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When first hearing the term “tenth” in music, it may seem baffling, but it’s simply a way to tell you that we have now jumped an octave over the initial eight notes of the scale. It’s really an interval in 3rd that now contains a note that is substituted by a higher or lower note, octave-wise. This is how a 2nd can become a 9th, for example. In this case, a 3rd becomes a 10th. This is just some basic theory dealing with the mathematical relationships of notes.
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This bending technique is often misunderstood due to the fact that some folks think an “overbend” is just that … a bend that goes too far! Well, actually, it’s almost always a step and a half, or three frets in length, and has been used for years by such legendary blues benders such as Eric Clapton, Otis Rush and Buddy Guy.
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This great lick I learned right from Roy Buchanan’s first LP for Polydor, titled Roy Buchanan, from 1972. It’s a great example of how a country lick technique can be applied to the blues. It also illustrates the usage of a half-step or single-fret bend in place of a whole-step bend.
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This is perhaps the single most important aspect of understanding rhythm and rhythmic guitar playing. One must remember that any instrument is to a certain degree a “percussion” instrument, and that it’s the constant and unrelenting rhythm of the right hand that determines the true sound of the rhythm lick, and that also carries over into the lead fills and licks as well.
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The lick and position in today’s lesson has been a mainstay for rock and blues players for decades, and it’s important to give it its proper historical tracing, and – more importantly – make sure it’s taught correctly.
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