hammer on. First, the slide sequence. We are sliding from a note which is in the A
minor minor scale (D) and embellishing with a note that is not actually in key (E
flat). The E flat is what we call a blue note. It’s a passing tone which means we
use it to lead into another note during phrases but never resolve to it is it doesn’t fit
with any of the chords in that key. Here is a bit of the background. If we take our
basic A minor scale, A B C D E F G and remove the 2nd and 6th notes (B and F) we
are left with an A minor pentatonic scale. Next, we ad in out blue note which is a
flatted 5th (E flat). This gives us what is called the Minor Blues Scale, A C D Eb E G.
We use the E flat note to pass from E to D and vice-versa. We can also use it to
embellish the D and E notes. This riff uses the E flat to embellish the D giving it a
cool tension due to the fact that we briefly slip out of key. Now, there are other ways
to apply the blue note besides the 2 scenarios above, but that is a whole other
session in itself.
Now, lets address the hammer on at the end. I put a lot of “snap” into this hammer
on to create some “bite”. It’s common in blues and any other style that draws from
blues to add an aggressive edge by playing hammer-ons this way (Think Eric
Clapton). That’s not to say that we should always do hammer-ons that way in
blues, but it is a cool way to add that bite to your sound. Still, though, variety is the
spice of life so be sure to apply this type of hammer-on as just another tool and not
the steadfast means.
To wrap the session, this riff resolves to the root, A. Also be sure to note the use of
pauses within the phrase and the rhythmic flow (fits to a shuffle rhythm). I hope
you all enjoy this one and find some inspiration in it. As always, enjoy!
To view the video clip, click here.
