Mark Stefani’s JazzedBluesAssemblyLines
Another Spicy 12-Bar Solo
This month’s 12-bar blues chorus opens with more funky, major
blues moves influenced by Benson, then transitions into a cool,
chromatic jazz lick that takes you to the F7 chord at bar five.
Next, you’ll recognize a major blues repetition, followed by the
C minor blues licks echoed across two octaves. After that, we’re
back to the C7 chord for another dose of funky blues phrasing to
set up the chords in bars nine and ten. Dominant blues licks over
both the G7 and F7, plus some additional double-stops complete
tinues to outline the F7 while walking back down to the 8th fret
position with a tasteful, sliding lick to usher the I chord back in.
This sets up some anticipation for the chord change, a technique
used again in the upcoming turnaround in measures 9 through 12.
Over the first C7, the solo pulls ideas from previous lessons, starting with the juxtaposition of the 6 against the 7 in the first measure before moving on to a more familiar major pentatonic phrase
in measure 2. Measure 3 features some cool 16th note triplets on
the way up to a chromatic run on the high E string in the following measure. Measure 5 features a nice repeating phrase over the
IV chord – F7 – a common jazz move, while the next measure con-
In measure 9, while still over the G7, the notes begin to outline
the upcoming V chord with the last two notes. It isn’t implicit, but
the change is suggested, adding additional tension. The stacked
fifth double-stops in measure 11 add a different flavor to the
solo before moving into more traditional double-stops to outline
the root chord. The final measure features a jazz-approved slide
against a tonic riff to finish things out.
Dig in and study what’s going on here – try to apply these techniques to your own playing. Have fun with the new challenges,
and we’ll see you next month.