Watch the Breakdown 5 online guitar lesson by TrueFire from Play Blues Guitar 6: Soloing Principles

Breakdown 5 - Two-To-Three Equivalency is a video guitar lesson presented by Andy Aledort and is sourced from Slow Blues Power.

At bar 6, we land on the II (two) chord, G7, and across this chord and the next, the V (five chord), C7, I play a line based on the F Blues scale, which lends a unifying quality to the improvisation overall by pulling the implied tonal center back to F, the tonic (the key of the song). The other nice thing about moving back to F over the II chord is that it anticipates the return to the I chord, F7, in bar 7.

Over beat two, I utilize a "two-to-three" equivalency, which is an extremely useful and effective rhythmic technique when playing in a 12/8 time signature like this: in 12/8, each beat is divided into three evenly spaced accents; the four beats in the bar can be counted as ONE-and-a, TWO-and-a, THREE-and-a, FOUR-and-a, or ONE-trip-let, TWO-trip-let, THREE-trip-let, FOUR-triplet. Instead of dividing the beat in that way, I instead divide the beat into two evenly spaced accents, just like one would do in 4/4 time when playing eighth notes: ONE-and. Because we are in 12/8 time, the way in which to indicate two evenly spaced accents on a beat is to use two quarter notes (or a combination of eighth notes, 16th notes, 32nd notes, etc. that equal two quarter notes) signified by a "two-to-three" bracket positioned underneath.