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Although most blues tunes are 12-bar, these variations, found in a number of classic blues, are quite common and interesting. WEEK 5 Slow blues: rhythm pattems and phrasing. WEEK 6 Minor blues progressions: minor-key blues is a stylistic link to rock and R&B. WEEK 7 “Slide Primer’: an introduction to techniques and tunings for electric slide guitar. WEEK 8 Fingerstyle blues: playing melody and rhythm simultaneously on electric guitar. WEEK 9 Rockabilly: more examples of electric fingerpicking based around Elvis’ "Sun Sessions”, featuring Scotty Moore. WEEK 10 Other blues-based roots styles: Memphis, New Orleans, Rock & Roll a nae TE ZT E:T TEE EE Oe ZEB :EB 2s2? 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Play this ‘comp (accompaniment) patter boldly and 2g- gressively behind asloisttohelp pump up the nergy level. Thsriff works wellinthe key of ‘A because you can use open strings. In other keys t's litle more difficult to finger, but not impossible, You can pick up similar ideas by listening to bass players and adapting their lines to the guitar. ‘One te strongest shuffle grooves ofall is created when the bass lays down a walking Tine (outlining the chords with quarter-notes) ‘while the guitar plays on the eighth-note up- beats. Figure 7 depicts an upbeat comp pat- tem using 13th and 9th chords for that “up- town” sound, Use upstrokes to strum all the chords on the upbeats. On the downbeat stron downvard while releasing the lefchand finger pressure to prevent the chords from Finging. It should sound something like this “chunk-CHORD-chunk-CHORD-chunk- CHORD-chunk-CHORD." ete. ‘The next example (Fig. 8) is based on the concept of a horn section. 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In fact you cannot truly sepa- 3 from rhythm, and it i-this point SPhich Brings us tothe next topic, BLUES SOLOING 1 key to great blues soloing ultimately comesdowntoonething—making your guitar sound lke a human voice. When we hear & treat blues soloist, we usually describe that person's playing in socal terms, such as sing- ing. eying, wailing, etc. Always Keep this alin mind when you solo. Any discussion Of scales and techniques should only be meant toserve this end Blues soloing canbe broken downintothree ricures Sowstte JD a) 7 8 FIGURE 10 Asbessoie Sp Peston neemt tk bssie approaches: one based on scales: on based on chords: 8nd, most commonly. on based on a combination ofthe we. Let's oo’. at each ofthese separately THE BLUES SCALE ‘Thishas gotiobe the most popular sale for tuitarists, I has just enough notes to sound Tight, but not endugh to get you into trouble. ‘Although you can spend a lifetime trying to make it say what you want it gives you an approximate blues sound almost immediately. ‘The blues seale is simply a minor pentax tonic with one additional note, the fated filth Figure 10 shows wo common positions for the A blues scale, Although this scale can be played all over the neck, a Surprisingly large number of classic blues solos can be performed in just these two positions. And FIGURE 11 “Reson en) me hn, Se 1% pres 28 hs, since all the notes tend 0 agree with the chords ina I2-bar bes progression, isa tmost impossible 10 hit a “ehnker.” Ever bives player uses this sale to a greser or lesser entent. Here ae some famous ick which demonstrate use (Figures 11-13), ‘Good blues solos are made up of phrase tke the ones above that Fi opether © make complete ttemet.Topratiee phrasing with the bles seal, une this technighe 1. Record yourself comping 4 T2-bar bh na 2. 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EY SuNDLE iG | Tsao (eoerlinsgrenso, rraunsis uawiee S307ry the following approach: again, bot this time, in- chord punches, improvise sSeeenthe phrases, Tis style of phras- witha main theme and an answering lick, «Sill call and response. Ifthe main theme fnbasedonchordtones andthe answers more scaleclke, you get alot of contrast ot of afew ideas. 2. Now changeallthe notes ofthe maintheme except the first note of each bar. This will be ‘your target note, Having a definite target gives your phrasing more consistency. Chang {ng the way you approach the target gives you vatiery 3. Look at Hendrix's solo in “Red House,” ‘Which notes does he lean on, nd how do they relate to the underlying chords? Remember, ‘you have to doa lot of listening, copying. and ‘experimenting to develop your own natural syle. Guitar is @ much more voce-sounding ih- sinument than, sy, the piano. Techniques suchas bending, vibrato and sliding allow you to say alo with 3 few notes, Lets look ateach technique separately: 1. Bending: The Basic rule on bending is this—bend into chord tones. This can be used a5 an occasional decoration, or it can be the basis of your syle. Bendingisa very personal thing. On the technical side, use as many frening-fingers as you can to bend a single note, This will give you more strength, endur- ance, and beter intonation. Here are some simple bending licks that work well over an ‘AT chord (Figs 19-22). Notice thatthe bends are up tothe Foot, 3rd or Sih (A, Cll and E, respectively), Figure 23 san exercise in pre- cision bending, 2. Vibrato: This refers to shaking 2 note. Is ‘one ofthe most diffieult, yet one ofthe most expressive, techniques for the puitacss, 4 good vibrato, you can play fever nove» have a stronger impact. To develop a 25 vibrato, you must work regularly over period of time, Here are some tips * Listen o players with great vibrato and p. the sound firmly fixed in your eas. + Use the same finger-einforcement te, nique that you use for bending: thats, cere the motion in your wrist, not your fingers Use these exercises and guidelines to hey you get going: * Set your metronome at 60.p.m. Pay an ¢ fon the 2nd string/1Oth fret, then bend it vy (Goward the ceiling) a halfstep of less ane release it. While sill holding the nate, con tinue bending and releasing in time with ihe metronome. After you master this ich ihe metronome up, still bending and releesng once per beat. 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