Chords for Paul Gilbert Guitar Lesson 2: Ode to Two Pats (Travers & Thrall)
Tempo:
98.25 bpm
Chords used:
A
E
F#
B
D#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
All right, and the key of A.
[N] One, two, three, four.
[Am] [N]
[A]
Oh, I'm [N] excited to show you this one.
It is all the notes that I found when I decided that I wanted to not sound like Yngwie all the time.
And I was a huge Yngwie fan when I was around 19 years old because he's awesome.
And I wanted to play like him so I learned as much as I could.
But then I found I was starting to only sound like that.
And I was doing a blues jam with Bruce Bouyer, the other guitar player in Racer X, which was the band I was in at the time.
And he sounded so much better than me when we would play blues that I thought,
I've got to do something about this because he sounds great and I sound lousy and I don't like, you know, I'm happy he sounds great, but I want to sound good too.
So I had my Pat Travers' Go For What You Know record, which is sort of, you've got to hear it, an amazing record with both Pat Travers and Pat Thrall.
And I went through and I was going to school at the time so my brain was in this place where I was looking at everything in terms of intervals, which actually I still do.
And I sort of wrote down all the cool bluesy intervals that Pat Travers and Pat Thrall were using on that record.
And I made one big huge scale out of them.
So this was sort of like me still in Yngwie brain, [A] but taking blues notes and trying to do something with it.
And this is what I got.
I'm going to show it to you.
It's three notes per string, which was very appealing to me at the time because it was a system.
And let me show you that.
Let me just show you the map of the notes.
After that, we'll insert the pattern.
This is the key of A.
We're going [D#] to begin with these three [E] notes.
[F#] [G#m] We're starting with the [A] devil's note, [D#] the tritone.
We'll call it a D sharp.
[E] And then we've got E [F#] and F sharp.
[B] Alright, from there we're going to go to the next string and play three more notes.
Those notes are [B] G, [A] A, and B.
Then we're going to go to the next string.
[D]
[Cm] C, C sharp, and D, just chromatic.
[A#]
[D#] Then the next three notes are, [D#m] I think that's an octave higher than where we began.
D sharp, E, [F#] and F sharp.
And then, [A]
again, sort of an octave higher.
G, A, and [A#] B.
From there [B] we might take it up a little more, but that's the main three note per string pattern.
[A] [C#]
[B] Now, hearing that, it's a lot of notes, and so it doesn't really, it works to me, it sounds better with this phrase that I'm going to show you next.
So take a breath, and get ready for this.
One, two, three, four.
[A] [D#] [F#]
That is the [A] phrase, and I'm doing what I'm hoping is a pretty obvious pattern.
[E] It's going up gradually, but on the way up it's going down.
And what do I mean by that?
I mean, each little two note segment, [D#] which direction did that go?
That was down.
But then I take the next segment and start at a higher [E] place.
So it [C#m] goes, na na, na na, na na, na na.
So in the small world it goes down, but in the big world it goes up.
[F#m] [A]
[Bm] [C] And again, it's kind of meant to be quick.
To me it just sounds [A] better, maybe like over an A7 chord.
You can do it in a blues if you're so [C] bold.
[F#] So [A] it's kind of fusion-y somehow, but it's all the Pat Travers and Pat Thrall notes all put into a scale and with that pattern.
So let's do it slow and stomp it.
[C] One, and two, and three, and four.
[E] [C#]
[Em] [F#] Two, and [D#] three, and four, and.
[A] [C#]
[B] [F#] Now at this tempo, anything will work in terms of picking.
You could do the most primitive, inefficient, you know, [A] which is kind of appealing [E] in a certain way.
But in order to speed it up, I would say the thing that's going to untangle it is to do a lot of pull-offs.
You know, wherever there's a pull-off.
[B] And where are there pull-offs?
Basically any place where you've got two notes on a string, you can pull it off.
The only spots where you have to pick [F#] is when you have two notes and they're on two different strings.
Because then the hammer [G]-on just gets kind of weak, and you don't want it to be weak.
You want to [B] get some juice out of it.
So the place where you can get enough juice out of the left hand, it's all on one string.
So you can pull off, pull [F#] off.
There, you've got to pick both of them.
[Em] [Am]
Now another [C] thing you may notice is I'm probably using a little bit of, I've got two names for it.
Either the shoulder pull or the shoulder saw, but it's using the shoulder to get from string to string.
Now I'm exaggerating it because I'm teaching it to you.
I'm like, [C]
[A] I may not have to do it that much because the shoulder's big and the amount of traveling I have to do is pretty small.
But it really helps.
And again, the alternatives to that is the elbow, which has problems.
And the thumb, which when you use the thumb to extend it changes the angle of the pick and you start losing tone control.
So the other ones are just riddled with problems and the shoulder really is a good solution.
I didn't even know I was doing it for years until I was teaching and going like, why am I able to do this stuff?
And I realized it's the shoulder.
So finally I worked it out and I'm glad to share it with you.
So anyway, let's do it slow of course and just pay attention to how I'm using the shoulder when I have to pick two notes
and using hammer-ons and pull-offs when I don't.
One and two and [Am] three and four.
[E]
[F#] Now I'm stopping on A and assuming you've got this and you can whip through it now.
[E] [A]
[D#] [F#] Work as a swing too.
[Am] [C#]
[E] Always good to be able to swing stuff.
But now we can [B] continue up.
[D] [A] I've run out of strings so I just have to do everything on one string now.
And I'm going to continue with the same notes.
[B] Although you know what, I'm going to skip the C sharp and just [Cm] go there.
[C#] So I think that's a good spot to end.
Let's see if that's correct.
Yeah, [E]
[C] [D]
[G] [E] I think that's cool.
And we can even [N] speed it up.
[G]
[C#] And then you know, blues lick du jour, however you want to end it.
So I think that's a really cool one.
I remember the first time I played that on stage.
I was at a jam with some of the guys in Racer X and John [F#] Alderreddy, now Juan Alderreddy, was next to me.
And I unveiled that lick and I remember he just gave me a big grin like, that's a cool one.
And so that was proof.
If it's Juan Alderredy approved, then it's got to be good.
Alright, so I hope you enjoyed that one.
For a lot more stuff like this, check out my online school at ArtistWorks.
And thank you Sweetwater for having me here.
I'm having a blast.
You know what to do.
Rock and roll!
[A] [E] [C#] [N]
[N] One, two, three, four.
[Am] [N]
[A]
Oh, I'm [N] excited to show you this one.
It is all the notes that I found when I decided that I wanted to not sound like Yngwie all the time.
And I was a huge Yngwie fan when I was around 19 years old because he's awesome.
And I wanted to play like him so I learned as much as I could.
But then I found I was starting to only sound like that.
And I was doing a blues jam with Bruce Bouyer, the other guitar player in Racer X, which was the band I was in at the time.
And he sounded so much better than me when we would play blues that I thought,
I've got to do something about this because he sounds great and I sound lousy and I don't like, you know, I'm happy he sounds great, but I want to sound good too.
So I had my Pat Travers' Go For What You Know record, which is sort of, you've got to hear it, an amazing record with both Pat Travers and Pat Thrall.
And I went through and I was going to school at the time so my brain was in this place where I was looking at everything in terms of intervals, which actually I still do.
And I sort of wrote down all the cool bluesy intervals that Pat Travers and Pat Thrall were using on that record.
And I made one big huge scale out of them.
So this was sort of like me still in Yngwie brain, [A] but taking blues notes and trying to do something with it.
And this is what I got.
I'm going to show it to you.
It's three notes per string, which was very appealing to me at the time because it was a system.
And let me show you that.
Let me just show you the map of the notes.
After that, we'll insert the pattern.
This is the key of A.
We're going [D#] to begin with these three [E] notes.
[F#] [G#m] We're starting with the [A] devil's note, [D#] the tritone.
We'll call it a D sharp.
[E] And then we've got E [F#] and F sharp.
[B] Alright, from there we're going to go to the next string and play three more notes.
Those notes are [B] G, [A] A, and B.
Then we're going to go to the next string.
[D]
[Cm] C, C sharp, and D, just chromatic.
[A#]
[D#] Then the next three notes are, [D#m] I think that's an octave higher than where we began.
D sharp, E, [F#] and F sharp.
And then, [A]
again, sort of an octave higher.
G, A, and [A#] B.
From there [B] we might take it up a little more, but that's the main three note per string pattern.
[A] [C#]
[B] Now, hearing that, it's a lot of notes, and so it doesn't really, it works to me, it sounds better with this phrase that I'm going to show you next.
So take a breath, and get ready for this.
One, two, three, four.
[A] [D#] [F#]
That is the [A] phrase, and I'm doing what I'm hoping is a pretty obvious pattern.
[E] It's going up gradually, but on the way up it's going down.
And what do I mean by that?
I mean, each little two note segment, [D#] which direction did that go?
That was down.
But then I take the next segment and start at a higher [E] place.
So it [C#m] goes, na na, na na, na na, na na.
So in the small world it goes down, but in the big world it goes up.
[F#m] [A]
[Bm] [C] And again, it's kind of meant to be quick.
To me it just sounds [A] better, maybe like over an A7 chord.
You can do it in a blues if you're so [C] bold.
[F#] So [A] it's kind of fusion-y somehow, but it's all the Pat Travers and Pat Thrall notes all put into a scale and with that pattern.
So let's do it slow and stomp it.
[C] One, and two, and three, and four.
[E] [C#]
[Em] [F#] Two, and [D#] three, and four, and.
[A] [C#]
[B] [F#] Now at this tempo, anything will work in terms of picking.
You could do the most primitive, inefficient, you know, [A] which is kind of appealing [E] in a certain way.
But in order to speed it up, I would say the thing that's going to untangle it is to do a lot of pull-offs.
You know, wherever there's a pull-off.
[B] And where are there pull-offs?
Basically any place where you've got two notes on a string, you can pull it off.
The only spots where you have to pick [F#] is when you have two notes and they're on two different strings.
Because then the hammer [G]-on just gets kind of weak, and you don't want it to be weak.
You want to [B] get some juice out of it.
So the place where you can get enough juice out of the left hand, it's all on one string.
So you can pull off, pull [F#] off.
There, you've got to pick both of them.
[Em] [Am]
Now another [C] thing you may notice is I'm probably using a little bit of, I've got two names for it.
Either the shoulder pull or the shoulder saw, but it's using the shoulder to get from string to string.
Now I'm exaggerating it because I'm teaching it to you.
I'm like, [C]
[A] I may not have to do it that much because the shoulder's big and the amount of traveling I have to do is pretty small.
But it really helps.
And again, the alternatives to that is the elbow, which has problems.
And the thumb, which when you use the thumb to extend it changes the angle of the pick and you start losing tone control.
So the other ones are just riddled with problems and the shoulder really is a good solution.
I didn't even know I was doing it for years until I was teaching and going like, why am I able to do this stuff?
And I realized it's the shoulder.
So finally I worked it out and I'm glad to share it with you.
So anyway, let's do it slow of course and just pay attention to how I'm using the shoulder when I have to pick two notes
and using hammer-ons and pull-offs when I don't.
One and two and [Am] three and four.
[E]
[F#] Now I'm stopping on A and assuming you've got this and you can whip through it now.
[E] [A]
[D#] [F#] Work as a swing too.
[Am] [C#]
[E] Always good to be able to swing stuff.
But now we can [B] continue up.
[D] [A] I've run out of strings so I just have to do everything on one string now.
And I'm going to continue with the same notes.
[B] Although you know what, I'm going to skip the C sharp and just [Cm] go there.
[C#] So I think that's a good spot to end.
Let's see if that's correct.
Yeah, [E]
[C] [D]
[G] [E] I think that's cool.
And we can even [N] speed it up.
[G]
[C#] And then you know, blues lick du jour, however you want to end it.
So I think that's a really cool one.
I remember the first time I played that on stage.
I was at a jam with some of the guys in Racer X and John [F#] Alderreddy, now Juan Alderreddy, was next to me.
And I unveiled that lick and I remember he just gave me a big grin like, that's a cool one.
And so that was proof.
If it's Juan Alderredy approved, then it's got to be good.
Alright, so I hope you enjoyed that one.
For a lot more stuff like this, check out my online school at ArtistWorks.
And thank you Sweetwater for having me here.
I'm having a blast.
You know what to do.
Rock and roll!
[A] [E] [C#] [N]
Key:
A
E
F#
B
D#
A
E
F#
All right, and the key of A.
_ _ [N] One, two, three, four. _ _ _ _ _
_ _ _ [Am] _ _ [N] _ _ _
_ _ _ _ _ _ _ _
_ _ _ [A] _ _ _ _ _
_ Oh, I'm [N] excited to show you this one.
It is all the notes that I found when I decided that I wanted to not sound like Yngwie all the time.
And I was a huge Yngwie fan when I was around 19 years old because he's awesome.
And I wanted to play like him so I learned as much as I could.
But then I found I was starting to only sound like that.
And I was doing a blues jam with Bruce Bouyer, the other guitar player in Racer X, which was the band I was in at the time.
And he sounded so much better than me when we would play blues that I thought,
I've got to do something about this because he sounds great and I sound lousy and I don't like, you know, I'm happy he sounds great, but I want to sound good too.
So I had my Pat Travers' Go For What You Know record, which is sort of, you've got to hear it, an amazing record with both Pat Travers and Pat Thrall.
And I went through and I was going to school at the time so my brain was in this place where I was looking at everything in terms of intervals, which actually I still do.
And I sort of wrote down all the cool bluesy intervals that Pat Travers and Pat Thrall were using on that record.
And I made one big huge scale out of them.
So this was sort of like me still in Yngwie brain, _ [A] but taking blues notes and trying to do something with it.
And this is what I got.
I'm going to show it to you.
It's three notes per string, which was very appealing to me at the time because it was a system.
And let me show you that.
Let me just show you the map of the notes.
After that, we'll insert the pattern.
This is the key of A.
We're going [D#] to begin with these three [E] notes.
[F#] _ _ _ [G#m] We're starting with the [A] devil's note, [D#] the tritone.
We'll call it a D sharp.
[E] And then we've got E [F#] and F sharp.
_ _ _ [B] Alright, from there we're going to go to the next string and play three more notes.
Those notes are [B] _ G, [A] A, and B.
Then we're going to go to the next string.
_ [D] _
[Cm] C, C sharp, and D, just chromatic.
[A#] _ _
[D#] Then the next three notes are, _ [D#m] I think that's an octave higher than where we began.
D sharp, E, [F#] and F sharp.
And then, [A]
again, sort of an octave higher.
G, A, and [A#] B.
From there [B] we might take it up a little more, but that's the main three note per string pattern.
_ [A] _ _ [C#] _
[B] _ _ _ _ Now, hearing that, it's a lot of notes, and so it doesn't really, it works to me, it sounds better with this phrase that I'm going to show you next.
So take a breath, and get ready for this.
One, two, three, four.
[A] _ _ [D#] _ _ [F#] _
That is the [A] phrase, and I'm doing what I'm hoping is a pretty obvious pattern.
_ _ [E] It's going up gradually, but on the way up it's going down.
And what do I mean by that?
I mean, each little two note segment, [D#] _ which direction did that go?
That was down.
But then I take the next segment and start at a higher [E] place.
So it [C#m] goes, na na, na na, na na, na na.
So in the small world it goes down, but in the big world it goes up.
_ [F#m] _ _ [A] _ _
_ _ _ _ _ [Bm] _ [C] And again, it's kind of meant to be quick.
To me it just sounds [A] better, maybe like over an A7 chord.
You can do it in a blues if you're so [C] bold.
_ _ _ [F#] _ _ So [A] it's kind of fusion-y somehow, but it's all the Pat Travers and Pat Thrall notes all put into a scale and with that pattern.
So let's do it slow and stomp it.
[C] One, and two, and three, and four.
_ [E] _ _ _ _ [C#] _
_ _ _ _ [Em] _ [F#] _ Two, and [D#] three, and four, and.
_ _ _ [A] _ _ [C#] _
_ _ [B] _ _ [F#] _ Now at this tempo, _ anything will work in terms of picking.
You could do the most primitive, inefficient, you know, _ [A] which is kind of appealing [E] in a certain way.
But in order to speed it up, I would say the thing that's going to untangle it is to do a lot of pull-offs.
You know, wherever there's a pull-off. _ _
_ [B] And where are there pull-offs?
Basically any place where you've got two notes on a string, you can pull it off.
The only spots where you have to pick [F#] is when you have two notes and they're on two different strings.
Because then the hammer [G]-on just gets kind of weak, and you don't want it to be weak.
You want to [B] get some juice out of it.
So the place where you can get enough juice out of the left hand, it's all on one string.
So you can pull off, pull [F#] off.
There, you've got to pick both of them.
[Em] _ _ _ [Am]
Now another [C] thing you may notice is I'm probably using a little bit of, I've got two names for it.
Either the shoulder pull or the shoulder saw, but it's using the shoulder to get _ from string to string.
Now I'm exaggerating it because I'm teaching it to you.
_ _ I'm like, [C] _
_ _ _ _ [A] I may not have to do it that much because the shoulder's big and the amount of traveling I have to do is pretty small.
But it really helps.
And again, the alternatives to that is the elbow, which has problems.
And the thumb, which when you use the thumb to extend it changes the angle of the pick and you start losing tone control.
So the other ones are just riddled with problems and the shoulder really is a good solution.
I didn't even know I was doing it for years until I was teaching and going like, why am I able to do this stuff?
And I realized it's the shoulder.
So finally I worked it out and I'm glad to share it with you.
So anyway, let's do it slow of course and just pay attention to how I'm using the shoulder when I have to pick two notes
and using hammer-ons and pull-offs when I don't.
One and two and [Am] three and four.
_ [E] _ _ _ _ _ _
_ _ _ [F#] _ Now I'm stopping on A and assuming you've got this and you can whip through it now.
[E] _ _ _ [A] _
_ [D#] _ _ _ [F#] Work as a swing too.
_ _ _ _ [Am] _ _ _ [C#] _
_ [E] _ Always good to be able to swing stuff.
But now we can [B] continue up.
_ [D] _ _ [A] I've run out of strings so I just have to do everything on one string now.
And I'm going to continue with the same notes.
[B] Although you know what, I'm going to skip the C sharp and just [Cm] go there.
[C#] So I think that's a good spot to end.
Let's see if that's correct.
Yeah, _ [E] _
_ _ [C] _ _ _ _ [D] _ _
_ [G] _ _ [E] I think that's cool.
And we can even [N] speed it up.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [G] _
[C#] And then you know, blues lick du jour, however you want to end it.
So I think that's a really cool one.
I remember the first time I played that on stage.
I was at a jam with some of the guys in Racer X and John [F#] Alderreddy, now Juan Alderreddy, was next to me.
And I unveiled that lick and I remember he just gave me a big grin like, that's a cool one.
And so that was proof.
If it's Juan Alderredy approved, then it's got to be good.
Alright, so I hope you enjoyed that one.
For a lot more stuff like this, check out my online school at ArtistWorks.
And thank you Sweetwater for having me here.
I'm having a blast.
You know what to do.
Rock and roll!
_ _ [A] _ _ _ [E] _ _ _ _ _ _ _ _ _
_ _ [C#] _ _ [N] _ _ _ _
_ _ [N] One, two, three, four. _ _ _ _ _
_ _ _ [Am] _ _ [N] _ _ _
_ _ _ _ _ _ _ _
_ _ _ [A] _ _ _ _ _
_ Oh, I'm [N] excited to show you this one.
It is all the notes that I found when I decided that I wanted to not sound like Yngwie all the time.
And I was a huge Yngwie fan when I was around 19 years old because he's awesome.
And I wanted to play like him so I learned as much as I could.
But then I found I was starting to only sound like that.
And I was doing a blues jam with Bruce Bouyer, the other guitar player in Racer X, which was the band I was in at the time.
And he sounded so much better than me when we would play blues that I thought,
I've got to do something about this because he sounds great and I sound lousy and I don't like, you know, I'm happy he sounds great, but I want to sound good too.
So I had my Pat Travers' Go For What You Know record, which is sort of, you've got to hear it, an amazing record with both Pat Travers and Pat Thrall.
And I went through and I was going to school at the time so my brain was in this place where I was looking at everything in terms of intervals, which actually I still do.
And I sort of wrote down all the cool bluesy intervals that Pat Travers and Pat Thrall were using on that record.
And I made one big huge scale out of them.
So this was sort of like me still in Yngwie brain, _ [A] but taking blues notes and trying to do something with it.
And this is what I got.
I'm going to show it to you.
It's three notes per string, which was very appealing to me at the time because it was a system.
And let me show you that.
Let me just show you the map of the notes.
After that, we'll insert the pattern.
This is the key of A.
We're going [D#] to begin with these three [E] notes.
[F#] _ _ _ [G#m] We're starting with the [A] devil's note, [D#] the tritone.
We'll call it a D sharp.
[E] And then we've got E [F#] and F sharp.
_ _ _ [B] Alright, from there we're going to go to the next string and play three more notes.
Those notes are [B] _ G, [A] A, and B.
Then we're going to go to the next string.
_ [D] _
[Cm] C, C sharp, and D, just chromatic.
[A#] _ _
[D#] Then the next three notes are, _ [D#m] I think that's an octave higher than where we began.
D sharp, E, [F#] and F sharp.
And then, [A]
again, sort of an octave higher.
G, A, and [A#] B.
From there [B] we might take it up a little more, but that's the main three note per string pattern.
_ [A] _ _ [C#] _
[B] _ _ _ _ Now, hearing that, it's a lot of notes, and so it doesn't really, it works to me, it sounds better with this phrase that I'm going to show you next.
So take a breath, and get ready for this.
One, two, three, four.
[A] _ _ [D#] _ _ [F#] _
That is the [A] phrase, and I'm doing what I'm hoping is a pretty obvious pattern.
_ _ [E] It's going up gradually, but on the way up it's going down.
And what do I mean by that?
I mean, each little two note segment, [D#] _ which direction did that go?
That was down.
But then I take the next segment and start at a higher [E] place.
So it [C#m] goes, na na, na na, na na, na na.
So in the small world it goes down, but in the big world it goes up.
_ [F#m] _ _ [A] _ _
_ _ _ _ _ [Bm] _ [C] And again, it's kind of meant to be quick.
To me it just sounds [A] better, maybe like over an A7 chord.
You can do it in a blues if you're so [C] bold.
_ _ _ [F#] _ _ So [A] it's kind of fusion-y somehow, but it's all the Pat Travers and Pat Thrall notes all put into a scale and with that pattern.
So let's do it slow and stomp it.
[C] One, and two, and three, and four.
_ [E] _ _ _ _ [C#] _
_ _ _ _ [Em] _ [F#] _ Two, and [D#] three, and four, and.
_ _ _ [A] _ _ [C#] _
_ _ [B] _ _ [F#] _ Now at this tempo, _ anything will work in terms of picking.
You could do the most primitive, inefficient, you know, _ [A] which is kind of appealing [E] in a certain way.
But in order to speed it up, I would say the thing that's going to untangle it is to do a lot of pull-offs.
You know, wherever there's a pull-off. _ _
_ [B] And where are there pull-offs?
Basically any place where you've got two notes on a string, you can pull it off.
The only spots where you have to pick [F#] is when you have two notes and they're on two different strings.
Because then the hammer [G]-on just gets kind of weak, and you don't want it to be weak.
You want to [B] get some juice out of it.
So the place where you can get enough juice out of the left hand, it's all on one string.
So you can pull off, pull [F#] off.
There, you've got to pick both of them.
[Em] _ _ _ [Am]
Now another [C] thing you may notice is I'm probably using a little bit of, I've got two names for it.
Either the shoulder pull or the shoulder saw, but it's using the shoulder to get _ from string to string.
Now I'm exaggerating it because I'm teaching it to you.
_ _ I'm like, [C] _
_ _ _ _ [A] I may not have to do it that much because the shoulder's big and the amount of traveling I have to do is pretty small.
But it really helps.
And again, the alternatives to that is the elbow, which has problems.
And the thumb, which when you use the thumb to extend it changes the angle of the pick and you start losing tone control.
So the other ones are just riddled with problems and the shoulder really is a good solution.
I didn't even know I was doing it for years until I was teaching and going like, why am I able to do this stuff?
And I realized it's the shoulder.
So finally I worked it out and I'm glad to share it with you.
So anyway, let's do it slow of course and just pay attention to how I'm using the shoulder when I have to pick two notes
and using hammer-ons and pull-offs when I don't.
One and two and [Am] three and four.
_ [E] _ _ _ _ _ _
_ _ _ [F#] _ Now I'm stopping on A and assuming you've got this and you can whip through it now.
[E] _ _ _ [A] _
_ [D#] _ _ _ [F#] Work as a swing too.
_ _ _ _ [Am] _ _ _ [C#] _
_ [E] _ Always good to be able to swing stuff.
But now we can [B] continue up.
_ [D] _ _ [A] I've run out of strings so I just have to do everything on one string now.
And I'm going to continue with the same notes.
[B] Although you know what, I'm going to skip the C sharp and just [Cm] go there.
[C#] So I think that's a good spot to end.
Let's see if that's correct.
Yeah, _ [E] _
_ _ [C] _ _ _ _ [D] _ _
_ [G] _ _ [E] I think that's cool.
And we can even [N] speed it up.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [G] _
[C#] And then you know, blues lick du jour, however you want to end it.
So I think that's a really cool one.
I remember the first time I played that on stage.
I was at a jam with some of the guys in Racer X and John [F#] Alderreddy, now Juan Alderreddy, was next to me.
And I unveiled that lick and I remember he just gave me a big grin like, that's a cool one.
And so that was proof.
If it's Juan Alderredy approved, then it's got to be good.
Alright, so I hope you enjoyed that one.
For a lot more stuff like this, check out my online school at ArtistWorks.
And thank you Sweetwater for having me here.
I'm having a blast.
You know what to do.
Rock and roll!
_ _ [A] _ _ _ [E] _ _ _ _ _ _ _ _ _
_ _ [C#] _ _ [N] _ _ _ _