The following content is related to the July 2013 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.
As promised, here is part two, the second half, of the etude I introduced last month, an original single-note solo played over the chord changes to the final 16 bars (bars 17–32) of the old jazz standard “There Will Never Be Another You.” The first 10 bars of this second section (bars 17–26) follow the same chord progression as bars 1–10 from part one. The progression then veers off into new territory and what’s commonly referred to as the second ending of the tune’s “A-A” form, which in this case is the last six bars (27–32), and resolves satisfyingly to the I (one) chord, C6-9.
FIGURE 1 begins where we left off last time, at the E note on the G string’s ninth fret, which is the third of the underlying C6 chord. The melody continues and moves up the neck, hitting higher “pitch peaks” than last time. Climbing into the upper register like this as a line develops is an effective composition/improvisation strategy that helps build a melody to a dramatic climax: “start low, end high.”
“A lot of guitarists who can play killer leads get real sterile on their rhythm stuff – they’re all too careful about playing their chords dead straight”: Dimebag Darrell wrote 42 lesson columns for Guitar World. Here’s the best advice he shared
It’s a soloing strategy that T-Bone Walker, B.B. King and Albert King all used, and will instantly make your blues solos sound more pro – learn parallel pentatonics and you will set your playing free
