one.
Turn off a little bit of this drive here.
We're walking down through box one up here, [B] then providing an answer.
Then we're doing [Eb] the same thing again with [Ab] [Ebm] a slightly different answer.
And then we're repeating those two pieces again.
And that forms one little four bar thing that has occupied, I don't know what the tempo
of the song is, but it has occupied a decent amount of space and it didn't require that much creativity.
And so that is kind of the light bulb moment for me, was that I realized I'm trying to
be too creative.
I'm trying to think of how to solo solo [Eb] through nine minutes.
And Stevie didn't do that.
Kenny Wayne Shepherd doesn't do that.
Their solo segments are broken up by these four bar rhythmic things that are easy for
a crowd to get into, but also are kind of easier.
It gives your mind kind of a little break as you regroup and go into other creative soloing things.
So the one that I want to teach you today is exactly what we did there.
This is actually from the Slight Return lesson, so you'll be getting a sample of the kind
of thing that you learned there.
We're just going to walk down 14 [Bb]-12 on the D string, [A] 14-13 [Ab] on the A string, hammer on
from 13-14 and back [Gb] off again on A, down to [Eb] 15 on low E, open, then 12-14 on D, down
to the 12 on the low E string, [Gb] and then up to [Ebm] 12 on the G string, [Ab]
[Eb] [Ab] and then trail off
14-12 on the D string.
So [Ebm] that's like segment one.
Segment two is going to be very similar, [Eb]
and then rake, [Ab] [Abm] and then bar the 14th fret of the
D, [Eb] G, and B string, [Gb]
and then off to the 12th fret of the G string again.
[Ab] So that's segment one, followed by segment two, and then you just repeat those.
So you put it [Eb] together, you get
[Ebm] Okay?
So there, I basically only had to have one core idea, which is
Followed by something up here in box one.
Changes up a little bit, now I've got something that takes me through four bars.
It probably doesn't sound that much like anything else that I'm doing in the song, and I've
just filled four bars.
So one of the things that you learn when you're in a band is that when the crowd is rocking,
you don't end the song.
It's like the worst thing that you can do, especially if you're playing in a bar and
people are dancing.
If you've got people on the floor, you don't want to tire them out with the same song,
but you don't want to play a three-minute version of Voodoo Child if people are out
there dancing or enjoying it.
If you want to drag it out nine minutes, you've got to have something to fill all that space.
So anyway, that for me was the big light bulb moment, was realizing that I needed to focus
less on figuring out more licks to play, and I needed to figure out more of those easy
to remember, space-filling, blues rock theme type things like we just learned there.
So like I said, if you like this lesson, please check out the Slight Return lessons at stevesnacks.com.
Those lessons are designed to teach you the style of soloing that Stevie Ray Vaughan did
when he covered Voodoo Child's Slight Return by Jimi Hendrix.
There's beginner, intermediate, advanced level.
They're not note-for-note copies of any one performance for copyright reasons, but what
that allows me to do is that I take a bunch of different performances and I combine the
common themes that you heard in the studio and live.
And I think they're some of the best lessons I've ever done, and obviously if you're a
trouble picking up any of it, these would be a great place for you to start.
Anyway, until next time, thanks [Eb] for watching.
[N]
This is going to be an awesome lesson if you are like me and you like Stevie Ray Vaughan's
cover of the song Voodoo Child, but you start to run out of ideas less than halfway through the song.
So, I've been playing along with that song, I don't know, close to 18 years, you know,
struggling as best I can to get through it.
And, I don't know, it didn't take me too many years before I realized, like, I just,
I feel like I use everything I know how to play halfway through and he is still going.
And the reason was, is I hadn't paid very close attention to what he was actually doing.
And then as I got older, I would go to watch Kenny Wayne Shepard play in concert and he
would do like these 10, 12 minute renditions of that song and seemingly never run out of ideas.
And so I started to pay closer attention to how are they able to fill that much space
without sounding overly repetitive.
And basically what I discovered is that I was playing too much.
I was soloing too much and not playing enough rhythm.
So if you actually go and you listen to the song Voodoo Child, you will hear a fair amount
of rhythm and rhythmic playing.
And that is one of the things I want to talk about today that will allow you to solo over
that track for longer periods of time.
Now the big light bulb moment for me when it comes to this subject was when I realized
that there is a big [Eb] difference between,
[Bb]
[Eb]
[Bb] there's a big difference between that and something like.
[Ab]
[Eb]
[Ab]
[Eb] All right, so the first one is what I consider just kind of plain old soloing.
That's where you're playing licks.
You may have a theme that you're sticking to, but nonetheless, that is what we normally
associate with regular soloing over this song.
The second example, that is still soloing, but we have a very tightly orchestrated theme
that we're using here, which is basically walking down through box one.
Turn off a little bit of this drive here.
We're walking down through box one up here, [B] then providing an answer.
Then we're doing [Eb] the same thing again with [Ab] [Ebm] a slightly different answer.
And then we're repeating those two pieces again.
And that forms one little four bar thing that has occupied, I don't know what the tempo
of the song is, but it has occupied a decent amount of space and it didn't require that much creativity.
And so that is kind of the light bulb moment for me, was that I realized I'm trying to
be too creative.
I'm trying to think of how to solo solo [Eb] through nine minutes.
And Stevie didn't do that.
Kenny Wayne Shepherd doesn't do that.
Their solo segments are broken up by these four bar rhythmic things that are easy for
a crowd to get into, but also are kind of easier.
It gives your mind kind of a little break as you regroup and go into other creative soloing things.
So the one that I want to teach you today is exactly what we did there.
This is actually from the Slight Return lesson, so you'll be getting a sample of the kind
of thing that you learned there.
We're just going to walk down 14 [Bb]-12 on the D string, [A] 14-13 [Ab] on the A string, hammer on
from 13-14 and back [Gb] off again on A, down to [Eb] 15 on low E, open, then 12-14 on D, down
to the 12 on the low E string, [Gb] and then up to [Ebm] 12 on the G string, [Ab]
[Eb] [Ab] and then trail off
14-12 on the D string.
So [Ebm] that's like segment one.
Segment two is going to be very similar, [Eb]
and then rake, [Ab] [Abm] and then bar the 14th fret of the
D, [Eb] G, and B string, [Gb]
and then off to the 12th fret of the G string again.
[Ab] So that's segment one, followed by segment two, and then you just repeat those.
So you put it [Eb] together, you get
[Ebm] Okay?
So there, I basically only had to have one core idea, which is
Followed by something up here in box one.
Changes up a little bit, now I've got something that takes me through four bars.
It probably doesn't sound that much like anything else that I'm doing in the song, and I've
just filled four bars.
So one of the things that you learn when you're in a band is that when the crowd is rocking,
you don't end the song.
It's like the worst thing that you can do, especially if you're playing in a bar and
people are dancing.
If you've got people on the floor, you don't want to tire them out with the same song,
but you don't want to play a three-minute version of Voodoo Child if people are out
there dancing or enjoying it.
If you want to drag it out nine minutes, you've got to have something to fill all that space.
So anyway, that for me was the big light bulb moment, was realizing that I needed to focus
less on figuring out more licks to play, and I needed to figure out more of those easy
to remember, space-filling, blues rock theme type things like we just learned there.
So like I said, if you like this lesson, please check out the Slight Return lessons at stevesnacks.com.
Those lessons are designed to teach you the style of soloing that Stevie Ray Vaughan did
when he covered Voodoo Child's Slight Return by Jimi Hendrix.
There's beginner, intermediate, advanced level.
They're not note-for-note copies of any one performance for copyright reasons, but what
that allows me to do is that I take a bunch of different performances and I combine the
common themes that you heard in the studio and live.
And I think they're some of the best lessons I've ever done, and obviously if you're a
trouble picking up any of it, these would be a great place for you to start.
Anyway, until next time, thanks [Eb] for watching.
[N]
Key:
Eb
Ab
Ebm
Bb
Gb
Eb
Ab
Ebm
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
Hey Blues fans, this is Anthony from StevieSnacks.com and it's time for Free Lesson Friday.
This is going to be an awesome lesson if you are like me and you like Stevie Ray Vaughan's
cover of the song Voodoo Child, but you start to run out of ideas less than halfway through the song.
So, I've been playing along with that song, I don't know, close to 18 years, you know,
struggling as best I can to get through it.
And, I don't know, it didn't take me too many years before I realized, like, I just,
I feel like I use everything I know how to play halfway through and he is still going.
And the reason was, is I hadn't paid very close attention to what he was actually doing.
And then as I got older, I would go to watch Kenny Wayne Shepard play in concert and he
would do like these 10, 12 minute renditions of that song and seemingly never run out of ideas.
And so I started to pay closer attention to how are they able to fill that much space
without sounding overly repetitive.
And basically what I discovered is that I was playing too much.
I was soloing too much and not playing enough rhythm.
So if you actually go and you listen to the song Voodoo Child, you will hear a fair amount
of rhythm and rhythmic playing.
And that is one of the things I want to talk about today that will allow you to solo over
that track for longer periods of time.
Now the big light bulb moment for me when it comes to this subject was when I realized
that there is a big [Eb] difference between, _ _
_ _ _ _ [Bb] _ _ _ _
_ _ _ _ _ [Eb] _ _ _
_ [Bb] there's a big difference between that and something like.
[Ab] _
[Eb] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [Ab] _
_ _ [Eb] _ All right, so the first one is what I consider just kind of plain old soloing.
That's where you're playing licks.
_ _ _ _ You may have a theme that you're sticking to, but nonetheless, that is what we normally
associate with regular soloing over this song.
The second example, _ that _ _ _ is still soloing, but we have a very tightly orchestrated theme
that we're using here, which is basically walking down through box one. _ _ _ _ _
Turn off a little bit of this drive here.
We're walking down through box one up here, _ _ _ _ _ _ [B] then providing an answer.
Then we're doing [Eb] the same thing again _ _ with [Ab] _ _ [Ebm] a slightly different answer.
And then we're repeating those two pieces again.
And that forms one little four bar thing _ that has occupied, I don't know what the tempo
of the song is, but it has occupied a decent amount of space and it didn't require that much creativity.
And so that is kind of the light bulb moment for me, was that I realized I'm trying to
be too creative.
I'm trying to think of how to solo solo [Eb] through nine minutes.
And Stevie didn't do that.
Kenny Wayne Shepherd doesn't do that.
Their solo segments are broken up by these four bar rhythmic things that are easy for
a crowd to get into, but also are kind of easier.
It gives your mind kind of a little break as you regroup and go into other creative soloing things.
So the one that I want to teach you today is exactly what we did there. _ _
_ This is actually from the Slight Return lesson, so you'll be getting a sample of the kind
of thing that you learned there.
We're just going to walk down 14 [Bb]-12 on the D string, [A] _ 14-13 [Ab] on the A string, hammer on
from 13-14 and back [Gb] off again on A, down to [Eb] 15 on low E, open, _ _ _ _ _ _ then _ _ 12-14 on D, down
to the 12 on the low E string, [Gb] _ and then up to [Ebm] 12 on the G string, [Ab] _ _
_ [Eb] _ _ _ [Ab] _ _ and then trail off
14-12 on the D string.
So [Ebm] that's like segment one.
Segment two is going to be very similar, _ _ _ [Eb] _ _
and then rake, [Ab] _ _ [Abm] and then bar the 14th fret of the
D, [Eb] G, and B string, _ [Gb] _
and then off to the 12th fret of the G string again.
[Ab] So that's segment one, followed by segment two, and then you just repeat those.
So you put it [Eb] together, you get_
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ [Ebm] Okay?
So there, I basically only had to have one core idea, which _ is_
Followed by something up here in box one.
Changes up a little bit, now I've got something that takes me through four bars.
It probably doesn't sound that much like anything else that I'm doing in the song, and I've
just filled four bars.
So one of the things that you learn when you're in a band is that when the crowd is rocking,
you don't end the song.
It's like the worst thing that you can do, especially if you're playing in a _ bar and
people are dancing.
If you've got people on the floor, you don't want to tire them out with the same song,
but you don't want to play a three-minute version of Voodoo Child if people are out
there dancing or enjoying it.
If you want to drag it out nine minutes, you've got to have something to fill all that space.
So anyway, that for me was the big light bulb moment, was realizing that I needed to focus
less on figuring out more licks to play, and I needed to figure out more of those easy
to remember, space-filling, blues rock theme type things like we just learned there.
So like I said, if you like this lesson, please check out the Slight Return lessons at stevesnacks.com.
Those lessons are designed to teach you the style of soloing that Stevie Ray Vaughan did
when he covered Voodoo Child's Slight Return by Jimi Hendrix.
There's beginner, intermediate, advanced level.
They're not note-for-note copies of any one performance for copyright reasons, but what
that allows me to do is that I take a bunch of different performances and I combine the
common themes that you heard in the studio and live.
And I think they're some of the best lessons I've ever done, and obviously if you're _ a
trouble picking up any of it, these would be a great place for you to start.
Anyway, until next time, thanks [Eb] for watching. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
Hey Blues fans, this is Anthony from StevieSnacks.com and it's time for Free Lesson Friday.
This is going to be an awesome lesson if you are like me and you like Stevie Ray Vaughan's
cover of the song Voodoo Child, but you start to run out of ideas less than halfway through the song.
So, I've been playing along with that song, I don't know, close to 18 years, you know,
struggling as best I can to get through it.
And, I don't know, it didn't take me too many years before I realized, like, I just,
I feel like I use everything I know how to play halfway through and he is still going.
And the reason was, is I hadn't paid very close attention to what he was actually doing.
And then as I got older, I would go to watch Kenny Wayne Shepard play in concert and he
would do like these 10, 12 minute renditions of that song and seemingly never run out of ideas.
And so I started to pay closer attention to how are they able to fill that much space
without sounding overly repetitive.
And basically what I discovered is that I was playing too much.
I was soloing too much and not playing enough rhythm.
So if you actually go and you listen to the song Voodoo Child, you will hear a fair amount
of rhythm and rhythmic playing.
And that is one of the things I want to talk about today that will allow you to solo over
that track for longer periods of time.
Now the big light bulb moment for me when it comes to this subject was when I realized
that there is a big [Eb] difference between, _ _
_ _ _ _ [Bb] _ _ _ _
_ _ _ _ _ [Eb] _ _ _
_ [Bb] there's a big difference between that and something like.
[Ab] _
[Eb] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [Ab] _
_ _ [Eb] _ All right, so the first one is what I consider just kind of plain old soloing.
That's where you're playing licks.
_ _ _ _ You may have a theme that you're sticking to, but nonetheless, that is what we normally
associate with regular soloing over this song.
The second example, _ that _ _ _ is still soloing, but we have a very tightly orchestrated theme
that we're using here, which is basically walking down through box one. _ _ _ _ _
Turn off a little bit of this drive here.
We're walking down through box one up here, _ _ _ _ _ _ [B] then providing an answer.
Then we're doing [Eb] the same thing again _ _ with [Ab] _ _ [Ebm] a slightly different answer.
And then we're repeating those two pieces again.
And that forms one little four bar thing _ that has occupied, I don't know what the tempo
of the song is, but it has occupied a decent amount of space and it didn't require that much creativity.
And so that is kind of the light bulb moment for me, was that I realized I'm trying to
be too creative.
I'm trying to think of how to solo solo [Eb] through nine minutes.
And Stevie didn't do that.
Kenny Wayne Shepherd doesn't do that.
Their solo segments are broken up by these four bar rhythmic things that are easy for
a crowd to get into, but also are kind of easier.
It gives your mind kind of a little break as you regroup and go into other creative soloing things.
So the one that I want to teach you today is exactly what we did there. _ _
_ This is actually from the Slight Return lesson, so you'll be getting a sample of the kind
of thing that you learned there.
We're just going to walk down 14 [Bb]-12 on the D string, [A] _ 14-13 [Ab] on the A string, hammer on
from 13-14 and back [Gb] off again on A, down to [Eb] 15 on low E, open, _ _ _ _ _ _ then _ _ 12-14 on D, down
to the 12 on the low E string, [Gb] _ and then up to [Ebm] 12 on the G string, [Ab] _ _
_ [Eb] _ _ _ [Ab] _ _ and then trail off
14-12 on the D string.
So [Ebm] that's like segment one.
Segment two is going to be very similar, _ _ _ [Eb] _ _
and then rake, [Ab] _ _ [Abm] and then bar the 14th fret of the
D, [Eb] G, and B string, _ [Gb] _
and then off to the 12th fret of the G string again.
[Ab] So that's segment one, followed by segment two, and then you just repeat those.
So you put it [Eb] together, you get_
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ [Ebm] Okay?
So there, I basically only had to have one core idea, which _ is_
Followed by something up here in box one.
Changes up a little bit, now I've got something that takes me through four bars.
It probably doesn't sound that much like anything else that I'm doing in the song, and I've
just filled four bars.
So one of the things that you learn when you're in a band is that when the crowd is rocking,
you don't end the song.
It's like the worst thing that you can do, especially if you're playing in a _ bar and
people are dancing.
If you've got people on the floor, you don't want to tire them out with the same song,
but you don't want to play a three-minute version of Voodoo Child if people are out
there dancing or enjoying it.
If you want to drag it out nine minutes, you've got to have something to fill all that space.
So anyway, that for me was the big light bulb moment, was realizing that I needed to focus
less on figuring out more licks to play, and I needed to figure out more of those easy
to remember, space-filling, blues rock theme type things like we just learned there.
So like I said, if you like this lesson, please check out the Slight Return lessons at stevesnacks.com.
Those lessons are designed to teach you the style of soloing that Stevie Ray Vaughan did
when he covered Voodoo Child's Slight Return by Jimi Hendrix.
There's beginner, intermediate, advanced level.
They're not note-for-note copies of any one performance for copyright reasons, but what
that allows me to do is that I take a bunch of different performances and I combine the
common themes that you heard in the studio and live.
And I think they're some of the best lessons I've ever done, and obviously if you're _ a
trouble picking up any of it, these would be a great place for you to start.
Anyway, until next time, thanks [Eb] for watching. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _