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Gary Moore - Still Got The Blues Pt.3 - Outro Solo - Guitar Lesson

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Gary Moore - Still Got The Blues Pt.3 - Outro Solo guitar lesson video
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Classic Rock

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Gary Moore Blues Rock Am minor
Capo Advisor 0 Am minor · Original key

About Still Got The Blues Pt.3 - Outro Solo

The outro solo from "Still Got The Blues" is one of the most emotionally direct pieces of lead guitar playing in the Blues Rock canon, and it rewards careful, unhurried study. Gary Moore builds the solo through long, singing bends and vibrato-heavy sustained notes, so your left-hand control is everything here. At 95 BPM in A minor, the tempo is moderate enough that raw speed is not the challenge. What trips players up is matching the phrasing: the bends need to hit pitch precisely and the vibrato needs to feel wide and vocal rather than tight and nervous. If you rush, the whole emotional arc collapses. Use the Practice Toolbar to loop individual phrases slowed down and focus on whether your bends are landing in tune before you worry about anything else. E Standard tuning means no retuning is needed, so there is no excuse not to get it under your fingers today.

  • The solo sits in A minor and relies heavily on the minor pentatonic scale, making scale knowledge less of a barrier than controlling expressive bends and wide vibrato.
  • At 95 BPM the tempo is comfortable, but sustaining long notes cleanly requires good pick attack and strong fretting-hand pressure throughout each phrase.
  • Practise each bend in isolation using the Practice Toolbar slowed down to confirm you are reaching the correct pitch before adding vibrato on top.

How to Play Still Got The Blues Pt.3 - Outro Solo

Tuning: E Standard · Key: Am minor · Tempo: 95 BPM

Use the section loop to isolate a passage, drop the speed below 100%, and set the metronome to 95 BPM to build it up to tempo.

Fender Stratocaster
Guitar

Fender Stratocaster

Gary Moore wielded Fender Stratocasters for his cleaner blues tones, using their glassy single-coil bite to contrast with his Les Paul's fat sustain. The thin, articulate voice let him deliver expressive rhythm work and cutting lead lines without the compressed warmth of humbuckers.

Gibson Les Paul Standard
Guitar

Gibson Les Paul Standard

Moore's iconic 'Greeny' Gibson Les Paul Standard with its reversed neck pickup magnet became his signature, delivering dynamic PAF humbucker tone that bloomed into singing sustain when pushed through cranked Marshalls. This guitar defined his ability to achieve violin-like feedback and endless note decay.

Gibson Les Paul Custom
Guitar

Gibson Les Paul Custom

The Gibson Les Paul Custom gave Moore additional options beyond 'Greeny', with standard PAF-style humbuckers in the 7.5–8.5k ohm range providing enough output to drive his Marshalls into natural power-tube saturation without ceramic pickup compression. This guitar delivered the fat, singing tone central to his hard rock era.

Marshall JCM800
Amp

Marshall JCM800

The Marshall JCM800 became Moore's modern workhorse, cranked loud enough to achieve that singing, violin-like sustain where controlled feedback allowed notes to bloom endlessly. The amp's natural power-tube saturation created rich harmonic overtones essential to his fluid, sustaining lead style.

Marshall Plexi (1959 Super Lead)
Amp

Marshall Plexi (1959 Super Lead)

Gary Moore's early Marshall 1959 Super Lead Plexis were run at volume to generate natural harmonic saturation and responsive, singing sustain that defined his blues-rock foundation. The amp's sensitivity to picking dynamics let his fingers shape tone as much as the guitar itself.

Dunlop Cry Baby Wah
Pedal

Dunlop Cry Baby Wah

Moore deployed the Dunlop Cry Baby Wah for expressive, soulful lead passages that added vocal-like character to his soaring solos. Though a key tool in his arsenal, it served as seasoning to his core tone rather than the foundation of his sound.

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