Watch the Granola: 9 online guitar lesson by Chris Buono from Guitar Cubed
According to George Clinton: Space is the place and that’s the place where you’re gonna play. Huh? At this point you might be thinking, “Wait, I thought you said “space” was where you don’t play”. You’re right, I did. But, now we’re checking out how to find the space where you do play. While Guitar 1 is what it is, it utilizes space as well and that’s what you’re hunting for. The idea of the first eight bars in Guitar 3 is to show you how to let a semi-busy, yet momentary riff run it’s course and then find the hole to play in. Notice the licks to be played are in bars 2, 4, 6 and 8; which is where Guitar 1 is just letting that C7 ring out for the most part. So, what you have is a not-so-obvious call and response between Guitar 1 and 3, while Guitar 2 sweetens the mix.
In the second half of the solo, Guitar 3 does in fact play over the odd numbered bars in the two bar sequences over the Guitar 1 Hendrix thing. BUT, it’s not until the climatic final set of four where you really dig in and go off. That third set of four just has some tasty minor 3rds being rung together still allowing Guitar 1 to be heard un-challenged in the mix.
Looking back at Spy Hunter’s Guitar 3 part there were obvious junctures where the licks matched up to what was going on in Guitars 1 & 2 and that’s a very cool technique to get into. Even better is when you throw that type of communication out when no one is looking. Such is the case here in Granola where in bar 8 the motif played at the downbeat of beat 3 links up with the closing motif heard in Guitar 1. Nice!
As stated, the double stop bends continue with an in-your-face screech heard in bar 6 that turns a perfect 4th from (D-G) into a gritty b3rd (E-G). It’s not until bar 14 where you get the same double stop bend interval action, just an octave higher. This in itself is some smart motivic development. That bend is followed by the same deal, but this time the double stop is only pushing the D up to an Eb for a nice b3rd tension against the underlying C7.
Throughout Guitar 3 there’s two things to note. First, there’s a handful of whole step bends especially at the 15th fret going up to E from D. Watch how my fret hand 1st finger is involved by staying pin straight over the lower strings. This allows for more aggressive pick attacks to the point of raking into the string that’s being attacked and bent making for a louder, more pronounced note. At the same time, it aids in sustain. Since the string is about to be pulled to the ceiling that will inhibit its vibration potential. The exaggerated attack helps counteract that fact and ensures the note will ring that much longer. The second item is the instances of chromaticism heard in bars 8, 9 and 11. This is an important step, probably more than double stop bends, and one that will continue to pop out throughout Guitar Cubed. Injecting chromatic ideas in your playing helps sophisticate your lines as well as your chordal work. So keep a keen ear and eye for more and make a point to get this key component into your playing.