We''re sorry, but this video lesson is no longer available. You can still download the accompanying tab: Tab 1: PDF - PTB Tab 2: PDF - PTB Or view the

We''re sorry, but this video lesson is no longer available.

You can still download the accompanying tab:
Tab 1: PDF - PTB

Tab 2: PDF - PTB

Or view the digital version of the article by clicking the "DIGITAL" link above

Another Spicy 12-Bar Solo
from Mark Stefani’s Jazzed Blues Assembly Lines

This month’s 12-bar blues chorus opens with more funky, major blues moves influenced by Benson, then transitions into a cool, chromatic jazz lick that takes you to the F7 chord at bar five. Next, you’ll recognize a major blues repetition, followed by the C minor blues licks echoed across two octaves. After that, we’re back to the C7 chord for another dose of funky blues phrasing to set up the chords in bars nine and ten. Dominant blues licks over both the G7 and F7, plus some additional double-stops complete this chorus.

Over the first C7, the solo pulls ideas from previous lessons, starting with the juxtaposition of the 6 against the 7 in the first measure before moving on to a more familiar major pentatonic phrase in measure 2. Measure 3 features some cool 16th note triplets on the way up to a chromatic run on the high E string in the following measure. Measure 5 features a nice repeating phrase over the IV chord – F7 – a common jazz move, while the next measure continues to outline the F7 while walking back down to the 8th fret position with a tasteful, sliding lick to usher the I chord back in. This sets up some anticipation for the chord change, a technique used again in the upcoming turnaround in measures 9 through 12.

In measure 9, while still over the G7, the notes begin to outline the upcoming V chord with the last two notes. It isn’t implicit, but the change is suggested, adding additional tension. The stacked fifth double-stops in measure 11 add a different flavor to the solo before moving into more traditional double-stops to outline the root chord. The final measure features a jazz-approved slide against a tonic riff to finish things out.

Dig in and study what’s going on here – try to apply these techniques to your own playing. Have fun with the new challenges, and we’ll see you next month.

Check out TrueFire''s Interactive Video CD-ROM Library
Learn more about subscribing to TrueFire''s All-Access - over 3,500 video lessons online



  • Develop a sense of how to substitute open strings for fretted notes.
  • Create a cascading effect by playing as legato as possible.
  • Understand how open strings fit into many different keys.
{u'media': u'[rebelmouse-document-pdf 16991 original_filename="OpenStrings-Jun22.pdf" site_id=20368559]', u'file_original_url': u'https://roar-assets-auto.rbl.ms/documents/16991/OpenStrings-Jun22.pdf', u'type': u'pdf', u'id': 16991, u'media_html': u'OpenStrings-Jun22.pdf'}
Most guitarists learn the basic scales, patterns, and lines up and down the neck when starting to visualize the fretboard. Working open strings into the mix made my head spin and forced me think of note selection differently. It taught me how to manipulate lines that I’d played for years and breathed new life into those lines simply by adding one key element.
Read MoreShow less

See a sampling of picks used by famous guitarists over the years.

Marty Stuart

Submit your own artist pick collections to rebecca@premierguitar.com for inclusion in a future gallery.

Gibson partners with the Everly Brothers family for a limited-edition acoustic guitar equipped with AA flame maple and capped with dual pickguards.

Read MoreShow less