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♪

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Hi, how you doing?
Justin here.

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In th is lesson today, we are checking
out a little lick I call Stevie's Wrongun.

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cause it's kind of a
Stevie Ray Vaughan stylee lick,

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but there's a funny note in there,
which sounds really cool,

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but you have to be careful with it.

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It's kind of a wrong note
but it sounds cool.

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So uh let's get to a close-up
and check out how to play it.

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♪

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Okay, that's the lick that
we're looking at today.

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Now, it's basically an
E minor pentatonic lick.

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So all of the first part.

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That's just a real clack,
very, very common...

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♪

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kind of a regular Blues lick.

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What Stevie Ray Vaughan
tends to do with this kind of thing,

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is add in a few extra notes
to give it a bit more flavor.

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In this case, he's starting off
by adding a 9th after it,

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which is this note here, the F#
on the thinner string, 14th fret.

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♪

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He's using the 3rd finger
on the 14th fret.

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♪

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And then he follows it with
a hammer-on and flick-off

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12,13 on the thinner string,
which is the note E and F.

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Now E, of course, is a good note
in the key of E minor or E Blues,

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but F is a real funny note to be
using in the key of E

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which is kind of a wrong note, but it
sounds great in this context

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so it's a right note, but it's an unusual
note, I should have called it.

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Maybe I should have called it
Stevie's Unusual Note Lick

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but Stevie's Wrongun sounds funnier.

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♪

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And then we're kind of back
to pentatonic.

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So let's have a look at the
fingering of it first.

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So, we're starting off with the
3rd finger, 14th fret on the 3rd string

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doing a tone bend.

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1st finger barring the 12th fret,
or kind of like a roll, really.

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I shouldn't call it a barre,
it should roll.

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Don't hold them both down
at the same time.

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So 12th fret on the 2nd string.

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12th fret on the thinner string.

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Then flick-off from 15 to 12.

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♪

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Now, I know it looks like I'm
doing a regular barre,

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but it is just doing a
slight rocking motion,

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cause you can hear there
i'm just getting one note at a time.

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It's not this...

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where you get the two notes
ringing together, it sounds funny.

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You want it to be separated.

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I've got a lesson on rolling,
if you're unsure about that technique.

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Now here as well,
notice the little finger.

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Sometimes I use the little finger,
sometimes I use 3rd finger,

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cos a lot of Blues, I don't tend
to use my little finger too much.

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I'd play...

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♪

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which doesn't seem as logical
to use the 3rd finger on the 2 frets

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but it feels more comfortable,
and a lot of guys play like that.

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I don't know which way
Stevie did it, unfortunately.

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Clapton almost certainly wouldn't use
his little finger in that kind of lick.

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but it fits.

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If you want to use your little finger,
that's fine too.

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Anyway...where were we?

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Bend

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12

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12

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15

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Flick-off.

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Now we got 3rd finger down
on the 14th fret of the thinner string,

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followed by hammer-on, flick-off
12, 13.

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Then 15th fret, 2nd string.

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12th fret, thinner string.

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And then 15, 12, flick-off.

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Again, that's on the B string.

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Remember, there's tabs on the website,
if you wanna look up any of the licks.

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There's tabs for every lick on the site.

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♪

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Let's talk about the rhythm,
it's continuous triplets

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except for the hammer-on and flick-off
which is a 16th note.

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So really slowly, we'd have...

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1 trip..let,

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2 trip..let,

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3 e trip..let,

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4 trip..let.

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Now, notice I say trip-e-let,

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which is just my funny way of counting
16th notes in between triplets,

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if we've got something like that.

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1 trip..let,

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2 trip..let,

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3 e trip..let,

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4 trip..let.

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Just enables me to put a 16th note
in between 1 triplet, 2 triplet

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by adding an 'e'.

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You don't have to do that,
but it works for me.

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What's really important is you're feeling
the triplet note there.

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1 triplet,

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2 triplet,

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3 triplet,

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4 triplet.

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1 triplet,

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2 triplet,

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3 triplet,

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4 triplet.

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It's really useful to get the tab
in front of you for that,

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so you can see where
the beat is each time,

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but it's really making sure.

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1 triplet, is the first three,

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2 triplet, is the next one,

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then, 3 trip

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3 trip..let

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4 trip..let, that's the bit that's hard.

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♪Da-di-ya-bu-da-ba-di,
da-e-ya-bu-da-da-da♪

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Again, make sure 
you're doing it real slow.

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♪

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Using these pentatonic licks that have
got extra notes in them, are a lot of fun,

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but you have to be careful with notes
like flat 9, the F note in this lick.

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Cause they kinda sound a little bit strange

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and if you overdo it, if you start using
that note too much or in the wrong place,

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it just won't sound cool.

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So make sure you keep your ears
focused on what you're doing.

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Remember, if it sounds good,
it IS good,

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but make sure you're listening,
otherwise you might not notice

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if it doesn't sound very good,
if you're overdoing it.

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Important thing to realize with this lick,

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Stevie Ray Vaughan tends to use these
kind of things in a chord specific way.

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Now, what that means is, the lick I was
showing you I played,

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the backing track was all an E7 chord,
and I played E minor pentatonic things.

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But, often this lick gets used
over an E chord,

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and when the chord changes,
he'll change that lick with it, as well.

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If I did it in A, just quickly...

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using it as a turnaround at the end
of a Blues in A,

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where it kind of goes E,

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to D,

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to A.

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You could use that lick on the E.

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♪

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So you can use it for that
whole turnaround,

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move it on the E up on the 12th fret,
where we've just done it.

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Move it down two frets
to the 10th fret,

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kind of, you know the D minor pentatonicy 
kinda shape, for the D7 chord,

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and then down to the 5th fret
for that A7 chord,

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the A minor pentatonic
kind of bass thing.

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This kind of lick moves around
with the chords.

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It can be used in a chord specific way,

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or you can use it as I showed you,
jamming it in a Blues.

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Stevie Ray normally uses this
lick over a 5 chord,

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in whatever key he's in, that would
be the usual place he uses it.

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But you can use it where you like,

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as long as it sounds good,
that's the important thing.

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Have fun with that.

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Remember to jam it lots and
try and work it into your play,

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and I'll see you for
another lick very soon.

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Take care of yourselves,
bye-bye.