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When Rice returned to Detroit he mulled on the popularity of the car that had been introduced at the 1964 World’s Fair and wrote a song that began life as Mustang Mama. I said, ‘Man, that little shit? What are you gonna do with it – are you gonna ride in it by yourself?’” “I wasn’t that knocked out” “He looked over at this poster and said, ‘Hey, that’s the Mustang!’ I said, ‘Oh shit, man, that car there? No, no, no, it’s too little for me!’ You know, we’re used to driving big cars in Detroit – we drive Cadillacs, Lincolns and Benzs.
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‘What is the Mustang? I’ve never heard of it,’” Rice told Rock Cellar Magazine in 2012. “Calvin was always talking about the Mustang car. The subject came up when Rice took a drive with Shields. Shields had wanted a Ford Mustang sports car instead. Mustang Sally’s origins dated to the time Rice visited the singer Della Reese in New York and she told him she was thinking of buying a new Lincoln Continental for her husband, drummer Calvin Shields, for his birthday. Just one approach and definitely mix up playing changes with the blues scale.“What is the Mustang? I’ve never heard of it” That all sounds a lot more complex than it is and of course that's not how you'd play a solo, but it will get you started outlining the changes.
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One thing to practice is voice-leading those chord tones through the changes: I-IV-I-V-IV-I in D would be F# F F# G F F# OR, starting on the 7th of the D7 chord: C B C C# B C. Same with the V7 (A7) chord: Go to C# or G. That won't sound bad, but to really sound the change, go to the third or seventh of the chord (B or F). When moving to the IV chord, you said you were emphasizing the note G (the root of the chord). Remember the 3rd and 7th of the chord are what define the chord, so you can use those tones. Play the arpeggio, starting on an upbeat: F F# A B, then on to either C or D. One thing to mess around with is playing a leading tone from a half step below into the maj 3rd (so F to F# in this case). So if you are biting or raising the tone even slightly sharp, it won't sound good. The maj 3rd of the I7 chord in a blues sometimes needs to be played a hair flat to sound right. What is the rest of the band playing? If for some reason the guitarist is playing a minor chord instead of the maj triad or dominant chord that he should be playing, then of course the maj 3rd (F#) won't sound good.
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I have been listening to a lot of Lee Allen lately, a lot of his stuff is not really complicated but he adds the attitude to make it awesome.Ĭlick to expand.It "should" sound fine, being the 3rd of the chord, but there are a couple of reasons why it might not. I am getting kind of bored of what I play and I am looking for some cool stuff as a launch pad for me to do something new. I tried to work in some major pentatonic stuff but it does not seem to work well to my ear. I tend to play a lot of blues type stuff in D minor. I play it on tenor and I have kind of locked into a particular style when I play the solo. My question, do any of you have your own versions that you are willing to share or know of versions on the internet that have killer sax solos? I looked on youtube and there are a bunch of videos with people playing sax solos of varying qualities, some are pretty bad. We play this song regularly in the rock band I am in and it always gets a big response. Too bad, the audience has ruled that it is a hit. Yeah, I know this song is over played and a lot of you on this site do not like it.