Learn SonnyBoy's Sugar Mama, beautiful blues harmonica track | Ben Hewlett | Skillshare

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Learn SonnyBoy's Sugar Mama, beautiful blues harmonica track

teacher avatar Ben Hewlett, Helping you play harmonica better!

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

11 Lessons (1h 20m)
    • 1. Promo - please watch

      1:51
    • 2. Introduction and overview

      2:40
    • 3. Listen through to the whole track

      7:15
    • 4. Song intro part 1

      7:52
    • 5. Song intro part 2

      6:02
    • 6. Song intro part 3

      8:57
    • 7. Verse 1 fills

      10:28
    • 8. Verse 2 fills

      9:32
    • 9. Solo part 1

      9:15
    • 10. Solo part 2

      8:36
    • 11. Ending

      7:07
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About This Class

This is a classic blues everyone should know - it's the bedrock of original blues from the Father of modern Blues Harp.

Let me introduce you to Sonny Boy Williamson number 1.

John Lee Curtis "Sonny Boy" Williamson (March 30, 1914 – June 1, 1948) was an American blues harmonica player, singer and songwriter. He is often regarded as the pioneer of the blues harp as a solo instrument. He played on hundreds of recordings by many pre–World War II blues artists. Under his own name, he was one of the most recorded blues musicians of the 1930s and 1940s and is closely associated with Chicago producer Lester Melrose and Bluebird Records. His popular songs, original or adapted, include "Good Morning, School Girl", "Sugar Mama", "Early in the Morning", and "Stop Breaking Down".

Williamson's harmonica style was a great influence on postwar performers. Later in his career, he was a mentor to many up-and-coming blues musicians who moved to Chicago, including Muddy Waters. In an attempt to capitalize on Williamson's fame, Aleck "Rice" Miller began recording and performing as Sonny Boy Williamson in the early 1940s, and later, to distinguish the two, John Lee Williamson came to be known as Sonny Boy Williamson I or "the original Sonny Boy".

Meet Your Teacher

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Ben Hewlett

Helping you play harmonica better!

Teacher

 

Contact me anytime through the site or email [email protected] if you have any questions HARMONICA HOTLINE 07973284366 - If you have any harmonica related questions you can call me. Yes it's true. This UK number is available whenever I'm free so try UK office hours (texts and messages cannot be answered )

 

www.playharmonica.co.uk

www.benhewlett.com

www.harmonicaworld.net

www.sonnyboysmusicstore.co.uk

*Ben is the Chairman of the NHL - National Harmonica League in the UK

*Professional Harmonica Instructor since 1996

*Ben qualified as CTABRSM in 2002 (Certificate of Teaching - Associated Board of the Royal Schools of Music)

*Certificate of Music Workshop Skills (Goldsmiths University of London) in 1995

... See full profile

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Transcripts

1. Promo - please watch: Hi there. Thanks for stopping by to look at this amazing new course. I think you're gonna love it. It's sonny Boy Williamson, The First John Lee Williamson, who was, I believe the first guy to get the harmonic or into the front of the stage, in front of the band, into the hand of the singer. So he's a very, extremely critical player in this legacy of the harmonic or that we have. So get the hang of sonny Boy Williamson number one, and you'll be doing yourself a big favor. A lot of them followed on from him. I'm going to teach you this song, sugar momma blues, and you'll get the text written out. I'll give you the tab and the lyrics. And the one thing I'm going to give you, which you will learn about probably is a waveform on a program called transcribe. And you can see all the individual sounds that the band was making. And you can zoom in and you can really figure out and do the forensic work on what he was actually playing. So you'll see during the course of the course, we are zooming in to find the little intricacies of what he's doing. So I think you'll find it very fascinating. It'll be a challenge if you're a beginner, but not in the way that you think. There's very little note bending in this, for example, it's all about tone and texture and timing. So if you're a beginner musician, that's going to be a really good learning curve for your annual cope with it. You will handle it. Because what we'll do is we'll slow everything down to the right speed for you personally to get it and understand it. So I think that I would recommend you try it out. You're gonna love it. See you inside. 2. Introduction and overview: So this is the course about Sonny Boy, the First John Lee Williamson's song, which is the beast, was the B side of Good Morning School goal, which is probably his greatest hates. This is the B side, and it's called sugar momma. And I think it's a really excellent song. It has very little bending in it. So if you're a beginner, you will manage most of this even though he was an expert. The difficulty will be in the timing of it and the textures of the sound. And that'll be where the challenge is not the actual playing the notes, except in the solo part where you start getting this, which is a little bit of a bend on there, but not too much to worry about. It's a great song. You'll learn as one solo. And all of the verses have fills in it. And you will learn how to play all of the fills and their beautiful little fills. Just something like very rhythmical, lovely to play. You can play with single notes or you can play it tongue glowed. And you notice there's lots of draw three, blow, draw to blow three. So this was the guy Sonny Boy one, the first sonny Boy Williamson. He was the original, if you like, he was the guy who, as far as I can see, really put the harmonic or into the front upper band. And this was in the thirties. So in the past, the homeowner can play would have been in the background, just shuttling away, Chamberlain away doing his rhythm stuff. But with Sonny Boy, and they may have been others, but it's widely written that he was the guy that brought harmonica right to the front of the stage. He was a singer and a harmonica player. So I think we can, we can call him the father of the modern blues harmonica. And everybody else is kinda followed after his footsteps. But you do the recession. Let me know. Great track, this is a great song, well-worth learning. You're going to find it fun and exciting and enjoyable. So come on in, take a look. Take the challenge. And I'll see you inside. Bye for now. 3. Listen through to the whole track: Okay, let's take a look now at the screen and you'll see the transcribed version of sugar momma, which I have created. And you can get this if you'd like it. I'll let you know how late from someone's going to press Start on less. Now should just say that's played on a D hop. Yeah, so that's the original, it's played on a D hop, but what I want to do is drop it down a couple of pips. And now we'll be able to play on a seahorse. Okay, the intro. Now you can see up here the numbers number one and number two, and so on the market points. And on the chart here you'll see the numbers refer to my marker points on transcribe foil. So it 0.1 is 0.1 is the intro mark. A point to is the beginning of verse one. Next, first, next burst. Then are broken the solo up into three four bar sections. And then this is the last person as the ending. So these are all the component parts of the song, sugar momma by John Lee, sonny Boy Williamson US, Sonny Boy, the first. If you didn't know. And let's have a listen to it. So I go back to the beginning. And here we go. First for us now. No longer feel like there's a fill here. And the line as usual, there's a little fill in, the ozone layer. Let me just say that in. Right in. So this is a work, work, work about a work in progress. We haven't finished yet. Save that. Let's go back to where you left off. I'll start again from first, second or first bus. Running. Support fills in. Hong Kong. Three was audio into all the details. And we learned all these films later. Got very, we're delighted. You're going online. You can work out what sugar means. What is this? What is sooner? While powerful towns on it. What a sugar made solar for 2345. So just to remind you, this is not the original key of modified it so that you can play on a C harmonica. But what do you do? What do you get the original of this? It's all over YouTube, of course. And the dots are the places and play in the original key using your d harmonic, that would be better and also his voice is better in the natural condition. Of course. Says Have a listen to his voice in. You know, I am much as their goal is me didn't hold. So what do you think sugar is? Is it love, money, sex, cocaine, or is it all of those? I don't know. I wasn't there in 19 37 on may thus made a fifth. So I don't know. I think it's all of them. Right. That's the that's the overview of it. And next we'll crack on with working out the intro. And then I think we'll just go through and work out all these Phil's as we go along. The trickiest bit or course is the solo. So that's gonna be the challenging part. And in there, there's quite a lot of note bending in the rest of it. There's not really that much MOOC bending. And when I was a May is going through this. What a small range he uses of notes. You will see time and time again, it's just hold 34. And it's really effective. So we can learn something from that. Less is more perhaps. Alright, let's crack on C and bye for now. 4. Song intro part 1 : Hi there, welcome back. Let's crack into the intro of the song. Look on the screen, you'll see here it is. Looks easy, doesn't it? Plots have a plus sign drawn us have nothing because the nearly older one out, so it just saves me, typing, saves you reading. I'm writing it out as single notes just for melodic clarity, but nitrified. Sonny Boy's ton blocking the whole way through as far as I can tell. So there is more going on than just a simple melody or you have to use your ears. We'll talk about it a little bit. A lot of the time he's playing dirty notes. So instead of, instead of playing, you hear, you'll hear a bit more going on than just a single melody. So we'll talk about it. But basically, you know, she's areas to figure it out. They will almost always be something else going on. Right? Let's look at the first part. So here's the, this law. Here is what we're looking at in this lecture if it gets through at all, otherwise might split that. See how we get on the first page. So I'm just gonna look at that. First of all, this transcribe is such a great program. I think it really helps to have this visual stuff too near. So that's a first nights for draw returns. As you can see, just this little betas are working on right now, just that. So for draw three times, just a little bit dirty. Well by that, I mean it's going to touch a whole five in it. And one of our first heard his playing authority was sloppy. But there are a lot of times where he uses clear singlets, sunblock, but clear singlets. So this is intentional. That's my deduction. Quite simple, isn't it really pause here if you want to, for draw three tons, five draws, three-times for draw, and then full-blown twice. It's easier than you thought, isn't it? Let's have a look. Do you want me to slow that down? I'll touch facetiously done on transcribed. Let's go for 70%. And you can hear now each of those nodes has a little scoop on it. And when you zoom in the more you discover, and then choirs equally spaced, you can see there's a gap here, which is different to the gap here due to, due to the, you'll see him again. Can hear an extraneous sounds you've just had right at the beginning there. You can hear just a little bit. And it's probably this behave you can see. So it will be a sort of coordinate thing. Shows us where the tongue starch. I was looking at this one on the soil here we can see this. Something's gone wrong. Yeah, that's a bit more like it vanished in it. Right back to the sounds. That's playing it very straight. So what do you play it straight to start with? Some heavier that speed. So maybe you can see from these blocks, these are very crystal clear. Message does not get. So with that said, some of these fuzzy stuff maybe gets all. Or it might be that I think each of these notes has a sort of front to it, which I think is this. So these now Stern, that kind of smooth. Can you hear the difference? There's just a little bit of an attack. When you'd have your tongue on the comb. Here. It go to play, you know, you suck in for the five drawer. And you would lift your tongue, craziness, big code. And then you would move the tongue. I went to the left to cover holes 1234 or 234. Pretty backbones, you're gonna get a single load. Non-essentials students depends how deep you wanna go into this song, but that's what I believe he's doing for state one more time with that speed. No, weren't We'll do it 50%. Here we go. Play along. Ready, go. Now at 70%, here we go. Let's go now with a 100% or limpet. Okay, so suppose there if you want to, if I'm going to stop this lecture now because that is enough for you to teeth into the practice of this. And I'll pick it up. We'll get the middle part of this intro in the next lecture. Okay, bye for now. 5. Song intro part 2: Okay, here comes the second part. The interests have a listen to it now. Slow it down. So I've written down as 44 breathing in. That's kinda one note, but I'll put here so it's a little like a trumpet Bell. Was they would have had a lot of In 19, 37, wouldn't they? When this was written, would've been lot of Jazz and trumpet players. So it's, oh wow. A lot of his stuff is in threes, triplets, 55 for breeding in repeat. And then five drawer here. And I'll put a little slash day like glissando. What do you girls as five and then 5432 or even maybe 65432, doesn't really matter, just slide down then a couple of two drawers. So that's this particular bit in this particular lecture is that section right there. So another lesson, you can look at that as well. Same time if you like. And maybe go. Can you sing it for, for, for, for, for this window to, to finish try playing it. Something like that, isn't it? I think I'm struggling over the track. Oh, wow. 5545545, glissando. To to try again. I'm quite got the ending, right, so that's something I listen to it and do. So with these triplets. Dodge the middle one that gets the emphasis, 554. So the middle one gets bom, bom, bom, bom. What do you do to try to fill speed? Yes. I hear you cry an easy now. And that was 50% speed. One of the things I like about transcribe is you can change the timing, tends to be the tempo, the playback speed. And I think that really helps, it helps me get the piece into my brain. So I find this very easily. You can get it from seventh string.com transcribing an exclamation mark. Yeah, there you go. I think it's I think it's free for a month. And then it's like 30 bucks for life or something. And the guy, Andy updates it regularly and the answers emails. So it's well worth getting in my opinion, not that I'm affiliated to them at all. I guess I should be actually a total of people's Go for it. Anyhow, There we go. That's the middle part of the intro, and let's come back and finish off the Intro In a wee bit to practice this until you've got it and then come back. See you soon. Bye for now. 6. Song intro part 3: Okay, welcome back. Let's have a look at the last part of the intro, because here it is written down. But to several things in threes. Doo Doo Doo Doo Doo Doo Doo Doo Doo Doo Doo Doo up from the last bit. Doo Doo Doo Doo Doo Doo Doo Doo Doo Doo, don't, don't have a lesson. So you think might be right and might be wrong. In helium. 30 million, you got a little bit of a glissando in their children. Love just before. When you zoom in, the more you notice in that. Okay, have a coat it or is this complicated? So here's the first bit. That's to zone two corded. Like ooh, doesn't full speed. And that might be left over from the last one says she's good, that that's three that three notes that I see the three lumps come here. And they say, well, Uber, well woo-woo. Show when he did it with his hands and his mouth or both? I think both. Acoustically. Perhaps a bit pressed using the tongue as well. What Wu Can the next group of three is this woven bone, which is here. So I recommend is probably three draw, three boats we draw. What do you think? Coded a bit. And the next 33 books, three notes, do, do, do do, do, do, do, do, do. So. I put that person on their own place. Tony's work about what does a work in progress do you do Do, do, do, do, do do. I'm just going to leave it. You can hear it dough, do you? So so so I think that all snowed. Sounds like a a blood three to me, not a troll. 203. So I'll play it this, this bit here. Okay. Well, I think covetousness treks, see what you think. But last night seems to have been a bit of a more attack on it, the nice thought originally. And then you just get due, due. The end of it, I reckon is at we lost the speed. Takes it up to here. Ends on one draw, a couple of one draws. Doo, doo, doo, doo. Okay. Does that give you enough to be able to work through it on your own? To mentor looked up a few times. Here we go. But don't worry, sugar in there just yet. I'll bring this in a bit. That can stay there. Its premise could from there to there. To take it down to 50%. Here we go. Yeah. What do we do the whole of the intro? Stats? Yet from the beginning, from here to the beginning. And again, are you ready? Here we go. What do I mean? No. Okay, that concludes the intro to this piece. All of the fills are quite simple, so don't be alarmed. And the only thing that's tricky really is the solo bit. So let's crack on with some of these fills and they're pretty similar actually as you'll see. Okay, practice that, enjoy and see you soon. Bye for now. 7. Verse 1 fills: Okay, welcome back. So now we're gonna take a look at the first verse, the fields in the first verse. So you look at the screen, look at mark a 0.2. This is where the first verse begins. Let's watch it through and see whether fills lie. Okay, so that's that's them. Do, do, do, do, do, do. Yeah. All right. So let's have a look at these three fill. So we're starting from today, we go. All right, so it's this section here. You can see it written down here if you want to see the tired old breathing in for and then for five 54, 55. For women, for first 54, 55 is someone is slowly. So first one is just pretty swirled. And then the next four is. That's quite simple, isn't it? I put it on 50% speed play along with it's who we go. Are you ready for draw? 45555. Bit speedier. Starts at four. Draw you ready and go? 54, 55. How's that feel? Whoa. Dada. Dada. Again. Let's try to full speed because quite easy. 5555. Okay, so that's one happy without Cuomo Vaughan, who was, you can pause here and practice this. So just gonna do a little bit that three to the three is done T3, T2. But the 3s dot TCU, I'd been a fall more into it. I'm only chart here. I've got in that three to just breathing in 32, but three is 13 episode. See whether it fits. Add in. Can you add in such Schubert, Schumann, and beautiful rhythm fit in here we got new hear the guitar Augustine dome, linear staying down straight afterwards. Can display here. Sorry, maybe the speed here. Can hear thing don't think, don't. And it sets the settled lumping ending. You've been here while wow, to stop bit. Books written here. While wow, wonderful. Twice bomb. Well, do, do, do, do, do, do, do, do, do. Wow, wow. So slowly. We just check if I got that right. Sounds close. Slowed down, touch, do, do, do, do, do, do, do, do. Quite a big gap. There. I'm sorry. Do, do, do, do, do, do. And see how it fits in with the rhythm of innocent. Again. Let's go back to this. Ok, it does not give you enough to be able to figure that one out. I think you should be able to do do, do, do, do, do, do, do as little bit of a wiggle in this do, do, do, do, do. Okay, let's go on. And the next phrases, the end of this first first, that pretty much ends assignments. What we've just done. This is like a combination. It's the next phase of modification of what we just did. Any of. You like to do a modeling? And reading? The ending is the same. Wow, wow. I've got again two phrases. But this time we gang up and do, do, do, do, do. So three drawer, full blow. I'm talking about in this one hand. Now these two draw could be in pretty boat as motto. Since I note up to you, I don't know what he did. And we tell from in high demand. And because he's done to do dive into news, especially the federal, the phone rang. You can hear whether debt comes in. And it's very similar to the last one. So I think I'm going to move on from this. Do you want to just play the whole verse? Let's go from Hans said, played on fill-in. And that will be the end of this lecture. Here we go. And he's great on the rhythm. Isn't it really dialed in its rhythmic playing? Really excellent. Okay, that's it for now. Practice that and I will see you later. Bye for now. 8. Verse 2 fills: Hi there, welcome back. So now we're going to take a look at a second verse and we'll just look at the fills. And what you'll find is it becomes more familiar as you go along. So this gets easier. That's what I'm saying. Ok, let's have a listen. Alright, so there's the first part. So that's just to fall draw with some nice vibrato dirty. So you've gotta work out. Was he using his hands or throat or both or someone else? Who knows? Listen to the original page. And it's got a nice little flash on the end, doesn't it? Let's call that little glissandos. So I've written it here. This is the bit we're talking about here. Although initially we just talk about this bit. So another listened to it, got the right pitch, or in, or in. The end. The glissando thing, what is doing is just draw clean. So I'd say he's just going up to the five, breathing in and sweeping down the harmonica. Maybe just opened his lip a bit to the right, grabs it. And the second part of this Fill gives about that, isn't it? Yeah. Why? Don't why? They've got lovely trumping bell opening thing again with UDL glissando drop down off the end of the foil for talking about this bit here. For 55, 4-5, drop. To listen to the man thing. That's pretty easy, isn't it? Okay, let's move on. So in the next page against this very familiar, this Paul here is very similar to this port here and the previous words. And he's ending on the to draw, I believe. Sarah, listen. Do you, do you need to do slightly differently ending than I've gotta run down, I think. Okay, there's there's perhaps a bit more complexity going on. I'll leave that for now and then we'll come on to the next, the last part of this and then I'll deal with that complexity. I think it's in here as well. And listening. You know, the more you listen to these things, the more the truth emerges, the more you dig. Yeah. Yep. So I'll take it as I've as I've written it because that works. Do you, do? You do? And then there are the cool and the response. So that's the kind of simple version. And the more I look into this, the more I realize it's not quite as simple as I first thought. So learn that anyhow can so good. And then in the next little bit in a couple of minutes, you'll see what I do. So the forensic was listening to this slower. It's not that it's DO, DO, DO, DO, DO. And you can see on the waveform do, do, do, do, do, do, do, do, do, do, do that. If we start down well here, even whole. Doo, doo, doo, doo, doo can hear it. So you've got in this little bit here. Do you do just that? That's the complexity that we try and spotted earlier. Di, di, di, di, di, di, di, di, di this three notes in there. Do you data? So what I believe he's doing is so this is how I've written it. And, and I think, think he plays like this a lot, perhaps even in all the above stuff. We may have to adjust that. Now I'm thinking it using this three notes up talking about 3D draw to draw three blow out. Just working. And this seems to be deterministic. Now. Here again, have a listen to the man. Doo doo, doo doo, doo, doo, doo doo doo, dum, dum. So I'm, I leave you to wrestle with that concept. We should perhaps apply it to these earlier ones as well. Maybe needs to rethink on those. But I have a guy that anyway, and then we'll get on with the solo. I'm going to actually leave the Phil's on this verse to you to sold out because they're pretty similar to what you've had before. And also this one. So I'm certain now that E is a sub plugged into this. But you will be able to do that without any help. So I'm not gonna do those Phil's. I'm just gonna start what kinda solo next? And then the ending cell, it was a pretty tough one, so I want to put some time into that and then the ending. Okay, good luck CIA in a wee bit. Bye for now. 9. Solo part 1: Okay, here comes the solos, eBay, the brace yourself. No, it's not that bad. Actually, a lot of the stuff we've seen before. You look over here. This part, we've seen that before. This part we've seen that before. This part we've seen that before at the end of the verse, loss firstly worked on. And then you just, this is the only part where you've got bends as far as I can see. So this sign here means a slight bend or semitone vendor half-step bend. If you want to be exact. Since we just have a listen to the whole soda topos, so don't be alarmed. That's all there is to it. So there's Look at the first, first 4 balls. And she's going to be here this port. So going along to draw. And then some three draws bend going into two draws. Then, then this loss it'll be to draw, to draw bent, wonderful, wonderful bent, which is repeated here. That's so it goes by in a flash, but it's just to draw bending. One draw bending moment when he's practice that now perhaps pools here and this will come out a little bit. If you call it bend the notes too well, don't worry, they'll come later. You might take one of my courses on note bending if you want to really dig into this subject. And then we'll look at the first bit set to two drugs begin with, and then three draws bent and some 2D roles. Let's have a listen with some vibrato. Perhaps can hear vibrato. I think So. It's just listened to the original pitch. Not sure, you can work that out yourself. And then we go into the up these beautiful trumpet like sounds of, again, this was recorded in the thirties and there would have been lots of Dixieland Jazz around at that time. That was the popular music or one of the forms of popular musicals. And it's so that'll be very common thing. So we've got that bit. That's the first part. And then the second part. This is our this is, this is our room, three draws and two draws to five naps in total. Wow, wow, wow, wow, wow, wow, wow, wow. It's only four nodes. Ok, so this 3332. So that's this part here, 3.3.3 to just, just this part here, 3332. And then we've got that. I'll leave it a bit of a gap that whoa, whoa, whoa, whoa, whoa, whoa. Solution to that problem. It seems to have the inflection that those singers at that time had, Whoa, that kind of warble that they used to use. Parallel fashion knows. And so what he try and play oldest parts here helps lead it down to 70. Let's go. Nice. And I just loved the clarity of those trumpet, those trumpet notes on this, on great, wow, wow, wow, wow. So what are you doing there? I don't know. Wow, wow, well, it's tone blogged. Why doesn't suddenly being like, here's does it? And he can sound anything like me if he tries to saudi can. That's puckered. While this is things for us to work on as an eight, we're never going to sound as good as these greats, or perhaps from rural personal sound better. But it's things too work on. And we've even if he was here, he probably couldn't tell you how we did it. Right, let's do the whole of this. The last bit is easy. So since this is, this is the whole of this first four bars in the soda. You've got that nice long for draw that's here, but it's that little bit. There are four draw with a Cassandra off the end of it. So I'm, I'm hearing for drawer. And then this glissando, it probably takes from five down to two. Summing up that attorneys approximation, isn't it? See what we think. And then, oh, wow, for this next part here, oh wow, which we've had before. Why do bounded? So that's here. But qubit, Juan de de, de de a wow, 45, 54, 55, which we had running all the way through this truck. So I'm not going to go into that. But here's the strange thing at the end. He gives you quite a strong seven blow. Well, several blows in there. There's other notes in there as well, but it's sudden blows. The main note, which is perhaps because he's just about to go to the four chord, which seven blows or route off. So maybe he's anticipating that have a listen. Now to the end let quarterly and so what does that seven blow in it? It might be I wrote it down one time as seven plus four plus three. Taught to tell because it's guitar as well. Hang on. What about slowly? Maybe 7700. Uh, anyway, there it is. That's the first four bars of the solo practice that, and we'll do the next bit in the next lecture. Alright, thanks, bye for now. 10. Solo part 2: Okay, welcome back. Let's have a look at the middle part of the section, boss, five to eight. So here it is. Version down, stops for the to draw. And then this law is very similar to the above, Isn't it? Very similar. Wow, wow, wow, wow, wow, wow. And then here, this phrasing is exactly the phrasing here is exactly the same as this phrasing here. So I don't need to go into that in too great a detail to execute you go to. So also here you can see how this all comes together. Alright, let's look at this plot. So you've got to draw Wilson vibrato, and then these fooling single note trumpet sounds. Ok, let's have a listen. Just medieval, did I do that? Yeah, let's put it right. We'll ask you to draw alone, to draw woman, woman, woman, lots of vibrato, not vibrato, isn't it? I don't think there's any footage of him playing, so I don't know how he did that. So long to draw. And then this trumpet sounds, falling trumpet sounds, 3.3.3 too. And then the twiddle due to data. And just to zoom into that, there's a, there's a twiddle debate state right down. And you can hear how the nonce Note, the last two notes are very smooth. That transition is very smooth. So it really tells you these taking 01 draw and embedding it down. Okay, so that's that part of it. Oops, let's go back to a 100. This is the same as we've had before. Doo, Doo, Doo, Doo, Doo, Doo Doo going here. There's a lot of quite busy, isn't it? You can hear it too. And lots of vibrato on that mobile, very much hand vibrato on that edit the slide yet to draw, to draw the three blow up to you, up to him. And then the last part of it will go on to the last part of the soloed stalls here. Again, all trumpet sounds, and this is along 33333333. It bends. It suddenly bent. Let's see how much of abandoned his own it. So starting from here and do well, while whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa. I'm just going to call it one bend. Maybe two bends. Maybe it goes down as far as two bends. I'll put up an extra bits in there. Due to the sort of progressive as net. Listen and hear that last note is hot one rule. Don't twiddle here. Twiddle is let that old flushing singing as well. He's just subtle thing I don't know how deep you want to go into this stuff, right? Goodbye to them. Especially the old three draws, 3.3.3, three trades rephrasing one. And then from here, That's on my choked do, do, do 3332. Then that twiddle. And listen again. Here. Do. And then that same standard editing as we've had before. Right? That's the end of that. Us, the solo done. You want to have the whole thing. So the whole solar rough beginnings as from Mach 0.5 as it stood at 70% speed. And get ready. Is it still sum to draw? All right, you ready? Let's go. Yeah. That's it. Practice that. Do it over and over. See you next time. 11. Ending: Hi there, welcome back. So this is now going to be the ending part. Will have a listen to the last first and then we'll see how the ending fits. Okay, here we go. So here's ending. And it was a bit trickier than I thought, To be honest. So you have to listen to a few times over to get your head round. It starts slowly, does just translating it. So here's how I've written it to o. So these seven blows here or octaves. So it's 74 together. And this is octaves as well. So it's got that split four on Boucher going. So these octaves, you've caught seven, several blow and four blow. And he tried to block out 56 and the tongue. And where if you can manage that. But ten blocking is something that is very useful on the homeowner colonoscopies. Guys did at that time. So just do the first part is the first part. So just playing single notes and ten blocked. That's what I think he's doing. Habilis and see what you told me what you think. Well, that's a special slow speed. Here's prop speed. And then we've got the point where the forward roll starts, bent, released bent. Let me just spend a little bit. You'll hear it now. On here. Let's draw bench released bent over the n and three Drell to and then there's, he'd sort of carries this O1 and delays it before it comes in with his dou y one. And the last note is a big one and it's slightly delayed to my ears, but then he's slowing down the song. So that's what he did, I think DO, DO, DO, DO. So this should be later too. Apart from beginning. Alright. Do you want to show I just lived plus this lipid at a 100% to start with just to get your ears in. Young adult weight is relying more on low. Mao 17. Do they destroyed it slower? And justice out I was if you want. And it's kind of harder. It's low speed. That's how I'm hearing it. You tell me if I've got it wrong. Okay. I think that's the ending of the song and that's the ending of this particular course. I hope you've enjoyed it. Come back to me, tell me if you'd like any more of this kind of stuff. More sonny boy one or some sonny boy to or what would you like? You told me? Alright. Catch you next time. Bye for now.