Beginner blues rhythm guitar 101 | Aarons Music Hub | Skillshare

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Beginner blues rhythm guitar 101

teacher avatar Aarons Music Hub

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

13 Lessons (1h 23m)
    • 1. Promo video Blues course

      1:11
    • 2. The history of blues music

      12:56
    • 3. Lets talk about notes and timings

      7:53
    • 4. Learn your seventh chords

      5:44
    • 5. Lets start to strum along to a 12 bar blues

      2:57
    • 6. Learn how to shuffle

      4:31
    • 7. Lets shuffle up a level

      8:46
    • 8. First turnaround in A

      7:21
    • 9. First turnaround in E

      2:51
    • 10. 12 bar blues in E

      9:01
    • 11. 9th chords - oh yeah!

      10:14
    • 12. 9th chords to backing track

      0:57
    • 13. Blues in G barre chords

      9:00
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About This Class

Whether you are a beginner or more seasoned player this class will give YOU the skills and confidence needed to understand and play through a 12 bar blues. 

You will be able to jam with other musicians and backing tracks over a 12 bar blues - Exciting!

My name is Aaron and I will be teaching you the blues!  I love teaching music and guitar and my youtube channel is "Aarons Music Hub".

You will learn the following - 

  • seventh chords on the guitar 
  • the correct blues and note terminology
  • how to count correctly
  • how a 12 bar blues is constructed
  • how to play shuffle rhythm in the key of A and E
  • two turnarounds 
  • 9th chords

GET THIS!  You will also receive free access to my ebook "Everything you need to become a pentatonic hero".

This ebook has 50, yip 50, useful pentatonic licks as well as explaining all about the CAGED system on guitar.  

Even better - there are Youtube videos that go along with the ebook so you can see and hear exaclty what you should be playing.

Meet Your Teacher

Hello, I'm Aarons Music Hub.

See full profile

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Transcripts

1. Promo video Blues course: Hey guys, my name is Aaron and I'm here to teach you how to play blues, rhythm guitar. I've been a guitar teacher nor for over 12 years and have played for many chart-topping acts. But more importantly, I'm here to give you the skills and confidence you need to become a better blues guitar player. In this course, we'll be looking at how we can play through the iconic 12 bar blues and lots of different ways. There's so many options out there. And free videos and reach. It can be hard to know what causes or what videos to watch and choose. Well, in this course, you'll have all the tools you need among players to help you master the 12 bar blues. You will learn your open position and power chord and seventh chords, as well as ninth chords. You will learn how to shuffle Both street style and swing. Will play in three different keys as well as learning through classic Turner arms all while using correct node and various terminology to help you become a better musician long-term. And you will get to practice all the examples, the backing tracks to you. By the end of this course, it should be rally and inspired to play the blues and jam with other musicians and play over backing tracks. So I'll see you on the other side. 2. The history of blues music: Almost every genre of music today has in some ways being influenced by blues music. Just take are in for a second. That's a big statement. But as true, blues music may not be the powerhouse that it once was. But today I want to look at heart bleeds. Music has evolved into what it is today. I also want to point you towards some of the great blues guitarists come you may not have heard of. But he was influenced many Victorian here as we know and love today. Get started on your blues journey today. So what do we mean by blues music? The lack CEO Oxford Dictionary defines as melancholic music of black American folk origin typically and the 12-bar sequence it developed and the rural Southern US towards the end of the 19th century, finding a wider audience in the 1940s and the black people migrated to the cities. This urban blues gives rise to rhythm and blues and rock and roll. Today, please, music has developed into many sub-genres. For example, blues rock, British blues, country blues, and so on. To me, as a guitar is believed music is music that is not only accessible and quick to pick up and play, but it's a form of music that is hugely enjoyable and takes real emotion to play it honestly and truly. It is a form of music that law is real, honest expression for your chosen instrument. And it's something that listeners, an audience can really feel and see to. The blues emerged from the oppressed, economically disadvantaged African-American communities and the rural Southern States of America. In the years following the American Civil War, eating 61 to 1865. The blue seem to have originated from the southern states of America, mainly Mississippi Delta. Southern America was an area with a large population of black Africans Over to work on cotton farms are other forms of slavery. So although blues music ultimately became popular in Southern America, it has its roots and musical influences brought over from Africa. These enslaved workers would sing religious songs or work songs while working the plantations. Lyrics combined with African rhythms, provided the early musical foundations of the blues. Some examples of early and well-known blues pioneers include Bessie Smith. Bessie Smith, also known as the Empress of the Blues. She's been an influence to singers such as Billie Holiday, Aretha Franklin, and Janis Joplin. She was one of the most popular female singers of the 1920s, singing in both jazz and blues styles, sailing and 10, if not hundreds of thousands of records. Blind Lemon Jefferson, known by some as a founder of Texas blues, Blind Lemon Jefferson was one of the most commercially successful artists of the 1920s and the major influence too many younger musicians. And this get the strip. He was blind. This wasn't just a nickname. In 1925, Jefferson was discovered by a scout for the permanent label and taken to Chicago to make records. These recordings are some of the very first by a solo blues singer guitarist, and many considered the first blues recordings to reach a national audience. Robert Johnson, in the delta of the Mississippi River, Robert Johnson was born. They said that if an inspiring blues men waited by the side of a deserted crossroads in the dark of a moonless night, then the double himself might come and join his guitar. Sailing a pact for the blues man's soul and guaranteeing a lifetime of easy money, women and thin. They said that Robert Johnson must have weighted by the crossroads and gotten his guitar fine tuned. Robert Johnson was in Mississippi blues singer and songwriter here, according to legend, sold his soul to see it in, at the crossroads in exchange for his remarkable talent on the guitar. Of course, this is just a fun story, but the fact remains that he was an incredible pioneer, inspired some of today's biggest guitars like Eric Clapton. Many of the songs have become blue standards, not like Sweet Home Chicago. At this point, I would say pause the video and go and listen to the following tracks. Robert Johnson, Sweet Home Chicago, and Blind Lemon Jefferson, matchbox blues. So how did the blues evolve into other styles such as urban or Chicago place? Following the Great Depression in 1929 and America, millions of African-Americans left aside to sell fervor North the pieces such as Chicago, and they carry the blues music and rhythm with them. This is where we talk about our next big chapter and blues music. Chicago Blues. Chicago Blues built upon the Delta Mississippi blues style by turning to electrified instruments and also the use of other instruments like the harmonica film. While the blues of the solid if had a more rough and raw approach, you can say Chicago Blues sound a much more vague and fill, but Phil band setups. Chicago blaze could include piano, horn sections and was inspired by jazz to buy. Now had a blues was appealing to an even wider audience somewhere. No musicians from the Chicago Blues scene include Harlan Wolff. He moved to Chicago. Then there is Muddy Waters dubbed the father of Chicago blues. Muddy Waters has inspired many of blues and rock and rollers grid as artists such as Eric Clapton, Jimi Hendrix, and The Rolling Stones, they evenly into song after his influence cannot be overstated. Now we can't talk about the history of blues music. If I'm talking about the Three Kings, Albert King, BB King, and Freddie King. They didn't start the blues. They are referred to dot, some of the biggest names in blues music and have inspired countless guitarist that we know and love today became also known as the king of the blues. How does first big hit in 1951 with a single, free o'clock, please. Other well-known hips include Rock Me Baby and everyone's favorite, the furloughs gone and essential blue song to learn, if you ask me some quick BB King facts. He brought his first guitar at the age of 12 with only 15 US dollars. Today. That will probably just about get you to packets of strings. Bb King has racked up 30 Grammy nominations and won the most number of Grammy Awards. And the blue shocker with 15 awards. He was also quite a ladies man. He fathered 15 children with 15 women. Proof that if you become a successful blues guitarist, you will be popular with ladies all around the world. Albert King was born on a cotton plantation in Mississippi. Unless is more type blues player. He was known for his expressive bending, a technique characteristic Blues guitars. Albert was left-handed, but played a standard guitar without it restringing it. Play it upside down. Songs to check out include born under a bad sign, cross-cut saw, the hunter, and I'll play the blues for you. Freddie King, one of my personal favorite guitar players I really enjoy is playing and all the little nuances he adds to his notes. Well-known hits, I would highly encourage you to check out it include hideaway. And have you ever loved the woman and going down? Unfortunately, Friday died at the early age of 42. Friday could be described as a little more rock and roll than the other king players. A bit more aggressive in his playing, more rock. I remember it regularly sit on and try and copy exactly what he's playing. And I'd have to sections over and over and over it just to try and someone like him, brilliant player. Now I want to focus on what is considered the most popular period for blues, the British blues, Vim, British blues originated in the late 1950s and became main stream in the 1960s, becoming hugely popular in the London Club circuit. Widely popular in Britain. It was music dominated by electric guitar and me at international stars of several proponents of the genre, including the Rolling Stones, the animals, Eric Clapton, Fleetwood Mac, and Led Zeppelin. The British blues beam also give way to the subsequent British rock explosion of the sixties and seventies. While bonds such as Rolling Stones, we find more success with their popped catalog. Always paid homage to the roots and covered blues songs and the blues influence can be seen on a future releases. Now let's talk about an album that not only had a huge influence on me, is one of the most important blues albums and history. The new album recorded by John Mail and The Blues Breakers. It featured Eric Clapton. Money is only 21 and you must check out this album. I remember at the time listening to it as a young boy, I'd listen to it with another blues enthusiastic. And he would go on and on and on about it. Playing guitar is real feel. And this is what real blues music is. Mary, when I was young boy, might necessarily have agreed and enjoyed a bit more John Mayer. But as I got older, I went to really, really appreciate the importance of this album. Let's talk about the year 1966. 1966 was a year The Yardbirds had Jimmy pH and Jeff Beck. 1966, this was year to Peter Green arrived on the scene in 1966, the year to Jimi Hendrix became a household man. All these musicians have stayed at how important blues music was to them and numerous interviews. And that's obvious. You can hear it in their playing under their catalog of music. Oh, 1966, that was also the year England won the World Cup. Another hugely important guitars to mention is Stevie Ray Vaughan. Stevie Ray Vaughan was born in Texas October the 3rd, 1954 and began playing guitar at only the age of seven. Yep, that's right. Seven. Stevie Ray Vaughan took from many of the great guitarists before him, both blues and rock, and created a style that at the time sounded like no other. From 1983 to 1990, Stevie Ray Vaughan was a leading light and American blues with many cell it tours and gold albums are plenty. Who tragically died at the age of 35. But for sure was one of the greatest blues guitar players time. I've yet to find a single person who would argue against that. You can, Here's influence and players today like Joe mare. Some great songs and check all it include Scotland button called Shot and pride and joy. Finally, please, music in the modern era. I think it's safe to say that blues music isn't mainstream or topping the charts. I got ones. Did you guys like John there? A Doblin blues and blues influences, but no one is topping the charts like Ed Sheeran, there are many great blues rock bands and many rock bands that again double of blues influences. But let me introduce you to some of the best modern blues guitarist. Him you may have heard or may not have heard of job autonomy. And this guy is something else, both popular with fans and critics alike. Jawbone Tomasa is a true blues genius. I'm one of the grid is guitars of his generation. He founded an overseas and non-profit keeping the blues and live foundation, which is currently raising funds to help musicians in need for its fueling musicians broken bone Tomasa has received two Grammy nominations and recently achieved is 22nd number 1 Billboard blues album more than any other artist. Cannae when shepherd, he signed to a major record label deal at the age of only 13 and the exploded onto the scene in the mid-1930s. Just like bone Tomasa, can you in shepherd has experienced great success, both with fans and critics alike. Can you in jeopardy has been nominated for five Grammy Awards, and there's received two Billboard Music Awards and two blues music awards. Josh Smith, a blues rock guitar virtuoso, one of the best living guitars on the planet. In fact, Guitar World Magazine named him the 16th bass living blues player in the world, just started playing guitar at age six and praised as a blues prodigy by the time he is only 12 years old. Here's what Jawbone a master says the bottom. Josh is one of my favorite musicians on the planet. As musical depth and guitar playing transcend the boundaries of the blues genre it into the genre of his own. I am proud to always share a stage with him and even prouder to call him my friend. One of the greatest guitar players, praising one of the greatest guitar players. Go check them out. There are so many more guitars, I could've mentioned, but that's another video for another time. I hope you enjoyed this video, but can't really do justice to many guitars and true pioneers of blues music. But I hope it inspired you to check out some of the players mentioned. I'm provided you with some interesting facts. Inspired you to play music or basketball, inspired you to check out my bass guitar course. Take care folks. 3. Lets talk about notes and timings: Hello everyone. My name is Erin, and in this video, I want to take you through a quick introduction of music notes, hide the content, as well as helping you understand music notation better. This will be a basic on brief video, but enough to give you more confidence and understanding some key music notation. Ultimately to be good musicians and to play well with other musicians, we need to be able to understand rhythms and hard to count. So this video should help you either get the basics or provide a recap or refresher for some of you. So let's dive right in the time signature. A time signature tells us how many beats we can't in h bar. Times signatures are what give the beat of the song. For example, have you ever been at a gig and the singers like Come on London, clap along. Everyone is clapping to every beat of the song. On a time signature. The top number tells us how many beats are in a bar, and the bottom number tells us what value those beats are. For example, the most common time signature for four means we count four quarter notes per bar. A time signature of free form anions. We would count three quarter notes per bar. A bar is a small segment of music separated by two lines. These two lines hold a certain number of beats, and this will be determined by the time signature. And let's talk about tempo. Temporal refers to how fast or slow the song is. A song at 60 beats per minute, also known as 60 BPM. We'd be slow. A song at a 120 beats per minute, or 120 BPM would be fast. Now let's move on to talk about some of the most common notes in music. For all our examples, we will be using a time signature of 44 and a tempo of 60 BPM. Every example will have a four beat content. So 1, 2, 3, 4, and then the example, we'll begin. To practice these examples. I would get a metronome or just Google metronome and sad to metronome to 60 BPM. So you can practice yourself. 00 note, looks like this. Whole note lasts for four beats or the entire length of a bar at depending on what time signature, urine. If your time signature is 4, 4, that means it will last the length of the whole bar. Half notes. Half notes last for two beats. Let's listen to an example. Quarter notes. Quarter notes last for one beat h. We can have four quarter notes in the bar. It footnotes. It notes last for half a beat. We can have it for notes and A-bar. We would count eight notes as follows. 1234 and 16th notes. We can have 16 notes in a bar. 16th notes last for a quarter of a beat. We would count them like this, 1234 E. And let's listen to an example of 16th notes. And finally, it note triplets. So let's look at a bar of soap note triplets. If we were to strum not, it would sound like this. And we would count that bar as such. One trip, but to triplet, triplet, triplet. Now let's talk about how to play off a shuffled feel or with a swing feel. If I count in straight time and then count with his swing feel. Hopefully you can hear the difference. Here is a street written 12341234. And now I'm going to count with a swing feel. 12341234. And could you tell the difference? So let's talk about the shuffle. Read him. The shuffle rhythm uses it, flips, is best understood by hearing it. So here's how epsilons shuffle. It floats alternate between the long and the short note. The long notes fall in the beat, and the short notes are in between on the offbeat. Simply put, we are playing it float triplets, but not playing the middle note of the triplet. You would think with the first two notes as being tied together or ringing together. Now you may ask, how do I know when to play a song with a shuffle feel? Are a swing feel, often a music notation. We'll have this start telling us to Edmodo to be played like a triplet with the first two notes tied together. Another common way is simply riding play with swing or shuffled feel at the start of a piece of music. Finally, you will begin to hear the shuffle. Once you get to grips with how it feels and sounds, you will recognize that a lot, especially in blues or jazz music. So hopefully, you've understood a little bit more about music, notes, notation, and hard to count, especially for bleeds music. See you next time. 4. Learn your seventh chords: Okay, so now we're going to learn our seventh chords. I went, you know, the seventh chords you can play all the way for strum away for you first hobo, please. So let's dive in. So first up we're looking at a seven and it looks and sounds like this. If you know a major, which is free fingers on the second fret, D string, G string, and B string. All you're doing is lifting off your second finger to get to A7. But a zone, let's dive right in how to do it. You're gonna put your first finger, second fret on the D string. You're going to have an open G. And then you're going to use your third finger to also go to the second fret on the B string. Umber on a right-hand, we're going to strum from the Eastern. So at this point, and with all your chords, I'd say make sure you're on the tips of your fingers for every court. Never want your knuckle to be bent. So if you ever see anything giveaway, try and fix a Always keep them license strong. Okay. The other thing is keep your fingers nice and curl to which carries on from the previous point. So for example, on this A7 chord, what you might struggle with, but with practice, you'll get it, is your first finger may touch the open G string and you get not sound. So that's where you need to lift that finger up with it. Okay. So that first finger, instead of being like that, you're going to lift it up. So nice, curved fingers, everything on the tips. It's all the strings were not nicely. I would always give us and relax all the way from your shoulder, arm. Forearm. Didn't have little shaker in on him. Try not to tense up. That's a really on drastically underestimated. Our thought got something people underestimate is, is as if they stiffen up. That's just something to be really careful of basically. So you don't want to stiffen up, you don't want to tighten up. You're going to be nice and release nice and relaxed. Okay? Um, another thing when your products and these chords, I plucked for each string one by one. Okay, so that's a seven. So we're gonna look at E7 and there's two versions, two variations, two fingers, three fingers. So just like a chord, if we play an E major liftoff, our third finger get E7. So that's the great thing about guitar. Lots of them chords are very, very similar. It's just lifting a finger off in them. So two-fingered E7 court, we have nothing on the big string. Our second finger, a threat to on the a string. We have an open D string. First finger goes in the first fret on G. And the other two strings are open. And when I say open, that means we have no fingers on them. And we're going to strum all six strings. Variation to that. More fun. Just a different song, but also called an E7. Your pinky finger is going to go to threat theory on the B string. Gave the practice switching between the two, strong two times each. Okay, let's now look at these haven't looks and sounds like this. So for a d seven, we're going to have our second finger on fret too, on G. Our first finger goes on frat one on the B string. On our third finger goes in fret too, on the smallest string. Now, we can strum from either d or a buffer. Going to sound really, really good. Okay? I'm just I, before I practice plugging each string, one-by-one. Last chord, B7. We've got two variations about three fingered, B7 and four-fingered. To want to challenge, we'll end off and not hardest chord. So our free fingered version of B7, our second finger goes on the second fret on the a string. And that's our b note. Our first finger, it goes on fret, on the D string. Our third finger it goes on fret too, on G. Now we're not going to strum the big string. We're going to miss it. So what is your poem? Really want you to practice not heading string, okay? We find it hard at first. You just, with practice, not sure we get really good at it. And eventually you'll find your strumming from a string of thinking about it and start with you. I have to be really careful. Just check out a four-fingered at B7. We're going to add the pinkie. So we're gonna keep everything as it is, an odd the pinky to the small E string fret to really cosine cord. So there's all yourself and coordinate, get practising. And I'll see you in the next video. 5. Lets start to strum along to a 12 bar blues: Okay, so now we're going to up the temple because I got to challenge you guys. Write Ross who strumming in quarter note system. So let me just talk and pay for what we can do. The first four bars, a 7, 1, 2, 3, 4, R2, R3, R4. So for astronomy and every bar k, We're gonna go to D7, 5 and 6. 1, 2, 3, 4, 1, 2, 3, 4. Back to a. For Salomon, it 12341234, K bar 9782. Fingers, three fingers version 1, 2, 3, 4 bar 10. D7, 1, 2, 3, 4, and then a seven. We're going to strum 1, 2, 3, 4. We're going to go to a, are in a gonna go 123, B1. We're going to strum our E7 colored 12. Not actually like to meet with my right hand. You're going to let it ring 1, t, and I'm beat 2. I'm going to get my strings simply put. So not too hard, not too soft. Just touching the strings. If my pen, just resting a hand on the strings. So I'm going to, okay, my, on the end, we're going to strum it in 12. And that rings for the rest of the bar, 1, 2, 3, 4. So the final four bars or go like this in seven bar 91234 parts on the seven, 1, 2, 3, 4, A7 bar, 1, 2, 3 last 12. And let's say, or an action of the backing track. And then you're going to take the backing track and play along itself. 1234123412312312341234123. So 102, active user interface. 6. Learn how to shuffle: Okay, so now we're going to have a quick introduction. I'm looking at a blue shuffle. So a shuffle could best be described as an no rhythm pi over 12 bar blues. Just like I played for you. There's lots of variations. And in this video, I'm just going to show you the basics, quick little introduction. And then in the next video, I'll show you how to play the shuffle with more of a bluesy feel, a bit more typical of Hollywood. We would actually play it over the place. And once you recognize this and how to plan, you'll hear it all the time on famous blues records. So this is one of the best things you can do and you will play this all the time. Honestly pretty fun. And just as a reminder, when we talk about it for notes, we're counting 1234. And, and again, when we talk about a straight feel, we're not giving anything as swing. We're not giving anything and bluesy field just yet. We're just doing everything. Nice and buy the book. So how do we apply it? Let's start with the right-hand. So the plectrum and the right-hand, it's always going to strum two strings. So I was going to strum the a string under the Eastern together. So first of all, I would just practice drawing those two, string them together. Depending how long you've been playing. I might be really easier. I might not, especially as you speed it up. But if anything, practice makes perfect. Now, on the left-hand, what we're gonna do, we're always going to have an open and a strain. So we're never going to pay on any finger in a string. Our fingers are just going to be playing the D string and no other string. So I want you to start by putting your first finger on fret. On the D string. I like it, like I mentioned earlier, we're going to strum two strings at a time. We're going to strum the a string under D string. And we're going to strum it twice. And I would count that one. And the max bet, I've, he only had a bit we know, because we're doing lots of repetition is I want you to use your third finger. I want you to play fret four on the D string. So we're on the same string. We still have that open a string. But this time we're in fret on the D string, are going to strong twice. And this is for beats two. And so here's what we've got so far. We've got 12, and now we're going to repeat that whole thing for 3434. And so from the top, and that would be one bar because we've counted more than 234 and a few other little tips. Everyone's very tempted to slide. And I would say if you, if you're really struggling to use your third finger for it, you can use your first finger for today. But I would really encourage you to use two different fingers, primarily first, third, the other thing is I'm keeping my first finger on the D string. Again, you might find that a bit too tricky for today and you can build up to lifting fingers off and on. But ultimately, I want you to use two different fingers, keeping your first finger on the whole time. And eventually as you get better at it, the bleach, you'll start to see variations. 7. Lets shuffle up a level: So as we've been doing, we've been content every bar of quarter notes and contact 1, 2, 3, 4. But to really understand this revetment, the planet, well, we have to think along the lines of triplets and unexplained bit more about triplets and one of the previous videos. So I'd go back and watch out if, if if you're not sure of what triplets are. But I'll explain again about briefly. So when it beat is divided into three, we get a triplet. So if recent count 1, 2, 3, 4, but with a triplet written, we get this triple, let triple, let, triple, let, triple let. So these triplets give us a different feel, a different ribbon. And often that blues written we talk about. So at this point, oh, put on a metronome and have it clicking 2, 3, 4, 1. And I want you to say the word triple it on every beat. So like this, triple, let triple, let triple, let triple, let triple it. So we still are counting to four and every bar. Now some people like to count like this. One, triplet, triplet, triplet, triplet. Okay, so now let's take those triplets. And we're going to play the first beat of each triplet and the last period triplet. So the D and the middle, we're going to leave. So we're gonna go to let that. And if we can't do because we've got four triplets per baryon number and go like this, 1, 2, 3, 4. So this recap, what we've done so far. We're not playing a street, she'll shuffle or playing a shuffle with more of a swim reveal more of that recognize bluesy sound. We're taking our four beats per bar and we're putting in if note triplets. And within those 48 from triplets were playing on the first beat and the last beat of each triplet. And we can't do like this one. Let, let three triplet for a trip that how do we do that? And guitar. So if you remember from the previous lesson, we had our first finger on the second fret on the D string. And let's just keep it there and practice doing that ribbon. And we're going to try and play a full bar. And it would sound like this one. Let's try that again. 1234. Okay, The next step is to then move our fingers like we did before. So just a quick recap that we're on the D string and we're going between France tuned for it. And we're going to try and keep our first finger on our kind of trying to use our third finger. Are here is hot food bar, which side? We're finding driven drills to ensure free injury event for true. So at this point, pause the video, go grab a metronome and start practicing that. When it starts to feel good and starts to feel comfortable. We'll go on to the next bit. So let's see if we can play four bars of the one chord. So in this case a and find new shuffled rhythms. So we're gonna go 12, 341234123412, maybe three to 44 to ten samples, four bars. Hopefully it's making sense. So as you may know by now, the next two bars, we're going to go onto our D. Now what's quite cope? So we're going to keep to the sea and river front. But on the guitar, when we go to the four chord or the D chord, or thinkers. We're not going to play the G string and we're going to have an open D string, okay? So with our right-hand of plectrum is not always going to strum D and G together. So maybe you want to start just by practicing that. And that feels good. Go to the left-hand. Gain, doing your best to keep your first finger on. And he's your third finger. And, you know, if that first finger does come off, it's not necessarily a bad thing. Just do your best. So if we do two bars with our shuffle the ribbon. So if you start to feel more comfortable, you might need to say one to just naturally start with a written one. After we've dumped to part d, we're going to go back to two Bundesbank content. Yes. Okay. So we've got four Barger, meaning on our next bar, we're going to play E are the five chord. So maybe the bond or the other guitarists is doing this. We're going to do art shuffle rhythm. So our fingers are moving done to the a string and they're going to stand a string, France 2 and 4. So you can probably see the powder noise or fingers are always staying one string, always in France, two in for y. This time on our right hand, we're always going to strummed string and a string together. And on my left hand, I'm a string. France 2 and 4 are only playing one bar, so it might pass you by quite quick. And got that one more time. Our 11 bar up at the chord, five chord, one, jump to D. And if you remember, we have an open D string and our fingers on the G string, threats 24. Alright, hang a strumming D&D, D and G strings together at the last two bars, bar of a and a bar B. So I hope this is making sense where it stick into the C chord progression. We've taken up basic shuffle rhythm. And every bar, all we're doing is moving our fingers to match the one chord, four chord, or the five chord. And it's very similar. Always in France tuned for, always in the same strain of our fingers. And on the right had always strumming two strings at a time. And if you're finding this tricky, that's completely fine. A lot of people do on a says Go and how the break and come back to this video and see if it makes more sense in a little bit. And I'll see you in the next video. 8. First turnaround in A: So next, we're going to look at how to play turnarounds. Now, a turnaround could best be described as a musical line, a ref, a chromatic line, or like a pre rehearsed idea by the band. And that is played over the last two bars of the 12 bar blues. So the first example I'm going to show you is in the key of a lot when I talk about a chromatic line, or you hear people say, talk about the word chromatic. What that means is it's a series of notes played one after another. For example, if I play fret on the a string, this is the C Sharp. If I play the very next note, D, the very next note, D sharp, very next node eight. That would be a chromatic line. Because there's four notes played right after each other. You could also go the opposite way, a descending chromatic line. And this first turnaround uses idea, a chromatic line. So let's dive right in, learn the line, and then see how we can put it into action. So our first note is going to be fret 5 on the big string. Now hopefully you know what this note is. If you don't, I would say it's a really good idea at this point to learn your notes and the guitar, especially on the E string to a string and the D string. And so you want to get really quick at knowing, for example, five. Yes, it's a. So we're in the key of a. And there's our EndNote. So this starts in bar 11, and bar 11 is the one chord. So a, A7. We're going to play this note twice. I use a dawn picked twice from a plectrum. I use my second finger. You could use your first finger is up to you. There is refer to pinky, not much point, not just yet. Okay, So after that we're gonna go to fret four on the next string, which is a C-sharp. And we're going to pluck twice. We're going to carry along using finger two. And we're gonna go to fret 5, which is D. And then we're going to carry along to fret six, which is a D sharp. So here's what we've got. Now we want to try and give it that nice swing blues he feel, which we've been doing a lot. We've talked about it a lot. So hopefully by now you've got that ribbon that we've been going on about a lot. So we want to give it that real blue shuffled feel. Okay. Now i easy version and then hard version. Easy version, just slide across to flat seven. And that's your last note. That's an E note. And as you know, your last chord and bar 12, E chord five. So it works perfectly. We're working away up a chromatic line, E. Okay? Now there, I went upstreams. So many of you playing this song if bit more of a faster track, might find you wanted to, Ostrom's, you might wanna do, commute. It all depends and attract your playing over. So that's easy version, version two. Where we get to our e. I want you to use your third finger because we're going to play an E 7. So another E7 code, brilliant, this is a really valuable core to learn. Okay? So it's still got the same notes as r, e seven down here. But we're higher up the neck. Okay, so still got all the notes that make an A7 chord. So fingering was third finger, friends seven on the a string. Second finger fret six on the D string. Pinky finger, fret seven on G, first finger, flat five on the B string. Now what's quite cool about this, because it's an E seven code. We can also get are small and big a and the cord because I eat. So we can strum all six strings. In terms of how we get to the court. This is where it gets a bit more fun. We can do this different ways. We can do it like this, 1, 2, 3, 4 straight in. I'll be a bit trickier to get from that. Another way of doing it, 1234. So on playing a note on beat 1, 1, and 2, and on the 20, and I'm playing the file's app and CTO. Mark gives you time 1 and 2. You've got time. Scale your fingers on 123412. Not similar to what we've done in our R. We talked about that one of our earlier videos, algorithm 112. And there's loads we can go into loads more ways of adding to this turnaround. And a later video we're gonna talk about ninth chords. We could do a ninth chord at the end. This is a great thing about Turner ions is he can take someone else's turnaround, adds up and take something away from it changes slightly. That's what all the great blues players day. And let's start to play for a 12 bar blues outing and our turnaround, a 1234123456. Bargain. Easy as I installed a lot slower assault songs, but turnarounds really add a lot. See you, I'm not just playing a shuffle all the time. What it does is on the final two bars, it creates a bit of excitement, gives a little something before we go back to the repeat. So they're really good to learn. 9. First turnaround in E: Okay, so now I want to like a blues turnaround in the key of E. And you're going to use this turn on your next video to help you pay for it. How about bleeds and the KV? So we're going to start by playing the Big East string on beat 1. This is a two-bar turnaround. Be one on beat 2. And let's talk about the rhythm first. We're going to use those triplet rhythms. So triple it. Okay? So the notes we need is fret four and G. We're going to plucked on. You're going to get upstream and the smallest string. And we're gonna go back to Don strum on G flat for so we want everything to ring. We don't want to lift our finger off. Doesn't have to see him feel or both ring to it. Then we're going to move our finger down. I'm using my first finger. You could use your second finger, but we're kinda good on fret three. And we're going to do the same thing of our right-hand. We're going to plug g, Smalley string. Okay, go frack to tear up here how everything's ringing, really nice. And we're going to finish by just plugging flatline. So that descending part again or that chromatic line. Chromatic meeting notes all one after another. Here we go. From the top. We'd cut it like this one to the next bar. The next section we're going to plug another little chromatic line. We're going to pluck a string. Plot for I one and a, which is nice sharp. And her into B. The B note, our five chord. Now if you want the simple version, we're just going to go like this. From the top it goes like this one. So if you have any DDS notes, doesn't matter if you use first or second finger. For the more adventures heavy. After we play that note, we can go into a free finger, forefinger, B7 chord. So there is your blues turnaround journey that we're going to use in our next video. 10. 12 bar blues in E: Okay, Let's not talk about pain and bleeding in the key of D. Maybe the most fun Nikki, great thing about the KD. She's got all these open strings to pay. Well, so KV, brilliant. You love it. Lots of beliefs, arms and the guinea. Lots of great Rex come from it. That is for another course, for another time. Let's talk about the chord progression, the chords we need and was strung for it. They're shuffled for it. Um, and I'll explain a few things. So chord one will of course be for four bars. And you already noticed shuffle that you need among the string z plane. So in the key of D, your first finger is on the a string fret two. And you're going to go between fret to fret for now. If you didn't watch my other videos I was pointing out before that. You want to use two different fingers. You don't really want to slide if your first finger. So if you find it a bit difficult to switch between two fingers, stick with it, you will get it. Now I keep my first finger flat. If you left your finger back and forth, fingers off bass. Okay. Ultimately work on keeping up first finger glued. And if you've got smaller and smaller fingers bit like made, it might be times where you need to stretch like this. We need a more complicated or different rhythms. I need gesture hands on deck enough so if you need to lift your finger, go for it. So again, for those who haven't watched any video, the strings are strumming the Big East string on the a string together at all times. And we're going to go between fret too in fret four like this. Remember not shuffle rhythm, okay? Even saying that word shine, are going to adapt for four bars. Four bars sounds like this. So hopefully now you're getting a better idea of counting and where ya'll are in the bar and the number of bars you've paid. So then we're gonna go to our four chord, which is a for two bars. And just to recap, so we're having an open a string. Our first finger is on fret two and D. And we're going to play fret four and D. We're going to go between those friends and restricting the a and D string together at all times. So one bar with something like this. If we do that again, for bar 6, There's your two bars. We're gonna go back to eat for 24 hours because we always go back to our one chord. So another two bars of our one chord sounds like this. Okay, Then we get to the five chord. So here's where things get a bit too tricky in the key of E to the shuffle r7 if you're a beginner anyway. Because to do, to keep to that shuffle idea, have a massive stretch. I'm going to show it T, so you can try out for fun, but I'm going to show you what actually want you to do. So to play out shuffle rhythm in be your first finger, we play fret on the a string. You would use your third finger to play fret on the D string. And you're going to strum the a and D strings. And then your pinky is going to stretch the front six and the a string. Some people prefer to use your second finger. And I go between second finger and the thinking of as a massive straps on it. If you're a beginner intermediate player, that's probably going to be way too tricky above shoot it to you so you know. But what I want you today and what science she signs really good as a opens things up the day. As I want you to go to your B7 chord and we're going to strum it. Or you can do your forfeited B7. So just to recap, we're coming to the end. So instead of after we've come out of our one chord. Or you can just do, for Donald Trump's. If you want a more complicated ribbon, you can go down, up, down, up, down, up, down, up. A game of fat, bluesy shuffled feel revenue if that swing written. So that's where we go. Then you're gonna go to A7 for a bar. And we can keep that for simple dawns. Drums are not down, up, down, up, down, up, down, up. And then we're going to do are these turnaround. If you don't want to do at least turnaround, you just simply go back to your E shuffle. And then a piece happen. 70 can cause this last chord you can build on. It, could go like this and with a triplet rhythm. So you could go getting louder. Sure, I am strumming. So just to recap that were coming. Bar 11 or a shuffling rhythm. The seven all done instruments building. Well my time. Bar 11, B7 bar 12. That's something funny you'll enjoy. So if we don't do that ribbon, say if you don't want to play, chords are shuffled. We're going to do the turnaround that we learned in our previous video. For dose. He didn't watch the previous video. Let's just quickly recap. We've got the open E string, fret four and G, followed by an open E string, fret three and G followed by an open E string. Open E string, in fact line. And then a string fret one and a threat to you on a and you can go into your beside him. As peace, all of that together. From the top, I'll add to it with the Tanner on. So it sounds cool. And if you want an integer star, if you're trying to R1 and R3, R4, R5, R6, and so on and so on. 11. 9th chords - oh yeah!: Okay, So in our last lesson, we're going to look how to play ninth chords. And these cause, cause or be known as dominant and ninth chords. So these are really cool chords used a lot in funk music and also used a lot in, please music. See heard that funky rhythm at the start. And we'll look all we can play it over a 12 bar blues. So what do we mean by the number nine? Why are they called ninth chords? Well, we talked about in previous videos when we played a major scale. So we'll take the a major scale and I'm going to play it up high. But if we take the notes a, B, C sharp, D, E, F sharp, G sharp a, we can number those notes of the scale. 1, 2, 3, 4, 5, 6, 7. Now when we get to our next a note that's an octave. So when we get from a to a number, that's note number, it also known as knocked. But once we start to get over that note, once we start to get both, note it, or once we go over the octave, we can number two was Notes 9, 10, 11, 12, 13. Now if you were really only come across ninth chords, 11th, 13th chords, and lots of variations. And using the ninth, 11th, 13th note, you're not really come across ten or 12. And today we're going to really look at art night float b. B is the exact same note as our second. So a to B, first or second, load up the octave a to B, it's nine. Now another important thing to quickly mention is we could play the note. Here, are technically here. It doesn't really matter where we play that B note, as long as it's above the octave, that's what gives it the ninth chord, the night flavor. So if it's between the root and the octave, it's going to be a second. Once we get over the octave, it's going to be a ninth, and that gives it a different flavor and a different tone. Let's learn the ship. It's really simple shape when she got to learn it and know it. And the great thing is you can move that all up and down the guitar. So your fingers are going to say to see him, I'm just going to be the up and done. Now there are variations, but you can learn those another time for today, I want to look at the most well-known sheep. So the play are a nine chord. You're going to put your second fret on the fret 12 and a string. That's an a note. First finger is going to go on fret 11 on the D string. Your third finger is going to go fret 12 on G. And your pinky finger is gonna go fret 12 and be ready cosine. And you might find it's tricky to get them all squished in to get them all squeezed in. It's just going to take a bit of practice. So try not to do anything strange or weird. It's your hand or thumb. Just keep your arm, keep your outlook, keep your hand is normal. And it'll eventually get it in tips of your fingers and give each string and pluck. So you're gonna play the middle four strings. We're not going to play the big one. We're not going to play the small. And what I do is I let my pinky just touched a small string to meet it. So I can strum and not worry about that string ringing plane from a string of got four nice strings ringing out. And then that top string as needed. Well, I'm strumming. I can really go for it and not have to worry about this strings on the bad, especially on these other chords. So that's our a G9 chord. Are D9. We can slide the ship all the way to frets 5, 4, 5, and 5. So second finger and threat 5. First finger fret for third finger fret five. Pinky finger fret 5. Again, nothing on both strings. And then we're gonna go to E7, which is frets seven. Sorry, we're gonna go to E9, which has threats 7677. So just like I said, the cargo is that we can just move this ship up and on. So let's talk about the written state revenues. Want to show you the first one plane, all free to track. It's just a straight quarter note rhythm, 1234123. Now in-between those notes, I'm lifting that pressure. Off if my fingers of pressure on pressure off. You can also use your right-hand and stopped the notes in between. So 1, 2, 3, 4. But simply put, if we just use the fingers and the left-hand strum, release the pressure. The same idea. We're going to strum release the pressure every time after restrict. Same for E9, we're going to strum and release the pressure after every time we strum. Charles, hurry both examples. In the next video I'll play along. And I'm going to do one stride with just quarter notes. And the second time around, we're going to be this next r7, which is a bit more complicated. So a great thing about ninth chords as a sign, really good for me. Slide in and out of them from a frat below. Even a frat above. So at this point, do rhythm that we're going to do that. So we're gonna go 12341234. What I like to do is practice strumming that with me. Did strings, 123412341234. And the first bar we're going to play on beat 2 and the 3, and the 3, and I like this one and see. And so we're going to do a dance drum and beat 2. And then we're gonna go at dawn. And then Darren and the three, and then up in the free end, 123123. If you've got that. So on the next bar, so we've got 12341 and non 20. And the next bar, we're going to slide in 12312341234123412. And we're going to see him for four chord, 1234124123412. Okay. That was tricky just to wind it back and watch over and over. Now it'll help the practice separately or to think separately. Or maybe you were even ride and a bit of people or sale at large denotes that you're strumming on 123412. Now in terms of that final strum, you can let it ring for as long as you want and even kinda drive it off. I'll just make a quite short term. I just tend to go for fun. Now when we get to the five chord, we're going to go like this. We're simply going to go 12341234 and an end on a D chord. We're going do for coordinates 1, 2, 3, 4. Now we're going to do to turnaround or when any one of our previous videos. So if you don't know how to play that, go back and watch how we do our first tenor and differences time instead of a seventh chord. Ninth chord, 123412123412. So I'm going to play both those ribbons to the backing track. First time around, just quarter notes, second time round. That more complicated written. 12. 9th chords to backing track: Okay. 13. Blues in G barre chords: Okay, so let's now look at how to play our bar chord seven ships. He may already know how to play barcodes hadn't shapes. But I want to talk about bar chords briefly. Bar chords, if you've never played before, would be really hard at first, but with practice, it will become second nature. Once you can play these barcodes, that probability new song that you won't be able to plan and rhythm guitar, so they really are worth learning. So let's take a look at what we're doing now. The G7, C7, and the D7. The first thing to note is we are playing the same shape. Hands and fingers with state or hand and finger positions with stay the same. We're just moving this up the Mac. So once we master this G7 Power court, the rest is pretty easy. So that's our first chord shape, G7. We're basing the G7 chord off our g root node and the big string. But obviously this is a bar chord. So our fingers aren't going to be curled anymore. Our fingers are going to be flat. Now, you might already know how to play a bar chord, but I'm going to explain and talk about some tips and techniques, four-part chords for those who don't know. So our first finger needs to be flat across fret three on all of the strings. At this point, I would say if you've never played a bar code before, I would start by just keeping your finger flat across all six strings on trying to get every single string to ring out. And I would practice on maybe 10 times in a row. Now, if you've never done this before, It's going to be hard. Might even be a little bit sore. But just with practice, you will get it. And what we're aiming for is every string ringing out really nicely. So let's just practice out one more time. Our first finger is going to be flat across all six strings. What you might find, because on these top strings, you get this song. As you get better at pushing evenly across the whole finger, those strings should start to ring out. So let's talk about a few more tips. My thumb in the back of the guitar. It's halfway done. It's not poking over it. It's not too far down the spine in the middle, but halfway down the back of the neck. Now every house is different. Every guitar is different. So for you it might be slightly different, but that's a really good starting point. You're going to press in with your fingers evenly across all six strings. We've talked about our thumb trying to keep relaxed and your shoulder, the arm, the elbow. Whenever you get stiff and tight, give everything a shake and whit about 10 seconds. So keeping relaxed thumb right in the middle of the back. Finger, evenly pressing across all the strings. So the other thing that's talking about is your finger won't be completely straight. It's going to go a little bit to the left. Now the reason why is the side of our finger is actually a harder part. And most people won't be completely flat or straight. Their finger will tilt slightly to the left. So there it is completely flat and just a little bit to the left. The final thing that might help is playing close to the fret. So don't be binding the medulla fret free. Be nice and close to that fret line. So let's try out our other fingers. Hopefully not sounding good. When all we're going to add our third finger to fret 5. On the a string. And we're going to add our second finger. It's a threat for on G. And this is hot shoe sand. That's obviously going to be a lot harder. But everything I talked about will not apply again. So that fingers, nice and flat, thumbs in a good position, nice and relaxed. And yes, we're pushing. But hopefully you'll get to the point same way it becomes, doesn't feel like you're having to push right here the heart. Now. Keep these fingers nice and curled. What you might find is a bit of skin under these fingers, touch the other strings. So you've also got to do your best to keep these fingers nice and curled. And you get that signed. Just try an angle your fingers up the tech. And the final 0 to raise it. As you can see, my palm. It's not really dropped and it's not, it's not hugging the neck is in a nice position. So if you think about all those things, another radii spinal cord I've written we were doing this week, we're resting on beat one. And you can do that by lifting the pressure or by putting your hand here. So 1 and on beat 2 you were strumming. We're resting and be free. So you can bring your hand here or you can lift the pressure here. One. So see I strum. And then the left, every left all the pressure off my fingers. So 13 and beat four. We're going to strum again with the same idea. We did that for four bars, one for each. 131313. Here comes the easy that we slide everything up to fret it. Fret it is our C note. We're going to play a C7. So our finger, it will have a flat finger and Freddie it. Fret ten for our third finger, and fret 9 for our second finger. And we're going to do two bars. Back to G for 20 dollar d. Mao already guess what really? All the way up the fret and gone to see. And now we come to our turnaround. In a slightly different turnaround. So far we have kept to the CN 10 or R&B here. We have the one chord, four chord and bar 11. And then we have the one chord and the five chord, bar 12, all for half a bar each. It's just a nice way to vary how we can play the last two bars really, because we don't always have to do the exact same thing. So bar 11, we'd have half a bar g, one. Go to C three. Part 1. The three. So let me play those last two bars again on their own. Bars, 111212341313.