Blues Guitar - By Olav Torvund

Olav Torvund's Guitar Pages Guitar Lessons

Book of the MonthJanuary 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF

format.

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New Lessons

● Open C Tuning● Silent Night in

Open C Tuning● Minor Blues● Reading Music

- Lesson 3● Reading Music

- Reading Chords

● Blues Turnarounds

● A Chord Excercise - jazzy 7th

Files in PDF format

I have made many of the files available in .pdf format, in addition to graphic and Finale format. You will need Acrobat Reader to view these files. They are optimized for printing rather than viewing on screen. I have done this with the files I had in original format (I did not have all of them). Introduction

Blues Guitar - Overview

Introduction12 bar blues in E-major12 bar blues in A-majorE-major revisitedSome other blues progressions

Some fingerpicking challengesMore examples in E and ASome theory: The tritone, dim and the 7 chord.Blues in DIntroduction to open tuning - Open DBlues in G

Bottleneck/Slide GuitarBlues in CMinor BluesJazzier blues - moveable chords in F, Bb and EbThe circle of fifths - have you noticed the sequence of the keys?

The 12 bar blues progression in E-major

● 1 -The Basic Chord Structure

● 1 B - Another version of the basic lesson

● 2 -Some variations of the 12 bar form

● 3 - The turnaround chord

● 3B - The importance of rhythm - some damping techniques

● 4 - The shuffle ● 4B - E-Shuffle● 4C - The

Hoochie Coochie Shuffle

● 5 -The harmonized shuffle

● 6 -The treble shuffle● 7 -Some other shuffle

style licks – Boom Boogie

● 7B -Muddy Boogie● 8 - A turnaround

chord sequence● 9 - The turnaround

lick ● 10 - The "fill in" – Part

1 * Part 2● 11 - The Boogie bass

line - Part 1 * Part 2 * Part 3 * Part 4 - Boom Boogie * Part 5 - Muddy Boogie * Part 6 - The Trip of The Day

● 12 - An introduction to blues fingerpicking

● 12B - Monotone bass fingerpicking – Rocking Baby

● 13 - 16-bar blues

● 13B - Smoky Metal and Muddy Onions - Power Chords

● 13C - With A Taste of Onion

● 13D - You Nearly Got Me On The Foggy Water

Blues in A-major

Blues for Beginners

So you'd like to ... Teach yourself how to

play blues guitar

The Greatest Blues Guitarists of All-Time

Great Electric Blues Guitarists

The Country Blues

The Delta Blues

Downhome Blues

Chicago Blues for

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Blues Guitar - By Olav Torvund

chords● Open Chords

Sign up for the Newsletter to get information on new lessons.

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

● 14 - 12 bar blues progression in A

● 14B: Rocking Bill● 15 - Fingerpicking

with monotone bass in A

● 15B - Betty Blues

● 15C - Fingerpicking Instrumental in A

● 16 - The "Long A" and "moveable C7" chord

● 17 - A shuffle solo

● 18 - The minor pentatonic scale - a simplified blues scale

● 19 - The "Blue notes" - the blues scale

● 20 - The relation between the "Long A" chord and the blues scale

E-major Revisited

● 21 - Blues scale in E

● 22 - The minor pentatonic scale in E and A, all positions

● 23 - The moveable D / D7 shapes

Some Other Blues Progressions

● 8-bar blues – 8-bar Blues in E

● 8-bar blues in A – Key to The Highway

● 8-bar blues in A – Come Back Baby

Some fingerpicking challenges in E and A

● Pony Blues / M&O Blues ● Willie Brown's Mississippi Blues

The Power of the Tritone, dim and the 7 chord.

● Tritone Blues - Part 1 * Part 2 * Part 3

● Tritone Blues - Part 4 Kansas City

Blues in D

● The basics: 12-bar and chords

● Dropped D tuning, Alternating bass, See See Rider

beginners

Essential Chess Blues Library

15 Essential Blues CDs (And A Great Place To

Begin)

Blues/Rock Essentials

Learning Blues Guitar

Blues in G

● The basics: 12-bar and chords● A 12 bar blues in G.

● G-Boogie● Rev Gary Davis is Funny That Way

Blues in C

● C C Rider● Cocaine Blues

● Blues Rag in C● Diddie Has Something There

Minor Blues

Minor Blues - Lesson 1, Part 1 * Part 2 * Part 3

Jazzier blues - moveable chords in F, Bb and Eb

12-bars, Two Chord Shapes and a Touch of Jazz * Part 2 * Part 3 * Part 4

The Flat Five Substitution - part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6 * Part 7

Add the m7 chord - Part 1 * Part 2 * Part 3* Part 4

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Blues Guitar - By Olav Torvund

A Turaround Lesson

Turnaround - Lesson 1, part 1 * Part 2 * Part 3

Turnaround - Lesson 2, part 1 * Part 2

Turnaround - Lesson 3, part 1 * Part 2

Introduction to open tuning - Open D

That's No Way To Get Along the Train

Bottleneck/Slide Guitar

Roll and Tumble Walking Black Mama

The circle of fifths - have you noticed the sequence of the keys?

Great blues-guitar players - guides for those who want to play their stylesThese are annotated lists of books, records and videos for those of you who want to learn more about the playing styles of some of the great blues-men. (Sorry, ladies. There are not many ladies in the history of blues guitar. Memphis Minnie is the only one that comes to my mind, and I do not know any material devoted to her playing.)

Robert JohnsonLonnie JohnsonBig Bill Broonzy

Blind BlakeRev Gary Davis

B. B. KingEric Clapton

Books and videos on Blues Guitar. Main Book Menu

Beginning Blues Guitar ** Acoustic Blues ** Electric Blues ** Acoustic Texas Blues ** Electric Texas Blues ** Delta Blues Guitar ** From the Delta to Chicago ** East Coast Blues ** Chicago Blues ** Fingerpicking Blues ** Lead Guitar ** Bottleneck / Slide Guitar ** Jazz Blues ** Scales, Chords etc ** Blues Songbooks ** Individual artists** Masters of Country Blues - DVD series

Introduction

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar – Minor Blues - Lesson 1, Part 1

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar – Minor Blues - Lesson 1, Part 1

C-MajorDiddie Has Something There

Minor BluesLesson 1, Part 2

You can subsitute all major chords in a 12-bar blues with the parallel minor chords, and voila: You get a minor blues. In the key A-minor, a 12-bar blues Type 1 would be like this:

I have not included a turnaround chord, which would be an Em7 if we should stick to minor chords througout the tune. But as there are no tritone in the m7 chord, it does not have the turnaround effect. It is the tritone in the V7 chord that calls for a resolution to the I chord, which has the turnaround effect.

Some examples of tunes played with this progression are:

Artist Tune KeyCD Main link goes to Amazon US, Amazon UK link in parenthesis)

Source Comments

Eric ClaptonAll Your Love (I Miss Loving)

Am John Mayall and the Bluesbreaker (UK)

The Bluesmen (from Musicroom)

An Otis Rush tune. The middle (shuffle section) modulates to major, and then it modulates back to minor.

Otis RushAll Your Love (I Miss Loving)

F#m Guitar White Pages

I have not written out any arrangements in this lesson, as it is the chord progression and not a particular playing style that is covered. Instead I have included backing tracks in various keys and styles. The minor pentatonic scale should be the basis for your soloing over these progressions.

Backing Track - MinorBlues-1A Basic Minor Blues progression Type 1: Minor chords only, i chord in bar 2, no turnaround. Download all files in on zip-file

65 Very slow Cm C#m Dm Em F#m Gm G#m Am Bm

90 Slow Cm C#m Dm Em F#m Gm G#m Am Bm

120 Medium Cm C#m Dm Em F#m Gm G#m Am Bm

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Blues Guitar – Minor Blues - Lesson 1, Part 1

If we write the similar progression as a Type 2 progression, it would be like this:

Here are some backing tracks to practise with.

Backing Track - MinorBlues-2A Basic Minor Blues progression Type 2: Minor chords only, iv chord in bar 2, no turnaround. Download all files in on zip-file

65 Very slow Cm C#m Dm Em F#m Gm G#m Am Bm

90 Slow Cm C#m Dm Em F#m Gm G#m Am Bm

120 Medium Cm C#m Dm Em F#m Gm G#m Am Bm

C-MajorDiddie Has Something There

Minor BluesLesson 1, Part 2

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar – Turnaround - Lesson 1, part 1

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar – Turnaround - Lesson 1, part 1

The Minor 7th ChordPart 4

Turnaround - Lesson 1Part 2

The turnaround takes you from the end of one verse to the beginning of the next. It will typically end on a V7-chord, which will be resolved by the I-chord at the beginning of the next verse.

Before going more into turnaround, we have to recapitulate, in case you have not been following the Blues Guitar Series. As pointed out in the Blues Guitar - Lesson 3: An introduction to turnarounds - the turnaround chord - lesson, the blues turnaround usually has two parts: The first part takes place from the first beat of bar 11 to the first beat of bar 12. We start from a I-chord, do some melodic and/or harmonic embellishments, and return to the I-chord. From there the second part goes to the V7-chord.

You can find one example of a turnaround chord sequence in E in the lesson Blues Guitar - Lesson 8: A Turnaround Chord Sequence, and a turnaround lick in Blues Guitar - Lesson 9: Turnaround licks in E. We will start from where we ended in these lessons, so it might be an idea to review them before you continue.

Here I will start with a few chord sequences that can be the basis for many turnaround licks. We start in the key of E-major. The chords we will be using in addition to the E, are three diminished chords: G#dim, Gdim and F#dim.

E G#dim Gdim F#dim E

Written in tablature, the sequence will be:

You may ask why I call them diminished, and give them these strange root notes. Isn't the G#dim just the E7 in a D7-shape moved up two frets? The answer is a kind of yes and no. If we take the root out of the E7, we are left with a G#dim chord. But it will often function as an E7, and it will often be notated as E7. Play the same sequence of chords as real 7th chords with the root, and listen carefully. The chords will then be E7, D#7 and D7.

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Blues Guitar – Turnaround - Lesson 1, part 1

E E7 D#7 D7 E

I think they sound better as dim chords, which means that I do not want them to function as 7th chords in this context. If I should make them into some kind of 7th chords, I prefer the dim7 in this contxt. It will then be E#dim7, Edim7 and D#dim7.

E E#dim7 Edim7 D#dim7 E

There is no right or wrong here. I am telling you what kind of chords I prefer to use in this context. Your ears decide what you like. What is right for you is right. But listen carefully to the subtle differences between the three chord sequences E - E7 - D#7 - D7 - E, E - G#dim - Gdim - F#dim - E and E - E#dim7 - Edim7 - D#dim7 - E.

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Blues Guitar – Turnaround - Lesson 1, part 1

More on Blues Turnarounds

● Blues Guitar - Lesson 3: An introduction to turnarounds - the turnaround chord

● Blues Guitar - Lesson 8: A Turnaround Chord Sequence

● Blues Guitar - Lesson 9: Turnaround licks in E

● Turnaround_Lesson 1-1

● Turnaround_Lesson 1-2● Turnaround_Lesson 1-3● Turnaround_Lesson 2-1

● Turnaround_Lesson 2-2● Turnaround_Lesson 3-1● Turnaround_Lesson 3-2

The Minor 7th ChordPart 4

Turnaround - Lesson 1Part 2

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar - Introduction

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar - Introduction

Lesson 1The 12 bar blues in E

When I was a law student, I used to teach blues guitar to help support my living. Eventually I collected and edited the material I used in my teaching, and published it as a book. The book was published for the first time in 1980. The book was revised, and a 2nd edition was published in 1990. But the book has long been out of print. And since it was published in Norwegian only, it would probably be of little use for the majority of you anyway.

I have decided to make the content of the book available on the net, along with material that I now think should have been in the book and material from books that was never written. Some of the material has already been on the net for a while, and some is almost ready for the net. Other parts have to be written from scratch. The outline is a reading list with reference to underlying documents, and there might be more than one reading list that utilizes the same material. So do not expect me to start at the top of the outline and include new material in sequence - even though the sequence is meant to be a recommended sequence for studying the material.

It is fun to write about music, and still I learn a lot from having to work with it - and my own learning is the major inspiration for the work. But it takes time, even if it is fun. I know from experience that there will be periods where I work a lot on this project, and other periods where I do not touch it at all. So I give no promises on when it will be finished - if it ever will. But look back to this page from time to time, and see if some of the headlines in the outline has turned into active links.

Lesson 1The 12 bar blues in E

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University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar - The 12 bar blues in E

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar - Lesson 1: The 12 bar blues in E

IntroductionLesson 2:

Some variations of the 12-bar blues in E

This is the first in a series of lessons on playing blues guitar. For a more on the 12 bar blues progression in general, go to my BASIC BLUES and Basic 12-bar blues lessons. (The lessons might be overlapping).

We start with the blues progression I have labeled Blues progression 1, in the key of E. E is a popular key for blues guitar, but it is not the easiest key to play if you are a beginner on the guitar. To play the blues in it's simplest form, you need to know four chords:

E E7 A7 B7

How to finger the chords

If you are not used to play these chord, the change to and from B7 in particular might be a bit difficult. Be careful with how you finger these changes. When fingering chords, you should try to make as little finger movement as possible. It takes time to shift fingers, and the less you do it, the more fluent will the changes be. A typical beginner error is to lift all the fingers off the fingerboard and relocate each finger. If you can keep a finger where it is, do it. Look at the fingering indicated in the chord diagrams. The fingering of the E-chord is in my view the only sensible way to finger this chord. There is also only one way to finger this voicing of the B7 chord. Notice that your 2nd finger is in the same position in both chords. Don't lift the finger off the string just to place it where is was - keep it on the 2nd fret of the 5th string through the change. This will reduce the finger movement, and the finger will be a guide for the rest of your fingers. The first finger is on 1st fret in both chords. But in the E chord it holds the first fret on the 3rd string, and in B7 it holds it on the 4th string. Just move the finger across, lifting it as little as possible. Your 3rd finger crosses in the opposite direction, from 4th string 2nd fret to 3rd string 2nd fret. If you find the change difficult, practise just this movement without caring about your 4th finger until it is fluent. Then you just add your 4th finger on 2nd fret 1st string for the B7.

There is no clear "right" or "wrong" when it comes to fingering of the A and A7 chord. It depends on where you are coming from and where will go next. When looked at in isolation, the easiest way to finger the simple A7 chord is with 1st finger on 2nd fret, 4th string, and 2nd finger on 2nd fret, 2nd string. But it is the least flexible fingering. You use two fingers, while the other two are placed in a useless position. So I will not recommend this fingering. Usually I will recommend that you use 1st finger on 4th string, 2nd finger on 3rd string and 3rd finger on 4th string. This will give you an A chord. Lift off the 2nd finger, and you get A7. It might be an alternative to finger the A7 with 2nd finger on 4th string and 3rd finger on the 2nd string. With this fingering it might be easier to change to and from both E and B7, but you do not have the A chord under your fingers. On the other hand, you get the Amaj7 by placing your 1st finger on 3rd string, 1st fret.

The blues progression in E can be played as follows:

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Blues Guitar - The 12 bar blues in E

MIDI file - 12 bar blues in E

We often use roman numbers to indicate chords relative to the root chord. The root chord will then be I. The chord a fourth above is labeled IV, and the chord a fifth above is labeled V. The advantage of using such notation, is that we can notate a chord structure that can be applied to any key. I the key of E the numbers will be: I=E, IV=A and V=B. The 12 bar blues will then be:

Listen carefully to the change from E to E7. It is almost as the harmony starts preparing for a jump to A. And this is in fact just what it does. The E7-A change could be seen as a V-I resolution in the key of A, and it really illustrates the double identity of the I-IV change.

Play the blues slow with a steady rhythm with four beats in each bar. You must play the 12-bar blues progression until it becomes second nature to you, and you can play it on "auto-pilot". Count the rhythm as you play. You should know both in which bar you are, and which note in the bar you are playing. The way to count is 1 - 2 - 3 - 4, 2 - 2 - 3 - 4, 3 - 2 - 4, etc, until you get to 12 - 2 - 3 - 4, when it is time to start over from 1 again.

The "Hoochie Coochie Lick"

I will give you one rather simple, but effective and very useful lick. By the name I have assigned to it, you will probably understand that it is inspired by Muddy Waters and the playing in his son The Hoochie Coochie Man. But I am not saying that this is exactly how Muddy Waters played the song. It is a simple lick played on the two bottom strings (or on the 6th string only, if you prefer that).

Download Finale File

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Blues Guitar - The 12 bar blues in E

Alternate fingering - the entire lick on one string

More Material on Basic Blues Guitar

If you want some books and CDs to work with, in addtition to surfing the web, I will suggest these for beginners:

Beginner's Blues Guitar Fred Sokolow teaches you how to accompany yourself while singing the blues. You'll learn to play melodies and solo in several keys, throughout the neck. This book will help build the foundation for your understanding of blues guitar techniques and styles for both acoustic and electric guitar. Addresses the simple blues form in E,G, and C, gradually expanding on concepts. Includes simple first position blues scales needed for soloing (both fingerpicking and flatpicking) in the keys of E,G, and C. Songs and solos are presented in standard notation and tablature with lyrics. Beginning Blues Guitar. Includes 3 CD's. Published by Grossman's Gtr Workshop. (SG98506BCD)See more info...

Order from:SheetmusicPlus (US)

Bestseller!

Happy Traum Teaches Blues guitar Beginning Blues Guitar, Acoustic Blues. A Hands-On Beginner's Course In Acoustic Country Blues Homespun Listen & Learn Series Take a lesson in fingerstyle blues guitar from one of the world's most respected teacher/performers. All you need to know is how to play a few basic chords to get started playing along with this user-friendly book/audio package. Beginning with the most basic strumming of a 12-bar blues pattern. Happy gradually starts adding fills, runs, turnarounds, bass rhythms and 'boogie woogie' walking bass patterns that make the basic blues progression come alive. Way back in the 70's, a blues series on cassettes by Happy Traum was a great help for me. I do not know this specific set, but as I know Happy Traum, it should be a good one. But: I am a bit sceptic to a version where the audio is squeezed down to on CD. I hope he publish the full version of the course on CDs. Published by Hal Leonard. See more info...ToC No HL841082Review:

Order From: SheetmusicPlus (US)MusicRoom (UK)Amazon UK

Bestseller!

The Ultimate Beginner Series ..Blues Guitar Basics, Steps One & Two Combined(Book & CD) Performed by Keith Wyatt, Kenn Chipkin. Beginning Blues Guitar. Take the first step towards mastering blues guitar. This book/CD will guide you through everything you need to know to begin playing blues guitar: shuffle rhythms, turnarounds, blues soloing, call and response patterns, play-along 'jam' tracks, slow blues, blues scale positions, and the 'B.B. King secret scale pattern.' See more info...ToC No WBUBSBK103CDReview:

Order from:SheetmusicPlus Amazon UK

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Blues Guitar - The 12 bar blues in E

Beginning Blues Guitar (book & Enhanced Cd)Blues Lead Guitar. Here's a comprehensive method dedicated to the blues! This book is perfect for beginning blues and rock/blues guitarists. All examples are shown in standard music notation and TAB. There are tons of licks in the styles of the blues masters such as Muddy Waters and Buddy Guy. This is the best step-by-step blues method for guitar that teaches the substance and style of the blues. The Enhanced CD demonstrates the examples in the book. Beginning Blues Guitar. (Complete Blues Guitar Method). Published by Alfred Publishing. See more info...ToC No AP8230

Order from:SheetmusicPlus

For more suggestions, go the the Beginning Blues Guitar in the Guitar Books Section.

Backing Tracks for Practise

Here you can find a simple Band-In-A-Box file with this 12 bar progression in E. If you have Band-In-A-Box or you have downloaded the free Band-In-A-Box player you can play just to listen to the chords, and as a backing track for your own playing.

Backing Track - 12B1These are MIDI backing tracks of 12-bar Blues progression 1. For more information, go to lesson on bluesprogression in the chord progression series. They are in 8 keys and three tempos (65, 90 and 120). Use them to get the sound of the cords, and as backing tracks. They are long 10-15 minutes, which makes them boring as listening track, but good for practise. Download all files as a zip-file.

65 very slow C D Eb E F G A Bb

90 Slow C D Eb E F G A Bb

120 Medium C D Eb E F G A Bb

12-bar blues

● Classic Lesson: 1 - BASIC BLUES

● Blues Guitar Lesson 1: The 12 bar blues in E

● Blues Guitar Lesson 2: Some variations of the 12-bar blues in E

● Chord Progressions: Basic 12-bar blues

● Lesson 14: Blues in A - introduction

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar – Add the m7 chord - Part 2 * Part 3 * Part 4

● The same in Theory: The Flat-five Substitution

IntroductionLesson 2:

Some variations of the 12-bar blues in E

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar - Lesson 2: Some variations of the 12-bar blues in E

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar - Lesson 2: Some variations of the 12-bar blues in E

Lesson 1The 12 bar blues in E

Lesson 3: An introduction to turnarounds - the

turnaround chord

In the first lesson we looked at a very basic 12 bar blues structure in the key of E. But there are many variations of the form. You will often hear the IV chord in 2nd bar instead of the I chord. As long as we are in the key of E, the IV chord will be A. I label this progression 12-bar Blues Progression 2, just to give it a name. In the key of E, the this progression will be:

12 bar blues Type 2 in E

In roman numbers, the progression will be written as follows:

Backing Track - 12B2These are MIDI backing tracks of 12-bar Blues progression 2. For more information, go to lesson on bluesprogression in the chord progression series. Download all files as a zip-file.

65 very slow C D Eb E F G A Bb

90 Slow C D Eb E F G A Bb

120 Medium C D Eb E F G A Bb

Another variation is to play V7 chords in both bar 9 and 10. In E, the V7 chord is B7, and the progression will be:

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Blues Guitar - Lesson 2: Some variations of the 12-bar blues in E

12 bar blues Type 1 in E - alternate 10 bar

You can of course also play a IV-chord in bar 2, with this ending, which will give you this progression:

12 bar blues Type 2 in E - alternate 10 bar

More on the "Hoochie Coochie lick"

You may have wondered what I played when I came to the A-chord in bar 5, if you listened to the MP3. As you probably heard, I played the lick both as an intro before landing on the A, and at the end before returning to E. Over the A chord, I played a very simple little figure:

Download Finale File

Material for further exploration of the blues form.There are of course many books that deals with blues. But these three books will take you through many ways of playing the basic 12-bar chord structure. They all come with CDs

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Blues Guitar - Lesson 2: Some variations of the 12-bar blues in E

Bestseller!

Dave Rubin: 12 Bar BluesIn the book, Dave Rubin explores the 12 bar blues form. The term '12-bar blues' has become synonymous with blues music and is the basis for an incredible body of jazz, rock 'n' roll, and other forms of popular music. This book/CD pack is solely devoted to providing guitarists with all the technical tools necessary for playing 12-bar blues with authority. The CD includes 24 full-band tracks. Covers: boogie, shuffle, swing, riff, and jazzy blues progressions; Chicago, minor, slow, bebop, and other blues styles; soloing, intros, turnarounds, accompanying keyboards and more. This is one of my favorites! See more info...This book was selected as Guitar Book of the Month - July 2002ToC No HL695187Review:

Order from:SheetmusicPlus (US)MusicRoom (UK)

Dave Rubin: The Art of the Shuffle.As the name says, the book focuses on the shuffle, and not the blues as such. It explores shuffle, boogie and swing rhythms for guitar. Includes tab and notation, and covers Delta, country, Chicago, Kansas City, Texas, New Orleans, West Coast, and bebop blues. As the name says, the book focuses on the shuffle, and not the blues as such. But as all examples are in a 12-bar blues format, it will take you through various blues progressions, as an added bonus to the exploration of the shuffle style. (HL695005) See more info...

Order From:SheetmusicPlus MusicRoom (UK)Amazon UK

Jim Ferguson - All Blues for Jazz GuitarJazz-Blues. By Jim Ferguson. Book/CD package. Rhythm/backup. Jim Ferguson has a jazz approach to the blues, which means jazz comping and more sophisticated chords. In this book you will learn many arrangements based on three-note 7th chords (which often could be labeled as dim chords) in a blues context. (There are many other chords as well). Unless jazz is you main interest, I will suggest that you start with Dave Rubin's 12 Bar Blues, before going on with Jim Ferguson's book. 92 pages. Published by Guitar Master Class Pub. - Mel Bay Fingerstyle Jazz. ToC No MB96842BCD

This book was selected as Book of the Month February 2003

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12-bar blues

● Classic Lesson: 1 - BASIC BLUES

● Blues Guitar Lesson 1: The 12 bar blues in E

● Blues Guitar Lesson 2: Some variations of the 12-bar blues in E

● Chord Progressions: Basic 12-bar blues

● Lesson 14: Blues in A - introduction

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar – Add the m7 chord - Part 2 * Part 3 * Part 4

● The same in Theory: The Flat-five Substitution

Lesson 1The 12 bar blues in E

Lesson 3: An introduction to turnarounds - the

turnaround chord

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Blues Guitar - An introduction to turnarounds

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar - Lesson 3: An introduction to turnarounds - the turnaround chord

Lesson 2: Some variations of the 12-bar blues in E

Lesson 3B: Damping techniques

You have probably already heard the word turnaround, and I am sure that you have heard many turnarounds played. A turnaround turns you around: It takes you from them end of the verse to the beginning of the next. What you do is to create some tension at the end of the verse, that is resolved when you start the next verse. You do this by ending on a V7 chord, which is dissolved by the I chord in the beginning of the next verse. This creates a V7-I change.

The simplest turnaround is just to end on the V7 chord, giving you a last line that looks like this:

In E, it would be:

You should notice that the V7 chord is played from the second beat of the last bar. You might play it on all four beats of the last bar, but it does not sound as good.

You cannot end on the V7 chord - or at least one usually does not end on this chord. If you end on the V7 chord, you will feel that you have to play another verse. In the last verse, you have to end on a I chord, or a I7 chord.

We can introduce the C7-chord on the second beat in the last bar. You get the C7 just by moving the B7 up one fret. And then you go to B7 by moving the chord down one fret. The open B string will give you a strong dissonance if you let it ring with the C7 chord. It sounds better if you damp it out by leaning your 3rd finger on the 2nd string. But for this very short chord, it is not that important. If you let a strong dissonance ring, then it will sound "wrong", but it might work well as a quick passing chord.

C7

12 bar blues Type 1 in E with turnaround chord

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Blues Guitar - An introduction to turnarounds

The end of the Hoochie Coochie lick

When starting on the turnaround, it is time to turn around to our Hoochie Coochie lick on more time, and look at how it ended. As you see, it is a very simple move ut the the B in bar 9, and another simple chromatic run down to A in bar 10, and then it is the normal route back to E again. In bar 12 there is little chromatic run from A to B, a run I am sure you have heard many times before. And then it is back to the basic lick, and you are ready for another 12 bar.

Download Finale File PDF-File

If you want to make a short cut ...

It's Easy To Fake...Blues Guitar by Joe Bennett. Blues Lead Guitar. Guitar Method. 96 pages, 6.5 x 9.5, softcover. Published by Amsco. (AM973775)See more info...

From SheetmusicPlus

Backing tracks for practise

I leave you with these backing tracks with 12-bar blues type 1 and 2, with turnaround chords this time.

Backing Track - 12B1TThese are MIDI backing tracks of 12-bar Blues progression 1 with Turnaround chord. For more information, go to lesson on bluesprogression in the chord progression series. Download all files as a zip-file

65 very slow C D Eb E F G A Bb

90 Slow C D Eb E F G A Bb

120 Medium C D Eb E F G A Bb

Backing Track - 12B2TThese are MIDI backing tracks of 12-bar Blues progression 2 with Turnaround chord. For more information, go to lesson on bluesprogression in the chord progression series. Download all files as a zip-file

65 very slow C D Eb E F G A Bb

90 Slow C D Eb E F G A Bb

120 Medium C D Eb E F G A Bb

More on Blues Turnarounds

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Blues Guitar - An introduction to turnarounds

● Blues Guitar - Lesson 3: An introduction to turnarounds - the turnaround chord

● Blues Guitar - Lesson 8: A Turnaround Chord Sequence

● Blues Guitar - Lesson 9: Turnaround licks in E

● Turnaround_Lesson 1-1

● Turnaround_Lesson 1-2● Turnaround_Lesson 1-3● Turnaround_Lesson 2-1

● Turnaround_Lesson 2-2● Turnaround_Lesson 3-1● Turnaround_Lesson 3-2

Lesson 2: Some variations of the 12-bar blues in E

Lesson 3B: Damping techniques

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Blues Guitar - Damping techniques

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Lesson 3B: Damping techniques

Lesson 3: An introduction to turnarounds - the turnaround chord

Lesson 4: The Shuffle

Rhythm

We do not always want the strings to ring out. It creates a stronger rhythm if we cut the notes short and have a more staccato playing. You can damp the strings by either the right hand , the left hand or both.

Rhythm is a key to good blues playing, and you need to learn damping techniques to get the rhythm. It is simple, but you will need a lot of practise to get control.

12 bar blues Type 1 in E - 6 verses with various damping techniques

Right hand damping

You can damp the strings with your right hand in two different ways. Blues, rock and jazz players will usually damp the strings by either the heel or the side of the hand. You "simply" touch the strings with your hand, and by that stop the ringing. It is "simple", but that does not mean easy. It takes some time to get the control you need. But it is a must for rhythmic playing.

You can vary the time from playing to damping. If you damp hard (short time), it can be almost only rhythm. Is is almost as if you are playing some kind of a drum. A lighter damping will give you more of the actual note. What to prefer depends on what you are playing.

After some time of practise, you will be able to damp the bass-strings and let the treble strings ring out. This can give you a driving rhythm and a singing melody and/or clear harmony at the same time. This is the main element in the Merle Travis / Chet Atkins style.

A classical player will damp by resting the fingertips on the strings. With this technique you can damp out individual strings, which makes it possible to combine legato and staccato lines. But it is harder to get a really driving rhythm with this technique.

Left hand damping

Damping by left hand is also done by touching the strings with your fingers. If you want to damp out individual strings, for instance if one string will give you a note that does not belong to the chord you are playing, you will touch this string with one of your fingers. You will often do it by leaning over the finger that is fretting the adjacent string.

If you are playing barré chords, you can release the barré, and by that damp the whole chord. You can strum the strings without letting them ring, which gives you a strong rhythm. You can have an even strum of 8th or 16th notes, and create a strong syncopated rhythm just by damping with you left hand. This is the key to the rhythm of Bo Diddley.

Easy Blues Rhythms For GuitarBy Ed Lozano. Guitar Method. Book and CD, 72 pages. Published by Amsco. See more info...ToC No AM971432Review:

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Blues Rhythm Guitar Technique Book/CdGuitar method. Instructional method book with compact disc. Published by Koala Publications (Australian import). See more info...ToC No CP-69100Review:

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Blues Guitar - Damping techniques

Blues Guitar Rhythm BasicsBy Corey Christiansen. For Guitar (Electric). licks & phrases. QwikLicks. Blues. Level: Intermediate. DVD+Chart. Size 8.75x11.75. 3 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB20389DPReview:

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The Ultimate Beginner Series Beyond Basics: Blues Guitar Rhythm ChopsKeith Wyatt, GIT's resident blues authority, reveals his favourite blues chord voicing and comping concepts. Keith explores everything from straight-eighth boogie blues to rock shuffles and sophisticated uptown styles. Includes: classic blues chord voicings, blues progression variations, chord substitution, straight-eightth and shuffle patterns, and several complete 12-bar blues progressions. This video has all the tricks to help you go beyond the basics of playing blues rhythm guitar. Edited by Tim Landers. Guitar video: DVD/VHS Video. Published by Warner Brothers. See more info...ToC No WBREH891

Order DVD from:SheetmusicPlusMusicRoomAmazon UK

Order VHS from:SheetmusicPlus

Blues Riffs, Rhythms & Secrets DVD, 2nd Editionguitar. DVD. Published by Music Sales. See more info...ToC No FR00915Review:

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For more on Rhythm Guitar, go to the Rhythm Guitar Page in the Guitar Books Sections

Rhythm Playing

● Blues Guitar Lesson 3B: Damping techniques

● Blues Guitar Lesson 4: The Shuffle Rhythm

● Blues Guitar Lesson 4B: E-Shuffle ● Blues Guitar Lesson 4C: The

Hoochie Coochie Shuffle● Blues Guitar Lesson 5: The

harmonized shuffle

● Blues Guitar Lesson 6: The Treble shuffle

● Blues Guitar Lesson 7: Some other shuffle licks - Boom Boogie

● Blues Guitar Lesson 7B: Some other shuffle licks - Muddy Boogie

● Lesson 11: The Boogie Bass line - Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6

● Lesson 13 B: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 C: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 D: You Nearly Got Me On The Foggy Water

● Books and videos on Rhythm Guitar

Lesson 3: An introduction to turnarounds - the turnaround chord

Lesson 4: The Shuffle

Rhythm

Home

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Blues Guitar - Lesson 4: The Shuffle Rhythm

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar - Lesson 4: The Shuffle Rhythm

Lesson 3B: Damping techniques

Lesson 4B: E-Shuffle

Don't ask me what shuffle really means. But it is used as a term for a rhythm where each beat is subdivided in two. Of these two notes, the first is longer and heavy, the second is short and light. You have to use some damping to get it right. This gives you the shuffle rhythm, which is the back bone of a lot of blues playing.

The first Delta artist to record a shuffle, was Johnnie Temple with his Lead Pencil Blues from 1935. You can hear it on the record Roots Of Robert Johnson. And now, for the first, but far from last time in this series of blues lessons, is it time to mention Robert Johnson. Many his songs have a shuffle style, but now I will mention Sweet Home Chicago and You've Got A Good Friend. Everyone interested in blues guitar should know Robert Johnson.

Books and records for further studiesIf you want to learn the blues, you have to listen to the real bluesmen and study their playing style. I have included references to books and CDs that I think should be of interest. Many bluesmen have issued hundreds of records. If you search CDNOW, Amazon US and Amazon UK for records by John Lee Hooker, you will find more than 200 titles. Some are very good, some are not. I am not pretending that I know all their records, but I list a few that in my view are good collections.

A tip:CDNOW, Amazon US and Amazon UK have soundbits (ca. 30 sec) from the majority of the records they have listed. If you don't know the artists, you will get an impression of their playing style by listening to some of these soundbits.Amazon US has also made available a large number of music files for free download. Choose "Music" on the menu to the left at their main page, and then "Free Downloads" on the banner menu.

Robert Johnson.You simply have to listen to Robert Johnson if you are serious about blues guitar. I have made a separate web-page with references to material on his playing. But I will suggest that you start with this one:

Bestseller!

Robert Johnson - Signature Licks A Step-by-Step Breakdown of the Legendary Guitarist's Style and Technique. Performed by Robert Johnson. By Dave Rubin. Signature Licks (Authentic guitar transcriptions in notes and tab). Book and CD package. With notes and tablature. Size 9x12 inches. 64 pages. Published by Hal Leonard. Chosen as Book of the Month December 2002.See more info...ToC No HL695264Review:

Order from: SheetmusicPlusMusicRoom (UK)Amazon UK

For more on this style, see:

The Roots Of Robert Johnson Book/CD Set By Stefan Grossman and Woody Mann. The playing of the legendary Delta bluesman, Robert Johnson was firmly rooted in the blues of the 1920s. In this study, Woody and Stefan have transcribed those arrangements that we feel had a great influence on the guitar approach, technique and style of Robert Johnson.Titles include: Scrapper Blackwell Blue Day Blues, Kokomo Blues · Blind Blake Georgia Bound · Big Bill Broonzy Saturday Night Rub, Stove Pipe Stomp, Worryin' You Off My Mind · Willie Brown Future Blues, M&O Blues · Son House Dry Spell Blues, My Black Mama · Skip James Devil Got My Woman, Hard Time Killin' Floor, Special Rider · Lonnie Johnson Go Back To Your No Good Man, Life Saver Blues · Hambone Willie Newbern Roll And Tumble Blues · Charlie Patton Screamin' And Hollerin' The Blues, Stone Pony Blues and 34 Blues. Beware: Many of the songs are included in the "Early Roots ..." set. But the "Early .." is more of an instruction series, with detailed breakdown of the songs.Book/CD package. Solos. Published by Mel Bay Publications, Inc.

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Blues Guitar - Lesson 4: The Shuffle Rhythm

(MB95074BCD)Chosen as Book of the month for August 2002.

Roots of Robert JohnsonThis CD has nothing to do with the book of the same title. Here you can hear the first recorded delta blues shuffle: Johnnie Temple with his Lead Pencil Blues

Order from: Amazon USAmazon UK

Acoustic Country Blues GuitarBy Dave Rubin. This collection presents note-for-note transcriptions and performance notes for 12 timeless songs that inspired the legendary Robert Johnson, including: Cross Road Blues * I'm Gonna Yola My Blues Away * Lead Pencil Blues * Life Saver Blues * My Black Mama * Roll and Tumble Blues * You Gonna Need Somebody When You Die * and more, by seminal bluesman such as Blind Blake, Son House, Skip James, Lonnie Johnson, Booker White and others. Published by Hal Leonard. The book is discussed a little further in conjunction with The book of the month August 2002. (HL695139)See more info...

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Jimmy Reed - Master Bluesman* Performed by Jimmy Reed. Guitar Recorded Versions (Authentic note-for-note transcriptions). With notes and tablature. Size 9x12 inches. 72 pages. Published by Hal Leonard. (HL694937)See more info...

Order from:SheetmusicPlusMusicRoom

Jimmy Reed : Blues Masters-Very Best Of JimI have not found any CD that includes all the songs in the book above - unless you go for the Boxed set with 10 CDs. But the record listed should give a good selection.

Order from: Amazon USAmazon UK

The typical shuffle is played as a chord fragment on two bass strings. You will notice that we alternates between two shapes while playing to one chord. In E we will vary between 2nd and 4th fret on the 5th string, and in A we will vary between 2nd and 4th fret on the 4th string. The best way - in my opinion - to finger this shuffle, is by making a short barré covering two strings on 2nd fret with your index (1st) finger, and fret the 4th fret with your 3rd (ring) finger. What you are doing, is to shift from E to E6 or A to A6. Go to the 5th fret with your 4th finger, and you get the 7th chord.

.

There is only one way to finger the shuffle over the E - E6 - E7 chords. You play only the bottom two (or three) stings, and make a small barré with your 1st finger over the 4th and 5th string at 2nd fret. Then you use the 3rd finger on 4th fret, and 4th finger on 5th.

E-

shuffle (E, E6, E7)

A-

shuffle, pos. 1

A-

shuffle, pos. 2

There are two ways to finger the A-shuffle. I usually prefer to play it almost as I play the E-shuffle. I just move it across to the 5th, 4th and maybe 3rd string. But be careful not to play the

6th (bottom) string. It takes some time to get enough control to play a good shuffle without hitting the 6th string.

The other position is out of the 5th fret: 1st finger on 6th string, 5th fret, 2nd finger on 5th string, 7th fret. Then you can use 3rd finger on 5th string, 9th fret, and 4th finger on 10th fret. It is a tough stretch, so it will take some time to get it. But since there are no open string, it is a moveable position, which makes it very useful. When coming down from B7 (see below) I might prefer this fingering.As always, the B7 is difficult. You can either move the second A-position up two frets, or you can move the fingering across to the 5th and 4th string, and play out of 2nd fret. This fingering is even harder.

Use your pinky (4th finger)!Many guitar players find their 4th finger too weak, and don't use it. I have even seen well known instructors - no name given - recommend that you don't use it. But if you remove one finger from you fretting hand, you will limit you playing possibilities. It is a matter of practise. The 4th finger will never be the stronger of your fingers, but with some training it can do a lot of work!

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Blues Guitar - Lesson 4: The Shuffle Rhythm

Are your fingers "too short" for the stretch? Use capo!The shuffle requires a stretch that some players find hard, and one can have the feeling that the fingers are too short. Again, it is really a matter of practise. You will eventually be able to stretch you fingers more. But a good way to practise these stretches is to put on a capo in 2nd, 3rd, 4th or whatever fret that makes it comfortable. The distance between the frets are smaller higher up the neck. A stretch from 2nd to 5th fret might be somewhere from very hard to almost impossible, but the stretch from 7th to 10th fret (with capo on 5th fret) might be quite comfortable. Move the capo down one fret at the time, until you can play the stretch without the capo.

By varying the ratio between the first and second part of the beet, you can create different grooves. Jimmy Reed typically plays with a heavy shuffle, meaning that the first part is much longer and more heavy than the second. In Chuck Berry's style, they are almost equal, giving a more straight feel. Click here for an example of a shuffle, where the first verse is played with a heavy shuffle, and the second with a more straight feel. Both verses are played with alternating down- and up-strokes.

Another way to vary the shuffle, is to vary the strokes. You can either play alternating down- and up-strokes as done in the recorded example mentioned above, or by down-strokes only. Alternating strokes tend to emphasize the heavier shuffle, while all downstroke give you a more even and straight sound. In Chuck Berry style and in more modern heavy rock style, one will typically use down-strokes only.

Go to the Next lesson for a 12-bar shuffle blues written out in tab.

Rhythm Playing

● Blues Guitar Lesson 3B: Damping techniques

● Blues Guitar Lesson 4: The Shuffle Rhythm

● Blues Guitar Lesson 4B: E-Shuffle ● Blues Guitar Lesson 4C: The

Hoochie Coochie Shuffle● Blues Guitar Lesson 5: The

harmonized shuffle

● Blues Guitar Lesson 6: The Treble shuffle

● Blues Guitar Lesson 7: Some other shuffle licks - Boom Boogie

● Blues Guitar Lesson 7B: Some other shuffle licks - Muddy Boogie

● Lesson 11: The Boogie Bass line - Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6

● Lesson 13 B: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 C: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 D: You Nearly Got Me On The Foggy Water

● Books and videos on Rhythm Guitar

Lesson 3B: Damping techniques

Lesson 4B: E-Shuffle

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Blues Guitar - E-Shuffle

Olav Torvund's Guitar Pages Guitar Lessons

Lesson 4B: Blues Guitar - E-Shuffle

Lesson 4: The Shuffle Rhythm

Lesson 4C: The Hoochie Coochie Shuffle

Download Finale File PDF-File

As always when we are playing in the key of E, the B7gives us some challenges. In the arrangement above, I have been faithful to the shuffle throughout the piece. But you do not have to do that. You may prefer to play the B7as it is written to the right. It is easier to play, and it will often sound better. This is the way Eric Claptonusually plays when he is playing acoustic blues in E. If he can, why should not we do it? If you play this B7, then you continue with A7as you played in bar 5 and 6, you do not go up to 5th, 7th and 9th fret.

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Blues Guitar - E-Shuffle

Rhythm Playing

● Blues Guitar Lesson 3B: Damping techniques

● Blues Guitar Lesson 4: The Shuffle Rhythm

● Blues Guitar Lesson 4B: E-Shuffle ● Blues Guitar Lesson 4C: The Hoochie

Coochie Shuffle● Blues Guitar Lesson 5: The harmonized

shuffle

● Blues Guitar Lesson 6: The Treble shuffle

● Blues Guitar Lesson 7: Some other shuffle licks - Boom Boogie

● Blues Guitar Lesson 7B: Some other shuffle licks - Muddy Boogie

● Lesson 11: The Boogie Bass line - Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6

● Lesson 13 B: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 C: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 D: You Nearly Got Me On The Foggy Water

● Books and videos on Rhythm Guitar

Lesson 4: The Shuffle Rhythm

Lesson 4C: The Hoochie Coochie Shuffle

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The lawfirm where I am partner:

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olav@torvund.netI appreciate comments

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Blues Guitar - The Hoochie Coochie Shuffle

Olav Torvund's Guitar Pages Guitar Lessons

The Hoochie Coochie Shuffle

Lesson 4B: E-Shuffle

Lesson 5: The harmonized shuffle

Now you should have a simple, but very effective lick and an equally simple but strong rhythm pattern under your belt. As I hope you have seen, they work well on their own. But they fit nicely together. Combine them, and you are ready for prime time.

Download Finale File PDF-File

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Blues Guitar - The Hoochie Coochie Shuffle

Muddy Waters - Muddy Waters DVDMuddy Waters' guitar style reflects the blues tradition all the way back to the roots of this Classic American song form. By learning the secrets of his technique, you can get your own mojo working for you. Bob Margolin leads this entire private lesson enlightening the viewer about the secrets of Muddy's solo guitar and ensemble work. Signature Licks Licks DVD. Performed by Muddy Waters. By Bob Margolin. Dvd. DVD (Digital Video Disc). Size 5.3x7.5 inches. Published by Hal Leonard. See more info...ToC No HL320350

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Muddy Waters - Deep Blues and Good News By Dave Rubin. Guitar School (Lessons with exact transcriptions in notes and tab). Size 9x12 inches. 48 pages. Published by Hal Leonard. (HL660052)See more info...

Order from:SheetmusicPlus MusicRoom (UK)

Rhythm Playing

● Blues Guitar Lesson 3B: Damping techniques

● Blues Guitar Lesson 4: The Shuffle Rhythm

● Blues Guitar Lesson 4B: E-Shuffle ● Blues Guitar Lesson 4C: The Hoochie

Coochie Shuffle● Blues Guitar Lesson 5: The harmonized

shuffle

● Blues Guitar Lesson 6: The Treble shuffle

● Blues Guitar Lesson 7: Some other shuffle licks - Boom Boogie

● Blues Guitar Lesson 7B: Some other shuffle licks - Muddy Boogie

● Lesson 11: The Boogie Bass line - Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6

● Lesson 13 B: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 C: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 D: You Nearly Got Me On The Foggy Water

● Books and videos on Rhythm Guitar

Lesson 4B: E-Shuffle

Lesson 5: The harmonized shuffle

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Blues Guitar - Lesson 5: The harmonized shuffle

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Blues Guitar - Lesson 5: The harmonized shuffle

Lesson 4C: The Hoochie Coochie Shuffle

Lesson 6: The Treble shuffle

We can build on the E, E6 and E7 shuffle (and the similar in A), but extend it to chords. Instead of E6, you might play an A/C# chord. The /C# means that you are playing a C# as bass note, which again means that you are playing the chord in first inversion. Here we get a little bit into chord substitution. The chord might be also be written as F#m7. But we will not discuss that in this lesson. Then we move the chord up to a G, played as an E-chord moved up to 4th/5th fret. Play these chords as closed position chords => do not play any open strings.

Over the A-chord, we play D (or Bm7) instead of the A6, and we play C instead of the A7. Again you play them as closed position chords. In this progression, I prefer to play the A-chord as a partial barré with 1st finger fretting 2nd, 3rd and 4th strings in 2nd fret. It takes some time to get this position to sound good: To fret three strings in a way that gives you a clear tone, and at the same time not touch the 1st string. In this harmonized shuffle, we do not play the 1st string, so it does not really matter if you touch it with your 1st finger. I also prefer to play the C-chord as a similar partial barré, but now played with the 3rd finger. It takes some time to get this right.

As usual, the B7 gives us some trouble. If you want to continue the harmonized shuffle, you can move the closed A patterns two frets up. But you might also just go out of the harmonized shuffle and play a more simple pattern over the B7 chord.

The fingerings for the A/C# (F#m7), G, D (Bm7) and C are shown below. If you take a sidestep to my Harmonized fretboard lesson, you will find a discussion of these sonic shapes, labeled E/Am shape, Middle minor shape, A-shape and Middle D-shape.

A/C# (F#m7) G D/F# (Bm7) C

You might prefer not to play the middle note, just the two on the outer strings. Experiment with it!

12 bar blues - Harmonized shuffle in E

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Blues Guitar - Lesson 5: The harmonized shuffle

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Blues Guitar - Lesson 5: The harmonized shuffle

If we look at the harmonized shuffle as a chord progression, it can be labeled a I-IV-IIIb progression, or if we shift the order, a I-IIIb-IV progression. This chord progression is discussed in my lesson A Green Onion After Midnight will Change the World - The I - IIIb - IV and I - IV - IIIb progression.

Material for further exploration the shuffle.

Dave Rubin: The Art of the Shuffle.As the name says, the book focuses on the shuffle, and not the blues as such. It explores shuffle, boogie and swing rhythms for guitar. Includes tab and notation, and covers Delta, country, Chicago, Kansas City, Texas, New Orleans, West Coast, and bebop blues. As the name says, the book focuses on the shuffle, and not the blues as such. But as all examples are in a 12-bar blues format, it will take you through various blues progressions, as an added bonus to the exploration of the shuffle style. (HL695005) See more info...

Order From:SheetmusicPlus MusicRoom (UK)Amazon UK

Rhythm Playing

● Blues Guitar Lesson 3B: Damping techniques

● Blues Guitar Lesson 4: The Shuffle Rhythm

● Blues Guitar Lesson 4B: E-Shuffle ● Blues Guitar Lesson 4C: The

Hoochie Coochie Shuffle● Blues Guitar Lesson 5: The

harmonized shuffle

● Blues Guitar Lesson 6: The Treble shuffle

● Blues Guitar Lesson 7: Some other shuffle licks - Boom Boogie

● Blues Guitar Lesson 7B: Some other shuffle licks - Muddy Boogie

● Lesson 11: The Boogie Bass line - Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6

● Lesson 13 B: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 C: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 D: You Nearly Got Me On The Foggy Water

● Books and videos on Rhythm Guitar

Lesson 4C: The Hoochie Coochie Shuffle

Lesson 6: The Treble shuffle

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Blues Guitar - Lesson 6: The Treble shuffle

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Blues Guitar - Lesson 6: The Treble shuffle

Lesson 5: The harmonized shuffle

Lesson 7: Some other shuffle licks: Boom Boogie

This is another variation of the shuffle. Now the movement E - E6 - E7 is played on the treble strings. I think of it as typical for the playing of Brownie McGhee, but he fingerpicks with a monotone bass.

We start with an E-chord, fingered as discussed in Blues Guitar lesson 1: The 12 bar blues in E, a fingering that leaves your 4th finger free. To get E6, you fret 2nd string 2nd fret, and to get E7, you fret 2nd string 3rd fret. Note that this gives you another voicing of the E7 chord than the one shown in the first lesson. Personally I like this new voicing better, but it is a matter of context and of taste. You should know both.

E - E6 - E7 A - A6 - A7

I often start with open 3rd string as a pick-up note, hammering on to 1st fret. Look in the tabulature for this. It gives you a change from Em to EOver the A-chord we have the same movement, once again with the 4th finger doing all the work on 1st string. You can have the same kind of minor - major change, but the fingering is more difficult. So it is better to slide the whole chord up from 1st to 2nd fret.B7 is difficult, so we do not care about this chord now.

12 bar blues - Treble shuffle in E

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Blues Guitar - Lesson 6: The Treble shuffle

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Dave Rubin: The Art of the Shuffle.As the name says, the book focuses on the shuffle, and not the blues as such. It explores shuffle, boogie and swing rhythms for guitar. Includes tab and notation, and covers Delta, country, Chicago, Kansas City, Texas, New Orleans, West Coast, and bebop blues. As the name says, the book focuses on the shuffle, and not the blues as such. But as all examples are in a 12-bar blues format, it will take you through various blues progressions, as an added bonus to the exploration of the shuffle style. (HL695005) See more info...

Order From:SheetmusicPlus MusicRoom (UK)Amazon UK

Rhythm Playing

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Blues Guitar - Lesson 6: The Treble shuffle

● Blues Guitar Lesson 3B: Damping techniques

● Blues Guitar Lesson 4: The Shuffle Rhythm

● Blues Guitar Lesson 4B: E-Shuffle ● Blues Guitar Lesson 4C: The

Hoochie Coochie Shuffle● Blues Guitar Lesson 5: The

harmonized shuffle

● Blues Guitar Lesson 6: The Treble shuffle

● Blues Guitar Lesson 7: Some other shuffle licks - Boom Boogie

● Blues Guitar Lesson 7B: Some other shuffle licks - Muddy Boogie

● Lesson 11: The Boogie Bass line - Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6

● Lesson 13 B: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 C: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 D: You Nearly Got Me On The Foggy Water

● Books and videos on Rhythm Guitar

Lesson 5: The harmonized shuffle

Lesson 7: Some other shuffle licks: Boom Boogie

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Blues Guitar - Lesson 7: Some other shuffle licks

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Blues Guitar - Lesson 7: Some other shuffle licks - Boom Boogie

Lesson 6: The Treble shuffle

Lesson 7B: Some other shuffle licks - Muddy Boogie

There are many variations of the shuffle. I have included a few variations. The first is one that reminds me of the playing of John Lee Hooker, and that is why I have called it Boom Boogie.

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Blues Guitar - Lesson 7: Some other shuffle licks

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Boom Boogie

For more on John Lee Hooker's playing, you can get this book. (Follow the link to artist for more information).

John Lee Hooker: - A Blues LegendPerformed by John Lee Hooker. For guitar and voice. Format: guitar tablature songbook. With guitar tablature, standard notation, vocal melody, lyrics, chord names, guitar notation legend, introductory text and performance notes. Blues. Series: Hal Leonard Guitar Recorded Versions. 112 pages. 9x12 inches. Published by Hal Leonard. See more info...ToC No HL660169

Order from:SheetmusicPlus (US)MusicRoom (UK)

John Lee Hooker - Play Guitar With... John Lee Hooker Play Guitar With... series. Play along with six of his greatest hits with a specially recorded CD featuring soundalike instrumental tracks, performed to simulate the original recordings. The matching music book features both guitar tab and standard notation for each song, as well as chord symbols and complete lyrics for vocalists. Includes 'Boom Boom', 'Think Twice Before You Go' and 'I'm In The Mood'. ToC No AM951885

Order from:MusicRoom Amazon UK

Rhythm Playing

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Blues Guitar - Lesson 7: Some other shuffle licks

● Blues Guitar Lesson 3B: Damping techniques

● Blues Guitar Lesson 4: The Shuffle Rhythm

● Blues Guitar Lesson 4B: E-Shuffle ● Blues Guitar Lesson 4C: The

Hoochie Coochie Shuffle● Blues Guitar Lesson 5: The

harmonized shuffle

● Blues Guitar Lesson 6: The Treble shuffle

● Blues Guitar Lesson 7: Some other shuffle licks - Boom Boogie

● Blues Guitar Lesson 7B: Some other shuffle licks - Muddy Boogie

● Lesson 11: The Boogie Bass line - Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6

● Lesson 13 B: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 C: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 D: You Nearly Got Me On The Foggy Water

● Books and videos on Rhythm Guitar

Lesson 6: The Treble shuffle

Lesson 7B: Some other shuffle licks - Muddy Boogie

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Blues Guitar - A Turnaround Chord Sequence

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Blues Guitar - Lesson 8: A Turnaround Chord Sequence

Lesson 7B: Some other shuffle licks - Muddy Boogie

Lesson 9: Turnaround licks in E

We have discussed the turnaround chord. But I am sure you know that there is more to the turnaround than just the ending chord. In this lesson we will look closer at the chord sequence that we used in The Harmonized Shuffle in E. But before we do that, you should know where the turnaround licks takes place. They will "always" (there is no really "always" or "never" in blues) take place in bar 11 of a 12 bar blues. You come down from the V7 -IV7 chords in bar 9 and 10, and land on the I chord in the first beat of bar 11. In E this means that you play B7 - A7 and then land on E. But on the second beat of bar 11 you take off for something to make the ending more interesting, and you once again land on the I chord, this time in the first beat of bar 12. The turnaround lick takes place on 2nd, 3rd and 4th beat of bar 11, it starts form the I chord at beat 1 of bar 11 and ends on another I chord at the first beat of bar 12.

We pick up from where we left in lesson 3, and continue with a sequence of chords in bar 11. These chords are A7, A and Am. Note the fingering of these chords. There is no correct way to finger one specific chord. What fingering to choose depends on where you are coming from and where you are going. In this sequence of chords you are coming from E to E7, and this is easy. We use the same fingering of the E7 as we used in the Treble Shuffle. You change from E to E7 just by adding the 4th finger on 2nd string, 3rd fret.. But when you go from E7 to A, you should finger the A-chord with your 2nd, 3rd and 4th finger, as shown in the diagram. If you to it this way, you only have to move your fingers a little bit. If you finger the A-chord as you would usually do, with 1st, 2nd and 3rd finger, you will have to reposition the entire hand. When you continue to the Am, you only have to lift your pinky if you finger the chords as described, as indicated in the A / Am diagram. If you finger the A-chord as you would normally do, you will have to reposition your hand once more, by going back to the position you just left. The fingering of the A-chord might feel awkward, but in this particular chord sequence, it makes your playing more fluent.

E7 A A / Am Am

The sequence of chords is (E) - E7 - A - Am - (E). The key to a fluent playing of the sequence is the fingering of the A-chord.

More on Blues Turnarounds

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Blues Guitar - A Turnaround Chord Sequence

● Blues Guitar - Lesson 3: An introduction to turnarounds - the turnaround chord

● Blues Guitar - Lesson 8: A Turnaround Chord Sequence

● Blues Guitar - Lesson 9: Turnaround licks in E

● Turnaround_Lesson 1-1

● Turnaround_Lesson 1-2● Turnaround_Lesson 1-3● Turnaround_Lesson 2-1

● Turnaround_Lesson 2-2● Turnaround_Lesson 3-1● Turnaround_Lesson 3-2

Lesson 7B: Some other shuffle licks - Muddy Boogie

Lesson 9: Turnaround licks in E

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Blues Guitar - Turnaround licks in E

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Blues Guitar - Lesson 9: Turnaround licks in E

Lesson 8: A Turnaround Chord Sequence

Lesson 10: Fill InPart 1

So far we have been playing turnarounds as chords only, and we have only used one chord sequence. There are many more you can use. But I am sure you know that there are many turnaround licks, played as more or less melodic runs. You should learn as many turnaround licks as possible. In the long run it is boring if you use only one turnaround for all your songs. And they are building blocks for solos.

12 bar blues in E with turnaround

This one is hard to read, but easy to play. You only strum the chords, until you come to the turnaround.

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Blues Guitar - Turnaround licks in E

12 bar blues in E with turnaround

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Turnarounds in E (not edited yet)

Blues TurnaroundsA Compendium of Patterns & Phrases for Guitar. By Dave Rubin and Rusty Zinn. Guitar Educational. Book and CD package. With notes and tablature. Size 9x12 inches. 40 pages. Published by Hal Leonard. See more info...ToC No HL695602Review:

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Larry McCabe - 101 Blues Guitar Turnaround LicksFor electric guitar. McCabe's 101 Series. Blues. Level: Multiple Levels. Book/CD package. Licks and phrases. Size 8.75x11.75. 48 pages. Published by Mel Bay Pub., Inc. See more info...ToC No MB95360BCDReview:

Order from:SheetmusicPlus

More on Blues Turnarounds

● Blues Guitar - Lesson 3: An introduction to turnarounds - the turnaround chord

● Blues Guitar - Lesson 8: A Turnaround Chord Sequence

● Blues Guitar - Lesson 9: Turnaround licks in E

● Turnaround_Lesson 1-1

● Turnaround_Lesson 1-2● Turnaround_Lesson 1-3● Turnaround_Lesson 2-1

● Turnaround_Lesson 2-2● Turnaround_Lesson 3-1● Turnaround_Lesson 3-2

Lesson 8: A Turnaround Chord Sequence

Lesson 10: Fill InPart 1

Further references

Ls:G1 1998-08, Ls:GP 2000-03

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

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Blues Guitar - Fill In

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Blues Guitar - Lesson 10: Fill In – Part 1

Lesson 9: Turnaround licks in E

Lesson 10: Fill In – Part 2

You have of course noticed that turnaround-like licks are not only played at the end of each verse, but at the end of each line. I call these licks at the end of the first and second line Fill in licks. They are basically the same as turnaround licks, and takes place in the same position in the line: They start from a I-chord at the first beat of the third bar of each line, and end on a I-chord on the first beat of the last bar of each line. The last three bars of the last bar varies, according to which line it is. In the first line we go to a I7 chord, on the second line we stay at the I chord, and as we already know: The last line often ends at a V7 chord.

12 bar blues in E with fill ins

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Blues Guitar - Fill In

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Blues Fill Ins

● Lesson 10: Fill In – Part 1● Lesson 10: Fill In – Part 2

Lesson 9: Turnaround licks in E

Lesson 10: Fill In – Part 2

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Blues Guitar – Lesson 10: Fill In – Part 2

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Blues Guitar – Lesson 10: Fill In – Part 2

Lesson 10: Fill InPart 1

Lesson 11:The Boogie Bass line - Part 1

In principle all turnaround licks can be used as fill-in licks. But some sounds better at the end of a verse, some sounds better at the end of the first or second line. Your ear decide what to choose.

You can of course combine the shuffle with fill-ins. The example show one way to break up the monotony of the shuffle. It is loosely based on a Robert Johnson's classic, «Ramblin' on my mind», made famous by Eric Clapton's recordings.

Shuffle with fill ins

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Blues Guitar – Lesson 10: Fill In – Part 2

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Other examples are Eric Clapton's recordings of Before You Accuse Me and Malted Milk on his Unplugged album. Malted Milk is on of many Robert Johnson classics recorded by Eric Clapton's. The most famous of Robert Johnson's shuffle recordings is probably Sweet Home Chicago. Follow this link for more material on Robert Johnson's playing.

Bestseller!

Robert Johnson - Signature Licks A Step-by-Step Breakdown of the Legendary Guitarist's Style and Technique. Performed by Robert Johnson. By Dave Rubin. Signature Licks (Authentic guitar transcriptions in notes and tab). Book and CD package. With notes and tablature. Size 9x12 inches. 64 pages. Published by Hal Leonard. Chosen as Book of the Month December 2002.See more info...ToC No HL695264Review:

Order from: SheetmusicPlusMusicRoom (UK)Amazon UK

The Roots Of Robert Johnson Book/CD Set By Stefan Grossman and Woody Mann. The playing of the legendary Delta bluesman, Robert Johnson was firmly rooted in the blues of the 1920s. In this study, Woody and Stefan have transcribed those arrangements that we feel had a great influence on the guitar approach, technique and style of Robert Johnson.Titles include: Scrapper Blackwell Blue Day Blues, Kokomo Blues · Blind Blake Georgia Bound · Big Bill Broonzy Saturday Night Rub, Stove Pipe Stomp, Worryin' You Off My Mind · Willie Brown Future Blues, M&O Blues · Son House Dry Spell Blues, My Black Mama · Skip James Devil Got My Woman, Hard Time Killin' Floor, Special Rider · Lonnie Johnson Go Back To Your No Good Man, Life Saver Blues · Hambone Willie Newbern Roll And Tumble Blues · Charlie Patton Screamin' And Hollerin' The Blues, Stone Pony Blues and 34 Blues. Beware: Many of the songs are included in the "Early Roots ..." set. But the "Early .." is more of an instruction series, with detailed breakdown of the songs.Book/CD package. Solos. Published by Mel Bay Publications, Inc.

Order From:SheetmusicPlus

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Blues Guitar – Lesson 10: Fill In – Part 2

(MB95074BCD)Chosen as Book of the month for August 2002.

Bestseller!

Eric Clapton: From The Album Eric Clapton UnpluggedSignature Licks. Acoustic Rock. Performed by Eric Clapton, written by Wolf Marshall. For guitar. Includes instructional book and examples CD. With standard guitar notation, guitar tablature, vocal melody, lyrics, chord names, guitar chord diagrams, guitar notation legend, introductory text, instructional text and performance notes. Blues rock and adult contemporary. Series: Hal Leonard . 72 pages. 9x12 inches. Published by Hal Leonard. See more info...ToC No HL695250Review:

Order from:SheetmusicPlus From MusicRoom

If you think we are going too fast, and in particular want some more material for listening and getting the sounds, I suggest that you get a book/CD set or a video with such material. Go to Recommended Books for Beginning Blues Gutiar to get some suggestions.

Blues Fill Ins

● Lesson 10: Fill In – Part 1● Lesson 10: Fill In – Part 2

Lesson 10: Fill InPart 1

Lesson 11:The Boogie Bass line - Part 1

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

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Blues Guitar - The Boogie Bass line - Part 1

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January 2005

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If you like the site, give me

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Blues Guitar - Lesson 11: The Boogie Bass line - Part 1

Lesson 10: Fill In – Part 2

Lesson 11: The Boogie Bass line – Part 2

Many songs are carried by a driving bass-line, and the Boogie Bass is a good example and a starting point from where you can derive many variations. We can start with a boogie pattern for each chord. It is simple, sometimes boring, sometimes interesting - it depends on how you play and the context.

Simple Boogie Bass in E

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Blues Guitar - The Boogie Bass line - Part 1

Rhythm Playing

● Blues Guitar Lesson 3B: Damping techniques

● Blues Guitar Lesson 4: The Shuffle Rhythm

● Blues Guitar Lesson 4B: E-Shuffle ● Blues Guitar Lesson 4C: The

Hoochie Coochie Shuffle● Blues Guitar Lesson 5: The

harmonized shuffle

● Blues Guitar Lesson 6: The Treble shuffle

● Blues Guitar Lesson 7: Some other shuffle licks - Boom Boogie

● Blues Guitar Lesson 7B: Some other shuffle licks - Muddy Boogie

● Lesson 11: The Boogie Bass line - Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6

● Lesson 13 B: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 C: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 D: You Nearly Got Me On The Foggy Water

● Books and videos on Rhythm Guitar

Lesson 10: Fill In – Part 2

Lesson 11: The Boogie Bass line – Part 2

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Blues Guitar - Lesson 11: The Boogie Bass line - Part 2

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

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If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar – Lesson 11: The Boogie Bass line - Part 2

Lesson 11: The Boogie Bass line – Part 1

Lesson 11: The Boogie Bass line – Part 3

What we really want, is a more continuous line, which we can get if we extend the pattern into a two-bar pattern. We play an ascending phrase in the first bar, and a descending in the second.

Bass Boogie in E

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Blues Guitar - Lesson 11: The Boogie Bass line - Part 2

Download Finale File

PDF-File

Rhythm Playing

● Blues Guitar Lesson 3B: Damping techniques

● Blues Guitar Lesson 4: The Shuffle Rhythm

● Blues Guitar Lesson 4B: E-Shuffle ● Blues Guitar Lesson 4C: The

Hoochie Coochie Shuffle● Blues Guitar Lesson 5: The

harmonized shuffle

● Blues Guitar Lesson 6: The Treble shuffle

● Blues Guitar Lesson 7: Some other shuffle licks - Boom Boogie

● Blues Guitar Lesson 7B: Some other shuffle licks - Muddy Boogie

● Lesson 11: The Boogie Bass line - Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6

● Lesson 13 B: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 C: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 D: You Nearly Got Me On The Foggy Water

● Books and videos on Rhythm Guitar

Lesson 11: The Boogie Bass line – Part 1

Lesson 11: The Boogie Bass line – Part 3

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

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Bing & Co © Olav Torvund

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Blues Guitar - Lesson 11: The Boogie Bass line - Part 3

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar – Lesson 11: The Boogie Bass line - Part 3

Lesson 11: The Boogie Bass line – Part 2

Lesson 11: The Boogie Bass line – Part 4

It is possible to combine a boogie bass-line with chords. It give you some long stretches with your 4th finger - the finger that has to do most of the work. But do as we said in lesson 4, and work on it.

Boogie with chords in E

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Blues Guitar - Lesson 11: The Boogie Bass line - Part 3

Download Finale File

PDF-File

Rhythm Playing

● Blues Guitar Lesson 3B: Damping techniques

● Blues Guitar Lesson 4: The Shuffle Rhythm

● Blues Guitar Lesson 4B: E-Shuffle ● Blues Guitar Lesson 4C: The

Hoochie Coochie Shuffle● Blues Guitar Lesson 5: The

harmonized shuffle

● Blues Guitar Lesson 6: The Treble shuffle

● Blues Guitar Lesson 7: Some other shuffle licks - Boom Boogie

● Blues Guitar Lesson 7B: Some other shuffle licks - Muddy Boogie

● Lesson 11: The Boogie Bass line - Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6

● Lesson 13 B: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 C: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 D: You Nearly Got Me On The Foggy Water

● Books and videos on Rhythm Guitar

Lesson 11: The Boogie Bass line – Part 2

Lesson 11: The Boogie Bass line – Part 4

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

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Blues Guitar - Lesson 11: The Boogie Bass line - Part 3

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Blues Guitar – Lesson 11: The Boogie Bass line - Part 4

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar – Lesson 11: The Boogie Bass line - Part 4

Lesson 11: The Boogie Bass line – Part 3

Lesson 11: The Boogie Bass line – Part 5

I think of this playing style as typical of John Lee Hooker, and have nick named the example Boom Boogie. It is the rhythm that is driving his playing.

Boom Boogie

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Blues Guitar – Lesson 11: The Boogie Bass line - Part 4

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Material on John Lee Hooker's playing style

The Very Best Of John Lee HookerIt is hundreds of John Lee Hooker records on the market, and it is hard to know where to begin. But this is a good collection.

Order from:Amazon USAAmazon UK

John Lee Hooker: - A Blues LegendPerformed by John Lee Hooker. For guitar and voice. Format: guitar tablature songbook. With guitar tablature, standard notation, vocal melody, lyrics, chord names, guitar notation legend, introductory text and performance notes. Blues. Series: Hal Leonard Guitar Recorded Versions. 112 pages. 9x12 inches. Published by Hal Leonard. See more info...ToC No HL660169

Order from:SheetmusicPlus (US)MusicRoom (UK)

John Lee Hooker: - Vital Blues Guitar Authentic tablature transcriptions from the original Detroit recordings of John Lee Hooker's greatest songs. Includes a selection of photographs and an interview in which the blues legend discusses his early years, as well as songs such as 'Hobo Blues', 'Boogie Chillen', 'Sally Mae' and 'I'm In The Mood'. ToC No LC10000

Order from:MusicRoom (UK)Amazon USA

John Lee Hooker - Play Guitar With... John Lee Hooker Play Guitar With... series. Play along with six of his greatest hits with a specially recorded CD featuring soundalike instrumental tracks, performed to simulate the original recordings. The matching music book features both guitar tab and standard notation for each song, as well as chord symbols and complete lyrics for vocalists. Includes 'Boom Boom', 'Think Twice Before You Go' and 'I'm In The Mood'. ToC No AM951885

Order from:MusicRoom Amazon UK

Rhythm Playing

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Blues Guitar – Lesson 11: The Boogie Bass line - Part 4

● Blues Guitar Lesson 3B: Damping techniques

● Blues Guitar Lesson 4: The Shuffle Rhythm

● Blues Guitar Lesson 4B: E-Shuffle ● Blues Guitar Lesson 4C: The

Hoochie Coochie Shuffle● Blues Guitar Lesson 5: The

harmonized shuffle

● Blues Guitar Lesson 6: The Treble shuffle

● Blues Guitar Lesson 7: Some other shuffle licks - Boom Boogie

● Blues Guitar Lesson 7B: Some other shuffle licks - Muddy Boogie

● Lesson 11: The Boogie Bass line - Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6

● Lesson 13 B: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 C: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 D: You Nearly Got Me On The Foggy Water

● Books and videos on Rhythm Guitar

Lesson 11: The Boogie Bass line – Part 3

Lesson 11: The Boogie Bass line – Part 5

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar – Lesson 11: The Boogie Bass line - Part 5

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar – Lesson 11: The Boogie Bass line - Part 5

Lesson 11: The Boogie Bass line – Part 4

Lesson 11: The Boogie Bass line – Part 6

This is a boogie that reminds me of Muddy Waters, a blues giant we will return to later.

Muddy Boogie

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Blues Guitar – Lesson 11: The Boogie Bass line - Part 5

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Muddy Waters - Muddy Waters DVDMuddy Waters' guitar style reflects the blues tradition all the way back to the roots of this Classic American song form. By learning the secrets of his technique, you can get your own mojo working for you. Bob Margolin leads this entire private lesson enlightening the viewer about the secrets of Muddy's solo guitar and ensemble work. Signature Licks Licks DVD. Performed by Muddy Waters. By Bob Margolin. Dvd. DVD (Digital Video Disc). Size 5.3x7.5 inches. Published by Hal Leonard. See more info...ToC No HL320350

Order from:SheetmusicPlusMusicRoom

Muddy Waters - Deep Blues and Good News By Dave Rubin. Guitar School (Lessons with exact transcriptions in notes and tab). Size 9x12 inches. 48 pages. Published by Hal Leonard. (HL660052)See more info...

Order from:SheetmusicPlus MusicRoom (UK)

Dave Rubin: The Art of the Shuffle.As the name says, the book focuses on the shuffle, and not the blues as such. It explores shuffle, boogie and swing rhythms for guitar. Includes tab and notation, and covers Delta, country, Chicago, Kansas City, Texas, New Orleans, West Coast, and bebop blues. As the name says, the book focuses on the shuffle, and not the blues as such. But as all examples are in a 12-bar blues format, it will take you through various blues progressions, as an added bonus to the exploration of the shuffle style. (HL695005) See more info...

Order From:SheetmusicPlus MusicRoom (UK)Amazon UK

Rhythm Playing

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Blues Guitar – Lesson 11: The Boogie Bass line - Part 5

● Blues Guitar Lesson 3B: Damping techniques

● Blues Guitar Lesson 4: The Shuffle Rhythm

● Blues Guitar Lesson 4B: E-Shuffle ● Blues Guitar Lesson 4C: The

Hoochie Coochie Shuffle● Blues Guitar Lesson 5: The

harmonized shuffle

● Blues Guitar Lesson 6: The Treble shuffle

● Blues Guitar Lesson 7: Some other shuffle licks - Boom Boogie

● Blues Guitar Lesson 7B: Some other shuffle licks - Muddy Boogie

● Lesson 11: The Boogie Bass line - Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6

● Lesson 13 B: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 C: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 D: You Nearly Got Me On The Foggy Water

● Books and videos on Rhythm Guitar

Lesson 11: The Boogie Bass line – Part 4

Lesson 11: The Boogie Bass line – Part 6

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar – Lesson 11: The Boogie Bass line - Part 6

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar – Lesson 11: The Boogie Bass line - Part 6

Lesson 11: The Boogie Bass line – Part 5

Lesson 12: An introduction to blues fingerpicking

Many songs are based on bass-riffs derived from boogie playing. This is a 12-bar blues based on the riff from The Beatles' Day Tripper. (But Day Tripper is not within the 12-bar blues format and have a few more bars and chords). You can also hear Eric Clapton playing the same lick with John Mayall in the song What'd I say.

Trip of the Day

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Blues Guitar – Lesson 11: The Boogie Bass line - Part 6

Download Finale File

PDF-File

John Mayall with Eric Eric Clapton - Blues Breakers* Performed by John Mayall, Eric Clapton. Guitar Recorded Versions (Authentic note-for-note transcriptions). With notes and tablature. Size 9x12 inches. 80 pages. Published by Hal Leonard. (HL694896)See more info...

Order from:SheetmusicPlusMusicRoom

The Beatles Hits - signature licksI like the books in the "Signature licks" series, by Wolf Marshall. They break down songs, and presents the main parts played slow and up to tempo. The songs are: All My Loving * And I Love Her * And Your Bird Can Sing, * Back In The U.S.S.R * Can't Buy Me Love * Come Together * Day Tripper * Drive My Car * The End * Everybody's Trying To Be My Baby * Everybody's Got Something To Hide Except Me And My Monkey * Fixing A Hole * Get Back * Getting Better * Good Morning Good Morning, * A Hard Day's Night * Help! * Helter Skelter * Hey Bulldog * I Feel Fine * I Saw Her Standing There * I Want You (She's So Heavy) * I Want To Hold Your Hand * I'm Down * I've Just Seen A Face * If I Needed Someone * Get Back * The End (HL695049)

Order from:SheetmusicPlusMusicRoom

The Beatles 1 There is of course a book that goes with the No 1 record. HL690489

Order from: SheetmusicPlusMusicRoomAmazon UK

Rhythm Playing

● Blues Guitar Lesson 3B: Damping techniques

● Blues Guitar Lesson 4: The Shuffle Rhythm

● Blues Guitar Lesson 4B: E-Shuffle ● Blues Guitar Lesson 4C: The

Hoochie Coochie Shuffle● Blues Guitar Lesson 5: The

harmonized shuffle

● Blues Guitar Lesson 6: The Treble shuffle

● Blues Guitar Lesson 7: Some other shuffle licks - Boom Boogie

● Blues Guitar Lesson 7B: Some other shuffle licks - Muddy Boogie

● Lesson 11: The Boogie Bass line - Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6

● Lesson 13 B: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 C: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 D: You Nearly Got Me On The Foggy Water

● Books and videos on Rhythm Guitar

Lesson 11: The Boogie Bass line – Part 5

Lesson 12: An introduction to blues fingerpicking

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar - An introduction to blues fingerpicking

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar - Lesson 12: An introduction to blues fingerpicking

Lesson 11: The Boogie Bass line – Part 6

Lesson 12 B: Monotone Bass - Rocking Baby

Fingerpicking makes it easier to play more than one line at the time. But it is harder to get a strong attack and a driving rhythm. Remember that fingerpicking is not only for acoustic guitar. Many electric blues players fingerpicks, or play with a combination of flatpicking and fingerpicking. In this lesson we will take a first look into blues fingerpicking.

If you are not used to fingerpicking, you will probably have some difficulties getting the fingers on you right hand to work independent of each other. The natural movement of the fingers is to grip. When you move the thumb, the rest of the fingers follows and vice versa. The only solution to the problem is practice. To learn the basic technique is almost as learning to ride a bicycle: In the beginning it seems almost impossible to keep the balance on the two wheels. But suddenly it works, it becomes second nature, and you will never loose the skill.

We start with the monotone bass technique. You play a steady bass, either as quarter notes on the beat or some kind of a shuffle. This playing technique gives you a steady rhythm and a harmonic back bone. When playing the bass notes on open strings, you can move quite freely around the fingerboard. To get a good rhythm, you must apply some right hand damping (see Lesson 4). Many players use a thumb pick when playing in this style. I used to play with a thumb pick, but now I usually play without. Many players support their picking hand by resting their little finger on the guitar top. It might help to give a more forceful attack, but it also stiffens your hand. It is not without reason that this playing technique is a No-No among classical guitar players. But we are playing blues, not classical guitar, and we might give higher priority to a driving rhythm. Experiment, and find out what you prefer.

I think of this style as typical of Acoustic Texas Blues Guitar, and in my opinion, Mance Lipscomb is the player to start with. Then you can move on to Lightnin' Hopkins, Big Bill Broonzy (not a Texas player) etc.

Monotone Bass in E

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Blues Guitar - An introduction to blues fingerpicking

Download Finale File

Start by getting a steady bass line. It is boring, but a necessary step on the way to learn fingerpicking. You must have a rock solid thumb, that does not get disturbed by what the other fingers are doing, and it takes time to develop this.

More on Basic Blues Fingerpicking

Fingerpicking Country Blues Guitarby Stefan Grossman. This book offers a comprehensive collection of fingerpicking guitar lessons. In support of the book's contents, the three companion CDs contain three full hours of note-by-note, phrase-by-phrase instruction. Focused lessons include: finger- strengthening exercises, the hammer-on and pull-off, single-string runs, and counterpoint lines, blues vibrato, syncopated bass, walking bass, chromatic runs and hot licks, and end tags. Written in standard notation and tabulature with a complete explanation of the tab system. SG98503BCDSee more info...

Order From:SheetmusicPlus

Bestseller!

Beginning Fingerstyle Blues Guitarby Arnie Berle & M. Galbo. Takes you from the fundamentals of fingerpicking to five authentic blues tunes. With graded exercises, illustrated tips, plus standard notation and tablature. Fingerstyle Blues. Beginning Blues Guitar. Book and CD, 96 pages. Published by Amsco. See more info...ToC No AM71390Review:

Order from:SheetmusicPlusMusicRoomAmazon UK

Fingerpicking Country Blues Guitartaught by Stefan Grossman: . This video lesson has been designed to help beginning and intermediate students of fingerpicking blues guitar enhance their playing skills and expand their repertoires using the alternating bass technique. Stefan Grossman illustrates and explains in detail ten fingerstyle arrangements in the keys of C, D, E, A, G, and F. (SG95289VX)See more info...

Order DVD from:SheetmusicPlus

Order VHS from:SheetmusicPlusMusicRoom

Fingerpicking Blues Gutiar Lessons

● Blues Guitar Lesson 12: An introduction to blues fingerpicking

● Blues Guitar Lesson 12B: Monotone bass fingerpicking

● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 15: Fingerpicking monotone bass in A

● Blues Guitar Lesson 15B: Fingerpicking monotone bass in A – Betty Blues

● Blues Guitar Lesson 15C:

● Blues Guitar Lesson 17: A shuffle solo

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A - Key To The Highway

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Tritone Blues - Part 1 * Part 2 * Part 3

● Pony Blues● Willie Brown's Mississippi

Blues ● Dropped D tuning,

● A 12 bar blues in G. ● G-Boogie . ● Rev Gary Davis is Funny

That Way ● C-major: C C Rider● C-major: Cocaine Blues ● C-major: Blues Rag in C ● Diddie Has Something There● Books and videos on

Acoustic Blues Guitar

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Blues Guitar - An introduction to blues fingerpicking

Fingerpicking Instrumental in A● Blues Guitar Lesson 16: The

"Long A" chord

Alternating bass, See See Rider

Lesson 11: The Boogie Bass line – Part 6

Lesson 12 B: Monotone Bass - Rocking Baby

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar - An introduction to blues fingerpicking

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar - Lesson 12 B: Monotone bass fingerpicking

Lesson 12: An introduction to blues fingerpicking

Lesson 13: 16-bar blues

When the bass is going, you can try to add some melody notes. But keep it simple, and make sure that the bass is going steady. Start with adding a single note here and there, add a turnaround, etc. When you listen to people who are playing in this style, you will often hear that the bass stops. But the basic principle applies here as in so many other aspects of our lives: Learn how to follow the rules before you start to break them. Rocking Baby is an example on how you can combine some melody notes with a monotone bass.

Rocking Baby

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Blues Guitar - An introduction to blues fingerpicking

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«Lightnin' Hopkins lick»

The turnaround lick in Rocking Baby is typical of Lightnin' Hopkins. For this reason, I use to call it the «Lightnin' Hopkins lick».

«Boom Boom lick»

This lick is often used in John Lee Hooker's Boom Boom. It is a variation of the "Lightnin' Hopkins lick", but to put it apart, I call it the Boom Boom Lick.

PDF-File

More on Basic Blues Fingerpicking

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Blues Guitar - An introduction to blues fingerpicking

Fingerpicking Country Blues Guitarby Stefan Grossman. This book offers a comprehensive collection of fingerpicking guitar lessons. In support of the book's contents, the three companion CDs contain three full hours of note-by-note, phrase-by-phrase instruction. Focused lessons include: finger- strengthening exercises, the hammer-on and pull-off, single-string runs, and counterpoint lines, blues vibrato, syncopated bass, walking bass, chromatic runs and hot licks, and end tags. Written in standard notation and tabulature with a complete explanation of the tab system. SG98503BCDSee more info...

Order From:SheetmusicPlus

Bestseller!

Beginning Fingerstyle Blues Guitarby Arnie Berle & M. Galbo. Takes you from the fundamentals of fingerpicking to five authentic blues tunes. With graded exercises, illustrated tips, plus standard notation and tablature. Fingerstyle Blues. Beginning Blues Guitar. Book and CD, 96 pages. Published by Amsco. See more info...ToC No AM71390Review:

Order from:SheetmusicPlusMusicRoomAmazon UK

Fingerpicking Country Blues Guitartaught by Stefan Grossman: . This video lesson has been designed to help beginning and intermediate students of fingerpicking blues guitar enhance their playing skills and expand their repertoires using the alternating bass technique. Stefan Grossman illustrates and explains in detail ten fingerstyle arrangements in the keys of C, D, E, A, G, and F. (SG95289VX)See more info...

Order DVD from:SheetmusicPlus

Order VHS from:SheetmusicPlusMusicRoom

Fingerpicking Blues Gutiar Lessons

● Blues Guitar Lesson 12: An introduction to blues fingerpicking

● Blues Guitar Lesson 12B: Monotone bass fingerpicking

● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 15: Fingerpicking monotone bass in A

● Blues Guitar Lesson 15B: Fingerpicking monotone bass in A – Betty Blues

● Blues Guitar Lesson 15C: Fingerpicking Instrumental in A

● Blues Guitar Lesson 16: The "Long A" chord

● Blues Guitar Lesson 17: A shuffle solo

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A - Key To The Highway

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Tritone Blues - Part 1 * Part 2 * Part 3

● Pony Blues● Willie Brown's Mississippi

Blues ● Dropped D tuning,

Alternating bass, See See Rider

● A 12 bar blues in G. ● G-Boogie . ● Rev Gary Davis is Funny

That Way ● C-major: C C Rider● C-major: Cocaine Blues ● C-major: Blues Rag in C ● Diddie Has Something There● Books and videos on

Acoustic Blues Guitar

Lesson 12: An introduction to blues fingerpicking

Lesson 13: 16-bar blues

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Blues Guitar - 16-bar blues

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Blues Guitar - Lesson 13: 16-bar blues

Lesson 12 B: Monotoen Bass - Rocking Baby

Lesson 14: Smoky Metal and Muddy Onions - Power

Chords

The 12-bar format is the most common blues form, but there are many others. You can find 8, 16 (to types) and 24 bar forms, and many songs will not fit into any of these formats. As long as there was only one man and his guitar, he could add or omit a bar or two without causing problems for any others.

We have played See See Rider as a 12-bar blues. Now we will play it as a 16-bar blues. In this 16-bar form, we simply repeat the second line.

(I have to re-write this into English notation. In Norway, as in Germany, the note that is B in English is named H, and the English Bb is B. The H7 means B7. This is, by the way, the reason why English speaking people cannot understand the story about Johann Sebastian Bach writing (or improvising - he was a master improviser) a fugue based on the theme created by his name: B-A-C-H. As the note H does not exist in English, it does not make sense. In English, the theme would be Bb-A-C-B, and then the whole point of the story has gone.)

See See Rider - 16 bar instrumental in E

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Blues Guitar - 16-bar blues

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Blues Guitar - 16-bar blues

There are many new challenges in this arrangement. First we have to take a look at some moveable chords. If we move the standard D and D7 chord up two frets, we get E and E7. You should notice that many turnaround licks starts in this E7 position.

When you play E and E7 in these positions, you cannot play the 4th and 5th string. The 4th string is a D. It is a note that belongs to the E7, but the chord usually does not sound good with the 7th in the bass. The 5th string is A, and it will crash very hard with the G# in the E and E7 chords.

We will come back to these chords in the lessons xx and The moveable D/D7 shape.

E E7

Fingerpicking Blues Gutiar Lessons

● Blues Guitar Lesson 12: An introduction to blues fingerpicking

● Blues Guitar Lesson 12B: Monotone bass fingerpicking

● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 15: Fingerpicking monotone bass in A

● Blues Guitar Lesson 15B: Fingerpicking monotone bass in A – Betty Blues

● Blues Guitar Lesson 15C: Fingerpicking Instrumental in A

● Blues Guitar Lesson 16: The "Long A" chord

● Blues Guitar Lesson 17: A shuffle solo

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A - Key To The Highway

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Tritone Blues - Part 1 * Part 2 * Part 3

● Pony Blues● Willie Brown's Mississippi

Blues ● Dropped D tuning,

Alternating bass, See See Rider

● A 12 bar blues in G. ● G-Boogie . ● Rev Gary Davis is Funny

That Way ● C-major: C C Rider● C-major: Cocaine Blues ● C-major: Blues Rag in C ● Diddie Has Something There● Books and videos on

Acoustic Blues Guitar

Lesson 12 B:Monotoen Bass - Rocking Baby

Lesson 13 B Smoky Metal and Muddy Onions - Power

Chords

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Blues Guitar - Power Chords

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Blues Guitar - Lesson 13 B: Smoky Metal and Muddy Onions - Power Chords

Lesson 13: 16-bar blues

Lesson 13 C: With a Taste of Onion

In this lesson we will take a brief look at some Power Chords. You can find a little bit more in my Power Chord lesson, and some other application of the same chord progression in the lesson A Green Onion After Midnight will Change the World, both in my Chord Progression series (The lessons are overlapping).

Muddy Waters or McKinley Morganfield that was his real name, grew up in the Mississippi Delta. But he moved to Chicago, and the music moved with him. He was discovered by the musicologist Alan Lomax in 1941 and became one of the giants of the blues. His playing shows the development from the Delta to the City. The example is based on some of his riffs, with the chords E(5) - A5-G5-E(5). Listen to Hoochie Coochie Man and Mannish Boy for two examples. And repeat the The "Hoochie Coochie Lick" in the first lessons in this series, if you do not remember it.

Muddy's Son of a Boogie

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Blues Guitar - Power Chords

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The 5-chords are often called power chords. Strictly speaking, they are not proper chords, as they have only two notes, the root and the fifth. It means that they are neither major nor minor, and have some kind of an open, unsettled sound. Listen to E5, E and Em, and listen to the difference made by the third.

When playing G5 as shown in the diagram, you have to damp out the 5th string. You do this by left hand damping, meaning that you rest one finger on the string to prevent it from ringing. It is indicated with an X in the diagram.

Gig Savers: Power Chords - A Basic Guideby Corey Christiansen. For Guitar (Electric). chord book. Gig Savers. Rock. Level: Beginning. Book. Size 5.5x8. 16 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB20026Review:

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Blues Guitar - Power Chords

● Chords: Power 5 chords

● Chords; Power 4 chords

● Blues Guitar: Smokey Metal and Muddy Onions

● Progressions: Onion After Midnight

● Progressions: With A Taste of Onion

● Books on Power Chords

Rhythm Playing

● Blues Guitar Lesson 3B: Damping techniques

● Blues Guitar Lesson 4: The Shuffle Rhythm

● Blues Guitar Lesson 4B: E-Shuffle ● Blues Guitar Lesson 4C: The

Hoochie Coochie Shuffle● Blues Guitar Lesson 5: The

harmonized shuffle

● Blues Guitar Lesson 6: The Treble shuffle

● Blues Guitar Lesson 7: Some other shuffle licks - Boom Boogie

● Blues Guitar Lesson 7B: Some other shuffle licks - Muddy Boogie

● Lesson 11: The Boogie Bass line - Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6

● Lesson 13 B: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 C: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 D: You Nearly Got Me On The Foggy Water

● Books and videos on Rhythm Guitar

Lesson 13: 16-bar blues

Lesson 13 C: With a Taste of Onion

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Blues Guitar - Power Chords

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Blues Guitar - Lesson 13 C: Smoky Metal and Muddy Onions - Power Chords

Lesson 13 B Smoky Metal and Muddy Onions - Power Chords

Lesson 13 D: You Nearly Got Me

With a Taste of Onion

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Blues Guitar - Power Chords

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You can hear the same chords in Green Onion, played by Booker T and the MGs, with Steve Cropper on guitar.

As usual, the B-chord gives us some difficulties. You have to use moveable positions, and you can choose either the F5-pos played with your 1st finger on 6th string, 7th fret, or the Bb5-pos with 1st finger on 5th string 2nd fret. If you play the F5-pos in 5th fret, you get the A5 chord.

F5-pos Bb5-pos

Gig Savers: Power Chords - A Basic Guideby Corey Christiansen. For Guitar (Electric). chord book. Gig Savers. Rock. Level: Beginning. Book. Size 5.5x8. 16 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB20026Review:

Order from:SheetmusicPlus

For more on Powerchords, go to: ● Chords: Power 5 chords● Chords; Power 4 chords

● Blues Guitar: Smokey Metal and Muddy Onions

● Progressions: Onion After Midnight

● Progressions: With A Taste of Onion● Books on Power Chords

Rhythm Playing

● Blues Guitar Lesson 3B: Damping techniques

● Blues Guitar Lesson 4: The Shuffle Rhythm

● Blues Guitar Lesson 4B: E-Shuffle ● Blues Guitar Lesson 4C: The Hoochie

Coochie Shuffle● Blues Guitar Lesson 5: The harmonized

shuffle

● Blues Guitar Lesson 6: The Treble shuffle

● Blues Guitar Lesson 7: Some other shuffle licks - Boom Boogie

● Blues Guitar Lesson 7B: Some other shuffle licks - Muddy Boogie

● Lesson 11: The Boogie Bass line - Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6

● Lesson 13 B: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 C: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 D: You Nearly Got Me On The Foggy Water

● Books and videos on Rhythm Guitar

Lesson 13 B Smoky Metal and Muddy Onions - Power Chords

Lesson 13 D: You Nearly Got Me

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Blues Guitar - Power Chords

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Blues Guitar - Lesson 13 D: You Nearly Got Me On The Foggy Water

Lesson 13 C Smoky Metal and Muddy Onions - Power Chords

Lesson 14: Blues in A - introduction

You Nearly Got Me

This is not blues, but I will nevertheless include it. It is based on The Kinks You Really Got Me, which is one of the classic power-chord tunes.

Download Finale File

Fog on the Water

The last example is based on the song that drives every music store employee mad:Deep Purple's Smoke On The Water. I have made up a bass-theme derived from the smoky original.

Download Finale File

Gig Savers: Power Chords - A Basic Guideby Corey Christiansen. For Guitar (Electric). chord book. Gig Savers. Rock. Level: Beginning. Book. Size 5.5x8. 16 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB20026Review:

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The Kinks A Step-by-Step Breakdown of the Guitar Styles and Techniques of Dave and Ray Davies. Performed by The Kinks. By Dave Rubin. Signature Licks (Authentic guitar transcriptions in notes and tab). Book and CD package. With notes and tablature. Size 9x12 inches. 64 pages. Published by Hal Leonard. See more info...ToC No HL695553

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Blues Guitar - Power Chords

Deep Purple - Greatest Hits A Step-by-Step Breakdown of the Guitar Style and Techniques of Ritchie Blackmore. Performed by Deep Purple. By Troy Stetina. Signature Licks (Authentic guitar transcriptions in notes and tab). Book and CD package. With notes and tablature. Size 9x12 inches. Published by Hal Leonard. See more info...ToC No HL695625

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For more on Powerchords, go to: ● Chords: Power 5 chords● Chords; Power 4 chords

● Blues Guitar: Smokey Metal and Muddy Onions

● Progressions: Onion After Midnight

● Progressions: With A Taste of Onion● Books on Power Chords

Rhythm Playing

● Blues Guitar Lesson 3B: Damping techniques

● Blues Guitar Lesson 4: The Shuffle Rhythm

● Blues Guitar Lesson 4B: E-Shuffle ● Blues Guitar Lesson 4C: The Hoochie

Coochie Shuffle● Blues Guitar Lesson 5: The harmonized

shuffle

● Blues Guitar Lesson 6: The Treble shuffle

● Blues Guitar Lesson 7: Some other shuffle licks - Boom Boogie

● Blues Guitar Lesson 7B: Some other shuffle licks - Muddy Boogie

● Lesson 11: The Boogie Bass line - Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6

● Lesson 13 B: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 C: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 D: You Nearly Got Me On The Foggy Water

● Books and videos on Rhythm Guitar

Lesson 13 C Smoky Metal and Muddy Onions - Power Chords

Lesson 14: Blues in A - introduction

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Blues Guitar - Blues in A - introduction

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Blues Guitar - Lesson 14: Blues in A - introduction

Lesson 13 D: You Nearly Got Me

Lesson 14B: Rocking Bill

We will leave the key of E for a while, but we will return to the key later. The key of A is another favorite key for blues guitar players. One advantage of the key is that you have the root of all basic chords on open strings. In A we will not run into the same kind of trouble as we did in E each time we were coming to the B7 chord.

A is also a good key for soloing. We will start looking at blues scales in this key.

But first we must make sure that we know the chords and the basic chord progressions.

In A the three basic chords are: I=A (A7), IV=D(7) and V7 is E7.

12 bar blues Type 1 in A

The 12-bar blues progression 1 in A, with turnaround chord, is:

12 bar blues Type 2 in A

From this you do of course understand that the blues progression 2 will be like this:

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Blues Guitar - Blues in A - introduction

There is only one new chord, as we are following the circle of fifths from key to key. This new chord is D7. I guess that you know it, but I include it just to be sure.

There are many ways to finger the D7 chord. You find some examples here. But we will come back to other voicings in a blues context in future lessons.

D7

I give you the same backing tracks to play with that you have met before

Backing Track - 12B1These are MIDI backing tracks of 12-bar Blues progression 1. For more information, go to lesson on bluesprogression in the chord progression series. They are in 8 keys and three tempos (65, 90 and 120). Use them to get the sound of the cords, and as backing tracks. They are long 10-15 minutes, which makes them boring as listening track, but good for practise. Download all files as a zip-file.

65 very slow C D Eb E F G A Bb

90 Slow C D Eb E F G A Bb

120 Medium C D Eb E F G A Bb

Backing Track - 12B1TThese are MIDI backing tracks of 12-bar Blues progression 1 with Turnaround chord. For more information, go to lesson on bluesprogression in the chord progression series. Download all files as a zip-file

65 very slow C D Eb E F G A Bb

90 Slow C D Eb E F G A Bb

120 Medium C D Eb E F G A Bb

Backing Track - 12B2These are MIDI backing tracks of 12-bar Blues progression 2. For more information, go to lesson on bluesprogression in the chord progression series. Download all files as a zip-file.

65 very slow C D Eb E F G A Bb

90 Slow C D Eb E F G A Bb

120 Medium C D Eb E F G A Bb

Backing Track - 12B2TThese are MIDI backing tracks of 12-bar Blues progression 2 with Turnaround chord. For more information, go to lesson on bluesprogression in the chord progression series. Download all files as a zip-file

65 very slow C D Eb E F G A Bb

90 Slow C D Eb E F G A Bb

120 Medium C D Eb E F G A Bb

12-bar blues

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Blues Guitar - Blues in A - introduction

● Classic Lesson: 1 - BASIC BLUES

● Blues Guitar Lesson 1: The 12 bar blues in E

● Blues Guitar Lesson 2: Some variations of the 12-bar blues in E

● Chord Progressions: Basic 12-bar blues

● Lesson 14: Blues in A - introduction

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar – Add the m7 chord - Part 2 * Part 3 * Part 4

● The same in Theory: The Flat-five Substitution

Lesson 13 D: You Nearly Got Me

Lesson 14B: Rocking Bill

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Blues Guitar - Blues in A - introduction

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Blues Guitar - Lesson 14B: Rocking Bill

Lesson 14: Blues in A - introduction

Lesson 15: Fingerpicking monotone bass in A

This arrangement reminds me of Carl Perkins (who, among other things, wrote Blue Suede Shoes). Listen to his version of Matchbox, and you will hear some of it. Carl Perkinsis not a blues guitarist. But Roackabilly is very much blues based. In fact the most well known tune after Blue Suede Shoes that is often credited Carl Perkins, is a tune originally by Blind Lemon Jefferson. Blind Lemon Jefferson recorded the tune many years before Carl Perkins was born.

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Blues Guitar - Blues in A - introduction

Moderate tempo

Faster

PDF-File

I have recorded the tune at a modreate tempo and at a faster tempo. The character will change with different tempos, so you should experiment.

Rockabilly Guitar by Fred Sokolow.1950s. Grossman Audio. Level: Intermediate. Book/CD package. Size 8.75x11.75. 40 pages. Published by Grossman's Gtr Workshop. (SG98512BCD)See more info...

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12-bar blues

● Classic Lesson: 1 - BASIC BLUES

● Blues Guitar Lesson 1: The 12 bar blues in E

● Blues Guitar Lesson 2: Some variations of the 12-bar blues in E

● Chord Progressions: Basic 12-bar blues

● Lesson 14: Blues in A - introduction

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar – Add the m7 chord - Part 2 * Part 3 * Part 4

● The same in Theory: The Flat-five Substitution

Rhythm Playing

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Blues Guitar - Blues in A - introduction

● Blues Guitar Lesson 3B: Damping techniques

● Blues Guitar Lesson 4: The Shuffle Rhythm

● Blues Guitar Lesson 4B: E-Shuffle ● Blues Guitar Lesson 4C: The

Hoochie Coochie Shuffle● Blues Guitar Lesson 5: The

harmonized shuffle

● Blues Guitar Lesson 6: The Treble shuffle

● Blues Guitar Lesson 7: Some other shuffle licks - Boom Boogie

● Blues Guitar Lesson 7B: Some other shuffle licks - Muddy Boogie

● Lesson 11: The Boogie Bass line - Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6

● Lesson 13 B: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 C: Smoky Metal and Muddy Onions - Power Chords

● Lesson 13 D: You Nearly Got Me On The Foggy Water

● Books and videos on Rhythm Guitar

Lesson 14: Blues in A - introduction

Lesson 15: Fingerpicking monotone bass in A

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Blues Guitar - Fingerpicking monotone bass in A

Olav Torvund's Guitar Pages Guitar Lessons

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January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

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Blues Guitar - Lesson 15: Fingerpicking monotone bass in A

Lesson 14B: Rocking Bill

Lesson 15 B: Fingerpicking monotone bass in A – Betty Blues

As said in the previous lesson, one advantage of the key of A is that we have the root of each chord on open strings. The 5th string is A (I), the 4th string is D (IV) and the 6th string is E (V). We will not run into the same kind of problems as we did in E each time we had to play the B7-chord.

I assume that your thumb has got some independence. But just to be sure, we go another round with only the bass notes, now in the key of A. This time we will work with the Blues progression 2.

Monotone Bass in A

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Blues Guitar - Fingerpicking monotone bass in A

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Fingerpicking Blues Gutiar Lessons

● Blues Guitar Lesson 12: An introduction to blues fingerpicking

● Blues Guitar Lesson 12B: Monotone bass fingerpicking

● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 15: Fingerpicking monotone bass in A

● Blues Guitar Lesson 15B: Fingerpicking monotone bass in A – Betty Blues

● Blues Guitar Lesson 15C: Fingerpicking Instrumental in A

● Blues Guitar Lesson 16: The "Long A" chord

● Blues Guitar Lesson 17: A shuffle solo

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A - Key To The Highway

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Tritone Blues - Part 1 * Part 2 * Part 3

● Pony Blues● Willie Brown's Mississippi

Blues ● Dropped D tuning,

Alternating bass, See See Rider

● A 12 bar blues in G. ● G-Boogie . ● Rev Gary Davis is Funny

That Way ● C-major: C C Rider● C-major: Cocaine Blues ● C-major: Blues Rag in C ● Diddie Has Something

There● Books and videos on

Acoustic Blues Guitar

Lesson 14B: Rocking Bill

Lesson 15 B: Fingerpicking monotone bass in A – Betty Blues

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Blues Guitar - Fingerpicking monotone bass in A

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Blues Guitar - Lesson 15B: Fingerpicking monotone bass in A – Betty Blues

Lesson 15: Fingerpicking monotone bass in A

Lesson 15 C: Fingerpicking Instrumental in A

This should not be to difficult. But we move on to an arrangement called Betty Blues, which should give you some challenges. Note that I have included an intro, which is nothing but a turnaround phrase played as an intro. The actual turnaround in the arrangement is one that is very typical of Robert Johnson.

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Blues Guitar - Fingerpicking monotone bass in A

Download Finale File

PDF-File

Fingerpicking Blues Gutiar Lessons

● Blues Guitar Lesson 12: An introduction to blues fingerpicking

● Blues Guitar Lesson 12B: Monotone bass fingerpicking

● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 15: Fingerpicking monotone bass in A

● Blues Guitar Lesson 15B: Fingerpicking monotone bass in A – Betty Blues

● Blues Guitar Lesson 15C: Fingerpicking Instrumental in A

● Blues Guitar Lesson 16: The "Long A" chord

● Blues Guitar Lesson 17: A shuffle solo

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A - Key To The Highway

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Tritone Blues - Part 1 * Part 2 * Part 3

● Pony Blues● Willie Brown's Mississippi

Blues ● Dropped D tuning, Alternating

bass, See See Rider

● A 12 bar blues in G. ● G-Boogie . ● Rev Gary Davis is Funny That

Way ● C-major: C C Rider● C-major: Cocaine Blues ● C-major: Blues Rag in C ● Diddie Has Something There● Books and videos on Acoustic

Blues Guitar

Lesson 15: Fingerpicking monotone bass in A

Lesson 15 C: Fingerpicking Instrumental in A

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Blues Guitar - Fingerpicking monotone bass in A

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Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

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If you like the site, give me

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Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar - Lesson 15C: Fingerpicking Instrumental in A

Lesson 15 B: Fingerpicking monotone bass in A – Betty Blues

Lesson 16: The "Long A"

chord

One of the nice features of the guitar, is that many positions are moveable. Once you have learned positions, licks etc in one key, then you can (often) move them into other keys. If you move the Lightnin' Hopkins Lick up 5 frets, you are in the key of A.

Instrumental in A

The next tune is an instrumental in A put together from some standard licks.

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Blues Guitar - Fingerpicking monotone bass in A

Download Finale File

PDF-File

Fingerpicking Blues Gutiar Lessons

● Blues Guitar Lesson 12: An introduction to blues fingerpicking

● Blues Guitar Lesson 12B: Monotone bass fingerpicking

● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 15: Fingerpicking monotone bass in A

● Blues Guitar Lesson 15B: Fingerpicking monotone bass in A – Betty Blues

● Blues Guitar Lesson 15C: Fingerpicking Instrumental in A

● Blues Guitar Lesson 16: The "Long A" chord

● Blues Guitar Lesson 17: A shuffle solo

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A - Key To The Highway

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Tritone Blues - Part 1 * Part 2 * Part 3

● Pony Blues● Willie Brown's Mississippi

Blues ● Dropped D tuning,

Alternating bass, See See Rider

● A 12 bar blues in G. ● G-Boogie . ● Rev Gary Davis is Funny

That Way ● C-major: C C Rider● C-major: Cocaine Blues ● C-major: Blues Rag in C ● Diddie Has Something

There● Books and videos on

Acoustic Blues Guitar

Lesson 15 B: Fingerpicking monotone bass in A – Betty Blues

Lesson 16: The "Long A"

chord

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Blues Guitar - Fingerpicking monotone bass in A

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Blues Guitar - The "Long A" chord

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January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

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Go here for links to other Blues Sites

Blues Guitar - Lesson 16: The "Long A" chord

Lesson 15 C: Fingerpicking Instrumental in A

Lesson 17: A shuffle solo

The chord shape called the "long A" is very useful. You fret strings 2, 3 and 4 (and actually 1st string too) with your index finger. Then you can put you 4th finger on 1st string, 5th fret to get A and The 2nd finger on 1st string, 3rd fret to get A7. Then you see that you can alter easily between A and A7, and you have a few nice licks right under your fingers.

A A7

In the arrangement of Going Down Slow, I have thrown in many challenges. The intro is a turnaround lick based on the Long A, (as was in fact the turnaround in the previous lesson's Betty Blues as well). The key is to slide a partial barré over 2nd, 3rd and 4th string from 1st to 2nd fret.

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Blues Guitar - The "Long A" chord

Download Finale File

PDF-File

The first bar of the 12-bar blues is built around the long A. Again it is a Blues progression 2, but in bar 2 we go to a D9 chord, fingered as a moveable C7-shape.

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Blues Guitar - The "Long A" chord

A moveable chord can, as the name indicates, be moved up and down the neck. It will usually have no open strings. When I say usually it means that we can use some open strings in some positions. As shown in the diagram, fingered with 1st finger at 1st fret, it is a C7 chord. That is why it is called the C7-shape When payed in this position, you can use the open 1st string. It gives an E, which is the 3rd of the C chord. You have the E at the 6th string as well, but it does not sound very good, even if it belongs to the chord.

If you move it up two frets, you get a D7. In D7, we play no open strings. We do however play the open 1st string in this bar, which gave us a D9. (For an explanation of the 9th chord, go to xxxx).

Go up two more steps, and you have the E7. Now the open E-strings (1st and 6th) are the root, which we of course can play with the chord.

You can continue up the neck to F, F#/Gb , G, G#/Ab, A (where the open E-string will be the 5th of the chord), etc.

Then comes a fill in lick, which you should finger with 1st and 2nd finger, and move them down until you come to the "long A" again, and you see how it smoothly changes to A7.

The lick in bar 7 is really tricky. Just keep the A-chord in the beginning. You actually play an descending blues scale in the Long A position.

In bar 9 and 10 we use the Moveable C7-shape again. We start with an E7, and then we move down two frets to D7.

The turnaround is basically the same as the fill-in in bar 3, but here you have to be careful with your fingering to play it smooth. The trick is to fret the 1st string 5th fret first with your 1st finger, then with your 3rd and finally with your 4th finger.

You do actually get a series of chords here too, but I think of it more as a lick than a series of chords. The first is A, the next is a partial F7 (or Adim). The last one is not easy to label, but I will call it Bm7. You can read more about the challenges of naming the m7 chords in the lesson on the I-ii

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Blues Guitar - The "Long A" chord

progression

ANotice that it is the sonic

shapePartial F

F7 (or Adim)Notice that it is the sonic

shape D7

Bm7This is the sonic shape

Middle D

Fingerpicking Blues Gutiar Lessons

● Blues Guitar Lesson 12: An introduction to blues fingerpicking

● Blues Guitar Lesson 12B: Monotone bass fingerpicking

● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 15: Fingerpicking monotone bass in A

● Blues Guitar Lesson 15B: Fingerpicking monotone bass in A – Betty Blues

● Blues Guitar Lesson 15C: Fingerpicking Instrumental in A

● Blues Guitar Lesson 16: The "Long A" chord

● Blues Guitar Lesson 17: A shuffle solo

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A - Key To The Highway

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Tritone Blues - Part 1 * Part 2 * Part 3

● Pony Blues● Willie Brown's Mississippi

Blues ● Dropped D tuning,

Alternating bass, See See Rider

● A 12 bar blues in G. ● G-Boogie . ● Rev Gary Davis is Funny

That Way ● C-major: C C Rider● C-major: Cocaine Blues ● C-major: Blues Rag in C ● Diddie Has Something There● Books and videos on

Acoustic Blues Guitar

Lesson 15 C: Fingerpicking Instrumental in A

Lesson 17: A shuffle solo

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Blues Guitar - A shuffle solo

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Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

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Go here for links to other Blues Sites

Blues Guitar - Lesson 17: A shuffle solo

Lesson 16: The "Long A" chord

Lesson 18: The minor pentatonic scale - a simplified blues scale

The next arrangement is Betty Blues. The main lick is a shuffle on 2nd and 3rd string.

It is a very useful lick, and you will often hear it in rockabilly music. Look at it as part of an A chord and part of a D-chord, or as part of D7 and A(7). If you play the A7-fragment on 3rd and 4t string, and then the D at the same string, you get the main positions for The Beatles' Doctor Robert

Over the D-chord, you just move the whole lick up 5 frets. And you will se from the tab that you slide the lick down at the end of each bar. A D A7 D7

In bar 10 there is a sequence of chords instead of just the D7 chord. It is some kind of a "pre-turnaround". The chords are Adim7, D7, F7 and then Adim7 one more time. Note that you do not move the 3rd and 4th finger through the changes.

Just for confusion: The dim7 is a symmetric chord. It is a minor third between the notes, no matter what you choose as root. So the same chord can be labeled Cdim7, D#dim7 or Adim7.

If you find it too difficult, just play the D7 Adim7 D7 F7

Instrumental break to Betty Blues

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Blues Guitar - A shuffle solo

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Blues Guitar - A shuffle solo

Download Finale File

PDF-File

Fingerpicking Blues Gutiar Lessons

● Blues Guitar Lesson 12: An introduction to blues fingerpicking

● Blues Guitar Lesson 12B: Monotone bass fingerpicking

● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 15: Fingerpicking monotone bass in A

● Blues Guitar Lesson 15B: Fingerpicking monotone bass in A – Betty Blues

● Blues Guitar Lesson 15C: Fingerpicking Instrumental in A

● Blues Guitar Lesson 16: The "Long A" chord

● Blues Guitar Lesson 17: A shuffle solo

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A - Key To The Highway

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Tritone Blues - Part 1 * Part 2 * Part 3

● Pony Blues● Willie Brown's Mississippi

Blues ● Dropped D tuning,

Alternating bass, See See Rider

● A 12 bar blues in G. ● G-Boogie . ● Rev Gary Davis is Funny

That Way ● C-major: C C Rider● C-major: Cocaine Blues ● C-major: Blues Rag in C ● Diddie Has Something There● Books and videos on

Acoustic Blues Guitar

Lesson 16: The "Long A" chord

Lesson 18: The minor pentatonic scale - a simplified blues scale

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Blues Guitar - The minor pentatonic scale

Olav Torvund's Guitar Pages Guitar Lessons

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January 2005

Happy Traum: Blues Guitar

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Blues Guitar - Lesson 18: The minor pentatonic scale - a simplified blues scale

Lesson 17: A shuffle solo

Lesson 19: The "Blue notes" - the blues scale

If you want to play a solo, you need to know the minor pentatonic scale. It has a 3b, which makes it a minor scale. And it consists of only 5 tones, that is why it is called penta-tonic (penta=five)

Now the number in the diagram no longer refers to fingers, but to the note of the scale counted up from the root. 1=root, 3b=minor 3rd, 4=fourth, 5=fifth and 7b=minor seventh.

When playing scales, try to keep your hand movement at a minimum. The scale position - often known as box position spans over 4 frets. Use one finger for each fret: 1st finger on 5th fret, 2nd on 6th (no notes on sixth fret here, but they will come), 3rd finger on 7th fret and 4th finger on 8th fret.

These scale box positions are all moveable. When you have learned this scale in A, you can play in any key just by moving the whole box up or down the neck. I call this box position box position 1. There is no common standard for numbering these boxes - at least no standard I am aware of. So do not get too confused if you see the same boxes with other numbers.

A-pentatonicBox position 1

Don't get too confused by the fact that I am labeling the next box as box position 5. I am presenting a few boxes in reverse order, and there are 5 boxes in total. We move down, and play the box from 2nd to fifth fret.

The third box I will present in this box is box position 4O. I add an "O" to indicate that we now have open strings (and it is really not a box, but I keep the label). An open string position is not moveable. You do of course understand that numbers behind the nut (over the box) indicates note on open strings.

Box 5 Box 4O

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Blues Guitar - The minor pentatonic scale

If you want the scale written out in tabulature, and/or be able to hear it as a MIDI file, go to the Finale versions. Now it is time to tell, in case you have not discovered it already, that in the Finale files, you can set the number of the bar you want to start from. You do not have to start with hearing the box 5 MIDI first each time.

You need to practice these scales, and practising scales on your own is boring. I have included two Band-In-A-Box files (have you downloaded the Free Player?). Both are 8 choruses of slow 12 bar blues in A, the first is Blues Progression 1, and the second is Blues Progression 2. It is more fun to have living musicians to play with . But the Finale files are more patient, and it will forgive every mistake you make.

I give you the same backing tracks to play with that you have met before

Backing Track - 12B1These are MIDI backing tracks of 12-bar Blues progression 1. For more information, go to lesson on bluesprogression in the chord progression series. They are in 8 keys and three tempos (65, 90 and 120). Use them to get the sound of the cords, and as backing tracks. They are long 10-15 minutes, which makes them boring as listening track, but good for practise. Download all files as a zip-file.

65 very slow C D Eb E F G A Bb

90 Slow C D Eb E F G A Bb

120 Medium C D Eb E F G A Bb

Backing Track - 12B1TThese are MIDI backing tracks of 12-bar Blues progression 1 with Turnaround chord. For more information, go to lesson on bluesprogression in the chord progression series. Download all files as a zip-file

65 very slow C D Eb E F G A Bb

90 Slow C D Eb E F G A Bb

120 Medium C D Eb E F G A Bb

Backing Track - 12B2These are MIDI backing tracks of 12-bar Blues progression 2. For more information, go to lesson on bluesprogression in the chord progression series. Download all files as a zip-file.

65 very slow C D Eb E F G A Bb

90 Slow C D Eb E F G A Bb

120 Medium C D Eb E F G A Bb

Backing Track - 12B2TThese are MIDI backing tracks of 12-bar Blues progression 2 with Turnaround chord. For more information, go to lesson on bluesprogression in the chord progression series. Download all files as a zip-file

65 very slow C D Eb E F G A Bb

90 Slow C D Eb E F G A Bb

120 Medium C D Eb E F G A Bb

Blues Scales / Minor Pentatonic Scales

● Blues Guitar Lesson 18: The minor pentatonic scale - a simplified blues scale in A

● Blues Guitar Lesson 19: The "Blue notes" - the blues scale in A

● Blues Guitar Lesson 20: The relation between the "Long A" chord and the blues scale

● Blues Guitar Lesson 21: Blues scale in E

● Blues Guitar Lesson 22: Pentatonic scale boxes in all positions

● Minor Pentatonic Scale in Open D tuning

● Minor Pentatonic Scale in Open G tuning

● Books and videos on Scales

Lesson 17: A shuffle solo

Lesson 19: The "Blue notes" - the blues scale

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Blues Guitar - The minor pentatonic scale

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Blues Guitar - Blue notes - blues scale

Olav Torvund's Guitar Pages Guitar Lessons

Blues Guitar - Lesson 19: The "Blue notes" - the blues scale

Lesson 18: The minor pentatonic scale - a simplified blues scale

Lesson 20: The relation between the "Long A"

chord and the blues scale

One feature that makes blues interesting, despite it's simple form, is the unsettled tonality. In the previous lesson, we looked at the minor pentatonic scale. It is a minor scale, but it is usually played over major chords. We can add a few notes to the pentatonic minor, to make it a proper blues scale. The first note is the flatted fifth, or 5bnote. Add it to the scale, and it gets more character.

A-

blues - box 1

A-

blues -box 5

A-

blues - box 4O

Michael Bloomfieldused a lot of flatted fifths (and chromatic notes) in his playing. In the diagram, the 5bare marked as blue circles. If you want to look a little closer on his playing style, you will find three of Andy Ellis'lessons from Guitar Player Magazineon TruefireThese are downloadable PDF and MP3 files, costing from $ 1 to $ 2.40: Chromatic Bloomfield, Full Bloom 1and Full Bloom 2.

The 3band 7bnotes might be raised to a 3or 7. Sometimes you will do it with a bend, sometimes as hammer-onand sometimes as normal fretted notes. You can also bend or hammer-on the 4thand by this raising it so a 5b.

Blues Scales / Minor Pentatonic Scales

● Blues Guitar Lesson 18: The minor pentatonic scale - a simplified blues scale in A

● Blues Guitar Lesson 19: The "Blue notes" - the blues scale in A

● Blues Guitar Lesson 20: The relation between the "Long A" chord and the blues scale

● Blues Guitar Lesson 21: Blues scale in E

● Blues Guitar Lesson 22: Pentatonic scale boxes in all positions

● Minor Pentatonic Scale in Open D tuning

● Minor Pentatonic Scale in Open G tuning

● Books and videos on Scales

Lesson 18: The minor pentatonic scale - a simplified blues scale

Lesson 20: The relation between the "Long A"

chord and the blues scale

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Blues Guitar - Blue notes - blues scale

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Blues Guitar - The relation between the "Long A" chord and the blues scale

Olav Torvund's Guitar Pages Guitar Lessons

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January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

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If you like the site, give me

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Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar - Lesson 20: The relation between the "Long A" chord and the blues scale

Lesson 19: The "Blue notes" - the blues scale

Lesson 21: Blues scale in E

We have already done what I am going to explain in this lesson. If you go back to the arrangement of Going Down Slow from lesson 16, we had a difficult descending run in bar 7. This is the A minor pentatonic box 5 played from a Long A chord. We will look more into relations between scales and chords later. Now we will only look at the relation between Long A and A minor pentatonic scale and A-blues scale, both in Box 5 position. The change from Long A to A7 is just the beginning of this scale lick. Just keep the partial barré with your first finger, keep the 5th string open (unless you are playing a lick on it), and play some scale licks.

The numbering starts to get confusing, but it is not as difficult as it may look. The black circles with numbers indicates the fingering of the Long A, with indication of which fingers to use. The numbers in red an blue circles indicates the scale degree of the note.

Blues Scales / Minor Pentatonic Scales

● Blues Guitar Lesson 18: The minor pentatonic scale - a simplified blues scale in A

● Blues Guitar Lesson 19: The "Blue notes" - the blues scale in A

● Blues Guitar Lesson 20: The relation between the "Long A" chord and the blues scale

● Blues Guitar Lesson 21: Blues scale in E

● Blues Guitar Lesson 22: Pentatonic scale boxes in all positions

● Minor Pentatonic Scale in Open D tuning

● Minor Pentatonic Scale in Open G tuning

● Books and videos on Scales

Lesson 19: The "Blue notes" - the blues scale

Lesson 21: Blues scale in E

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Blues Guitar - Blues scale in E

Olav Torvund's Guitar Pages Guitar Lessons

Blues Guitar - Lesson 21: Blues scale in E

Lesson 20: The relation between the "Long A" chord and the blues scale

Lesson 22: Pentatonic scale boxes in all positions

As we have said, the blues scales are moveable. We start with Box 1, but now we move it all the way down the neck, where it includes open strings. This is the blues scale in E. I have made two boxes: One with just the E pentatonic minor, and one where I have added all the other notes. And you may notice that I have added the 6th, in addition to the notes we used in the A-blues scale.I thought you would recognize that some of the shuffle noteswhere missing, and ask if they do not belong to the scale. And the answer is something like no, ehr... well, maybe... it depends .... You will often hear 6th notes played, but mainly as passing notes. The blues will not rest on a 6th note. You will also notice that I have included an alternative fingering of one of the 5ths. You can either play it on 3rd string, 4th fret, or on the open 2nd string.

E minor pentatonic, Box 1 E blues scale, Box 1

I will present two other box-positions in E, and it should come as no surprise that these are Box 2and Box 3. I will first present the minor pentatonic, and then the same box with all the added notes. Learn to play the minor pentatonic first, and then try to include the flat 5, and then some bends and some other notes.

Minor pentatonic, box 2 Blues scale, box 2 Minor pentatonic, box 3 Blues scale, box 3

I give you the same backing tracks to play with that you have met before

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Blues Guitar - Blues scale in E

Backing Track - 12B1These are MIDI backing tracks of 12-bar Blues progression 1. For more information, go to lesson on bluesprogression in the chord progression series. They are in 8 keys and three tempos (65, 90 and 120). Use them to get the sound of the cords, and as backing tracks. They are long 10-15 minutes, which makes them boring as listening track, but good for practise. Download all files as a zip-file.

65 very slow C D Eb E F G A Bb

90 Slow C D Eb E F G A Bb

120 Medium C D Eb E F G A Bb

Backing Track - 12B1TThese are MIDI backing tracks of 12-bar Blues progression 1 with Turnaround chord. For more information, go to lesson on bluesprogression in the chord progression series. Download all files as a zip-file

65 very slow C D Eb E F G A Bb

90 Slow C D Eb E F G A Bb

120 Medium C D Eb E F G A Bb

Backing Track - 12B2These are MIDI backing tracks of 12-bar Blues progression 2. For more information, go to lesson on bluesprogression in the chord progression series. Download all files as a zip-file.

65 very slow C D Eb E F G A Bb

90 Slow C D Eb E F G A Bb

120 Medium C D Eb E F G A Bb

Backing Track - 12B2TThese are MIDI backing tracks of 12-bar Blues progression 2 with Turnaround chord. For more information, go to lesson on bluesprogression in the chord progression series. Download all files as a zip-file

65 very slow C D Eb E F G A Bb

90 Slow C D Eb E F G A Bb

120 Medium C D Eb E F G A Bb

Blues Scales / Minor Pentatonic Scales

● Blues Guitar Lesson 18: The minor pentatonic scale - a simplified blues scale in A

● Blues Guitar Lesson 19: The "Blue notes" - the blues scale in A

● Blues Guitar Lesson 20: The relation between the "Long A" chord and the blues scale

● Blues Guitar Lesson 21: Blues scale in E

● Blues Guitar Lesson 22: Pentatonic scale boxes in all positions

● Minor Pentatonic Scale in Open D tuning

● Minor Pentatonic Scale in Open G tuning

● Books and videos on Scales

Lesson 20: The relation between the "Long A" chord and the blues scale

Lesson 22: Pentatonic scale boxes in all positions

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Blues Guitar - Lesson 22: Pentatonic scale boxes in all positions

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar - Lesson 22: Pentatonic scale boxes in all positions

Lesson 21: Blues scale in E

Lesson 23: The moveable D / D7 shape

Now it is time to see how these boxes goes together. I have presented all the boxes in the keys E and A. The boxes are overlapping, and it is not too easy to identify each box. I have tried to color-code the boxes. I hope you see that dots with two colors belong to more than one box. There is actually one dot that is being used in three different positions. I have tried to mark that by making the interior blue and green, while the border is orange. Maybe it helps, maybe it only adds to the confusion ....

To make it a little bit easier, I have isolated each box-position besides the 15 frets diagram.

The first set of diagrams is for the key of E

Box 1 Open Box 2 Box 3

Box 4 Box 5 Box 1

Then we apply the same boxes to the key of A

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Blues Guitar - Lesson 22: Pentatonic scale boxes in all positions

Box 4 Open Box 5 Box 1

Box 2 Box 3 Box 4

I have not put in any of the blue notes. But you should by now be able to put them into the boxes. If not, review lesson 19 and lesson 21. Practise these boxes until you can play them on "auto pilot" while having a conversation. When you have learned these five box positions, then you can play the minor pentatonic and the blues scale in all 12 keys. It might take some effort to get there, but when it is done, the world opens up. For a Norwegian, it is tempting to use cross country skiing as a metaphor for the learning curve. You have to go up hill for some time to get to the mountain plateau. But when you are there, you can go skiing for hours at a nice and comfortable pace.

Blues/Rock Soloing for GuitarA Guide to the Essential Scales, Licks and Soloing Techniques. By Robert Calva. Musicians Institute Press (Instruction taken from the curriculum of MI). Book & CD Package. With notes and tablature. Size 9x12 inches. 48 pages. See more info...ToC No MI695680Review:

Order from:SheetmusicPlusMusicRoomAmazon UK

Jazz PentatonicsAdvanced Improvising Concepts for Guitar. Taught by Bruce Saunders. For Guitar (All). improvisation. Private Lessons Series. Jazz. Level: Intermediate-Advanced. Book/CD Set. Size 8.75x11.75. 48 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB20416BCDReview:

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Blues Guitar - Lesson 22: Pentatonic scale boxes in all positions

- Pentatonic Khancepts Scales. This book is the natural continuation and completion of the process Steve began in his book Contemporary Chord Khancepts. In this new book, Steve shares his unique approach to improvising for guitarists of all genres - rock, latin, funk, country, jazz and alternative. Includes a CD of music examples, plus numerous play-along tracks for you to use as you practice and hone your impovisational skills. Published by Warner Brothers. (WB0667B)See more info...ToC No WB0667B

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Pentatonic Scales for GuitarThe Essential Guide. By Chad Johnson. Scales. Guitar Educational. Book and CD package. With notes and tablature. Size 9x12 inches. 40 pages. Published by Hal Leonard. See more info...ToC No HL695699

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Gig Savers: Rock Scales - A Basic Guideby Corey Christiansen. For Guitar (Electric). technique. Gig Savers. Rock. Level: Beginning. Book. Size 5.5x8. 16 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB20025Review:

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Major Pentatonic Scales For GuitarEnglish Edition. Pocket Guide. Scales. Size 4.5x12 inches. 32 pages. Published by Hal Leonard. See more info...ToC No HL695013

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Minor Pentatonic Scales for GuitarEnglish Edition. By John Stix and Yoichi Arakawa. Scales. Pocket Guide. Size 4.5x12 inches. 24 pages. Published by Hal Leonard. See more info...ToC No HL695014

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Rock Lead Scales for Guitarby Mike Christiansen. For electric guitar. Value Line. Rock, rock & blues. Scales. Level: Beginning. Book/CD package. Technique. Size 8.75x11.75. 48 pages. Published by Mel Bay Pub., Inc. See more info...ToC No MB96538BCD

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Dave Celentano - Killer Pentatonics for GuitarBook and CD package. Scales. With notes and tablature. Size 9x12 inches. 48 pages. Published by Centerstream Publications. See more info...ToC No CP285Review:

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Rock scales For GuitarWith Tablature. Hal Leonard Guitar Method. Scales. Size 9x12 inches. 16 pages. Published by Hal Leonard. See more info...ToC No HL699164

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The Ultimate Rock Guitar Scale FinderThis companion volume to The Ultimate Rock Guitar Chord Finder helps players figure out the Scales if they know the chords. It covers pentatonic scales, blue scales, all of the modes, and all types of rock scales, featuring those popularized by Jimi Hendrix, Frank Zappa, Stevie Ray Vaughan, Nuno Bettencourt, and Steve Vai. Also included are tables showing where to find the right scales in any key. Guitar. Size 9x12 inches. 48 pages. Published by Hal Leonard. See more info...ToC No HL697235

Order from:SheetmusicPlusMusicRoom

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Blues Guitar - Lesson 22: Pentatonic scale boxes in all positions

Askold Buk - Practical Pentatonics (Guitar)Practical Pentatonics is an excellent introduction to the pentatonic scales. Mr. Buk diagrams the minor and major pentatonic scales in standard notation and tabulature up and down the fretboard. He additionally presents some nice little riffs along with each position. After introducing us to the pentatonics, he introduces some useful techniques such as string bending, combining patterns and scales, arpeggios, string skipping and more. 44 pages, 4.5 x 12. Published by Amsco. See more info...ToC No AM931326Review:

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The Gig Bag Book Of Practical Pentatonics For All GuitaristsScales. By Matt Scharfglass. Guitar Method. 160 pages, 4.5 x 12, softcover. Published by Amsco. See more info...ToC No AM948805Review:

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Improvising 1 Rock Scale SoloingModern Record IncludedFretted instrument method/supplement (Guitar). 52 pages. Published by Warner Brothers. See more info...ToC No WBPMP00003Review:

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Pentatonics And Power ChordsBy A. Kadmon. guitar. Published by Carl Fischer. See more info...ToC No CFHPB8Review:

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Blues Scales / Minor Pentatonic Scales

● Blues Guitar Lesson 18: The minor pentatonic scale - a simplified blues scale in A

● Blues Guitar Lesson 19: The "Blue notes" - the blues scale in A

● Blues Guitar Lesson 20: The relation between the "Long A" chord and the blues scale

● Blues Guitar Lesson 21: Blues scale in E

● Blues Guitar Lesson 22: Pentatonic scale boxes in all positions

● Minor Pentatonic Scale in Open D tuning

● Minor Pentatonic Scale in Open G tuning

● Books and videos on Scales

Lesson 21: Blues scale in E

Lesson 23: The moveable D / D7 shape

Further references

Ls:G1 2004-05, Ls:GT 2002-08

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar - The moveable D / D7 shape

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

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Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar - Lesson 23: The moveable D / D7 shape

Lesson 22: Pentatonic scale boxes in all positions

Lesson 24: 8-bar blues

The D chord is often the first chord people learn to play. But this simple chord shape is very useful.

We will start with the D7-fingering that was presented in Lesson 14. From there you can get to the D-chord by fretting the 2nd string 3rd fret with you 4th finger. If you are changing between D and D7, this might be a good fingering. But usually a fingering with 1st, 2nd and 3rd finger is better.

If you make a side-step to my Fingering of the G-chord lesson, you will see that you can make a rather smooth change from D to G and vice versa with this fingering. It is also easy to move the 1st and 2nd finger across for a simple fingering of the A7 chord.

The next fingering starts from a position where you make a partial barré on 2nd fret over 1st, 2nd and 3rd string, and then finger 2nd string 3rd fret with 2nd finger. This position leaves you with your 3rd and 4th fingers free.

We start from the last fingering in the row above. You can go to 1st string 5th fret with your 4th finger. You can go to 4th string, 4th fret with your 3rd finger. You can do this while keeping the 4th finger on 1st string 5th fret, or you can play 2nd fret as part of the barré.

The chord shape at the far right is actually a C-shape played over a partial barré in 2nd fret. With this chord, you should see that the C-shape and the D-shape are closely related. It is a bit hard to finger, but it is nice to know. As it is a closed position, you can move it around. Use the same trick as I recommended for the shuffle, move it up some frets if you feel that your fingers are too short.

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Blues Guitar - The moveable D / D7 shape

There is one more fingering I will present, before we start to move around. This is a closed voicing on inner strings. Closed voicing mean that you do not play any open strings. You should notice that it is all within the last chord in the previous row, so it is really a fraction of this chord. You can also notice that it is the chord that we played as part of the harmonized shuffle from the A-chord. It gives you the first inversion of the D-chord.

The only move we will do in this lesson, is up two frets. This will give us the E or E7 chord.

Be careful with open strings when you start to move the chord around. As an E-chord, you can of course use the open E-string. But the A and D string will not work with this chord (unless you expand it with some of the fingerings shown for the D-chord)

I do not indicate any fingering this time. From the discussion on fingering of the D-chord, you should be able to see the various possibilities, and their pros and cons.

Go back to to Lesson 13: 16-bar blues, and you will find an arrangemet based on this chord shape.

Listen to Eric Clapton's unplugged version of Before You Accuse Me for an example where this chord-shape is used in a 12-bar blues in E.

Click here for a 12 bar blues in E based on moveable D-shape and Long A in Finale format [not there yet]. It is written as a fingerpicking arrangement with monotone bass. But in this lesson, it is the chords and not the fingerpicking that is important.

Chord shuffle lick

This is a shuffle lick based on the D-shape. It is of course movable. Here it is written in D. But if you move it up two frets, you are in E. Add another five frets (starting at 9th fret), and you are in A.

Before You Accuse me and other songs

If you want to look more into Eric Clapton'sBefore You Accuse Me and other unplugged blues, take a will recommend:

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Blues Guitar - The moveable D / D7 shape

Bestseller!

Eric Clapton: From The Album Eric Clapton UnpluggedSignature Licks. Acoustic Rock. Performed by Eric Clapton, written by Wolf Marshall. For guitar. Includes instructional book and examples CD. With standard guitar notation, guitar tablature, vocal melody, lyrics, chord names, guitar chord diagrams, guitar notation legend, introductory text, instructional text and performance notes. Blues rock and adult contemporary. Series: Hal Leonard . 72 pages. 9x12 inches. Published by Hal Leonard. See more info...ToC No HL695250Review:

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Eric Clapton: From The Album Eric Clapton UnpluggedAcoustic Rock. Performed by Eric Clapton. For guitar and voice. Format: guitar tablature songbook. With standard guitar notation, guitar tablature, vocal melody, lyrics, chord names, guitar chord diagrams and guitar notation legend. Blues rock and adult contemporary. Series: Hal Leonard Guitar Recorded Versions. 112 pages. 9x12 inches. Transcribed by Jesse Gress. Published by Hal Leonard. (HL694869)See more info...

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Lesson 22: Pentatonic scale boxes in all positions

Lesson 24: 8-bar blues

Home

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Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar - 8-bar blues

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar Lesson 24 - 8-bar blues

Lesson 23: The moveable D / D7 shape

Lesson 24 B: 8-bar blues in A

The 8-bar blues is another standard progression. The most well known song with this progression is probably Big Bill Broonzy's Key To The Highway. Other songs are Crow Jane and Sliding Delta.

The progression has two lines, with the following chord structure:

I V7 IV IV

I V7 I V7

8-bar blues in E

In E this will be:

E B7 A(7) A(7)

E B7 E B7

Note the use of Moveable D/D7 shape and Long A in the following arrangement of an 8-bar blues in E.

Backing Track B8These are MIDI backing tracks of 8-bar Blues. For more information, go to lesson on bluesprogression in the chord progression series. They are in 8 keys and three tempos (65, 90 and 120). Use them to get the sound of the cords, and as backing tracks. They are long 10-15 minutes, which makes them boring as listening track, but good for practise. Download all files as a zip-file.

65 very slow C D Eb E F G A Bb

90 Slow C D Eb E F G A Bb

120 Medium C D Eb E F G A Bb

8-bar Blues in E

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Blues Guitar - 8-bar blues

Download Finale File

PDF-File

More on 8-bar blues in E

The magazine Acoustic Guitar has put some lessons on the net. They are taken from books that they publish, and they do of course hope that you will like the lessons, want some more and buy the books. The lessons are complete, with tab, sound files etc. Among the lessons are one on Crow Jane, written bySteve James,based on Skip James' recording of the theme.

Other blues progessions (than the 12-bar Blues)

● Progressions: 8, 16 and 24 bar blues

● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Books and videos on Acoustic Blues Guitar

Fingerpicking Blues Gutiar Lessons

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Blues Guitar - 8-bar blues

● Blues Guitar Lesson 12: An introduction to blues fingerpicking

● Blues Guitar Lesson 12B: Monotone bass fingerpicking

● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 15: Fingerpicking monotone bass in A

● Blues Guitar Lesson 15B: Fingerpicking monotone bass in A – Betty Blues

● Blues Guitar Lesson 15C: Fingerpicking Instrumental in A

● Blues Guitar Lesson 16: The "Long A" chord

● Blues Guitar Lesson 17: A shuffle solo

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A - Key To The Highway

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Tritone Blues - Part 1 * Part 2 * Part 3

● Pony Blues● Willie Brown's Mississippi

Blues ● Dropped D tuning,

Alternating bass, See See Rider

● A 12 bar blues in G. ● G-Boogie . ● Rev Gary Davis is Funny

That Way ● C-major: C C Rider● C-major: Cocaine Blues ● C-major: Blues Rag in C ● Diddie Has Something

There● Books and videos on

Acoustic Blues Guitar

Lesson 23: The moveable D / D7 shape

Lesson 24 B: 8-bar blues in A

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar - 8-bar blues

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar Lesson 24 C- 8-bar blues in A – Come Back Baby

Lesson 24 B: 8-bar blues in A

Pony Blues

Come Back Baby

The next tune was very popular in the 60's, at least in Europe. The first recording I know, was done by Jack Dupree, but the arrangement that has been most popular is - to my knowledge - based on the playing of Snooks Eaglin. The song is recorded by many artists, including Lightnin' Hopkins, Dave van Ronk, Davey Graham, Bert Jansch and Stefan Grossman. It is a variation of an 8-bar form in A, but is different from "Key to the Highway".

New Lessons

● Open C Tuning● Silent Night in Open C Tuning● Minor Blues● Reading Music - Lesson 3● Reading Music - Reading

Chords● Blues Turnarounds● A Chord Excercise - jazzy 7th

chords● Open Chords

Sign up for the Newsletter to get information on new lessons.

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Blues Guitar - 8-bar blues

Download Finale File

PDF-File

In the introduction, we once again meet the Lightnin' Hopkins Lick, but now in A. At the end of the first bar of the verse, the "moveable D7" is played as an A7 chord on 8th and 9th fret. From here you slide your fourth finger down from 9th to 5th fret, and continue with the "long A". It is not too easy, but it sounds nice. You also get at chance to practise the long A combined with a blues scale.

Note that an F-chord has sneaked into the arrangement. It does not really belong to the key, but it works well here. The tune is a bit "minorish", and in this context the F-chord function as some kind of an Dm substitution. You can read more about this substitution in my Chord Progressions series. You can play the F-chord either with a barré over all 6 strings in 1st fret, or by using the thumb around the neck.

Lightnin' Hopkins lick in A.

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Blues Guitar - 8-bar blues

My favorite recordings of "Come Back Baby".Snooks EaglinI think of this as "the original". Snooks Eaglin's album New Orleans Street Singer is a fantastic record from 1958. I have heard several other records by Snooks Eaglin, but none of them comes close to this one.

FromAmazon UK From Amazon US

Bert JanschIt might be politically incorrect to list a white Scottish guitar player among my favorite. But I really like his playing. Bert Jansch' is a fantastic guitarist and one of the most innovative and influential acoustic players. The lead guitarist of Led Zeppelin, Jimmi Page (or maybe it was Pete Townshend of The Who or may be it was Neil Young ...) has called him The Jimi Hendrix of acoustic guitar. Bert Jansch recordedCome Back Baby on the albumNicola. It is now reissued coupled with the album Jack Orion on one CD called Jack Orion/Nicola. It does not seem to be available in US - unfortunately.

FromAmazon UK

Other blues progessions (than the 12-bar Blues)

● Progressions: 8, 16 and 24 bar blues ● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Books and videos on Acoustic Blues Guitar

Fingerpicking Blues Gutiar Lessons

● Blues Guitar Lesson 12: An introduction to blues fingerpicking

● Blues Guitar Lesson 12B: Monotone bass fingerpicking

● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues● Blues Guitar Lesson 15:

Fingerpicking monotone bass in A● Blues Guitar Lesson 15B:

Fingerpicking monotone bass in A – Betty Blues

● Blues Guitar Lesson 15C: Fingerpicking Instrumental in A

● Blues Guitar Lesson 16: The "Long A" chord

● Blues Guitar Lesson 17: A shuffle solo

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A - Key To The Highway

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Tritone Blues - Part 1 * Part 2 * Part 3

● Pony Blues● Willie Brown's Mississippi Blues ● Dropped D tuning, Alternating

bass, See See Rider

● A 12 bar blues in G. ● G-Boogie . ● Rev Gary Davis is Funny That

Way ● C-major: C C Rider● C-major: Cocaine Blues ● C-major: Blues Rag in C ● Diddie Has Something There● Books and videos on Acoustic

Blues Guitar

Lesson 24 B: 8-bar blues in A

Pony Blues

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar - Pony Blues

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Pony Blues

Lesson 24 C- 8-bar blues in A Come Back Baby

Mississippi Blues

Pony Blues is one of the themes you can hear in many variations. Some classic versions are Charley Patton's "Pony Blues" and "Stone Poney Blues", Tommy Johnson's "Bye Bye Blues", and not to forget Willie Brown's "M&O Blues". The pony that is probably best know today is Big Bill Broonzy's "Hey, Hey", made popular recently by Eric Clapton's recording of the song on his Unplugged album.

Pony Blues Theme

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Blues Guitar - Pony Blues

Download Finale File

PDF-File

If you, as me, like Big Bill Broonzy's "Hey, Hey", there are at least two sources. The first, and in my opinion the best, is to turn to the original. The song is transcribed and analyzed in Woody Mann's book/CD set on Big Bill Broonzy's.

Woody Mann: Guitar of Big Bill BroonzyIn this comprehensive new audio lesson, Woody Mann explores the ideas, techniques, and styles of this legendary musician who has influenced generations of guitarists. The CDs contain three full hours of instruction featuring note-by-note, phrase-by-phrase instruction. Selections include: House Rent Stomp; Brownskin Shuffle; Moppin' Blues; Hey, Hey; Worryin' You Off My Mind; Stove Pipe Stomp; and Saturday Night Rub. Written in standard notation and tablature. Includes 3 CD's. SG98508BCDSee more info...

Order from:SheetmusicPlus

The other option is of course to get the transcriptions of all the songs on Eric Clapton's Unplugged album.

Bestseller!

Eric Clapton: From The Album Eric Clapton UnpluggedSignature Licks. Acoustic Rock. Performed by Eric Clapton, written by Wolf Marshall. For guitar. Includes instructional book and examples CD. With standard guitar notation, guitar tablature, vocal melody, lyrics, chord names, guitar chord diagrams, guitar notation legend, introductory text, instructional text and performance notes. Blues rock and adult contemporary. Series: Hal Leonard . 72 pages. 9x12 inches. Published by Hal Leonard. See more info...ToC No HL695250Review:

Order from:SheetmusicPlus From MusicRoom

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Blues Guitar - Pony Blues

Eric Clapton: From The Album Eric Clapton UnpluggedAcoustic Rock. Performed by Eric Clapton. For guitar and voice. Format: guitar tablature songbook. With standard guitar notation, guitar tablature, vocal melody, lyrics, chord names, guitar chord diagrams and guitar notation legend. Blues rock and adult contemporary. Series: Hal Leonard Guitar Recorded Versions. 112 pages. 9x12 inches. Transcribed by Jesse Gress. Published by Hal Leonard. (HL694869)See more info...

Order from:SheetmusicPlusMusicRoom

For other versions of this and more classic blues, I recommend:

Rory Block - Classics of Country Blues GuitarRobert Johnson is the best known of the intensely powerful musicians who created these songs in the early part of the Twentieth Century, but he was by no means the only outstanding player. You’ll also learn the sounds and styles of great artists such as Willie Moore, Tommy Johnson, Mississippi John Hurt, Willie Brown, Skip James, Blind Blake and the Reverend Robert Wilkins. The classic tunes she teaches include: Old Country Rock * Statesboro Blues * Big Road Blues * Canned Heat * Walkin' Blues * Cross Road Blues * Frankie and Albert * Future Blues * M&O Blues * Police Dog Blues * Devil Got My Man * Mississippi Blues * Ain't No Way for Me to Get Along. SIX CDs * LEVEL 4 * Homespun Tapes (Instructional). Book and CD package. With notes and tablature. Size 8.5x11 inches. Published by Homespun. ()Chosen as Book of the Month January 2003See more info...ToC No HL841708

Order from:SheetmusicPlus

Fingerpicking Blues Gutiar Lessons

● Blues Guitar Lesson 12: An introduction to blues fingerpicking

● Blues Guitar Lesson 12B: Monotone bass fingerpicking

● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 15: Fingerpicking monotone bass in A

● Blues Guitar Lesson 15B: Fingerpicking monotone bass in A – Betty Blues

● Blues Guitar Lesson 15C: Fingerpicking Instrumental in A

● Blues Guitar Lesson 16: The "Long A" chord

● Blues Guitar Lesson 17: A shuffle solo

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A - Key To The Highway

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Tritone Blues - Part 1 * Part 2 * Part 3

● Pony Blues● Willie Brown's Mississippi

Blues ● Dropped D tuning,

Alternating bass, See See Rider

● A 12 bar blues in G. ● G-Boogie . ● Rev Gary Davis is Funny

That Way ● C-major: C C Rider● C-major: Cocaine Blues ● C-major: Blues Rag in C ● Diddie Has Something There● Books and videos on

Acoustic Blues Guitar

Lesson 24 C- 8-bar blues in A Come Back Baby

Mississippi Blues

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar - Pony Blues

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Mississippi Blues

Pony BluesTritone Blues

Part 1

Mississippi Blues - verse

The next tune is «Mississippi Blues», which was recorded for the Library of Congress by one Willie Brown. We know next to nothing about this , who is not the Willie Brown who played with Charley Patton and Son House, and who recorded classics such as «M & O Blues» and «Future Blues».

«Mississippi Blues» imitates blues piano playing of the 1920s-talls blues piano, and it shows you some of the possibilities of A.major. It is a classic. It is the graduation piece for blues fingerpickers. If you can play this, you can play fingerstyle delta blues guitar. Many guitarist have recorded this tune, among others Stefan Grossman, Rory Block and Jorma Kaukonen. It is often played as an instrumental, but Willie Brown played the verse as backing to his singing.

Mississippi Blues - verse

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Blues Guitar - Pony Blues

Download the Finale File

Mississippi Blues - break

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Blues Guitar - Pony Blues

Download the Finale File

Mississippi Blues- vers + break

Fingerpicking Blues Gutiar Lessons

● Blues Guitar Lesson 12: An introduction to blues fingerpicking

● Blues Guitar Lesson 12B: Monotone bass fingerpicking

● Blues Guitar Lesson 13: 16-bar blues● Blues Guitar Lesson 24 - 8-bar blues● Blues Guitar Lesson 15: Fingerpicking

monotone bass in A● Blues Guitar Lesson 15B: Fingerpicking

monotone bass in A – Betty Blues● Blues Guitar Lesson 15C: Fingerpicking

Instrumental in A● Blues Guitar Lesson 16: The "Long A"

chord

● Blues Guitar Lesson 17: A shuffle solo

● Blues Guitar Lesson 24 - 8-bar blues● Blues Guitar Lesson 24 B- 8-bar

blues in A - Key To The Highway● Blues Guitar 24 C- 8-bar blues in A

– Come Back Baby ● Tritone Blues - Part 1 * Part 2 * Part

3 ● Pony Blues● Willie Brown's Mississippi Blues ● Dropped D tuning, Alternating bass,

See See Rider

● A 12 bar blues in G. ● G-Boogie . ● Rev Gary Davis is Funny That Way ● C-major: C C Rider● C-major: Cocaine Blues ● C-major: Blues Rag in C ● Diddie Has Something There● Books and videos on Acoustic Blues

Guitar

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Blues Guitar - Pony Blues

Pony BluesTritone Blues

Part 1

Home

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Blues Guitar - Tritone Blues Part 1

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Tritone Blues - Part 1

Mississippi BluesTritone Blues

Part 2

Tritone is an interval with three whole-steps. In a normal major scale, you find the tritone between the 4th and 7th note, which is F and B in the key of C. The tritone might also be called an augmented fourth. A perfect fourth consists of two whole-steps and a half step, while the augmented fourth have three whole steps. If you listen to the tritone, you should notice that it is a disharmonic interval, with a restless sound that call for some kind of harmonic resolution.

The tritone is the half of an octave, thus dividing the octave in two equal parts. If you take the interval B to F in the key of C-major, you will notice that it consists of two whole steps (C-D and D-E), and two half-steps (B-C and E-F). This interval is called a diminished fifth. But both the tritone and the diminished fifth have six half steps, meaning that the distance from bottom to top is the same. The ear cannot tell the difference between the two intervals, at least not when they are not played in a musical context. In theory they are different, but in practice they are (almost) the same.

Now you should notice that F and B are two of the notes in a G7 chord. If you start from a G-major chord, with the notes G-B-D, and add the minor 7th (F), you have G-B-D-F. And there you have the diminished fifth between B and F, and you will have the F to B tritone if you invert the chord. And now one of the lessons to lean: It is the tritone or diminished fifth that gives the 7th chord it's character. If you are in C-major, the B is often referred to as the leading note, while the F might be called a leaning note. The diminished fifth between B and F creates a tension. The tension is resolved when you go from B to C and F to E, and by that going from the diminished fifth to a major third (C to F). You can omit the other notes from the chord, both the G and the D, and it will still function as a G7. Try playing just the interval B-F instead of a G7, and it still works. But if you take away the B and/or the F, it will no longer function as a G7 chord.

If you compare a G7 and a Gm7, you should notice that the minor7 has a much smoother and more jazzy sound, and it does not create the same tension as the G7. One major difference is that there is no tritone in a m7 chord. The Gm7 consists of G-Bb-D-F. From Bb to F there is a perfect fifth, and from F to Bb there is a perfect fourth. The minor 7th interval from G to F and the corresponding major second from F to G are two dissonant intervals. But they are not as dissonant as the tritone/diminished fifth. And the G7 has the dissonant tritone/diminished fifth in addition to the minor 7th/major second.

You will also find the diminished fifth in the diminished chord. The diminished chord consists of to minor thirds on top of each other. A Bdim (also notated as B°) have the notes B-D-F. And now you should note that if you have a G and put a Bdim chord on top of it, you get a G7 chord. There are some clues to chord substitution in this knowledge, but this will not be covered in this lesson.

The tritone / diminished fifth is an easy interval to finger on the guitar. You find it in these positions:

xxxxx

Then we can play a simple 12-bar blues in the key of A, with the the root note in the bass, and the VIIb-III tritone interval of each chord. I fingerpick, with a monotone bass technique.

Simple Tritone Blues 1 in A

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Blues Guitar - Tritone Blues Part 1

PDF-File

In the next 12-bar blues, I utilize the magic of inverting these chords. The VIIb-III tritone interval of an A7 chord is G - C#. Now the III-VIIb diminished fifth interval in a D7 is F# - C. This means that you can just move the "chord" one fret down, and then you have the inverted interval of the IV7 chord. And then there is no prize for guessing that you can move this "chord" up two fret to the V7 chord. You should also try to slide into these position from one fret below or one fret above, and you can slide from the V7 to the IV7 chord. I will play one round of 12-bar blues with a bass-lick combined with a tritone that goes like this:

Bestseller!

Dave Rubin: 12 Bar BluesIn the book, Dave Rubin explores the 12 bar blues form. The term '12-bar blues' has become synonymous with blues music and is the basis for an incredible body of jazz, rock 'n' roll, and other forms of popular music. This book/CD pack is solely devoted to providing guitarists with all the technical tools necessary for playing 12-bar blues with authority. The CD includes 24 full-band tracks. Covers: boogie, shuffle, swing, riff, and jazzy blues progressions; Chicago, minor, slow, bebop, and other blues styles; soloing, intros, turnarounds, accompanying keyboards and more. This is one of my favorites! See more info...This book was selected as Guitar Book of the Month - July 2002

Order from:SheetmusicPlus (US)MusicRoom (UK)

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Blues Guitar - Tritone Blues Part 1

ToC No HL695187Review:

Dave Rubin: The Art of the Shuffle.As the name says, the book focuses on the shuffle, and not the blues as such. It explores shuffle, boogie and swing rhythms for guitar. Includes tab and notation, and covers Delta, country, Chicago, Kansas City, Texas, New Orleans, West Coast, and bebop blues. As the name says, the book focuses on the shuffle, and not the blues as such. But as all examples are in a 12-bar blues format, it will take you through various blues progressions, as an added bonus to the exploration of the shuffle style. (HL695005) See more info...

Order From:SheetmusicPlus MusicRoom (UK)Amazon UK

Jim Ferguson - All Blues for Jazz GuitarJazz-Blues. By Jim Ferguson. Book/CD package. Rhythm/backup. Jim Ferguson has a jazz approach to the blues, which means jazz comping and more sophisticated chords. In this book you will learn many arrangements based on three-note 7th chords (which often could be labeled as dim chords) in a blues context. (There are many other chords as well). Unless jazz is you main interest, I will suggest that you start with Dave Rubin's 12 Bar Blues, before going on with Jim Ferguson's book. 92 pages. Published by Guitar Master Class Pub. - Mel Bay Fingerstyle Jazz. ToC No MB96842BCD

This book was selected as Book of the Month February 2003

Amazon UK Order from:SheetmusicPlus (US)

Gig Savers: Blues ChangesFor Serious Players. by Corey Christiansen. For Guitar (All). Rhythm/backup. Progressions. Gig Savers. Blues. Level: Beginning. Book. Size 5.5x8. 16 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB20030Review:

Order from:SheetmusicPlus

Comping the BluesJazz-Blues. By Frank Vignola. For Guitar (Flatpick). accompaniment. Vignola Play Along. Jazz. Level: Intermediate. Book. Size 8.75x11.75. 16 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB99768Review:

Order from:SheetmusicPlus

For more on tritones and the diminished chord, go to:● Theory: Tritone interval● Theory: The diminished

triad● Theory: The dominant 7th

chord● Chords: dim chords

● Chords: Dim7 chords● Progressions: Chord -

diminished● Progressions: V7-I change

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6 * Part 7

● The same in Theory: The Flat-five Substitution

● Song: The Beatles' song Michelle

12-bar blues

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Blues Guitar - Tritone Blues Part 1

● Classic Lesson: 1 - BASIC BLUES

● Blues Guitar Lesson 1: The 12 bar blues in E

● Blues Guitar Lesson 2: Some variations of the 12-bar blues in E

● Chord Progressions: Basic 12-bar blues

● Lesson 14: Blues in A - introduction

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar – Add the m7 chord - Part 2 * Part 3 * Part 4

● The same in Theory: The Flat-five Substitution

Fingerpicking Blues Gutiar Lessons

● Blues Guitar Lesson 12: An introduction to blues fingerpicking

● Blues Guitar Lesson 12B: Monotone bass fingerpicking

● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 15: Fingerpicking monotone bass in A

● Blues Guitar Lesson 15B: Fingerpicking monotone bass in A – Betty Blues

● Blues Guitar Lesson 15C: Fingerpicking Instrumental in A

● Blues Guitar Lesson 16: The "Long A" chord

● Blues Guitar Lesson 17: A shuffle solo

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A - Key To The Highway

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Tritone Blues - Part 1 * Part 2 * Part 3

● Pony Blues● Willie Brown's Mississippi

Blues ● Dropped D tuning,

Alternating bass, See See Rider

● A 12 bar blues in G. ● G-Boogie . ● Rev Gary Davis is Funny

That Way ● C-major: C C Rider● C-major: Cocaine Blues ● C-major: Blues Rag in C ● Diddie Has Something

There● Books and videos on

Acoustic Blues Guitar

Mississippi BluesTritone Blues

Part 2

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar - Tritone Blues - Part 2

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Tritone Blues - Part 2

Tritone BluesPart 1

Tritone BluesPart 3

The next example is the same as the previous, with a different fingering. Now we do not have open stings in the tritone, which make these shapes moveable.

Download Finale File

PDF-File

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Blues Guitar - Tritone Blues - Part 2

Bestseller!

Dave Rubin: 12 Bar BluesIn the book, Dave Rubin explores the 12 bar blues form. The term '12-bar blues' has become synonymous with blues music and is the basis for an incredible body of jazz, rock 'n' roll, and other forms of popular music. This book/CD pack is solely devoted to providing guitarists with all the technical tools necessary for playing 12-bar blues with authority. The CD includes 24 full-band tracks. Covers: boogie, shuffle, swing, riff, and jazzy blues progressions; Chicago, minor, slow, bebop, and other blues styles; soloing, intros, turnarounds, accompanying keyboards and more. This is one of my favorites! See more info...This book was selected as Guitar Book of the Month - July 2002ToC No HL695187Review:

Order from:SheetmusicPlus (US)MusicRoom (UK)

Dave Rubin: The Art of the Shuffle.As the name says, the book focuses on the shuffle, and not the blues as such. It explores shuffle, boogie and swing rhythms for guitar. Includes tab and notation, and covers Delta, country, Chicago, Kansas City, Texas, New Orleans, West Coast, and bebop blues. As the name says, the book focuses on the shuffle, and not the blues as such. But as all examples are in a 12-bar blues format, it will take you through various blues progressions, as an added bonus to the exploration of the shuffle style. (HL695005) See more info...

Order From:SheetmusicPlus MusicRoom (UK)Amazon UK

Jim Ferguson - All Blues for Jazz GuitarJazz-Blues. By Jim Ferguson. Book/CD package. Rhythm/backup. Jim Ferguson has a jazz approach to the blues, which means jazz comping and more sophisticated chords. In this book you will learn many arrangements based on three-note 7th chords (which often could be labeled as dim chords) in a blues context. (There are many other chords as well). Unless jazz is you main interest, I will suggest that you start with Dave Rubin's 12 Bar Blues, before going on with Jim Ferguson's book. 92 pages. Published by Guitar Master Class Pub. - Mel Bay Fingerstyle Jazz. ToC No MB96842BCD

This book was selected as Book of the Month February 2003

Amazon UK Order from:SheetmusicPlus (US)

Gig Savers: Blues ChangesFor Serious Players. by Corey Christiansen. For Guitar (All). Rhythm/backup. Progressions. Gig Savers. Blues. Level: Beginning. Book. Size 5.5x8. 16 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB20030Review:

Order from:SheetmusicPlus

Comping the BluesJazz-Blues. By Frank Vignola. For Guitar (Flatpick). accompaniment. Vignola Play Along. Jazz. Level: Intermediate. Book. Size 8.75x11.75. 16 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB99768Review:

Order from:SheetmusicPlus

For more on tritones and the diminished chord, go to:● Theory: Tritone interval● Theory: The diminished

triad● Theory: The dominant 7th

chord● Chords: dim chords

● Chords: Dim7 chords● Progressions: Chord -

diminished● Progressions: V7-I change

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6 * Part 7

● The same in Theory: The Flat-five Substitution

● Song: The Beatles' song

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Blues Guitar - Tritone Blues - Part 2

Michelle

12-bar blues

● Classic Lesson: 1 - BASIC BLUES

● Blues Guitar Lesson 1: The 12 bar blues in E

● Blues Guitar Lesson 2: Some variations of the 12-bar blues in E

● Chord Progressions: Basic 12-bar blues

● Lesson 14: Blues in A - introduction

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar – Add the m7 chord - Part 2 * Part 3 * Part 4

● The same in Theory: The Flat-five Substitution

Fingerpicking Blues Gutiar Lessons

● Blues Guitar Lesson 12: An introduction to blues fingerpicking

● Blues Guitar Lesson 12B: Monotone bass fingerpicking

● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 15: Fingerpicking monotone bass in A

● Blues Guitar Lesson 15B: Fingerpicking monotone bass in A – Betty Blues

● Blues Guitar Lesson 15C: Fingerpicking Instrumental in A

● Blues Guitar Lesson 16: The "Long A" chord

● Blues Guitar Lesson 17: A shuffle solo

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A - Key To The Highway

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Tritone Blues - Part 1 * Part 2 * Part 3

● Pony Blues● Willie Brown's Mississippi

Blues ● Dropped D tuning,

Alternating bass, See See Rider

● A 12 bar blues in G. ● G-Boogie . ● Rev Gary Davis is Funny

That Way ● C-major: C C Rider● C-major: Cocaine Blues ● C-major: Blues Rag in C ● Diddie Has Something

There● Books and videos on

Acoustic Blues Guitar

Tritone BluesPart 1

Tritone BluesPart 3

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar - Tritone Blues - Part 3

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar - Tritone Blues - Part 3

Tritone BluesPart 2

Tritone BluesPart 4

In the next 12-bar blues, I utilize the magic of inverting these chords. The VIIb-III tritone interval of an A7 chord is G - C#. Now the III-VIIb diminished fifth interval in a D7 is F# - C. This means that you can just move the "chord" one fret down, and then you have the inverted interval of the IV7 chord. And then there is no prize for guessing that you can move this "chord" up two fret to the V7 chord. You should also try to slide into these position from one fret below or one fret above, and you can slide from the V7 to the IV7 chord.

Tritone Blues with Inverted Chords

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Blues Guitar - Tritone Blues - Part 3

Download Finale File

PDF-File

Bestseller!

Dave Rubin: 12 Bar BluesIn the book, Dave Rubin explores the 12 bar blues form. The term '12-bar blues' has become synonymous with blues music and is the basis for an incredible body of jazz, rock 'n' roll, and other forms of popular music. This book/CD pack is solely devoted to providing guitarists with all the technical tools necessary for playing 12-bar blues with authority. The CD includes 24 full-band tracks. Covers: boogie, shuffle, swing, riff, and jazzy blues progressions; Chicago, minor, slow, bebop, and other blues styles; soloing, intros, turnarounds, accompanying keyboards and more. This is one of my favorites! See more info...This book was selected as Guitar Book of the Month - July 2002ToC No HL695187Review:

Order from:SheetmusicPlus (US)MusicRoom (UK)

Dave Rubin: The Art of the Shuffle.As the name says, the book focuses on the shuffle, and not the blues as such. It explores shuffle, boogie and swing rhythms for guitar. Includes tab and notation, and covers Delta, country, Chicago, Kansas City, Texas, New Orleans, West Coast, and bebop blues. As the name says, the book focuses on the shuffle, and not the blues as such. But as all examples are in a 12-bar blues format, it will take you through various blues progressions, as an added bonus to the exploration of the shuffle style. (HL695005) See more info...

Order From:SheetmusicPlus MusicRoom (UK)Amazon UK

Jim Ferguson - All Blues for Jazz GuitarJazz-Blues. By Jim Ferguson. Book/CD package. Rhythm/backup. Jim Ferguson has a jazz approach to the blues, which means jazz comping and more sophisticated chords. In this book you will learn many arrangements based on three-note 7th chords (which often could be labeled as dim chords) in a blues context. (There are many other chords as well). Unless jazz is you main interest, I will suggest that you start with Dave Rubin's 12 Bar Blues, before going on with Jim Ferguson's book. 92 pages. Published by Guitar Master Class Pub. - Mel Bay Fingerstyle Jazz. ToC No MB96842BCD

This book was selected as Book of the Month February 2003

Amazon UK Order from:SheetmusicPlus (US)

Gig Savers: Blues ChangesFor Serious Players. by Corey Christiansen. For Guitar (All). Rhythm/backup. Progressions. Gig Savers. Blues. Level: Beginning. Book. Size 5.5x8. 16 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB20030Review:

Order from:SheetmusicPlus

Comping the BluesJazz-Blues. By Frank Vignola. For Guitar (Flatpick). accompaniment. Vignola Play Along. Jazz. Level: Intermediate. Book. Size 8.75x11.75. 16 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB99768Review:

Order from:SheetmusicPlus

For more on tritones and the diminished chord, go to:

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Blues Guitar - Tritone Blues - Part 3

● Theory: Tritone interval● Theory: The diminished

triad● Theory: The dominant 7th

chord● Chords: dim chords

● Chords: Dim7 chords● Progressions: Chord -

diminished● Progressions: V7-I change

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6 * Part 7

● The same in Theory: The Flat-five Substitution

● Song: The Beatles' song Michelle

12-bar blues

● Classic Lesson: 1 - BASIC BLUES

● Blues Guitar Lesson 1: The 12 bar blues in E

● Blues Guitar Lesson 2: Some variations of the 12-bar blues in E

● Chord Progressions: Basic 12-bar blues

● Lesson 14: Blues in A - introduction

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar – Add the m7 chord - Part 2 * Part 3 * Part 4

● The same in Theory: The Flat-five Substitution

Fingerpicking Blues Gutiar Lessons

● Blues Guitar Lesson 12: An introduction to blues fingerpicking

● Blues Guitar Lesson 12B: Monotone bass fingerpicking

● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 15: Fingerpicking monotone bass in A

● Blues Guitar Lesson 15B: Fingerpicking monotone bass in A – Betty Blues

● Blues Guitar Lesson 15C: Fingerpicking Instrumental in A

● Blues Guitar Lesson 16: The "Long A" chord

● Blues Guitar Lesson 17: A shuffle solo

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A - Key To The Highway

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Tritone Blues - Part 1 * Part 2 * Part 3

● Pony Blues● Willie Brown's Mississippi

Blues ● Dropped D tuning,

Alternating bass, See See Rider

● A 12 bar blues in G. ● G-Boogie . ● Rev Gary Davis is Funny

That Way ● C-major: C C Rider● C-major: Cocaine Blues ● C-major: Blues Rag in C ● Diddie Has Something

There● Books and videos on

Acoustic Blues Guitar

Tritone BluesPart 2

Tritone BluesPart 4

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

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Blues Guitar - Tritone Blues - Part 3

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar - Tritone Blues - Part 4

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar - Tritone Blues - Part 4

Tritone BluesPart 3

D-major

In this last part of the Tritone Blues lesson, we will combine the chord with a little bass-run. I think of this as typical for Kansas City Blues.

Kansas City in A

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Blues Guitar - Tritone Blues - Part 4

Download Finale File

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Dave Rubin: 12 Bar BluesIn the book, Dave Rubin explores the 12 bar blues form. The term '12-bar blues' has become synonymous with blues music and is the basis for an incredible body of jazz, rock 'n' roll, and other forms of popular music. This book/CD pack is solely devoted to providing guitarists with all the technical tools necessary for playing 12-bar blues with authority. The CD includes 24 full-band tracks. Covers: boogie, shuffle, swing, riff, and jazzy blues progressions; Chicago, minor, slow, bebop, and other blues styles; soloing, intros, turnarounds, accompanying keyboards and more. This is one of my favorites! See more info...This book was selected as Guitar Book of the Month - July 2002ToC No HL695187Review:

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Dave Rubin: The Art of the Shuffle.As the name says, the book focuses on the shuffle, and not the blues as such. It explores shuffle, boogie and swing rhythms for guitar. Includes tab and notation, and covers Delta, country, Chicago, Kansas City, Texas, New Orleans, West Coast, and bebop blues. As the name says, the book focuses on the shuffle, and not the blues as such. But as all examples are in a 12-bar blues format, it will take you through various blues progressions, as an added bonus to the exploration of the shuffle style. (HL695005) See more info...

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Jim Ferguson - All Blues for Jazz GuitarJazz-Blues. By Jim Ferguson. Book/CD package. Rhythm/backup. Jim Ferguson has a jazz approach to the blues, which means jazz comping and more sophisticated chords. In this book you will learn many arrangements based on three-note 7th chords (which often could be labeled as dim chords) in a blues context. (There are many other chords as well). Unless jazz is you main interest, I will suggest that you start with Dave Rubin's 12 Bar Blues, before going on with Jim Ferguson's book. 92 pages. Published by Guitar Master Class Pub. - Mel Bay Fingerstyle Jazz. ToC No MB96842BCD

This book was selected as Book of the Month February 2003

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Blues Guitar - Tritone Blues - Part 4

Gig Savers: Blues ChangesFor Serious Players. by Corey Christiansen. For Guitar (All). Rhythm/backup. Progressions. Gig Savers. Blues. Level: Beginning. Book. Size 5.5x8. 16 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB20030Review:

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Comping the BluesJazz-Blues. By Frank Vignola. For Guitar (Flatpick). accompaniment. Vignola Play Along. Jazz. Level: Intermediate. Book. Size 8.75x11.75. 16 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB99768Review:

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For more on tritones and the diminished chord, go to:● Theory: Tritone interval● Theory: The diminished triad● Theory: The dominant 7th

chord● Chords: dim chords

● Chords: Dim7 chords● Progressions: Chord - diminished● Progressions: V7-I change

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6 * Part 7

● The same in Theory: The Flat-five Substitution

● Song: The Beatles' song Michelle

12-bar blues

● Classic Lesson: 1 - BASIC BLUES

● Blues Guitar Lesson 1: The 12 bar blues in E

● Blues Guitar Lesson 2: Some variations of the 12-bar blues in E

● Chord Progressions: Basic 12-bar blues

● Lesson 14: Blues in A - introduction

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar – Add the m7 chord - Part 2 * Part 3 * Part 4

● The same in Theory: The Flat-five Substitution

Tritone BluesPart 3

D-major

Further references

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Blues Guitar - D-major

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D-major

Tritone Blues - Part 4Dropped D tuning

See See Rider

The next key is D-major. The basic chords are D, D7, G7 and A7. Of these, only D and G7 have not already been used in previous lessons.

Below is the most common version of the D chord, and three versions of G7. I have given three fingerings for the D chord, and in one of them I have indicated the shift between D and D7.

D D D

Du finner flere eksempler på hvordan du kan spille D-akkorden på siden The D-chord

G7 G7 G7

This is the 12-bar blues in D.

Fingerpicking Blues Gutiar Lessons

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Blues Guitar - D-major

● Blues Guitar Lesson 12: An introduction to blues fingerpicking

● Blues Guitar Lesson 12B: Monotone bass fingerpicking

● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 15: Fingerpicking monotone bass in A

● Blues Guitar Lesson 15B: Fingerpicking monotone bass in A – Betty Blues

● Blues Guitar Lesson 15C: Fingerpicking Instrumental in A

● Blues Guitar Lesson 16: The "Long A" chord

● Blues Guitar Lesson 17: A shuffle solo

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A - Key To The Highway

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Tritone Blues - Part 1 * Part 2 * Part 3

● Pony Blues● Willie Brown's Mississippi

Blues ● Dropped D tuning,

Alternating bass, See See Rider

● A 12 bar blues in G. ● G-Boogie . ● Rev Gary Davis is Funny

That Way ● C-major: C C Rider● C-major: Cocaine Blues ● C-major: Blues Rag in C ● Diddie Has Something

There● Books and videos on

Acoustic Blues Guitar

Tritone Blues - Part 4Dropped D tuning

See See Rider

Videre referanser

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Blues Guitar - Dropped D-Tuning

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Dropped D-Tuning

D-major G-major

You can tune down the low E-string to D, and you will get what is called Dropped D-tuning. When you play in D, you will get access to the low root note on the open 6th string. In standard tuning, you will often get the feeling that the notes stop one whole note above where you want to go. You get the root on the 6th and 4th string, and the fifth on the 5th string. Get to the Dropped D-tuning page in the Open and Alternate Tuning section for more on this tuning.

We will return to the tune See See Rider, this time loosly based on the playing of Mississippi John Hurt. (He is playing in standard tuning, which means that he is playing different in the bass.)

With this arrangement we will introduce another fingerpicking technique: Alternating bass. It is istill one bass note pr beat, but it gives a more "dancing" sound, compared to the monotone bass. Important blues artists playing in this style are Mississippi John Hurts, Rev. Gary Davis, Blind Lemon Jefferson, Blind Blake and Blind Boy Fuller.

Alernating bass is the basis of many fingerpicking styles. Two prominent players in this style are Merle Travis and Chet Atkins.

See See Rider

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Blues Guitar - Dropped D-Tuning

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Blues Guitar - Dropped D-Tuning

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Masters of Country Blues Guitar Series / The Mississippi John Hurt Book and Two CD's The playing of Mississippi John Hurt combines lyrical songs with lovely guitar arrangements. 26 arrangements are presented in this collection. Arrangements in the keys of G, C, E, A and D are studied. Original recordings by Mississippi John Hurt and transcriptions by Stefan Grossman. Guitar method or supplement: Book and Two CDs. 100 pages. Published by Warner Brothers. Book of the Month - May 2003See more info...ToC No WBF3176GTXCDReview:

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Fingerpicking Blues Gutiar Lessons

● Blues Guitar Lesson 12: An introduction to blues fingerpicking

● Blues Guitar Lesson 12B: Monotone bass fingerpicking

● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 15: Fingerpicking monotone bass in A

● Blues Guitar Lesson 15B: Fingerpicking monotone bass in A – Betty Blues

● Blues Guitar Lesson 15C: Fingerpicking Instrumental in A

● Blues Guitar Lesson 16: The "Long A" chord

● Blues Guitar Lesson 17: A shuffle solo

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A - Key To The Highway

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Tritone Blues - Part 1 * Part 2 * Part 3

● Pony Blues● Willie Brown's Mississippi

Blues ● Dropped D tuning,

Alternating bass, See See Rider

● A 12 bar blues in G. ● G-Boogie . ● Rev Gary Davis is Funny

That Way ● C-major: C C Rider● C-major: Cocaine Blues ● C-major: Blues Rag in C ● Diddie Has Something

There● Books and videos on

Acoustic Blues Guitar

D-major G-major

Videre referanser

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Blues Guitar - G-major

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G-major

Dropped D tuningSee See Rider

G-MajorBlues in G

We continue our little journey through the keys, and now we get to G-major. The three primary chords are G, G7, C7 and D7. It is only G that we have not been using so far. But we have not used C7 except as a basis for movable chords. So to be sure, I include the C7 as well.

G G C7 G7

G og C-akkordene kan gripes på mange måter, se egne sider for G-dur og C-dur. For G-akkorden har jeg også valgt å diskutere fingersettingen men inngående, se Fingering the G-chord.

En 12-takters blues i G-dur går slik:

Dropped D tuningSee See Rider

G-MajorBlues in G

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Blues Guitar - G-major

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G-major

G-majorBoogie in G-major

Blues in G

It is easy to make a melody line around the G chord. The next tune is basically a blues scale played over a monotone bass.

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Blues Guitar - G-major

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Fingerpicking Blues Gutiar Lessons

● Blues Guitar Lesson 12: An introduction to blues fingerpicking

● Blues Guitar Lesson 12B: Monotone bass fingerpicking

● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues● Blues Guitar Lesson 15:

Fingerpicking monotone bass in A● Blues Guitar Lesson 15B:

Fingerpicking monotone bass in A – Betty Blues

● Blues Guitar Lesson 15C: Fingerpicking Instrumental in A

● Blues Guitar Lesson 16: The "Long A" chord

● Blues Guitar Lesson 17: A shuffle solo

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A - Key To The Highway

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Tritone Blues - Part 1 * Part 2 * Part 3

● Pony Blues● Willie Brown's Mississippi Blues ● Dropped D tuning, Alternating

bass, See See Rider

● A 12 bar blues in G. ● G-Boogie . ● Rev Gary Davis is Funny That

Way ● C-major: C C Rider● C-major: Cocaine Blues ● C-major: Blues Rag in C ● Diddie Has Something There● Books and videos on Acoustic

Blues Guitar

G-majorBoogie in G-major

Videre referanser

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I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

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Blues Guitar - G-major

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G-major

G-MajorBlues in G

G-MajorRev. Gary Davis Was Funny That Way

Boogie Woogie in G-Major

This arrangement is a boogie bass line and a G-chord. It is actually much easier to play around a G chord compared to the boogie bass and chord in E. When I first learned to play this kind of bass and chord, I learned it in G. Leadbelly played «Good Morning Blues» this way. But remember that he played with his guitar tuned down 11/2 tone, which means that he actually played in E when he was fingering the "G-chords".

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Blues Guitar - G-major

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Fingerpicking Blues Gutiar Lessons

● Blues Guitar Lesson 12: An introduction to blues fingerpicking

● Blues Guitar Lesson 12B: Monotone bass fingerpicking

● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 15: Fingerpicking monotone bass in A

● Blues Guitar Lesson 15B: Fingerpicking monotone bass in A – Betty Blues

● Blues Guitar Lesson 15C: Fingerpicking Instrumental in A

● Blues Guitar Lesson 16: The "Long A" chord

● Blues Guitar Lesson 17: A shuffle solo

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A - Key To The Highway

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Tritone Blues - Part 1 * Part 2 * Part 3

● Pony Blues● Willie Brown's Mississippi

Blues ● Dropped D tuning,

Alternating bass, See See Rider

● A 12 bar blues in G. ● G-Boogie . ● Rev Gary Davis is Funny

That Way ● C-major: C C Rider● C-major: Cocaine Blues ● C-major: Blues Rag in C ● Diddie Has Something

There● Books and videos on

Acoustic Blues Guitar

G-MajorBlues in G

G-MajorRev. Gary Davis Was Funny That Way

Videre referanser

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Blues Guitar - G-major

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Blues Guitar - G-major

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January 2005

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G-major

Boogie in G-major

C-major

Rev. Gary Davis Was Funny That Way

G-major is a key well suited for alternating bass. In the basic G-chord, you get all the chord notes in the bass: G on the 6th string, B on the 5th string and D on the 4th string. This makes it easy to find some good bass figures.

The tune on this page is based on Rev. Gary Davis' «She's Funny That Way». It has 8 bars, but does not follow the 8-bar blues form that we have been discussing in previous lesson.

Notice the chord progression G-E7-A7-D7. Another example of this progression in G-major can be heard in Blind Blake's «That Will Never Happen No More».

In generic musical terms, we can call this progression a I-VI7-II7-V7 progression. You can find a little more on this progression in the A salty dog at Alice’s Restaurant in the Chord Progression series.

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Blues Guitar - G-major

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She's Funny That Way

I got a gal that is crazy 'bout me She's just as crazy as any gal can be She ain't crazy, she's just funny that way

One thing 'bout this gal I can't understand I found out she's just a fool 'bout one old man She ain't crazy, she's just funny that way

She got to the place that she got no woman friends She don't want no woman be shifting around taking her man in She ain't crazy, she's just funny that way

Now some people say this gal is just tight like that But when she calls her man she always wants him to be right there She ain't crazy, she's just funny that way

This gal will work hard for you every day and buy your clothes and shoes Come in and look for you and can't find you, she'll begin to have blues She ain't crazy, she's just funny that way

A little more G-major

Acoustic Guitar has made available a lesson called Your first guitar rag where Dale Miller takes you through an arrangement based on the same chords as She's Funny That Way.

Fingerpicking Blues Gutiar Lessons

● Blues Guitar Lesson 12: An introduction to blues fingerpicking

● Blues Guitar Lesson 12B: Monotone bass fingerpicking

● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 15: Fingerpicking monotone bass in A

● Blues Guitar Lesson 15B: Fingerpicking monotone bass in A – Betty Blues

● Blues Guitar Lesson 15C: Fingerpicking Instrumental in A

● Blues Guitar Lesson 16: The "Long A" chord

● Blues Guitar Lesson 17: A shuffle solo

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A - Key To The Highway

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Tritone Blues - Part 1 * Part 2 * Part 3

● Pony Blues● Willie Brown's Mississippi

Blues ● Dropped D tuning,

Alternating bass, See See Rider

● A 12 bar blues in G. ● G-Boogie . ● Rev Gary Davis is Funny

That Way ● C-major: C C Rider● C-major: Cocaine Blues ● C-major: Blues Rag in C ● Diddie Has Something

There● Books and videos on

Acoustic Blues Guitar

Boogie in G-major

C-major

Videre referanser

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Blues Guitar - G-major

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Blues Guitar - G-major

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January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

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Retailers:

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C-major

G-MajorRev. Gary Davis Was Funny That Way

C-MajorCocaine Blues

The last key we will discuss a a key, is C-major. (I choose to say it this way, because you will find som arrangements in keys that are not dicussed this way.) The basic chords are C, C7, F7 and G7.

Once again we will take a look at a version of See See Rider, or C C Rider as I prefer to call it just to remind myself that this is the C-major version. If my memory is correct, this arrangement is based on Mance Lipscomb's version of the tune.

C C Rider

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Blues Guitar - G-major

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C-major is a popular key among guitar players who play with alternating bass. Mississippi John Hurt, Rev. Gary Davis, Big Bill Broonzy, Blind Boy Fuller and Blind Blake have all recorded many tunes in this key.

Blues fingerpicking

If you want to learn more about blues fingerpicking with alternate bass, you should start with the playing of Mississippi John Hurt.

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Blues Guitar - G-major

Bestseller!

Masters of Country Blues Guitar Series / The Mississippi John Hurt Book and Two CD's The playing of Mississippi John Hurt combines lyrical songs with lovely guitar arrangements. 26 arrangements are presented in this collection. Arrangements in the keys of G, C, E, A and D are studied. Original recordings by Mississippi John Hurt and transcriptions by Stefan Grossman. Guitar method or supplement: Book and Two CDs. 100 pages. Published by Warner Brothers. Book of the Month - May 2003See more info...ToC No WBF3176GTXCDReview:

Order From:SheetmusicPlusAmazon UK

Folk & Blues Fingerstyle Guitar taught by Dave Van Ronk. Grossman Audio. Level: Intermediate. Book/CD package. Size 8.75x11.75. 32 pages. Published by Grossman's Gtr Workshop. See more info...ToC No SG99469BCDReview:

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Blues and Ragtime Fingerstyle Guitar Dave Van Ronk presents his arrangements of blues and a classic rag. The book includes a conversation with Dave, a discography, 6 tunes in notation and tablature, and 3 CDs teaching each tune phrase by phrase. LESSON ONE: A blues in 12/8 with Leroy Carr's Midnight Hour Blues. Blood Red Moon follows played in a dropped D tuning. The lesson ends with Blind Lemon Jefferson's One Kind Favor. LESSON TWO: Sunday Street is an original Dave Van Ronk song. Four choruses are taught demonstrating how this tune can develop. Bessie Smith's classic blues You've Been A Good Old Wagon is taught in the key of E. LESSON THREE: Dave's arrangement of St. Louis Tickle was the first great challenge for fingerpickers interested in classic ragtime. This four sectioned rag is played in the keys of C and F. Published by Grossman's Gtr Workshop. (SG99470BCD)See more info...

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G-MajorRev. Gary Davis Was Funny That Way

C-MajorCocaine Blues

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Blues Guitar - G-major

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January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

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Go here for books and videos on blues guitar

Go here for links to other Blues Sites

C-major

C-MajorC-Major

Blues Rag in C

Cocaine Blues - verse

«Cocaine Blues» is a typical Rev. Gary Davis arrangement in C-major. It has an 8-bar structure, but does not follow any standard form. I have written both the verse and a break. Notice bar 3 and 4 in the break. We go fron C to E to F. It is not easy, but it sounds good. You should also notice the 5/4 in bar 4.

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Blues Guitar - G-major

PDF-File

Cocaine Blues - break

PDF-File

Cocaine Blues - vers + break

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Blues Guitar - G-major

Country Blues Guitarby Stefan Grossman. Country Blues Guitar styles span a wide horizon. In these three lessons the ideas and techniques of Rev. Gary Davis, Charley Jordan, Tommy Johnson and Mississippi John Hurt are presented. The arrangements vary from alternating bass to a Delta strum to a monotonic bass. 24 page tab/music book with three compact discs. Grossman Audio. Level: Intermediate. Book/CD Set. Size 8.75x11.75. 24 pages. Published by Grossman. See more info...ToC No SG99465BCDReview:

Order from:SheetmusicPlus

Rev. Gary Davis / CD Masters of Country Blues Guitar Series This book from fingerstyle master Stefan Grossman features the music of the legendary master Rev. Gary Davis. It comes complete with a recording of Rev. Gary Davis performing all of the selections contained in the folio. With standard notation and tablature. Includes a biography and explanation of the tab/music system. Book and CD. 84 pages. Published by Warner Brothers. (WBF3175GTXCD)See more info...

Order from:SheetmusicPlusMusicRoom

C-MajorC-Major

Blues Rag in C

Videre referanser

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

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University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar - G-major

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

C-major

C-MajorCocaine Blues

C-MajorDiddie Has Something There

Blues Rag in C

PDF-File

This is the same progression as in "Funny That Way", but now in C. There are many versions of this theme. Listen to Blind Blake's «West Coast Blues», «Wabash Rag» and «Skoodle Loo Doo». Other examples are Big Bill Broonzy's «Skoodle Do Do» and Blind Willie McTell's «Georgia Rag». Arlo Guthrie's «Alice's Restaurant» is also based on this progression in C-major.

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Blues Guitar - G-major

Woody Mann: Guitar of Big Bill BroonzyIn this comprehensive new audio lesson, Woody Mann explores the ideas, techniques, and styles of this legendary musician who has influenced generations of guitarists. The CDs contain three full hours of instruction featuring note-by-note, phrase-by-phrase instruction. Selections include: House Rent Stomp; Brownskin Shuffle; Moppin' Blues; Hey, Hey; Worryin' You Off My Mind; Stove Pipe Stomp; and Saturday Night Rub. Written in standard notation and tablature. Includes 3 CD's. SG98508BCDSee more info...

Order from:SheetmusicPlus

Guitar of Blind Blake taught by Woody Mann. For fingerpick guitar. Grossman Audio. Blues. Level: Intermediate. Book/CD package. Licks and phrases. Size 8.75x11.75. 26 pages. Published by Grossman's Gtr Workshop. (SG98507BCD)See more info...

Order from:SheetmusicPlus

Masters of Country Blues Guitar Series / The Music of Blind Blake Book and CDBy Stefan Grossman. As performed by Blind Blake. This is a CD with 16 of his most famous songs that comes with a book, or a book that comes with a Cd with original recordings. For a guitarist, it gives you the best of both worlds. WBF3432GTXCDSee more info...

Order from:SheetmusicPlus

C-MajorCocaine Blues

C-MajorDiddie Has Something There

Videre referanser

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar - G-major

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

C-major

C-MajorBlues Rag in C

Minor Blues - Lesson 1, Part 1

Diddie Has Something There

We finish off this section with another well known theme in C-major. This arrangement is based on Blind Boy Fuller's «You've got something there». The song was so popular that he recorded it 20–30 times with different lyrics. Probably the most well known version of the theme is Blind Blake's «Diddie Wa Diddie», which has been recorded by Ry Cooder and Leon Redbone. Other versions are Big Bill Broonzy's «Shuffle Rag», «Long Tall Mama» and «Guitar Shuffle». You will also recognize the theme in Blind Lemon Jefferson's «Black Horse Blues». «Black Horse Blues» is Blind Lemon Jefferson's version of «Pony Blues», which we have looked at in E-major. True Fire has a lection on Diddie Wa Diddie available on the net.

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Blues Guitar - G-major

PDF-File

Blues-Rag

If you want to learn more about blues-rag playing, I will recommend that you work with some of the following. Mississippi John Hurt is not included. But he is a good point of departure, and not as difficult as the others.

Big Bill Broonzy is an artist to start with, no matter what kind of blues you are playing. I have picked a book/CD set by Woody Mann, where some typical Big Bill Broonzy are covered in detail.

Woody Mann: Guitar of Big Bill BroonzyIn this comprehensive new audio lesson, Woody Mann explores the ideas, techniques, and styles of this legendary musician who has influenced generations of guitarists. The CDs contain three full hours of instruction featuring note-by-note, phrase-by-phrase instruction. Selections include: House Rent Stomp; Brownskin Shuffle; Moppin' Blues; Hey, Hey; Worryin' You Off My Mind; Stove Pipe Stomp; and Saturday Night Rub. Written in standard notation and tablature. Includes 3 CD's. SG98508BCDSee more info...

Order from:SheetmusicPlus

If you prefer video, you can get this.

Guitar of Big Bill Broonzy taught by Woody Mann. For fingerpick guitar. Grossman-Gtr Workshop. Blues. Level: Intermediate. Video. Licks and phrases. Size 4.13x7.5. 90 pages. Published by Grossman's Gtr Workshop. (SG98200VX)See more info...

Order DVD from: SheetmusicPlus

Order VHS from: SheetmusicPlusMusicRoom

Blind Boy FullerThis is another Master of Country Blues book with original recordings and transcriptions.

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Blues Guitar - G-major

Blind Boy Fuller / CD Masters of Country Blues guitar series. Original recordings by Blind Boy Fuller and transcriptions by Stefan Grossman. Another Book/CD set with original recordings and transcription - just as a guitar player want. Book and CD. 92 pages. Published by Warner Brothers. (WBF3270GTXCD)See more info...

Order from:SheetmusicPlus

Again you can also choose a video..

The Guitar of Blind Boy Fuller taught by Ari Eisinger. Grossman-Gtr Workshop. Video. Size 4x7.5. 89 pages. Published by Grossman's Gtr Workshop. (SG99411VX)See more info...

Order from:SheetmusicPlus (US)MusicRoom (UK)

Rev. Gary Davis is propbably the most influential traditional blues guitarists. He received everyone who would pay 5 dollars for a guitar lesson, and many of today's most prominent teachers and authors of guitar books have been his students..

Ragtime Blues Guitar of Rev. Gary Davis taught by Stefan Grossman. In this book, seven of Rev. Davis's blues are presented. These arrangements have been performed and recorded by a host of great artists including Bob Dylan, Taj Mahal, Hot Tuna, David Bromberg, John Renbourn, Bert Jansch and many others. These lessons are for the intermediate to advanced fingerstyle guitarist. The accompanying three CD lessons teach these arrangements phrase by phrase as well as presenting the original recordings. LESSON (CD) ONEhighlights two of Rev. Davis's most popular blues arrangements. Hesitation Blues is played in the key of C. Baby, Let Me Follow You Down is played in the key of G. LESSON (CD) TWO: The key of C was a favorite for Rev. Davis. In this lesson we explore the party tune Sally Where'd You Get Your Liquor From (made popular by Hot Tuna). Rev. Davis used to joke that he could play Candyman so many different ways that he would be able to play it nonstop for at least 8 hours without repeating himself! We look at two versions of this very popular folk blues with the regular Candyman followed by the Two-Step Candyman. LESSON (CD) THREE: Raggin' the blues was a great part of Rev. Davis's repertoire. His Walkin' Dog Blues is a tour de force in a blues in C. All fourteen verses are transcribed here, and we study how this arrangement develops. Buck Rag is a fascinating rag played in the key of C. Single-string runs, counterpoint lines, rhythmic variations and syncopated bass patterns are featured. Level: Intermediate. Book/3CD package. Size 8.75x11.75. 40 pages. Published by Grossman's Gtr Workshop. (SG99464BCD)See more info...

Order from:SheetmusicPlus

Rev. Gary Davis / CD Masters of Country Blues Guitar Series This book from fingerstyle master Stefan Grossman features the music of the legendary master Rev. Gary Davis. It comes complete with a recording of Rev. Gary Davis performing all of the selections contained in the folio. With standard notation and tablature. Includes a biography and explanation of the tab/music system. Book and CD. 84 pages. Published by Warner Brothers. (WBF3175GTXCD)See more info...

Order from:SheetmusicPlusMusicRoom

If you are ready for Blind Blake, you are ready for anything – at least when it comes to this style of guitar playing.

Guitar of Blind Blake taught by Woody Mann. For fingerpick guitar. Grossman Audio. Blues. Level: Intermediate. Book/CD package. Licks and phrases. Size 8.75x11.75. 26 pages. Published by Grossman's Gtr Workshop. (SG98507BCD)See more info...

Order from:SheetmusicPlus

Masters of Country Blues Guitar Series / The Music of Blind Blake Book and CDBy Stefan Grossman. As performed by Blind Blake. This is a CD with 16 of his most famous songs that comes with a book, or a book that comes with a Cd with original recordings. For a guitarist, it gives you the best of both worlds. WBF3432GTXCDSee more info...

Order from:SheetmusicPlus

Guitar of Blind Blake taught by Woody Mann. For fingerpick guitar. Grossman-Gtr Workshop. Blues. Level: Intermediate. Video. Licks and phrases. Size 4.13x7.5. 94 pages. Published by Grossman's Gtr Workshop. (SG98199VX)See more info...

Order from: SheetmusicPlus (US)MusicRoom (UK)

http://www.torvund.net/guitar/BluesGuitar/C-major_4.asp (3 of 4)07.01.2005 04:04:53

Blues Guitar - G-major

Fingerpicking Blues Gutiar Lessons

● Blues Guitar Lesson 12: An introduction to blues fingerpicking

● Blues Guitar Lesson 12B: Monotone bass fingerpicking

● Blues Guitar Lesson 13: 16-bar blues

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 15: Fingerpicking monotone bass in A

● Blues Guitar Lesson 15B: Fingerpicking monotone bass in A – Betty Blues

● Blues Guitar Lesson 15C: Fingerpicking Instrumental in A

● Blues Guitar Lesson 16: The "Long A" chord

● Blues Guitar Lesson 17: A shuffle solo

● Blues Guitar Lesson 24 - 8-bar blues

● Blues Guitar Lesson 24 B- 8-bar blues in A - Key To The Highway

● Blues Guitar 24 C- 8-bar blues in A – Come Back Baby

● Tritone Blues - Part 1 * Part 2 * Part 3

● Pony Blues● Willie Brown's Mississippi

Blues ● Dropped D tuning,

Alternating bass, See See Rider

● A 12 bar blues in G. ● G-Boogie . ● Rev Gary Davis is Funny

That Way ● C-major: C C Rider● C-major: Cocaine Blues ● C-major: Blues Rag in C ● Diddie Has Something There● Books and videos on

Acoustic Blues Guitar

C-MajorBlues Rag in C

Minor Blues - Lesson 1, Part 1

Videre referanser

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar – Minor Blues - Lesson 1, Part 2

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar – Minor Blues - Lesson 1, Part 2

Minor BluesLesson 1, Part 1

Minor BluesLesson 1, Part 3

Minor Blues - Lesson 1, Part 2

The progression with only minor chords may be a bit boring. If we substitute the v7 with its parallel major V7 chord, then we get a kind of lift in the third line. This second group of minor blues progressions has the chords i - iv - V7.

This time I have also included a turnaround chord (the V7 chord), as it will give the V7-i resoulution when we go to the next verse. What we do is actually that we choose Harmonic minor instead of Natural minor for the very reason that we have harmonic minor. A Type 1 progression, still in Am will be like this:

Here is the set of backing tracks for this progression.

Backing Track - MinorBlues-3A Basic Minor Blues progression Type 1: Major V7 chord, i chord in bar 2, V7 as turnaround chord. Download all files in on zip-file

65 Very slow Cm C#m Dm Em F#m Gm G#m Am Bm

90 Slow Cm C#m Dm Em F#m Gm G#m Am Bm

120 Medium Cm C#m Dm Em F#m Gm G#m Am Bm

As a Type 2 progression, it will be like this:

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Blues Guitar – Minor Blues - Lesson 1, Part 2

And again, here are the backing tracks.

Backing Track - MinorBlues-4A Basic Minor Blues progression Type 2: Major V7 chord, iv chord in bar 2, V7 as turnaround chord. Download all files in on zip-file

65 Very slow Cm C#m Dm Em F#m Gm G#m Am Bm

90 Slow Cm C#m Dm Em F#m Gm G#m Am Bm

120 Medium Cm C#m Dm Em F#m Gm G#m Am Bm

Minor BluesLesson 1, Part 1

Minor BluesLesson 1, Part 3

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar – Minor Blues - Lesson 1, Part 3

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar – Minor Blues - Lesson 1, Part 3

Minor BluesLesson 1, Part 2

12-bars, Two Chord Shapes and a Touch of Jazz - part 1

Minor Blues - Lesson 1, Part 3

In this third group of minor blues progression, we use a major IV chord instead of the minor iv. This gives us the basic chords i - IV - V7. A Type 1 progression will be like this:

The major chord as a IV chord have the major 6th instead of the minor 6th of the basic scale (based on the root). As long as we use the minor pentatonic scale, it does not make too much of a difference, as this scale has no sixth in it. But going from a minor 6th to a major 6th is what distinguish a dorian scale from a natural minorscale. The major 6th hints on the dorian scale. But it is not a dorian progression. A strict dorian progression would have had i – IV – v.

Artist Tune Key

CD (Main link goes to Amazon US, Amazon UK link in parenthesis)

Source (Main link takes you to SheetmusicPlus) Comments

Jeff Healey Band Confidence Man C#m

See The Light (UK)

The Bluesmen (from Musicroom)

A John Hiatt tune. In bar 5, it goes F#-E-E#. There is no turnaround chord. The bridge moulates to the IV-key (F#-major).

Mel London Cry For Me Baby Am Blue Heaven ( Amazon US )

It is a 24 bar blues, with the structure of a 12-bar: Play two bars for each bar in the 12-bar structure.

Muddy Waters Trouble, No More Gm

His Best: 1947 to 1955 (UK)The Chess Box [BOX SET] (UK)

Blues Guitar LegendsIt does not follow an exact 12-bar blues form.

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Blues Guitar – Minor Blues - Lesson 1, Part 3

B.B. King Help The Poor Dm

King of The Blues (UK)Live at the Regal (UK)

King of The Blues (Amazon US / UK)

It does not follow a 12-bar form, but it is built around the chords from this progression

B.B. King Chains & Things AmKing of The Blues (UK)

King of The Blues (Amazon US / UK)

Backing Track - MinorBlues-5A Basic Minor Blues progression Type 1: Major V7 chord, major VI chord, i chord in bar 2, V7 as turnaround chord. Download all files in on zip-file.

65 Very slow Cm C#m Dm Em F#m Gm G#m Am Bm

90 Slow Cm C#m Dm Em F#m Gm G#m Am Bm

120 Medium Cm C#m Dm Em F#m Gm G#m Am Bm

And the Type 2 progression will be:

These are the backing tracks:

Backing Track - MinorBlues-6A Basic Minor Blues progression Type 2: Major V7 chord, major VI chord, IV chord in bar 2, V7 as turnaround chord. Download all files in on zip-file

65 Very slow Cm C#m Dm Em F#m Gm G#m Am Bm

90 Slow Cm C#m Dm Em F#m Gm G#m Am Bm

120 Medium Cm C#m Dm Em F#m Gm G#m Am Bm

These are the basic forms of minor blues progressions. There are of course many variations, and I will come back to a few of them later. But you should learn these basic forms first. I have only written the basic minor triads. But you can extend them to m7 chords. Experiment!

I have written all examples in Am only, but you should practise them in different keys. You should have not problem translating them into other keys. But to ensure that you have no excuses for not trying this in other keys, I will give you this table of chords for various minor keys:

C-minor C#-minor D-minor E-minor F#-minor G-minor G#-minor A-minor B-minor

i Cm C#m Dm Em F#m Gm G#m Am Bm

iv Fm F#m Gm Am Bm Cm C#m Dm Em

IV F F# G A B C C# D E

v Gm G#m Am Bm C#m Dm D#m Em F#m

V7 G7 G#7 A7 B7 C#7 D7 D#7 E7 F#7

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Blues Guitar – Minor Blues - Lesson 1, Part 3

Minor BluesLesson 1, Part 2

12-bars, Two Chord Shapes and a Touch of Jazz - part 1

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar - 12-bars, Two Chord Shapes and a Touch of Jazz - part 1

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

12-bars, Two Chord Shapes and a Touch of Jazz - part 1

C-majorDiddie Has Something There

12-bars, Two Chord Shapes and a Touch of Jazz – Part 2

By learning these two simple chord shapes, you can play blues comp with a jazzy touch in any key. It will get boring after some time if you only use these chords. But they are the basis. You can make variations by taking these chordshapes out of the standard 12-bar framework. But I will start with a standard 12-bar blues, type 2, played in two keys that many guitar players will do anything to avoid: Bb and Eb. As long as you use moveable shapes, no keys are difficult. If you want to play with other people, you have to break out of our loved keys of E, A, D, G and C. If you are playing with someone who is playing trumpet, they will have to play in the key F#-major, if you insist on playing in E-major on the guitar. That is six sharps. If someone is playing alto saxophone, they will have to play Db-major, if you insist on E-major. In this key, they have five flats. The favorite guitar keys are very difficult to play on most wind instruments. To play F-major, Bb-major and Eb-major is not as difficult for us as our favorite keys are for them.

These two chord-shapes are often labeled as 7-chords. If one should be precise, these labels are not correct.. The first chord is a 7th without the 5th. If you remove a note from a chord, the fifth is usually the first to go. In a basic triad (three-note chord), the root gives identity, the third gives character and the fifth gives stability. It is more important to keep the identity and the character, than to keep the stability. In a 7th chord, the seventh is added, which gives us the notes 1, 3 and 7 (when the 5th is left out). When we expand the chord to 7th, 9th, etc, the 5th becomes less important. The chord is in root position, with the root on 6th string, 7th on 4th string and the 3rd on 3rd string.

The second chord is a 7th without the root. If one should be precise, such a chord is a diminished triad, built on the third note. If we play it as a good old G7, it will be Bdim. From what I said above, this chord should loose it's identity. And it does. But if you are playing in a band, some other may play the root. If the bass player is playing the root, then the band will play the full chord, even if the guitar player only play a partial chord. And often our ear will "hear" notes that it expects to hear, even if the notes are not played. Based on this, I will not use this chord too much as a I chord (root) in a blues. You need the root note to establish the root key. If we think of the chord as a 7th chord, it will be in 2nd inversion. The 5th is on 6th string, 3rd on 4th stringand the 7th on 3rd string.

Notice the fingerings of these two chords. When changing from one to the other, you do not move your 3rd finger. It remains in the same position on the 3rd string. You move the first and second finger between the 6th and the 4th strings.

The two most important notes in a 7th chord are the 3rd and the 7th. The interval between the two is a Tritone, a disonant interval that calls for a resolution. If you play the root chord as a 7th chord, you will never get this solution. The I7 chord will call for a solution to the IV-chord, and it is easy to be thrown out of key if you resolve the chord this way. But it is this unstable and usettled tonality that makes the simple blues form so rich and fascinating. Both the chord shapes have this tritone.

Now we get to this very simple 12 Bar blues in Bb, using these two chord shapes.

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Blues Guitar - 12-bars, Two Chord Shapes and a Touch of Jazz - part 1

The very "perfect" and strict playing in these MIDI files is a bit boring. You can download this MP3 file to hear me play the same chords, but with some rhytmic variations. I play fingerstyle with a monotone bass in straight 4/4, and some rhytmic variations on the middle strings. It is not played as written, but I play only the notes in the chords as they are written.

PDF-File

Bestseller!

Dave Rubin: 12 Bar BluesIn the book, Dave Rubin explores the 12 bar blues form. The term '12-bar blues' has become synonymous with blues music and is the basis for an incredible body of jazz, rock 'n' roll, and other forms of popular music. This book/CD pack is solely devoted to providing guitarists with all the technical tools necessary for playing 12-bar blues with authority. The CD includes 24 full-band tracks. Covers: boogie, shuffle, swing, riff, and jazzy blues progressions; Chicago, minor, slow, bebop, and other blues styles; soloing, intros, turnarounds, accompanying keyboards and more. This is one of my favorites! See more info...This book was selected as Guitar Book of the Month - July 2002

Order from:SheetmusicPlus (US)MusicRoom (UK)

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Blues Guitar - 12-bars, Two Chord Shapes and a Touch of Jazz - part 1

ToC No HL695187Review:

Dave Rubin: The Art of the Shuffle.As the name says, the book focuses on the shuffle, and not the blues as such. It explores shuffle, boogie and swing rhythms for guitar. Includes tab and notation, and covers Delta, country, Chicago, Kansas City, Texas, New Orleans, West Coast, and bebop blues. As the name says, the book focuses on the shuffle, and not the blues as such. But as all examples are in a 12-bar blues format, it will take you through various blues progressions, as an added bonus to the exploration of the shuffle style. (HL695005) See more info...

Order From:SheetmusicPlus MusicRoom (UK)Amazon UK

Jim Ferguson - All Blues for Jazz GuitarJazz-Blues. By Jim Ferguson. Book/CD package. Rhythm/backup. Jim Ferguson has a jazz approach to the blues, which means jazz comping and more sophisticated chords. In this book you will learn many arrangements based on three-note 7th chords (which often could be labeled as dim chords) in a blues context. (There are many other chords as well). Unless jazz is you main interest, I will suggest that you start with Dave Rubin's 12 Bar Blues, before going on with Jim Ferguson's book. 92 pages. Published by Guitar Master Class Pub. - Mel Bay Fingerstyle Jazz. ToC No MB96842BCD

This book was selected as Book of the Month February 2003

Amazon UK Order from:SheetmusicPlus (US)

Gig Savers: Blues ChangesFor Serious Players. by Corey Christiansen. For Guitar (All). Rhythm/backup. Progressions. Gig Savers. Blues. Level: Beginning. Book. Size 5.5x8. 16 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB20030Review:

Order from:SheetmusicPlus

Comping the BluesJazz-Blues. By Frank Vignola. For Guitar (Flatpick). accompaniment. Vignola Play Along. Jazz. Level: Intermediate. Book. Size 8.75x11.75. 16 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB99768Review:

Order from:SheetmusicPlus

For more on tritones and the diminished chord, go to:● Theory: Tritone interval● Theory: The diminished

triad● Theory: The dominant 7th

chord● Chords: dim chords

● Chords: Dim7 chords● Progressions: Chord -

diminished● Progressions: V7-I change

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6 * Part 7

● The same in Theory: The Flat-five Substitution

● Song: The Beatles' song Michelle

12-bar blues

http://www.torvund.net/guitar/BluesGuitar/Three_note_chords-1.asp (3 of 4)07.01.2005 04:05:00

Blues Guitar - 12-bars, Two Chord Shapes and a Touch of Jazz - part 1

● Classic Lesson: 1 - BASIC BLUES

● Blues Guitar Lesson 1: The 12 bar blues in E

● Blues Guitar Lesson 2: Some variations of the 12-bar blues in E

● Chord Progressions: Basic 12-bar blues

● Lesson 14: Blues in A - introduction

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar – Add the m7 chord - Part 2 * Part 3 * Part 4

● The same in Theory: The Flat-five Substitution

C-majorDiddie Has Something There

12-bars, Two Chord Shapes and a Touch of Jazz – Part 2

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar - 12-bars, two Chord Shapes and a Touch of Jazz - part 2

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

12-bars, two Chord Shapes and a Touch of Jazz - part 2

12-bars, two Chord Shapes and a Touch of Jazz – Part 1

12-bars, two Chord Shapes and a Touch of Jazz – Part 3

There are two basic ways to combine these two chord shapes in a blues context. In the next example we will use the second shape for the root (I) chord, and the first shape for the IV and V chords. But remember that the second shape has not root, so the basic key will not be as firmly established when we use the chords this way. This time we play in Eb.

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Blues Guitar - 12-bars, two Chord Shapes and a Touch of Jazz - part 2

PDF-File

Bestseller!

Dave Rubin: 12 Bar BluesIn the book, Dave Rubin explores the 12 bar blues form. The term '12-bar blues' has become synonymous with blues music and is the basis for an incredible body of jazz, rock 'n' roll, and other forms of popular music. This book/CD pack is solely devoted to providing guitarists with all the technical tools necessary for playing 12-bar blues with authority. The CD includes 24 full-band tracks. Covers: boogie, shuffle, swing, riff, and jazzy blues progressions; Chicago, minor, slow, bebop, and other blues styles; soloing, intros, turnarounds, accompanying keyboards and more. This is one of my favorites! See more info...This book was selected as Guitar Book of the Month - July 2002ToC No HL695187Review:

Order from:SheetmusicPlus (US)MusicRoom (UK)

Dave Rubin: The Art of the Shuffle.As the name says, the book focuses on the shuffle, and not the blues as such. It explores shuffle, boogie and swing rhythms for guitar. Includes tab and notation, and covers Delta, country, Chicago, Kansas City, Texas, New Orleans, West Coast, and bebop blues. As the name says, the book focuses on the shuffle, and not the blues as such. But as all examples are in a 12-bar blues format, it will take you through various blues progressions, as an added bonus to the exploration of the shuffle style. (HL695005) See more info...

Order From:SheetmusicPlus MusicRoom (UK)Amazon UK

Jim Ferguson - All Blues for Jazz GuitarJazz-Blues. By Jim Ferguson. Book/CD package. Rhythm/backup. Jim Ferguson has a jazz approach to the blues, which means jazz comping and more sophisticated chords. In this book you will learn many arrangements based on three-note 7th chords (which often could be labeled as dim chords) in a blues context. (There are many other chords as well). Unless jazz is you main interest, I will suggest that you start with Dave Rubin's 12 Bar Blues, before going on with Jim Ferguson's book. 92 pages. Published by Guitar Master Class Pub. - Mel Bay Fingerstyle Jazz. ToC No MB96842BCD

This book was selected as Book of the Month February 2003

Amazon UK Order from:SheetmusicPlus (US)

Gig Savers: Blues ChangesFor Serious Players. by Corey Christiansen. For Guitar (All). Rhythm/backup. Progressions. Gig Savers. Blues. Level: Beginning. Book. Size 5.5x8. 16 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB20030Review:

Order from:SheetmusicPlus

Comping the BluesJazz-Blues. By Frank Vignola. For Guitar (Flatpick). accompaniment. Vignola Play Along. Jazz. Level: Intermediate. Book. Size 8.75x11.75. 16 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB99768Review:

Order from:SheetmusicPlus

12-bar blues

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Blues Guitar - 12-bars, two Chord Shapes and a Touch of Jazz - part 2

● Classic Lesson: 1 - BASIC BLUES

● Blues Guitar Lesson 1: The 12 bar blues in E

● Blues Guitar Lesson 2: Some variations of the 12-bar blues in E

● Chord Progressions: Basic 12-bar blues

● Lesson 14: Blues in A - introduction

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar – Add the m7 chord - Part 2 * Part 3 * Part 4

● The same in Theory: The Flat-five Substitution

For more on tritones and the diminished chord, go to:● Theory: Tritone interval● Theory: The diminished

triad● Theory: The dominant 7th

chord● Chords: dim chords

● Chords: Dim7 chords● Progressions: Chord -

diminished● Progressions: V7-I change

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6 * Part 7

● The same in Theory: The Flat-five Substitution

● Song: The Beatles' song Michelle

12-bars, two Chord Shapes and a Touch of Jazz – Part 1

12-bars, two Chord Shapes and a Touch of Jazz – Part 3

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Guitar - 12-bars, Two Chord Shapes and a Touch of Jazz - part 3

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

12-bars, Two Chord Shapes and a Touch of Jazz - part 3

12-bars, two Chord Shapes and a Touch of Jazz – Part 2

12-bars, two Chord Shapes and a Touch of Jazz – Part 4

If you have worked your way through my Blues Guitar Series, then you will remember that we have touched upon these tritones in a blues context before. We will combine these three-note chords with what is covered in the Tritone Blues lesson, just to show how these ideas can be put togehter.

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Blues Guitar - 12-bars, Two Chord Shapes and a Touch of Jazz - part 3

PDF-File

Bestseller!

Dave Rubin: 12 Bar BluesIn the book, Dave Rubin explores the 12 bar blues form. The term '12-bar blues' has become synonymous with blues music and is the basis for an incredible body of jazz, rock 'n' roll, and other forms of popular music. This book/CD pack is solely devoted to providing guitarists with all the technical tools necessary for playing 12-bar blues with authority. The CD includes 24 full-band tracks. Covers: boogie, shuffle, swing, riff, and jazzy blues progressions; Chicago, minor, slow, bebop, and other blues styles; soloing, intros, turnarounds, accompanying keyboards and more. This is one of my favorites! See more info...This book was selected as Guitar Book of the Month - July 2002ToC No HL695187Review:

Order from:SheetmusicPlus (US)MusicRoom (UK)

Dave Rubin: The Art of the Shuffle.As the name says, the book focuses on the shuffle, and not the blues as such. It explores shuffle, boogie and swing rhythms for guitar. Includes tab and notation, and covers Delta, country, Chicago, Kansas City, Texas, New Orleans, West Coast, and bebop blues. As the name says, the book focuses on the shuffle, and not the blues as such. But as all examples are in a 12-bar blues format, it will take you through various blues progressions, as an added bonus to the exploration of the shuffle style. (HL695005) See more info...

Order From:SheetmusicPlus MusicRoom (UK)Amazon UK

Jim Ferguson - All Blues for Jazz GuitarJazz-Blues. By Jim Ferguson. Book/CD package. Rhythm/backup. Jim Ferguson has a jazz approach to the blues, which means jazz comping and more sophisticated chords. In this book you will learn many arrangements based on three-note 7th chords (which often could be labeled as dim chords) in a blues context. (There are many other chords as well). Unless jazz is you main interest, I will suggest that you start with Dave Rubin's 12 Bar Blues, before going on with Jim Ferguson's book. 92 pages. Published by Guitar Master Class Pub. - Mel Bay Fingerstyle Jazz. ToC No MB96842BCD

This book was selected as Book of the Month February 2003

Amazon UK Order from:SheetmusicPlus (US)

Gig Savers: Blues ChangesFor Serious Players. by Corey Christiansen. For Guitar (All). Rhythm/backup. Progressions. Gig Savers. Blues. Level: Beginning. Book. Size 5.5x8. 16 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB20030Review:

Order from:SheetmusicPlus

Comping the BluesJazz-Blues. By Frank Vignola. For Guitar (Flatpick). accompaniment. Vignola Play Along. Jazz. Level: Intermediate. Book. Size 8.75x11.75. 16 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB99768Review:

Order from:SheetmusicPlus

12-bar blues

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Blues Guitar - 12-bars, Two Chord Shapes and a Touch of Jazz - part 3

● Classic Lesson: 1 - BASIC BLUES

● Blues Guitar Lesson 1: The 12 bar blues in E

● Blues Guitar Lesson 2: Some variations of the 12-bar blues in E

● Chord Progressions: Basic 12-bar blues

● Lesson 14: Blues in A - introduction

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar – Add the m7 chord - Part 2 * Part 3 * Part 4

● The same in Theory: The Flat-five Substitution

For more on tritones and the diminished chord, go to:● Theory: Tritone interval● Theory: The diminished

triad● Theory: The dominant 7th

chord● Chords: dim chords

● Chords: Dim7 chords● Progressions: Chord -

diminished● Progressions: V7-I change

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6 * Part 7

● The same in Theory: The Flat-five Substitution

● Song: The Beatles' song Michelle

12-bars, two Chord Shapes and a Touch of Jazz – Part 2

12-bars, two Chord Shapes and a Touch of Jazz – Part 4

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Blues Gitar - 12-bars, Two Chord Shapes and a Touch of Jazz - part 4

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

12-bars, Two Chord Shapes and a Touch of Jazz - part 4

12-bars, two Chord Shapes and a Touch of Jazz – Part 3

The Flat Five SubstitutionPart 1

When constructing examples for lessons, I try to do it in a way that clearly illustrates the point in this lesson. If I should make real music, I would make other choices and include more variations. The example in the previous part illustrates the relation between our three note chords and the song from the Tritone Blues lesson. But it gets boring when you play only A in the bass for 10 out of the 12 bars. So I would probably use another variation of the IV chord (D7), at least I would use it as a variations. If you play this chord at 4th and 5th fret, you get D7, and at 6th and 7th fret it will be E7.

In the example below, I am using the chords mentioned above. But when doing so, we move away from the two shapes we started with. And we will hang on to these shapes for a few more (forthcomming) lessons.

http://www.torvund.net/guitar/BluesGuitar/Three_note_chords-4.asp (1 of 3)07.01.2005 04:05:08

Blues Gitar - 12-bars, Two Chord Shapes and a Touch of Jazz - part 4

PDF-File

Bestseller!

Dave Rubin: 12 Bar BluesIn the book, Dave Rubin explores the 12 bar blues form. The term '12-bar blues' has become synonymous with blues music and is the basis for an incredible body of jazz, rock 'n' roll, and other forms of popular music. This book/CD pack is solely devoted to providing guitarists with all the technical tools necessary for playing 12-bar blues with authority. The CD includes 24 full-band tracks. Covers: boogie, shuffle, swing, riff, and jazzy blues progressions; Chicago, minor, slow, bebop, and other blues styles; soloing, intros, turnarounds, accompanying keyboards and more. This is one of my favorites! See more info...This book was selected as Guitar Book of the Month - July 2002ToC No HL695187Review:

Order from:SheetmusicPlus (US)MusicRoom (UK)

Dave Rubin: The Art of the Shuffle.As the name says, the book focuses on the shuffle, and not the blues as such. It explores shuffle, boogie and swing rhythms for guitar. Includes tab and notation, and covers Delta, country, Chicago, Kansas City, Texas, New Orleans, West Coast, and bebop blues. As the name says, the book focuses on the shuffle, and not the blues as such. But as all examples are in a 12-bar blues format, it will take you through various blues progressions, as an added bonus to the exploration of the shuffle style. (HL695005) See more info...

Order From:SheetmusicPlus MusicRoom (UK)Amazon UK

Jim Ferguson - All Blues for Jazz GuitarJazz-Blues. By Jim Ferguson. Book/CD package. Rhythm/backup. Jim Ferguson has a jazz approach to the blues, which means jazz comping and more sophisticated chords. In this book you will learn many arrangements based on three-note 7th chords (which often could be labeled as dim chords) in a blues context. (There are many other chords as well). Unless jazz is you main interest, I will suggest that you start with Dave Rubin's 12 Bar Blues, before going on with Jim Ferguson's book. 92 pages. Published by Guitar Master Class Pub. - Mel Bay Fingerstyle Jazz. ToC No MB96842BCD

This book was selected as Book of the Month February 2003

Amazon UK Order from:SheetmusicPlus (US)

Gig Savers: Blues ChangesFor Serious Players. by Corey Christiansen. For Guitar (All). Rhythm/backup. Progressions. Gig Savers. Blues. Level: Beginning. Book. Size 5.5x8. 16 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB20030Review:

Order from:SheetmusicPlus

Comping the BluesJazz-Blues. By Frank Vignola. For Guitar (Flatpick). accompaniment. Vignola Play Along. Jazz. Level: Intermediate. Book. Size 8.75x11.75. 16 pages. Published by Mel Bay Publications, Inc. See more info...ToC No MB99768Review:

Order from:SheetmusicPlus

12-bar blues

http://www.torvund.net/guitar/BluesGuitar/Three_note_chords-4.asp (2 of 3)07.01.2005 04:05:08

Blues Gitar - 12-bars, Two Chord Shapes and a Touch of Jazz - part 4

● Classic Lesson: 1 - BASIC BLUES

● Blues Guitar Lesson 1: The 12 bar blues in E

● Blues Guitar Lesson 2: Some variations of the 12-bar blues in E

● Chord Progressions: Basic 12-bar blues

● Lesson 14: Blues in A - introduction

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar – Add the m7 chord - Part 2 * Part 3 * Part 4

● The same in Theory: The Flat-five Substitution

For more on tritones and the diminished chord, go to:● Theory: Tritone interval● Theory: The diminished

triad● Theory: The dominant 7th

chord● Chords: dim chords

● Chords: Dim7 chords● Progressions: Chord -

diminished● Progressions: V7-I change

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6 * Part 7

● The same in Theory: The Flat-five Substitution

● Song: The Beatles' song Michelle

12-bars, two Chord Shapes and a Touch of Jazz – Part 3

The Flat Five SubstitutionPart 1

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

http://www.torvund.net/guitar/BluesGuitar/Three_note_chords-4.asp (3 of 3)07.01.2005 04:05:08

Music Theory for Guitar - The Flat Five Substitution - part 1

Olav Torvund's Guitar Pages Guitar Lessons

Book of the MonthJanuary 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Recommended Books etc on Music Theory

Go here for links to other Music Theory sites

The Flat Five Substitution - part 1

Two Chord Shapes and a Touch of Jazz - Part 4

The Flat Five SubstitutionPart 2

You have probably heard jazz musician talk about the flat five substitution many times. You can learn to know that you can alway substitute a dominant 7th chord or any extension of such chords with the dominiant 7th a flat five above or below. Instead of A7 you can play Eb7. But in my opinion, it is not enough to know. We should understand the concept.

The key to this substitution is that the two most important notes in a 7th chord is the 3rd and the 7th. The interval between these notes is tritone. If we start from the G7 chord, the 3rd is a B and the 7th is an F. From B to F is a diminished (or flat) fifth = six half steps = tritone. From F to B is an augmented fourth = six half steps = tritone. The tritone divides the scale into two equal parts, which makes it a symetric interval. Our ears will not distinguish between a diminished fifth and an augmented fourth. We just hear the tritone, for instance an F and a B. If you are not familiar with the tritone, you have to go back to some previous lessons.

We can substitute the other notes in a 7th chord, but not the two notes that make up the tritone. If you leave out one of these, the chord will loose it's character as a 7th chord.

If we go up one diminished fifth from G (six half steps), we end at Db. As the interval is symetric, we will also end on Db if we go down a diminished fifth. The Db7 chord has the notes Db-F-Ab-Cb. Cb and B are enharmonic, which means that they are the same note spelled in two different ways. In Db7, the correct spelling of the note is Cb, a diminished fifth up from F. If we spelled it B, it would be an augmented fourth, and the chord would be some kind of a sixth chord. But our ears do not distinguish between the two. And this is the key to the flat five substitution: The tritone in the Db7 is the same as the tritone in a G7. The other notes have changed, but we have kept the two important ones.

With this new knowledge, we shall go back to where we stopped in the 12-bars, Two Chord Shapes and a Touch of Jazz lesson, and play some blues with flat five substitution. We will still use only the two chord shapes from this lesson, and we will be in the key of A this time. The flat five substitution for A7 will be Eb7, for D7 it will be Ab7, and the flat five substitution for E7 will be Bb7. If you are like many of your fellow guitar players, you will look for another tune when you see chords like Eb7, Ab7 and Bb7. But they are very simple. We will use the same two chord shapes as we used in 12-bars, Two Chord Shapes and a Touch of Jazz

5 fr

5 fr

5 fr

A7 Eb7 A7/Eb7

We play both shapes based on 5th fret. The first will then give us an A7 chord. Then we move the note on the 6th string up one fret, and we have a Eb7. You will have to change fingering of both the 6th and 4th

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Music Theory for Guitar - The Flat Five Substitution - part 1

string – this is at least how I prefer to play this change. In the shape to the right, I have combined the two, to show the relation. The black notes constitute the tritone, and we have to keep these notes in both chords. When we play at 5th fret on the 6th string, we get the notes A, G and C#, which is an A7 without the fifth. The tritone is the interval between G and C#. If we move up to the 6th fret on the 6th string, and keep the tritone, we get the notes Bb, G and Db. Db is enharmonic with C#, so we will not hear the difference. These notes constitute an Eb7 without root.

It would be more precise to say the the notes Bb, G and Db function as an Eb7. It is not really an Eb7 when there is no root note (Eb) in the chord. What we really have is a Gdim. In the next part we will apply this flat five substitution to introduce some passing chords in the 12-bar progression.

For more on tritones and the diminished chord, go to:● Theory: Tritone interval● Theory: The diminished

triad● Theory: The dominant 7th

chord● Chords: dim chords

● Chords: Dim7 chords● Progressions: Chord -

diminished● Progressions: V7-I change

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6 * Part 7

● The same in Theory: The Flat-five Substitution

● Song: The Beatles' song Michelle

Two Chord Shapes and a Touch of Jazz - Part 4

The Flat Five SubstitutionPart 2

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

http://www.torvund.net/guitar/BluesGuitar/FlatFive-01.asp (2 of 2)07.01.2005 04:05:11

Music Theory for Guitar - The Flat Five Substitution - part 2

Olav Torvund's Guitar Pages Guitar Lessons

Book of the MonthJanuary 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

BestsellersNew BooksNewsletter

Retailers:

If you like the site, give me

your vote:

Recommended Books etc on Music Theory

Go here for links to other Music Theory sites

The Flat Five Substitution - part 2

The Flat Five SubstitutionPart 1

The Flat Five SubstitutionPart 3

As said in part 1, now we will use the flat five substitution to introduce some passing chords in the 12-bar blues. No new chord shapes are used, only new positions.

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Music Theory for Guitar - The Flat Five Substitution - part 2

PDF-File

If you know your music theory, and read standard notation, you should notice that the notation for the Eb7 chord is not correct in all bars where this chord occurs. In the first example below, it is written as Bb-G-C#, which is not correct. The correct spelling, as in the second example, is Bb-G-Db. But I want to make clear, also in the notation, that we have the same tritone – G - C#/Db – in both chords. I had to make a compromise. I prefer to illustrate, also in the notation, that it is the same notes, even if they might change their names. In the second example, we do not keep the tritone as the chord change, so then there was no reason not to write it correctly.

The Ab7 is not correctly written either. It is written as the first example to the right, with the notes Ab-F#-C. It should be no F# in a Ab7, it should be written as the enharmonic Gb, and the notes should be written as in the correct example to the far right: Ab-Gb-C. But again I prefer to illustrate that the note does not change from D7 to Ab7, even though it change name.

You do have to use the flat five substitution for passing chords only, as we will see in part three.

For more on tritones and the diminished chord, go to:● Theory: Tritone interval● Theory: The diminished

triad● Theory: The dominant 7th

chord● Chords: dim chords

● Chords: Dim7 chords● Progressions: Chord -

diminished● Progressions: V7-I change

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6 * Part 7

● The same in Theory: The Flat-five Substitution

● Song: The Beatles' song Michelle

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Music Theory for Guitar - The Flat Five Substitution - part 2

12-bar blues

● Classic Lesson: 1 - BASIC BLUES

● Blues Guitar Lesson 1: The 12 bar blues in E

● Blues Guitar Lesson 2: Some variations of the 12-bar blues in E

● Chord Progressions: Basic 12-bar blues

● Lesson 14: Blues in A - introduction

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar – Add the m7 chord - Part 2 * Part 3 * Part 4

● The same in Theory: The Flat-five Substitution

The Flat Five SubstitutionPart 1

The Flat Five SubstitutionPart 3

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Music Theory for Guitar - The Flat Five Substitution - part 3

Olav Torvund's Guitar Pages Guitar Lessons

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Happy Traum: Blues Guitar

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The Flat Five Substitution - part 3

The Flat Five SubstitutionPart 2

The Flat Five SubstitutionPart 4

As said in part 1, now we will use the flat five substitution to introduce some passing chords in the 12-bar blues. No new chord shapes are used, only new positions.

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Music Theory for Guitar - The Flat Five Substitution - part 3

PDF-File

Once again I will remind you that these examples are designed to illustrate how you can apply these chords, and not composed to make exciting music. You have to take it from here and experiment with your own variations.

We have to do the same in another key, to make sure that you will be able to play in all keys. You will find that in part 4.

For more on tritones and the diminished chord, go to:● Theory: Tritone interval● Theory: The diminished

triad● Theory: The dominant 7th

chord● Chords: dim chords

● Chords: Dim7 chords● Progressions: Chord -

diminished● Progressions: V7-I change

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6 * Part 7

● The same in Theory: The Flat-five Substitution

● Song: The Beatles' song Michelle

The Flat Five SubstitutionPart 2

The Flat Five SubstitutionPart 4

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Music Theory for Guitar - The Flat Five Substitution - part 4

Olav Torvund's Guitar Pages Guitar Lessons

Book of the MonthJanuary 2005

Happy Traum: Blues Guitar

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The Flat Five Substitution - part 4

The Flat Five SubstitutionPart 3

The Flat Five SubstitutionPart 5

This is basically the same 12-bar blues variation as in part 3, but this time it is in D-major. If you learn to play these progressions in A and D, you should be able to play in any key.

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Music Theory for Guitar - The Flat Five Substitution - part 4

PDF-File

I have included one chord that is neither a primary chord or a flat five substitution for any of those. This is the C7 in bar 5. I have put it in because I think it fits well into the flow of chords. I have noe explanation why a C7 should work in this context. I am just sticking to the golden rule of music: If it sounds right, it is right.

Also in this example, two chords are not correctly written in the standard notation. The version of Ab7 that is used should be written as Ab-Gb-C, but is written as Ab-F#-C The Eb7 should be written Bb-Db-Eb, but is written Bb-C#-Eb. Again the reason is that it would be more difficult to see that we are playing the same notes, even though the names are changing.

One could also discuss how the chords should be labeled. I have chosen C#7 and not Db7, because C# is a note that belongs to the A-major scale. But then it is an augmented fourth, and not a diminshed (flatted) fifth above the G. One could also argue that it would be more corret to use G#7 instead of Ab7, and D#7 instead of Eb7. I am not going to discuss the choices, just say that I have made a choice that can be discussed. If you would have preferred other labels, your choice would be as "correct" as mine.

For more on tritones and the diminished chord, go to:● Theory: Tritone interval● Theory: The diminished

triad● Theory: The dominant 7th

chord● Chords: dim chords

● Chords: Dim7 chords● Progressions: Chord -

diminished● Progressions: V7-I change

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6 * Part 7

● The same in Theory: The Flat-five Substitution

● Song: The Beatles' song Michelle

12-bar blues

● Classic Lesson: 1 - BASIC BLUES

● Blues Guitar Lesson 1: The 12 bar blues in E

● Blues Guitar Lesson 2: Some variations of the 12-bar blues in E

● Chord Progressions: Basic 12-bar blues

● Lesson 14: Blues in A - introduction

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar – Add the m7 chord - Part 2 * Part 3 * Part 4

● The same in Theory: The Flat-five Substitution

The Flat Five SubstitutionPart 3

The Flat Five SubstitutionPart 5

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

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Music Theory for Guitar - The Flat Five Substitution - part 4

Home

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Music Theory for Guitar - The Flat Five Substitution - part 5

Olav Torvund's Guitar Pages Guitar Lessons

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The Flat Five Substitution - part 5

The Flat Five SubstitutionPart 4

The Flat Five SubstitutionPart 6

Before closing, you should have a little bit more to play with. First you need to know where you find the tritone on you guitar. These are the five basic tritone positions:

I use the A7 as the basis in all examples, with the Eb7 as the flat five substitution chord. But the positions are moveable. The tritone in these two chords are C#–G and G–Db. Before going on, I will remind you that the C# and Db are enharmonic, and the the tritone is symetric. (The distance from C# to G is the same as the distance from G to C#, meaning that we still get a tritone if the interval is inverted).

I remind you that these chords are not full 7th chords. We have removed either the 5th or the root from the chords. The dominant7 chord without the root is really a dim chord that function as a dominant7. In our context, a C#dim may function as an A7, and Gdim may function as Eb7.

Tritone on 6th and 5th string

We can start by building 3-note 7th chords around the tritone on the 6th and 5th string. As this tritone is on the two bottom strings, we have to vary the notes in the treble, and not the bass-note, as we did in the examples so far.

We find the tritone in two positions: 3rd fret on 6th string and 4th on 5th, and then at 9th fret at 6th and 10th fret on the 5th string.

Tritone on 3rd and 4th fret

A7 (C#dim) Eb7 A7 Eb7 (Gdim)

3 fr 3 fr 3 fr 3 fr

A7 (C#dim) Eb7 A7 Eb7 (Gdim)

Tritone on 9th and 10th fret

7 fr 7 fr 8 fr 8 fr

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Music Theory for Guitar - The Flat Five Substitution - part 5

A7 Eb7 (Gdim) A7 (C#dim) Eb7

9 fr 9 fr 9 fr 9 fr

A7 Eb7 (Gdim) A7 (C#dim) Eb7

Tritone on 5th and 4th string

Now we move our tritone to the 5th and 4th string. Still using the same chords in our example, we find the frist tritone at 5th string 4th fret (C#/Db) and 4th string 5th fret (G). The next tritone is at 5th string 10th fret (G) and 4th string 11th fret (C#/Db).

Notice that it is a tritone (flat fifth) between the two tritone intervals. This equals 6 frets. This also means that you can get a flat five substitution by moving any of these chords up or down six frets.

Tritone on 4th and 5th fret

4 fr 4 fr 2 fr 2 fr

A7 Eb7 (Gdim) A7 Eb7 (Gdim)

4 fr 4 fr 4 fr 4 fr

A7 (C#dim) Eb7 A7 Eb7 (Gdim)

Tritone on 10th and 11th fret

10 fr 10 fr 8 fr 8 fr

Eb7 A7 (C#dim) Eb7 A7 (C#dim)

10 fr 10 fr 10 fr 10 fr

A7 Eb7 (Gdim) Eb7 A7 (C#dim)

Before we continue, I will remind you to see which notes we are adding to the tritone to get these chords. To get the A7 without fifth, we add an A (the root). To get an A7 without root we add an E (the fifth). To get the Eb7 without fifth we add an Eb (root), and to get the Eb7 without root we add a Bb (fifth).

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Music Theory for Guitar - The Flat Five Substitution - part 5

For chords with the next tritones, go to part 6.

For more on tritones and the diminished chord, go to:● Theory: Tritone interval● Theory: The diminished

triad● Theory: The dominant 7th

chord● Chords: dim chords

● Chords: Dim7 chords● Progressions: Chord -

diminished● Progressions: V7-I change

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6 * Part 7

● The same in Theory: The Flat-five Substitution

● Song: The Beatles' song Michelle

The Flat Five SubstitutionPart 4

The Flat Five SubstitutionPart 6

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Music Theory for Guitar - The Flat Five Substitution - part 6

Olav Torvund's Guitar Pages Guitar Lessons

Book of the MonthJanuary 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

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The Flat Five Substitution - part 6

The Flat Five SubstitutionPart 5

The Flat Five SubstitutionPart 7

I remind you that these chords are not full 7th chords. We have removed either the 5th or the root from the chords. The dominant7 chord without the root is really a dim chord that function as a dominant7. In our context, a C#dim may function as an A7, and Gdim may function as Eb7.

Tritone on 4th and 3rd string

Now we are back to where we started: Chords with the tritones on the 4th and 3rd strings. But as you will see, there are a few more chords than the ones we have covered so far.

Still in A7 / Eb7, we find the tritone in two positions: 5th fret on 4th string and 6th on 3rd, and then at 11th fret at 4th and 12th fret on the 3rd string.

Tritone on 5th and 6th fret

5 fr 5 fr 5 fr 5 fr

A7 Eb7 (Gdim) A7 (C#dim) Eb7

4 fr 4 fr 5 fr 5 fr

A7 (C#dim) Eb7 A7 Eb7 (Gdim)

Tritone on 11th and 12th fret

11 fr 11 fr 11 fr 11 fr

A7 (C#dim) Eb7 A7 Eb7 (Gdim)

10 fr 10 fr 11 fr 11 fr

A7 Eb7 (Gdim) A7 (C#dim) Eb7

Tritone on 3rd and 2nd string

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Music Theory for Guitar - The Flat Five Substitution - part 6

As the inteval between the 3rd and 2nd string is a major third, and not a perfect fourht, as it is between the other strings, the shape here is different.

With the chosen chords, the first tritone is on 3rd string 6th fret and 2nd string 8th fret, and the second on 3rd string 12th fret and 2nd string 14th fret. When reaching 12th fret, we can also go down one octave, and we have the tritone on open 3rd string and 2nd string 2nd fret. But as chords with open strings are not moveable, we stick to the 12/14th fret.

Tritone on 5th and 6th fret

5 fr 5 fr 6 fr 6 fr

A7 Eb7 (Gdim) A7 (C#dim) Eb7

6 fr 6 fr 5 fr 5 fr

A7 Eb7 (Gdim) A7 Eb7 (Gdim)

Tritone on 12th and 14th fret

11 fr 11 fr 12 fr 12 fr

A7 (C#dim) Eb7 A7 Eb7 (Gdim)

12 fr 12 fr 11 fr 11 fr

A7 (C#dim) Eb7 A7 (C#dim) Eb7

For chords with tritones on string 2 and 1, and some other tritone shapes, go to part 7.

For more on tritones and the diminished chord, go to:● Theory: Tritone interval● Theory: The diminished

triad● Theory: The dominant 7th

chord● Chords: dim chords

● Chords: Dim7 chords● Progressions: Chord -

diminished● Progressions: V7-I change

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6 * Part 7

● The same in Theory: The Flat-five Substitution

● Song: The Beatles' song Michelle

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Music Theory for Guitar - The Flat Five Substitution - part 6

The Flat Five SubstitutionPart 5

The Flat Five SubstitutionPart 7

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

Bing & Co © Olav Torvund

University of OsloNRCCL

olav@torvund.netI appreciate comments

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Music Theory for Guitar - The Flat Five Substitution - part 7

Olav Torvund's Guitar Pages Guitar Lessons

Book of the MonthJanuary 2005

Happy Traum: Blues Guitar

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The Flat Five Substitution - part 7

The Flat Five SubstitutionPart 6

Add the m7 chordPart 1

Tritone on 2nd and 1st string

This is the last tritone on adjacent strings, and the last we will build chord around in this lesson. But there are more tritones, and we will end the lesson by showing a few of them. But first we have to look at the tritone on 2nd and 1st string. We find the first tritone on 2nd sting 2nd fret and 1st string 3rd fret.. The next is on 2nd string 8th fret and 1st string 9th fret. If we go one octave up from the first, we end at 2nd string 14th fret and 1st string 15th fret.

With the chosen chords, the first tritone is on 3rd string 6th fret and 2nd string 8th fret, and the second on 3rd string 12th fret and 2nd string 14th fret. When reaching 12th fret, we can also go down one octave, and we have the tritone on open 3rd string and 2nd string 2nd fret. But as chords with open strings are not moveable, we stick to the 12/14th fret.

Tritone on 2nd and 3rd fret

A7 (C#dim) A7 Eb7 (Gdim)

Eb7 Eb7 A7 Eb7 (Gdim)

Tritone on 8th and 9th fret

5 fr 5 fr 8 fr 12 fr

A7 Eb7 (Gdim) A7 (C#dim) Eb7

If you try the chords above, you will find that this combination of strings are a bit hard to play for these chords, as you get some hard stretches.

6 fr 6 fr 7 fr 7 fr

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Music Theory for Guitar - The Flat Five Substitution - part 7

A7 (C#dim) Eb7 A7 Eb7 (Gdim)

8 fr 8 fr

A7 (C#dim) Eb7

Tritone on 14th and 15th fret

11 fr 11 fr 12 fr 12 fr

A7 (C#dim) Eb7 A7 (C#dim) Eb7

There are of course more chords that can be played with tritone on 14th and 15th fret, but these are the four where we partly used open strings on the lower position.

There are a few other tritones you can play on the guitar. The first is a real tritone. The others are tritone+octave.

You should be able to figure out which chords can be substituted by which by now, but I list them just to be sure. Remember that you can substitute both ways: A7 can be substituted by Eb7, and Eb7 by A7. The chords in each column can substitute each other.

C7 / Edim C#/Db7 / Fdim D7 / F#dim Eb7 / Gdim E7 / G#/Abdim F7 / Adim

F#/Gb7 / Bbdim G7 / Bdim Ab7 / Cdim A7 / C#dim Bb7 / Ddim B7 / D#/Ebdim

Now we will leave tritones for a while. But we will not leave the 12-bar blues and three-note chords yet. We will put in some m7 chords. But this will not be before next month and next newsletter.

For more on tritones and the diminished chord, go to:● Theory: Tritone interval● Theory: The diminished

triad● Theory: The dominant 7th

chord● Chords: dim chords

● Chords: Dim7 chords● Progressions: Chord -

diminished● Progressions: V7-I change

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4 * Part 5 * Part 6 * Part 7

● The same in Theory: The Flat-five Substitution

● Song: The Beatles' song

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Music Theory for Guitar - The Flat Five Substitution - part 7

Michelle

The Flat Five SubstitutionPart 6

Add the m7 chordPart 1

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

The lawfirm where I am partner:

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olav@torvund.netI appreciate comments

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Blues Guitar - the m7 chord - Part 1

Olav Torvund's Guitar Pages Guitar Lessons

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January 2005

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Blues Guitar – Add the m7 chord - Part 1

The Flat Five SubstitutionPart 7

The Minor 7th ChordPart 2

It is recommended that you start with the lesson 12-bars, Two Chord Shapes and a Touch of Jazz before this lesson, if you have not been through it already.

If we compare the minor7 with the dominant 7 one difference is of course that the minor7 is a minor chord, and the dominant 7 is a major chord. But a very important difference is that there is no tritone in the minor7 chord. It does not call for a resolution in the same way as a dominant 7, and the flat five substitution does not apply. But it is still a useful chord.

You should know a little bit about the relation between the 6-chord and it's relative m7 chord. A C6 is the C with an added 6th, and it has the notes C-E-G-A. The relative m7 to C6 is Am7, which has the notes A-C-E-G. As you see, they both have the same notes. The Am7 in root position is the same as C6 in third inversion, and the C6 is the same as Am7 in first inversion.

We will use two m7 chord shapes, and they are both three-note fingerings with one note omitted. The first has the notes 1-b7-b3, or A-G-C, if we stick to Am7. Here the 5th is omitted, which does not change the identity or the charachter of the m7 chord. But if we invert the chord, and get the notes C-G-A, it would be the 1-5-6 of a C6. As the 3rd is omitted, it will not the character of major chord.

In the second shape, we have the notes E-C-G. Here the root is omitted, and the chord will loose it's identity as an A-type chord. It is really a C-chord. These chords can substitute each other.

m7 - 1-7-b3 voicingAm7 when played at 5th fret m7 - 5-b3-7 voicing (Major 3-1-5)

Am7 (C) when played at 10th fret

In Part 2 of this lesson, we will start with a variation of the 12-bar blues we used in part 1 of the Three Note Chord - Lesson. We will once again be in the key of Bb, and we will use the Cm7 chord, which is the ii-chord of Bb.

For more on 7th chords in general, go to:● Theory: Seventh Chords● Chords: 7th chord

● Chords: A Chord Exercise – dominant 7th chord

● Progressions: V7-I change

7th Chord types:

(dominant) 7th maj7 m7 mM7 (m(maj7)

dim7 7b5 7#5

The Flat Five SubstitutionPart 7

The Minor 7th ChordPart 2

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Blues Guitar - the m7 chord - Part 1

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

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Blues Guitar - the m7 chord - Part 2

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Blues Guitar – Add the m7 chord - Part 2

The Minor 7th ChordPart 1

The Minor 7th ChordPart 3

PDF-File

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Blues Guitar - the m7 chord - Part 2

Instead of playing V7-IV7 in bars 9 and 10, we will play ii7-V7, and we will then land on the I7 (root) chord in bar 11. What we then get is the ii-V-I progression. In the last bar of the turnaround, we will again play ii7-V7, which will create a ii7-V7-I7 when it resolves at the first bar of the next verse.

I have also intrduced a VI7 chord (G7 when we are in the key of Bb) in bar 8, and the second half of bar 11. If we should put these chords in the context of C-minor, it would have been the V7-i chords of this key. By playing these chord, we are almost modulating to C-minor. But as we do not let this key get time to settle, we are only hinting at the key C-minor, rather than modulating to it.

I have difficulties explaining the function of the VI7 chord in the context of the home key. But it works, which is most important. I have stolen the chord and it's function in this progression form Jim Ferguson, who use it a lot in his book All Blues For Jazz Guitar. But he does not explain why he use it, and I have not been able to figure it out myself. (Does anyone out there have a good answer to this?)

Jim Ferguson - All Blues for Jazz GuitarJazz-Blues. By Jim Ferguson. Book/CD package. Rhythm/backup. Jim Ferguson has a jazz approach to the blues, which means jazz comping and more sophisticated chords. In this book you will learn many arrangements based on three-note 7th chords (which often could be labeled as dim chords) in a blues context. (There are many other chords as well). Unless jazz is you main interest, I will suggest that you start with Dave Rubin's 12 Bar Blues, before going on with Jim Ferguson's book. 92 pages. Published by Guitar Master Class Pub. - Mel Bay Fingerstyle Jazz. ToC No MB96842BCD

This book was selected as Book of the Month February 2003

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In part 3 we will play the same progression in Eb, to use the other chord positions.

For more on 7th chords in general, go to:● Theory: Seventh Chords● Chords: 7th chord

● Chords: A Chord Exercise – dominant 7th chord

● Progressions: V7-I change

7th Chord types:

(dominant) 7th maj7 m7 mM7 (m(maj7) dim7 7b5 7#5

12-bar blues

● Classic Lesson: 1 - BASIC BLUES

● Blues Guitar Lesson 1: The 12 bar blues in E

● Blues Guitar Lesson 2: Some variations of the 12-bar blues in E

● Chord Progressions: Basic 12-bar blues

● Lesson 14: Blues in A - introduction

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar – Add the m7 chord - Part 2 * Part 3 * Part 4

● The same in Theory: The Flat-five Substitution

The Minor 7th ChordPart 1

The Minor 7th ChordPart 3

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

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Blues Guitar - the m7 chord - Part 2

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Blues Guitar - the m7 chord - Part 3

Olav Torvund's Guitar Pages Guitar Lessons

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Blues Guitar – Add the m7 chord - Part 3

The Minor 7th ChordPart 2

The Minor 7th ChordPart 4

This is the same progression as in part 2, but now we are playing in Eb. When you have learned this progression in Bb and Eb, you should be able to play it in any key.

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Blues Guitar - the m7 chord - Part 3

PDF-File

In part 4 we will re-introduce all the added chords based on Flat Five Substitution, and combine them the m7 chord and the basic progression introduced in this lesson.

For more on 7th chords in general, go to:● Theory: Seventh Chords● Chords: 7th chord

● Chords: A Chord Exercise – dominant 7th chord

● Progressions: V7-I change

7th Chord types:

(dominant) 7th maj7 m7 mM7 (m(maj7) dim7 7b5 7#5

12-bar blues

● Classic Lesson: 1 - BASIC BLUES

● Blues Guitar Lesson 1: The 12 bar blues in E

● Blues Guitar Lesson 2: Some variations of the 12-bar blues in E

● Chord Progressions: Basic 12-bar blues

● Lesson 14: Blues in A - introduction

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar – Add the m7 chord - Part 2 * Part 3 * Part 4

● The same in Theory: The Flat-five Substitution

The Minor 7th ChordPart 2

The Minor 7th ChordPart 4

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

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Blues Guitar - the m7 chord - Part 4

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Blues Guitar – Add the m7 chord - Part 4

The Minor 7th ChordPart 3

Turnaround - Lesson 1Part 1

Here we are developing further the progression we used in the Flat Five Substitution Lesson - Part 3. Go to this lesson if you think we are going into too unfamiliar territory.

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Blues Guitar - the m7 chord - Part 4

PDF-File

If you have been through the Flat Five Substitution Lesson - Part 2, you may recall that I discussed the notation of the chords.We are running into the same problem here, and we have to make a compromize between a correct notation and a notation that shows the voice leading. Again it is a kind of information you do not really have to worry about, and I guess that the majority of you readers out there would not notice the difference. But I want to use correct note spelling, and I want those of you who might be interested (if any) to know why I sometimes deviate from this principle. It is only a matter if you read the standard notation. In tablature, the various spelling of notes do not make any difference.

The A7 in a 1-7-3 voicing should be notated with some kind of a 1, 7 and 3 note, which would be some kind of A, G and C. The C-type note here is a C#. In the first example, when playing the chords Eb7-A7, as in bars 2 and 5, I have chosen to notate the enharmonic Db instead of C#. The Db is some kind of a 4th, and not a third, so the chord is notated as 1-7-b4 instead of the correct 1-7-3. The reason is that we are comming from a Eb7, which has the Db, and to make clear that this note is not moving, it just formally change it's name, I keep the Db spelling. In the next example, this is not an issue, so there I have preferred the correct spelling.

We have the same kind of problem with the E7 chord. In bar 4, where the first example is taken from, we come from a Bb7 that has the note Ab in it. The E7 does not have Ab, but the enharmonic G#. But again I prefer to keep the Ab to make clear that the note is note moving, despite that it will give an incorrect notation of the E7 chord. In bar 6, the reason is that we are going to the Bb7 with a Ab in the next bar. One could argue that it should have been spelled as the enharmonic chord Fb7 instead of E7. By spelling the bass note Cb instead of B, the movement in the bass would have been clearer. But then we would have had trouble with the D on top. In Fb7 the correct spelling would have been Ebb. But I do not think many guitar players easily can relate to the Fb7 chord and the note Ebb. E7 is familar territory, so I prefer to use this label and basic spelling. In bar 9 (second example), we do not have this kind of problem, so here I have used a correct spelling of the E7 chord.

Finally, the spelling of the B7 in bar 10 should have been B-A-D#, and not B-A-Eb. Again the reason is that the chord we come from, the F7, has a Eb in it.

For more on 7th chords in general, go to:● Theory: Seventh Chords● Chords: 7th chord

● Chords: A Chord Exercise – dominant 7th chord

● Progressions: V7-I change

7th Chord types:

(dominant) 7th maj7 m7 mM7 (m(maj7) dim7 7b5 7#5

12-bar blues

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Blues Guitar - the m7 chord - Part 4

● Classic Lesson: 1 - BASIC BLUES

● Blues Guitar Lesson 1: The 12 bar blues in E

● Blues Guitar Lesson 2: Some variations of the 12-bar blues in E

● Chord Progressions: Basic 12-bar blues

● Lesson 14: Blues in A - introduction

● Tritone Blues - Part 1 * Part 2 * Part 3 * Part 4

● Blues Gutiar: 12-bars, Two Chord Shapes and a Touch of Jazz - Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar: The Flat-five Substitution – Part 1 * Part 2 * Part 3 * Part 4

● Blues Guitar – Add the m7 chord - Part 2 * Part 3 * Part 4

● The same in Theory: The Flat-five Substitution

The Minor 7th ChordPart 3

Turnaround - Lesson 1Part 1

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

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Blues Guitar – Turnaround - Lesson 1, part 2

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Blues Guitar – Turnaround - Lesson 1, part 2

Turnaround - Lesson 1Part 1

Turnaround - Lesson 1Part 3

As I said in the introduction to part 1, these chords can be the basis for many turnaround licks. I will give you a few examples og licks that are all based on the sequence of diminished chords.

The first one is some simple rhythmic variations.

The next example is the first turnaround I learned. In those days, we thought that this was the turnaround, and we were very proud when we had learned to play it.

The next is arpeggiated chords.

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Blues Guitar – Turnaround - Lesson 1, part 2

The next two are some variations that it should not be necessary to comment.

The next is arpeggiated chords.

The last one is interesting because we open the first string when playing the Gdim chord. When adding this E, it turns into a dim7 chord.

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Blues Guitar – Turnaround - Lesson 1, part 2

One good example on how these chords can be used in turarnounds, fill-ins, solos etc, is Eric Claptons unplugged version of Before You Accuse Me.

Bestseller!

Eric Clapton: From The Album Eric Clapton UnpluggedSignature Licks. Acoustic Rock. Performed by Eric Clapton, written by Wolf Marshall. For guitar. Includes instructional book and examples CD. With standard guitar notation, guitar tablature, vocal melody, lyrics, chord names, guitar chord diagrams, guitar notation legend, introductory text, instructional text and performance notes. Blues rock and adult contemporary. Series: Hal Leonard . 72 pages. 9x12 inches. Published by Hal Leonard. See more info...ToC No HL695250Review:

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Eric Clapton: From The Album Eric Clapton UnpluggedAcoustic Rock. Performed by Eric Clapton. For guitar and voice. Format: guitar tablature songbook. With standard guitar notation, guitar tablature, vocal melody, lyrics, chord names, guitar chord diagrams and guitar notation legend. Blues rock and adult contemporary. Series: Hal Leonard Guitar Recorded Versions. 112 pages. 9x12 inches. Transcribed by Jesse Gress. Published by Hal Leonard. (HL694869)See more info...

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More on Blues Turnarounds

● Blues Guitar - Lesson 3: An introduction to turnarounds - the turnaround chord

● Blues Guitar - Lesson 8: A Turnaround Chord Sequence

● Blues Guitar - Lesson 9: Turnaround licks in E

● Turnaround_Lesson 1-1

● Turnaround_Lesson 1-2● Turnaround_Lesson 1-3● Turnaround_Lesson 2-1

● Turnaround_Lesson 2-2● Turnaround_Lesson 3-1● Turnaround_Lesson 3-2

Turnaround - Lesson 1Part 1

Turnaround - Lesson 1Part 3

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

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Blues Guitar – Turnaround - Lesson 1, part 2

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Blues Guitar – Turnaround - Lesson 1, part 2

Olav Torvund's Guitar Pages Guitar Lessons

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Blues Guitar – Turnaround - Lesson 1, part 3

Turnaround - Lesson 1Part 2

Turnaround - Lesson 2Part 1

These chord postiotions are all moveable, and can be used in any key. If we move the E - G#dim - Gdim - F#dim - E sequence up five frets (a fourth), we go to A-major, and the chords will be A - C#dim - Cdim - Bdim - A.

A C#dim Cdim Bdim

Listen to the opening ant the break in Robert Johnson's tune Kindhearted Woman for an example on how these chords can be used in A-major. (For a long time it has been my intent to discuss Kindhearted Woman a little more in depth, but it is still nothing more than a plan for a future lesson.)

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Robert Johnson - Signature Licks A Step-by-Step Breakdown of the Legendary Guitarist's Style and Technique. Performed by Robert Johnson. By Dave Rubin. Signature Licks (Authentic guitar transcriptions in notes and tab). Book and CD package. With notes and tablature. Size 9x12 inches. 64 pages. Published by Hal Leonard. Chosen as Book of the Month December 2002.See more info...ToC No HL695264Review:

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Robert Johnson: The Complete Recordings There are several collections of Robert Johnson's songs, but I see no reason not to get this double CD set with his total output of 41 recordings (incl alternate takes). The record has sold more than 500.000, which is a substantial number for a blues re-issue. CD374890More information

Amazon UK

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Blues Guitar – Turnaround - Lesson 1, part 2

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Robert Johnson - The New Transcriptions Since this is published by the same publisher as the previous, it might have revised and more accurate transcriptions. Why else should they publish new transcriptions? But I don't have the book, so I do not know. It is the most expensive of the books. More informationToC No HL690271Review:

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In the next part of this lesson, we will discuss a few other positions for the same chords.

In this part 2, I will introduce some other chord positions, and you have to experiment with how you can make various turnarounds based on these chords.

First we will move to the strings 4, 3 and 2, and go to they key D-major. The chords will then be D - F#dim - Fdim - Edim - D.

D F#dim Fdim Edim

Move it down two frets, and you are in C-major, where you have to play a few open strings.

C Edim Ebdim Ddim

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Blues Guitar – Turnaround - Lesson 1, part 2

You can of course move this up one fret to Eb, two frets to E, etc, instead of going down.

(Some work still need to be done here. Come back in a few days ...)

If you prefer D - D7 - C#7 - C7 - D7, the chords will be:

And the D - D#dim7 - Ddim7 - C#dim7 - D will be:

On the strings 5, 4 and 3, we can for instance play in A.

A C#dim Cdim Bdim

Go down two frets, and you are in G-major, where again you have to play some open strings.

The chords A - A7 - G#7 - G7 - A will be:

And the chords A - A#dim7 - Adim7 - G#dim7 - A will be:

You can move this across to the three bottom strings. The fingering will be the same, just on the adjacent set of strings. I'll give you the chords E - G#dim - G#dim - F#dim - E for the key E-major, and you should be able to figure out the rest. To me, the turnaround does not sound too good so deep down in the bass. But try it, and make your own judgement.

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Blues Guitar – Turnaround - Lesson 1, part 2

This is so far we will get now. I will continue the discussion on blues turnarounds in about a month. If you want more, and cannot wait, Dave Rubin has just published a book on Blues Turnarounds. I have not yet seen the book, and cannot make any further commnets on it. But I have yet to see a book from Dave Rubin that is not good, so I guess it will be worth having. I will get myself a copy of the book.

Blues TurnaroundsA Compendium of Patterns & Phrases for Guitar. By Dave Rubin and Rusty Zinn. Guitar Educational. Book and CD package. With notes and tablature. Size 9x12 inches. 40 pages. Published by Hal Leonard. See more info...ToC No HL695602Review:

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Larry McCabe - 101 Blues Guitar Turnaround LicksFor electric guitar. McCabe's 101 Series. Blues. Level: Multiple Levels. Book/CD package. Licks and phrases. Size 8.75x11.75. 48 pages. Published by Mel Bay Pub., Inc. See more info...ToC No MB95360BCDReview:

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More on Blues Turnarounds

● Blues Guitar - Lesson 3: An introduction to turnarounds - the turnaround chord

● Blues Guitar - Lesson 8: A Turnaround Chord Sequence

● Blues Guitar - Lesson 9: Turnaround licks in E

● Turnaround_Lesson 1-1

● Turnaround_Lesson 1-2● Turnaround_Lesson 1-3● Turnaround_Lesson 2-1

● Turnaround_Lesson 2-2● Turnaround_Lesson 3-1● Turnaround_Lesson 3-2

Turnaround - Lesson 1Part 2

Turnaround - Lesson 2Part 1

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

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olav@torvund.netI appreciate comments

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Blues Guitar – Turnaround - Lesson 2, part 1

Olav Torvund's Guitar Pages Guitar Lessons

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Blues Guitar – Turnaround - Lesson 2, part 1

Turnaround - Lesson 1Part 3

Turnaround - Lesson 2Part 2

In this lesson we will take a closer look a the lines in the chords we covered in the last lessons. These movements between chords are called voice leading. Before we start, we will repeat the basic chord sequence in E.

What we will do then, is to play one line at the time, and listen how these notes work in isolation. Some lines can work as a turnaround without any other notes, other lines get too dull. But you should try and listen to all of them, and make up your own mind. The first is the top line.

The next is the second line:

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Blues Guitar – Turnaround - Lesson 2, part 1

It should be no surprise that the next one is the third line:

If you worked through the previous lesson, you should also remember that we added two variations or a fourth line, one based on dim7 chords, and one with ordinary 7 chords. The dim7 line will be:

And the 7 line will be:

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Blues Guitar – Turnaround - Lesson 2, part 1

We will develop some of these lines a bit further in part 2.

More on Blues Turnarounds

● Blues Guitar - Lesson 3: An introduction to turnarounds - the turnaround chord

● Blues Guitar - Lesson 8: A Turnaround Chord Sequence

● Blues Guitar - Lesson 9: Turnaround licks in E

● Turnaround_Lesson 1-1

● Turnaround_Lesson 1-2● Turnaround_Lesson 1-3● Turnaround_Lesson 2-1

● Turnaround_Lesson 2-2● Turnaround_Lesson 3-1● Turnaround_Lesson 3-2

Turnaround - Lesson 1Part 3

Turnaround - Lesson 2Part 2

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

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olav@torvund.netI appreciate comments

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Blues Guitar – Turnaround - Lesson 2, part 2

Olav Torvund's Guitar Pages Guitar Lessons

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Blues Guitar – Turnaround - Lesson 2, part 2

Turnaround - Lesson 2Part 1

Turnaround - Lesson 3Part 1

Be can now break the notes up into triplets, and play line 1 against the root played on 4th string. Now it starts to sound like a real turnaround again.

Then we go to line 2, and play it against the root on the open 1st string.

If we change key to A, and move line 2 down one octave, you get at turnaround that is very typical of Robert Johnson.

If we go back to E, and take another look at the chord sequence covered in Blues Guitar - Lesson 8: A Turnaround Chord Sequence, we will find the same line. But now the line is harmonized:

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Blues Guitar – Turnaround - Lesson 2, part 2

If you listen to the playing of Big Bill Broonzy and Blind Blake, you can often hear them playing a turnaround in C, which is also a "harmonized line 2". If we use the same sequence as above, and transpose to C, it would be:

But they will usually play the relative major to the Fm chord, which is Ab. Then the sequence will be:

Big Bill Broonzy and Blind Blake played a highly syncopated rhythm. You do not get their sound just by playing the chords. But I will not discuss their playing styles in this lessons.

If you should wonder if you could substitute the Am minor in the E-sequence with it's relative major C, the answer is yes. But you have to try it out for yourself. In the next turnaround lesson, we will look more at some turnaround licks.

Blues TurnaroundsA Compendium of Patterns & Phrases for Guitar. By Dave Rubin and Rusty Zinn. Guitar Educational. Book and CD package. With notes and tablature. Size 9x12 inches. 40 pages. Published by Hal Leonard. See more info...ToC No HL695602Review:

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Woody Mann: Guitar of Big Bill BroonzyIn this comprehensive new audio lesson, Woody Mann explores the ideas, techniques, and styles of this legendary musician who has influenced generations of guitarists. The CDs contain three full hours of instruction featuring note-by-note, phrase-by-phrase instruction. Selections include: House Rent Stomp; Brownskin Shuffle; Moppin' Blues; Hey, Hey; Worryin' You Off My Mind; Stove Pipe Stomp; and Saturday Night Rub. Written in standard notation and tablature. Includes 3 CD's. SG98508BCDSee more info...

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Blues Guitar – Turnaround - Lesson 2, part 2

Guitar of Blind Blake taught by Woody Mann. For fingerpick guitar. Grossman Audio. Blues. Level: Intermediate. Book/CD package. Licks and phrases. Size 8.75x11.75. 26 pages. Published by Grossman's Gtr Workshop. (SG98507BCD)See more info...

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More on Blues Turnarounds

● Blues Guitar - Lesson 3: An introduction to turnarounds - the turnaround chord

● Blues Guitar - Lesson 8: A Turnaround Chord Sequence

● Blues Guitar - Lesson 9: Turnaround licks in E

● Turnaround_Lesson 1-1

● Turnaround_Lesson 1-2● Turnaround_Lesson 1-3● Turnaround_Lesson 2-1

● Turnaround_Lesson 2-2● Turnaround_Lesson 3-1● Turnaround_Lesson 3-2

Turnaround - Lesson 2Part 1

Turnaround - Lesson 3Part 1

Further references

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Blues Guitar – Turnaround - Lesson 3, part 2

Olav Torvund's Guitar Pages Guitar Lessons

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Blues Guitar – Turnaround - Lesson 3, part 2 - Turnaround Licks

Turnaround - Lesson 3Part 1

One way to make variations, is to combine elements from various turnarounds. One example is this:

Or the other way:

But from here it is better to think of turaround licks based on the blues scale, rater than on chord sequences.

There are many ways you can vary these small scale based run. But the next one is not right on the point,

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Blues Guitar – Turnaround - Lesson 3, part 2

and I will explain why.

In the example above, we simply came home a little bit too early. We should not end on the E before the first beat in the last bar. We have to add something, to get home on time. One simple way is to slow the lick down by making one note longer. It could be the first note on the third beat, like this:

Or it can be the first note on the last beat:

I am not saying that it is wrong if you make one of the other notes longer. In my opinion, they will usually not work as well. But usually is not always. And you decide what is right for you.

Another approach is to break the sequence by adding an extra note. You can go to the 7th below the root, in this case a D, like this:

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Blues Guitar – Turnaround - Lesson 3, part 2

Another possibility is to add the flat five - the note that distinguish the blues scale from the minor pentatonic scale:

This concludes the mini-series on blues turnarounds. There are of course many other turnarounds, both in the key of E and in other keys. But this should give you something to work from.

I will from time to time upload more turnarounds in various keys. If you subscribe to my newsletter, you will be among the first to know when there are new turnarounds around.

Blues TurnaroundsA Compendium of Patterns & Phrases for Guitar. By Dave Rubin and Rusty Zinn. Guitar Educational. Book and CD package. With notes and tablature. Size 9x12 inches. 40 pages. Published by Hal Leonard. See more info...ToC No HL695602Review:

Order from:SheetmusicPlusMusicRoom

Larry McCabe - 101 Blues Guitar Turnaround LicksFor electric guitar. McCabe's 101 Series. Blues. Level: Multiple Levels. Book/CD package. Licks and phrases. Size 8.75x11.75. 48 pages. Published by Mel Bay Pub., Inc. See more info...ToC No MB95360BCDReview:

Order from:SheetmusicPlus

More on Blues Turnarounds

● Blues Guitar - Lesson 3: An introduction to turnarounds - the turnaround chord

● Blues Guitar - Lesson 8: A Turnaround Chord Sequence

● Blues Guitar - Lesson 9: Turnaround licks in E

● Turnaround_Lesson 1-1

● Turnaround_Lesson 1-2● Turnaround_Lesson 1-3● Turnaround_Lesson 2-1

● Turnaround_Lesson 2-2● Turnaround_Lesson 3-1● Turnaround_Lesson 3-2

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Blues Guitar – Turnaround - Lesson 3, part 2

Turnaround - Lesson 3Part 1

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

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olav@torvund.netI appreciate comments

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Blues Guitar

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

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Blues Guitar – Roll and Tumble Blues, Open G

This is one of the classic slide themes, this time played in Open G tuning. All the fretted notes are played with the slide. You can get some clues from the MIDI file. But a MIDI file like this can never give you the subtleties of slide guitar playing. So you should listen to the MP3 file as well.

PDF-File

Bottleneck/Slide Guitar

● Dust My Blues, Open D ● Roll and Tumble Blues, Open G

● Walking Black Mama, Open G

● Books and videos on bottleneck/slide guitar

Open G/A tuning - "Spanish"

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Blues Guitar

● Main● Chords in Open G / A tuning

● The Minor Pentatonic Scale ● Blues Guitar/Slide – Roll and Tumble

Blues

● Songs in Open-G● Songs in Open-A

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

Home

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Blues Guitar - Walking Black Mama

Olav Torvund's Guitar Pages Guitar Lessons

Book of the Month

January 2005

Happy Traum: Blues Guitar

New: Blues Guitar lessons in PDF format.

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Retailers:

Go here for books and videos on blues guitar

Go here for links to other Blues Sites

Blues Guitar - Walking Black Mama

This is one of the classic blues slide themes in Open-G tuning. Son House's used it in My Black Mama and Preachin' the Blues. But the most famous version is probably Robert Johnson'sWalkin' Blues. Robert Johnson's learned this theme from Son House.

I have made a simplified version of the theme. It is built from three basic licks. If I write the whole verse so that you can view it on screen, it might be reduced to a size that is a bit hard to read. So I have written the basic licks, and then the whole verse. I hope this will make it a bit easier.

The first lick is played through the first four bars. The main point is to get a driving rhythm.

The next lick is played in bars 5, 6 and 10.

I have written two bars with two variations of the third lick. These two bars are played in bars 7 and 8, and the first of the two bars is also played in bars 11 and 12.

I said three licks, so you might wonder why i write out a fourth one. But this is really the same as the second, only moved two frets up. It is played in bar 9.

Here is the complete 12-bar version

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Blues Guitar - Walking Black Mama

I am sure it is possible to get something that at least resembles slides in a MIDI file. But you have to know MIDI better than I do if you want to do that. So the MIDI file does not sound right - it is actually far from right.

PDF-File

Bottleneck/Slide Guitar

● Dust My Blues, Open D ● Roll and Tumble Blues, Open G● Walking Black Mama, Open G

● Books and videos on bottleneck/slide guitar

Open G/A tuning - "Spanish"

● Main● Chords in Open G / A tuning

● The Minor Pentatonic Scale ● Blues Guitar/Slide – Roll and Tumble Blues

● Songs in Open-G● Songs in Open-A

Further references

GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar

I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review

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Blues Guitar - Walking Black Mama

Home

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University of OsloNRCCL

olav@torvund.netI appreciate comments

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