Franklins is a very good straight forward soloing jam for building on Mr. Gribbles observations. No dipping into any min. or blues scales, and a very light dose of chromatics is workable.
It's perfect for being mindful of playing "over" chords. Keep in mind where you are, chord wise, while soloing to add accent and color, and begin and end phrasing.
The note triad (notes that form a chord) for the A maj chord is A, C#, & E. For D maj it's D, F#, A. These notes represent "safe" points for beginning and ending phrases. Notice they're all notes in A mixolydian.
This is not for the G chord. As you probably know you could play this song without even voicing the G (as Jerry does when he picks out A and D chords at the mellow point just before the last verse.) The G is a bridge between the A and D and back to A so the G note can be played virtually anywhere.
The point is to be mindful of what chord you are soloing over and to utilize these notes when beginning or ending a phrase or accenting a phase with a more "obvious" reflection of the chord.
It will eventually become 2nd nature as you internalize these points. You won't even think about it; some may be doing it already simply because it sounds right.
Of course this is not for those of you who are beyond this concept.
While you can certainly get away with jamming without this in mind, unless you approach this in some instinctive fashion you run the dreaded risk of meaningless meandering.
Here's a small example. I'm not going to note the G chord. It may only serve to confuse.
--A--------------------D------------------A
e---------------------------------------
b-5--5-5-3-2------------------------3--
g-------------4-2-------------2-2-4----
d------------------5--4--4-4-----------
a----------------------------------------
e----------------------------------------
The 5 on the B (E) is a take off point for a phrase.
The first 4 on the D (F#) is a "touch" point for the D chord change and the second 3 on the B (D) at the end represents the summation of the phrase.
This is faster with some more notes but is essentially the same.
--A---------------------------D----------------A
e----------------------------------------------
b-5-5-3-2-3-2----2------------------------3---
g----------4----4-2--4-2-------2-2-4-2-4----
d--------------------------5-4-4-4----4-------
a---------------------------------------------
e--------------------------------------------
Of course beginning and ending phrases often transcends chord changes. In other words you don't end a phase on every D chord. A phase can have these chord recognition points and just keep going, although it has to end sometime.
I hope this is helpful.
Any input or corrections are welcome.
Note. Please excuse my referring to Jerry in the present. If you believe in eternity he's out there pickin' somewhere.
It's perfect for being mindful of playing "over" chords. Keep in mind where you are, chord wise, while soloing to add accent and color, and begin and end phrasing.
The note triad (notes that form a chord) for the A maj chord is A, C#, & E. For D maj it's D, F#, A. These notes represent "safe" points for beginning and ending phrases. Notice they're all notes in A mixolydian.
This is not for the G chord. As you probably know you could play this song without even voicing the G (as Jerry does when he picks out A and D chords at the mellow point just before the last verse.) The G is a bridge between the A and D and back to A so the G note can be played virtually anywhere.
The point is to be mindful of what chord you are soloing over and to utilize these notes when beginning or ending a phrase or accenting a phase with a more "obvious" reflection of the chord.
It will eventually become 2nd nature as you internalize these points. You won't even think about it; some may be doing it already simply because it sounds right.
Of course this is not for those of you who are beyond this concept.
While you can certainly get away with jamming without this in mind, unless you approach this in some instinctive fashion you run the dreaded risk of meaningless meandering.
Here's a small example. I'm not going to note the G chord. It may only serve to confuse.
--A--------------------D------------------A
e---------------------------------------
b-5--5-5-3-2------------------------3--
g-------------4-2-------------2-2-4----
d------------------5--4--4-4-----------
a----------------------------------------
e----------------------------------------
The 5 on the B (E) is a take off point for a phrase.
The first 4 on the D (F#) is a "touch" point for the D chord change and the second 3 on the B (D) at the end represents the summation of the phrase.
This is faster with some more notes but is essentially the same.
--A---------------------------D----------------A
e----------------------------------------------
b-5-5-3-2-3-2----2------------------------3---
g----------4----4-2--4-2-------2-2-4-2-4----
d--------------------------5-4-4-4----4-------
a---------------------------------------------
e--------------------------------------------
Of course beginning and ending phrases often transcends chord changes. In other words you don't end a phase on every D chord. A phase can have these chord recognition points and just keep going, although it has to end sometime.
I hope this is helpful.
Any input or corrections are welcome.
Note. Please excuse my referring to Jerry in the present. If you believe in eternity he's out there pickin' somewhere.