Well no one can say the Blues Brothers aren’t sharing Layla around! Here’s my version on the SG. Again it’s a loose improv based around the Dm, Bb, C, Dm Trio+ loop.
I found this tougher going than on the acoustic as there’s more to think about when playing electric.
Oh yes, Gordon, sounding good. Layla hasn’t had such a good work out in years !!
Well done Gordon, sounding good and definitely getting better and into the swing.
Had to chuckle when this hit the “inbox” after watching David revisit today. I’ve been working on one of the fingerstyle exercises I did not post in my LL as it was carp. So every 20 minutes or so I’ve been picking up the T-Bucket and running it through 2 or 3 times. I’d just uploaded the shorter “Layla” BT to YT and picked the acoustic thought, why not before I cook tea. Hit play and went the opposite direction to you. Layla went buck naked in Normandie !
Where you two are heading up the dusty end, I was going “nuts” down the opposite end but of course with the odd excursion here and there. As I say had to chuckle. 
So I might just record that later, despite me planning a song practice session this evening. Plan was to map out the other motifs for you, once I remembered how to play them ?
I have to wondered, where do we take her next ?
Layla sure does get around 
Good to see you giving the SG a spin Gordon.
It’s definitely coming along Gordon, just a couple of suggestions; use the neck a bit more, it helps give more contrast. Work a bit more on your vibrato, it’s getting better!
Nicely done Gordon, good to see you on the SG.
It’s such a great song.
Thanks Toby. Layla buck naked in Normandie! It’s a bit early in the year for skinny dipping!
Where do we take Layla next? I suppose to progress this we should try to get closer to the original solo using @stitch’s tabs. I have to confess though that I enjoy making up my own version. Of course that’s because I know I’ll never nail the ‘real’ one. 
Gordon, my approach is going to be to do what Toby did in his acoustic version i.e. move up from playing largely in position 1 and a little dabble in the Albert King Box (part of position 2 as I understand it) to begin the solo in position 4. Starting in a lower position and able to explore ideas and build dynamics by going up in pitch.
One can get a sense of that in Justin’s lesson part 1 based on the MTV Unplugged rendition, which is what Rick tabbed out.
Like you suggest, I also feel like working on playing the original is currently too big a stretch. I am confident that in time (no idea how much time) that will be the next stretch.
And guys, that’s all about seeing it as intervals and then you can move each motif and play it around a different root. But look at them in the context of their parent minor pent as well.
So we covered the end of progression walk back to Dm, ie 5 b7 R ? Here’s that phrase over the neck
OK here’s the Laylaesque motif and its just a flavour of what ECs up to and not a copy.
And there’s an interval not in the pent ie b6
So R b7 b6 4 b6 b7 5 R.
Take one Root at a time - Don’t worry about the BT for now, just experiment. You may want to double the Root at the start. Think about the timing. Work out a way to finish on the b7 for say the 2nd set of chord repeats, sound familiar ? Have you got something you can tag on the end of that ?
Have a noodle with them and then maybe play them over your loop or the BTs (try the 10 minute one)
Next time to add some non minor pent colour. What intervals are missing ? Hint there’s some boxes only half built.
Hope this helps.
Thanks Toby.
The graphics are helpful. Glad my ears found some of this.
Point to keep in mind that sometimes two positions are the same pitch wise on different strings, so look for the lick in lower and higher octaves as well as where is it convenient to play to begin or end the next passage.
Will be going back to the practice and rehearsal room. No idea or concern as to when the next recorded play through will be.
I’m off down South for a bit and revisiting a 'Skynyrd intro Rick and I were discussing.
You are at one with your SG, Gordon. I see and hear the connection. Great stuff.
That all gelled together nicely! A good listen thanks.
You don’t need to play the original solo exactly. But if you study
the phases and add some of that into your own playing you will
learn a lot more than just noodling around the neck.
Studing the pros put structure in your playing.
Like I mentioned before improve isn’t playing what you do not
know it’s playing what you know very well in different context.
Toby has the right Idea of mapping things out. In a few weeks
He’ll have that map ingrained into his playing and can use it
as he pleases in every key.
Another fine exercise that inspired me to do a little Plinkin’ at the Plinkers Ball jam yesterday. You are starting to take off with your lead play. The future looks bright for you. Some really nice chops in there. Dig it!
Great playing, thank you for sharing Gordon!
Also, a very interestng conversation in this thread. Lots of useful tips and tricks from everyone, so also thank you everyone for contributing to the discussion!
@batwoman @DarrellW @RodC
Thanks for the listen and comments guys. Yes although based on the EC unplugged version of Layla I thought I’d have a go on the SG. So much more to think about. Dials, knobs, tone, volume. With the acoustic you pick it up and away you go.
However the vibrato is a bit easier on electric Darrell. My aim is to learn more patterns to enable me to use more of the neck.
Layla does put herself about a bit Maggie but she’s a kind lass simply trying to help us improve our performance.
Hi Toby. I’ll study these neck diagrams although I have to admit a bit if panic sets in when I look at them! What does the p mean in front of the numbers?
Don’t worry about the letter unless it b for flat. P stand for Perfect but the numbers are the important thing and just represent the scale intervals.
The minor pentatonic is
R b3 4 5 b7 that’s the 5 that make it Pentatonic - 5 tones.
Here’s the E Shape D minor pentatonic, that Layla is based on and the one you are using at the 10th fret but here its shown as intervals and not the fingers you use. I have added the b6 as purple triangle as its not part of the scale but you can see it in contexts.
Now compare the scale diagram with the 2 diagrams above and the riffs on the A and D strings, to see what part(s) of the scale you are using.
Does that help ?
Hi Luka. Good to hear from you. Yes this has turned into a good discussion.
More over here
Hey Layla, wanna fool around acoustically?
