Learn to create a solo that has a certain kind of connectedness and unity, because it’s based around some related ideas instead of just whatever lick you happen to come up with at the moment.
Space can be good, but if you want to create a bigger sense of dimension, adding in chords as responses to single-note licks can give you a new depth and texture, while creating an additional level of call-and-response.
Look at how to play into the downbeat to create momentum in your fingerstyle blues soloing and explore different kinds of resolutions—short, long, and delayed.
Create call-and-response statements using Western swing chords. You’ll learn to play single-note licks on the I chord in the key of A major, answered by different combinations of sixth and ninth chords.
Explore a bunch of different ways of playing E7 and A7 chords up the neck and ways of combining these ideas with single-note licks for a cohesive statement.
When switching between some chords, like A and D, you are able to pivot around the index finger, holding it down while you move your other fingers around it.
So here it is, our first bass/strum move. It’s not so different from doing four straight downstroke strums, except that the first strum is replaced with a single note, the root of the chord.
Thumping out a steady bass drone with your thumb lets you spin bluesy, single-note licks over the top with your fingers as an improvised alternative to the folkier-sounding alternating-bass style.