CONTENTS 2 SITTING IN: BLUES GUITAR SONGS BY CATEGORY. FUNK BLUES Woldenberg Park Blues (70 BPM) About the Author Introduction...

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1 2 SIING IN: LUES GUIR CONENS bout the uthor Itroductio 4 o to Use his ook 4 Workig ith the lay-log racks Itroductio to lues armoy Woldeberg ark lues (Fuk lues i )4 Mississippi Greebelt (Souther Slo lues i ) 8 Lafayette Square lues (Fuk lues i ) 22 Reget s ark lues (Rock lues i C) 2 Golde Gate lues (Rock lues i C ) Diosaur Valley (exas lues i D) Rio Grade lues (exas lues i E ) 40 Mustag Islad (exas lues i E) 44 Oak Moutai lues (Fuk lues i F) 48 Milleium lues (Chicago lues i F ) Great River Road (Souther lues i G) 8 Marquette ark lues (Chicago Jazz lues i ) 2 ederales Falls (exas lues i Mior) SONGS Y CEGORY FUNK LUES Woldeberg ark lues (0 M) 4 Lafayette Square lues (80 M) 22 Oak Moutai lues ( M) 48 SOUERN LUES Mississippi Greebelt (0 M) 8 Great River Road (0 M) 8 Clarkco ark lues (00 M) ROCK LUES Reget s ark lues ( M) 2 Golde Gate lues (0 M) EXS LUES Diosaur Valley (0 M) Rio Grade lues (20 M) 40 Mustag Islad (20 M Sig) 44 ederales Falls (80 M) CICGO LUES Milleium lues ( M Sig) Marquette ark lues (0 M Sig) 2 uckigham Foutai (200 M Sig) Clarkco ark lues (Souther lues i G Mior) uckigham Foutai (Chicago lues i E Mior) ppedix: Music heory ad Scales

2 SIING IN: LUES GUIR INRODUCION O LUES RMONY Oe of the most importat goals of this book is to help you improvise over the chord progressio (or chages) of the blues he first step to uderstadig chord progressios is harmoy Diatoic armoy ad the lues he otes of a maor scale defie the otes ad chords for a key If e umber each ote i the scale ad build a chord o each oe, e get the diatoic harmoies of the key Roma umerals are used to express the umbers for these chords s you ll see belo, the most basic 2-bar (2 measure) blues uses ust the three primary chords, hich are I (), IV (4), ad V (), ad they are all usually domiat th chords ( ) I diatoic harmoy, the domiat chord is foud o the fifth ote of the key, so is the V of D Maor, D is the V of G Maor ad E is the V of the key of Maor I the blues, the chords used i the progressio are usually all domiat th chords eve though they sometimes iclude otes ot i that key Roma umerals are still used to umber each of the otes of the scale, ad to idetify each chord i that progressio Roma Numerals I or i II or ii 2 III or iii IV or iv 4 V or v VI or vi VII or vii Maor lues ere is the basic maor 2-bar blues form expressed i Roma umerals ad chord ames i the key of : ere it is i music otatio ad : I # # # 4 IV D I V E IV D I E V layig Scales Over lues Chages argetig he I chord for the blues i the key of is ecause the th of that chord is ot foud i the maor scale the maor scale o t ork he you solo Istead, you ill eed to use the Mixolydia mode hich has the same otes as the maor scale except the th, hich is loered a half step he formula for a Mixolydia mode is 2 4, hich alays orks ith a chord D Maor Scale # # # # 4 Mixolydia mode Maor Scale # # # 4 4

3 SIING IN: LUES GUIR Overvie Oe of the most importat blues styles to master is the slo blues Every maor performer of blues has their o slo blues style, from Kig to Jimi edrix, ad from Freddie Kig to Robbe Ford Developig this soud takes time ad maturity s your playig develops, you ll lear he to use space, ad he to really ail; he to play simply ad meaigfully by limitig yourself, ad he to cry or uleash he feel of this tue brigs up a e cocept of time Each beat i the rhythmic curret is subdivided ito three parts ith four beats i each measure, hich is otated i time If you are t used to readig i this time sigature, it is basically felt as but ith a sig feel (it has a triplet feel) Whe coutig, do t feel all 2 eighth otes equally Rather, emphasize the eighth otes,, 4,, ad 0, hich represet the four dotted-quarter-ote pulses Geeral form: I I I I IV IV I I V IV I V Key: Maor = 0 M Listeig Suggestios Kig: Seet Sixtee his is from the classic album Live i Cook Couty Jail Jimi edrix: Red ouse Jimi plays a slo blues like o other Check out the Stages albums, discs 2 ad, for his pheomeal cotrol of dyamics ad cotrast betee subtle ad screamig Elmore James: It urts Me oo Elmore James as a fatastic, siger, guitarist (especially ith slide), ad sogriter Soloig ry all the licks ith differet dyamics (varyig the volume from loud to soft): soft ad quiet, medium volumes, ad hard ad loud Use three differet harmoic cocepts o this sog: arget Every Chord: lay all Mixolydia, maor blues, or domiat petatoic off the root of each chord 2 Maor vs Mior: For the chord, play the Maor lues scale, but for E ad F, play the Mior lues scale ll Mior: lay the Mior lues scale for the ad E chords, ad play F Mior lues for F Mior lues Shape Shape 2 Shape Shape 4 Shape E Domiat etatoic F Domiat etatoic Maor lues

4 SIING IN: LUES GUIR 4 Lick for Shape his lick uses the Doria soud agaist a domiat chord y addig 2 (F ) ad (C ) to the mior blues scale (Shape, i this case), you gai extra emotio ad a mood that orks really ell ithi the blues he half-step bed at the begiig ad the vibrato o every held ote ill help brig this lick to life E Mior lues Shape 4 8 E ( ) 2 ( ) 4 ( ) ( ) ( ) Lick for Shape 4 ere is a classic blues lead techique built aroud Shape 4 ed the 2d strig up ad the fret a ote o the st strig ith your 4th figer s the lick evolves, the top ote o the st strig chages You ca choose to play these otes separately, or hold them over each other to create double stops Oce you get this lick do, try movig it aroud as ell to adapt it to some of the other shapes # # # # 4 E ( 0 ) 0 J J ( ) ( 0) 0 ~~~~~~~~~~ ~~~~~~~~~~~ ( 0) ~~~~~~~~~~~~~ Π~~~~~~~~~~~~~ 8 ( 8) E Mior lues Shape Lick for Shape ere s a classic fast lick that you ca milk by repeatig it for a good portio of a 2-bar chorus It orks best here i Shape, but see here else o the fretboard you ca play this lick try it i differet positios ad usig differet shapes E # # # # 4 # # b ~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~ ( ) E Mior lues Shape

5 8 SIING IN: LUES GUIR Soloig his is the first time e ve ecoutered a mior blues tue, hich is a importat style ithi the blues repertoire ere, the i ad iv chords are mior, ad the V ad VI are domiat While it is possible to solo over the form usig the Mior lues scale sice the tue is i Mior, it is much better to focus o makig the chages For the i chord (mi), play a Mior lues scale For the iv chord (Dmi), play a D Mior lues scale y of the licks you play i the home key ( Mior) ca be trasposed up five or do seve frets to create a D Mior lues lick For the V chord, play E hrygia Domiat (hich is armoic Mior startig o E), or the E Mior lues scale other great optio for the V chord is the E Domiat etatoic scale, hich gives you some ice color toes but still has leaps for phrasig i a bluesy style For the VI chord (F), play either a F Maor lues scale or a F Domiat etatoic Sice these toalities are a bit e to you, this form is -bars log ad speds a bit more time o the V chord, hich ill give you time to ork out your V chord ideas Shape Shape 2 Shape Shape 4 Shape Mior lues E Domiat etatoic D Mior lues E hrygia Domiat F Domiat etatoic

6 SIING IN: LUES GUIR Œ = 00 Gmi b b 4 rack (Full Mix) rack (Mius Guitar Lead) CLRKCO RK LUES b Quitma, Mississippi (Souther lues i G Mior) Ó r b Œ SL 8 SL SL 4 Cmi b b ~~~~~~ r b J Ó SL SL SL ~~~~~~ SL 8 ( 8) Gmi b b r b Œ r b D SL SL SL SL ( ) 4 Cmi b b Gmi D Œ Roadmap ( ) 4 Nie total choruses: itro groove, head, hor lie, guitar solo, keyboard solo (to chorus), guitar solo (to choruses), head ( )