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1 ABLE OF CONENS ABOU HE AUHO... INODUCION... CHAPE GEING SAED... 6 Half Steps, Whole Steps, and the Importance of Gravity...6 he Fretboard... uning Up... Music Notation... eading ablature... eading Chord Diagrams... eading a Chord Chart hythmic Notation... eading Scale Diagrams... eading oman Numerals... CHAPE BLUES HEOY...6 he Major Scale...6 Key Signatures... Minor Scales... elative Minor... Intervals... Chords... Diatonic Harmony... Blues Harmony... CHAPE BASIC HYHM GUIA... 6 Basic hythm Vocabulary...6 Basic welve-bar Blues... Palm Muting... he Shuffl e Pattern... Moveable Shuffle Patterns... Left-Hand Muting... Variations on the Shuffle Pattern... Stop ime... Boogie-Woogie in Open E...6 CHAPE BLUES SCALES... Major Pentatonic... Phrasing... Call-and-esponse Phrasing... iff-style Soloing... Minor Pentatonic... argeting oot Notes... Combining Call-and-esponse with oot argeting... ransposing... CHAPE LEF HAND ECHNIQUES... 6 Hammer-ons...6 Pull-offs... Hammer-ons and Pull-offs ogether... Slides... Bending... everse Bends...6 Signature Licks... Vibrato...6 CHAPE 6 HYHM GUIA SYLES... 6 Muddy Waters Vamps...6 Buddy Guy hythm iffs...6 exas Swing...6 Slow Blues...6 Minor Blues... CHAPE INOS, UNAOUNDS, AND ENDINGS... urnarounds... Intros...6 Endings... CHAPE IMPOVISING... Alternating Major and Minor Pentatonic... Adding Major Pentatonic Notes to the Minor Pentatonic... Adding Minor Pentatonic Notes to the Major Pentatonic... Chord Hits... Expanding the Basic Scale Patterns... More Licks!... CHAPE PACICING... Set Goals... Organize Your ime... Metronomes, Drum Machines, and Practice ecordings... Vary Your Sources... Outside the Practice oom...6 Individuality...6 Contents M Blues Guitar nd Edition -6.indd // :6 PM

2 BLUES HAMONY Guess what half of this goes out the window as soon as you begin to play the blues. But it s important to know how the blues differs from classical music. Classical music is based on this diatonic harmony, where the I, IV, and V chords are major and the only dominant th chord in a key is on the V chord. However, in the blues, every major chord can be a dominant th chord (the I, the IV, and the V). he basic -bar blues progression is usually composed entirely of th chords. he slashes in the music represent the four beats of each measure, although you can strum any blues rhythm you like. I IV I I IV IV I I V IV I V A -Bar Blues in C F C X G C F C F C G F C G Beginning Blues Guitar Blues Guitar nd Edition -6.indd // : PM

3 HAMME-ONS AND PULL-OFFS OGEHE Okay, so everyone knows the blues isn t about speed, it s that feel thing, that taste thing, right? Well, this is true, but then again what about obben Ford? Or Buddy Guy? Um, excuse me, Mr. Guy, a few of us were talking and we thought you should know, all those fast licks you play, it kind of undermines your credibility as a blues player and, well, frankly we ve noticed that while you ve gotten faster and faster over the years, you re playing with less and less feel. Is this the case? Of course not. All right then! Speed is valuable as an option, although not for its own sake. Combining hammer-ons and pull-offs can be used to create a smoother, more fluid sound and, yes, by playing more notes with each right-hand pick stroke, you can play faster as well. Here are a few exercises to get going. ry to keep the accent on the first and third beats. = Pick down = Pick up 6 b b b ΠP H P H 6 6 P H P H P H P b H P H P b H P H P H b P 6 Beginning Blues Guitar Blues Guitar nd Edition -6.indd // : PM

4 CONENS ABOU HE AUHO... INODUCION... CHAPE BASIC HEOY... Intervals... Interval Inversion... Chords... Chord Extensions... Dominant Chords... Chord Quiz...6 CHAPE BLUES HYHM GUIA... Swing Eighths... Boogie!... Chord Extensions and Substitutions... Dominant Blues Substitutions... Minor Blues Substitutions... ight-hand Development...6 Shuffle Comping... Sliding Chord Forms... Funky Blues hythm Fills... hythm Blues Fills... SECES OF HE BLUES! BLUES PHILOSOPHY... CHAPE A QUICK ECHNIQUE EVIEW... Bending... Vibrato... Bent-Note Vibrato... Intermediate Blues Guitar Complete Blues Guitar nd Edition -6.indd // : PM

5 CHAPE SOLOING... 6 he Minor Pentatonic Scale...6 Phrasing... Non-Scale ones... Breaking Out of Pentatonic Patterns... he Major Pentatonic Scale... Mixing Major and Minor Pentatonics... CHAPE MOE ABOU SOLOING... esolving to and... Double-Stop rds... Dominant Double Stops...6 Double-Stop 6ths...6 Double-Stop ths...66 Minor Blues Double Stops...6 CHAPE 6 LICKS OF HE MASES... 6 B. B. King...6 Albert King... Freddie King... Jimi Hendrix... Eric Clapton... Stevie ay Vaughan... Gary Clark, Jr... Joe Bonamassa...6 Contents Complete Blues Guitar nd Edition -6.indd // : PM

6 DOMINAN BLUES SUBSIUIONS You know that a major blues primarily uses dominant chords on I, IV, and V (remember the bingo-call analogy from page?). So, in an A Major blues, the I chord is A, the IV chord is D, and the V chord is E. With chord extension substitution you may substitute any dominant chord. Your choices are shown on the right: I IV V A D E A D E A* D* E* A D E *hese jazzy chords don t sound much like the blues. All of this may mean nothing to you without chord forms to work with, so retire to your favorite practice space and work on these! DOMINAN CHOD FOMS A few different voicings are shown for each chord. Notice where the roots are located. th x x th x x th x th b b b b th x x x th x th x x th x x b b b b th x th x th x th x b b 6 b 6 b 6 Intermediate Blues Guitar Complete Blues Guitar nd Edition -6.indd // : PM

7 # b n b 6 H P P P P P P ~~~~~~~~~~~~~~~~~~~ w ~~~~~~~~~~~~~~~~~~~ ( ) j H b 6 6 ~~~~~~~~~~~~~ w ~~~~~~~~~~~~~ Gary Clark, Jr. uses non-scale tones in this example, which is in the style of Bright Lights, Big City. J. ~~ ~~~~~~. b j j n. J H P ~~ ~~~~~~ P H P ( ) Swing the eighths! j b # n ~~~~~~~~~~~~~~~~~ w 6 ~~~~~~~~~~~~~~~~~ ( ) Intermediate Blues Guitar Complete Blues Guitar nd Edition -6.indd // : PM

8 CONENS ABOU HE AUHO... HOW O USE HIS BOOK... DIAONIC HAMONY EVIEW... MUSICAL DEFINIIONS... CHODS FO CHAPE... CHAPE HE -BA BLUES... Shuffle Blues... Blues-ock hythms... he Closed-Position hythm Pattern... Funk Blues... CHAPE INOS, UNAOUNDS, VAMPS, AND ENDINGS... Intros... urnarounds... Vamps... Endings... CHAPE HE BLUES SCALE... Closed-Position Blues Scales... Open-Position Blues Scales... Analyzing Scale ones... CHAPE BLUES ECHNIQUES... 6 Left-Hand echniques...6 Picking echniques...6 CHAPE IMPOVISAIONAL CONCEPS... Composite Blues Scales... he Mixolydian Mode... he Dominant th Arpeggio... Arpeggio Superimposition... he Major riad... he Minor riad... argeting Chord ones... CHAPE 6 LICKS OVE HE I IV V BLUES... Licks Over the I Chord... Licks Over the IV Chord... Licks Over the V Chord... Double-Stop Licks... Octaves... Mastering Blues Guitar Blues Guitar Complete -.indd // : PM

9 CHODS FO CHAPE... 6 CHAPE HE -BA BLUES... 6 he Diminished th Chord...6 he Diminished th Arpeggio...6 -Bar Blues Solos...66 CHODS FO CHAPE... 6 CHAPE SLOW BLUES... 6 Basic Slow Blues...6 Stormy Monday Blues... he Augmented Chord... CHODS FO CHAPE... CHAPE MINO BLUES... he Natural Minor Blues... Altered Minor Blues... CHODS FO CHAPE... 6 CHAPE BLUES HYHMS WIH FILLS... he Delta Blues... Bass Fills... Horn Fills... CHODS FO CHAPE... 6 CHAPE POP BLUES... Secondary Dominants... he Dorian Mode... CHODS FO CHAPE... CHAPE JAZZ BLUES... Alternate Changes... Bebop Blues... Walking Bass Blues... Every Beat Blues... Jazz Waltz Blues... PACICE IPS... Contents Blues Guitar Complete -.indd // : PM

10 Oblique Motion In this example, the E note on the rd string remains constant as the notes on the th string move in half steps. 6 Swing ths E # b E n n # b B b # # n ( ) ( ) ( ) In the Style of Freddie King Swing ths E # # n n # B # j#. H ( ) In the Style of John Lee Hooker Swing ths A # n b b n # n. Chapter Intros, urnarounds, Vamps, and Endings Blues Guitar Complete -.indd // : PM

11 In the Styles of -Bone Walker, Jimi Hendrix, and Stevie ay Vaughan Here s a blues lick with a colorful th tone added, the B note on the st string. 6 j A j F # Blues Scale Lick in the Style of Jimmy Page A # b j # n # J. 6 In the Style of ommy Castro his one consists of a straight-ahead A Minor Pentatonic phrase followed by a stock doublestop riff and culminating in an A Major Pentatonic phrase in the second measure. j A J # # j / H / Π() Mastering Blues Guitar Blues Guitar Complete -.indd // : PM

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