in deep with eric clapton
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7/27/2019 In Deep With Eric Clapton
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columns in deep *
90 w o
FIGURE 1a G minor pentatonic,third position
FIGURE 1b Slow blues = 126
3 63 5
3 53 5
3 63 6
G1
53 3
1
3 35
3 3 3
1
53 3
1
3 35
3 3 3 6 35
3
1/2
3 5 35
1/2
3
FIGURE 1c G minor pentatonic, extended position FIGURE 2
1 31 3 5
3 53 5 7
6 86 8 10
G7
75 76
5 35
55
5
35 3
55 3
3 13
13
3 3
3
1 31 5
3 53 5 7
6 88
1/2
6 10 6 88
68 6
7
1/2
8 67 5 3 3
5 35
1/2
13 1
3 3 3
3 3 5 3 3 3 3
FIGURE 3a G minor pentatonic, 10th position FIGURE 3b
10 1310 13
10 121 0 1 2
1 1 1 31 0 1 3 1 3
1/2 1 1/2
13 13 1112
*
*repeat previous beat
111312
1/4
111210
121210
1210
3 3 3
10121012
11131013101310
13
1/2
101311
1213 11
12
1/2
1211
101013 10131013
1 013 13 1013
1013
1/2
1112
131112
1/2
1211
3 3 3 3 3
FIGURE 4 G minor pentatonic, extended position FIGURE 5a G minor pentatonic, 12th/13th position
8 108 10
8 10 121 0 1 2
11 13 1 51 3 1 5
1513 15
12 1512 15
13 1513 15
FIGURE 5b
G7
12 15 1215
1215
1 1 /2
1 2 15 1 5 1 5 12 1 215
1 2 1 5 1 215
12 12
1
1215
12 15
1/2
1 5 1 5 1215
15 12 1215
3 3
FIGURE 6a G minor pentatonic, 15th position FIGURE 6b G minor pentatonic, extended position
15 181 5 1 7
1 5 1 71 5 1 7
1 5 1 81 5 1 8
13 1513 15 17
1 5 1 715 17 19
1 8 2 018 20 22
FIGURE 7a G minor pentatonic FIGURE 7b G minor pentatonic, extended position
30 2
0 20 2 4
3 53 5 7
3 5 75 7
5 7 97 9
8 10 1 21 0 1 2 1 5
FIGURE 7c
G
3 5 7 5
5
5
7 97
9 99
97
7 5
7
7
7
75 5 97 9
97 8 9
8
11/2
810
1
1 0 1 0
MESSAGE FROM GODEric Clapton in the Sixties
By andy aledort
For most oF the past five de-cades, British guitarist Eric Clap-tn has been at the frefrnt f
blues/rck guitar playing. hugh he hasincrprated many different stylistic ele-ments int his music during his lng andvery successful career, Claptn’s legacyas frged lng ag n his brilliance asa virtus slist, and he ill lng be re-membered as ne f the mst imprtantand influential guitarists ever.
his mnth e’ll examine that magicalperid frm 1966 t 1968, hen Claptnestablished the standard fr mdern bluesand rck guitar ith his incendiary rkith Jhn Mayall’s Bluesbreakers andCream—back hen he as cmmnlyreferred t by the mdest nickname d.
hugh Claptn initially gainedrecgnitin ith the Yardbirds, ithhm he played frm octber 1963thrugh March f 1965, his rk iththe Bluesbreakers established him asne f the best guitarists f the day. Hisinspired perfrmance n the 1966 classic Blues Breakers with Eric Clapton is alsnterthy fr intrducing a mind-
bling guitar sund. rmed ith his1960 ibsn es Paul Standard, pluggedint a 45-att mdel 1962 Marshall 2x12cmb amplifier, Claptn frged a thick,verdriven sund ith tremendussustain. He rutinely turned the amp fullup, as he liked t say, “till it as abut tburst.” n thse days Claptn used light-gauge Ernie Ball Super Slinky strings(.009–.042).
et’s first lk at the scales Claptnrelies n primarily fr sling. Flling the lead f t f his greatest influences—B.B. King and Buddy uy—Claptn ftenalternated beteen minr and majr
pentatnic scales in his sls. FIGURE 1a illustrates ne f the mst cmmnly usedscale psitins fr minr pentatnic (BBf C F). FIGURE 1b shs a signatureClaptn lick based n this scale in thispsitin: it begins ith a repeated “unisnbend” type lick, as C is bent up ne hlestep t n the string, flled by afretted n the B string. he phrase endsith hammer-ns and pull-ffs played in16th ntes, ending ith a pair f minrthirds, Bf, hich are bent up ne half stept the majr third, B. Subtle use f minr-third-t-majr-third bends is a standardstylistic element f Claptn’s sling.
FIGURE 1c illustrates an extended
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