Lick 1:

We start out really simple here with a phrase based around the G major pentatonic scale over the opening G7 chord. The use of the melodic 6^th interval here adds a very definite Larry element to the phrase, influenced by players such as BB King and early Clapton solos. Try to use a medium speed vibrato with the first finger on the root note G. When the chord changes to C7 notice how the ½ step bend takes us up to the b7 of the chord. Larry has a superb ability to outline the chord tones of each chord even with very simple phrases.

Lick 2:

This lick is a response to lick one. Call and response in this way is vital for good Blues phrasing. Again, not a tricky lick but make note of the use of the bluesy sounding minor 3^rd interval against the G7 and the extensive use of root, 5^th and 6^th intervals for a strong, melodic sound.

Lick 3:

In this lick we confirm the opening bend, hammer-on, pull-off phrase as a theme and you’ll see this crop up throughout the solo. The use of themes and repeated melodic phrases is a trademark of blue players and Larry is a master of it. Again, this phrase uses the 3^rd, 5^th and b7^th of the C7 chord to form a strong melodic base.

Lick 4:

Here we have our first Jazz influenced phrase, outlining the G7 chord with a G major triad and a definite G Mixolydian scale flavor, thanks to the use of the 4^th leading into the 3^rd of the chord. Notice also the b3^rd moving chromatically into the 3^rd. The b3 to 3 relationship is vital in Blues playing and it can be exploited very successfully in jazzier phrases like this too.

Lick 5:

Starting with an octave jump on the 5^th (G) of the D7 chord, this lick then moves onto the same opening shape for the C7 chord, outlining the 3^rd, 5^th, 6^th and 7^th of the chord. Again, notice how we slide into the 3^rd from the b3^rd a semitone below.

Lick 6:

Here we get our first line over the I-VI-II-V turnaround section. The line takes a traditional Blues approach, rather than the Jazz based approach we’ll see in the second chorus. The lick starts by outlining a G major triad, approaching the major 3^rd from the minor 3^rd. We lead into the 4^th for a Mixolydian sound and come down the G triad to outline an Em7 sound. Next we land on the b3 of the Am7 chord before using a Gm pentatonic phrase to land on the root note of the D7 chord. For each of the chords we land on a chord tone but manage to maintain a Blues sound by combining arpeggios with traditional pentatonic phrases.

Lick 7:

For the second chorus things get a bit more sophisticated. Larry likes to add more and more harmonic elements to build each chorus so we’ll be adding more Jazz based elements here. We start with a repeating lick based on E and G outlining the 6^th and root of the G7 and 3^rd and 5^th of the C7 in bar 2. The tone and a half bend at the end of the phrase adds a fantastic vocal quality to the phrase.