Pratica di Shadowing: How To Get Started With Blues Solo on Guitar - Impara a parlare inglese con i video
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Hey, how you doing?
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Justin here.
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Today we are checking out a beginner's blue solo complete with a turnaround and an intro.
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It's mostly using the minor pentatonic scale, but there's a couple of other little sneaky notes.
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As you progress along your guitar journey, you'll find that you kind of base things around scales, but you can add in plenty of other stuff if it sounds good.
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I'm going to break it down into little sections for you.
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The first bit we're going to look at, strangely, is the intro, which is a great little intro for this particular range, but you could use it for any blues in the key of A.
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OK, so we're starting with what essentially is a D7 grip.
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But with the first finger, it's going to be in the 8th fret.
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So the 8th fret of the 2nd string, 1st finger, 2nd finger's going down the 9th fret on the 3rd string,
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and 3rd finger's going on the 9th fret on the thinnest string.
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This is actually an A7 chord.
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Another way of playing A7.
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So we're gonna play that twice, probably 2 downstrokes, and just playing those thinnest 3 strings.
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Then we're gonna move it down 1 fret and do another 2 downstrokes.
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Move it down another fret, and another 2 down strokes.
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Then we're gonna play, the 1st finger's gonna bar the thinnest 2 strings at the 5th fret.
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And then we're gonna play 8th fret on the 2nd string, followed by 5th fret on the 2nd string.
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You could use your little finger there, or your 3rd finger, it doesn't really matter.
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Now, first step would be just getting the chords right, getting the shape okay.
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You should be fairly confident with that if you've already checked out your D7.
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It's not a particularly hard shape.
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Once you've got the actual kind of the notes under your fingers you need to start thinking about the rhythm.
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Now this is actually starting on beat 2.
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So you're going to count 1,
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2 and 3 and 4 and 1, 2 and 3, 4 and then the rest of the blues song will start.
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Okay?
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So again, we're going to start on beat 2.
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3, 4, 1.
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2 and 3 and 4 and 1.
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2 and 3, 4.
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Now, I want you to just stick with that, but if you're a bit more confident, you've done something like this before, you can muck around with these notes.
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. Or .
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. Or .
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You could use any order of those.
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As long as you stick with those notes, you could have a little bit of a play around and see if you can come up with something else.
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The next phrase we're going to look at is played over the A chord.
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It's two bars long.
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It goes like this.
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Okay, straight down the minor pentatonic, which I'm hoping you're familiar with a bit by now.
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1st finger, 5th fret of the thinnest string.
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3rd finger, or a little finger, on the 8th fret of the 2nd string.
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1st finger on the 5th fret, still on the 2nd string.
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Continuing down the scale, 3rd finger, 7th fret on the 3rd string.
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1st finger on the 5th fret of the 3rd string, we're gonna play that twice.
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Before finishing on the note A, 3rd finger, 7th fret, 4th string.
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This is starting on beat 1, we have 1, 2, 3, 4, 1, 2, and 3,
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4, 1, 2, and, there with the first finger, that's on beat 1, 2,
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and, 1, 2, 3, 4, 1, 2, and 3, 4, okay?
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Try and keep that count.
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Keeping in time is really important.
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1, 2, 3, 4.
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1, 2, and 3, 4.
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The next phrase that we look at is kind of an answer to the first one.
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Pretty simple.
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So starting with the 1st finger, 5th fret, thinner string.
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3rd finger or little finger on the 8th fret, same string.
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Back to the 1st note.
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8th fret on the 2nd string.
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And back again to the root note.
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1, 2, 3, 4.
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1, 2, 3, 4.
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2, 3, 4.
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1, 2, 3, 4.
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Okay?
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Let's put those 2 together now.
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So, 2, 3, 4.
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1, 2, 3, 4.
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1, 2, and 3, 4.
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1, 2, 3, 4.
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1, 2, 3, 4.
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At this point, the chord changes to a D, so make sure that you're at that spot.
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If you happen to be jamming with somebody else, you want to hear that chord change, and then you know you're in the right spot.
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Next phrase goes like this.
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Okay, 7th fret, on the 3rd string, with the 3rd finger.
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Play it again, 1st finger, 5th fret, and then back.
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1, 2, and 3, 4.
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The 2nd half of the phrase starts exactly the same, But then we go 1st finger,
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5th fret, 2nd string, 1st finger, 5th fret, 3rd string.
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So you've got to skip over there, and then we're finishing on our root note again, the 7th fret of the 4th string.
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That whole phrase together, 1, 2, and 3, 4, 1,
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2, and 3, and 4, four, one, two, three, four, and.
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And then we're just adding this little bit here, first finger on the fifth fret of the thinner string, either third finger or little finger,
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it doesn't matter, on the eighth fret of the second string.
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It's just like a little...
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little answer in the gap there.
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So, that four bars, which is where it moves to the D, and then back to the A chord, is gonna be this.
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3, 4, 1, 2, and 3, 4, 1, 2, and 3,
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and 4, 1, 2, 3, 4, and 1, 2, 3, 4.
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We're at the last 4 bars now, so the chords are going to be going E, D, A, and E for 1 bar each, and the lead guitar is going to play this.
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OK, so we're starting 1st finger, 5th fret, 2nd string.
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Then 3rd finger or little finger on the 8th fret of the 2nd string again.
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1, 2 and 3, 4.
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Now same as we have before.
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1, 2, and 3, 4, okay, 7, or 3rd string this is, 7, 7, 5, 7, 5,
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1, 2, and 3, 4, 1, 2, 3, 4, 1, 2, 3, 4, 1, 2, 3, 4, 1, 2, 3.
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Okay, so we've got here, we're going from the 7th fret with the 3rd finger, 1st finger playing the 5th fret, this is all on the 4th string,
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down 1 fret, down 1 fret, and we've got 4 picks there when the 1st finger reaches the 2nd fret.
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1, 2, 3, 4, 1 and 2 and 3, 4.
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I would recommend that you practice each of the chunks individually before you start trying to piece it together.
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Once you're confident with all of the bits, have a go at playing it through and trying to keep the tempo as even as you can.
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Remember, ideally you want to play it with a backing track, or another human being.
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So, the first step to that is trying to keep the tempo as consistent as you can.
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Before you try playing it with a backing track, you want to be able to do it on your own, and try and recognize if there's any bits where you may be slowing down a little bit, because a backing track won't stop.
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And, you know, you want to try and practice it with a consistent tempo, your own consistent tempo, registering where you might be a little bit wobbly.
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practice those bits and then practice again playing the whole thing.
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So don't always feel like you have to practice from the beginning to the end.
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You want to just try that and if there's a bit that's really difficult, go back and work on that one little bit and then go back to playing it all of the way through.
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So once you've had, you're confident with the bits, just have a go real slow maybe.
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two three four one two and three and four
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and one two and three four one two three four one two
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and three four one two three four one two three 4,
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1, 2 and 3, 4, 1, 2 and 3 and 4,
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1, 2, 3, 4 and 1,
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2, 3, 4, 1, 2 and 3,
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4, 1, 2 and 3, 4, 1, 2 and 3,
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4, 3, 4, 1, and 2, and 3, 4.
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At this stage, you shouldn't worry too much about the picking.
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You can use all down picks if you want to incorporate some upstrokes as well.
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That's totally fine.
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Doesn't really matter.
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Important things are trying to get the notes right to pick the right strings
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and not let the open strings be ringing out all of the time
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and hitting the wrong ones and making sure you stay in time.
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Now, that said, this is supposed to be an example of a blues solo.
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It's not really a set thing that you have to learn.
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If you want to play around with it a little bit, experiment by changing up the rhythm, adding in some extra notes, all of that sort of stuff is cool.
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In fact, it's to be encouraged, but I would recommend having a go at playing it as written, first of all.
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Okay, let's have a go at playing it through at 60 beats per minute.
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The original is 94, so let's have a go at doing that now.
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Thank you.
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So really important is that first stage of actually being able to play along at whatever tempo.
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Now 60 is kind of a good amount that you should be able to handle fairly confidently, fairly soon.
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But then you gradually want to work your way up to playing it at full speed.
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Now one thing that I want to mention that I noticed myself doing
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that even though I'm trying not to is adding things like vibrato and little curls on the notes, little inflections.
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I don't recommend that you start off exploring that sort of stuff.
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It could get a bit confusing, it's not something we've really covered yet, we will be covering it very soon.
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but I think a lot of people get hung up on that a little early and it can cause a few problems.
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So I'd recommend just not worrying about it.
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Don't try and shake the guitar around and perhaps practice a technique the wrong way.
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Just try and get the notes right.
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Think about your touch, think about your tone.
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Try and make it sound and feel as good as you can.
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Don't be afraid to experiment once you've got the original one down
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and we're going to be talking about actually making up your own version, like properly improvising, very, very soon.
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The second guitar part is a 12 -bar blues shuffle riff, which is something that we're covering in this lesson as well.
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So if you happen to have a jam buddy, a fantastic thing to do is to practice playing this.
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So one person's gonna be doing the rhythm guitar, the 12 -bar blues shuffle riff.
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The other person would maybe play this set solo, then improvise for a couple of rounds, and then you would swap over.
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For most beginners, that will involve stopping.
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As you get better, you might be able to find that you can, whoever's playing the lead guitar can kind of join in on the rhythm so it becomes seamless, but that's not something I would expect most beginners to be very comfortable doing.
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So it's okay to play for a little bit and then stop and take turns.
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Whatever you do, if you get into doing this playing with somebody else, make sure that you share out the soloing, okay?
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Nothing worse than when you have a jam with someone
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and they take a solo for ages and they don't want to play the rhythm part.
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That's not cool.
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So make sure you play even Stevens there.
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So if you take four times around doing a solo, then you make sure you play rhythm four times around for whoever it is that you're playing with as well.
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I'm sure you're going to enjoy this loads of fun, and I'll see you for plenty more very soon.
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You all take care of yourselves.
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Bye -bye.
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Vocabolario e note di pronuncia per questa lezione
Questa lezione di conversazione si basa sul video “How To Get Started With Blues Solo on Guitar”. Le parole che ritornano più spesso: fret, finger, string, note, guitar. Questo video contiene 43 frasi e 1846 parole da ripetere con lo shadowing. Il parlato dura 14:51. Chi parla mantiene un ritmo costante di circa 124 parole al minuto, comodo per lo shadowing. Solo il 81% delle parole rientra nelle 3.000 più comuni dell’inglese, quindi il lessico è impegnativo. 7 delle sue 43 frasi sono domande: un buon esercizio per l’intonazione interrogativa e le risposte brevi.
Vocaboli chiave di questo video
15 parole del video che vale la pena imparare, con pronuncia e significato:
| Parola | Pronuncia | Significato |
|---|---|---|
| finger sostantivo | /ˈfɪŋɡɚ/ | dito, dita |
| string sostantivo | /stɹɪŋ/ | spago, stringa |
| guitar sostantivo | /ɡɪˈtɑɹ/ | chitarra |
| chord sostantivo | /kɔɹd/ | accordo |
| thin aggettivo | /ˈθɪn/ | sottile, fine |
| phrase sostantivo | /ˈfɹeɪ̯z/ | espressione, polirematica |
| tempo sostantivo | /ˈtɛm.poʊ/ | ritmo |
| consistent aggettivo | /kənˈsɪs.tənt/ | costante, continuo |
| intro sostantivo | /ˈɪntɹoʊ/ | intro |
| experiment sostantivo | /ɪkˈspɛɹ.ə.mənt/ | esperimento |
| beginner sostantivo | /bəˈɡɪnɚ/ | principiante, debuttante |
| tone sostantivo | /ˈtəʊn/ | tono |
| lesson sostantivo | /ˈlɛs.ən/ | lezione |
| technique sostantivo | /tɛkˈniːk/ | tecnica |
| encourage verbo | /ɪnˈkʌɹ.ɪd͡ʒ/ | incoraggiare, raccomandare |
I phrasal verb che sentirai
| Parola | Pronuncia | Significato |
|---|---|---|
| check out verbo | investigare | |
| come up with verbo | ideare, escogitare | |
| go back verbo | tornare | |
| make up verbo | /ˌmeɪk ˈʌp/ | comporsi |
| slow down verbo | rallentare, decelerare |
La grammatica di questo video
Le strutture che chi parla usa di più, con le parole esatte del video:
| Struttura | Nel video |
|---|---|
| Present perfect have/has + participio passato — un’azione passata che conta ancora adesso | you've already checked · you've done · you've had |
| Frasi relative who / which + frase — un’informazione in più su una persona o una cosa | intro, which is · bars, which is · riff, which is |
| Forma passiva be + participio passato — conta ciò che accade, non chi lo fa | is played · be encouraged |
| Consigli con “should” should + verbo — dire che cosa è meglio fare | should be · shouldn't worry |
Pronuncia a cui fare attenzione
Chi parla usa 76 contrazioni e forme ridotte, come gonna, we're, wanna. Pronunciale nella forma breve, così come le senti.
- I suoni “th”: thin /ˈθɪn/, ninth /naɪnθ/
- I suoni “sh” e “zh”: essentially /ɪˈsɛnʃəli/, shake /ˈʃeɪk/, shuffle /ˈʃʌfəl/, inflection /ɪnˈflɛkʃən/
- Parole lunghe — attenzione all’accento: experiment /ɪkˈspɛɹ.ə.mənt/, essentially /ɪˈsɛnʃəli/, individually /ˌɪndɪˈvɪd͡ʒ(u)əli/, incorporate /ɪŋˈkɔɹ.pɚ.eɪt/, ideally /aɪˈdi.ə.li/
I suoni difficili per chi parla italiano:
- Consonante finale — senza aggiungere una vocale dopo: chord /kɔɹd/, phrase /ˈfɹeɪ̯z/, consistent /kənˈsɪs.tənt/, experiment /ɪkˈspɛɹ.ə.mənt/, technique /tɛkˈniːk/
- /æ/ — più aperta della “e”: gradually /ˈɡɹæd͡ʒuəli/, jam /ˈd͡ʒæm/
Come esercitarsi con questo video
- Ascolta tutto il video una volta senza parlare e annota le parole che non conosci.
- Fai shadowing frase per frase a velocità normale, ripetendo ognuna finché il tuo ritmo coincide con quello di chi parla.
- Registrati e confronta con l’originale, facendo attenzione a parole come finger, string, guitar.
Cos'è la tecnica dello Shadowing?
Shadowing è una tecnica di apprendimento delle lingue supportata da studi scientifici, originariamente sviluppata per la formazione dei traduttori professionisti e resa popolare dal poliglotta Dr. Alexander Arguelles. Il metodo è semplice ma potente: ascolti un audio in inglese di madrelingua e lo ripeti immediatamente ad alta voce — come un'ombra che segue il parlante con un ritardo di solo 1–2 secondi. A differenza dell'ascolto passivo o degli esercizi di grammatica, lo shadowing costringe il tuo cervello e i muscoli della bocca a elaborare e riprodurre simultaneamente i modelli di discorso reale. La ricerca dimostra che migliora significativamente la precisione della pronuncia, l'intonazione, il ritmo, il discorso connesso, la comprensione dell'ascolto e la fluidità del parlato — rendendolo uno dei metodi più efficaci per la preparazione alla prova di speaking dell'IELTS e per la comunicazione reale in inglese.