Original subtitles

when improvising Stevie Slow was unrivalled

he never seemed to trip over himself

everything was deliberate

and he knew exactly what he was doing

and where he wanted the solo to go

he mastered the ability to orchestrate an exciting

and interesting improvised solo

and hardly ever played a solo the same way twice

the amount of creativity involved is obscene

and it's hard to articulate in the words

a clear way to explain how to get to that level

a lifetime of dedication gigs

trial and error experimentation

and simply just listening and emulating your heroes

that's what Stevie did and there's no stopping you

you just have to play it's easy to get discouraged

due out

over exposure to worldwide talent via social media

but try to focus on what you're doing

and aim to get a little better every day

for a prime example of Stevie's pentatonic Pro s

we're going to take a look at Texas Flood

and in particular

the live version from live at the on the Combo 1983

we're gonna be using some classic sov licks

paying attention to when we're gonna play them

and how to connect them all together

key techniques here include legato

vibrato Reagan and as always with Stevie's playing

raw aggression

we don't wanna recite the solo note for note

although that would be impressive

it won't really help you

when it comes to making your own solos

we want again

an insight into these concepts behind Stevie's

and avisations

so you can translate these into your own plan

so we're gonna start the riff

sliding up to the fifth fret on the E string

2 5 d

then we got this double stop chord

barring the third frets on the G and the B

with the first finger

hammering up to the fourth fret with the second finger

coming up this fifth fret with the third finger

back down to that double stop Harmon

landing on that fifth fret D

we've got this dominant chord shape

hammering down with that thumb on the third fret

on the E string

got fifth fret with the third finger on the d

fourth fret G with a second finger

and then pinky fifth fret B on the bottom

strumming through all the strings

muting with my thumb when I play this this Vison

then we're gonna do exactly the same thing

but we're just sliding everything up to the

10th fret on the a string

slide up to the G at the

up the top 15 fret on the E and then bar in the G

B and E with your first finger

and now comes in the lead part

so throughout this piece

Stevie's using a triplet feel in all his licks

so like a 1 2

3 1 2

so this first lick

we're going to be in G minor pentatonic first position

got that classic Stevie lick

pulling down chromaticly down to the root

that third fret at the bottom

Big Bend on the 6 fret a

coming down at this 3rd fret on the beat

shaking the neck with some waiver bra

or my thumb is coming off the neck at the back

5th Fret G

3rd Fret B coming down this third fret on the G here

sounds quite cool if you're in a minor

in a minor key bending this third fret

or this note in the minor Pentatoni scale

upper semi tone

just took that major third

gives it up real bluesy flavor

then we got this fast pull off 5 to 3 on the d

5th fret ear London down on this G note with a thumb

and then we're gonna climb up the blues pen and sonic

and end on this on the five chord

on this dominant seventh chord

so for third finger 5th fret a

second finger 4th fret d

pinky finger

5th fret G and then first finger 3rd fret B

Stevie use this chord all the time when I turn around

and this leads us into the main solo section

again climbing up the G minor blues

then by hitting this double stop

this real dominant sounded double stop

six fret a at the bottom and then fifth fret B

shake it with a bit of vibrato

so 3rd fret a sixth fret B

bending up on that 5th fret G

and got this fast pull off camera

and pull off 3rd to 5th fret on the d string

hammering down with the third fret on the thumb

hitting this dominant chord

where the four chord would be

it's got this dominant 9 tonality

so how I'm voicing that I'm using my third finger

about the third frets on the GB and E

first finger second fret d

and then

them up second thing is floating around

so even though the root is on the third fret E

it's still technically a C chord

just adding that third fret on the bottom

really fattens up the sound

again after this section

we're on the four chord now

for the second chord

the progression would still riffing around

in the first position Pentatoni

so I'm grabbing the sixth fret B

again grabbing that third fret G

bending up the semitone

coming down and landing on that fifth fret on the

and it goes back to the one chord

sliding up to this major

this major double stop mixing the major minor

come to slide in

third fret and second fret on the G and the B up

1 semitones

this leads us into this fast pet sonic

so these fast bluesy runs

Steve is basically just trying to fill up the bars

with these classic pentatonic runs

so he's waiting for the one beat to come back around

try to finish off these runs

waiting for this one week

so once you get comfortable with these licks

once you build up the muscle memory

just throw these in whenever you can

just be careful

paying attention to what the drums are doing

wait for this one beat to come back around

so what I've got here

that classic stimulate

that would just play at the start of the song

just running down the Pentatonix

simple stuff 6 3 on the B and the E

sliding down the blues

then in the fifth fret G

grabbing that third fret on the beach time

love this lick here

just grabbing the 6 fret b

6 down 5 on the G

Stevie would always grab that 6 fret

just play that once

and slide down the next ring with the same finger

so here sliding 3 5 up to seven

grab the 6 on the beat

and then sliding straight back down

again about that 6 fret B

and then when the one lands back round

landing on this fifth fret G

so it lands on this four chord

so land on this fifth fret

G is the root of this four chord

so he's hitting the chord tone over the second chord

in the progression

sliding down the minor Pentatonix

again playing that chord that dominant chord root

this leads us into another fast pentaonic leg

so this one's utilizing the full minor pattern on it

first position

same like that we used to

back that 6 fret B

literally just sliding down this pentatonic

the same licky as sliding up

3 5

7 on the G

catching that six on the B

sliding straight back down

and then once once we reach this G note

this root note on the d string

we're gonna keep it going down on the minor

panatonic blues

so that full minor pentatonic lick

starting from bar number twenty

and then we're gonna end this hammer on and pull off

with a nice aggressive descendant pentatonic run

really digging in with the right hand

just sound out one note

this is when the Rick is really gonna come in handy

ball in section

still playing over the one chord

sliding up to this 10th fret

borrowing with the first finger on the GB and E

going up to 12 on the e

hammer ons and pull offs on the e there

going down the 12 fret B

first thing I stay on the 10th fret

never got 12 11 10 on the G

we're starting now from the fifth fret

so bar on the fifth fret with the first finger

exactly the same thing that we're doing up top here

this is gonna be over the 5 chord

slide that down a semi tone

another classic pentatonic lick

still over the fore chord

he has a little interesting lick that

we're gonna go in there

so it was sliding open in the second position

minor Pentatoni

but we're using the

the major third note of this four chord

just line up that 7th fret on the air

grab that fifth fret d

8th fret d

going to that eighth fret

really gives it a dominant sound

sounds great over this four chord

I noticed from watching Stevie's live videos

he always goes to this lick over the fore chord

go to this fifth fret G

slide them back down to the third fret G

which brings us straight back into this first position

minor pentatonic

again a pull off

descendant pull off down the roof

to finish off this

the first 12 bars were just riffing in G

minor pentatonic

we don't have to hit exactly north for North

Stevie was doing as long as we get the same feel

the same idea

keep that triplet feel on the go

throwing these classic Stevie legs

and then in to introduce the turnaround

literally climbing up to that to that five chord

3 4 5 on the air