Guitar Specials 49 Sampler by Future PLC

PRESENTS

Learn to play like the finest blues guitarists of the past 100 years

Drawn from articles in Guitar Techniques magazine, Play Like Your Blues Heroes is packed with lessons on how to play like the most influential bluesmen ever: Delta legends Robert Johnson and Big Bill Broonzy; electric pioneers T-Bone Walker, Muddy Waters and Elmore James; the three most influential electric bluesmen of all BB King, Freddie King and Albert King; British & Irish heroes Eric Clapton, Peter Green and Rory Gallagher; bluesrock virtuosos Joe Bonamassa and Gary Moore; jazzbluesers Robben Ford and Charlie Christian; Texas titans Stevie Ray Vaughan and Albert Collins; slide maestros Sonny Landreth and Derek Trucks; and many more.

Play Like Your Blues Heroes: the essential learning tool for all blues guitarists!

WELCOME

Future Publishing Ltd, Quay House, The Ambury, Bath BA1 1UA Tel: +44 (0) 1225 442244 Fax: 01225 732275 Email: guitar.techniques@futurenet.com EDITORIAL Editor: Neville Marten, neville.marten@futurenet.com Art Editor: David Dyas, david.dyas@futurenet.com Production Editor: Cliff Douse, clifford.douse@futurenet.com Senior Music Editor: Jason Sidwell, jason.sidwell@futurenet.com Music engraving: Chris Francis CD mastering: Adam Crute Contributors Jon Bishop, Jamie Humphries, Stuart Ryan, Tristan Seume, John Wheatcroft Advertising Advertising Enquiries: Alison Watson, alison.watson@futurenet.com MARKETING Group Marketing Manager: Laura Driffield, laura.driffield@futurenet.com Marketing Manager: Kristianne Stanton, kristianne.stanton@futurenet.com CIRCULATION Trade Marketing Manager: Michelle Brock (0207 429 3683) PRODUCTION & DISTRIBUTION Production Controller: Marie Quilter, marie.quilter@futurenet.com Production Manager: Mark Constance, mark.constance@futurenet.com LICENSING Licensing & Syndication Director: Regina Erak, regina.erak@futurenet.com Management Content & Marketing Director: Nial Ferguson Head of Content & Marketing, Film, Music & Games: Declan Gough Group Editor-In-Chief: Daniel Griffiths Group Art Director: Graham Dalzell Printed in the UK by: William Gibbons & Sons Ltd on behalf of Future Distributed by:Seymour Distribution Ltd, 2 East Poultry Avenue, London EC1A 9PT, Tel: 0207 429 4000 Overseas distribution by:Seymour International

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Chief executive Zillah Byng-Maddick Non-executive chairman Peter Allen Chief financial officer Richard Haley Tel +44 (0)207 042 4000 (London) Tel +44 (0)1225 442 244 (Bath)

All contents copyright © 2015 Future Publishing Limited or published under licence. All  rights reserved. No part of this magazine may be reproduced, stored, transmitted or used in any way without the prior written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. Registered office: Registered office: Quay House, The Ambury, Bath, BA1 1UA. All information contained in this publication is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price and other details of products or services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents or any changes or updates to them. If you submit unsolicited material to us, you automatically grant Future a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk and, although every care is taken, neither Future nor its employees, agents or subcontractors shall be liable for loss or damage.

Welcome

lues and the guitar are inseparable. Picture a lone Mississippi minstrel singing to drunken revellers around an oil-drum fire, or an electric band sweating its guts out in a smoky club in Chicago, Austin or London, and invariably there’ll be a guitar taking centre stage. No surprise then that blues is the most popular style for guitarists to learn. It’s also our most successful genre in Guitar Techniques, so the idea of putting this special edition together was a no-brainer. We’ve trawled the archives for some of the best blues lessons written by some of our finest writers and players. The range of techniques and styles covered is huge; there’s rhythm, slide, stylised licks from a century of blues giants; a chapter dedicated to five Texas legends; style studies on six players we thought deserved special mention; and it all culminates in an

amazing All-Star Blues Jam. Add four pages of blues-style chords and scales and the word ‘comprehensive’ barely does it justice. In the card wallet you’ll also find a disc. This is a DVD-ROM and will work in any computer with a disc drive (but not in a regular CD or DVD player). On it you’ll find folders containing audio for every lesson (except scales and chords), plus animated tab for each lesson - the tab is perfectly synchronised to the audio so a cursor tracks each note as it’s played. It’s brilliant and I’m sure you’ll enjoy it. And if you don’t know GT, take a minute to check out www. myfavouritemagazines.co.uk (put Guitar Techniques into ‘search’) or http://bit.ly/guitartechniques where you can find us in either print or digital form, buy back issues and subscribe! I hope to see you soon.

Neville Marten, Editor neville.marten@futurenet.com

YOUR CONTRIBUTORS..... jon bishop

jamie humphries

Jon can turn his hand to any guitar style, nailing every one with ease! He has dozens of big name album, TV and radio credits, has a Gold Disc plus a Classical Brit Award to his name and currently plays with 80s rock and roll superstar Shakin’ Stevens.

Jamie is one of the UK’s busiest guitarists.Anyone that’s seen the Queen musical We Will Rock You in London may well have heard him in action, recreating all of Brian May’s amazing guitar parts. He has recently been playing the show to sell-out crowds in Munich and Frankfurt.

Stuart Ryan

tristan seume

Stuart is an all-round virtuoso who plays regularly throughout the UK. He won the coveted Guitarist Of The Year Award and his tuition website www.bluesguitaruniverse.com is online now. Go to www.stuartryanmusic.com for more, and to purchase his fine book, The Tradition.

A legendary acoustic guitar player, Tristan is mega busy on the British and European folk circuit where he plays both guitar and bouzouki with the great Jackie Oates. His beautiful CD, Middle Child, is out now - also catch up with his musical antics on his blog at www.tristanseume.co.uk

john wheatcroft A phenomenal guitarist, left-hander John is a master at all styles including jazz, fusion and blues. However he’s a legend in gypsy jazz and his new abum, the stunning Enseble Futur is available to download on iTunes. John also regularly plays live with his band, Professor Wheaty’s All Stars.

Play Like Your Blues Heroes \ 3

CONTENTS Big Bill Broonzy, legendary Delta blues guitarist

GAB ARCHIVES / REDFERNS / GET TY IMAGES

Joe Bonamassa: most exciting blues guitarist since Gary Moore

59 Robert Cray: stinging tone and sparse ‘vocal’ style

4 / Play Like Your Blues Heroes

CONTENTS

Tune up

MICHAEL OCHS ARCHIVE / GETTY IMAGES

Tap here for an audio clip to help you tune your guitar

Hubert Sumlin: this early electric master played with Muddy Waters and Howlin’ Wolf

Eric Bibb: pure class meets true blues authenticity

contents 07 TAB USER GUIDE

Our tab guide makes navigating the music in your Blues Heroes magazine simple

46 Blues Slide

08 BLUES SCALES

Slide or ‘bottleneck’ guitar is perhaps the true sound of blues. We look at slide greats past and present for the perfect overview of this evocative ‘lonesome’ sound

10 BLUES CHORDS

56 Electric Blues: Rory Gallagher

Learn these scales and you’ll find that everything else falls nicely into place

These are the chords you’ll encounter in blues songs and jams, but they’re usable in rock, pop, country and jazz styles too!

12 Blues Rhythm

Rhythm is the backbone to the blues, so here are some great moves that will make your chord and riff playing stand out

20 24 blues hero Licks

This veritable goldmine of licks is based on the playing of two dozen legendary blues guitarists - grab yourself a fistfull!

30 Vintage Acoustic Blues

Here’s where it all started over 100 years ago. Learn how some of blues’s founding fathers plied their trade and made history

38 Vintage Electric Blues When blues moved from the farm to the city it also turned electric. These are the players that set the urban scene alight!

Style study: Rory Gallagher’s fiery playing mixes Delta, British and Chicago blues with his own unmistakable Irish Celtic influences, for a unique and heady style

59 Electric Blues: Robert Cray

Style study: This bluesman has a clear connection to the past but laces his songs with modern sounds and superb phrasing

62 Electric Blues: Joe Bonamassa

Style study: Joe Bonamassa has stormed the blues scene with one of the most incendiary lead styles we’ve yet to see

66 Acoustic Blues: Robert Johnson

Style study: This blues master began a legend that marks him out as a mystical genius to this day. That his style is as magical makes him all the more amazing

69 Acoustic Blues: Big Bill Broonzy

Style study: One of the earliest players to still be working into the 60s, Big Bill Broonzy was a country-folk hero who influenced all that came after him

72 Acoustic Blues: Eric Bibb

Style study: Coming from a famous musical family Eric Bibb started young. Both are evident in his skill as a player and the pure class he exudes as a performer

76 Texas Blues

This lesson focuses on one of the most important musical locations in blues history, with masters that include Albert Collins, Freddie King, Stevie Ray Vaughan, Billy Gibbons and Eric Johnson

88 All Star Blues Jam

To conclude, how about a fantasy jam with some of the greatest blues guitarists that ever walked the earth? And when you’ve learnt their parts you can join in!

97 6 BACKING Tracks

And if that’s not enough here’s six pro-level backing tracks in a variety of styles over which you can practise all you’ve learnt!

Play Like Your Blues Heroes \ 5

LOVE TO PLAY GUITAR?

Then get serious about your playing with the world’s best tuition magazine! Every issue’s packed with blues, rock, jazz, country, classical and folk lessons from the very best tutors, all with audio and backing tracks. And It’s out now!

THE MAG 100 pages of accurate song tabs, technique features you will never find on the web, and lessons from the UK’s absolute best guitarists

THE GT CD Every guitar lesson, feature and transcription in the magazine is professionally recorded on the cover CD. See it, hear it, play it, love it!

DIGITALLY... The GT iPad edition features animated tab synched to the audio for all tracks. Download your issue from iTunes now http://bit.ly/guitartechniques

We’ll Make You A Better Guitarist - Guaranteed! Latest issue in the shops now. To buy or subscribe visit www.myfavouritemagazines.co.uk

USER GUIDE Lesson

TAB USER GUIDE

You can get more from this magazine by understanding our easy musical terms and signs...

Relating tab to your fretboard 2

GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Picking

a Down & Up Picking

4 T

hand Labelling

nut & fretboard

Here are the abbreviations used for each finger: Fretting hand: 1, 2, 3, 4, (T) Picking hand: p (thumb), i (first finger), m (second), a (third), c (fourth).

The fretbox diagram above represents the fretboard exactly, as seen in the accompanying photo. ThisEBis for ease of visualising a fretboard scale or chord quickly. G D A E

GUITAR TECHNIQUES MAGAZINE USER GUIDE

Guitartutorial Technique Examples - Treble Clef And Tablature notation Each features music GUITAR TECHNIQUES MAGAZINE Guitartablature Technique Examples(Tab). - Picking and guitar

& 1E 2B 3G 4D 5A 6E

Scale example GUITAR TECHNIQUES The diagram shows the fretting-handGuitar fingering for MAGAZINE Technique Examples - Picking the A major scale (root notes in black). The photo shows part of the scale being playedDown on &the fourth Up Picking string with first, third and fourth fingers.

Down & Up Picking

& 2nd string 3rd fret

œ 2nd string

E B G D A E

1st fret

Picking variations and ≥ Down & Up Picking

≤

1E 2B 3G 4D 5A 6E

E 1 B Hammer G0 D2 A3 E

œ bœ & @œ @œ @ @ GUITAR TECHNIQUES MAGAZINE

E B G D A E

≥

≤

n The first note is to be downTremolo Picking picked and the last note is to be up-picked.

œ @œ b@œ @ GUITAR TECHNIQUES MAGAZINE &

œ @

Fretting hand

On & Pull Off 5 4

@ œ

Hammer On & Pull Off Hammer-on &7 Pull-off 5 4 8

@ œ

nœ #5œœœ

@ œ

# œœœ

G D A E

œ œ œ

nœ 7œ œœ

œ œ

A E

~~~~~ 7 ˙ (œ 0œ) 0 0b ˙

tr7

œ œ œ

~~~~~ 0 0

6 tr 7

˙ (œ œ)

Pick Rake

n Pick 1st note and hammer on with PM PM E fretting hand for 2nd8note. Then pick B 8 Note Trills G 7 3rd note and pull off 67for 4th note. D 6

E B G D A E

~~~~~ w ¿

tr ~~~~~ bend up/down w

E B G D A E

¿ ¿5¿ (7 5)

E B G D A

& gggg 5 ˙˙˙ ggg # ¿˙ g Left Handg Tapping ggg 002 ggg X2

ggg 5˙ ggg # # ˙˙˙ g gggg 454 ggg 6 44

œ œ 0

œ 5

≠

≠ ≠

≠ ≠ ≠

brackets, then re-pick the note while E B holding the bent note at the new pitch. G D A E

Fret Hand Muting

œ œ œ

œ œ

~~~~~ 0 0

˙ (œ œ)

b0 ˙

8 7 6 7

n Palm mute by resting the edge ofPick theRake picking-hand’s palm on the tr ~~~~~ E strings near the w bridge. B G D A E

¿ ¿ ¿(7 5)

A E

E B G D A E

rake

E B G D A E

˙ 5 g # ˙˙ & 5gggg ˙˙7˙ gggg #5 ˙˙˙ 7 ggg # ¿˙ ggg # ˙ g note and n Pick 1st slide to the 2nd 0 4 note. The last twog notes show a slide gggTapping Left Hand 0 5 g g 2 note 4 with thegg last re-picked. ggg being 4 6 4 ggg X22 gg 5 œ & œ œ œ œ œ

nœ ¿ ¿ ¿ œ ¿ ¿

≠

≠ ≠

≠ ≠ ≠

Pre-bend

E B G D A E

¿¿

0 1 0 2 3

0 0 0 2 2 0

œ œ

PM 8 7 6 7

˙ & gggg ˙˙˙ ggg # ¿˙ g

E B G Slides D A E

1 2n œ 5œ #0 œœ

n œœ œœ

0 1 0

7 2

œ œ œ

œ œ

¿7 5 ¿ ¿( )

rake 5 X (Glissando) X X

Appeggiate chord Arpeggiate Chord

S #5˙˙ 5 5˙ 7 g & gggg ˙˙˙ gggg # # ˙˙˙ ggg # ¿˙ ggg ˙ g 0 Left Hand gTapping gg 45 ggg 44 ggg 20 gggg X22 ggg 6 45 œ & œ n Play the ofœtheœchord by œ notes œ strumming across the relevant strings E B G D A E

E B G D A E

ggg # ˙˙˙ ggg # # ˙˙ gg ˙

≠ ≠ ≠ ≠ ≠ ≠

≠

≠ ≠

≠ ≠ ≠

E in B the direction of the arrow head. G D A E

Fret Hand Muting Fretting-hand Muting

ggg 02 6 gg 54 gg 4 g 2 & ggg X2 œ œ ggg 45œ œ œ œ 7

B G D A E

rake X

E B G D A E

@ œ

PM TAB Under the musical notation,PMTab is an aid E 8 to show you where toBG Note putTrills your87 fingers on 7 the D 6 6 fretboard. The six horizontal lines represent the six A tr 7~~~~~ 7 E 0 0 0 ˙ (œ 0œ)on0 the strings on a guitar – the b ˙ strings &numbers are fret numbers. The two stave and tab examples n œœ 4 notes and 4 chords; show Pick RakeC (C major), Em (E tr ~~~~~ œœ D7 (D dominant minor), 7) and Am7 (A minor 7). E

œ œ œ 0

@œœ œœ

Palm Muting

A m7

@ œ

G D A E

Fretting-hand 4 g 0 g Tapping

Slides (Glissando)

E B G D A E

1E 2B 3G 4D 5A 6E

Tremolo Picking

# @œ œœ œœ & œœœœ œœ

n Drag the pick across the strings Arpeggiate Chord shown with a single sweep. Often used to augment a rake’s last note.

& œ œ œ

nœ # œœœ

4th string Open

Em E D7 B Hammer On & Pull Off

œ & œœœ œ bœ œ

œ @

8 7 6 7

œ≤

≥

GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Fretting Hand

3rd string 2nd fret

≤

Pick Rake Pick rake

E B G D A E

g # ˙˙ ˙ & gggg5 ˙˙˙ 7 gggg #5 ˙˙˙ 5 ggg # ¿˙ ggg # ˙ g ggg 00 ggg 45 Left Hand Tapping ggg 22 ggg 6 44 X gg 2 gg 45 œ & œ œ œ toœ the pitchœ shown in the n Bend up E B G D A E

n œœ œœ

2nd string 1st fret

œ @

E B G D A E

Arpeggiate Chord

@ œ

8 Trills 7 6 tr 7

B X Slides (Glissando) G X D X

n Rapidlyrakealternate between the E 5 two notes indicated in brackets with B X GSlides (Glissando) X hammer-ons and pull-offs. D X A E

PM 8 7 6 7

Re-pickSbend

Chord nArpeggiate Fret the start note (here, the 5th fret) and bend up to the pitch of the E B bracketed note, g # ˙˙ releasing. ˙ S before G D A E

E B G D A E

rake

5 X Slides (Glissando) X X

œœ œ

Arpeggiate Chord

Pick Rake

b˙ 0

7 5 ¿ ¿( )

BENDING and vibrato E B G D A E

8 Note Trills Trills 7

@ œ 8

PM E B Note G D A E

Palm Muting E B G D A E

@ œ

œœ œœ 0 1 0 2 0

PM E B Note G D A E

n Each of the four notes is to be Palm Muting alternate picked (down-up-picked) E very rapidly B n œ and continuously. nœ

Guitar Technique Examples - Fretting Hand

E B G D A E

@ œ

nœ # œœœ

2 1 2

7 0

Palm muting Palm Muting

Tremolo Picking

E BHammer G D A E

0 Off On & Pull 0 5 2 4

@ 20 @ alternatives œ ≤ & œ 5

Palm Muting

œ œœ b œ @œ @

œœœ œ œ @ œ

œ @

2nd string 3rd fret

Chord example

GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Fretting Hand

Guitar Technique Examples - Fretting Hand E B G D A E

E B G D A E

2 B diagram 3 represents 1 The the G 2chord in the photo. The 3G D ‘O’45symbol is an open string, and a circled is a bœ A œ œ 0œ number 6E fretting finger. Intervals are & shown @ @ @ below.

≥

œœ œœ &

Tremolo picking

Tremolo Picking

MUSIC NOTATION The five horizontal lines Em D7 A m7 show noteCTremolo pitches Pickingand rhythms and are divided by verticalœ bar lines.œ #œ œ

4th string Open

2nd fret

How they appear in written music... E B G D A E

œ 3rd string

≥

Read the music

A major scale

GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Picking

Guitar Technique Examples - Treble Clef And Tablature GUITAR TECHNIQUES MAGAZINE Guitar Technique Examples - Picking

Down & Up Picking

Up and down picking

GUITAR TECHNIQUES MAGAZINE USER GUIDE

& E B G D A E

n Sound the notes marked with a square by hammering on/tapping with the fretting-hand fingers.

Quarter-tone bend

n œœ # œœ

¿¿ ¿¿

œœ œœ

¿¿ ¿¿

8 7 6 7

X X X X

8 7 6 7

X X X X

n X markings represent notes muted by the fretting hand when struck by the picking hand.

Vibrato

Fret Hand Muting

nœ ¿ ¿ ¿ œ ¿ ¿ # œœœ ¿¿¿ ¿¿¿ ¿¿¿ œœœ ¿¿¿ ¿¿¿

n Bend up from the 5th fret to the pitch of the 7th fret note, then pick it E B and release X 5th X X fret X X 8 to 8 note. G D A E

7 6 7

X X X

7 6 7

X X X

n Pick the note and then bend up a quarter tone (a very small amount). Sometimes referred to as a blues curl.

n The fretting hand vibrates the note by small bend ups and releases. The last example uses the vibrato bar.

Play Like Your Blues Heroes \ 7

Am6 Pentatonic Am6 Pentatonic C Shape D Shape

Am6 Pentatonic E Shape

Lesson BLUES SCALES R

b7 b3

8 Blues Scales... ...you need to know!

2 4 R

4 1

p4 p5

3 4

1 2 3 4

b7 b3

2 4 R

4 1

5 R 4

3 4

x 5 –R

5 6 7

Ex 3

3 5 3

3 5 R 4

# b7 1

3 4

x 5 – Diags page 1

5 6 7

Ex 3

3 5 3

3 5 R 4

# b7 1

Am Pentatonic E Shape

b7 b3

5 R

Am Pentatonic D Shape 5 R 4

5 R 4 5 R 4 b7 b3 5 R

b7 b3

Am Pentatonic C Shape 5

b7 b3

4 b7 b3

5 5 R 4

b3 4

b7 b3

R 4 12 5 R 4 4 b7 b3

b3 b7 b3 4 b7 b3 4 12 5 R RSCALE 1 MINOR PENTATONIC

R 4

5 R 4

12 5 R 4

b7 b3

Am Pentatonic A Shape

5 R 4

5 R 12 5 R 4 b7 4

b7 b3

17 R 4 b7 b3

b7 b3

5 R 4 b7

5 R

b3 their b7 17the 5 but many 4 b7that 5 R 4 b3 players4 curse 4 bto R fact 7 use,

fingers fall into the same place every time they play. FOR 2 3 5 6 – Stuart Ryan A FIVE SHAPES C D A MAJOR E PENTATONIC G b–3 Rlearn Please all the shapes and aim to come up with R b3 4 5 b7 a new lick each time you play them. This scale is Amaj Pentatonic AmajorPentatonic Amajpentatonic Pentatonic Amaj The minor scale’s fivePentatonic notes have shaped perfect forAmaj soloingPentatonic over minor blues chord A Shape7th chords. G Shape E and Shape D Shape blues, rock beyond. It sounds great and is easy C Shape progressions featuring FIVE SHAPES FOR A MAJOR PENTATONIC – R 2 3 5 6 – Stuart Ryan Amaj Pentatonic Amaj Pentatonic Amaj Pentatonic Amaj Pentatonic Amaj Pentatonic 3 6 3 6 2 C Shape A Shape G Shape E3 Shape D Shape 5 R

7 2 5 R

3 3 6 2

6 2

6 5 R

3 3 6 2 5 6 2 7 2 5 R

p56

3 4

1 2 3 4

2 2 34 62 22 54

3 4

2 5

12 5 R

6 2 5 R 3 6 2 5 12 5 R

2 5

x 5–

3 6 2 6 2 5 R 3 6

Ex 3

3 5 3

5 R

3 6 2 3175 RR

# b7 1

5 R

3 4 5

2 MAJOR PENTATONIC SCALE

with the 4th and 7th removed, and fluency with this Diags page scale is2 essential, particularly if you want to become adept at mixing major and minor sounds in your solos – this is one of the most important aspects of If you’ve heard Slash and BB King then you are blues. This is perfect for soloing over common blues acquainted with this one. It’s simply the major scale or rock progressions using major chords. FIVE SHAPES FOR A MINOR 6 PENTATONIC – R b3 4 5 7 – Stuart Ryan

B 2

C# 3

Am6 Pentatonic E Shape

E 5

F# 6

Am6 Pentatonic Am6 Pentatonic C Shape D Shape

3 4

2 2 34 2 2 54

5 R 4

5 R

5 R 4 6

b3 6

R 4 12 5 R 4

3 MINOR 6 PENTATONIC SCALE

5 R

R 4 6

17 R 4

C# 3

8 / Play Like Your Blues Heroes

D 4

Ex 3

Diags page 3

E 5

G b7

Ex 3

Am Blues A Am Blues Am Blues C Shape A E Shape D Shape b b b FIVE SHAPES FOR A MINOR BLUES – R 3 4 5 5 7 –

5 R 4

b7 b3

5 R

5 R 4

b5 b7 b3

5 5 R 4

b7 b3

12 5 R

R 4

b b43 b7 3 b5 Rb7 b43 12 54 R b7 4b3 b7 R 54 b5

b5 4 b7 b3 b5 b7 bSCALES: 3 BLUES 3

R 4 12 5 R 4

MINOR BLUES FIVE SHAPES FORb5A SCALE MAJOR BLUES b5 A C R Blues b3 Amaj

A A

b5 b7 b3

5 R 4 5 R 4 b7 b3 5 R

Am Blues C Shape

Am Blues D Shape

D Eb 4 Amaj b5 Blues

E 5

– Rb5 2

b3b

12 5 R

b7 b

33 5 6 –

G b7 Blues Amaj

Amaj Blues C Shape

A A

C Shape A Shape D Shape As E their name implies you can’t go wrong with FIVE SHAPES FOR A MAJOR BLUES – R 2 b3 3 5 6 –

Amaj Blues 3 Shape 6 2 E

5 R

Amaj Blues D Shape 7 2 5 R

2 5 R b 6 3 5 R 5 R 3 6

3 6 2 5

6 2

3 3 6 2 5

12 5 R

3 6

3 R

12 5 R

5 BLUES SCALES: MAJOR BLUES SCALE A R

B 2

C b3

C# 3

E 5

F# 6

12 5 R

6 2 12 5 R

2 5 R

2 5

3 R

3 6 3 6 2 5

3 3 6 2 5 6 2 7 2 5 R

5 R

known as the Dorian pentatonic. This scale has the b7 replaced byba major 6 (in the key of Am the G A FIVE SHAPES C D A HINDU E PENTATONIC F# FOR – R 3 4 5 7 – Stuart Ryan becomes F#). It’s a jazzy sound beloved of players like R b3 4 5 6 Robben Ford and Larry Carlton, but also of blues men A Hindu like Pent Hindu Pent Hindu Pent HinduofPent Hindu Pent A closeAcousin the minor A pentatonic, this is also BB King.AUse it over a minorA blues or m7 chords. C Shape A Shape G Shape E Shape D Shape

Used by players like Jeff Beck and Eric Johnson this exotic sounding scale creates a really powerful Diags page 3 FIVE SHAPES FOR A MINOR BLUES – R b3 4 b5 5 b7 –

2 5 R

12 5 R 4

x 5–

3 4

A R

4 6

R 4 3

3 44 b7

3 3 6 2

12 5 R 4

4 b7

AH A

3 12 5 R

4 HINDU PENTATONIC x 5SCALE – 5 6

1 2 3 4

5 R

R 7 1 2 3 4 5 6 7 3 3 R b7 b3 p4 p5 2 2 4 2 2 4

Am6 Pentatonic Am6 Pentatonic A Shape G Shape

A Hindu Pent C Shape

5 R 4

1b 2

3 4

5 R 4

A R

b7 5b3 Rp44 p5

5 R

17 R

6 2 5 R 3 6

R 4 6

A Hindu Pent D Shape

Am Blues E Shape

2 5 R

12 5 R

6 2 5 R 3 6

3 6

3 R

5 6 7

3 6 3 6 2 5 12 5 R

3 R

2 5 R 5 R R 2b7 5b3R p4

3 6 2 5

12 5 R

R 4 12 5 R 4

3 R

5 R

A Hindu Pent E Shape

5 R 4

5 R

b3 b3

Am Pentatonic G Shape

FIVE SHAPES FOR A HINDU PENTATONIC – R 3 4 5

Am Pentatonic Am Pentatonic Am Pentatonic Am Pentatonic Am Pentatonic C Shape A Shape G Shape E Shape D Shape FIVE SHAPES FOR A MINOR PENTATONIC – R b3 4 5 b7 – Stuart Ryan

5 R

3 4 5

Diags page 1 FIVE SHAPES FOR A MINOR PENTATONIC – R b3 4 5 b7 – Stuart Ryan

5 R 4

5 R 4 6

1 2 3 4

5 R

3 4 5

p4 p5

3 4

Am6 A

6 2

ntatonic ape

Am6 Pentatonic Am6 Pentatonic A Shape G Shape

BLUES SCALES Lesson

6 12 5 R 4

5 R 4

5 R

The range b of scales you can use in blues is b almost endless, so here are some of the most b b b b important; play them on their own or in 5– combination, but always aim to usexthem to Ex 3 make music, and not to sound like exercises... b 6

5 R

17 R 4

3 5 R

2 2 4 2 2 4

7 3 p4 p5

3 4

1 2 3 4

3 4

5 6 7

IC – R 3 4 5 7 – Stuart Ryan

u Pent ape

A Hindu Pent A Shape

A Hindu Pent G Shape

Diags page 4

b7 b3

A AEOLIAN – R 2 b3 4 5 b6 b7 – Stuart Ryan 2FIVE 3 SHAPES 4 1 2 FOR 3 4 2 2 4 2 2 4

p4 p5

3 4 5 Minor 1 A 2 Natural 6 7

E Shape

3 12 5 R 4 b7

R 4

Ex 3

3 5 3

3 bpage 3 4 b5

17 R #4

3 5 R 4

page 3

b7 1

3 4 5

sound and is a great means of # 5 3 5 R 4 b7 1 2 3 Exsounding 3 3 5 3more sophisticated. You’ll find it perfect for soloing over a dominant 7th chord or a progression of dominant 7ths.

5 b7 – Stuart Ryan

Blues ape

Am Blues G Shape

R 4

5 R 4

b5 5

5 R 12 5 R 4 b7

b7 b3 b 5

5 R

b7 b3

4 5 R

5 R 6 5

3 6 3

2 5 R b3 2 5

2 5

12 5 R

6 2 5 R 3 6 2 5 12 5 R

6 2 5 R 3 6

5 R

b77 b33

5 R R

17 R

7 2 R 4 6 2 7 2 5 R

3 6

G Shape 2

17 R 4 b7 b3 5 R

b7 b3

b77 b33

5 4 b7 4 b7 3 b6 R 7 b3 R 4 12 12 5 R 4 5 R 7 2 5

3 6 2 6 2

bb7

5 R

b7 b3

b7 b3 A Dorian7 3

4 4

b b33 b6 R R A77 Dorian

4 4

C Shape 6

D 6 Shape 2 5 5

b33 b6

7 2 5 R 4 6 2

4 b7 b3

6 2 5

R 4 12 5 R 4 b7 2 5

b77

2 5 2 5

5 R 6 A 2 Shape R

b77 b33 b6

4 4

b77

b77 b33 b6 b A Dorian4 77 G Shape 6 2 2

17 3 5 R R R 4 b7 7 b3 17 R

6 12 b5 R 4

2 5 R 5 R

b6 A Dorianb33 b6

5 R 4

5 R

7 2 5 R 4 6 6 22

b7 b3

2 5

4 3 6 6

2 5 R

17 R 4 b7 b3 5 R

3 6 2 5 3 12 5 R 4 b7 2 5 6 2 5 R 3 6 4 b7 adds 5 some spice. 2 Ryan 6 R Dorian 2 5 The is – 6R 22 53the 4 key 5 12 6ofb5Am) 7 R – really Stuart

R 4 7 2 A5 MIXOLYDIAN 4 SHAPES 7 b3 5 R FOR R FIVE 7 5DORIAN MODE

bb7 b progression 4 R 4 for jazzing up ba minor blues 4 bb7 b perfect or A A Mixolydian A 4 GMixolydian R 4 3 7 3 3 4 b7 7 Mixolydian songs featuring m7 chords - compare this to the C Shape A Shape G Shape 6 6 5 3 R 6 2 3 6 2 7 b7 3 6 similar minor 5 R 6 Sophisticated 6 2 players 6 26 pentatonic. bb7 b licks, 4thebb77Dorian b b 5 R to4 bb7 and 2 5someb7traditional 4 Idealb for jazzy blues is a great way 4 4 R R 5 7 R 7 12 blues men, such as Albert 17 b b7 b3 3 R 4 12 5 R 4 7 2 5 4 4 b7 17 R 4 b7 b3 5 R 3 7 3 3

AA Mixolydian B C R2 4 6 b3 5 Shape 2 R22 E 6 2 5 R 4

bA b3 3 Mixolydian D E b7 F# 66 Shape 225 55 36 43 D

get those modern blues sounds – the major 6 (F# in 3 6 2

Collins, have employed this scale.

3 6

FIVE SHAPES FOR A MIXOLYDIAN – R 2 3 4 5 6 b7 – Stuart Ryan

5 R 4

5 R

A Mixolydian

R 4 6 2 5 Shape 2 E

7 2 5 R 4 6 2

A Mixolydian

6 Shape 2 5 3 D

5 R 4

R 4

A Mixolydian 3 6 C Shape

7 2 5 R 4 6 2

b7 3 6 2 5

4 b7

B 2

C 3

D 4

E 5

2 5

A Mixolydian

5 R 3 6 2 Shape 6 A

6 2 5 R 3 6

A Mixolydian y7 G 3 Shape 6 2

4 b7 17 R 4 b7

5 R

3 6 3 6 2 5 4

b7 3 6

3 12 5 R 4

R 4 12 5 R 4 b7 2 5

F# 6

2 5

G b7

You could think of this as the major scale with its 7th

6 2 5 R 3 6

R 4

8 MIXOLYDIAN MODE A R

3 12 5 R 4

3 5 R

5 R

3 6 2 5

R 4 12 5 R 4 b7 2 5

4 b7

3 6 2

2 5 R 4 6 2

The major blues scale is a major pentatonic that has a minor 3rd as well as a major 3rd. Again, this scale is perfect for weaving between major and minor sounds.

12 4 R 4 12 5 R

6 2 5

b33 b6

3 6 2

6 2 5 R 3 6

FIVE SHAPES FOR A MIXOLYDIAN – R 2 3 4 5 6 7 – Stuart Ryan FIVE SHAPES FOR A DORIAN – R 2 b3 4 5 6 b7 – Stuart Ryan b3 b7 b3 b3 b7 b3 R 4 b3 b7 Mixolydian 4 Mixolydian 4 b7 A A Mixolydian A A Mixolydian AA Mixolydian A Dorian A Dorian A Dorian A Dorian Dorian C Shape A Shape G Shape E Shape6 D Shape 6 5 2 6 C Shape G Shape 5 R 2 E 6 6 2 2 D Shape 5 Shape 6 A 2 Shape R 4

5 R 4

3 6 2 6 2 5 R 3 6

b3 b6 b7 b3 b6 b3 bof b b3 b6 The b b6give4it this 6 (F in the key b7helps b7 R 4minorb6 6 Am) B Minor C AD E Minor F A4Natural GA7 Dorian A Dorian A3 Dorian A Dorian A Dorian Minor A Natural Minorover A Natural Minor AA Natural Natural quality. Perfect for soloing minor blues, for Latin C Shape A Shape G Shape D Shape 5 2 5 2 R2 E 2 b3 4 5 b6 b7 R 5 Shape 4 2 2 R influenced songs or of course for getting that Also breferred to as b3 b6 Rthe4 natural Santana b7 b3 b6sound 4 b7 mode b7 the b7 17your b7 b3 5Players b3 Aeolean 12 5 R 4 b7 mystical 2 5 4 into 3 b6 R R 4playing. minor scale is perfect for getting those emotive like b bPeter Green and Rory Gallagher used it too.

b3 17 R

A 5 R 2 Shape

b7 b3 b6

2 5 R

Diags page 4

6 2

Amaj Blues G Shape

b3 b6

2 5

b33 b6

b3 when4playing b7these b3 5ofR b7 17 Rblues. 4 b7Think

Amaj Blues 3 6 A Shape 3

C Shape

D Shape 2 5

4 b7 b3 b6 R 4 12 5 R 4 b7 2 5

A Dorian6

the minor blues scale as a minor 2 b3b3 3 5 6 – Stuart Ryan b5 b5th (in 5 pentatonicbwith an added the key of A this would be Eb). Great Blues Amaj Blues Amaj Blues for soloing over minor or major (also ape A Shape G Shape called dominant 7) blues. 2 b3 3 5 6 – Stuart Ryan

Blues ape

12 5 R 4

FIVE SHAPES FOR A DORIAN – R 2 b3 4 5 6 b7 – Stuart Ryan

4 b7 17 R 4 b7 b3 5 R b7 b3 b3 4 b7

2 5

2 R 4 2 5 5 R 4 b7 2 5 2 5 R 5 R 4 7 b3 5 R 7 2 b 12 Latin sounds into your playing. 6 NATURAL SCALE FIVE FOR – –R R2 2b3b34 45Santana-esque – Stuart Ryan FIVE SHAPES SHAPESMINOR FOR A A DORIAN AEOLIAN 56 b67 b7 – Stuart Ryan

5 R 44 5 R

5 R

b7 b3

2 E 2 R 5 Shape 2 R 4 6 2

Am Blues A Shape 12 5 R 4

b3 b6

2 6 2

Am Blues G Shape

SHAPES FOR A AEOLIAN – R 2 b3 4 5 b6 b7 – Stuart Ryan 2FIVE 3 4 1b 2 3 4b b b7 b3 b3 b6 b7 b3 b6 b 3 6 4 b7 b3 b6 R 4 6 4 b7 A 6Natural A Natural Minor # A Natural A Natural Minor x 5A 1 2 3 4 5 Minor 6 7 5 3 5 R 4 b7 1 2 3 4 5 – Natural Minor Ex 3 3 5 3Minor 2

4 5

Diags page 4

5 R 2 4 R5 Rb7 4b3 b7p4b3p55 R2 27 42 2 5 Shape 2 E R 4

5 R

Blues Am Blues A Shape bape b b 3 4 5 5 7 – Stuart Ryan

5 R 3

#b A Natural Minor A Natural Minor x 5A 5 3 5ARNatural – Natural Minor Ex 3 3 5 3Minor 4 71 2 3 4 5 C Shape A Shape G Shape D Shape

5 R 3

earn all five shapes of each scale. This unlocks the fretboard and lets you see the neck as a single entity, allowing you to connect notes and phrases at will. This makes you #b 3 5 R leading 5 3 5fluent, 3sound flowing solos; it 3 longer, 4 5 4 7 1 2 to also stops you getting stuck in ruts. A good idea is to practise up one shape then down another.

4 3 6 2

4 b7 17 R 4 b7

5 R

flattened. The inclusion of a major 3rd and a minor 7th (b7) make this the perfect choice for soloing over progressions featuring 7th (dominant 7) chords. Check out how Gary Moore used the Mixolydian in an up-tempo, rock-blues context.

Play Like Your Blues Heroes \ 9

Lesson CHORD SHAPES

35 Blues Chords... ...you need to know!

Having a good chord vocabulary is essential when accompanying other soloists or singers. The following chord shapes will help set b b you up as a knowledgeable rhythm guitarist and make you a # b7 x 5with – Ex 3 popular choice when it comes to playing others... b b R

7 3 p4 p5

3 4

1 2 3 4 R 7 3 p4

e play rhythm for much more of the time than we ever do soloing. So being a confident chord player is vital. Get familiar with the five ‘essential’ shapes for major 7th, minor 7th and dominant 7th chords and then try some of the ‘useful’ shapes to get more colour into your playing. Roman numerals are often used to describe chords. This is because you can build a chord from each note in a scale, and the numerals refer to which interval the chord is built from. In a blues in the key of A, the ‘home’ chord of A is the 1 chord (I in Roman numerals); the chord of D is the 4 chord (IV) as it’s built on the fourth note in the A major scale (D); and E is the 5 chord (V) as it’s built on the fifth note of the A major scale (E). Likewise, all the chords shown here are shown with each note as an interval, so you can see exactly how it’s made up. Sometimes players add dissonance to the V chord, which usually comes before the start of the next verse. This sets up a tension which is then released when you resolve to the I chord (the first chord of the new verse). Play through the ‘useful’ V7 altered (alt) chords and see if you can get them into the next jam session. Sometimes you don’t want to play chords on five or six strings – they may sound clunky and get in the way of what the keyboard, bass or another guitarist is doing. In this case you can condense all these chords down to two essential notes – the 3rd and the b7th. Have a go at extracting these notes from all the shapes and see how it thins out the sound and gets you moving around the fingerboard quickly. Also, it is common to remove the 5th from a chord – jazz players do it all the time. So try taking this note out and see how you gain more clarity. Experimenting with chords can be great fun, and can lead to new ideas - even the creation of whole new songs.

10 / Play Like Your Blues Heroes

3 4

5 6 7 p5 2 2 4 2 2 4

3 4

1 2 3 4 R b7 b3 p4

2 2 4 2 2 4

3 5 R 4

3 5 3

3 5 R 4

3 4

x 5–

5 6 7 p5 2 2 4 2 2 4

3 4

3 5 3

Ex 3 Diags page 5

3 4

1 2

# b7 1

3 4 5

55 R 4 # b7 1 27 3 3 5 3Ryan – RREx 3 53 73 –53Stuart Diags page 5 Amaj7 Amaj7 Amaj7 Amaj7 Amaj7 C Shape A Shape G Shape E Shape D Shape x x x x x FIVE ESSENTIAL MAJOR SEVENTH CHORDS – R 3 x5 7 – Stuart Ryan Diags page 5 Amaj7 Amaj7 Amaj7 Amaj7 Amaj7

5 MAJOR used are... x 5 – CHORDS 4 7ths 5 6 7 notes 1 FIVE 2 3 ESSENTIAL MAJOR SEVENTH

4 5

C Shape A Shape G Shape E Shape D Shape x x x FIVE ESSENTIAL xMAJOR SEVENTHx CHORDS – R 3 x5 7 – Stuart Ryan 5 R

Amaj7 5 R E Shape

7 3

5 R 5

5 R

R Amaj7 D Shape

x x

3 5 7 3

R 5 7 3

RAmaj7 A Shape

R 5

5 R

R 5 7 3

7 3 5 R 5

5 7 3 Amaj7 C Shape

5 R 3 Amaj7 G Shape

x x

3 5

5 R 3 7

3 5

5 R 3 7

7 3 5 7 3

R 5

R 3 12 CHORDS FIVE 7ESSENTIAL MINOR SEVENTH – R b3 5 b7 –7 Stuart Ryan

5 7 3 3 5 Am7 3 5 Am7 Am7 Am7 Am7 C Shape A Shape G Shape E Shape D Shape MINOR 7ths notes used are... R b3 5 b7 12 x R b b x x x x FIVE ESSENTIAL MINOR SEVENTH CHORDS – xR 3x 5 7 – Stuart Ryan

Am7 Am7 Am7 Am7 Am7 C Shape A Shape G Shape E Shape D Shape x x x x FIVE ESSENTIAL MINOR SEVENTHxCHORDS – xR b3x 5 b7 – Stuart Ryan

5 R

b7 b3 5 R Am7 E Shape

5 R 5

b7 b3 b7 b3

5 R

R Am7 D Shapeb b 7 3 x x

R 5

b7 b3

Am7 C Shape b

R x

b3 b7

b7 5 14 R Am7 A Shapeb 3

R 5

R 5 b7

R 5

5 R 3 6 Am7 G Shape

x x

5 R 3 6

b7 b3SEVENTH b7 R 12 R b3CHORDS FIVE ESSENTIAL DOMINANT – R 3 5 b7 b3– Stuart Ryan

5 A7 5 A7 A7 A7 A75 C Shape A Shape G Shape E Shape D Shape b7 x 12x R x xRyan x FIVE ESSENTIAL xDOMINANT SEVENTH CHORDS –x R 3 5 b7 – Stuart

RA7 D Shapeb

A7 C Shape

C Shape A Shape E Shape Shapeused are... 5 DOMINANT 7ths D notes R 3 x x x FIVE ESSENTIAL xDOMINANT SEVENTH CHORDS –x R 3 5 b7 – 5 R

bA7 7 5 R E Shape 3

5 R 5

b7 b7

5 R

x x 7

R 5

5 R

R 5

R 3

b7 5

R x

3 5

R 3

3 12

x 12

R 12

b7 b7

5 G Shape b7 x xRyan Stuart

5 R A7b7 A Shape

R 5 b7 3 5

R 5

5A7R 3 G Shape b 7 x x 5 R 3

b7 5 R 3

b7 b3

1 2 3 4

CHORD SHAPES Lesson

2 2 4 2 2 4

p4 p5

3 4

x 5–

5 6 7

b7 b3 p4 p5 MAJOR 2 4 2 2 4 2CHORDS 5R USEFUL 2

Ex 3

3 5 3

# b7 1

3 5 R 4

# b7 1

4 1 2 3 4 FIVE USEFUL MAJOR CHORDS – Stuart Ryan x 5– Ex 3 3 5 3 Amaj9 (no third) Amaj9 A65 6 7 Amaj13 x

b7 b3 6p4

x x

1 2 3 4A635 6 7

7 3 Amaj13

3 4 5

A6/92

3 4 5

Diags page 6

2 2 4 2 2 4

15 R2 3 4 1 5 2 35 R4 FIVE USEFUL MAJOR CHORDS –7 StuartR Ryan 9

3 5 R 4

Diags page 6

1 2 3 4

3 6

x 5– 3 5 3 5 Ex 3R Amaj9 9 Amaj9 (no third) 12

13 9

x x

5 7

3 5 R 4

# b7 1

3 4 2 9 R A6/9 5

bFIVE page 6 p4 p5 chords 4 replaceDiags 2 CHORDS 2 These are could a simple major or major 7 chord by adding a 9 2 MINOR 2 4that 7 b3 6USEFUL Am13 3 6

and/or notesAm9 make your 7bluesAm11 sound sophisticated. Am11 15 R2 3Am6 4 13. 3 1 5These R 35 R 2 MAJOR x USEFUL x FIVE CHORDS Ryan x9 x4 x – Stuart x x x x 5 – 3 5 3 5 Ex 3 1 2 3 4 35 6 7 7 3 9 Amaj9 (no third) 12 R Amaj9 A6 Amaj13 x x x x x x x

13 9

7 5 11

5 USEFUL MINOR CHORDS b3 5 5 RFIVE6USEFUL MINOR CHORDS

x x

9 7 b3 13CHORDS 5 11 FIVE6USEFUL DOMINANT A9sus4 (G/A) A9b3 5 A7/G 5 R x x xFIVE6USEFUL x MINOR CHORDS x b7 9 12 R Am9 b7 b3 Am6 5 57 R Am11 5 R 9 12 R 5 R

7 3

3 3

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13 9 R A6/9 9 5

b7 R Am11 3

A6/92 93 45

b7 b3

5 R

A13

Diags page 6 b b7 12 R Am9 b7 b3 9 7 Am11 R Am6 5 12 R Am11 5 R 5 5 RFIVE CHORDS x USEFUL x3 x x –7 Stuart x x MAJOR x R Ryan x9 b 7 3 Amaj9 (no third) 12 R Amaj993 A63 Amaj13 x

# b7 1

3 5 R 4R

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b93

A13 b7 b3 Am13 3 6 9 13 93 13 5

b7 b b7 7 b7 9 5 DOMINANT R 9 13 10 R 12 FIVE 5 R 7 CHORDS minor95chords? 11 Want6USEFUL some moody and 3sophisticated Try these for11size. By adding b7you 9 3 to6 a minor5chord A9sus4 (G/A) A13 3 R A7/G notesA9 like or 11ths are bound toA13 impress. b3 59thsMINOR 5 R 5 R x b7 b3 x x x CHORDS xFIVE USEFUL x x

Am6

b7 9 R Am9

FIVE USEFUL V7 CHORDS

5 R

b7 b3 Am11

3 11 5 USEFUL DOMINANT b # # CHORDS A7 b5 b9

A7 9 (nob third) A7 5 9R Rx 6 7 9 5x 10 x b7 b3 9 11 x FIVE USEFUL DOMINANT CHORDS b 6 3 R 5 7 (G/A) A9sus4 A9b3 5 A7/G 5 R x x x x

5 R

b37 b3 b9 b5 b7 R 11 b A7 5 b9

b7 R 12 CHORDS 12 FIVE3USEFUL V7 b # #9 # 9 # 5 5 A7 9 b(no 7 third) 5 R A7 5 b7 9 5x DOMINANT R 10 x b7 Rx USEFUL 12 FIVE 9 x CHORDS b7 (G/A) 3 6 A9sus4 A9 A7/G 5 R x

5 R

5 R 5 R

A13 b9 x b7

b9 b5

5 R

3 A13

5 R x 9 13 b7 3 13 55 RR

b9 b3 A13 b9 x b7 b7

b7 13 9 R Am11

R 3 b7 9

A13 3

9 55 R 13 3 13 R

7 Am13

9 13 3 13

A13 b9

Lonnie Johnson: jazz-blues guitar pioneer

A13 b7 9b3

bb77

3 13 9b9 3 13 A13 b913

Roy Buchanan: great countryblues feel

9 A13

b77

R 3 9 9 7 R 7 12 CHORDS 12 FIVE 3USEFUL 11 chords, consider these instead. 3 13 As well as yourV7 more conventional dominant 7th b b b b # # b # # b 13 5 5 9 7 A7 5 9 A13 9 A13 9 5 R A7 9 (no third) Perfectb7for Larry Carlton, Setzer or Danny Gatton blues b7A7 5 9Brian b7 moments. R 9 5 10 12 R 5 R

3 6

5 R

9 5 USEFUL V7 ALTERED CHORDS

b7 R 12 CHORDS 12 FIVE USEFUL V7 b # # # # b A7 9 (no 5 7 third) A7 5 9 9 5 5 R x

b9 5 R

b7 b A7 5 b9

b9 b5

bb77

9 5 R 13 3 13 5 R

5 R

#9 #5

5 R

3 12

b9 A13 b9

b9 b5

3 13

5 R

A13 b913

b7 13

5 R

If spicy with a strong jazz flavour is your thing, you’ll want to nail these next time you play a dominant 7 type chord. Think Kenny Burrell meets Stevie Ray Vaughan!

Play Like Your Blues Heroes \ 11

Lesson RHYTHM

on the disc

folder 1

Blues Rhythm As guitarists we spend much more time playing rhythm than we do soloing, so it’s vital to have a knowledge of the chords and rhythmic ideas that will keep us in demand as players. Info

Will improve your…

KEY Various TEMPO Various DVD Folder 1

✔ Stylistic awareness ✔ General musicianship ✔ Ability to create effective parts

ather like eating your five portions of fruit a day, we guitarists know how good it is for our musical well-being to put work into the rhythm side of our playing. It’s just that soloing (or ‘cheeseburger’ if we continue the food metaphor) feels so good that we can always put off the musically more healthy option until tomorrow! The secret to obtaining successful musical ‘health’ is balance. Unless your chosen genre is completely lead-centric (certain styles of instrumental rock or fusion, say), then percentage-wise you’ll find yourself in the rhythm guitar chair more often than not. So you have two choices: grin and bear your rhythmic role, biding your time until we get to the solo; or put some thought, effort and research into this area of your playing, approaching this accompaniment component with flair, creativity, musicality and inventiveness. Needless to say, all of the best (and busiest) guitarists fall into this category. It’s definitely a case of getting out what you put in, and with a little effort you can have just as much musical significance, impact and fun, grooving away behind a soloist or singer, and really contributing to the musical effectiveness of the group in the process.

Presumably you fell in love with music before you fell in love with the guitar? By seeing the rhythm role as a crucial part of the bigger musical picture you may even remind yourself of why you were inspired to want to play music in the first place, it’s that important. To be a good rhythm player, you also need to be a good team player. Familiarise yourself with the roles of each instrument in the ‘rhythm section’ - usually the drums, bass, second guitar or keyboard player - and be aware of their respective parts for every piece that you play. It’s unimportant what style you prefer. The main difference between performing in a small band, say a rock power-trio, to performing in much larger ensembles, such an orchestra, is that each member in the smaller group is usually responsible for creating their own part. Stylistic authenticity, inventiveness, flair and the ability to respond to your surroundings, are all essential parts of the rhythm-king’s arsenal of firepower. On the following pages there are five complete rhythm studies for you to work through, covering a wide variety of styles, but all obviously blues influenced. They are: slow blues, blues-rock, country-blues, funk-blues and jazz-blues. We’ve kept the chord progressions fairly straightforward and stylistically appropriate, and each example is divided into two contrasting rhythm parts. The ability to create multiple variations is a real asset to the rhythm guitarist, as frequently you will be required to devise more than one part and layer tracks up when recording; or invent a complementary second guitar part when playing with another guitarist or keyboard player.

To be a good rhythm player, you also need to be a good team player

Treat each example as the beginning of your studies and take each concept or rhythmic approach and experiment with rearranging the harmony to fit any piece of music that you consider may be appropriate. Creating great rhythm parts is a lifelong endeavour, and any work put into this crucial area of your playing now can reap big dividends later on. If you’re currently playing in a band they will notice the improvement in your playing immediately. If you’re not a gigging player or are momentarily ‘resting between engagements’, spend some time on this lesson, learn as much of it as you can, get down to the local jam and we guarantee your phone will soon start to ring with offers of gigs. JW

Gain

Bass

Middle

Treble

Reverb

As this lesson is not overly style specific, it makes sense to opt for a pleasing tone that’s relatively free of sonic clutter. So select your neck pickup for a nice warm tone, plug into your favourite amp, DAW or whatever, add a sweet amount of reverb (but don’t drench the guitar in it), with perhaps a little light slap-back or chorus, and you’re good to go. Once you’re thoroughly familiar with the examples, then you can begin to experiment with the tone - sometimes distortion in the rhythm parts can sound fantastic (think of Jack White, Jimmy Page or Jimi Hendrix). But for now the important thing is to be able to hear what you are playing, so build up to that wall of sound gradually!

listening suggestions Time to get stuck into some serious listening. Take a favourite CD, select a track and choose one musical element to focus on - hi-hats, bass guitar etc. How do they interact with the rhythm part, and how are the two linked? It’s amazing what you can miss unless you do some really specific listening. Your playing will improve measurably by looking at the detail, so scrimp on this at your peril!

12 / Play Like Your Blues Heroes