BB King Lesson 2

A Lesson With The King
A Breakdown Of The Style And Technique

Of Bluesmaster B.B. King
By Bob Murnahan
www.leadguitartactics.com
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Page 2
About BOB MURNAHAN

After receiving his first guitar at the age of 8, Bob began his now 42 year quest
to learn as much as possible about playing the guitar. He has studied privately
and at the collegiate level in the jazz studies program at the Ohio State
University.
His career highlights include a tour of Europe with performances at the North
Sea Jazz festival and the Montreux Jazz Festival. He has also done a stint in
Vegas and played in the pit orchestra for the musicals Grease and Jesus Christ
Superstar. Bob is also a veteran of the recording studio on group recordings and
doing session work.
He stopped counting the number of students that come to him for private
lessons at 1200. He has also toured the country as a clinician for Peavey
Guitars. He is currently endorsed by Godin Guitars.
A few of his best selling products include:
Pentatonic Power
The Pentatonic Power Insider
Clapton Torn Down
Bob currently lives in Colorado with his wife Lynn and his 2 teenage sons (twin
boys and budding musicians).
Page
Introduction
OK...I admit it. I was wrong. Let me explain.
In the past I have been guilty of dismissing B.B. King as a guitarist. Not completely
mind you, but in doing this report I have to say that I was very surprised at what I
learned.
I had always thought of B.B.s playing as being somewhat on the simple side. Not that
this is a bad thing, not at all. And I never disputed his place in blues history, but I always thought that for the most part his playing consisted of just a couple of signature
licks, his vibrato, and not much more.
Man, was I surprised when I started to dig deeper!
Let me back up a bit and explain the origin of this report. For those of you that dont
know, Larry Carlton is one of my favorite guitarists. In recent years his recordings have
started to become a bit more focused on the blues.
I have read on several occasions that he was deeply influenced by B.B. King. Based
on the fact that I really like Carlton and he digs B.B., I decided to explore the music of
B.B. King to see if I could detect his influence on Larry Carlton and learn a few new
licks myself.
For my studies I decided to use a recording that comes from the Larry Carlton album
Friends. It was recorded in 1983 and the premise of the recording was that Larry would
invite some of his friends to join him on the record.
B.B. King joined Larry on the track, Blues For T.J. who is Carltons son, Travis James.
Here is the Youtube link so you can check it out yourself.
In this report you will find the complete solo that B.B. played on the recording along
with a few thoughts and observations that I had along the way.
I have to say that while on the surface, B.B.s playing appears to be quite simple, deeper analysis reveals that they are much more sophisticated than they appear to be. I
hope you learn as much as I did and enjoy this Lesson With The King.
Page 4

Blues For T.J. is your basic 12 bar blues in the key of C with a quick change. If you
dont know what that means a blues with a quick change goes to the IV chord in measure 2. See example 1.
Example 1.
C7
F7
8fr
F7
8fr
G7
10fr
C7
8fr
8fr
F7
C7
8fr
C7
8fr
8fr
F7
8fr
C7
8fr
G7
10fr
I am going to assume that you are already familiar with the basic 12 bar blues at this
point so I am not going to go any deeper into this for now. I want to stay on task and
talk about what can be learned from B.B.s solo and this song!
The intro is a standard intro for the blues that uses the last 4 measures as a kick off for
the tune. That means you start on the G7 chord in measure 9 and play through measure 12 and then start repeating the 12 bar cycle from then on.
B.B. comes in on the intro in the 3rd measure (the C7 chord in measure 11 above. He
plays the following.
Example 2.

Page 5

There are a couple of interesting things to point out here right away. The first one is
the starting note F# or Gb. I listened to this closely several times and its soft but thats
what I hear.
Now that note really doesnt really make any logical sense but its really cool. It resolves up to the G so it really doesnt create any problems tension wise and then the
next note is an F. The F# gets sandwiched between the G and F so it really kind of
resolves twice. Very cool!
Something I Often Wonder About
One of the biggest topics of debate out there among guitar players is, should I learn
theory or not? And you often hear the argument, my favorite player (insert name)
doesnt know theory, why should I?
Here are my thoughts on the subject:
1. Knowing at least some basic theory can only help, not hurt.
2. Players that claim to not know theory might not know it on an intellectual level, but
they know it intuitively.
Let me elaborate on the above points starting with number 2 in the context of what we
are doing here. I think B.B falls primarily into this category. From experience, he knows
what sounds right. He can hear what notes should be there on an intuitive level.
This allows him to make his note choices based on the chords. These sounds are embedded in his ears.
All great players base their note choices on the chords, not scales!
Let me say that again...
All great players base their note choices on the chords, not scales!
Why does this matter? It guarantees that all of your notes will be sweet sounding.
When you play based on scales alone some notes work better than others. When you
are aware of the chords you will always avoid these clashes.
Page 6

Now lets get back to point number 1...knowing at least some theory can only help.
Why? Because you can shorten the learning curve. If you know where the sweet
sounds are, you can focus on playing them and get them into your ear.
If you dont know where they are and how to find them, the process takes longer!
Throughout this solo you will hear that B.B. definitely knows where these sound are. In
fact, we dont have to wait long to find out.
In the second half of the measure where the F7 chord comes in, he lands on the note
F, a perfect chord and note match. Not only that, but the next note he plays is an A
which is the 3rd of the F7 chord.
If he would have been locked into the pentatonic/blues scale, this note choice would
not have been available but since B.B. knows on some level what is happening with
the chords, his note choices reflect that.
He also plays the D in this measure which is also not part of the pentatonic scale and
is also a note that B.B likes to play often. These notes outside of the scale add some
extra flavor to his playing and it can add some to your too! In this case the D is the 13th
of the F7 chord.
In the next measure we get more of the same. Here, the chord has switched back to
C7 and B.B. targets the E natural, which is the 3rd of the C7 chord. Again, he is aware
of and targeting the sweet notes.
I have to man up here and say that this is one of the surprises and revelations that I
had in putting this project together.
This is typically something that you hear jazz players doing and through research I
found that B.B was influenced by some jazz players. And I am sure through listening
and studying Larry Carltons playing, this is one of the ways that B.B. King had an effect on Larrys approach to the blues.
Try targeting these chord tones the next time you play the blues. Her are a couple of
arpeggios to help you out.

Page 7
C7 Arpeggio
5th
F7 Arpeggio
5th
1
2
2
4
3
4
Here they are in tab.
Example 3.

10
10
Example 4.

10
10
10

Page 8
11
11
Phrasing
Phrasing, now theres a word that gets tossed about quite a bit. What exactly is phrasing? Its not just one thing but a combination of things. Its all of the nuances of guitar
playing; bends, hammer-ons, pull-offs, slides, dynamics, note choices, etc.
As I dug into B.B.s playing I became more and more impressed by his phrasing. And,
I didnt have to wait long to hear one of the ways that B.B. influenced Larry Carltons
playing.
One of my favorite aspects of Carltons playing is his use of dynamics. If you listen to
his solo in Blues For T.J. you will hear what I am taking about. His ability to vary his
picking that leaves him in complete control.
Soft to loud, loud to soft,etc...
You hear this right away in B.B.s solo with the little phrase at the end of the second
measure. Listen carefully for the dynamics here. The phrase goes from loud to soft.
In fact, this is a great way to simple phrase like this one come to life. Try it on your own.
Practice things that you know and vary the dynamics by

getting louder or softer as you
play.
Example
5.
The Solo Measures 1-2

8
10
8
8 1-2.8
Now lets dive into the8first8 chorus of10the solo starting with measures
11
10
full
10
8 10 8
10
full
11 8
10
10 8
10 8
10
10 8
10

5
Page 9
full

These 2 measures are pure blues all the way. The first measure is really pretty simple
as far as playing the notes go. But to capture that B.B. King sound is something else
entirely.
There is this sound that he gets on occasion that you here in the very first note. I dont
quite know how to describe it. Its almost like more than one note is sounding or its a
bit loose and sloppy somehow. I dont really know what it is but it is hard to capture.
Before I get any deeper into this I just want to mention that transcribing a solo like this
is not an exact science. At best its an approximation of what is happening in the music
but there are so many subtleties that you just cant capture.
And the rhythms are difficult to nail down also. In fact, I hard a hard time deciding
where to place the notes on several occasions because B.B. tends to play everything
just slightly ahead of the beat. This is more obvious at slower speeds.
As you work through this solo you can try to do a couple of different things:
1. Just learn the licks you like (or the entire solo).
2. Try to sound as much like B.B. as you can.
Back in the day I used to learn solos like this and my goal was that if I was playing
along with the recording and someone walked into the room, they would not be able to
tell the difference.
Now this is extremely difficult to do. Ultimately, its probably not even possible but it will
really get you listening on a deeper level. In fact, even when you have the tab to follow
it still requires that you listen carefully for all of the nuances to be able to learn even
just a few licks.
If you have not thought of this before I want you to cultivate the habit of listening with
big ears. Dig into the music at levels deeper than you have ever gone.
The lick in the second measure requires this. The lick itself is made up purely from the
pentatonic scale, but the phrasing and timing make it more difficult to play. Its pure Mr.
King through and through. I get into this in more detail on the video.

Page 10
full
Example
6.
8
7 8 With The King

11 8
A Lesson
10
8 10 8
10
10 8
10 8
10
10 8
10
10 8
10
full
8
8 10
full
11 8
10 8 10 8
10
10 10
3 isactually an exten
7
Example
6 is bars3 and 4 of the first
chorus.
Measure number

sion of the phrase started in measure 2 but I wanted to include it here to point out the
fact that B.B. is once again targeting the chord tones.
full
full
As you know, measure 3 in the blues moves back to the I chord, in this case a C7 full
(note: the15tab15
actually
says this measure 5 because I included the
2 bar 13
intro). If you
13 13
13
15
16
13 16
13 15 13
1613
look at the last couple of notes
this
13 14 you can see
14 the use of the E natural,
14 in 13
14phrase
14
15
15
which is the 3rd of the C7 chord.
1/2
full
For reference you might want to take a look back at the arpeggio.
This resolution to the 3rd of the chord is a very powerful device that I encourage you to
add to your playing. Once again, I refer to these notes as sweet spots because they
match the chords. This is something that I hear all of the great blues players take advantage of.
In measure 4 we are back to playing the blues. And again there is some great phrasing
being employed here. I find the hardest part of trying to copy these licks is getting the
timing and placement down.
As I said, it requires some intense listening.
Speaking of listening, check out the classic B.B. vibrato that sneaks in to the phrase in
measure 4. I think we are all aware of the vintage King vibrato. In fact, this may be
what he is best known for. I get into this in more detail on the video.

Page 11
full
Example
7.10
8 10
8 8
A Lesson With The
King
11 8
8
10 8 10 8
10
10 10
full
15
1/2
15 13
15
13 15
14
13
13
14
13
14
15
15
14
13 16
full
full
13 13
13
1613
full
14
16
Example 7 is measures 5 and 6 of the 12 bar blues and at this point we are back on
the IV chord or the F7. Once again we hear B.B. focus in on the chord tones. Did I
mention that I was surprised by this? This is a sophistication that I did not expect to find
when I started this project.
Lets break this one down. It starts with a bend from G to A which is the 3rd of the F7
chord. There is that 3rd of the chord idea again! On the 4th note in this measure there
is the 1/2 step bend from the D to the Eb. This little 1/2 step bend is an integral part of
the phrasing in this lick.
This might actually be my favorite passage from the entire solo. Once more, open your
ears and listen. Notice how some of the notes are kind of choppy or staccato and then
check out the vibrato on the note C (13th fret, 2nd string, 4th note from the end). Awesome! And finally the slide up to the A and ending on the F at the end of the phrase.
Guess what? All notes from the F7 chord. Plus, the beginning of measure 6 is an F7
arpeggio straight. If you take the C7 arpeggio I gave you earlier and move it up to the
12th fret, you will see where these notes come from.
A Fingering Dilemma
One thing to keep in mind here, I was working from an audio track only so I had to use
my experience and the sounds I was hearing to come up with the fingerings. The passage in measure 6 above left me with a decision to make. What fingerings were being
used at this point. I detail the options in the video.
Page 12

But, thanks Youtube and a bit of research, I think I finally hit upon the correct fingering
solution. Again, another surprise...B.B.s use of the index finger to bend and in general
his absolute and complete control of his bends from a 1/4 of a step all the way up to a
step and an half, as you will see.
Now if you are not used to bending with the index finger this may take a bit of doing.
Like anything, it just takes practice. In time you will build the necessary finger strength
to do these types of bends.
Example 8.
29
full
16 13 13 13
13
14
13 16
full
16
8
8
11 8
11
11 8
10
10 8
8 11 11
10
Example 8 is measures 7 and 8 of chorus one

for the
and its back

to the blues scale
11 part. Measure 7 is really a continuation of the lick started in measure 6 and is
most
where you get a real earful

of the King vibrato. Watch the video to see a demo and discussion of this.
1 1/2
1/2
full
Measure 8 is pretty straight
ahead and as I mentioned,
its 1really
just the pentatonic
full
scale played with a couple of twists and turns.15There is a 15
position shift back
down to
13
18 15
15 13
13
box 1 of11the
scale here.
16 13
8 We have already seen ideas similar to this before
8 pentatonic
8
10
10 8 10
10
and appears to be one of B.Bs pet lick ideas.
You will find that as you study great players that they all have certain pet phrases
hold bendand
licks that they play over and over again. You dont always have to reinvent the
wheel to
music.
play
13 great
its what you do with what

you know
Its
not how much you know,
and this solo is a
perfect example of that. You can ultimately break down Kings approach tohold
a couple
bend of
3
positions full
on the guitar. More on that later.
1 1/2
full
1/4
201213Bob13Murnahan - All13Rights Reserved

16 13 13 Page
13 16
13 13 16
13
14
15
18 15
11 8
10
full
Example
8.
16 13 13 13
13
14
13 16
full
11 8
8
8
16
11
11 8
10
10 8
8 11 11
10
11
29
full
16
11 13
8 13 813
10
13
13 16
8
14
10 8 10
full
1 1/2
full
15
16
1 1/2
full
11 15
8 18
8 15 8 15 13
13
11 11 8
8
8
10 10 8
13 8 11 11
16 13
10
1.These
number
are measures
9
In this example
we
are
nearing
the
end
of
chorus

11
13 10in
the
and
and
chords
move
from
G7 to F7
here.
Again, these 2 measures
blues
the
up blues.

are really just pretty much straight
In measure 10 notice the step and a half bend from the 15th3fret up to the hold
18thbend
fret.
10
hold bend
1 1/2
full
1 1/2
full
1 1/2
full
full important and B.B. always
1/4
Bending in tune is really
seems to nail them. This requires
15 when
13 1513
18 15
13
hand strength
you
are in15tune.
13
13 so you can hear
8 15
13 and a good ear
18 15
Example
9.
11 8
8
10 13 13
16
10
16813 13
10 8 10
11 8
13 16
16 13
13

15
hold bend
3
13
10
hold bend
full
1 1/2
13
15
14
full
13
16
13 15
1313
16 13 13
16 13 16
1/4
14
13 16
full
full
1 1/2
full
15
8 15
13
15
11 8
8 13 16 13
10
15
18 15
13
13

Example
11 is a continu
9 contains the last 2 measures of the first
chorus.
Measure
ation
15 of the phrase started in measure 10 and is a demonstration of another common
King technique. The use of the same finger that he bends with to grab the next note.
Page 14
1 1/2
15
15 13
16 13 16
full
15
full
15
15
full
13
13
16 13
13
13
full
1 1/2
1 1/2
full
15
13
18 15 15
15 13
13
This happens
11 8 with
13
8 of the measure where he uses the index finger
16 to
8 the first 2 notes
10
10
8
10
10
bend and then uses the same finger again to catch the note on the second string.
Again, thanks to all of the wonderful material that we have on Youtube, I was
holdable
bendto
discover this. Back in the old days when we had to rely on our ears only, I might not

able
have been
to reach
this
conclusion.

13

The lick at the beginning ofmeasure 12 ends on the

note G, which matches
with the
G7 chord being played at this point. I do not think that this is an accident. I believe that
hold bend
3
it is B.B.s ear guiding him to the sweet spot yet again.
full
full
1 1/2
1/4
13 of 13
15 into18
15
13 with another step and a 8half bend that leads us
The end
measure 12 starts
the
11 8
13 13 16
16 13 13
13 16
8
second chorus of the solo.
14
10
Example
10.

15
1 1/2
15
full
15 13
16 13 16
15
full
15
15
full
13
13
16 13
13
13
As we move into the second chorus there are some more step and a half bends (G to
Bb) on the first string. The first measure is once again pentatonic/blues.
The second measure features another interesting use of chord tones (sweet spots) and
bending. Notice that the bend on the first string at the 15th fret is now just one whole
step from G to A.
Guess what the A is? Thats right...the 3rd of the F7 chord which is the harmony in the
second measure. Once again through his knowledge or what he hears (or both), B.B.
once again nails the changes in his choice of notes. That first finger bend gets tossed
in there again too! Those consecutive bends create an interesting sound, do they not?
Page 15
Example 11.
17
1/2
16
16 16
20
1/4
1/4
16 13 15 13
14
14
16
13
13 13
18 15 13 13
16 13
holdbecause
bend it is such a powerful way to draw you inti the
I talk about this all of the time
bend
This example is measures hold
3 and
4 of the second chorus. The first little phrase actually
The
chord is back to a C7 at this point
previous measure.
started in the
anddare Isay
19
it? Look what B.B. plays. A half step bend from Eb to E natural which is the 3rd of the
C7 chord.
full
1 1/2
1 1/2
full
1/4
chord changes. This is really allfullyou need
to do to move
from minor to major in the
13
15
blues...target
the 13
3rds of the chords.
13 15
15 15 15 13
13
16
16 13
16
full
13 11
The second half of measure 3 has another one of those strange sounds that B.B. manages to coax out of his guitar. Again, I am not sure how he does this. I get something
similar by adding a second but I really dont think that is really what happens. It remains a mystery.

21
The next measure is more blues and features some interesting 1/4 step bends that add
to the phrasing. In looking at it and listening to it, the whole bending sequence here is
interesting.
3
1/4
1/4
It starts13
with a 1/4
and
11 121312
11 1213to12a whole
13 step bend, moves
8 8finger
13 12 step bend with the index
11 8 down and
161313
8 moves back13
13 13
then has a1613
note that
is pre-bent a step and a half
that comes
12
810 8 8
into another 1/4 step bend.
10
Those 1/4 step bends are prevalent in the blues playing of multiple players. They are a
staple of the blues dialect
if you will. Make sure you incorporate
them into
your playing!
23

full
13
13 11
Page
full 16
full
13
13
13 11
11 13 13
13 11
full
13
1 1/2
13 11
13
15
full
13
1/4
13
16
1/2
Example
12.
16
16 16
20
1/4
1/4
13 13
13
16 A
13Lesson
15 13 With16
The
King
14
14
18 15 13 13
16 13

17
hold
bend
19
bend
hold
13
18 15 13 13
20
13
1/2
1/4
1/4
13
13 15
15
15
16 13 13 11
13
hold bend

19

5 and 6 of the second chorus
Measures
takes
us back to playing the blues
again. Tech
out for the

finger
bend
half
watch
nically,
repeated
again and the
held
notewith index
21
hold bend
way
5. Watch
the video for moredetail.

through measure
16
full
16 16
16 13 15 13
14 full 14full
13
16
full
16
13
1 1/2
1/4
15
16
full
1 1/2
full
15
1 1/2
1/4
full
16 13
13
1 1/2
full
The Bb (2nd
in measure 6) could also13be
the153rd15
string.
I
13
15 on15
13
15played at the 15th fret
3 note13
3
16
16
1/4
11
16 13
13 When
wasnt quite sure how
to13
approach
it from listening
alone.
you 1/4
are doing this type
of study, its hard to be 100% sure.
13 1613 13 161313 1211 1213 12 13 1213 13 11 8810 8 8 8 8 8 12131213

Example 13.
10
21
23
3

3
11
1/4
13
3 13
1/4
11 1213 12 13 12
full 13 13
12
11 13 13 13 11 13
13 11
8 8
121312
3
full
13
13 11
13
13
16
Here
13 and measures 7 and 8 of the second
chorus. Its back
isexample

C7
to the
at the end ofmeasure

7 B.B. hits the E natural
again,
chord
which is the3rd
23 again and
of
there, going back and forth between the E and the
the C7 chord. Themove he uses
it from.
F is
something that I hear Larry Carlton doing a lot. Now I know where he stole
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Page 17
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11 13 13 13 11
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full11
8
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full
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1 1/2
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Lesson
With The
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Its actually an idea that I really like and have to admit that I stole it from Carlton. It was
interesting for me to discover its origin. I am pretty sure that B.B. probably lifted from
someone he was influenced by. Interesting how music gets passed on from player to
player like this!

21
down to box 1 of thepentatonic

scale
plays some
In measure 8 B.B.
slips
back
and

more blues type stuff before heading back up a position and repeating the E to F idea.
3
This repetition
is a 1/4
great tool to use in your own solos. It makes
3 it easy on the listener.
1/4
11 121312
1213 how
12 13
12 mileage B.B. gets out 8of8just
13
As you 13
work through
this solo, 11
notice
much
a few
11 8
161313
8
1613
13
13 13
notes and related ideas.
12
810 8 8
Example
14.
23
full
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3
13 11
10
full
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13
full
13 11
11 13 13
full
13 11
13
1 1/2
13 11
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15
full
13
1/4
13
16
Now we are in the home stretch of the second chorus with measures 9 and 10. The
chords here are G7 and F7. These two measures are made up almost entirely of the
same lick. This idea is one of the ones that always comes to mind for me when I thing
of B.B. King and the blues.
Even though this little lick is basically a straight blues idea that gets often used, its still
cool. And, once more it matches the G7 chord by bending the F up to the G throughout.
The best of both worlds.
In measure 10 its back up the neck to B.B.s pet position (more on this to come) and a
phrase that fits well with the F7 chord. This idea is also leading into the turnaround and
the finale of the solo.

Page 18
Example 15.
425
16
13 15
16 13
11 8
10 8
10
1110 9
10
10 810 9 8 6 7
Here are the last 2 measures of the second chorus...the turnaround. Right at the end of
measure 11 B.B. plays the E natural again and slightly anticipates the change to the C7
chord here. This is something that I have heard Larry Carlton talk about so there is the
influence again.
The last measure is my personal favorite of the entire solo. The first half of the measure starts out like a typical blues lick, right down the blues scale. But, Instead of going
to Eb, B.B. plays the E natural, the 3rd of the C7 chord again.
This is just killer! Playing the changes yet again. If you take nothing else away from this
lesson at least get this...learn the locations of the of the chords.
Right after the E natural the skip down to the C and G are cool too! Love that sound
and I have heard Carlton do this on more than one occasion too.
To wrap things up you get the little chromatic bit of the blues scale and an Eb sliding
back up to E natural in anticipation of the return to the I chord and the top of the tune.
I have mentioned this anticipation a couple of times and I want to elaborate on that just
a bit.
When you play one of the notes of a chord right before it occurs, it has the subtle effect
of propelling the music ahead, giving it some momentum. In the measures above you
see that B.B. plays the E natural right at the end of each measure but the chord doesnt
actually change until the beginning of the next measure.
Try this in your playing and see how it goes.
Page 19
Final Thoughts
There you have it...2 meaty choruses of pure B.B. King to study and learn from. Before
I close this out I have a couple of final observations.
Upon closer inspection B.B. Kings playing, while appearing simplistic on the surface,
is actually much more sophisticated. Like any musician he has his signature ideas and
favorite ares to play from. He tends to work mostly with the following 2 positions of the
pentatonic scale.
8th
13th
1
3
4
3
4
These are both in C minor but can be easily transposed by moving to a different fret.
The higher positing is slightly altered by the inclusion of the A on the third string. If you
go on to closely examine all the notes that B.B. uses you would find that he plays...
C, D, Eb, E, F, G, A, Bb which is more like the Mixolydian mode with the b3 tossed in
Certainly note your average pentatonic scale that most blues guitarists use!
And last but not least, B.B has developed his signature sound that I personally find
next to impossible to duplicate. The tone, the vibrato, the slightly of kilter timing that
help make his phrasing unique, and his touch all combine to make up the B.B. King
sound.
Oh...and did I mention that he can sing?
To make things a bit easier for you here is the solo in its entirety.
Page 20
B.B King Solo On Blues For T.J.
11
10
10
10
8 10 8
10
10
10 8
11 8
10 8
10
10 8
10
10 8
10
full
8
8
full
8 10
full
11 8
10 8 10 8
10
10 10
full
15
1/2
15 13
15
13 15
14
13
13
14
13
14
15

Page 21
15
14
13 16
full
full
13 13
13
1613
full
14
16
29
full
16 13 13 13
13
14
13 16
full
11 8
8
8
16
11
11 8
10
10 8
8 11 11
10

11
1 1/2
full
13
11 8
10
10
15 13
15
full
13
13 13
16
13
13
13
16 13 13
14
13 16
hold bend
1 1/2
10
15
18 15
1 1/2

15
15 13
Page 22
16 13 16
11 8
16 13
hold bend
1/4

15
full
full
13
10 8 10
18 15
15
1 1/2
full
15
full
15
15
full
13
13
16 13
13
13
13
13
13 13
13
16
16 13 13
14
13 16
1 1/2
17
full
15 13
15
16
16 16
full
15
15
16 13 16
full
15
13
13
13
16 13
13
1/2
10
18 15
15

15
11 8
20
1/4
1/4
16 13 15 13
14
14
13
16
13 13
18 15 13 13
16 13

19

hold bend
hold bend
full
13
full
13
13
16
full
16
1 1/2
1/4
13 15
16 13
13 11
1 1/2
15
15
15
full
15
13
21
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2012 Bob
1/4
Page 23
13
1613
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11 1213 12 13 12
13 13
12
3
1/4
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810 8 8
10
8 8
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23
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1613
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3
13 11
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11 1213 12 13 12
13 13
12
161313

full
1/4
11 8
810 8 8
10
8 8
11
121312
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full
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1/4
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full
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11 13 13
full
13 11
1 1/2
13 11
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full
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425
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Page 24
1110 9
10
10 810 9 8 6 7

I hope you have enjoyed this lesson as much as I have, and when I say I have, I dont
mean putting it together. I mean what I learned that I can now take and use in my own
playing.
And it was great to see how the music gets passed down from legend to legend. B.B to
Larry and on out to all of us that like to listen, learn and play the guitar.
I encourage you to take what you can from this lesson and from your other favorite guitarists too. Enjoy the journey!
Best Wishes,
Bob

Page 25

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A Lesson With The King

A Breakdown Of The Style And Technique

A Lesson With The King

NOTICE: You Do NOT Have the Right

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A Lesson With The King

About BOB MURNAHAN

A Lesson With The King

A Lesson With The King

2012 Bob Murnahan - All Rights Reserved

A Lesson With The King

A Lesson With The King

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A Lesson With The King

Here they are in tab.

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A Lesson With The King

Practice things that you know and vary the dynamics by

The Solo Measures 1-2

A Lesson With The King

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7 8 With The King

2012 Bob Murnahan - All Rights Reserved

A Lesson With The King

Example 8 is measures 7 and 8 of chorus one

and its back

where you get a real earful

its what you do with what

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A Lesson With The King

are really just pretty much straight

2012 Bob Murnahan - All Rights Reserved

A Lesson With The King

The lick at the beginning ofmeasure 12 ends on the

A Lesson With The King

2012 Bob Murnahan - All Rights Reserved

out for the

13 1613 13 161313 1211 1213 12 13 1213 13 11 8810 8 8 8 8 8 12131213

at the end ofmeasure

down to box 1 of thepentatonic

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A Lesson With The King

A Lesson With The King

A Lesson With The King

B.B King Solo On Blues For T.J.

2012 Bob Murnahan - All Rights Reserved

A Lesson With The King

2012 Bob Murnahan - All Rights Reserved

A Lesson With The King

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A Lesson With The King

2012 Bob Murnahan - All Rights Reserved

A Lesson With The King

2012 Bob Murnahan - All Rights Reserved

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