Richard Barrett is on a mission to make you a better blues player – with full audio examples and backing tracks
Tutor Richard Barrett | Gear used Fender Stratocaster (with EMG DG20 pickup set), Keeley Boss SD-1 & Fender Blues Deluxe Reissue | Difficulty | 15 mins per example
FEW PLAYERS have taken the blues vocabulary and incorporated it into progressive/psychedelic rock with such eloquence. David Gilmour’s tone, note choice and sense of rhythm elevated Pink Floyd to a different level when he joined the band in 1967. As the era of the epic guitar solo dawned, David established himself as a soloist few could match, with a strong sense of melody and a knack for creating memorable parts – even in some of the more ‘out there’ free-form jams that were so characteristic of the early Floyd.
From this time up to and including The Dark Side Of The Moon in 1973, there were strong echoes (pun intended) of Jimi Hendrix in David’s Fuzz Face’d ambient solos. From Wish You Were Here onwards, he refined his tones a little more. There was still lots of edge when required, but he developed a more controlled sound, often featuring the latest gadgets as they became available: for example, the MXR Phase 90 features on Shine On You Crazy Diamond and Have A Cigar.
Though David is famous for his complicated multi-amp rigs and effects racks, he maintains that it’s possible to get the essence of his sound with relatively simple and easily available gear. This may seem hard to believe, but it is certainly true to say that David’s playing would be recognisable whatever he plugged into.
The example solo/licks here are inspired by his solos on tracks such as Comfortably Numb, On An Island and What Do You Want From Me. I’m using the bridge pickup with medium/high gain (not too much, though). David is known for playing at high stage/ studio volumes and gets most of his sustain from this, so be prepared to tweak and maybe add a little compression before any drive. A digital echo/reverb gives a nice finishing touch. Hope you enjoy and see you next time.
Example 1
THE FIRST PHRASE establishes a strong beginning with the held bend, before playing around more rhythmically in this same area (shape 1 C# minor pentatonic) and reiterating the bend to finish. Be very mindful of details such as vibrato, short staccato hits and bluesy quarter-tone bends. These are marked in the transcription, but in an ideal scenario you’ll eventually find yourself adding this sort of stuff in without thinking too consciously. That’s when you’ll know things are really coming together!
Example 2
BEGINNING IN ASIMILAR MANNER to Ex
