♪
Hi, how you doing? Justin here.
In th is lesson today, we are checking out a little lick I call Stevie's Wrongun.
cause it's kind of a Stevie Ray Vaughan stylee lick,
but there's a funny note in there, which sounds really cool,
but you have to be careful with it.
It's kind of a wrong note but it sounds cool.
So uh let's get to a close-up and check out how to play it.
♪
Okay, that's the lick that we're looking at today.
Now, it's basically an E minor pentatonic lick.
So all of the first part.
That's just a real clack, very, very common...
♪
kind of a regular Blues lick.
What Stevie Ray Vaughan tends to do with this kind of thing,
is add in a few extra notes to give it a bit more flavor.
In this case, he's starting off by adding a 9th after it,
which is this note here, the F# on the thinner string, 14th fret.
♪
He's using the 3rd finger on the 14th fret.
♪
And then he follows it with a hammer-on and flick-off
12,13 on the thinner string, which is the note E and F.
Now E, of course, is a good note in the key of E minor or E Blues,
but F is a real funny note to be using in the key of E
which is kind of a wrong note, but it sounds great in this context
so it's a right note, but it's an unusual note, I should have called it.
Maybe I should have called it Stevie's Unusual Note Lick
but Stevie's Wrongun sounds funnier.
♪
And then we're kind of back to pentatonic.
So let's have a look at the fingering of it first.
So, we're starting off with the 3rd finger, 14th fret on the 3rd string
doing a tone bend.
1st finger barring the 12th fret, or kind of like a roll, really.
I shouldn't call it a barre, it should roll.
Don't hold them both down at the same time.
So 12th fret on the 2nd string.
12th fret on the thinner string.
Then flick-off from 15 to 12.
♪
Now, I know it looks like I'm doing a regular barre,
but it is just doing a slight rocking motion,
cause you can hear there i'm just getting one note at a time.
It's not this...
where you get the two notes ringing together, it sounds funny.
You want it to be separated.
I've got a lesson on rolling, if you're unsure about that technique.
Now here as well, notice the little finger.
Sometimes I use the little finger, sometimes I use 3rd finger,
cos a lot of Blues, I don't tend to use my little finger too much.
I'd play...
♪
which doesn't seem as logical to use the 3rd finger on the 2 frets
but it feels more comfortable, and a lot of guys play like that.
I don't know which way Stevie did it, unfortunately.
Clapton almost certainly wouldn't use his little finger in that kind of lick.
but it fits.
If you want to use your little finger, that's fine too.
Anyway...where were we?
Bend
12
15
Flick-off.
Now we got 3rd finger down on the 14th fret of the thinner string,
followed by hammer-on, flick-off 12, 13.
Then 15th fret, 2nd string.
12th fret, thinner string.
And then 15, 12, flick-off.
Again, that's on the B string.
Remember, there's tabs on the website, if you wanna look up any of the licks.
There's tabs for every lick on the site.
♪
Let's talk about the rhythm, it's continuous triplets
except for the hammer-on and flick-off which is a 16th note.
So really slowly, we'd have...
1 trip..let,
2 trip..let,
3 e trip..let,
4 trip..let.
Now, notice I say trip-e-let,
which is just my funny way of counting 16th notes in between triplets,
if we've got something like that.
1 trip..let,
2 trip..let,
3 e trip..let,
4 trip..let.
Just enables me to put a 16th note in between 1 triplet, 2 triplet
by adding an 'e'.
You don't have to do that, but it works for me.
What's really important is you're feeling the triplet note there.
1 triplet,
2 triplet,
3 triplet,
4 triplet.
1 triplet,
2 triplet,
3 triplet,
4 triplet.
It's really useful to get the tab in front of you for that,
so you can see where the beat is each time,
but it's really making sure.
1 triplet, is the first three,
2 triplet, is the next one,
then, 3 trip
3 trip..let
4 trip..let, that's the bit that's hard.
♪Da-di-ya-bu-da-ba-di, da-e-ya-bu-da-da-da♪
Again, make sure you're doing it real slow.
♪
Using these pentatonic licks that have got extra notes in them, are a lot of fun,
but you have to be careful with notes like flat 9, the F note in this lick.
Cause they kinda sound a little bit strange
and if you overdo it, if you start using that note too much or in the wrong place,
it just won't sound cool.
So make sure you keep your ears focused on what you're doing.
Remember, if it sounds good, it IS good,
but make sure you're listening, otherwise you might not notice
if it doesn't sound very good, if you're overdoing it.
Important thing to realize with this lick,
Stevie Ray Vaughan tends to use these kind of things in a chord specific way.
Now, what that means is, the lick I was showing you I played,
the backing track was all an E7 chord, and I played E minor pentatonic things.
But, often this lick gets used over an E chord,
and when the chord changes, he'll change that lick with it, as well.
If I did it in A, just quickly...
using it as a turnaround at the end of a Blues in A,
where it kind of goes E,
to D,
to A.
You could use that lick on the E.
♪
So you can use it for that whole turnaround,
move it on the E up on the 12th fret, where we've just done it.
Move it down two frets to the 10th fret,
kind of, you know the D minor pentatonicy kinda shape, for the D7 chord,
and then down to the 5th fret for that A7 chord,
the A minor pentatonic kind of bass thing.
This kind of lick moves around with the chords.
It can be used in a chord specific way,
or you can use it as I showed you, jamming it in a Blues.
Stevie Ray normally uses this lick over a 5 chord,
in whatever key he's in, that would be the usual place he uses it.
But you can use it where you like,
as long as it sounds good, that's the important thing.
Have fun with that.
Remember to jam it lots and try and work it into your play,
and I'll see you for another lick very soon.
Take care of yourselves, bye-bye.