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Blues Guitar Step One

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It's blues time, ladies and gentlemen, right here

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on our stage.

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Before rock, before jazz, before R&B, there was blues.

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It's been around a lot longer than any

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of those other styles, but blues sounds just

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as fresh today as it did when it

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was being born.

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Hello, my name is Keith Wyatt, and I'd

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like to welcome you to the Ultimate Beginner

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Series for Blues Guitar, Step 1.

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Whether you're a beginning player looking for new

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styles to explore, or a player who just

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wants to get back to the roots, we're

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going to spend the next half hour or

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so with the blues.

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I want to remind you at this time

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that if the basic guitar playing skills I

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refer to in this video are completely new

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to you, you might want to check out

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the Ultimate Beginner Series Guitar Basics, Steps 1

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and 2, where I get you started with

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the chords and scales we'll be using here.

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The only other thing you'll need is a

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guitar that's in tune with mine, so let's

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start out by tuning your high E string

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to my high E string.

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I'm going to go through the strings one

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at a time, and you tune up as we go.

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Alright, here's high E.

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Here's B.

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And G.

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Now we'll go to D.

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A.

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And the low E.

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Now if you need to, you can stop

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the tape and tune up before we get

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going, because you're going to need to be

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in tune, alright?

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And when you're ready, turn the machine back

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on, let's get down to it.

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To help you get the most out of this video,

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we're going to use something called tablature.

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At the bottom of the screen you're going

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to see six lines, and they represent the

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six strings of your guitar.

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The top line is like the top string

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of your guitar, the bottom line is like

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the bottom string.

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It's almost like you're holding your guitar and

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looking at it like this.

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And on the six strings, you're going to see numbers.

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The numbers represent frets, and that will go for chords.

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If I play a chord, the numbers tell

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you that 7th fret, 6th fret, 5th fret, and so on.

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And if I play a scale, same thing.

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So between watching my fingers and seeing the

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numbers, you've got it made.

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There are three basic elements to any style

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of music, and that includes blues.

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The three elements are harmony, melody, and rhythm.

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The place we're going to start playing blues

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is with the rhythm, because that's the driving

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force behind the style.

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And as you'll find out, you can play

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some pretty good stuff with even one note

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or one chord, if the rhythm is right.

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In blues, the basic rhythm is called the

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8th note scale, Now, just to back up

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a little bit, the basic beat in most

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styles of music is called the quarter note,

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and it has that name because there are

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four of them in a complete measure.

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I'm going to put my guitar down here

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for a second so we can talk about this stuff.

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Now, quarter notes, you just snap your finger,

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clap your hand, tap your foot, and that's

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where you get the feel of the beat.

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It's a very natural thing.

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Now, you take four of them in a row.

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There's your measure.

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Now, if you play two notes for each

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one of these quarter notes, they're called eighth notes.

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One and two and three and four and.

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Those are eighth notes.

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If you play three notes in one beat,

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we call it a triplet or an eighth note triplet.

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Very even.

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Now, a triplet shuffle is when you play

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only the first and last notes of the

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triplet, and it feels kind of relaxed and

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lopsided like you're shuffling down the street.

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It sounds like this.

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Here's the triplet again, and playing only the

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first and last.

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Get that feeling?

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Already, you can start to move to it.

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Now, compare that to the straight eighth note.

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Here's the straight eighth note and the shuffle.

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It's so relaxed.

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Now, once you start to feel it, you

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can move with it, you can kind of sing it.

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Get that groove going.

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Pick up your guitar and play the...

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Oh, yeah.

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It doesn't take much, does it?

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It sort of feels kind of that blues mood already.

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Muddy Waters, John Lee Hooker, they kind of

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built careers around not much more than this right here.

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Add a little attitude on top.

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I'm just playing that one string there.

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I'm using the pick, of course, playing all down strokes.

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Even something as simple as this, there's a

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little bit of technique to it.

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What it is, every time there's a downbeat,

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I'm accenting with the pick.

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Listen.

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You hear that?

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I'm also muting with the heel of my right hand.

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I'm deadening the string so it sounds nice

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and... percussive.

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The next thing I'm going to do is

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add some harmony.

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To make harmony, all you need to do

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is put another note together with that one.

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There's your chord.

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It's a simple chord, but that's a chord nonetheless.

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One finger.

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I'm playing B on the fifth string.

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I have E and B together.

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Some people call that a power chord.

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In blues, I don't know what you call it.

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Let's just call it an E chord.

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Your finger can also hang over on the

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E on the fourth string.

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Now you have a three-note chord.

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Get that same groove going.

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Remember your accent.

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Now we're going to add a note to

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that to make a pattern.

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The note I'm adding is C sharp.

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It's at the fourth fret on the fifth string.

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In relation to the E chord itself, the

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root E, it's the sixth note.

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The B is the fifth, the C sharp is the sixth.

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So I'm going from the fifth to the sixth.

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There's my pattern.

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Still keep accenting in the same way.

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Now to make it hip, I can use

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a little upstroke now and again so I

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can get the high E and the B there together.

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Now I've got a complete pattern.

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You can take the exact same shape and

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move it over to A.

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Now I've got the open A string.

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I've got my finger on the E and

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the A together.

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It's a bar.

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And I add, at the fourth fret on

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the fourth string, the F sharp.

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There's my upstroke.

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Go back to E.

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Oh yeah!

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Now there's one more chord you can play

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in the open position.

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That's D.

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The D is a little different.

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The reason is because of the tuning of

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the third and second strings.

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You have to use a slightly different shape.

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So what I'm going to do here is

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play the two notes together.

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Open D, the A, add the B.

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And then instead of using a bar with

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my index finger, I use my second finger here.

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Alright, so...

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Now E.

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It's blues time.

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It's that simple.

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Alright, so we've got three chords.

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We've got a little rhythm here.

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It's happening.

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Now, you want to play in other keys

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or you want to be able to move

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around the neck a little bit, you have

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to use bar chords.

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So we'll take those same three chords, A,

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D, and E, and move them up to fifth position.

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This is where most people wind up playing

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this most of the time anyway.

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Same basic principle.

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You get the root of the chord, the

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fifth of the chord.

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And with the third finger I can bar

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across two strings.

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Now I have to reach up with my

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fourth finger.

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It's a little bit more of a stretch.

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Now if I want to play D, shift

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over to the fifth string.

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I have to be careful with the right

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hand now because the tendency is going to

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be to want to hit that low string.

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You don't want to do that.

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So you deaden the low string with the

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tip of your finger.

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My right hand is still kind of tight here.

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Back to A.

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Now E is up at the seventh position.

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There's the E chord.

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There's the added note.

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Well now that we've got three chords in

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a pocket, we need somewhere to use it.

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And what we're going to do is play

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what we've just learned over the twelve bar progression.

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This is the most common progression by far in blues.

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And the three chords that we're playing, the

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A chord, D, and the E, all happen

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to belong together in one key.

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And the key, of course, is the key of A.

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In the key of A, the A chord,

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logically enough, is called the one chord.

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It's the tonic chord based on the first

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note of the scale.

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Now when you go up to the fourth

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note of the scale, that's D.

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So we call that the four chord.

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And then, of course, E is right next door.

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That's the five chord.

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And 1-4-5 arranged in the twelve

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bar progression is the foundation of the style

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that we play today that we call blues.

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Now here's the way it works.

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You're going to play four bars on the one chord.

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We'll use our little rhythm pattern here to get started.

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There's bar one, two, three, four.

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Now we're going to shift over to the four chord.

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Two bars on the four chord.

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There's the second bar.

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Back to one.

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Stay in time.

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Now we go to five.

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And then back to four.

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And then around to one.

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And then up to five.

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And then the whole thing starts all over again.

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It's an endlessly recycling progression.

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There are some variations that you run into

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and we'll get into some of those later

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on in this video and in step two.

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First thing I want to show you is

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the way that people usually handle the five

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chord at the end.

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Instead of playing a full bar of five,

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there's a little variation people use.

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Five chord.

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Four chord.

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Here's the one.

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That's the sound that you hear most often

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on almost every blues record.

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Now what I did there is I actually

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hang on to the one chord for one extra beat.

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Five.

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Four.

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And instead of a bar of five, one,

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two, and.

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So what I did is I hung on

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to the one chord and then slid down

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into the five chord.

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And this requires a new chord.

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Now in the beginner series step two, I

273
00:13:05,620 --> 00:13:07,080
showed you dominant chords.

274
00:13:07,500 --> 00:13:08,400
Dominant seventh chords.

275
00:13:08,500 --> 00:13:09,620
Here's a ninth chord.

276
00:13:12,440 --> 00:13:13,960
And the reason it's called a ninth chord

277
00:13:13,960 --> 00:13:16,080
is it contains an extra note, which is

278
00:13:16,080 --> 00:13:16,900
called the ninth.

279
00:13:17,360 --> 00:13:18,360
And I don't want to get too far

280
00:13:18,360 --> 00:13:19,900
into theory land right now, so I'm just going

281
00:13:19,900 --> 00:13:22,760
to show you the chord and leave it at that.

282
00:13:23,400 --> 00:13:25,320
This is an E dominant ninth chord.

283
00:13:25,380 --> 00:13:27,100
And you're going to see this diagram on

284
00:13:27,100 --> 00:13:28,720
your screen as we go here.

285
00:13:29,620 --> 00:13:30,940
Second finger on the E.

286
00:13:32,060 --> 00:13:35,060
First finger on the fourth string at the sixth fret.

287
00:13:35,560 --> 00:13:36,920
And then it's very simple.

288
00:13:37,000 --> 00:13:38,880
Your third finger will bar all the top

289
00:13:38,880 --> 00:13:39,580
three strings.

290
00:13:42,380 --> 00:13:43,800
Got to get a lot of pressure down

291
00:13:43,800 --> 00:13:44,580
on the third finger there.

292
00:13:44,620 --> 00:13:46,740
Almost bend it backwards a bit to make

293
00:13:46,740 --> 00:13:47,420
it really work.

294
00:13:47,560 --> 00:13:48,980
And you want to get the highest note

295
00:13:48,980 --> 00:13:49,620
in there as well.

296
00:13:50,080 --> 00:13:51,500
So we slide down from above.

297
00:13:53,600 --> 00:13:54,940
F9 to E9.

298
00:13:55,200 --> 00:14:02,400
So once again, five chord, four chord, and

299
00:14:02,400 --> 00:14:03,060
here we go.

300
00:14:03,820 --> 00:14:05,600
One, two, and.

301
00:14:06,180 --> 00:14:08,400
Then we'll start the top of the progression again.

302
00:14:08,880 --> 00:14:11,380
So that's the standard blues turnaround.

303
00:14:11,820 --> 00:14:14,540
Now it's called a turnaround because you're getting

304
00:14:14,540 --> 00:14:16,240
ready to turn around and go back to

305
00:14:16,240 --> 00:14:17,540
the start of the tune again.

306
00:14:17,740 --> 00:14:18,960
So it makes sense.

307
00:14:19,960 --> 00:14:21,500
Now we've got a groove.

308
00:14:21,740 --> 00:14:23,400
We've got a little chord pattern here.

309
00:14:23,460 --> 00:14:24,120
We've got a turnaround.

310
00:14:24,740 --> 00:14:26,220
We've got a twelve bar progression.

311
00:14:26,460 --> 00:14:28,420
Let's talk about some other ways to play rhythm.

312
00:14:29,720 --> 00:14:31,320
The one that I just showed you is

313
00:14:31,320 --> 00:14:35,360
probably the fundamental rhythm groove that guitar players

314
00:14:35,360 --> 00:14:38,640
have played for as long as the style's been around.

315
00:14:39,460 --> 00:14:41,800
But when you have more than one guitar,

316
00:14:42,320 --> 00:14:44,900
two guitars playing together, usually you'll have one

317
00:14:44,900 --> 00:14:46,540
guitar playing that and then the second guitar

318
00:14:46,540 --> 00:14:47,740
has to do something different.

319
00:14:48,040 --> 00:14:49,460
Or if you're playing on a tune, you

320
00:14:49,460 --> 00:14:50,720
don't want to do the same thing all the time.

321
00:14:50,760 --> 00:14:51,580
You need some variation.

322
00:14:51,840 --> 00:14:53,400
So I'll show you a couple of real

323
00:14:53,400 --> 00:14:54,320
common variations.

324
00:14:54,540 --> 00:14:56,300
Now one is to take the chord that

325
00:14:56,300 --> 00:14:58,460
I showed you in step two there, the dominant chord.

326
00:14:59,880 --> 00:15:02,960
Big fat bar chord all across the six strings.

327
00:15:03,560 --> 00:15:04,740
And you play a little pattern.

328
00:15:05,100 --> 00:15:09,300
Instead of playing a accent, it goes like this.

329
00:15:09,600 --> 00:15:11,940
One, two, three, four.

330
00:15:19,660 --> 00:15:23,740
For the four chord, we're using a D9.

331
00:15:24,440 --> 00:15:27,000
Same as the E, but based on D.

332
00:15:28,940 --> 00:15:34,460
And then E, D, and D9.

333
00:15:35,020 --> 00:15:36,040
Here's the turnaround.

334
00:15:38,680 --> 00:15:39,940
Very simple little pattern.

335
00:15:40,040 --> 00:15:41,300
One thing you want to notice is I

336
00:15:41,300 --> 00:15:43,020
keep my right hand going the whole time.

337
00:15:43,080 --> 00:15:43,740
That's my groove.

338
00:15:43,840 --> 00:15:45,160
That's my metronome right there.

339
00:15:46,360 --> 00:15:49,500
I'm playing the shuffle against the strings.

340
00:15:51,740 --> 00:15:53,780
And then I control the groove with my left hand.

341
00:15:53,880 --> 00:15:55,440
Where I press the fingers down is where

342
00:15:55,440 --> 00:15:56,200
the chord starts.

343
00:15:56,300 --> 00:15:57,520
And when I lift the fingers up, that's

344
00:15:57,520 --> 00:15:58,480
when the chord stops.

345
00:15:58,740 --> 00:15:59,900
That's where you get your pattern.

346
00:16:00,680 --> 00:16:02,120
I'm going to show you a couple more

347
00:16:02,120 --> 00:16:03,780
and then we're going to go and try

348
00:16:03,780 --> 00:16:04,880
this stuff out with the band.

349
00:16:05,000 --> 00:16:06,040
So hang on for a second here.

350
00:16:06,100 --> 00:16:06,800
Here's another one.

351
00:16:15,040 --> 00:16:18,220
Now that's authentic blues rhythm phrasing right there.

352
00:16:18,340 --> 00:16:20,700
This is based on a lot of different

353
00:16:20,700 --> 00:16:23,340
players that you hear throughout the history of blues.

354
00:16:23,880 --> 00:16:25,500
Now what I'm actually doing is starting with

355
00:16:25,500 --> 00:16:28,660
what looks like an A minor triad and

356
00:16:28,660 --> 00:16:30,500
then hammering on with my second finger.

357
00:16:30,620 --> 00:16:31,340
See that move there?

358
00:16:35,180 --> 00:16:37,200
Hold the third finger down as you do that.

359
00:16:40,180 --> 00:16:42,720
So you're hearing the full chord with the

360
00:16:42,720 --> 00:16:44,560
note hammered on.

361
00:16:49,640 --> 00:16:52,280
Now what I do is pick the downstroke

362
00:16:52,280 --> 00:16:56,160
on the A, then a downstroke on the

363
00:16:56,160 --> 00:17:00,240
hammer-on, another downstroke on A, fold my

364
00:17:00,240 --> 00:17:03,319
third finger over and then come back to

365
00:17:03,319 --> 00:17:03,980
the hammer-on.

366
00:17:15,800 --> 00:17:17,700
Now for D, instead of staying in this

367
00:17:17,700 --> 00:17:18,980
position, I'm going to move up to where

368
00:17:18,980 --> 00:17:21,420
the D chord is located based on the

369
00:17:21,420 --> 00:17:22,079
same shape.

370
00:17:26,500 --> 00:17:27,720
And then back to A.

371
00:17:31,880 --> 00:17:33,720
And then up to the E chord.

372
00:17:36,700 --> 00:17:37,160
D.

373
00:17:37,160 --> 00:17:38,140
And then A.

374
00:17:42,320 --> 00:17:43,200
And the turnaround.

375
00:17:43,780 --> 00:17:45,860
Now you can do little variations on that

376
00:17:45,860 --> 00:17:46,900
kind of a thing as well.

377
00:17:48,200 --> 00:17:50,100
Here's another variation I kind of like.

378
00:17:50,320 --> 00:17:52,760
Instead of hammering on, you can go like

379
00:17:55,080 --> 00:17:56,920
you can slide into the shape.

380
00:17:58,760 --> 00:18:00,000
And in this case, you take your first

381
00:18:00,000 --> 00:18:01,560
finger, second finger, slide them up a fret.

382
00:18:02,800 --> 00:18:03,520
Third finger.

383
00:18:13,080 --> 00:18:14,540
One more variation here.

384
00:18:14,800 --> 00:18:16,560
This is the stuff.

385
00:18:16,760 --> 00:18:17,960
I'm giving you the real thing right here.

386
00:18:18,060 --> 00:18:18,600
Check it out.

387
00:18:18,600 --> 00:18:18,840
Alright.

388
00:18:23,400 --> 00:18:25,100
Now that's a little tricky move there.

389
00:18:25,160 --> 00:18:26,700
You start out the same as we did already.

390
00:18:28,460 --> 00:18:30,580
And then you have to shift your entire

391
00:18:30,580 --> 00:18:32,340
hand up to the seventh position.

392
00:18:33,760 --> 00:18:36,900
First finger, third finger, second finger.

393
00:18:37,400 --> 00:18:39,460
That's still an A7 chord, but it's a

394
00:18:39,460 --> 00:18:40,240
little bit different.

395
00:18:41,500 --> 00:18:45,440
And then with the third finger again, barring,

396
00:18:45,640 --> 00:18:47,600
and then back to that hammer on.

397
00:18:57,100 --> 00:18:58,480
That move is going to take a little

398
00:18:58,480 --> 00:18:59,480
while to get down.

399
00:18:59,560 --> 00:19:00,920
You have to work on the shift so

400
00:19:00,920 --> 00:19:03,140
that you're making your connection very smooth.

401
00:19:03,360 --> 00:19:03,960
Up to D.

402
00:19:12,100 --> 00:19:12,460
E.

403
00:19:12,560 --> 00:19:13,620
Now we're only going to do half.

404
00:19:17,260 --> 00:19:18,360
That's the hip way, right?

405
00:19:18,440 --> 00:19:20,040
You split that phrase in half and play

406
00:19:20,040 --> 00:19:20,980
half on the E chord.

407
00:19:22,620 --> 00:19:24,020
And then you play the second half of

408
00:19:24,020 --> 00:19:25,120
the phrase on the D chord.

409
00:19:27,340 --> 00:19:28,420
And back to A.

410
00:19:32,940 --> 00:19:33,720
And the turnaround.

411
00:19:34,300 --> 00:19:34,420
Alright?

412
00:19:34,820 --> 00:19:36,160
So now in the space of a couple

413
00:19:36,160 --> 00:19:38,420
of minutes, you've got one, two, three, four,

414
00:19:38,600 --> 00:19:41,240
five ways to play rhythm on a medium shuffle.

415
00:19:41,340 --> 00:19:41,820
It's happening.

416
00:19:42,240 --> 00:19:43,180
There's only one thing left to do.

417
00:19:43,200 --> 00:19:44,300
Let's go play with the band.

418
00:19:44,800 --> 00:19:47,160
Right now we're going to go join Roscoe

419
00:19:47,160 --> 00:19:51,300
Beck and John Bishop playing the same patterns

420
00:19:51,300 --> 00:19:52,240
that I just showed you.

421
00:19:52,520 --> 00:19:53,820
And what you're going to see on the

422
00:19:53,820 --> 00:19:56,720
screen is me playing the basic shuffle pattern.

423
00:19:56,780 --> 00:19:57,720
First thing I showed you.

424
00:19:58,200 --> 00:20:01,320
And then through the magic of video technology,

425
00:20:01,480 --> 00:20:02,980
I'm going to play along with myself and

426
00:20:02,980 --> 00:20:05,000
play each one of the variations that I

427
00:20:05,000 --> 00:20:05,900
just explained to you.

428
00:20:06,180 --> 00:20:07,160
And you have a choice.

429
00:20:07,260 --> 00:20:08,340
You can play along with me.

430
00:20:08,400 --> 00:20:09,680
You can play the basic part.

431
00:20:09,980 --> 00:20:11,380
You can try one of the other parts

432
00:20:11,380 --> 00:20:13,140
while I'm playing a separate part.

433
00:20:13,220 --> 00:20:13,920
It's up to you really.

434
00:20:14,000 --> 00:20:14,980
Just have some fun with it.

435
00:20:15,100 --> 00:20:15,200
Okay?

436
00:20:15,640 --> 00:20:16,600
And this will give you a chance to

437
00:20:16,600 --> 00:20:17,840
feel what it's like to play with a

438
00:20:17,840 --> 00:20:18,740
great rhythm section.

439
00:20:18,900 --> 00:20:19,040
Alright?

440
00:20:19,160 --> 00:20:19,620
Check it out.

441
00:22:13,570 --> 00:22:15,650
Well now it's definitely blues time.

442
00:22:15,950 --> 00:22:18,670
Since we already have a groove and we

443
00:22:18,670 --> 00:22:20,910
got some chords, we're ready to talk about

444
00:22:20,910 --> 00:22:23,070
the third part of music which is melody.

445
00:22:23,250 --> 00:22:24,290
In this case, soloing.

446
00:22:24,450 --> 00:22:25,350
Blues soloing.

447
00:22:25,970 --> 00:22:27,650
Look around here at these guys.

448
00:22:27,950 --> 00:22:29,090
Looks like every one of them is in

449
00:22:29,090 --> 00:22:30,890
the midst of getting down.

450
00:22:31,610 --> 00:22:32,710
Taking care of business.

451
00:22:33,250 --> 00:22:35,150
Probably using the scale I'm about to show

452
00:22:35,150 --> 00:22:35,790
you right here.

453
00:22:36,710 --> 00:22:40,650
Now, in the basic step 2, I showed

454
00:22:40,650 --> 00:22:43,330
you the pentatonic scale, and that's the basic

455
00:22:43,330 --> 00:22:44,650
sound that we're still going to use.

456
00:22:44,730 --> 00:22:46,690
We're going to start to add things to

457
00:22:46,690 --> 00:22:49,610
it and make it sound more specifically bluesy,

458
00:22:50,050 --> 00:22:51,830
but that's kind of the starting point.

459
00:22:51,910 --> 00:22:53,690
So once again, just to review quickly, key

460
00:22:53,690 --> 00:22:57,830
of A, guitar player's key, starting in 5th

461
00:22:57,830 --> 00:23:00,850
position on the top string with my 1st

462
00:23:00,850 --> 00:23:04,930
finger, I play the A, 4th finger, just

463
00:23:04,930 --> 00:23:07,530
follow along with me, watch that tab too,

464
00:23:08,290 --> 00:23:12,690
3rd finger, 1st finger, right on down through the scale.

465
00:23:12,770 --> 00:23:13,730
Very easy to play.

466
00:23:13,970 --> 00:23:16,770
Your 1st finger is always there as a

467
00:23:16,770 --> 00:23:17,430
reference, right?

468
00:23:17,490 --> 00:23:18,910
You keep coming back to that 1st finger.

469
00:23:19,010 --> 00:23:21,610
That's what makes this pattern so special for

470
00:23:21,610 --> 00:23:22,230
guitar players.

471
00:23:22,670 --> 00:23:24,570
Now to make it a little bit bluesier,

472
00:23:24,870 --> 00:23:26,090
we're going to add a note to it,

473
00:23:26,150 --> 00:23:27,250
starting again at the top.

474
00:23:29,170 --> 00:23:30,050
Here's the note.

475
00:23:32,410 --> 00:23:34,450
With your 4th finger, we're going to add a note.

476
00:23:34,450 --> 00:23:35,770
Now that's called the flat 5.

477
00:23:35,930 --> 00:23:39,970
Now that note, you just play it one

478
00:23:39,970 --> 00:23:41,610
time, it sounds bluesy.

479
00:23:41,670 --> 00:23:42,210
What can you say?

480
00:23:42,270 --> 00:23:44,170
They call that a blue note, and that's

481
00:23:44,170 --> 00:23:45,370
kind of one of the things that makes

482
00:23:45,370 --> 00:23:46,590
blues sound the way it does.

483
00:23:46,650 --> 00:23:47,430
You hear little phrases.

484
00:23:59,070 --> 00:24:00,790
And of course you can add it to

485
00:24:00,790 --> 00:24:02,030
the lower octave as well.

486
00:24:03,010 --> 00:24:06,210
There's the 5th, flat 5, 4th.

487
00:24:14,830 --> 00:24:17,290
So there's our basic blues scale pattern.

488
00:24:17,850 --> 00:24:19,170
Now if you want to, you can stop

489
00:24:19,170 --> 00:24:20,330
the tape and just kind of run your

490
00:24:20,330 --> 00:24:21,950
fingers around that pattern a little bit.

491
00:24:27,310 --> 00:24:28,910
Get your fingers used to the shape, and

492
00:24:28,910 --> 00:24:30,410
get used to adding in that note, because

493
00:24:30,410 --> 00:24:31,490
we're going to be using that a bit

494
00:24:31,490 --> 00:24:32,910
as we go along.

495
00:24:33,390 --> 00:24:36,030
I'm going to show you two little extensions

496
00:24:36,030 --> 00:24:38,750
onto that basic pattern that give you a

497
00:24:38,750 --> 00:24:41,410
little bit more room to move, and allow

498
00:24:41,410 --> 00:24:43,110
you to cover most of the sounds that

499
00:24:43,110 --> 00:24:45,850
you hear like the greats using.

500
00:24:46,050 --> 00:24:48,090
They work out of this pattern, almost all of them.

501
00:24:48,890 --> 00:24:51,450
First of all, instead of stopping on the

502
00:24:51,450 --> 00:24:53,090
low A there, we're going to go down

503
00:24:53,090 --> 00:24:54,550
two frets to G.

504
00:24:56,070 --> 00:24:57,450
And you get this little, what they call

505
00:24:57,450 --> 00:24:58,870
a box shape down here.

506
00:24:58,950 --> 00:24:59,910
1st finger, 3rd finger.

507
00:25:01,150 --> 00:25:02,350
There's the G, the A.

508
00:25:02,830 --> 00:25:04,570
Then we get the C instead of up here.

509
00:25:04,630 --> 00:25:07,850
We get it here, and then the D there.

510
00:25:09,790 --> 00:25:15,290
So as you come down the scale, and

511
00:25:15,290 --> 00:25:16,830
then you can add that flat 5 again.

512
00:25:18,710 --> 00:25:19,630
So it kind of gives you a way

513
00:25:19,630 --> 00:25:21,430
to play in the lower octave and get

514
00:25:21,430 --> 00:25:23,790
down to it in that position.

515
00:25:24,490 --> 00:25:26,150
Moving back up, all you have to do

516
00:25:26,150 --> 00:25:30,870
is shift up, and you're back in position.

517
00:25:33,410 --> 00:25:35,690
And now we're going to add something onto the top.

518
00:25:36,650 --> 00:25:39,010
Moving up to the next spot, we're at

519
00:25:39,010 --> 00:25:41,750
the 10th fret now, and come back down again.

520
00:25:44,950 --> 00:25:46,610
And you get a little position right here,

521
00:25:46,710 --> 00:25:48,490
which is one of the most common and

522
00:25:48,490 --> 00:25:49,810
most useful positions.

523
00:25:50,590 --> 00:25:51,470
You can bend from it.

524
00:25:57,320 --> 00:25:59,640
Now there's that flat 5 again.

525
00:26:05,100 --> 00:26:07,540
And now as you just saw, we have

526
00:26:07,540 --> 00:26:09,900
three octaves in which we can play almost

527
00:26:09,900 --> 00:26:11,260
any blues lick you want to hear.

528
00:26:11,780 --> 00:26:14,100
One thing guitar players love to do is

529
00:26:14,100 --> 00:26:16,400
learn new patterns and work things out all

530
00:26:16,400 --> 00:26:17,080
over the neck.

531
00:26:17,560 --> 00:26:19,020
And that's cool, but in blues you don't

532
00:26:19,020 --> 00:26:20,900
really need to do that as much as

533
00:26:20,900 --> 00:26:22,920
you might want to do it in other styles.

534
00:26:23,480 --> 00:26:25,240
Because if you can find a good melody,

535
00:26:25,380 --> 00:26:27,220
usually it sticks within about one octave.

536
00:26:27,740 --> 00:26:28,860
And then all you have to do is

537
00:26:28,860 --> 00:26:30,560
move it down two frets, move it up

538
00:26:30,560 --> 00:26:32,040
two frets, and you got it.

539
00:26:32,120 --> 00:26:34,640
So these are our three basic positions that

540
00:26:34,640 --> 00:26:35,340
we're going to be using.

541
00:26:35,980 --> 00:26:37,780
And from this point on, once you've got

542
00:26:37,780 --> 00:26:40,100
the basic technique, it's all phrasing.

543
00:26:40,300 --> 00:26:42,040
So let's take a few minutes and talk
about that.

544
00:26:54,440 --> 00:26:58,460
Now, the essence of blues soloing is phrasing.

545
00:26:58,500 --> 00:27:00,640
It's taking those few notes that we just

546
00:27:00,640 --> 00:27:03,980
looked at and making them sound like music.

547
00:27:04,820 --> 00:27:07,380
You know, a comparison that I use a

548
00:27:07,380 --> 00:27:10,860
lot is between playing blues and playing a

549
00:27:10,860 --> 00:27:12,820
game like chess, for instance.

550
00:27:12,980 --> 00:27:14,780
Chess is pretty simple when you think about it.

551
00:27:14,780 --> 00:27:15,680
There's only a couple of moves.

552
00:27:15,720 --> 00:27:18,420
You can memorize it in about 15 minutes.

553
00:27:19,180 --> 00:27:20,380
But then you can spend the rest of

554
00:27:20,380 --> 00:27:21,880
your life trying to figure out what to do with it.

555
00:27:22,040 --> 00:27:22,180
You know?

556
00:27:22,420 --> 00:27:23,800
It's kind of the same way with blues.

557
00:27:23,900 --> 00:27:25,840
You've got a five note scale, add in

558
00:27:25,840 --> 00:27:28,080
that flat five, right?

559
00:27:28,560 --> 00:27:30,920
And then you spend the next 20, 30,

560
00:27:31,020 --> 00:27:33,660
40 years trying to figure out how to make it work.

561
00:27:33,960 --> 00:27:34,120
You know?

562
00:27:34,260 --> 00:27:34,980
And that's phrasing.

563
00:27:36,540 --> 00:27:38,580
So phrasing, when guitar players talk about phrasing,

564
00:27:38,660 --> 00:27:41,880
the most common term that people use is licks.

565
00:27:43,900 --> 00:27:45,660
And that's a good thing and it's also

566
00:27:45,660 --> 00:27:46,700
kind of a dangerous thing.

567
00:27:46,720 --> 00:27:48,160
We're going to talk about licks in a second.

568
00:27:48,160 --> 00:27:50,280
The whole point of phrasing is to make

569
00:27:50,280 --> 00:27:52,260
you sound more like a singer.

570
00:27:52,580 --> 00:27:54,920
Blues kind of was invented by singers.

571
00:27:55,660 --> 00:27:58,600
People singing about their lives, you know, things

572
00:27:58,600 --> 00:28:01,120
that were going on, important things.

573
00:28:01,900 --> 00:28:04,100
And when you sing something, you're going to

574
00:28:04,100 --> 00:28:06,360
tend to focus more on the important notes.

575
00:28:06,440 --> 00:28:07,520
You're not going to sing scales.

576
00:28:07,620 --> 00:28:08,540
You're going to sing melodies.

577
00:28:09,420 --> 00:28:12,940
So the whole goal of this section right

578
00:28:12,940 --> 00:28:14,700
here is to talk about how to get

579
00:28:14,700 --> 00:28:16,660
your guitar playing to sound more like you're singing.

580
00:28:16,660 --> 00:28:18,640
And one of the keys is to learn

581
00:28:18,640 --> 00:28:22,020
how to breathe and not only what to

582
00:28:22,020 --> 00:28:23,580
play but what not to play.

583
00:28:24,080 --> 00:28:24,220
Alright?

584
00:28:25,100 --> 00:28:25,980
Now I mentioned licks.

585
00:28:26,060 --> 00:28:26,760
What is a lick?

586
00:28:27,120 --> 00:28:32,040
A lick is a short, rhythmic, repeatable, melodic phrase.

587
00:28:32,680 --> 00:28:35,900
It has a beginning, a middle, and an ending.

588
00:28:37,720 --> 00:28:40,160
Now basically it's a couple of well-played

589
00:28:40,160 --> 00:28:41,740
notes with a nice rhythm.

590
00:28:41,820 --> 00:28:43,320
I'm going to play a lick for you right here.

591
00:28:43,540 --> 00:28:43,860
Okay?

592
00:28:43,860 --> 00:28:45,420
I'm going to play using the blues scale.

593
00:28:54,050 --> 00:28:58,190
Now that has a beginning, has a little

594
00:28:58,190 --> 00:29:04,590
pause in the middle, and then it has an ending.

595
00:29:04,850 --> 00:29:05,850
And it fits into the rhythm.

596
00:29:05,930 --> 00:29:06,970
You can kind of feel that beat.

597
00:29:08,250 --> 00:29:09,330
Play with me, would you?

598
00:29:18,190 --> 00:29:21,070
That was pretty easy to play and nothing

599
00:29:21,070 --> 00:29:23,150
tricky in the technique at all, really.

600
00:29:23,990 --> 00:29:24,870
But it sounds nice.

601
00:29:24,930 --> 00:29:26,390
Now what is it that makes it work?

602
00:29:26,450 --> 00:29:27,810
Well, there's a couple of things going on there.

603
00:29:27,890 --> 00:29:28,630
One is the rhythm.

604
00:29:29,230 --> 00:29:33,790
Da, da, da, da, da, da, da, da, da.

605
00:29:34,250 --> 00:29:36,390
It has a nice, natural feel to it.

606
00:29:36,390 --> 00:29:38,310
With that pause in the middle, it kind

607
00:29:38,310 --> 00:29:40,490
of makes it feel like you're saying something,

608
00:29:41,210 --> 00:29:43,690
taking a breath, and then completing the idea.

609
00:29:43,930 --> 00:29:45,310
That's the essence of phrasing.

610
00:29:45,950 --> 00:29:48,570
Also, it rhythmically fits into the groove in

611
00:29:48,570 --> 00:29:49,310
a nice way.

612
00:29:49,910 --> 00:29:52,250
Now there are no real hard and fast

613
00:29:52,250 --> 00:29:54,790
rules about what beat to start on, what

614
00:29:54,790 --> 00:29:55,870
note to start on.

615
00:29:56,470 --> 00:29:58,490
The only way to really learn phrasing is

616
00:29:58,490 --> 00:30:00,050
to listen to people that know how to

617
00:30:00,050 --> 00:30:01,570
phrase and copy.

618
00:30:02,030 --> 00:30:03,770
And over time, your own style will start

619
00:30:03,770 --> 00:30:04,690
to come out of that.

620
00:30:04,690 --> 00:30:05,870
But I'm going to show you some of

621
00:30:05,870 --> 00:30:07,510
the basic techniques that people use.

622
00:30:07,950 --> 00:30:10,950
First of all, back in the basic step

623
00:30:10,950 --> 00:30:12,570
two, I talked about hammer-ons.

624
00:30:12,650 --> 00:30:14,110
Now this is something all guitar players use.

625
00:30:14,630 --> 00:30:16,950
It's a way of blending the notes together a little bit.

626
00:30:17,030 --> 00:30:18,830
So for instance, I'm picking every note here.

627
00:30:23,430 --> 00:30:25,070
And I'm using all downstrokes.

628
00:30:25,130 --> 00:30:26,530
In blues, as a rule, you don't have

629
00:30:26,530 --> 00:30:28,810
to worry too much about tricky right-hand technique.

630
00:30:29,050 --> 00:30:31,250
Downstrokes work most of the time.

631
00:30:31,870 --> 00:30:33,670
One thing I'm going to do to kind

632
00:30:33,670 --> 00:30:35,990
of change it a bit is, instead of

633
00:30:35,990 --> 00:30:39,230
picking all those notes, I'm going to pick

634
00:30:39,230 --> 00:30:43,370
this note, pull off, hammer-on.

635
00:30:45,590 --> 00:30:46,490
You hear the difference?

636
00:30:48,730 --> 00:30:51,270
Kind of changes the way the notes flow together.

637
00:30:54,050 --> 00:30:55,110
Smooths it out a little bit.

638
00:30:55,170 --> 00:30:55,870
Now check this out.

639
00:30:58,910 --> 00:31:02,370
Instead of picking the flat five, I'm going

640
00:31:02,370 --> 00:31:03,730
to hammer-on from the fourth.

641
00:31:07,510 --> 00:31:15,330
Starts to get a little bit more bluesy

642
00:31:15,330 --> 00:31:17,710
when you just add that one little subtlety in there.

643
00:31:18,430 --> 00:31:20,450
Now what about something like this?

644
00:31:26,130 --> 00:31:28,770
Now there, instead of hammering-on, what I

645
00:31:28,770 --> 00:31:31,090
did was I slid from one note to the other.

646
00:31:34,070 --> 00:31:35,590
And when you slide, it's more like your voice.

647
00:31:36,630 --> 00:31:40,210
You don't actually hit the notes as separate sounds.

648
00:31:40,290 --> 00:31:41,470
You kind of blend them together.

649
00:31:43,710 --> 00:31:47,690
And then, instead of hammering-on, slide.

650
00:31:47,790 --> 00:31:50,310
That's a real common phrase in blues, in jazz.

651
00:31:54,310 --> 00:31:56,150
Now another way to blend the notes together

652
00:31:56,150 --> 00:31:56,910
is to bend.

653
00:32:05,570 --> 00:32:07,270
Now some of the common bends that you

654
00:32:07,270 --> 00:32:09,130
hear in the blues scale are bending from

655
00:32:09,130 --> 00:32:12,430
the seventh up to the octave.

656
00:32:13,890 --> 00:32:15,710
It's probably the most common bend of all.

657
00:32:15,890 --> 00:32:18,990
Bending from the fourth up to the fifth.

658
00:32:20,730 --> 00:32:22,210
Or bending just a half-step.

659
00:32:31,590 --> 00:32:33,430
Now a bend that you may not notice

660
00:32:33,430 --> 00:32:35,390
that I'm using a lot is this one right here.

661
00:32:37,250 --> 00:32:40,150
Now that is really a blues bend right there.

662
00:32:40,210 --> 00:32:42,210
What I'm playing is the third of the scale.

663
00:32:42,650 --> 00:32:43,830
The root, the third.

664
00:32:44,310 --> 00:32:46,430
But instead of playing that note right there,

665
00:32:46,830 --> 00:32:49,670
I'm playing that note.

666
00:32:49,670 --> 00:32:51,890
Now that's not quite there.

667
00:32:52,270 --> 00:32:52,710
It's not there.

668
00:32:52,790 --> 00:32:53,550
It's halfway in between.

669
00:32:53,690 --> 00:32:55,050
That is the blues.

670
00:32:55,250 --> 00:32:55,950
That's a blue note.

671
00:33:02,370 --> 00:33:04,630
Practically every player you ever hear play the

672
00:33:04,630 --> 00:33:06,690
blues is going to use that particular note

673
00:33:06,690 --> 00:33:07,490
in every octave.

674
00:33:12,070 --> 00:33:14,030
You have to learn your notes in relation

675
00:33:14,030 --> 00:33:14,650
to the chords.

676
00:33:14,770 --> 00:33:16,070
So you can think, where's the third?

677
00:33:16,070 --> 00:33:19,490
When you hear that note, give it that

678
00:33:19,490 --> 00:33:20,590
little twist.

679
00:33:22,150 --> 00:33:24,670
Now we've got three basic techniques there.

680
00:33:24,790 --> 00:33:27,090
Hammering on, pulling off, sliding, bending.

681
00:33:27,810 --> 00:33:29,570
They all add up to make the phrasing

682
00:33:29,570 --> 00:33:30,530
sound more vocal.

683
00:33:31,230 --> 00:33:33,430
But rather than me show you a bunch

684
00:33:33,430 --> 00:33:35,430
of licks and have you memorize them, here's

685
00:33:35,430 --> 00:33:35,950
what we're going to do.

686
00:33:36,010 --> 00:33:38,190
We're going to do it the authentic way.

687
00:33:38,950 --> 00:33:41,610
Blues players throughout history have always learned from

688
00:33:41,610 --> 00:33:42,990
each other by listening.

689
00:33:43,150 --> 00:33:43,730
You copy.

690
00:33:44,090 --> 00:33:44,950
You hear some record.

691
00:33:44,950 --> 00:33:45,930
You see somebody play.

692
00:33:45,990 --> 00:33:46,530
You sit down.

693
00:33:46,610 --> 00:33:47,210
You work on it.

694
00:33:47,810 --> 00:33:49,110
Try to remember what you heard.

695
00:33:49,190 --> 00:33:50,570
Well, you're going to see it and hear

696
00:33:50,570 --> 00:33:51,710
it, and I'm going to play with you.

697
00:33:51,790 --> 00:33:53,130
We're going to play with the band again

698
00:33:53,130 --> 00:33:54,530
on one chord.

699
00:33:54,590 --> 00:33:56,290
We don't need even a four chord and a five chord.

700
00:33:56,370 --> 00:33:58,050
Just a single A chord.

701
00:33:58,850 --> 00:34:00,230
And the way we're going to do it is this.

702
00:34:00,490 --> 00:34:01,810
Call and response.

703
00:34:02,370 --> 00:34:04,490
I'm going to play a lick, and you're

704
00:34:04,490 --> 00:34:06,450
going to hear that same lick and play

705
00:34:06,450 --> 00:34:07,330
it back at me.

706
00:34:07,830 --> 00:34:09,130
And you can roll the tape back and

707
00:34:09,130 --> 00:34:10,270
listen to it a few times again.

708
00:34:10,310 --> 00:34:11,470
I'm going to use the techniques that we've

709
00:34:11,470 --> 00:34:12,310
been talking about here.

710
00:34:12,310 --> 00:34:14,130
I'll use three octaves.

711
00:34:17,470 --> 00:34:18,830
And moving down again.

712
00:34:19,230 --> 00:34:21,570
And I'll show you some ideas that fit

713
00:34:21,570 --> 00:34:23,790
in those areas using those different sounds.

714
00:34:24,370 --> 00:34:26,750
And what we're building up to here is a style.

715
00:34:27,110 --> 00:34:27,430
All right?

716
00:34:27,550 --> 00:34:30,490
So let's go join the fellas and get down to it.

717
00:34:32,090 --> 00:34:32,970
Watch it now.

718
00:34:39,530 --> 00:34:40,210
Take it.

719
00:34:42,310 --> 00:34:42,970
Check this out.

720
00:34:47,570 --> 00:34:48,450
You got it.

721
00:34:50,430 --> 00:34:51,210
Same thing.

722
00:34:51,390 --> 00:34:52,010
Take it down.

723
00:34:57,310 --> 00:34:58,270
That sounds pretty good.

724
00:34:58,310 --> 00:34:59,030
Let's do it up here.

725
00:35:06,050 --> 00:35:06,830
Oh, baby.

726
00:35:07,370 --> 00:35:08,310
How about this one?

727
00:35:12,870 --> 00:35:14,390
Take it.

728
00:35:24,869 --> 00:35:25,910
That's right.

729
00:35:26,570 --> 00:35:27,869
Here's a good one right here.

730
00:35:43,490 --> 00:35:45,170
Let's go up in this spot for a second.

731
00:35:49,850 --> 00:35:50,910
You can do that.

732
00:35:51,770 --> 00:35:52,530
Try this one.

733
00:36:00,430 --> 00:36:01,150
One more.

734
00:36:01,390 --> 00:36:01,850
Here we go.

735
00:36:09,920 --> 00:36:10,680
Tricky one.

736
00:36:18,290 --> 00:36:18,870
Here we go.

737
00:36:18,950 --> 00:36:19,550
Back to fifth.

738
00:36:35,580 --> 00:36:37,040
Let's work this spot for a second.

739
00:36:50,480 --> 00:36:54,170
Here's a classic.

740
00:37:08,600 --> 00:37:09,880
Oh, yeah.

741
00:37:18,580 --> 00:37:19,760
Down low.

742
00:37:25,360 --> 00:37:26,900
Now let's take it up high again.

743
00:37:29,380 --> 00:37:36,250
It's getting mellow now.

744
00:37:41,970 --> 00:37:44,350
It's got a trick note in it.

745
00:37:50,190 --> 00:37:52,130
You gotta hold that note down while you play it.

746
00:37:52,470 --> 00:37:53,010
Watch it.

747
00:38:31,040 --> 00:38:32,360
Well, I hope by now you got a

748
00:38:32,360 --> 00:38:34,560
couple of licks that you like, that you can use.

749
00:38:34,940 --> 00:38:37,380
And the great thing about learning licks like

750
00:38:37,380 --> 00:38:40,480
that that are short and complete is that

751
00:38:40,480 --> 00:38:41,780
you can take them and plug them in

752
00:38:41,780 --> 00:38:42,660
just about anywhere.

753
00:38:43,020 --> 00:38:44,120
And what we're going to do right now

754
00:38:44,120 --> 00:38:45,800
is get you ready to play over that

755
00:38:45,800 --> 00:38:46,720
12-bar progression.

756
00:38:47,000 --> 00:38:48,720
This is what it's all about, really.

757
00:38:49,800 --> 00:38:51,080
So I'm going to show you a couple

758
00:38:51,080 --> 00:38:52,840
of different ways that you can use those licks.

759
00:38:52,920 --> 00:38:54,840
Now, we got the 12-bar progression we know about.

760
00:38:55,200 --> 00:38:56,800
We go to the four chord and the five chord.

761
00:38:56,800 --> 00:38:59,600
Three different chords, but that same scale works

762
00:38:59,600 --> 00:39:00,660
over all three chords.

763
00:39:00,740 --> 00:39:02,660
That's the magic of the blues scale.

764
00:39:03,280 --> 00:39:05,200
Now, you can actually play an entire

765
00:39:05,200 --> 00:39:08,320
12-bar solo using only one lick.

766
00:39:08,560 --> 00:39:10,440
For instance, let's say we're starting our tune off.

767
00:39:10,520 --> 00:39:12,020
Now, help me out by playing some rhythm here.

768
00:39:12,200 --> 00:39:14,400
Play the rhythm for me so you can

769
00:39:14,400 --> 00:39:15,280
hear how these things go.

770
00:39:15,400 --> 00:39:16,100
Okay, key of A.

771
00:39:16,160 --> 00:39:16,540
Here we go.

772
00:39:16,620 --> 00:39:19,040
One, two, a one.

773
00:39:19,100 --> 00:39:19,600
Here's the lick.

774
00:39:26,820 --> 00:39:28,120
Here comes the four chord.

775
00:39:34,700 --> 00:39:35,960
Now, here comes five.

776
00:39:45,080 --> 00:39:45,340
Right?

777
00:39:45,660 --> 00:39:48,300
That was the same lick each time, and it works.

778
00:39:48,540 --> 00:39:49,680
It feels good.

779
00:39:49,780 --> 00:39:51,360
You know, it starts and ends in a nice place.

780
00:39:51,780 --> 00:39:52,420
What else do you need?

781
00:39:52,840 --> 00:39:55,100
Well, if you do that all the time,

782
00:39:55,200 --> 00:39:56,640
of course, it starts to get a little predictable.

783
00:39:56,860 --> 00:39:58,060
Here's another way you can do it.

784
00:39:58,100 --> 00:39:59,320
Use that same lick twice.

785
00:40:04,840 --> 00:40:05,560
Four chord.

786
00:40:10,980 --> 00:40:12,780
Now, we're going to play a different lick.

787
00:40:21,640 --> 00:40:22,040
Right?

788
00:40:22,420 --> 00:40:24,740
That's taking the idea of call and response,

789
00:40:24,940 --> 00:40:26,480
which we used over a single chord, and

790
00:40:26,480 --> 00:40:28,220
adding it to the 12-bar concept.

791
00:40:28,360 --> 00:40:29,220
So you have the call.

792
00:40:29,540 --> 00:40:30,440
You have the call again.

793
00:40:30,480 --> 00:40:31,320
You have the response.

794
00:40:31,720 --> 00:40:32,780
Now, does that remind you of something?

795
00:40:32,820 --> 00:40:33,260
It should.

796
00:40:33,760 --> 00:40:36,720
That's how singers in blues phrase their vocals.

797
00:40:36,960 --> 00:40:39,260
They sing the same line twice, and then

798
00:40:39,260 --> 00:40:40,460
they sing an answering line.

799
00:40:40,780 --> 00:40:43,240
That's the traditional way the 12-bar vocal

800
00:40:43,240 --> 00:40:44,300
phrases are put together.

801
00:40:44,300 --> 00:40:46,400
So once again, thinking like a singer.

802
00:40:46,660 --> 00:40:48,040
Now, one thing that we haven't talked about,

803
00:40:48,120 --> 00:40:48,680
very important.

804
00:40:48,780 --> 00:40:51,200
At the end of the progression, hit that

805
00:40:51,200 --> 00:40:51,620
V chord.

806
00:40:51,680 --> 00:40:52,520
That's called the turnaround.

807
00:40:52,860 --> 00:40:54,540
What do you play over the turnaround?

808
00:40:55,320 --> 00:40:56,720
Well, I'm going to show you something right here.

809
00:40:56,880 --> 00:40:58,800
It's the simplest possible thing on earth.

810
00:40:58,900 --> 00:41:01,740
When the chord goes to V, you go

811
00:41:01,740 --> 00:41:02,700
to V with your melody.

812
00:41:02,980 --> 00:41:04,360
So once again, let's take it from the

813
00:41:04,360 --> 00:41:05,280
end of the progression.

814
00:41:05,480 --> 00:41:06,180
V chord.

815
00:41:07,580 --> 00:41:08,380
IV chord.

816
00:41:09,940 --> 00:41:10,740
And the I.

817
00:41:12,620 --> 00:41:13,980
Now, you play that, and I'm going to

818
00:41:13,980 --> 00:41:14,820
show you a lick here.

819
00:41:14,940 --> 00:41:15,760
Starting on V.

820
00:41:15,860 --> 00:41:17,520
Two, three, four.

821
00:41:25,160 --> 00:41:25,640
Right?

822
00:41:25,900 --> 00:41:28,080
Now, when you went, I went.

823
00:41:28,920 --> 00:41:29,780
What did I do?

824
00:41:29,840 --> 00:41:32,120
I just played the root of the V chord.

825
00:41:32,320 --> 00:41:33,220
That's the turnaround.

826
00:41:33,560 --> 00:41:35,420
That locks me in to the sound of

827
00:41:35,420 --> 00:41:37,860
the band, and it makes the solo sound complete.

828
00:41:38,280 --> 00:41:39,060
Very important.

829
00:41:39,300 --> 00:41:40,180
Don't forget it.

830
00:41:43,980 --> 00:41:44,380
V chord.

831
00:41:46,020 --> 00:41:47,960
Let's talk for a second about equipment, because

832
00:41:47,960 --> 00:41:48,740
I think it's important.

833
00:41:48,840 --> 00:41:51,420
If you're a beginning guitar player, sometimes you

834
00:41:51,420 --> 00:41:54,340
can get a little intimidated by the stuff.

835
00:41:55,080 --> 00:41:56,620
Seems like you have to spend a fortune

836
00:41:56,620 --> 00:41:57,200
to get a sound.

837
00:41:57,260 --> 00:41:58,120
Well, I'm going to tell you one thing,

838
00:41:58,140 --> 00:41:58,780
and this is true.

839
00:41:59,080 --> 00:42:00,180
So listen to this.

840
00:42:00,820 --> 00:42:02,100
You know where your sound comes from?

841
00:42:02,820 --> 00:42:03,460
Right here.

842
00:42:04,280 --> 00:42:05,120
These two hands.

843
00:42:05,660 --> 00:42:06,520
This is your sound.

844
00:42:07,280 --> 00:42:09,400
From here, here, here.

845
00:42:09,400 --> 00:42:10,100
All right?

846
00:42:10,420 --> 00:42:12,340
Everything else is just how you get it out.

847
00:42:12,740 --> 00:42:12,900
All right?

848
00:42:13,160 --> 00:42:14,580
Now, you've got to have something that's going

849
00:42:14,580 --> 00:42:15,840
to work for you and not going to

850
00:42:15,840 --> 00:42:16,840
stand in your way.

851
00:42:17,320 --> 00:42:19,260
There are any number of different guitar makes,

852
00:42:19,440 --> 00:42:20,880
amp makes, effects.

853
00:42:21,660 --> 00:42:23,700
They're all going to work equally well if

854
00:42:23,700 --> 00:42:25,580
the sound is coming from the right place.

855
00:42:26,020 --> 00:42:26,240
All right?

856
00:42:26,280 --> 00:42:28,260
Now, I happen to use a popular guitar here.

857
00:42:28,280 --> 00:42:29,140
You recognize this one.

858
00:42:29,200 --> 00:42:29,900
Fender Strat.

859
00:42:30,480 --> 00:42:31,560
I bought this brand new.

860
00:42:31,600 --> 00:42:32,860
I'm not going to tell you what year, either.

861
00:42:34,120 --> 00:42:35,460
But I like this guitar.

862
00:42:35,460 --> 00:42:37,080
This guitar has got a nice, sweet, even

863
00:42:37,080 --> 00:42:38,800
sort of a sound that's good for a

864
00:42:38,800 --> 00:42:40,740
lot of different styles of music and not just blues.

865
00:42:41,440 --> 00:42:44,400
Basic difference in guitars is between single-coil

866
00:42:44,400 --> 00:42:48,080
pickups and double-coil pickups or humbuckers.

867
00:42:49,160 --> 00:42:51,660
Double-coil pickups tend to be fatter.

868
00:42:52,080 --> 00:42:53,680
They get a little bit more distortion at

869
00:42:53,680 --> 00:42:54,540
a lower volume.

870
00:42:55,460 --> 00:42:57,080
Depending on your style, that might be the

871
00:42:57,080 --> 00:42:58,120
best sound for you.

872
00:42:58,240 --> 00:43:00,820
Or you might want a sweeter single-coil sound.

873
00:43:00,920 --> 00:43:02,980
This is better for rhythm parts and things like that.

874
00:43:02,980 --> 00:43:07,380
When it comes to strings, there's kind of

875
00:43:07,380 --> 00:43:08,340
a controversy there.

876
00:43:08,420 --> 00:43:11,120
Of course, easier to bend light strings, but

877
00:43:11,120 --> 00:43:13,040
light strings, you lose a lot of tone.

878
00:43:13,380 --> 00:43:15,400
And tone is so important in blues that

879
00:43:15,400 --> 00:43:17,580
I would ask you to go to at

880
00:43:17,580 --> 00:43:20,320
least a 10 on top and down to

881
00:43:20,320 --> 00:43:23,020
a 46 or a 52 even on the bottom.

882
00:43:23,200 --> 00:43:25,040
Some people use light top, heavy bottom.

883
00:43:25,120 --> 00:43:27,960
I use an even set of regular strings

884
00:43:27,960 --> 00:43:29,340
but with a 10 on top.

885
00:43:29,340 --> 00:43:31,660
Some players will go even higher, but often,

886
00:43:32,000 --> 00:43:34,000
keep in mind, when a player uses a

887
00:43:34,000 --> 00:43:36,500
13 or something on top, I bet most

888
00:43:36,500 --> 00:43:37,920
of the time they're tuned down to E

889
00:43:37,920 --> 00:43:39,080
flat or even to D.

890
00:43:39,340 --> 00:43:40,720
So that makes the action a little bit

891
00:43:40,720 --> 00:43:41,420
easier to play.

892
00:43:42,420 --> 00:43:45,040
When it comes to amplifiers, I would say

893
00:43:45,040 --> 00:43:47,380
the rule of thumb still to this day

894
00:43:47,380 --> 00:43:50,480
is that most of the time tube amps are preferable.

895
00:43:51,080 --> 00:43:52,440
They just have a warmer sound.

896
00:43:52,660 --> 00:43:53,980
So if you want to get that authentic

897
00:43:53,980 --> 00:43:56,279
tone, you're probably going to want to wind

898
00:43:56,279 --> 00:43:58,000
up with something that has tubes in it.

899
00:43:58,000 --> 00:43:58,779
Very important.

900
00:44:03,529 --> 00:44:06,529
Alright, now it's time to get together with the band again and

901
00:44:06,529 --> 00:44:10,069
use all the techniques and the phrasing ideas we've been talking about

902
00:44:10,069 --> 00:44:11,189
together with the fellas.

903
00:44:12,009 --> 00:44:15,229
And you're going to be playing some 12 bar solos.

904
00:44:15,729 --> 00:44:18,629
Now remember when you get to that 5 chord, the turnaround, just

905
00:44:18,629 --> 00:44:20,709
hit the root of the chord, it's E, right?

906
00:44:20,909 --> 00:44:22,569
You can play it down here, you can play it up here.

907
00:44:23,269 --> 00:44:25,509
And remember what else I told you when you were playing rhythm,

908
00:44:25,709 --> 00:44:28,049
at the end of the tune, where do you go?

909
00:44:28,549 --> 00:44:30,329
You don't go to 5, you go to 1.

910
00:44:30,329 --> 00:44:33,669
Alright, so when you play your last lick, end your last lick

911
00:44:33,669 --> 00:44:34,789
on the root, A.

912
00:44:35,369 --> 00:44:37,809
And that'll make it sound finished, complete, done.

913
00:44:38,449 --> 00:44:41,729
Now when you're playing blues solos, there's something

914
00:44:41,729 --> 00:44:42,349
you have to keep in mind.

915
00:44:43,209 --> 00:44:45,209
If you're going to play two or three choruses in a row,

916
00:44:45,269 --> 00:44:46,809
it's like you're telling a little story.

917
00:44:47,349 --> 00:44:49,569
And just like a lick has to have a beginning, a middle,

918
00:44:49,629 --> 00:44:52,489
and an end, your entire solo wants to have that same feeling.

919
00:44:52,629 --> 00:44:53,989
That's what makes it really work.

920
00:44:54,669 --> 00:44:57,429
So don't go too high, too fast.

921
00:44:57,429 --> 00:44:59,829
You build your momentum up gradually.

922
00:44:59,949 --> 00:45:03,069
You might start out low and leave lots of space, and then

923
00:45:03,069 --> 00:45:05,029
you start to fill in the space a little bit more, play

924
00:45:05,029 --> 00:45:07,929
a little bit faster, maybe play some more notes, start to go

925
00:45:07,929 --> 00:45:08,949
up higher and register.

926
00:45:09,909 --> 00:45:11,909
And also don't forget that right hand.

927
00:45:11,989 --> 00:45:16,889
The right hand really contains the key to dynamics

928
00:45:16,889 --> 00:45:17,469
that's loud and soft.

929
00:45:17,709 --> 00:45:19,349
And if you want to be intense, you don't have to play

930
00:45:19,349 --> 00:45:20,729
fast, you just play harder.

931
00:45:21,689 --> 00:45:24,489
So if you want to really go high, of course everything we're

932
00:45:24,489 --> 00:45:25,609
learning right here...

933
00:45:27,529 --> 00:45:28,569
Go up 12 frets.

934
00:45:30,389 --> 00:45:31,449
Same exact shape.

935
00:45:31,509 --> 00:45:33,409
It's a little harder to play up there because you have to

936
00:45:33,409 --> 00:45:37,009
kind of reacquaint your hand with the position,

937
00:45:37,009 --> 00:45:37,469
but that's all you really need.

938
00:45:37,529 --> 00:45:41,429
And there are some fabulous players, Albert Collins, among others, that are

939
00:45:41,429 --> 00:45:43,529
basically two position players.

940
00:45:43,649 --> 00:45:48,129
They play here, they play here, and then they take it up

941
00:45:48,129 --> 00:45:49,209
an octave, and that's it.

942
00:45:50,029 --> 00:45:51,549
And they build careers on that.

943
00:45:51,609 --> 00:45:53,729
So don't think you've got to know a bunch of patterns before

944
00:45:53,729 --> 00:45:54,289
you can play.

945
00:45:54,289 --> 00:45:59,829
So we're going to go join the band right now, and I'll

946
00:45:59,829 --> 00:46:01,589
tell you what, here's what we're going to do.

947
00:46:01,769 --> 00:46:04,349
I'm going to play a solo through with the band one time myself,

948
00:46:04,349 --> 00:46:07,809
and use the same kinds of ideas that we've been talking about.

949
00:46:08,189 --> 00:46:10,069
Then we're going to start them up again, and it's going to

950
00:46:10,069 --> 00:46:10,669
be your turn.

951
00:46:10,969 --> 00:46:11,269
You ready?

952
00:46:11,749 --> 00:46:12,349
Let's do it.

953
00:47:34,739 --> 00:47:36,259
Alright, I gave it my best shot.

954
00:47:36,339 --> 00:47:36,959
Now it's your turn.

955
00:47:37,019 --> 00:47:39,319
Why don't you step on up there with the band and give

956
00:47:39,319 --> 00:47:40,139
it a couple of choruses.

957
00:47:40,339 --> 00:47:41,479
Alright, remember what I told you.

958
00:47:41,819 --> 00:47:44,599
Don't forget about that one chord at the end, and dig in.

959
00:49:09,069 --> 00:49:11,969
There's still plenty more to do, so when you come back for

960
00:49:11,969 --> 00:49:15,729
step two, we're going to get much deeper into all of those subjects.

961
00:49:15,849 --> 00:49:18,029
I'm going to show you some different rhythm parts, some new chords.

962
00:49:18,809 --> 00:49:20,849
We're going to slow the tempo down a little bit.

963
00:49:20,909 --> 00:49:22,609
That's the real deep down blues.

964
00:49:23,249 --> 00:49:25,349
So until then, keep on playing.

965
00:50:17,709 --> 00:50:22,309
Blues Guitar Step Two

966
00:50:23,509 --> 00:50:27,509
with Keith Wyatt

967
00:50:39,709 --> 00:50:42,749
Hi, my name is Keith Wyatt, and I'd like to welcome you

968
00:50:42,749 --> 00:50:46,369
to the Ultimate Beginner Series for Blues Guitar Step 2.

969
00:50:47,229 --> 00:50:50,969
Now, if you saw Step 1, we covered all the fundamentals of blues.

970
00:50:51,089 --> 00:50:55,068
We talked about the 12-bar blues progression, about the medium shuffle,

971
00:50:55,249 --> 00:50:58,169
and about several different ways to play rhythm on that pattern.

972
00:50:58,169 --> 00:51:02,729
We talked about the basics of phrasing, starting with the scale and

973
00:51:02,729 --> 00:51:07,169
then adding some string bending, sliding, hammer-ons, things like that.

974
00:51:08,029 --> 00:51:11,509
In Step 2, we're going to take all of that stuff one step further.

975
00:51:11,889 --> 00:51:14,049
We're going to slow the tempo down a bit so we can

976
00:51:14,049 --> 00:51:18,429
really concentrate on how the notes sound, each note individually.

977
00:51:19,329 --> 00:51:22,749
And we're going to talk about some extremely important techniques, like

978
00:51:22,749 --> 00:51:26,649
vibrato, and we'll get further into string bending at the same time.

979
00:51:27,109 --> 00:51:30,009
We'll also talk about a couple of different scale patterns that will

980
00:51:30,009 --> 00:51:32,149
help add to the sounds that you can play.

981
00:51:33,049 --> 00:51:36,429
Now, the only thing you need is your guitar and to be

982
00:51:36,429 --> 00:51:37,189
in tune with mine.

983
00:51:37,409 --> 00:51:40,009
So, let's take a second here and tune up before we get started.

984
00:51:40,229 --> 00:51:42,389
Alright, I'm going to play each string one at a time, and

985
00:51:42,389 --> 00:51:43,149
you tune up to me.

986
00:51:43,269 --> 00:51:45,009
Here we go, starting with the high E string.

987
00:51:45,249 --> 00:51:45,729
Here we go.

988
00:51:47,359 --> 00:51:53,479
Now B.

989
00:51:58,138 --> 00:52:00,439
G.

990
00:52:07,189 --> 00:52:09,489
D.

991
00:52:16,049 --> 00:52:18,289
A.

992
00:52:23,309 --> 00:52:28,249
And low E.

993
00:52:28,249 --> 00:52:28,349
D.

994
00:52:35,799 --> 00:52:37,399
And when you get done, play a chord.

995
00:52:39,619 --> 00:52:40,859
See if it sounds alright.

996
00:52:41,999 --> 00:52:44,719
If you're not in tune yet, go ahead and stop the tape,

997
00:52:44,819 --> 00:52:47,159
get tuned up, and then you'll be ready to go.

998
00:52:47,359 --> 00:52:48,599
Alright, I'll see you in a second.

999
00:52:57,289 --> 00:53:02,289
In Step 1, we talked about the medium shuffle, and I talked

1000
00:53:02,289 --> 00:53:04,129
about the 12-bar chord progression.

1001
00:53:04,129 --> 00:53:06,269
Now, there's a couple of things I want to add to that.

1002
00:53:06,789 --> 00:53:08,889
We're still going to talk about a shuffle, but we're going to

1003
00:53:08,889 --> 00:53:10,589
slow the rhythm down a little bit.

1004
00:53:10,809 --> 00:53:13,749
And when you slow it down, you can start to feel each

1005
00:53:13,749 --> 00:53:14,689
part of the triplet.

1006
00:53:14,809 --> 00:53:17,429
At a medium tempo, of course, you've got the da-da-da

1007
00:53:17,429 --> 00:53:20,569
-da-da-da-da-da-da feeling going, right?

1008
00:53:20,589 --> 00:53:22,129
With the first and last part of the triplet.

1009
00:53:22,549 --> 00:53:26,909
At a slower tempo, you start to feel more like the full triplet.

1010
00:53:27,209 --> 00:53:31,249
Da-da-da-da-da-da-da-da-da-da-da-da.

1011
00:53:31,789 --> 00:53:34,389
It's still a shuffle, but it's a slow shuffle.

1012
00:53:34,549 --> 00:53:36,389
And this is the essence of slow blues.

1013
00:53:37,149 --> 00:53:38,229
Also, we're going to change key.

1014
00:53:38,309 --> 00:53:40,949
Everything we did in Step 1 was based around the key of A.

1015
00:53:40,969 --> 00:53:42,729
Let's go to the key of G, just for a change.

1016
00:53:42,949 --> 00:53:44,749
And we might even change it up again later on.

1017
00:53:44,769 --> 00:53:46,589
You don't want to be stuck to some fret, do you?

1018
00:53:47,729 --> 00:53:48,749
So, key of G.

1019
00:53:48,869 --> 00:53:49,449
Now, what do you do?

1020
00:53:49,569 --> 00:53:51,009
Well, here's A on the sixth string.

1021
00:53:51,249 --> 00:53:51,789
Move it down.

1022
00:53:52,149 --> 00:53:52,629
There's G.

1023
00:53:52,969 --> 00:53:53,929
Want to play a blues in G?

1024
00:53:53,989 --> 00:53:54,489
You got it.

1025
00:53:56,809 --> 00:54:03,609
Now, with the 12-bar progression, we played a very standard, basic version.

1026
00:54:05,049 --> 00:54:08,629
Four bars on the I chord, two bars on the IV chord, and so on.

1027
00:54:09,148 --> 00:54:11,389
There's a variation I'm going to show you right now, which happens

1028
00:54:11,389 --> 00:54:14,209
probably 50% of the time.

1029
00:54:14,529 --> 00:54:15,549
And that's this right here.

1030
00:54:15,569 --> 00:54:16,429
I'm going to show you what it is.

1031
00:54:16,509 --> 00:54:18,269
You'll hear it, and then I'll explain it for you.

1032
00:54:18,329 --> 00:54:19,049
It goes like this.

1033
00:54:21,409 --> 00:54:22,129
There's G.

1034
00:54:29,689 --> 00:54:30,129
Right?

1035
00:54:30,669 --> 00:54:31,369
Now, what happened?

1036
00:54:31,469 --> 00:54:34,289
I counted the thing off, and instead of staying four bars on

1037
00:54:34,289 --> 00:54:37,609
the I chord, I went directly to the IV chord in the second bar.

1038
00:54:37,989 --> 00:54:40,169
That's called a quick change.

1039
00:54:40,389 --> 00:54:42,609
That's what everybody calls it, so you want to know that name.

1040
00:54:42,969 --> 00:54:46,369
Quick change means IV chord in the second bar.

1041
00:54:46,709 --> 00:54:48,809
Then you go right back to the I chord for two more

1042
00:54:48,809 --> 00:54:50,289
bars, so it's still a total of four.

1043
00:54:50,289 --> 00:54:53,949
One chord, IV chord, I chord, I chord.

1044
00:54:54,329 --> 00:54:56,709
Then you change to the IV chord as you did previously.

1045
00:54:57,229 --> 00:55:00,389
Two bars on the IV chord, then back to I for two bars.

1046
00:55:00,829 --> 00:55:04,309
Then you go V, IV, I, turnaround.

1047
00:55:04,709 --> 00:55:06,209
That's the only thing that really changed.

1048
00:55:06,689 --> 00:55:11,809
Now, in addition to that, I'm going to show you a new

1049
00:55:11,809 --> 00:55:12,469
rhythm pattern.

1050
00:55:12,989 --> 00:55:14,349
This has been around for quite a while.

1051
00:55:14,349 --> 00:55:19,809
It was actually invented probably by T-Bone Walker over 60 years ago.

1052
00:55:20,269 --> 00:55:21,269
It goes like this.

1053
00:55:30,669 --> 00:55:33,229
Now, right now it feels kind of weird because you don't know

1054
00:55:33,229 --> 00:55:34,909
where the beat is, but I'm going to show you the shape

1055
00:55:34,909 --> 00:55:36,129
and then show you how to plug it in.

1056
00:55:36,349 --> 00:55:38,849
This is based around this chord right here.

1057
00:55:38,949 --> 00:55:40,909
First of all, let's form a G major triad.

1058
00:55:42,949 --> 00:55:44,249
That's a familiar shape.

1059
00:55:44,989 --> 00:55:47,349
We're going to take the top four strings, so you re-finger

1060
00:55:47,349 --> 00:55:49,749
it, third finger, second finger, first finger, bar.

1061
00:55:51,569 --> 00:55:53,209
Then we're going to add a note to it.

1062
00:55:53,269 --> 00:55:56,009
Your fourth finger isn't doing anything right now, so take that fourth

1063
00:55:56,009 --> 00:55:58,989
finger, stick it on the second string at the fifth fret.

1064
00:55:59,389 --> 00:56:04,189
Now you've got the same shape with that note added.

1065
00:56:04,289 --> 00:56:06,169
That's called a VI chord.

1066
00:56:06,169 --> 00:56:06,989
A VI chord.

1067
00:56:07,129 --> 00:56:12,869
Now you take that chord and you move it down two frets.

1068
00:56:13,489 --> 00:56:16,429
Now you're thinking, that must be F6, right?

1069
00:56:16,729 --> 00:56:17,209
Wrong.

1070
00:56:17,469 --> 00:56:18,189
This is the trick.

1071
00:56:18,749 --> 00:56:20,129
This is a guitar trick right here.

1072
00:56:20,369 --> 00:56:22,189
Magic of the way the guitar is laid out.

1073
00:56:22,289 --> 00:56:26,809
It's the same shape, moved down two frets, but it's still a

1074
00:56:26,809 --> 00:56:27,429
G chord.

1075
00:56:28,489 --> 00:56:32,689
So that's actually called a G9 or a G dominant 9 chord.

1076
00:56:34,789 --> 00:56:35,589
G6, G9.

1077
00:56:36,149 --> 00:56:38,129
It's a very important chord, and we're going to come back to

1078
00:56:38,129 --> 00:56:38,869
this one again, too.

1079
00:56:39,009 --> 00:56:42,789
But the pattern involves sliding from there to there.

1080
00:56:43,409 --> 00:56:45,769
Now how do you add that to the 12-bar progression?

1081
00:56:45,929 --> 00:56:49,129
Well, what you do is you play that little slide, starting on

1082
00:56:49,129 --> 00:56:50,949
the second beat of the measure.

1083
00:56:51,129 --> 00:56:52,129
So it goes like this.

1084
00:56:52,129 --> 00:56:55,629
One, two, three, four.

1085
00:56:56,049 --> 00:56:59,489
One, two, and four.

1086
00:56:59,869 --> 00:57:03,389
One, two, and three, four.

1087
00:57:03,729 --> 00:57:06,969
One, two, and three, four.

1088
00:57:07,149 --> 00:57:07,749
You got it?

1089
00:57:07,809 --> 00:57:08,329
Play with me.

1090
00:57:09,069 --> 00:57:10,389
Let's try C.

1091
00:57:10,549 --> 00:57:11,549
Now you can move up.

1092
00:57:12,289 --> 00:57:12,989
There's C.

1093
00:57:13,589 --> 00:57:16,889
One, two, and three, four.

1094
00:57:17,209 --> 00:57:20,209
One, two, and back to G.

1095
00:57:20,209 --> 00:57:20,409
C.

1096
00:57:23,249 --> 00:57:27,249
Four, one, two, and now up to D.

1097
00:57:27,529 --> 00:57:28,509
Here's the D root.

1098
00:57:31,209 --> 00:57:32,829
D6, the root's on top.

1099
00:57:34,109 --> 00:57:35,589
Sliding down to D9.

1100
00:57:37,969 --> 00:57:43,249
So three, four, one, two, and back to C again.

1101
00:57:44,989 --> 00:57:46,109
And back to G.

1102
00:57:52,349 --> 00:57:53,349
Remember the turnaround?

1103
00:57:53,689 --> 00:57:54,649
That's from step one.

1104
00:57:54,769 --> 00:57:59,809
We go from the chord half-step above the five chord down

1105
00:57:59,809 --> 00:58:01,949
to the five chord, playing a ninth chord.

1106
00:58:02,029 --> 00:58:02,969
You recall that shape.

1107
00:58:04,569 --> 00:58:06,749
So there's your slow blues rhythm part.

1108
00:58:06,909 --> 00:58:08,789
Now the way I showed you is to take the same shape

1109
00:58:08,789 --> 00:58:09,249
and move it around.

1110
00:58:09,329 --> 00:58:10,789
I'll show you one more little trick here.

1111
00:58:10,849 --> 00:58:11,929
It makes it a little easier even.

1112
00:58:12,529 --> 00:58:14,209
There's your slide four chord.

1113
00:58:17,329 --> 00:58:19,009
There's your C chord up here.

1114
00:58:21,169 --> 00:58:24,168
The exact same notes, but played with one finger.

1115
00:58:24,269 --> 00:58:24,969
So check it out.

1116
00:58:25,069 --> 00:58:28,908
Three, four, G, two, and three.

1117
00:58:29,009 --> 00:58:29,829
Here comes C.

1118
00:58:32,408 --> 00:58:33,649
Just use your index finger.

1119
00:58:33,989 --> 00:58:34,809
Back to G again.

1120
00:58:35,249 --> 00:58:37,109
Now you can stay in position very easy.

1121
00:58:38,509 --> 00:58:39,869
Now we go back to C.

1122
00:58:41,689 --> 00:58:44,329
I'm putting in the bass note there, just so you know where you are.

1123
00:58:45,389 --> 00:58:46,649
I hope you're playing with me now.

1124
00:58:46,729 --> 00:58:47,069
Come on.

1125
00:58:51,609 --> 00:58:52,329
Here's D.

1126
00:58:52,669 --> 00:58:53,629
Now we start here.

1127
00:58:55,629 --> 00:58:57,109
Alright, same shape as the C.

1128
00:58:58,949 --> 00:59:00,269
And back to G again.

1129
00:59:04,969 --> 00:59:05,749
And the turnaround.

1130
00:59:06,429 --> 00:59:07,049
Got it?

1131
00:59:07,409 --> 00:59:08,549
Work on that one for a second.

1132
00:59:09,009 --> 00:59:11,329
Now I'm going to show you another way to play rhythm using

1133
00:59:11,329 --> 00:59:13,689
the same kind of chord that I just showed you.

1134
00:59:13,749 --> 00:59:14,829
That's the sixth chord.

1135
00:59:16,849 --> 00:59:19,649
Now we've learned it as a sliding chord, but here's how you

1136
00:59:19,649 --> 00:59:22,429
can use it, just using the shape all by itself and using

1137
00:59:22,429 --> 00:59:23,649
the top note as well.

1138
00:59:24,569 --> 00:59:26,209
Gives you a little bit of extra fullness.

1139
00:59:26,729 --> 00:59:31,089
Now this style of playing is something that I call horn section rhythm.

1140
00:59:32,129 --> 00:59:36,109
The reason being the types of phrases that we're going to play

1141
00:59:36,109 --> 00:59:38,029
kind of remind me of what you see.

1142
00:59:38,069 --> 00:59:41,409
If you see a blues band and they've got the four saxophones

1143
00:59:41,409 --> 00:59:46,749
up there wearing the matching salmon velour suits, and they're all doing

1144
00:59:46,749 --> 00:59:47,309
their steps.

1145
00:59:50,529 --> 00:59:52,889
You can kind of get that in your mind because that's what

1146
00:59:52,889 --> 00:59:53,909
we're going after right here.

1147
00:59:54,169 --> 00:59:55,669
This is the kind of chord you're going to hear.

1148
00:59:56,089 --> 00:59:57,049
Three, four.

1149
01:00:01,189 --> 01:00:01,969
That's the idea.

1150
01:00:02,049 --> 01:00:03,669
That's exactly the sound we're going for.

1151
01:00:03,669 --> 01:00:08,529
So you take that shape and you can slide it by a

1152
01:00:08,529 --> 01:00:10,489
half step and right back into position again.

1153
01:00:11,109 --> 01:00:13,689
Then when you go to the four chord, staying in the same

1154
01:00:13,689 --> 01:00:19,889
position, you can use C9 and then the D9.

1155
01:00:20,009 --> 01:00:20,689
It's very easy.

1156
01:00:21,129 --> 01:00:24,549
We'll go back to our slower tempo and I'll play it through

1157
01:00:24,549 --> 01:00:25,589
as a demo one time.

1158
01:00:25,669 --> 01:00:26,689
Why don't you back me up?

1159
01:00:26,729 --> 01:00:28,789
I tell you what, this would be a good combination right here.

1160
01:00:28,869 --> 01:00:32,649
Play that real slow and easy groove.

1161
01:00:32,649 --> 01:00:34,069
Don't forget your quick change.

1162
01:00:34,689 --> 01:00:37,029
Play that behind me and I'll show you how this horn section

1163
01:00:37,029 --> 01:00:37,509
thing works.

1164
01:00:37,549 --> 01:00:37,949
Here we go.

1165
01:00:39,069 --> 01:00:42,649
One, two, top, and...

1166
01:00:53,289 --> 01:00:54,509
Back to four now.

1167
01:01:05,329 --> 01:01:06,489
Now the five.

1168
01:01:17,629 --> 01:01:21,909
See, it's really easy and it's a nice effective way of building

1169
01:01:21,909 --> 01:01:23,289
the groove up a little bit.

1170
01:01:23,369 --> 01:01:26,669
If you combine that with this one, you've got two different ways

1171
01:01:26,669 --> 01:01:29,189
to play rhythm on a slow blues in addition to all the

1172
01:01:29,189 --> 01:01:31,369
other styles that I showed you in the previous video.

1173
01:01:31,709 --> 01:01:33,469
Now you've got a lot of possibilities.

1174
01:01:33,629 --> 01:01:36,189
That's what you need as a rhythm player, both to make the

1175
01:01:36,189 --> 01:01:40,769
sound interesting for the listener and to keep yourself interested as well

1176
01:01:40,769 --> 01:01:42,309
if you're playing the same part all the time.

1177
01:01:42,369 --> 01:01:43,789
It gets a little bit boring.

1178
01:01:55,169 --> 01:01:57,849
Now that we have a couple of different rhythm patterns, let's put

1179
01:01:57,849 --> 01:02:00,309
it all back together in a 12-bar progression again.

1180
01:02:00,409 --> 01:02:02,269
I'm going to show you two more variations.

1181
01:02:03,149 --> 01:02:06,329
First, I'm going to show you a new introduction and then I'm

1182
01:02:06,329 --> 01:02:08,289
going to show you a new chord to use at the end.

1183
01:02:08,289 --> 01:02:14,449
Starting with the introduction, there are two ways that bands generally start

1184
01:02:14,449 --> 01:02:16,169
blues songs, most of the time.

1185
01:02:16,449 --> 01:02:19,509
One of them is just to start from the one, as they say.

1186
01:02:19,569 --> 01:02:21,629
In other words, count the song off and start right on the

1187
01:02:21,629 --> 01:02:25,549
one chord and go through the progression, either with the quick change or without.

1188
01:02:25,629 --> 01:02:27,469
That's the kind of thing you talk over beforehand.

1189
01:02:28,169 --> 01:02:32,009
The second way that's extremely popular is what they call take it

1190
01:02:32,009 --> 01:02:33,049
from the five.

1191
01:02:33,609 --> 01:02:37,529
What this means simply is you start with the five chord and

1192
01:02:37,529 --> 01:02:41,289
play the last four bars of the 12-bar progression, which we've

1193
01:02:41,289 --> 01:02:44,189
been doing as we've been working on some of these little patterns here.

1194
01:02:44,289 --> 01:02:51,769
We get five, four, and then you'll play the usual turnaround.

1195
01:02:55,869 --> 01:02:59,869
Then you start the next chorus from the top and keep going from there.

1196
01:03:00,329 --> 01:03:01,349
It's a nice introduction.

1197
01:03:01,509 --> 01:03:05,089
It gives you a little variety in your arrangements and it kind

1198
01:03:05,089 --> 01:03:06,389
of sets the song up.

1199
01:03:06,529 --> 01:03:07,809
It's a good one to know.

1200
01:03:07,989 --> 01:03:09,349
That's called from the five.

1201
01:03:09,949 --> 01:03:12,149
We're going to play an arrangement in just a moment here that

1202
01:03:12,149 --> 01:03:14,269
uses that particular introduction.

1203
01:03:14,989 --> 01:03:17,429
The second thing is the last chord.

1204
01:03:17,689 --> 01:03:19,849
As I mentioned in step one, when you get to the end

1205
01:03:19,849 --> 01:03:24,269
of a blues, it's very important that you end on the one chord.

1206
01:03:24,569 --> 01:03:28,109
The timing is all the same as it is for the rest of the choruses.

1207
01:03:28,469 --> 01:03:31,269
You go five, four, now we're coming up to the end.

1208
01:03:31,269 --> 01:03:32,309
This is the last chorus.

1209
01:03:32,389 --> 01:03:33,189
The song's over.

1210
01:03:35,709 --> 01:03:37,029
You don't go to five.

1211
01:03:37,089 --> 01:03:38,169
You go back to one.

1212
01:03:38,269 --> 01:03:39,409
That's extremely important.

1213
01:03:39,549 --> 01:03:41,409
If you go to five, it sounds like you're going to keep going.

1214
01:03:41,849 --> 01:03:43,009
This sounds like you're ending.

1215
01:03:43,249 --> 01:03:45,409
The chord I'm using here is the new thing.

1216
01:03:46,069 --> 01:03:47,609
This is also a ninth chord.

1217
01:03:48,529 --> 01:03:52,989
All I've done is take the sliding chord that we learned earlier

1218
01:03:53,449 --> 01:03:55,569
and add one more note to it.

1219
01:03:55,769 --> 01:03:57,369
The note is this right here.

1220
01:03:58,949 --> 01:04:01,529
This is called G dominant ninth.

1221
01:04:02,009 --> 01:04:04,829
The funny thing about this chord is that you look throughout the

1222
01:04:04,829 --> 01:04:06,809
notes here, there's no G in that chord.

1223
01:04:07,649 --> 01:04:10,529
The bass note, the root, is over here.

1224
01:04:10,989 --> 01:04:12,089
You're not playing it.

1225
01:04:12,289 --> 01:04:13,509
The bass player is playing it.

1226
01:04:13,849 --> 01:04:16,909
When you hear the bass player play the G and play this

1227
01:04:16,909 --> 01:04:20,789
chord against it, you get this overall effect.

1228
01:04:20,889 --> 01:04:21,889
I'm using my thumb here.

1229
01:04:22,449 --> 01:04:24,429
There's your G dominant ninth chord.

1230
01:04:24,489 --> 01:04:27,489
If you want to use the same chord for C, go up

1231
01:04:27,489 --> 01:04:28,789
the neck and find it.

1232
01:04:29,829 --> 01:04:31,789
In the eighth position, there's your root.

1233
01:04:31,989 --> 01:04:33,389
You're not playing it, but there it is.

1234
01:04:33,429 --> 01:04:34,029
You can see it.

1235
01:04:34,469 --> 01:04:34,909
There's D.

1236
01:04:37,709 --> 01:04:40,109
Now we have two ways to play a ninth chord.

1237
01:04:43,429 --> 01:04:44,769
G9 and C9.

1238
01:04:44,849 --> 01:04:45,789
Two different voicings.

1239
01:04:46,149 --> 01:04:46,989
We have G6.

1240
01:04:48,109 --> 01:04:52,129
We have another G9 with that high note on top.

1241
01:04:52,969 --> 01:04:55,589
We have all the other little variations that we worked on in

1242
01:04:55,589 --> 01:04:56,209
the first video.

1243
01:04:56,369 --> 01:04:57,569
Lots of possibilities.

1244
01:04:58,249 --> 01:05:00,609
Now let's take some of the things we've been working on and

1245
01:05:00,609 --> 01:05:06,389
put them together in probably the world's shortest blues song.

1246
01:05:07,349 --> 01:05:10,889
We're going to play a complete arrangement, but it's going to begin

1247
01:05:10,889 --> 01:05:12,589
and end in one chorus.

1248
01:05:13,169 --> 01:05:15,649
I'm going to explain it to you exactly the way that we

1249
01:05:15,649 --> 01:05:16,909
talk it over as a band.

1250
01:05:17,649 --> 01:05:21,129
This is a 12-bar slow blues in the key of G.

1251
01:05:21,909 --> 01:05:22,829
Quick change.

1252
01:05:23,369 --> 01:05:25,509
The intro is from the five.

1253
01:05:26,449 --> 01:05:28,889
When we get to the end, I'm going to throw one more

1254
01:05:28,889 --> 01:05:30,469
thing on you right here as a rhythm player.

1255
01:05:31,089 --> 01:05:32,709
What we're going to do is come up to the end and

1256
01:05:32,709 --> 01:05:35,769
you're playing whatever part you're playing.

1257
01:05:35,869 --> 01:05:38,149
Here's the five chord, the four chord.

1258
01:05:38,729 --> 01:05:43,169
When you get to one, you're going to stop along with the band.

1259
01:05:43,809 --> 01:05:46,589
Four, one, then end.

1260
01:05:46,849 --> 01:05:50,349
Use that ninth chord that I showed you at the end there.

1261
01:05:50,409 --> 01:05:51,849
That's the hip chord right there.

1262
01:05:52,649 --> 01:05:55,069
During that break, I'm going to play a little lick.

1263
01:05:55,149 --> 01:05:56,889
As a matter of fact, I'm going to jam over the whole thing.

1264
01:05:56,949 --> 01:05:57,929
You're going to back me up.

1265
01:05:58,049 --> 01:05:59,069
It better be good, too.

1266
01:05:59,909 --> 01:06:01,329
You can use anything you want.

1267
01:06:01,389 --> 01:06:03,109
You're going to hear some rhythm guitar on the track.

1268
01:06:03,709 --> 01:06:04,889
You can play around that.

1269
01:06:04,949 --> 01:06:06,029
You can play with that.

1270
01:06:06,669 --> 01:06:09,569
It's just using all the same ideas we've covered and putting them

1271
01:06:09,569 --> 01:06:11,569
together in different ways so you get a taste of it.

1272
01:06:11,869 --> 01:06:12,409
You ready?

1273
01:06:12,569 --> 01:06:13,089
Let's do it.

1274
01:07:21,398 --> 01:07:28,349
New Blues Scale Positions

1275
01:07:30,149 --> 01:07:33,249
Well, now that we've spent some time with rhythm and with groove at that

1276
01:07:33,249 --> 01:07:38,069
slower tempo, let's turn our attention again to melody, to soloing.

1277
01:07:38,789 --> 01:07:42,169
Slower tempo is a good place to really get into phrasing because

1278
01:07:42,169 --> 01:07:45,269
you've got more time to think about the notes.

1279
01:07:45,609 --> 01:07:47,969
It really brings out the quality of each note.

1280
01:07:48,009 --> 01:07:51,589
That's what phrasing is all about, is make each note sound finished

1281
01:07:51,589 --> 01:07:53,309
before you go on to the next note.

1282
01:07:53,729 --> 01:07:54,849
Very important point.

1283
01:07:55,709 --> 01:07:59,429
Now, as part of our phrasing discussion here, we're going to open

1284
01:07:59,429 --> 01:08:00,489
up the neck a little bit.

1285
01:08:01,049 --> 01:08:04,469
Let me review for just a second what was covered in step one.

1286
01:08:04,909 --> 01:08:07,169
We talked about the blues scale.

1287
01:08:07,389 --> 01:08:09,529
Since we've been in the key of G so far, we'll stay

1288
01:08:09,529 --> 01:08:10,269
here for the moment.

1289
01:08:10,869 --> 01:08:13,189
Blues scale in the key of G would be based around the

1290
01:08:13,189 --> 01:08:13,749
third fret.

1291
01:08:18,229 --> 01:08:22,789
And remember, we added some low notes and some high notes.

1292
01:08:26,449 --> 01:08:29,469
So now, in the key of G, we can cover the third

1293
01:08:29,469 --> 01:08:33,209
fret region down to the first fret and up to about the

1294
01:08:33,209 --> 01:08:33,769
eighth fret.

1295
01:08:35,649 --> 01:08:38,929
Now, one alternative, if you want to go higher, is like many

1296
01:08:38,929 --> 01:08:42,709
great blues players do, you just skip immediately up to the octave,

1297
01:08:42,709 --> 01:08:44,809
which is all the way up here at the 15th fret.

1298
01:08:48,189 --> 01:08:50,849
And you can obviously find all the same notes up there that

1299
01:08:50,849 --> 01:08:52,229
you found down at the third fret.

1300
01:08:52,649 --> 01:08:56,549
There's another pattern that players use to help fill in the gap

1301
01:08:56,549 --> 01:08:59,649
between what you've got in this area of the neck and what's

1302
01:08:59,649 --> 01:09:00,609
all the way up high.

1303
01:09:00,909 --> 01:09:02,309
And that's the one I'm about to show you.

1304
01:09:02,889 --> 01:09:05,169
This is based around the tenth position.

1305
01:09:05,309 --> 01:09:06,349
We're in the key of G, remember.

1306
01:09:07,269 --> 01:09:11,109
And if our first pattern was built essentially around this big G

1307
01:09:11,109 --> 01:09:14,509
major bar chord, then the next pattern I'm going to show you

1308
01:09:14,509 --> 01:09:18,809
is built around this G major bar chord.

1309
01:09:19,029 --> 01:09:20,429
And this is one that everybody knows.

1310
01:09:21,009 --> 01:09:24,089
It's convenient to think of chords and scales as being related.

1311
01:09:24,269 --> 01:09:26,869
If you let them get too far apart from one another, it

1312
01:09:26,869 --> 01:09:29,409
makes your soloing and your rhythm playing kind of separate.

1313
01:09:29,709 --> 01:09:31,769
And that's not a good idea, especially in blues.

1314
01:09:31,889 --> 01:09:34,969
So we think of all of our scales
as being related to chords.

1315
01:09:35,669 --> 01:09:37,849
So there's a G chord up in there, and we want to

1316
01:09:37,849 --> 01:09:39,929
find a G blues scale.

1317
01:09:41,149 --> 01:09:43,269
Now, there's a G right on the third string.

1318
01:09:43,269 --> 01:09:46,689
And if I just kind of go by ear, find the same

1319
01:09:46,689 --> 01:09:48,049
notes that I had down here.

1320
01:09:53,329 --> 01:09:54,069
There it is.

1321
01:09:54,129 --> 01:09:57,569
And as a matter of fact, it's precisely the same shape moved

1322
01:09:57,569 --> 01:09:58,489
up an octave.

1323
01:09:58,929 --> 01:10:01,349
And now the low G is on the fifth string.

1324
01:10:01,649 --> 01:10:03,269
And now I can add a little bit down below.

1325
01:10:09,409 --> 01:10:10,749
Now, here's the trick.

1326
01:10:10,969 --> 01:10:13,569
When you get to the second string, because of the way the

1327
01:10:13,569 --> 01:10:17,689
guitar is tuned, you're going to have to shift up to the

1328
01:10:17,689 --> 01:10:18,149
next fret.

1329
01:10:20,449 --> 01:10:22,109
So use your second finger there.

1330
01:10:24,349 --> 01:10:27,169
Now, I'm using my third finger, Y, so that I can reach

1331
01:10:27,169 --> 01:10:29,829
the flat five with my fourth finger.

1332
01:10:33,829 --> 01:10:35,049
Back over to the fifth.

1333
01:10:35,909 --> 01:10:37,709
And then finally reach up to the seventh.

1334
01:10:37,809 --> 01:10:38,569
Back down again.

1335
01:10:46,339 --> 01:10:46,739
Shift.

1336
01:10:52,689 --> 01:10:54,249
Now, that's a scale pattern.

1337
01:10:54,729 --> 01:11:00,269
And as you've already discovered, solos use ideas built from scale patterns,

1338
01:11:00,369 --> 01:11:02,569
but the scale itself is not the thing.

1339
01:11:02,809 --> 01:11:04,829
The scale is just all the notes you can play lined up

1340
01:11:04,829 --> 01:11:05,369
end to end.

1341
01:11:05,929 --> 01:11:06,889
It doesn't make a melody.

1342
01:11:07,189 --> 01:11:09,609
So we're going to want to fish around within that pattern to

1343
01:11:09,609 --> 01:11:11,069
see if we can find some phrases.

1344
01:11:11,669 --> 01:11:12,849
Here's the way to do it.

1345
01:11:13,549 --> 01:11:17,349
Take the phrases you already know from your more familiar position down

1346
01:11:17,349 --> 01:11:19,309
here and find them in the new spot.

1347
01:11:22,109 --> 01:11:23,669
There's a familiar phrase in G.

1348
01:11:24,129 --> 01:11:24,809
I go up here.

1349
01:11:25,269 --> 01:11:27,709
First thing I have to do is figure out, well, that one

1350
01:11:27,709 --> 01:11:28,529
starts on the root.

1351
01:11:29,589 --> 01:11:31,829
And it goes up to the next note in the scale.

1352
01:11:33,269 --> 01:11:34,189
And then I bend it.

1353
01:11:34,349 --> 01:11:34,829
Go up here.

1354
01:11:34,909 --> 01:11:35,509
Find the root.

1355
01:11:36,329 --> 01:11:37,589
Go up to the next note in the scale.

1356
01:11:41,119 --> 01:11:43,859
So I'm kind of opening up the new pattern by ear.

1357
01:11:50,439 --> 01:11:51,759
The shape is different.

1358
01:11:51,939 --> 01:11:55,419
It's going to make your hands do different things, different combinations of fingers.

1359
01:11:56,039 --> 01:11:58,799
At first it might seem kind of confusing, but if you relate

1360
01:11:58,799 --> 01:12:02,199
it back to your original chord shape and use the sound that

1361
01:12:02,199 --> 01:12:05,959
you're already familiar with, you're going to start to hear and see

1362
01:12:05,959 --> 01:12:08,179
new phrases in this new position.

1363
01:12:08,679 --> 01:12:10,659
And what it does is give you a lot more flexibility.

1364
01:12:11,499 --> 01:12:14,079
You can now link together this spot on the neck to this

1365
01:12:14,079 --> 01:12:16,999
spot, to this spot, to this spot, and you have very few

1366
01:12:16,999 --> 01:12:18,399
open spots left.

1367
01:12:18,399 --> 01:12:21,559
So now you're kind of getting command of the entire neck.

1368
01:12:21,939 --> 01:12:22,059
All right?

1369
01:12:22,659 --> 01:12:24,819
So in a little while, we're going to play along with the

1370
01:12:24,819 --> 01:12:27,799
band again, and I'll give you a chance to use that pattern.

1371
01:12:28,399 --> 01:12:30,739
But before we do that, I'm going to show you another idea.

1372
01:12:30,819 --> 01:12:32,599
We're going to get a few things going here, and then you

1373
01:12:32,599 --> 01:12:34,459
can kind of go back and forth and try them out.

1374
01:12:35,259 --> 01:12:39,199
So far we've concentrated our melody around the blues scale.

1375
01:12:39,439 --> 01:12:42,199
That's kind of the basic sound in blues, of course.

1376
01:12:42,619 --> 01:12:44,519
But you hear a lot of notes like the stuff I was

1377
01:12:44,519 --> 01:12:46,399
just playing while you were backing me up.

1378
01:12:50,639 --> 01:12:54,859
It sounds a lot sweeter, and it is, because I'm using

1379
01:12:54,859 --> 01:12:56,019
different notes.

1380
01:12:56,159 --> 01:12:58,299
I'm not staying strictly within the blues scale.

1381
01:12:58,639 --> 01:13:03,239
I'm trying to get a sweeter sound by emphasizing notes that are

1382
01:13:03,239 --> 01:13:05,879
not in the scale, but they're in the chord.

1383
01:13:06,499 --> 01:13:07,499
Now check it out.

1384
01:13:07,679 --> 01:13:07,959
All right?

1385
01:13:08,379 --> 01:13:12,139
If we take a chord that we already learned here,
the G6 chord.

1386
01:13:13,919 --> 01:13:18,459
Now look at that chord and compare it
to the blues scale in the same position.

1387
01:13:20,279 --> 01:13:23,759
Now what notes are in the chord
that are not in the scale?

1388
01:13:25,139 --> 01:13:27,739
There's that note right there.

1389
01:13:29,679 --> 01:13:32,979
There's that note right there.

1390
01:13:33,339 --> 01:13:34,099
What's that?

1391
01:13:34,819 --> 01:13:35,879
Major 3rd.

1392
01:13:36,319 --> 01:13:38,279
Major 6th.

1393
01:13:38,499 --> 01:13:43,259
So we've added two new sounds
by playing the notes that are in the chord.

1394
01:13:43,259 --> 01:13:46,619
If I want to sound like my melody matches the chord.

1395
01:13:48,919 --> 01:13:51,919
Right there I've got a classic lick.

1396
01:13:52,279 --> 01:13:53,479
It's using notes of the chord.

1397
01:13:53,799 --> 01:13:55,299
Then I can also use the scale.

1398
01:13:57,219 --> 01:14:02,539
So by emphasizing the notes that belong to the chord,

1399
01:14:02,539 --> 01:14:05,199
I get a new sound added to my old sound.

1400
01:14:05,259 --> 01:14:06,339
It's not a new scale.

1401
01:14:06,819 --> 01:14:10,879
It's just an additional sound within the same bluesy thing that we're

1402
01:14:10,879 --> 01:14:11,839
already working with.

1403
01:14:11,839 --> 01:14:14,879
So don't freak and think you've got
to learn a bunch of new patterns.

1404
01:14:15,019 --> 01:14:15,699
It's not the case.

1405
01:14:15,979 --> 01:14:18,039
Just adding new sounds to old sounds.

1406
01:14:18,839 --> 01:14:19,959
Now, here's a trick.

1407
01:14:20,039 --> 01:14:23,479
I'm going to show you the B.B. King secret scale pattern

1408
01:14:23,939 --> 01:14:25,199
known only to a few.

1409
01:14:26,079 --> 01:14:27,879
And here's how you do it right here.

1410
01:14:27,939 --> 01:14:28,679
We're in the key of G.

1411
01:14:29,499 --> 01:14:31,399
I'm going to find a new spot on the neck, one we

1412
01:14:31,399 --> 01:14:32,159
haven't used before.

1413
01:14:32,519 --> 01:14:33,479
Here's G on the first string.

1414
01:14:33,559 --> 01:14:34,179
We're used to this one.

1415
01:14:35,979 --> 01:14:39,059
Now what about if you find G on the second string?

1416
01:14:39,099 --> 01:14:39,599
Where is it?

1417
01:14:39,599 --> 01:14:42,219
It's up here at the eighth fret.

1418
01:14:43,199 --> 01:14:45,659
Now, I've got a little shape I'm going to use, and it's

1419
01:14:45,659 --> 01:14:46,899
a shape you already know.

1420
01:14:47,599 --> 01:14:51,359
If we're in G, our blues scale, and we tack on the

1421
01:14:51,359 --> 01:14:52,099
extra high notes.

1422
01:14:52,159 --> 01:14:52,579
Remember that?

1423
01:14:53,699 --> 01:14:57,549
Take that same exact shape.

1424
01:14:58,389 --> 01:15:00,489
Five notes.

1425
01:15:00,889 --> 01:15:01,909
Move it up two frets.

1426
01:15:03,969 --> 01:15:07,269
Bingo.

1427
01:15:07,589 --> 01:15:09,029
Now you've got all the sweet notes.

1428
01:15:09,029 --> 01:15:14,769
Your fingers do basically the same things, but now you're emphasizing naturally

1429
01:15:14,769 --> 01:15:17,829
the notes that make the melody sound much sweeter.

1430
01:15:18,509 --> 01:15:19,669
So here's your G chord.

1431
01:15:30,849 --> 01:15:33,829
Doesn't that sound pretty?

1432
01:15:34,349 --> 01:15:36,209
Now you can kind of mix it up a little bit.

1433
01:15:36,289 --> 01:15:37,469
You can start in this position.

1434
01:15:43,729 --> 01:15:50,649
Now by ear, I have to choose the notes, right?

1435
01:15:50,689 --> 01:15:51,709
You can't get away from that.

1436
01:15:51,849 --> 01:15:52,929
Your fingers are not going to do it.

1437
01:15:52,949 --> 01:15:54,009
The fingers don't know, right?

1438
01:15:54,289 --> 01:15:55,349
They're just going to run around.

1439
01:15:55,629 --> 01:15:57,509
Every note's the same as far as your fingers are concerned.

1440
01:15:57,629 --> 01:15:59,789
Your ear is what's making the choice.

1441
01:16:00,149 --> 01:16:01,609
So as I bend a note, I have to listen.

1442
01:16:02,829 --> 01:16:03,869
Is that the note I want?

1443
01:16:03,989 --> 01:16:05,049
Yeah, that's it, right?

1444
01:16:06,469 --> 01:16:08,729
If I bend it a little different,
I get a whole different effect.

1445
01:16:15,399 --> 01:16:18,019
Now this is, as I say, this is the secret B.B. King

1446
01:16:18,019 --> 01:16:20,379
position because when you listen to B.B., he's a

1447
01:16:20,379 --> 01:16:23,819
very sweet player, and he uses that effect a lot.

1448
01:16:24,039 --> 01:16:25,899
So that's a real good spot to work in.

1449
01:16:26,279 --> 01:16:29,799
So now we have two new patterns
added to what you've already got.

1450
01:16:29,919 --> 01:16:34,079
The blues scale based off the fifth string, third string chord there,

1451
01:16:34,839 --> 01:16:38,699
and the sweet spot is what I call it based off the

1452
01:16:38,699 --> 01:16:40,119
second string, right?

1453
01:16:40,619 --> 01:16:43,099
So if you get used to those two patterns, now you've really

1454
01:16:43,099 --> 01:16:45,799
opened up a whole new area of the neck that we haven't

1455
01:16:45,799 --> 01:16:49,039
used before, and you get a whole different
thing going in your melody.

1456
01:16:49,339 --> 01:16:55,619
Vibrato & Dynamics

1457
01:17:12,359 --> 01:17:16,559
Now, before we put our new scales, new sounds to work, let's

1458
01:17:16,559 --> 01:17:19,439
talk for just a moment about some other phrasing ideas.

1459
01:17:19,679 --> 01:17:23,239
Remember, phrasing is the idea of taking the notes you play and

1460
01:17:23,239 --> 01:17:25,859
making them sound as much like a singer as possible.

1461
01:17:27,399 --> 01:17:30,119
Every time I play, here's a technique that I use without even

1462
01:17:30,119 --> 01:17:32,559
thinking about it anymore and that's called vibrato.

1463
01:17:35,539 --> 01:17:36,919
That's a vocal technique.

1464
01:17:39,699 --> 01:17:42,959
That's one I've heard every singer use, that I ever heard.

1465
01:17:43,979 --> 01:17:47,059
And it's one of the techniques that might take you a while

1466
01:17:47,059 --> 01:17:50,199
to really master, but it's worth it because it'll make your playing

1467
01:17:50,199 --> 01:17:53,579
sound polished, it'll give you that final touch that makes the note

1468
01:17:53,579 --> 01:17:54,339
sound finished.

1469
01:17:55,099 --> 01:17:57,799
Just give you a brief rundown of how it's done and the

1470
01:17:57,799 --> 01:17:59,039
rest of it is going to be up to you.

1471
01:17:59,539 --> 01:18:00,779
It's a string bend.

1472
01:18:00,839 --> 01:18:02,559
We already know how to bend strings, right?

1473
01:18:02,639 --> 01:18:06,139
We talked about bending up a whole step.

1474
01:18:08,739 --> 01:18:12,359
Way back in the basic guitar step two, I talked about using

1475
01:18:12,359 --> 01:18:15,699
a couple of fingers and getting more strength behind the note, using

1476
01:18:15,699 --> 01:18:17,959
your ear, trying to hear the pitch you're reaching for.

1477
01:18:18,519 --> 01:18:20,239
Now, vibrato is just like that.

1478
01:18:20,419 --> 01:18:21,859
I'll show you two ways to do it.

1479
01:18:21,859 --> 01:18:26,239
One is if you're playing a note that's not bent.

1480
01:18:26,739 --> 01:18:31,659
Here I'm playing, well, pick a note that's on the second string,

1481
01:18:31,719 --> 01:18:32,239
that's a good one.

1482
01:18:32,599 --> 01:18:34,959
That's a G, that's at the eighth fret.

1483
01:18:35,239 --> 01:18:37,739
I'm using my third finger to play the note, second and first

1484
01:18:37,739 --> 01:18:38,459
finger behind it.

1485
01:18:38,779 --> 01:18:40,759
And what I'm actually doing, I'll slow it way down for you,

1486
01:18:42,519 --> 01:18:43,919
I'm bending it up and down.

1487
01:18:47,229 --> 01:18:49,709
Now it's just like a regular string bend, I'm using all three

1488
01:18:49,709 --> 01:18:52,089
fingers and I'm using my wrist to kind of push it up

1489
01:18:52,089 --> 01:19:00,009
as it gets faster and faster, at a certain point it stops

1490
01:19:00,009 --> 01:19:02,449
sounding like a bend, it starts to sound more like a natural

1491
01:19:02,449 --> 01:19:04,669
kind of vibration, that's vibrato.

1492
01:19:06,549 --> 01:19:08,649
Now the trick is it's all in the wrist.

1493
01:19:08,969 --> 01:19:12,749
The wrist is moving up with the bend and down again,

1494
01:19:12,749 --> 01:19:13,469
up and down.

1495
01:19:13,969 --> 01:19:16,549
The hardest thing is to get control of that motion so it's

1496
01:19:16,549 --> 01:19:19,769
even, it's the same width and the same speed all the time.

1497
01:19:20,229 --> 01:19:26,509
Start out slow, you can even use a metronome, gradually speed up,

1498
01:19:31,409 --> 01:19:33,889
and you'll find a spot there where it just feels like that's

1499
01:19:33,889 --> 01:19:34,589
the right spot.

1500
01:19:34,869 --> 01:19:37,129
Every player you see up here on the wall, they all have

1501
01:19:37,129 --> 01:19:39,889
a different vibrato, in fact you could probably tell them apart just

1502
01:19:39,889 --> 01:19:41,489
by their vibrato alone.

1503
01:19:42,049 --> 01:19:45,269
It's that much of a signature sound, it really makes you different

1504
01:19:45,269 --> 01:19:46,109
from other players.

1505
01:19:46,549 --> 01:19:48,269
So it's going to be your own way, it might take a

1506
01:19:48,269 --> 01:19:50,149
while, but as I say, it's really worth it.

1507
01:19:50,529 --> 01:19:55,369
Now if you bend a string, here's the trick, you bend the

1508
01:19:55,369 --> 01:19:57,489
note to pitch and then you let it down a little bit,

1509
01:19:58,129 --> 01:20:10,079
and then back up, so you're bending, releasing, and it

1510
01:20:10,079 --> 01:20:11,159
gradually gets faster.

1511
01:20:12,379 --> 01:20:14,399
The hardest thing about that is you're going to tend to get

1512
01:20:14,399 --> 01:20:16,899
worn out, your wrist will get tired, your fingers will get tired,

1513
01:20:17,299 --> 01:20:19,839
if you haven't developed your calluses fully yet, your fingers are going

1514
01:20:19,839 --> 01:20:24,139
to hurt, but if you can do it unbent, then the bent

1515
01:20:24,139 --> 01:20:25,799
version is much easier.

1516
01:20:26,579 --> 01:20:29,079
As I say, I use it everywhere, it's a natural part of

1517
01:20:29,079 --> 01:20:31,499
blues phrasing, you can't really live without it.

1518
01:20:32,859 --> 01:20:36,339
Another thing is dynamics, that's loud and soft, and that's a natural

1519
01:20:36,339 --> 01:20:38,339
thing also that you hear singers do.

1520
01:20:39,059 --> 01:20:41,859
Most of the time I use the pick, or I'll use my fingers.

1521
01:20:41,939 --> 01:20:43,579
I don't let go of the pick though, if I want to

1522
01:20:43,579 --> 01:20:46,799
use my fingers, I'll just use them with the pick still attached

1523
01:20:46,799 --> 01:20:48,139
to my normal position.

1524
01:20:49,799 --> 01:20:52,419
The fingers give you a little softer sound when you pluck a

1525
01:20:52,419 --> 01:20:55,399
note, where you can kind of stroke the string, as opposed to

1526
01:20:55,399 --> 01:20:57,139
striking it with the pick.

1527
01:20:57,459 --> 01:21:01,059
So that's something you can experiment with, play soft, as soft as

1528
01:21:01,059 --> 01:21:09,509
you can possibly play, and then without touching the volume knob,

1529
01:21:10,089 --> 01:21:14,569
hit it as hard as you can, that's the range you can

1530
01:21:14,569 --> 01:21:17,289
get, and it's nothing to do with the electronics, it's all in

1531
01:21:17,289 --> 01:21:19,229
your fingers, that's where your tone comes from.

1532
01:21:19,749 --> 01:21:21,969
Now we're going to play with the band, do a little call

1533
01:21:21,969 --> 01:21:24,249
and response, like we did on the first video.

1534
01:21:24,649 --> 01:21:27,969
We're in the key of G, it's only a G chord, one

1535
01:21:27,969 --> 01:21:30,449
chord, and I'm going to take you through some of the stuff

1536
01:21:30,449 --> 01:21:32,969
I've been showing you, there's a lot to cover right now.

1537
01:21:33,469 --> 01:21:37,069
We're going to start out with some familiar stuff, our familiar position,

1538
01:21:37,389 --> 01:21:40,929
blues scale, maybe I'll add a sweet note or two into that

1539
01:21:40,929 --> 01:21:44,109
position, move up the neck a bit, and then I'll go into

1540
01:21:44,109 --> 01:21:48,529
the B-B patented position up there in the 8th fret, and

1541
01:21:48,529 --> 01:21:51,429
then we'll wind up in the 10th position, playing out of the

1542
01:21:51,429 --> 01:21:53,169
new blues scale pattern.

1543
01:21:54,289 --> 01:21:56,829
Once again, listen to me, I'm going to play a phrase, I'm

1544
01:21:56,829 --> 01:21:58,569
going to leave a hole for you to play it back at

1545
01:21:58,569 --> 01:22:00,869
me, see how close you can get, alright, let's do it.

1546
01:22:16,359 --> 01:22:18,199
Just stay with me.

1547
01:22:26,839 --> 01:22:33,049
Oh yeah, let's not forget the low part.

1548
01:22:42,019 --> 01:22:44,239
Yeah, sounds kind of like you're talking down in there.

1549
01:22:46,679 --> 01:22:48,479
Here's a classic right here, we're going up.

1550
01:23:01,139 --> 01:23:02,739
Let's stay in that spot for a second.

1551
01:23:28,009 --> 01:23:32,499
Third position, some sweet notes.

1552
01:23:41,799 --> 01:23:42,619
Get that?

1553
01:23:44,959 --> 01:23:45,959
A little bit more.

1554
01:23:57,839 --> 01:24:00,319
Now let's try that in B-B land here.

1555
01:24:09,999 --> 01:24:11,279
Yeah, that feels pretty good.

1556
01:24:16,069 --> 01:24:17,449
Here's a classic B-B lick.

1557
01:24:26,249 --> 01:24:27,369
Stay right in the pocket.

1558
01:24:28,809 --> 01:24:31,429
Let's go up to 10th position, try that, here we go.

1559
01:24:40,629 --> 01:24:42,729
Same phrase as you play down low, just move them up.

1560
01:25:17,339 --> 01:25:24,599
I hope you're starting to get the feel a little bit.

1561
01:25:25,659 --> 01:25:28,719
Basically, it's the same whether you're playing on one chord or playing

1562
01:25:28,719 --> 01:25:31,239
on a 12-bar progression as we're about to do.

1563
01:25:31,818 --> 01:25:35,699
The only difference is that when you change to a different chord,

1564
01:25:35,899 --> 01:25:39,039
some of the notes that sound sweet on the one chord might

1565
01:25:39,039 --> 01:25:41,119
not sound so good against the four chord.

1566
01:25:41,919 --> 01:25:43,499
And that's because what we're starting to do now is we're starting to get the feel.

1567
01:25:43,499 --> 01:25:45,019
What we're trying to do now is get inside the harmony.

1568
01:25:45,259 --> 01:25:47,999
We're bringing the harmony and the melody, the scales and the chords,

1569
01:25:48,139 --> 01:25:48,979
closer together.

1570
01:25:49,779 --> 01:25:51,979
And so you start to hear how they really match up.

1571
01:25:52,039 --> 01:25:53,439
You can't really tear them apart.

1572
01:25:53,859 --> 01:25:55,679
When we play a sweet note on a one chord.

1573
01:26:00,999 --> 01:26:03,659
See, that's really based on that sixth chord right there.

1574
01:26:04,119 --> 01:26:06,279
When we go to the C chord, for instance.

1575
01:26:08,019 --> 01:26:09,479
If I play that same lick.

1576
01:26:10,919 --> 01:26:13,499
That note right there is suddenly going to sound...

1577
01:26:15,599 --> 01:26:16,779
Sounds a little weird.

1578
01:26:16,899 --> 01:26:17,619
Doesn't quite work.

1579
01:26:17,719 --> 01:26:20,659
And you might have run into that already in your blues playing.

1580
01:26:20,819 --> 01:26:23,759
Where a note sounds great over this chord sounds terrible over that chord.

1581
01:26:23,779 --> 01:26:24,199
How come?

1582
01:26:24,639 --> 01:26:26,519
Well, look at the chord and look at the note and you'll

1583
01:26:26,519 --> 01:26:30,179
find that usually the note that sounds bad is a half step,

1584
01:26:30,279 --> 01:26:32,799
one fret away from a chord tone.

1585
01:26:32,919 --> 01:26:36,179
And it gets that dissonant thing happening, which you don't always want.

1586
01:26:36,779 --> 01:26:38,899
So, here's a little trick for you right here.

1587
01:26:38,899 --> 01:26:40,239
Just to get started now.

1588
01:26:40,339 --> 01:26:42,639
Remember, we're just getting the ball rolling here.

1589
01:26:43,199 --> 01:26:45,839
If you want to play over chords and you want to match

1590
01:26:45,839 --> 01:26:49,819
the sound of the notes to the sound of the chords, use

1591
01:26:49,819 --> 01:26:52,199
phrases that are built right off the shape of the chord.

1592
01:26:52,919 --> 01:26:53,979
Here's what I mean by that.

1593
01:26:54,079 --> 01:26:55,999
Your one chord, we already know how to play over this one.

1594
01:27:02,879 --> 01:27:03,339
Right?

1595
01:27:03,479 --> 01:27:07,179
Now, the notes that I'm playing there come right from the triad

1596
01:27:07,179 --> 01:27:08,559
and the seventh.

1597
01:27:09,539 --> 01:27:13,259
So, I'm playing really essentially almost what amounts to an arpeggio.

1598
01:27:13,639 --> 01:27:16,919
The notes of the chord played one at a time in different orders.

1599
01:27:17,439 --> 01:27:22,319
When I go to the four chord, C, I've got my C9

1600
01:27:22,319 --> 01:27:25,879
chord, or you remember way back from basic step two.

1601
01:27:27,199 --> 01:27:28,399
Your C7 chord.

1602
01:27:28,539 --> 01:27:30,079
Now, look at the notes in C7.

1603
01:27:35,059 --> 01:27:36,359
Now, that can be a lick.

1604
01:27:36,699 --> 01:27:36,799
Right?

1605
01:27:36,979 --> 01:27:37,959
Here's your one chord lick.

1606
01:27:40,459 --> 01:27:41,499
Your four chord.

1607
01:27:44,179 --> 01:27:44,619
Right?

1608
01:27:44,839 --> 01:27:45,519
Check that out.

1609
01:27:45,699 --> 01:27:48,159
All I'm doing is playing the notes of the chord with a

1610
01:27:48,159 --> 01:27:49,019
little rhythm attached.

1611
01:27:49,019 --> 01:27:50,479
The rhythm is so important.

1612
01:27:50,639 --> 01:27:53,679
You can't separate the rhythm from the melody or the harmony.

1613
01:27:53,859 --> 01:27:53,959
Right?

1614
01:27:53,999 --> 01:27:55,899
You see, everything kind of fits together.

1615
01:27:56,499 --> 01:27:58,179
And that's what makes the phrases sound good.

1616
01:27:58,659 --> 01:28:01,179
So, I've got my one chord lick going up the one chord.

1617
01:28:03,059 --> 01:28:07,479
My four chord lick coming down the four chord.

1618
01:28:07,699 --> 01:28:07,879
Right?

1619
01:28:07,959 --> 01:28:09,059
I can go back up the one.

1620
01:28:15,219 --> 01:28:16,759
Here comes the four chord again.

1621
01:28:21,539 --> 01:28:22,299
Same notes.

1622
01:28:22,619 --> 01:28:23,479
Back to one.

1623
01:28:29,219 --> 01:28:30,479
Now, what about five?

1624
01:28:34,319 --> 01:28:35,299
Now, what was that?

1625
01:28:35,419 --> 01:28:36,459
Well, here's a D chord.

1626
01:28:38,279 --> 01:28:39,019
And I'm playing...

1627
01:28:42,899 --> 01:28:44,299
playing the notes of the five chord.

1628
01:28:44,339 --> 01:28:46,439
It's a little funny when you isolate them like that.

1629
01:28:49,399 --> 01:28:51,779
I'm changing my fingering so that I can use a finger that

1630
01:28:51,779 --> 01:28:53,319
really gives me the most control.

1631
01:28:53,879 --> 01:28:55,079
Index finger, second finger.

1632
01:28:55,419 --> 01:28:58,019
That's where I try to control the note vibrato, etc.

1633
01:29:01,279 --> 01:29:02,879
And then back to my four chord.

1634
01:29:02,879 --> 01:29:03,139
Four chord.

1635
01:29:13,399 --> 01:29:14,839
So, there's a complete solo.

1636
01:29:15,039 --> 01:29:19,099
And it's built mainly from not scales, but from chords.

1637
01:29:19,859 --> 01:29:21,759
Chords and scales really go together.

1638
01:29:22,199 --> 01:29:25,479
Now, for instance, B.B. did a song that sounded a lot like this.

1639
01:29:33,899 --> 01:29:36,659
The basic melody of the song was built from the one chord

1640
01:29:36,659 --> 01:29:39,879
and then, in this case, changing positions.

1641
01:29:40,059 --> 01:29:42,719
So, whatever you play here, you can go up, play off the

1642
01:29:42,719 --> 01:29:43,879
C chord in eighth position.

1643
01:29:45,719 --> 01:29:48,219
And you'll find the same notes built off the C chord.

1644
01:29:48,519 --> 01:29:51,299
There's a lot of ways that you can start to mix things up.

1645
01:29:51,519 --> 01:29:53,159
We've kind of covered the basics.

1646
01:29:53,739 --> 01:29:54,879
We've covered a lot of ground.

1647
01:29:54,999 --> 01:29:57,899
But there are many variations that you work out over time.

1648
01:29:57,959 --> 01:30:00,579
And as you hear different players play and kind of get an

1649
01:30:00,579 --> 01:30:03,379
idea of how they think, you're going to hear that there are

1650
01:30:03,379 --> 01:30:05,079
any number of different combinations.

1651
01:30:05,499 --> 01:30:05,599
Alright?

1652
01:30:05,919 --> 01:30:09,879
Now, what we're about to do is play over a 12-bar

1653
01:30:09,879 --> 01:30:10,859
chord progression.

1654
01:30:12,099 --> 01:30:14,539
In step one, we concentrate on the key of A.

1655
01:30:14,719 --> 01:30:16,879
So far, we've been playing in the key of G.

1656
01:30:17,659 --> 01:30:19,979
And just to keep you loose, we're going to go to the

1657
01:30:19,979 --> 01:30:20,719
key of C.

1658
01:30:21,439 --> 01:30:23,459
Now, the key of C, all the same rules apply.

1659
01:30:23,579 --> 01:30:24,799
You just have to find your patterns.

1660
01:30:24,939 --> 01:30:29,159
You've got the same major and minor sounds located in the same

1661
01:30:29,159 --> 01:30:30,159
relative position.

1662
01:30:30,159 --> 01:30:31,419
So find your C's.

1663
01:30:31,839 --> 01:30:33,679
There's your home position right there.

1664
01:30:34,099 --> 01:30:34,679
You go up.

1665
01:30:36,459 --> 01:30:39,359
You'll find your sweet spot with the C on the second string.

1666
01:30:41,959 --> 01:30:44,419
Depending on your guitar, you might be able to play up here

1667
01:30:44,419 --> 01:30:45,499
in the 15th position.

1668
01:30:48,899 --> 01:30:52,519
But if not, or even just for a variation, go down to

1669
01:30:52,519 --> 01:30:54,259
the third position, an octave low.

1670
01:30:57,679 --> 01:30:59,919
And you'll be able to cover some ground down there as well.

1671
01:31:00,239 --> 01:31:00,339
Alright?

1672
01:31:00,639 --> 01:31:03,199
So we're going to play over a 12-bar progression.

1673
01:31:03,379 --> 01:31:04,399
I'm going to give it a shot.

1674
01:31:04,539 --> 01:31:05,599
You're going to back me up.

1675
01:31:05,979 --> 01:31:07,539
And then you're going to have your turn.

1676
01:31:07,659 --> 01:31:07,899
Alright?

1677
01:31:08,219 --> 01:31:08,739
Let's do it.

1678
01:31:10,109 --> 01:31:12,289
One, two, three, four.

1679
01:34:33,279 --> 01:34:35,219
So I hope you had a good time with this video.

1680
01:34:35,899 --> 01:34:38,459
And I hope you have a great time playing.

1681
01:34:38,719 --> 01:34:40,479
And I hope to have a chance to see you again soon.

1682
01:34:40,759 --> 01:34:42,459
Alright? See you later.

1683
01:34:43,305 --> 01:35:43,583