In today’s lesson we are looking at how to incorporate double stops (two notes played together at the same time) into your soloing vocabulary. The examples show here are an extract from the brand new book Melodic Rock Soloing For Guitar. Also included in today’s lesson is a free backing track!
Most of the time when we improvise on the guitar, we use single-note phrases to create licks. A common way to add variety to solos is to play two-note double-stops. To hear double-stops in action, listen to the solo from the Wind Cries Mary by Jimi Hendrix, which is a wonderful demonstration of both double-stops and single note Blues-Rock ideas.
Double Stop Soloing – C#m Pentatonic ‘B’ and ‘E’ Strings only
Double Stop Soloing – Sliding Double Stops
Double Stop Soloing – Hammer-Ons
The next idea combines the shapes in the first example with single-notes. Bar four is reminiscent of Hendrix’s playing, especially in his solo in The Wind Cries Mary.
Double Stop Soloing – C#m Pentatonic ‘G’ and ‘B’ Strings
The following example shows the C# Minor Pentatonic scale on just the G and B strings. Slowly learn the double-stop pairs with a metronome set to 80bpm. You can play all the ideas in this chapter with Backing Track seen below.
Double Stop Soloing – Slides PT 2
Here is a backing track to accompany all of the double stop examples shown in todays lesson. It is in the key of C# minor. Enjoy!
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Author - Simon Pratt
Simon Pratt attended the Guitar Institute (now called the Institute Of Contemporary Music Performance) in London where he excelled in his Diploma of Popular music performance and graduated in 2005. His passion for funk music continued while studying privately with top funk player and editor of Future publishing magazines Jason Sidwell. Always keen to learn, Simon has attended…Author profile
5 responses to “Double Stop Soloing”
Since purchasing Joseph’s Book 1 of the Complete Guide to Playing Blues Guitar, I’ve gained a much deeper understanding of the options available to me when playing the blues. He writes clearly and methodically, giving just enough information on each topic so that I can confidently integrate new techniques and expand my playing knowledge.
The book provides alternative approaches to each method to drive home the idea that you the player should experiment and find what works best in different situations based on your preference. Clear explanations of different chord voicings and rhythm options have really opened up the palette of sounds to choose from, and I look forward to continuing the series.