Blues Guitar Basics

1 00:00:06,000 --> 00:00:12,074 2 00:00:23,850 --> 00:00:32,040 Blues Guitar Step One 3 00:00:50,610 --> 00:00:52,830 It's blues time, ladies and gentlemen, right here 4 00:00:52,830 --> 00:00:53,750 on our stage. 5 00:00:54,070 --> 00:00:57,910 Before rock, before jazz, before R&B, there was blues. 6 00:00:58,430 --> 00:01:00,330 It's been around a lot longer than any 7 00:01:00,330 --> 00:01:02,610 of those other styles, but blues sounds just 8 00:01:02,610 --> 00:01:04,090 as fresh today as it did when it 9 00:01:04,090 --> 00:01:04,850 was being born. 10 00:01:05,810 --> 00:01:07,830 Hello, my name is Keith Wyatt, and I'd 11 00:01:07,830 --> 00:01:09,730 like to welcome you to the Ultimate Beginner 12 00:01:09,730 --> 00:01:11,810 Series for Blues Guitar, Step 1. 13 00:01:12,630 --> 00:01:14,530 Whether you're a beginning player looking for new 14 00:01:14,530 --> 00:01:16,570 styles to explore, or a player who just 15 00:01:16,570 --> 00:01:18,430 wants to get back to the roots, we're 16 00:01:18,430 --> 00:01:19,710 going to spend the next half hour or 17 00:01:19,710 --> 00:01:20,970 so with the blues. 18 00:01:21,970 --> 00:01:23,390 I want to remind you at this time 19 00:01:23,390 --> 00:01:25,610 that if the basic guitar playing skills I 20 00:01:25,610 --> 00:01:27,570 refer to in this video are completely new 21 00:01:27,570 --> 00:01:28,910 to you, you might want to check out 22 00:01:28,910 --> 00:01:32,370 the Ultimate Beginner Series Guitar Basics, Steps 1 23 00:01:32,370 --> 00:01:34,490 and 2, where I get you started with 24 00:01:34,490 --> 00:01:36,570 the chords and scales we'll be using here. 25 00:01:37,410 --> 00:01:39,030 The only other thing you'll need is a 26 00:01:39,030 --> 00:01:41,650 guitar that's in tune with mine, so let's 27 00:01:41,650 --> 00:01:43,710 start out by tuning your high E string 28 00:01:43,710 --> 00:01:45,130 to my high E string. 29 00:01:45,130 --> 00:01:46,430 I'm going to go through the strings one 30 00:01:46,430 --> 00:01:48,590 at a time, and you tune up as we go. 31 00:01:48,750 --> 00:01:49,990 Alright, here's high E. 32 00:01:55,290 --> 00:01:56,190 Here's B. 33 00:02:01,860 --> 00:02:02,620 And G. 34 00:02:07,960 --> 00:02:09,300 Now we'll go to D. 35 00:02:14,510 --> 00:02:14,990 A. 36 00:02:20,950 --> 00:02:21,970 And the low E. 37 00:02:28,370 --> 00:02:30,030 Now if you need to, you can stop 38 00:02:30,030 --> 00:02:32,190 the tape and tune up before we get 39 00:02:32,190 --> 00:02:33,270 going, because you're going to need to be 40 00:02:33,270 --> 00:02:33,930 in tune, alright? 41 00:02:34,230 --> 00:02:35,830 And when you're ready, turn the machine back 42 00:02:35,830 --> 00:02:37,270 on, let's get down to it. 43 00:02:38,390 --> 00:02:39,870 To help you get the most out of this video, 44 00:02:39,870 --> 00:02:42,390 we're going to use something called tablature. 45 00:02:42,710 --> 00:02:43,990 At the bottom of the screen you're going 46 00:02:43,990 --> 00:02:45,790 to see six lines, and they represent the 47 00:02:45,790 --> 00:02:47,130 six strings of your guitar. 48 00:02:47,710 --> 00:02:49,370 The top line is like the top string 49 00:02:49,370 --> 00:02:51,150 of your guitar, the bottom line is like 50 00:02:51,150 --> 00:02:51,770 the bottom string. 51 00:02:51,870 --> 00:02:53,870 It's almost like you're holding your guitar and 52 00:02:53,870 --> 00:02:54,770 looking at it like this. 53 00:02:56,110 --> 00:02:58,630 And on the six strings, you're going to see numbers. 54 00:02:58,690 --> 00:03:01,090 The numbers represent frets, and that will go for chords. 55 00:03:01,130 --> 00:03:05,570 If I play a chord, the numbers tell 56 00:03:05,570 --> 00:03:08,090 you that 7th fret, 6th fret, 5th fret, and so on. 57 00:03:08,350 --> 00:03:09,730 And if I play a scale, same thing. 58 00:03:12,270 --> 00:03:15,110 So between watching my fingers and seeing the 59 00:03:15,110 --> 00:03:16,370 numbers, you've got it made. 60 00:03:23,150 --> 00:03:26,410 There are three basic elements to any style 61 00:03:26,410 --> 00:03:27,930 of music, and that includes blues. 62 00:03:28,530 --> 00:03:31,790 The three elements are harmony, melody, and rhythm. 63 00:03:32,250 --> 00:03:34,010 The place we're going to start playing blues 64 00:03:34,010 --> 00:03:36,190 is with the rhythm, because that's the driving 65 00:03:36,190 --> 00:03:37,630 force behind the style. 66 00:03:37,730 --> 00:03:39,630 And as you'll find out, you can play 67 00:03:39,630 --> 00:03:41,490 some pretty good stuff with even one note 68 00:03:41,490 --> 00:03:43,250 or one chord, if the rhythm is right. 69 00:03:44,010 --> 00:03:45,770 In blues, the basic rhythm is called the 70 00:03:45,770 --> 00:03:48,570 8th note scale, Now, just to back up 71 00:03:48,570 --> 00:03:51,410 a little bit, the basic beat in most 72 00:03:51,410 --> 00:03:53,450 styles of music is called the quarter note, 73 00:03:53,590 --> 00:03:54,990 and it has that name because there are 74 00:03:54,990 --> 00:03:56,610 four of them in a complete measure. 75 00:03:57,130 --> 00:03:58,410 I'm going to put my guitar down here 76 00:03:58,410 --> 00:04:01,010 for a second so we can talk about this stuff. 77 00:04:01,290 --> 00:04:03,690 Now, quarter notes, you just snap your finger, 78 00:04:03,810 --> 00:04:06,170 clap your hand, tap your foot, and that's 79 00:04:06,170 --> 00:04:08,110 where you get the feel of the beat. 80 00:04:08,370 --> 00:04:09,630 It's a very natural thing. 81 00:04:10,390 --> 00:04:11,930 Now, you take four of them in a row. 82 00:04:16,709 --> 00:04:17,810 There's your measure. 83 00:04:18,430 --> 00:04:20,410 Now, if you play two notes for each 84 00:04:20,410 --> 00:04:22,830 one of these quarter notes, they're called eighth notes. 85 00:04:24,910 --> 00:04:28,270 One and two and three and four and. 86 00:04:28,330 --> 00:04:29,030 Those are eighth notes. 87 00:04:29,090 --> 00:04:31,630 If you play three notes in one beat, 88 00:04:32,070 --> 00:04:34,450 we call it a triplet or an eighth note triplet. 89 00:04:36,910 --> 00:04:37,910 Very even. 90 00:04:40,210 --> 00:04:42,270 Now, a triplet shuffle is when you play 91 00:04:42,270 --> 00:04:44,470 only the first and last notes of the 92 00:04:44,470 --> 00:04:47,030 triplet, and it feels kind of relaxed and 93 00:04:47,030 --> 00:04:48,830 lopsided like you're shuffling down the street. 94 00:04:48,890 --> 00:04:49,470 It sounds like this. 95 00:04:49,510 --> 00:04:52,590 Here's the triplet again, and playing only the 96 00:04:52,590 --> 00:04:53,410 first and last. 97 00:04:56,760 --> 00:04:57,960 Get that feeling? 98 00:04:58,100 --> 00:04:59,780 Already, you can start to move to it. 99 00:05:00,360 --> 00:05:02,500 Now, compare that to the straight eighth note. 100 00:05:03,880 --> 00:05:06,600 Here's the straight eighth note and the shuffle. 101 00:05:08,220 --> 00:05:09,540 It's so relaxed. 102 00:05:11,200 --> 00:05:12,800 Now, once you start to feel it, you 103 00:05:12,800 --> 00:05:15,500 can move with it, you can kind of sing it. 104 00:05:19,520 --> 00:05:22,360 Get that groove going. 105 00:05:22,760 --> 00:05:25,780 Pick up your guitar and play the... 106 00:05:27,760 --> 00:05:28,400 Oh, yeah. 107 00:05:30,060 --> 00:05:31,600 It doesn't take much, does it? 108 00:05:31,760 --> 00:05:35,000 It sort of feels kind of that blues mood already. 109 00:05:35,940 --> 00:05:38,060 Muddy Waters, John Lee Hooker, they kind of 110 00:05:38,060 --> 00:05:40,540 built careers around not much more than this right here. 111 00:05:40,540 --> 00:05:42,900 Add a little attitude on top. 112 00:05:44,380 --> 00:05:46,000 I'm just playing that one string there. 113 00:05:46,060 --> 00:05:48,620 I'm using the pick, of course, playing all down strokes. 114 00:05:49,920 --> 00:05:51,880 Even something as simple as this, there's a 115 00:05:51,880 --> 00:05:53,440 little bit of technique to it. 116 00:05:53,520 --> 00:05:56,380 What it is, every time there's a downbeat, 117 00:05:56,680 --> 00:05:58,440 I'm accenting with the pick. 118 00:05:58,600 --> 00:05:58,780 Listen. 119 00:06:01,040 --> 00:06:01,820 You hear that? 120 00:06:03,300 --> 00:06:06,040 I'm also muting with the heel of my right hand. 121 00:06:06,040 --> 00:06:08,140 I'm deadening the string so it sounds nice 122 00:06:08,140 --> 00:06:09,980 and... percussive. 123 00:06:11,220 --> 00:06:12,520 The next thing I'm going to do is 124 00:06:12,520 --> 00:06:13,820 add some harmony. 125 00:06:14,520 --> 00:06:16,040 To make harmony, all you need to do 126 00:06:16,040 --> 00:06:18,140 is put another note together with that one. 127 00:06:19,160 --> 00:06:19,940 There's your chord. 128 00:06:20,480 --> 00:06:22,700 It's a simple chord, but that's a chord nonetheless. 129 00:06:23,560 --> 00:06:24,240 One finger. 130 00:06:24,320 --> 00:06:26,140 I'm playing B on the fifth string. 131 00:06:27,280 --> 00:06:28,460 I have E and B together. 132 00:06:29,000 --> 00:06:30,540 Some people call that a power chord. 133 00:06:30,660 --> 00:06:32,260 In blues, I don't know what you call it. 134 00:06:32,260 --> 00:06:33,640 Let's just call it an E chord. 135 00:06:34,680 --> 00:06:37,280 Your finger can also hang over on the 136 00:06:37,280 --> 00:06:38,300 E on the fourth string. 137 00:06:38,820 --> 00:06:40,060 Now you have a three-note chord. 138 00:06:40,380 --> 00:06:41,440 Get that same groove going. 139 00:06:44,880 --> 00:06:45,980 Remember your accent. 140 00:06:47,140 --> 00:06:48,460 Now we're going to add a note to 141 00:06:48,460 --> 00:06:49,480 that to make a pattern. 142 00:06:57,000 --> 00:07:00,900 The note I'm adding is C sharp. 143 00:07:01,180 --> 00:07:03,340 It's at the fourth fret on the fifth string. 144 00:07:03,920 --> 00:07:06,360 In relation to the E chord itself, the 145 00:07:06,360 --> 00:07:10,560 root E, it's the sixth note. 146 00:07:10,740 --> 00:07:13,160 The B is the fifth, the C sharp is the sixth. 147 00:07:13,180 --> 00:07:15,600 So I'm going from the fifth to the sixth. 148 00:07:16,300 --> 00:07:17,320 There's my pattern. 149 00:07:20,760 --> 00:07:22,840 Still keep accenting in the same way. 150 00:07:24,020 --> 00:07:25,740 Now to make it hip, I can use 151 00:07:25,740 --> 00:07:28,640 a little upstroke now and again so I 152 00:07:28,640 --> 00:07:32,060 can get the high E and the B there together. 153 00:07:38,560 --> 00:07:40,160 Now I've got a complete pattern. 154 00:07:44,560 --> 00:07:46,300 You can take the exact same shape and 155 00:07:46,300 --> 00:07:47,120 move it over to A. 156 00:07:49,620 --> 00:07:51,300 Now I've got the open A string. 157 00:07:51,580 --> 00:07:53,800 I've got my finger on the E and 158 00:07:53,800 --> 00:07:54,580 the A together. 159 00:07:54,660 --> 00:07:55,160 It's a bar. 160 00:07:55,980 --> 00:07:58,640 And I add, at the fourth fret on 161 00:07:58,640 --> 00:08:00,040 the fourth string, the F sharp. 162 00:08:03,200 --> 00:08:04,320 There's my upstroke. 163 00:08:10,240 --> 00:08:11,420 Go back to E. 164 00:08:15,440 --> 00:08:16,180 Oh yeah! 165 00:08:21,640 --> 00:08:23,180 Now there's one more chord you can play 166 00:08:23,180 --> 00:08:24,060 in the open position. 167 00:08:24,060 --> 00:08:24,800 That's D. 168 00:08:26,020 --> 00:08:27,380 The D is a little different. 169 00:08:27,460 --> 00:08:29,060 The reason is because of the tuning of 170 00:08:29,060 --> 00:08:30,280 the third and second strings. 171 00:08:30,320 --> 00:08:31,700 You have to use a slightly different shape. 172 00:08:31,799 --> 00:08:32,580 So what I'm going to do here is 173 00:08:32,580 --> 00:08:36,539 play the two notes together. 174 00:08:36,640 --> 00:08:39,320 Open D, the A, add the B. 175 00:08:39,860 --> 00:08:41,360 And then instead of using a bar with 176 00:08:41,360 --> 00:08:43,300 my index finger, I use my second finger here. 177 00:08:44,220 --> 00:08:47,300 Alright, so... 178 00:08:53,220 --> 00:08:54,340 Now E. 179 00:09:07,200 --> 00:09:08,420 It's blues time. 180 00:09:08,500 --> 00:09:09,080 It's that simple. 181 00:09:09,080 --> 00:09:10,380 Alright, so we've got three chords. 182 00:09:10,460 --> 00:09:11,420 We've got a little rhythm here. 183 00:09:11,940 --> 00:09:12,600 It's happening. 184 00:09:12,960 --> 00:09:14,780 Now, you want to play in other keys 185 00:09:14,780 --> 00:09:15,800 or you want to be able to move 186 00:09:15,800 --> 00:09:17,060 around the neck a little bit, you have 187 00:09:17,060 --> 00:09:17,960 to use bar chords. 188 00:09:18,040 --> 00:09:20,160 So we'll take those same three chords, A, 189 00:09:20,620 --> 00:09:23,780 D, and E, and move them up to fifth position. 190 00:09:23,860 --> 00:09:25,260 This is where most people wind up playing 191 00:09:25,260 --> 00:09:26,620 this most of the time anyway. 192 00:09:27,600 --> 00:09:28,680 Same basic principle. 193 00:09:28,840 --> 00:09:30,880 You get the root of the chord, the 194 00:09:30,880 --> 00:09:31,560 fifth of the chord. 195 00:09:31,960 --> 00:09:33,680 And with the third finger I can bar 196 00:09:33,680 --> 00:09:34,860 across two strings. 197 00:09:35,120 --> 00:09:36,580 Now I have to reach up with my 198 00:09:36,580 --> 00:09:37,120 fourth finger. 199 00:09:37,180 --> 00:09:38,320 It's a little bit more of a stretch. 200 00:09:46,900 --> 00:09:49,740 Now if I want to play D, shift 201 00:09:49,740 --> 00:09:50,840 over to the fifth string. 202 00:09:51,260 --> 00:09:53,180 I have to be careful with the right 203 00:09:53,180 --> 00:09:54,780 hand now because the tendency is going to 204 00:09:54,780 --> 00:09:56,080 be to want to hit that low string. 205 00:09:57,020 --> 00:09:58,000 You don't want to do that. 206 00:09:58,100 --> 00:09:59,340 So you deaden the low string with the 207 00:09:59,340 --> 00:10:00,000 tip of your finger. 208 00:10:03,440 --> 00:10:05,640 My right hand is still kind of tight here. 209 00:10:10,240 --> 00:10:11,280 Back to A. 210 00:10:13,560 --> 00:10:16,040 Now E is up at the seventh position. 211 00:10:17,280 --> 00:10:18,140 There's the E chord. 212 00:10:18,800 --> 00:10:19,720 There's the added note. 213 00:10:34,900 --> 00:10:36,760 Well now that we've got three chords in 214 00:10:36,760 --> 00:10:39,000 a pocket, we need somewhere to use it. 215 00:10:39,260 --> 00:10:40,740 And what we're going to do is play 216 00:10:40,740 --> 00:10:43,980 what we've just learned over the twelve bar progression. 217 00:10:44,080 --> 00:10:46,900 This is the most common progression by far in blues. 218 00:10:47,880 --> 00:10:50,000 And the three chords that we're playing, the 219 00:10:50,000 --> 00:10:55,620 A chord, D, and the E, all happen 220 00:10:55,620 --> 00:10:57,220 to belong together in one key. 221 00:10:57,320 --> 00:10:59,360 And the key, of course, is the key of A. 222 00:11:00,220 --> 00:11:01,960 In the key of A, the A chord, 223 00:11:02,080 --> 00:11:04,220 logically enough, is called the one chord. 224 00:11:04,780 --> 00:11:07,920 It's the tonic chord based on the first 225 00:11:07,920 --> 00:11:08,700 note of the scale. 226 00:11:09,340 --> 00:11:10,400 Now when you go up to the fourth 227 00:11:10,400 --> 00:11:13,020 note of the scale, that's D. 228 00:11:13,200 --> 00:11:14,540 So we call that the four chord. 229 00:11:15,680 --> 00:11:17,720 And then, of course, E is right next door. 230 00:11:17,780 --> 00:11:18,840 That's the five chord. 231 00:11:19,480 --> 00:11:21,820 And 1-4-5 arranged in the twelve 232 00:11:21,820 --> 00:11:24,960 bar progression is the foundation of the style 233 00:11:24,960 --> 00:11:27,240 that we play today that we call blues. 234 00:11:28,080 --> 00:11:29,240 Now here's the way it works. 235 00:11:29,300 --> 00:11:30,960 You're going to play four bars on the one chord. 236 00:11:31,060 --> 00:11:33,080 We'll use our little rhythm pattern here to get started. 237 00:11:34,820 --> 00:11:41,520 There's bar one, two, three, four. 238 00:11:41,760 --> 00:11:43,700 Now we're going to shift over to the four chord. 239 00:11:44,720 --> 00:11:46,340 Two bars on the four chord. 240 00:11:46,900 --> 00:11:47,760 There's the second bar. 241 00:11:47,980 --> 00:11:48,820 Back to one. 242 00:11:49,640 --> 00:11:50,460 Stay in time. 243 00:11:51,620 --> 00:11:52,740 Now we go to five. 244 00:11:54,720 --> 00:11:56,040 And then back to four. 245 00:11:57,260 --> 00:11:59,280 And then around to one. 246 00:11:59,420 --> 00:12:00,800 And then up to five. 247 00:12:04,100 --> 00:12:06,240 And then the whole thing starts all over again. 248 00:12:06,360 --> 00:12:08,760 It's an endlessly recycling progression. 249 00:12:09,300 --> 00:12:11,260 There are some variations that you run into 250 00:12:11,260 --> 00:12:12,620 and we'll get into some of those later 251 00:12:12,620 --> 00:12:14,520 on in this video and in step two. 252 00:12:15,020 --> 00:12:16,620 First thing I want to show you is 253 00:12:16,620 --> 00:12:18,660 the way that people usually handle the five 254 00:12:18,660 --> 00:12:19,460 chord at the end. 255 00:12:19,540 --> 00:12:21,220 Instead of playing a full bar of five, 256 00:12:21,400 --> 00:12:23,400 there's a little variation people use. 257 00:12:23,840 --> 00:12:24,740 Five chord. 258 00:12:25,920 --> 00:12:27,100 Four chord. 259 00:12:28,500 --> 00:12:29,700 Here's the one. 260 00:12:33,080 --> 00:12:35,260 That's the sound that you hear most often 261 00:12:35,260 --> 00:12:37,200 on almost every blues record. 262 00:12:38,060 --> 00:12:40,140 Now what I did there is I actually 263 00:12:40,140 --> 00:12:42,740 hang on to the one chord for one extra beat. 264 00:12:42,940 --> 00:12:43,460 Five. 265 00:12:44,880 --> 00:12:45,600 Four. 266 00:12:45,960 --> 00:12:51,180 And instead of a bar of five, one, 267 00:12:51,980 --> 00:12:53,260 two, and. 268 00:12:54,300 --> 00:12:56,080 So what I did is I hung on 269 00:12:56,080 --> 00:12:59,660 to the one chord and then slid down 270 00:12:59,660 --> 00:13:00,480 into the five chord. 271 00:13:00,560 --> 00:13:02,120 And this requires a new chord. 272 00:13:02,260 --> 00:13:05,620 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