All the greats put themselves into their phrasing, and that identity was not only note choice but rhythm. Here are four ways you can add rhy
Clapton in Crossroads, Gilmour in Comfortably Numb and Peter Green in Black Magic Woman all have their own take on how they approach rhythms in the phrasing, giving a uniqueness while using the very same pentatonic shapes. One thing that isn’t demonstrated explicitly here is the spaces in between. That would certainly be easy to transcribe (and read!), but ultimately not particularly helpful, so do bear in mind that even these examples are a concentrated version of what you might want to play in a real-life musical scenario. The four phrases were played separately, but could be joined up to make a solo if you prefer. That being said, the fourth example is really an alternative take on Example 1, or perhaps a suggestion of how you might continue onwards in a similar style. I hope these examples are useful and enjoyable. Example 1
