Guitar Specials 57 (Sampler) by Future PLC

Download 30 MINUTES OF BRILLIANT BLUES BACKING TRACKS

Legendary

tabbed

licks In every blues style at all ability levels

Tabs, chords solos & more A complete blues toolkit in one book

Style studies

Digital Edition

In-depth look at the playing of seven blues heroes!

Hubert Sumlin His shattering bursts of notes

STARRING: ERIC CLAPTON MIKE BLOOMFIELD FREDDIE KING RITCHIE BLACKMORE LARRY CARLTON PETER GREEN & MORE!

CONTENTS Larry Carlton: advanced session music!

6 / Play Like Your Blues Heroes

CONTENTS

58 ALAMY

Eric Clapton: our career-spanning style study is ace!

Acoustic blues: an in-depth look at the greats!

contents 09 TAB USER GUIDE

Our tab guide makes navigating the music in your Blues Heroes 3 book simple.

10 BLUES SCALES

These are the scales that form the basis of many, if not most blues and rock licks.

46 Electric Blues

Another ‘four lessons in one’ feature, this 12-page feature takes you from the basics into rather more sophisticated territory.

77 Ritchie blackmore STYLE

Explore the rockier side of blues with a look at Deep Purple and Rainbow mainman, the ‘Black Knight’!

58 THE GUITAR GENIUS OF ERIC CLAPTON

80 HUBERT SUMLIN STYLE

68 PETER GREEN STYLE

83 freddie king STYLE

24 blues-rock power!

71 MIKE BLOOMFIELD STYLE

86 all the blues chords you’ll ever need

36 Acoustic Blues

74 Larry Carlton STYLE

12 Basic BLUES CHORDS

You’ll encounter these chords in many blues songs but they’re also found in rock, pop, country and jazz styles too.

14 THE Blues SHUFFLE

The shuffle is such an important rhythm in blues that it has a chapter all of its own. All the greats love the shuffle! In trios like Cream, SRV’s Double Trouble or The Experience, the guitarist mixes rhythm and lead to sound big. Here’s how. This lesson in four levels, from easy to advanced, will provide you with a ton of great new acoustic blues pieces to play.

An in-depth look at the playing career of a blues-rock guitar legend plus loads of licks to learn from various different EC eras.

Who better to follow Eric than his Bluesbreakers successor, Peter Green. Two full solos tabbed for your enjoyment.

While Clapton was leading the charge for blues guitar in Britain, this Chicagoan was America’s own sensation. Fabulous!

Take a look at the work of one of America’s top session and solo artists, the musicians’ musician!

Spending years as Howlin’ Wolf’s guitarist but also taking a spell with Muddy Waters, makes Sumlin unique and very special.

As perhaps the most influential of all electric bluesman, Freddie’s licks can still be heard in the styles of today’s guitarists.

The world of blues rhythm is our focus here, where we cover key chord shapes and place them in the perfect context!

98 online resources Download over 30 hours of free assets!

Play Like Your Blues Heroes \ 7

Lesson CHORD SHAPES

35 Blues Chords... ...you’ll want to know! R

hythm is what guitarists spend much more time doing than wigging out on solos. So being a decent 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 a bit more colour into your rhythm work. 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 the interval from which the chord is built. 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 constructed. 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. It’s not always best to play full five or six-string chords, as 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 fretboard more quickly. Also, it is common to remove the 5th from a chord – jazz players often do it. So try taking this note out and see how you gain more clarity. Chords can be great fun, especially in styles like blues where improvising is so important. Slogging away on the same old shapes can be boring for everyone, so why not learn some new shapes today?

12 / Play Like Your Blues Heroes

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Play Like Your Blues Heroes \ 13

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TECHNIQUE ELECTRIC BLUES

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folder 4

Four Levels of Electric Blues

Here’s another quartet of lessons, this time aimed at electric guitarists. Each example is set at a different technical level and designed to improve your playing, regardless of ability. Info Key: Various Tempo: Various

Will improve your Scale and harmonic theory All-round blues vocabulary Improvisational skills

sk a hundred guitarists the simple question: ‘What should I play over a blues?’ and you’ll likely receive just as many different, but equally impassioned, responses: ‘Don’t think about it, just use your ears’; ‘Use Minor Blues scale but play with feeling’, ‘Don’t just play Minor Pentatonic, follow each chord’; ‘Imitate the players you like and then make it your own’, or any number of ever-more complicated theoretical instructions of what to do – or not do. For the developing guitarist, this avalanche of often contradictory advice can be overwhelming and confusing. The best way to proceed (as is the case with any musical pursuit) is to become aware of a number of different possible effective approaches, and be less concerned about which is the right – or best – one. The more options you have, the richer your palette for musical expression becomes, the more choices you’ll have in performance and the more you’ll be accepting (rather than challenged by) any new idea that comes along. In this spirit, this article presents four different approaches to playing over a blues progression. These have been organised into four levels, and although these levels are representative of increasing harmonic

sophistication and theoretical depth, don’t be tempted to think that ‘good playing’ is at the higher levels, and ‘bad playing’ is as the lower ones; these are simply different approaches with different expressive effects. It’s possible (actually encouraged) to learn to improve at all of these different levels and to employ them all in your playing. You can mix them up within a solo (or even a chorus). We’ve presented these four levels at a variety of keys, tempos and blues types, and although some of these approaches are more common in certain styles, it’s possible to apply the concepts quite freely. Here’s a breakdown of the four levels together with some representative artists who are good exemplars of the approach in question. There follows four two-chorus solos (with a backing tracks) showing each ‘level’ in action. Feel free to use these solos as the basis of something original, and use the backing tracks as an aid to developing ideas of your own based on these ‘levels’. Working through this article, and developing the ideas within your own playing, will help you see the countless ways you can play over a ‘simple’ blues (and other contexts), and will liberate you from dutifully following any one particular system.

This article presents four different approaches to playing over a blues progression, at four different levels

C minor blues

F#/Gb

#9/b3

All the notes of the Minor Pentatonic ‘work’ over all three chords, but different notes are relatively more stable or unstable on each chord. The diagram indicates in yellow the root notes for the three chords. Notice that for each of the three chords, the root is available in the scale. Chord tones other than the root are indicated in green and are quite stable. The orange squares indicate ‘tolerable dissonances’, which have a tendency to resolve (but don’t necessarily). Much more unstable are the notes indicated in red, which tend to be used in passing, or emphasised for dramatic effect. Finally the blue notes; these represent the characteristic ‘blue’ effect of playing a minor 3rd (also known as #9) over a Dominant 7 chord. You can use the backing track to hear the effect of all these notes on each chord: for example the root (C) works well on all three chords (although a bit unstable on the V chord). The #4/b5 (F# or Gb in this case) is unstable on 5

Gain

Bass

Middle

7 3

Treble

Reverb

Level 1

The use of Minor Pentatonic (or minor Blues) based on the key over all the chords – for example C Minor Pentatonic on a blues in C: C7-F7-G7. This may feel like the simplest approach but it’s actually quite interesting and helpful to see how and why it works. Let’s look at C Minor blues over the three chords C7-F7-G7. (In the table, R = root).

As we are dealing with a general concept, you can go for any tone you like. But keep it quite clean with a little reverb at first, so you can hear every note in every chord. Only add in effects like distortion and big delays or reverbs when you are confident that you can play each idea perfectly, as too many effects can obscure poor technique and that’s the last thing we want.

TRACK RECORD Level 1 solos include Albert King’s Crosscut Saw and Buddy Guy’s Damn Right I’ve Got the Blues; Level 2 try ‘solo one’ in Cream’s Crossroads or Peter Green’s The Stumble; Level 3, Kenny Burrell’s Saturday Night Blues, Freddie King’s Hideaway or Larry Carlton’s I Gotta Right; Level 4, Robben Ford’s Help The Poor, Joe Pass’s Limehouse Blues or Scott Henderson’s Well To The Bone.

46 / Play Like Your Blues Heroes

PAUL NATKIN / GETTY IMAGES

ABILITY RATING ✪ ✪ ✪ ✪ ✪ Easy to Advanced

ELECTRIC BLUES TECHNIQUE Albert King: a masterful player in Level 1 category

Play Like Your Blues Heroes \ 47

Asus2/G

F m7

A/E

Bm7

D /E

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EXAMPLE

0 0

1 1

0 0 7 Shuffle 3 3

0 0 1 1 0 0 2 2

0 0

Acoustic

2 2 0 0 2 2

2 2

0 0

2 2

2 2 3

3 too a relaxed shuffle feel, some classic blues moves and a couple of not obvious chord changes and you have a nice Clapton-style melodic blues on your hands. The strumming is looser and freer than the written transcription

E E B B G G D D A A E E

0 0 0 0

0 0

1 1

E E7 7

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#m7 F F #m7

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2 2 2 2 4 4 2 2

0 0

2 2 2 2 4 4 2 2

n œœœ n œœœ œ œ œ

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0 0

B B9 9

3 3 3 3 2 2 3 3

X X X X

3 3 3 3 2 2 3 3

0 0

œ œ œœ œ n œœ œ œ 5 5 0 0 5 5 0 0

5 5 0 0

n œœ œ n œœ œ œ œœ œ œ

0 0 0 0

0 0

#7 G G #7

E E7 7

1 1

0 0 1 1 0 0

2 2 0 0

œœ œ œ

4 4 5 5 4 4

5 5 4 4 5 5 4 4

0 0

œœ ‰ œ

#m7 C C #m7

5 5 4 4 6 6 4 4

E E7 7

œœ n œ # œ œœ œœ ¿¿ œœ ¿¿ œœ n œ # w œœ n œ œ¿ ¿¿ n œœ ¿¿ œ¿ œ w w Let ring Let ring

2 2 2 2 1 1 2 2

X X X X X X X X

3 3 0 0 4 4

0 0

œœ ¿¿ b n œœœ œœœ ¿¿¿ œœ œœ n œ. œ ¿ œœ.

2 2 2 2 2 2 2 2 2 2 4 4 2 2

2 2

A7 A7

C C9 9

œœ œ

œ œœœ

0 0 0 0

0 0 4 4 0 0 5 5

0 0

2 2

particularly those on the third string. Even on an acoustic, with no effects and no vibrato to speak of, you can instantly tell it’s Clapton. And that’s some feat!

œœ œœ œœ n œœ œ œ¿ n œœ œ œ œ

1 1

œœ œ œ

gg 332 332 332 gg 2222 gg 424 424 424 gg 22 g gg 00 0 2 g 0 2 2 0 2 it seem, but 0 make sure the top notes0 0are 0 0 makes heard clearly above the rest, 2 2

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2 2 2 2 1 1 2 2

0 0 0 0

1 1

0 0 1 1

0 0 2 2 X X 4 4

0 0 4 4 0 0 5 5

X X X X X X X X

0 0 2 2 X X 4 4

1 1 2 2 0 0

0 0

EXAMPLE 8 Acoustic solo This rhythmic acoustic solo features a few Claptonesque flourishes, such as the 2 xxxxxxxxxx triplet hammer-on and pull-off in bar 1. Add in a few staccato moves (which 2 xxxxxxxxxx

Ex 8 Ex 8

Swung Swung

14 14

12 12 14 12 12 14

E B E G B D G A D E A

15 15

14 12 14 12 14 12 14 12 14 14

12 12

3 3

1/4

9 9

10 10

9 9

7 7

9 9

7 7

8 8

9 9

14 7 / 8 7 8

9 9

7 7

# # ## # & ## # &

nA7œ.. œ œ œ œ œ œ . //'' n œ œ œ œ œ nn œœ œ œœ .. œ n œ œ . œ nœ œ œ 3

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N.C.

E B E G B D G A D E A

really help this poke out in the mix) and some classic Pentatonic motifs and I feel sure Eric would approve!

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G #7 G #7

~~~ j . œ~~~nn œœj ## œœ. œ

E7 E7

~~~ ~~~

9 9

8 8

C #m7

7 7

9 9

5 5

j n œj # œ nœ #œ

5 5

3 3

4 4

E7 E7

3 3

œ nœ œ œ œ œ bœ œ œ nœ œ œ œ œ bœ œ nœ nœ 0 0

3 3

0 0

2 2

3 3

2 2

0 0

F #m7 F #m7

œ n œjj # œ œ œ n œ # œ œ œ œœ nn œœ. . œ 2 2

0 0

1 1

2 2

3 3

C9 C9

# # & # ## # ## ŒŒ

œj œ œ œ

nœ nœ

64 / Play Like Your Blues j Heroes

B9 B9

3 3

œ œ œ œ bœ œ nœ œ œ œ œ bœ œ

E7 E7

j œj œ œ œ

œ œœ nn œœ œ

j b œj œ bœ œ

n œ œœ œ

2 2

0 0

9 9

& E B G D A E

œ œ. œ. J ‰

j # # # # œ~~~n œ # œ.

~~~ 9

j nœ #œ

œ nœ œ œ œ bœ œ œ nœ

œ n œj # œ œ nœ œ œ . ERIC CLAPTON style study

EXAMPLE 8 Acoustic solo ...CONTINUED 3

#### Œ &

nœ

j œ œ

œ œ œ œ bœ œ nœ

œ œ nœ

j œ œ

j bœ œ

nœ œ œ

E B G D A E

1 0

EXAMPLE 9 Ambient Solo Appearing under the pseudonym of X-Sample, Eric contributed melodic lines to 3studio project TDF. Using a mellow Strat tone and long delays, Eric’s voice still shines through with a jazzy touch to his usual Pentatonics. Note the almost

complete absence of finger vibrato and the semitone slide from bar 7 into bar 8 – these details can really change the way a line sounds. As with the solo, even by removing stylistic traits like vibrato, the Clapton stamp remains clear.

3 3 9 Ex

E B G E D B A G E D B A G E D A E

E B G E D B A G E D B 3 A G E D A 3 E 3

E B G E D B A G E D B 6 A G E D A 6 E 6

Œ Œ Œ

⋲ œ œ nœ ⋲ œ œ nn œœ ⋲œ œ 7 7 7

B bmaj 7

7 7 7

B bmaj 7

5 5

œ. œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ

œ B bmaj œ7 œ B bmaj 7

Am7

6 8 6

7 7 7

j nœ œ Am7 j Am7 œ nœ j œ nœ

7 7

Am7

œ œ œ œ œ œ œ œ œ œ œ Am7 ˙~~~ œ œ œj œ œ œ œ B bmaj 7 œ. œ b 7 & b bB bmaj ˙~~~ ⋲ œ œ œj œ œ œ œ . œ œ œ œ œ œ œ œ œœ œ œ Am7 œ œ & b b œ œ . œ œ œ œ œ œ œ œ œ œ ˙~~~ ⋲ œ œ œj œ œ œ œœ œœ ⋲ &b BU BD ~~~ 8 10 10 8 8 10 10 8 10 ~~~ 10 13 BU(14BD) (12 ) 10 10 10 8 12 10 10 10 8 8 10 10 8 10~~~ 10 13 BU BD (14 ) (12 ) 10 10 10 8 1

8 8

8 10

8 10 10 8 10 8

8 10

10 8

Am7

Gm7

b Am7 b ‰ nœ œ œ œ œ œ œ œ œ œ & b Am7 nœ œ œ & b b ‰ n œ œ œ œœ œœ œœ œ œ œ œ œœœ œ &b ‰ 9

10 10 10 10 10 10

12 12

‰. ‰. ‰.

Gm7 Gm7

10 13

12 (14 ) (12 ) 10

j œ j œ j œ

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12 10

8 8 B bmaj 7 j œ œB bmaj j œ 7 œB bmaj j 7 œ œ BU ( 15 ) 13BU ( 15 ) 13BU 13 ( 15 )

7 7 7

8 8 8

9 9 9

œ œ œœœœ œœœœœ œ ‰ œ œœœœœ œœ ‰ œ œ œ œ œ œ œ œœ œœ œ œ ‰ 10 10 10

10 13 10

12 10

10 10 10

œ # œj n œ Am7 œ œ. œ ˙ œ œ œ œ Am7 j œ nœ œ œ œ. œ ˙ Jœ œ œ œ ⋲ œ ⋲ œ ⋲ œœ ⋲# œj nn œœ Am7 œ œ. œ ˙ nœ œ #œ œJ n œ œ œ œ ⋲⋲ œ ⋲⋲ ⋲⋲ ⋲⋲ J 10

9 10

10 13

11 12

Play Like Your Blues Heroes \ 65

technique Blues chords

Download from

folder 12

All the Blues chords you’ll ever need! The world of blues rhythm is our focus for this lesson. It covers key chord shapes and then places them in context. In a rhythm rut? Then read on! ABILITY RATING ✪ ✪ ✪ ✪ ✪ Easy to Moderate Info Key: Various Tempo: Various

Will improve your Fret board knowledge Harmony and theory knowledge Blues rhythm guitar

elcome to this jam-packed feature of the essential blues chords that you most certainly need to know to play like your heroes. The aim of the lesson that we lay out here, is to take the tried and tested fingerings for all of the various chord types that you will need for blues accompaniment, and then provide you with great chord workouts and some actual blues progressions in which to employ them. We say “tried and tested”, but our guess is that quite a few of these shapes will be new to you, so there’s a reasonable learning curve here too - plus it’s not just an impassive list of chord boxes with no context in which to sit them. Many blues guitar players have all of the soloing moves, but when it’s time to take a back seat they seem lost as to what to do. Often you may see them bashing out full barre chords and then bringing no great harmonic or rhythmic interest to the table. If you think that’s you, then this is the perfect feature to help you out of that rut. To help you get started, we have provided a number of chord fingerings in all positions on the neck. These are in the guitar-friendly key of A, but are of course moveable to any key that

you like or just generally prefer to experiment with. And remember that you don’t always have to play the whole chord - two or three notes are often very effective in the learning process. You also don’t always need to have the root note in the bass, and you will notice that some of our chords start with something other than the root as the first note. This can sound very sophisticated but does take a little practice to get used to. We didn’t have the space in this single feature to list all of the two- or three-note versions of these chords, as the options really are endless, so you can experiment with them and then find the permutations that suit each of the situations. The first six pages of music in this feature list all of the chord fingerings you’ll need, and of course, there’s an audio demonstration that you can find through our free online resources that can be found on page 98, so that you can hear what they sound like too. There’s then a rhythm guitar piece that follows a 12-bar blues progression and places the various chords from that section into a functioning rhythm part. The final four pages of this feature concentrate on various types of blues progression, with a bass and drums backing. Here, all of the chord types are mixed up and are used in a musical setting. The chord families that we are covering in this feature are 7ths, 9ths, 11ths, 13ths, Altered Dominant and Diminished. These really are all of the blues chords that you’ll need, so let’s get going and show you how to get started!

The dominant 7 chord has a major type sound, but with a dirty edge

Many thanks to Universal Audio for the loan of the Apollo interface for the recording.

Robben Ford knows what to play when not soloing

3 8 9

Gain

Bass

Middle

Treble

Reverb

For this month’s recording I used a James Tyler Studio Elite guitar. It was recorded with the Universal Audio Apollo audio interface, and the internal Universal Audio guitar amp models were used. All of the pickup and effects selections are notated at the start of each piece for reference. When playing in any style it’s important to have a suitable tone for the genre, so study the notation and remember your ears are your best friend!

TRACK RECORD There are many great recordings that feature blues rhythm guitar. It’s well worth checking out players like Jimi Hendrix, John Mayer, Stevie Ray Vaughan and Robben Ford. The 2008 album Where The Light Is: John Mayer Live In Los Angeles showcases some cracking blues orientated rhythm playing. But also look out for Michael Landau, Larry Carlton, Matt Schofield and Eric Gales.

86 / Play Like Your Blues Heroes

Blues chords technique

WENN LTD / ALAMY

Quite a few of these shapes will be new to you, so thereâ&#x20AC;&#x2122;s a reasonable learning curve

John Mayer is another whose rhythm playing matches his lead

Play Like Your Blues Heroes \ 87

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