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Layla outro solo

MikeNiteRail

Member
Messages
1,858
I do not play guitar. I play harmonica. There, I said it. We band added a keyboard player and we're going to do the song Layla. I was asked to cover the outro solo, which I think is in C major.

My issue is, I try to jam a long to several different versions of the tune and I feel like some of the notes are wrong/missing.

Does Duane stick with the C major pentatonic? I missing something somewhere. I tried several different harps in different positions, but nothing seemed to fit.

This is incredibly frustrating as I tend to be able to figure things out on my own. It is a good reality check for me!

Thanks for any advice on how to pull off a Duane-ish but not note for note solo.
 

ksuaggie

Silver Supporting Member
Messages
148
I believe it's more of a C mixo or more accurately, C blues, you might try an F harp to get the Bb, or even a Bb harp to get really bluesy with the flatted 3rd.
 

MikeNiteRail

Member
Messages
1,858
That might make sense. I tried it on an F harp, but only using the Major pent. I also tried it in 1st, 11th, and 12th positions.

1st worked pretty well. The blow bends on 8 and 9 gave it a bit of a mixo feel which would jive with what you're saying...11th and 12th are so major that maybe they were too major sounding?

Thanks!
 

buddastrat

Member
Messages
14,690
I love playing the outro piano chord progression on guitar. It's beautiful. It is in C but there's a few chords that modulate. I don't have my guitar here but I think there was a Bb7 in it. so you need to be careful over certain chords.
 

marcher5877

Member
Messages
704
Also, isnt the whole thing out of tune? Like the piano is flat, so Eric and Duane just tuned to that, but it isnt completly flat...


I don't honestly know, but have heard rumours about it for years.
 

buddastrat

Member
Messages
14,690
Well some of those high slide notes are awfully annoying to me. I don't really listen to it because of those, (sorry DA) it's always bugged me. Such a sweet progression tho'.
 

Austinrocks

Member
Messages
7,020
Bb7#11, the E natural makes it distinctive. Lydian dominant.

I called it Bb7 add b5, and looked at as a blues chord. and the outro as key of F, but you end up with the same chord.

kind of interesting how the same note a #4 or #11, for those checking for completeness or b5 can imply so totally different musicial styles, lydian or blues.
 
Last edited:

lawl Dave

Member
Messages
50
If it helps at all, the studio version was sped up so the pitch is between C and C#, so it'd be a pain to jam along with.
 

Austinrocks

Member
Messages
7,020
If it helps at all, the studio version was sped up so the pitch is between C and C#, so it'd be a pain to jam along with.
it was easy in the OLD DAYs of records, mine had a speed adjuster so I could get things into standard tuning easily. :rotflmao
 

John Thigpen

Silver Supporting Member
Messages
3,760
If it helps, I have this for a chord progression:

C C/E F Repeat several times, then

C C/E F Fm6 C

Then it goes to the Am section, (the bass walks down C B A)

Am Dm G C
Am Dm Gsus (bass walks down from G)

Repeat from beginning.

I think that's all of it, but I don't have a guitar handy.

You play everything in the key of C, except you need an A flat for the Fm6 chord. That run is Ab C D E D C Ab C.


John
 




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