Blues for the Curious Guitarist | Dan Dresnok | Skillshare

Blues for the Curious Guitarist

Dan Dresnok, Guitar Teacher

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37 Lessons (8h 18m) View My Notes
    • 1. Preview

    • 2. Welcome to the Class

    • 3. Guitar Fundamentals (page 2 - 5)

    • 4. Open Chords (page 6 - 7)

    • 5. Barre Chords (page 8 - 11)

    • 6. Basic Rhythm (page 12 - 17)

    • 7. Swing Feel (page 18)

    • 8. Arpeggios (page 19)

    • 9. Scales (page 20)

    • 10. Techniques (page 21)

    • 11. Dominant 7th Chord Shapes (page 22)

    • 12. 12-Bar Blues in E (page 23)

    • 13. Walk-Ups & Walk-Downs (page 24)

    • 14. Soloing with Arpeggios (page 25)

    • 15. Soloing with Mixolydian (page 26)

    • 16. 12-Bar Blues in A (page 27)

    • 17. The Blue Note (page 28)

    • 18. 12-Bar Blues in C (page 29)

    • 19. Relative & Parallel Modes (page 30 - 31)

    • 20. Minor 12-Bar Blues in A (page 32)

    • 21. Soloing with Minor Arpeggios (page 33)

    • 22. Soloing with Pentatonic Minor Scale (page 34)

    • 23. Soloing with Natural Minor Scale (page 35 - 36)

    • 24. Minor 12-Bar Blues in E (page 37)

    • 25. Minor 12-Bar Blues in G (page 38)

    • 26. Backwater Blues (page 39)

    • 27. Frankie and Albert (page 40)

    • 28. Dust My Broom (page 41)

    • 29. Going Down the Road Feeling Bad (page 42)

    • 30. Saint James Infirmary Blues (page 43)

    • 31. Nobody Knows You When You're Down & Out (page 44)

    • 32. Jam Track - 12-Bar Blues in G

    • 33. Jam Track - 12-Bar Blues in A

    • 34. Jam Track - 12-Bar Blues in C

    • 35. Jam Track - 12-Bar Blues in E

    • 36. Jam Track - Minor 12-Bar Blues in A

    • 37. Closing Thoughts Moving Forward

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About This Class

Complete blues guitar class. Chords, strumming, soloing, blues theory, songs, & jam tracks. Major & minor. All levels.

*Be sure to download the PDF in the Projects & Resources section.  (It's called "Blues for the Curious Guitarist - PDF.")  It's 45 pages long & contains all the text & tabs that you'll need for this class.  (If you have issues downloading it from your mobile device, then download it from a computer or laptop.)  Don't wait - get it now!

*Update - Jam Tracks videos (blues backing tracks) added to the end of this class. 

Welcome to Blues for the Curious Guitarist. This is a complete class to help you fully understand & play real blues guitar. We'll start at the very beginning (assuming that you're starting from scratch) and work our way up to advanced blues. By the end of this class, you'll be chord comping & soloing over several different major & minor blues progressions & songs. You'll have endless chord changing possibilities so that your chords will always be exciting with unlimited soloing choices. You'll learn to properly solo over blues songs in any key, giving you several positions & options for where & how you want to approach your solos.

Any kind of six-string guitar will work well for this class - electric, acoustic, or classical guitar.

You'll learn how to navigate blues theory so you can always have fun & be creative when playing blues guitar.

The title of these video lessons will include the PDF page number (available in the Projects & Resources section) to reference. These pages are the tabs, songs, chords, and guitar lessons.

This class is in four sections:

[Blues Guitar Basics] - Get all of the tools you'll need for the entire class (starting from scratch.)

[Major Blues] - Begin using the tools we've learned to play chords & solo through the major Delta style blues progressions while exploring lots of blues tricks along the way.

[Minor Blues] - Learn the minor style of blues playing, still using the tools we've learned, but with new methods for the minor keys.

[Blues Songs] - Learn old blues songs with chords & soloing. These songs will help you jump start your blues song list and give you choices beyond the standard blues forms.

Who this class is for:

  • Anyone who wants to learn real blues guitar.
  • Complete beginner guitar players.
  • Intermediate or advanced guitarists wanting to improve their blues playing.
  • Guitarists wanting to level-up their blues skills.

Class Requirements:

  • This class is for everyone - including complete beginners.
  • You only need a guitar - any guitar with six strings.
  • We'll start at the very beginning.


What you'll learn:

  • Play real blues guitar.
  • Play blues chords in several positions across the fretboard.
  • Soloing using the methods of the greatest blues players.
  • Develop a swing feel in your strumming & picking.
  • Learn major blues forms.
  • Learn minor blues forms.
  • Learn blues tricks for flawless solos.
  • Learn several popular blues songs.
  • Deep-dive into blues guitar theory.


I'm glad you're here! The world needs more guitarists that can play real blues.

This will be easy & fun! Let's get started.


1. Preview: Hi, and welcome to blues for the curious guitarist. I'm Dan Resnick. I'm your guitar teacher. I've been teaching guitar lessons for over 25 years. I've written a number of guitar method books than I've created well over a dozen all my guitar courses. I am the perfect person to get you started playing real blues guitar. I started working on blues guitar over 20 years ago. And when I started learning Blues guitar, I was working on actual Delta blues and I was working on the actual styles of Robert Johnson. And ever since then, I feel like I have had a deeper understanding of the blues because I learned from the original source of blues music. Blues music is something that has spread out to all these different styles. But it all began with the Delta blues style, the acoustic Delta blues style from players like Robert Johnson. And, and so it spread out and we started getting all these different kinds of blues, like there's, you know, Chicago blues and there is no Orleans Blues and there is Kansas City Blues and there's Texas blues, and there's rock and roll, and there's all these different kinds of blues, including by the way, bluegrass and country music, which also used the same fundamental teachings as the original Delta Blues, which is what we're working on in this course. So I feel like for you to understand the core pieces of Delta Blues is going to over into everything else that you're going to play on your guitar. If you want to be a blues guitarist, then obviously this is exactly what you need to know. So by the end of this course, you're going to be played real blues guitar, real blues guitar with real rhythms. I'm going to teach you exactly how the correct chord should be played. I'm going to show you exactly the correct way to solo over blues progressions. And this is something that a lot of people get wrong. I'm gonna show you the correct way to solo blues guitar. And then I'm going to show you a number of blues songs at the end of the course. Also, most of the lesson videos in this course, a downloadable PDF. So be sure to get that. Okay, it's, that's yours. It's the text lessons of the music or the text or the song decor charts. Get that. That's an extra resource for you. So download that printed, those are yours. And I'm really glad to hear this is exciting. Blues is so awesome is one of the coolest styles I think that was ever invented. And it is the earliest style of American music. So, you know, so much fun that we can have with blues pleasure here. Let's jump right into it. I'll see you in the next video. 2. Welcome to the Class: Hi and welcome once again to blues for the curious guitarist. I'm dead, Resnick. I'm your guitar teacher. I wanted to take a few minutes and welcome you to the course on Also, to talk a little bit about what we can expect going forward. So this is a pretty decent sized course. We've got a lot of material to cover. Um, I don't know what level you're coming into this course set. So what I did to be on the safe side was I'm starting from scratch. Starting from the very beginning, I'm going to assume that you're a beginner. I'm going to assume that you don't know the stream names and you don't know how to play basic course. And, um, you don't nunnery tablets. Okay. So I'm going to explain everything from the very beginning and go in order until we're playing pretty vest blues guitar. So, um, you may not be a beginner. You may be intermediate guitarist, or you may be an advanced guitarist. You may have been playing guitar for five years or 10 years or 30 years. If you've been building a door for 30 years, and you may feel like you're pretty good guitar player, and you can you can play And you know, your cord force can read tablature and your string names, you know, bar towards, you know, a couple seventh chords. You know, a couple scales even and console Betty Price. Pretty cool, Bentz. But you wanted to take this course to really take your blues playing to the next level? Yes. You're in the right place. That's exactly what we're gonna dio. We're gonna take you to the next level, but I have to cater to everybody. So I'm going to start off by going through the beginner lessons. And as a matter of fact, I noticed that a lot of really awesome guitar players get without been playing for 30 years sometimes. Don't know some of the basics. Um, sometimes, uh, person who's been playing for 20 or 30 years still ever learned all the notes up and down the front board. So if these are things that you need to refresh yourself on, then I would recommend is going through those videos, uh, learning note for note, all the way up on every strength. This is huge, and you have to memorize it. There's all show you the video. There's a sequence for it learning all the notes. This is just going to help you. Because as we start getting deeper into playing the blues, we're going to have all these different shapes. And we need to be able to put the shapes in two different keys or different route notes. And so your ability to quickly say I've got a G A gun and a I've got a B or I've got a g I got and be so this is really helpful for you to build a do this quickly and on the fly. So that's the reason that's really the only reason that I'm trying to encourage you guys to all learning this stuff is because it's going to just speed you up when you're actually playing, not gonna teach you anything that you're not going to use. I'm not gonna waste your time. I'm only going to teach you things that you're going to use. Okay, now, that being said, if you already do know this basic material, you don't have to watch those videos to get past them and go right to the stuff that you want to start learning the stuff that you don't know. So you may say, um, I need to go right to learning all of my dominant seventh chord shapes. Or I need to go. Right, Teoh learning how to do the basic arpeggios because I don't I really don't know the European Jews. Whatever it is that you need to go to jump directly to that, that would be what, banking most sense for you. No, don't skip anything, though, because I put all of the videos together in order so that I'm trying to remember what we did up until this point so that you get everything so that by the end of the course, you're going to be just an awesome and well around it blues guitarist so that you're not going to have skipped anything because that's really important to me is that you know exactly what you're doing. That by the end of this course, you're not going to be playing blues with somebody, and they're going to say, Well, yeah, but you know this and you're gonna say No. Dan didn't tell me that. I'll tell you. I'll tell you in this course. Okay, so just stick with me. We've got a lot of cool stuff to work on here. So the courses in a number of sections and you know we've got, like, the guitar basics. We're just going through all of the basic stuff. And then we get into the beginner, the intermediate, the advanced. So one like that. So all of the sections are going to build on each other, and what we're going to do is we're going to try to get the basic elements that we need to learn of blues guitar theory, basic elements of each section a little bit in each one. It's basic elements. I'm talking about things like, What do we get past the basics. We need to get our understanding of how to do the courts. They want to take up cords. I'm talking about really how to do seventh chords and how to do them all over the place. So one of the ways to successfully play Blue's is not toe learn. Like if I said to you playing a G chord, I don't want you just to play a G chord in one shape. I want you to play me like five different G quarts G seven courts Ah, Lady Bill, Play G seven all over the front four for me. So if I said you were actually just gonna jam, just stay on G seven. Don't change. Just stand G seven. The court G seven only. You literally stay on just this one shape only to be moving around playing G several over the fretboard. That's why I'm gonna show you how to do so that any kind of a blues context. You're always going to be able to improvise, even if it's just staying on the court uniph. It's just staying on one court. I want to build improvised with it, okay? And that's what truthful is playing is all about. So when people say loses, Easy is just one for one for five. That's true. It's just 145 But really, there's a lot of depth that we could get with 145 just picking any one of those chorus. Like I said, we can learn to embellish and play all over the front board, and that's really what makes it so much fun. It's an open ended form of music. Just four thought so easy, right? It's an open and a former music, but with each of the courts, we could do so much stuff and there's endless creativity. So with the courts, that's like one of the things that we're going to learn a lot of. We're also going to learn the arpeggios. And so arpeggios are a huge way to solo over blues music. And a lot of blues is we're gonna learn is what is called parallel parallel music. So relative and you've got parallel. We're going to learn about how those work. But what blues parallel meaning that an arpeggio is gonna be the perfect tool to use to solo or a lot of blues music. So I'm gonna show you how to do that and how to elevate the or videos to take them to the next level today. Work we're not just playing an arpeggio were using it as a soloing tool as a creative tool to improvise using it. We're always looking for ways to improvise. We're always looking for ways to be creative. I want you to make it up. Okay? I want you to create it. I want you to solo it. That's really important here. So, um, the courts, your judges, we're going to work on these scales also. And when I say scales, this is going to open up into modes. So we're going to start looking at how to take a scale or a mode to play. Blue's a lot of, um, very, very, very fun now. But sometimes even incorrect guitar lessons will teach you another. And other places not here in other places will teach you. Just play the pentatonic minor scale and, honestly, that's wrong. Advice to most the time. It's wrong advice. Most of the time, Pentatonic Meyer scale is the wrong thing to do. In most blues situations, there are a few blue situations where the pentatonic minor scales correct or the blues scale is correct. There are sometimes words correct, but most of time is wrong. OK, so I'm gonna teach you the right things to do so if you're gonna play them. I play the pentatonic scale all the time. By the way, I play the blues skill a lot of the time, but I'll make sure I only do it in the right situation. Okay, if I do in the wrong situation, I would be playing wrong notes and I don't want to do that, All right? Robert Johnson didn't do that. I'm not going to do that. So it neither will you, cause I'm gonna make sure you know the exact correct time play when not to play and what you should do. Um, courts, arpeggios, scales, modes. I'm going to show you the correct rhythm. This is a huge one with blues is a lot of people don't understand how the rhythm is crucial to making the blues actually sound correct. And I'm talking about the swing field with shuffle Feel OK? And this is where we started learning things like how to do triplets. And how did how to count our swing feel or are shuffle feel? This is what makes blues rhythm sound like blues. So and you getting played a one for five progression. But if you don't swing it or shovel it, then it's not going to sound blues. It's once I like rock and roll is going to sound like fifties 19 fifties rock n roll, but it won't sound like the blues, so that's one of the things that you know you can transform from 19 fifties rock. It roll sound to actual old Delta style blues sounds is by getting the correct rhythm. So this is one of the things that we're going to really make Sure we get is the correct rhythms. Uh, most of the, um, less civilians is are going to include a downloadable Pdf. Be sure to get the pdf downloaded. Copy into your computer. Prince and off. Have it when the video starts. If there is a pdf attachment, get it right away. Don't wait. Get it right away and and print it out or had on another screen and go through the video. All you also have. Pdf the pdf It's gonna be like the cords, the tabs, that extra text lesson, that song. Whatever it is, the printout version of that video lesson so used the pdf I spent a lot of time putting the PDS together for this course for you to go with each video so used them together. Please get the pdf skin every pdf, um, and, um, at the end, as we get towards the end of the course, we're going to go through some difference songs and just to kind of get you a jump start with your set list. Got your blue set list. And so sometimes these are going to be, you know, songs that would be like the 12 Bar Blues, like either the major or the minor 12 Bar Blues, like we spend a lot of time in the course studying. But sometimes it's going to be, Ah, a completely different kind of blue song. And that's why I wanted you to be exposed to It is because blues can take a number of different forms. And I want you to know all of these different forms. So we're going to go through some common old standard blood salts at the end of the course . Um and I think that's about it. I think, um, I think I talked it off. I think that's we're ready to jump in. So if you're a beginner, that just go right to the next video. And if you are an advanced player than skip right to the video of what you're gonna learn right now, and I am excited that you're here, this is gonna be a lot of fun. So I'll see you in the next video 3. Guitar Fundamentals (page 2 - 5): Okay, let's go through some of the basics about the guitar and reading tab and strings. So this will be a quick refresher course for us to get up to speed. Okay, let's talk about Tab. All right. Town is the six lines that we see random. Here. You'll see it either on the white board or on the P D EFs in the additional resource is and the top is the stuff with six lines. Of the six lines are the strings. So what we're gonna do with the tab is really numbers on each one. And the numbers were telling us what friend to press on which stream. So the best way to think about Tab is you see, I'm holding my guitar good. And if I slide my door down like this now, I am looking at the strings exactly like I would be looking at the tabling a piece of paper . Okay. I was holding an imaginary piece of paper. I'm looking at the strings exactly. Same as we're looking at a piece of paper. So my high string eyes is the top line, and my low strings in my little picturing, uh, is the bottom line, okay. And so then what we'll see is numbers numbers on each one, and it tells me what Fred to push on. All right, let's ah, wrapped back around to that in a minute. So we've got six lines representing the six strings on the guitar. Let's talk about the stream names for just a minute. Okay? I'm going from low is in low pitch too high as in high pitch. We've got e A d g b and union So evil Heidi and a lovey to East Rings I Lowy low pitch. I've which low pitch e a d g. There's a couple of different sayings that people used to memorize the string names. Um, the one that I like to use is any. And Dean, go buy eggs. Eddie and Dean grew by eggs. Any hands? Dean who buy eggs? Ah, very popular one, though. Is Eddie eight? Dynamite. Good by any A dynamite. Goodbye. End Any eight time like goodbye. So it doesn't play me the, um Hey, string. Okay. So, Eddie eight. Let me the b string. A time of my good bye. I okay. Playing with the G string. Any a sign of my good. Okay. Um, play me. The high e string is a high pitch A good bye. I low pitch Eastern. Uh, yeah. Okay, so there's this training is pretty straightforward. And you have two new them. You want to know them cold? So have them memorized it. He done my good bye. So moving on to the tab where the tablature. Okay. And this is what is going to look like? Over sure when you're reading town, Um, you'll see it one of two ways you're going either. See, just the tab by himself. Six lines. A group of six lines than blowed. Another group of six lives that load another group of six lines. That's just the tablature stuff. Okay, Tab, where the tablet your stuff. Sometimes you will see it with two steps. Okay. Like in a lot of my music that I have on my ps two steps, I have the traditional standard five line staff. Well, top and below it. I have my six line tablets. Your stuff, the reason I don't like to use to staffs. You don't need to know how to read music for this course, But the reason I like to use it is because in the up above, in the standard notation, um, you'll see the notes and you look at and you'll say, I don't know how to read those notes, and that's fine. But the nose will also have the rhythm values. You can look at the notes and see how long or short to play each note. And so you can kind of, like, connect that to the number on the tablet, your staff below it to see when you push on this friend, how long I hold that note for you kind of connected to the note of above it on the standard notation on drugs. Okay, so how do we actually play town? Um, down here. This is my blue pitch E string. OK, so this'll guy, if I have a zero on a line that's telling me a plate open, guys open is thick. This impressing anywhere. Okay, eso The first note is open. I've got four on the Eastern. Okay, so 12344 All right. Nice string. A stringer. I've got to own it. Okay, so 12 Just picking the string of the note. I want that next room two d strict. Do you strain for threat? Cut. 1234 Right. Good. Next for G string. Got to a lead on G street to which is the second friend. Thes numbers air. Never talking about what figure to use. Okay, um, the talent er does not care what finger you use. It doesn't not make a difference in regards to the challenger. These air, not fingers. Okay? It doesn't go. They want to. 34 That's not your fingers. These were only the fronts. You could use your ideas, my nose to play in. All of these were used my elbow to play zero for 24 So it's just the France. That's what the numbers are. Okay, we're two on the G string. Thin were three on the B string. OK, so open, open. Want to three on, then four on the eastern. So it's open. 1234 Okay, what does that sound like? If we put it all together, we got four way. It's just a little something in e seven put together. Now. This would be a melody because it's kind of like it's kind of like, almost is a few did karaoke a guy. You have the bouncing ball that goes over the words. And when the ball has the word it tells, you know, saying that part of the world right now that's kind of what this is. So if we're going like this, then it's a melody. Were hitting the notes one time. If you ever see them, that's just stacked up right on top of each other, Then that is going to be representing the court and your Mento strong those notes all the same time. So they're stacked up like this, you know, like 00122 men too strong. Those all a same time excess. So you're looking for if they're stacked up, they go together. If they're not, they're just individual by themselves. We hit them one at a time. Prison. That's how tab or tablets or works. So we're going to see this A lot in the pdf ages for oh, a cores and Thea Arpeggios ends thes scales. We're gonna be looking a little tops. Okay, we've got one more thing that we need to cover off on before we can move on way. Have to talk about the chromatic scale like the chromatic scale. The chromatic scale is, um, it's more of a music theory lesson that's real quick. It's the musical alphabet. So no matter what instrument you play, every musician uses the chromatic scale. It's all the notes that exist in music, all the knows that exist in all music. It's the chromatic scale, and there are 12 there. 12 news the way that it goes, It just keeps on going in a circle. Once you have play all the notes that just repeats itself, you keep going higher or lower. You just start back in the beginning. It just keeps going around and around and around. So the way it goes is it goes a B C D e f g a b c d e f g on after g just goes back to a guy. Like I said, it just goes in a circle. Keeps going a B, C, G, ABC, your G, NBC, the year t In between all of these, we've got sharps and flats. Sharps and flats are essentially the same thing. So in this example of just going to show you using the sharp sign, so in the short time, is this little number, sign or pass I or guy is right next to the note. So here we've got a sharp A and the national, he's is sure, and short means that's just one higher. One friend higher. Okay, so it's just one friend higher. So, for example, if we had our a string OK, eso any and this is about a string on played open and it's the A string, so it's gotta be in a note, so I just go. One friend from there first fret on the A string is a sure, So this is a ministry for sure, because it's just one higher than a now. It's also be flat, a sharp and B flatter the exact same note. Um, and this I don't know. It could be a little confusing. Don't worry too much about that, but in between A and B, there's only 11 friend, and so it's going to either be called a sharp. Where can be called B Flat. Flat is we're the sign next to it. The note and it's just telling us that it's one friend. Lower them. So you flying a sharper the exact sin of the existence. Same space there on the same fret So, for example, so if I go one higher than it on the a string first fret. It's also be flat S O B flat. Also, it's a sharp or a B flat. Go one for hire. So wanna be no now. So this is a B note on the second front. So if I go back one Fred, I can call that a B flat because this one lower than be in front lower than B to B flat. It would be be with the lower case, Be right next to it. The flat time is always a lower case. Be just a coincidence that happens to be right next to the B. It's example. I could do the deflect so d flat if I go to my denote. God, um, going to go to this Dean over here. I haven't seen over there people back one friend that's a D flat. So right that like a d in the lower case be right next to it, and it would be a D Flat. D flat is the exact same known as what? C sharp, because what comes right before d see so D flat is gonna occupy these acts in front as the C sharp, right? So d flat and C sharp or the exact same. All right. Um, the reason that the chromatic scale, which is the musical health of it is really important for us to know, um is all of the styles and genres of music. Blues is very much of a shape oriented style. So what I mean is we don't have to know how to read music. We don't need to know to too much music theory, but what we definitely want to learn or a bunch of different shapes and know when and where to use that and knowing where to use them is about being able to find our root note should talk about a little bit later on, and we find our room note by using the chromatic scale. Okay, so you need to be able to find notes on your strings. This is how you practice the chromatic scale. We already know that every time we know the names of the strings, so any ain't dynamite. Good bye. So what you do is you randomly pick a strength. Okay? Let's do the A strict because we were doing the A string and okay, now let's count up all the way up using the chromatic scale. Whatever the string name is, start by counting it as open. You're not pressing anywhere, so it's a open, never disturbed from open the same. See your friend? Yeah, one more thing about the chromatic scale, um, is that it's a B c D E f g. Everything has a sharp between it, so a B C D E f g a B c D e f g a b c D E f g Everything has a sharp between it. There is an exception to the rule, and I underlined care. There is nothing between B and C. There's nothing between E and f. What I mean is there's no be sharp Mr C Flat. We don't have anything in between B and C, and there's no e sharp either. There's no f flat. It's nothing to any NF we go right from. Pdf we go right from B to C Guy is the only exception to the rule. So ABC, your G a, B, c, d g. Everything has a sharp or flat in between. It except there's nothing between being see There's nothing between e and f I've got a 1,000,000 of these little sayings to memorize One that I remember from school is birds cry eagles fly furs cry eagles fly Nothing between being see nothing between e and stuff. Okay, so starting over the sea you see Sure, which is the same as D Flat Dean, which is the same as e flat E way right from eat Enough. Sure, which is the same as G flat G sharp, which is the same as a flat. May I swear around the world, away from G sharp And my next note, I did a So I was here on that build up the tool friend double dot is the 12 friend. And that's where the open string repeats itself. So this is a and it just continues on it. Keep going higher from the tool. Friends is a sure sure e just keeps on going. Okay. Yeah. Actually, one were spring to work on chromatic scale. Where if we did the, uh, d string any a dynamite dynamite? So, uh, d string says a denote so open D now, first d shar, whatever the stream Name is ready. Start counting from that stream Name right. So Dio same as you Flat Good way A world I see Well right for me to see De and I laid it on my double dot The told fret so I could keep on county if I want Teoh eso So this is a great thing to practice I would recommend Is that you You go through your strings . Do this once a day Go through your strings Just count up at least all the way to the 12 front You don't know what you do it right Because when it gets your 12 friend which is usually your double dog got to friend workers on it Get to it If you say if you think it's the same no as the name of the open string thing wrong, then you do it right? So if I'm doing my e string and I get here the doubled up on I think it's e that I did it right, But if I get here in the double dot on I think it's tough or d sharp. I got I got one off somewhere along the way So when you get to the double dot You should be thinking it's the same note name as the strengthening. Okay, I think that about covers it. So we've got the street names we've got reading town and the chromatic scale, so we'll be moving on in our next video. 4. Open Chords (page 6 - 7): Let's go to our open course. Good. So you've got the pdf attachment, which has all of the open courts that you're going to need ribbon on it. We talked about how to read tab in tablature, so you should have a pretty good grasp on it. Just want to familiarize yourself with all of those courts or if you know most of them, check out the ones that you're not super great home. Um, when you're reading, have, um when is Accord? They're gonna be stacked up like this. Okay, eso The first quarter we've got here is an e chord. 0 to 2100 Okay, so what I'm gonna do is I'm gonna just go through the open chords so you can kind of check out how using my fingers. There are that many different possibilities for how you could do your fingers. There's a few of the other men. Most of time, you're going to have to do it in a certain way the way that everyone does it. But I'm going to show you how to do it properly. Um, OK, but when we're going through the town, the main thing that we want to look for two things we want to look for. Are the notes stacked up? If they're stacked up, it's a court. This second thing we want pay attention to is how many of the notes are we supposed to strong? How many strings always was too strong? What I mean is that, um we can see in this first court this equal right here that we're supposed to strong all six. Could we got some kind of a number on all six drinks, but over here on this next square, this is a d chord. Now, on this one, we don't have any thing written on the bottom two strengths. Okay, so bottom shoestrings. These guys have nothing on them. So what that means is we're not supposed to strung them. We're supposed to pick up on a supposed to touch up, okay? When we do our d chord, it starts from this open D string here, open to 32 So we're on Supposed to strong these volunteers. Strange were supposed to strong it from the D string. And then this is true. Also for the C quarter here, this is a secret. 32010 but there's nothing on the bullet of string. If you were meant to strum it open, there would be zero on it. Same with the deco. Or if you were meant to do these two strings open, you were the zeros on them. And if you see nothing on them, sometimes people will write an Exxon when I have a brand new student. All right, X on the string that you're not supposed to strong. Just to remind you don't strong that string. But when you're reading tab, if you don't see anything online, you're not meant to touch it. Strong it. Think it anything. Leave alone. We want to the next string that has a number of it. Okay, so let's check out this E quarter here, So 0 to 2100 All right, check out my fingers. All right. I guess there is a general ergonomic to your left hands. And that would be, um, because if you check out the to to write. So I'm using my two middle fingers to do the 22 2nd front on the second front. The strain of the street. Um, students will say it doesn't make a difference. if I use, If I just flip it like this, Um and my answer is not really It doesn't really make a difference. However, if I do that, I could twist my wrist a little bit. So my wrist is kind of pointing in this direction, whereas if I make my middle finger the lowest, my wrist opens up in my palm of themselves in the palms, kind of pointing that direction right there. So the economic the general idea here, is trying to make your middle finger. Not always, but a lot of times your little thing or try and make it the lowest lowest string, okay, Always, but a lot of time And is whatever we need to do to make sure that our wrist has kind of opened up and pointing in this direction, we don't want her hand twisted like this. We were making accord. So as you're going through it even after you watch this video and you're gonna pdf and you're going to your courts I can't remember exactly how I figured it. How I did my fingers just say, How is my wrist? Is my wrist like this or a Maris like this? because you want your is to be like this. A little bit more opened up, Okay? Palms opened up. Should be comfortable. All right, let's get into it. So got equal over here. We've got the D court, and like I said, we're strumming it from the open D string. So 2 to 3. Okay, let's review from the destroyer. You see, my pic I used these little picks there. Uh, Dunlop Jazz three with a cold, But they're just little heart picks. Um, you can use anything you want. He's a light pig or media picker, heavy picker, big pick or a small pick you can use any kind of pick you want. I like the little heavy picks because I really don't use that much pick when I'm strumming . I just have a barely a tiny little point sticking out, OK? And when I strong part of how we get my sound is since I only have such a tiny little bit of the point sticking out, okay, rushing the string with my skin of my next finger in the side of my thumb just a little bit . So what are strong, Theo? Because the pig is just meant to be an extension of my fingernail. So I don't have too much big sticking out, And I want to treat it like it's a brush like a paintbrush guy. So let it give Don't force it. Don't make it stay in one place. Let it move. Let it move as you strong. Uh, Let it move. All right, that was D chord. See, Corn is over here, and we're not strong in the low Eastern. So we're starting from this three a string. OK, 321 Okay, let's do a G chord. G cortisol six. See how my middle finger is the lowest. Good. Okay, let's look at a cord. A record. Their role in the second front. Okay, I was stripping it from the A string. Got my fingers taper a lot of second front. This one's a little tricky because this 1st 1 hears back pretty far in the front. Usually we want to get right behind the metal. That's the sweet spot is right behind the metal of the front. You're supposed to be on. That's the best place to be. When we do the accord, there's no way around it. We just have to do the best you can and go all on the second friend press. Um, OK, so way. All right, let's take a look at our my reports. So we've got e minor, so I just do it. Does like the equal Booth minor minor chord is gonna have a lower case m right next to it. So it'll be like e with a little m next to it. That's how you know it's minor. It's gonna have a little lower case m next to it. Uh, you monitor a monitor? Here's a Mark de Meyer D minor. This okay, that's do you monitor? So for open courts, that pretty much is the major and minor courts. Um, they're called open chords because they're gonna have at least one open string them somewhere. That's what classifies it as an open court in open court, as opposed to a bar court which will take a look at that. Open courts have at least one open stream mark. Words have no golden streets president. Everything so open court has at least one open string it sometimes a couple open strengths . OK, so now let's take a look at our south's on these are also called dominant sets. There's a lot of different kinds of seven chords in blues. We mainly deal with what's called a dominance of, but it's just a plain old seven. Okay, you can think that it's just a plain seven court when it's written. If I was playing pay seven, it'll just be a with a Southern next to it. Okay, So good of a D seven d with seven. Dexter. So they're just seven. Course we'll fight. We could call it a dominant seventh, because that's what they are. They're dominant seventh chords. So in a seven or eight dominance sounds like this. I just have a little open G string in the middle of this time. Okay, Elise thing, Attention to where the West from this court from a seven goes from the street. Okay, I was doing easa. OK, here's how we can do an isa. I got the open D string. Let me do a d seven. Here's a diese. It's kind of like the mirror version of what a D courtrooms like looking at the D chord. You're strolling the D seven from the D string. Let's do the bees that B seven actually pops up a lot, Isa. A lot of times open courts will. We don't use your pinky a lot of times because we just don't need to. We need to be set right. So B seven is a four favorite court not struggling. My low e string, though, So it's five strains, all four fingers here, strong from the A strict Okay, it's like 212 old bed and too big Good thank thes. Two great court pubs of a lot. Well, it's a lot of all kinds of music, especially blues thes Onda, of course, to be dominance of safe Thing. Be dominant seven or be so, and the dominant seven courts are the courts that are, um, super important in playing blues in playing major blues. They are the foundation of what the actual sound of the blues is. So we're going to be playing lots and lots of seven course. Okay, let's take a look at a G said Okay, I got a few different ways to do a G seven here. I'll show you the popular way of playing it. This is the popular way of playing okay, it's pretty spread out saying If This was a G chord, keeping all the stuff low. But I'm moving that high note back to the one so after kind of shit, my fingers a little bit. So Wait g seven g seven. Look, this I just don't strong the history. So 3 to 3, he said. Okay, and then I think lastly, we need to do a C seven. So it's like doing a regular sequence. This one's a forefinger court. Also, it's like a regular seek work. I'm going to add in my pinky here in the G string through for strung from a string. Okay, um, so I believe that pretty much gets us on the dominant seven course. Let's take a quick look at our minor seventh chords. We only got just fuel and it's going to be e minor. Seven is the 1st 1 and the way is going be written. That sounds like a lot E minor sub. So is E. Let's go lower case out. Little m two tells his e Meyer and just a sound. Just the number seven. So you minor Okay, so So? So you're going to get to where you can read these chords and it's just reading from left to right and just say each symbol and it tells you the name. The court e lower case ends minor. So e minor and, um, an easy way to figure this one is just with one finger. OK, so it's just a second fret on the street here. Uh, now, of course, there's always thons of variations in different ways to play the same court. You could give it a little bit of a different tone, and maybe you'll press figures on different friends. Sometimes it will be the exact same thing for the little bit of a different tone, putting this note here with that note there. But it's always got the exact same nose in It has the same name on paper. So if you're ever playing according someone's like Oh, your mind or something like that I do it like this. They're both EMR, So both are cool. So it's kind of what kind of tone are you going for? So one of the things that we do when we're learning guitars we have to learn lots of redundancy, learning to do the same thing in a lot of different ways. That is really? What? Learning to play the guitar sold out. But start off by learning it one way. Okay, then later on, you can learn a second. Where do the court. So you minor seven. This is totally some, Uh, some people will do like this a minor. So we've taken a modern court. We just opened up the G string. So, uh, d minor seven is, uh, go from high. It's 112 Okay, I'm actually going toe press on both of the ones with my index mash Mountainous Figure down to get both these ones too. Moving strong from the D string to figure d minor, huh? And so, those three courts that covers us on the open Liar. Seven shapes. So, um, I think that about covers it for her. Hoping cords. We're gonna have to move on to bark orders to get deeper into this thing. But you play a lot of lose with open courts, and sometimes you want to mix up your blues playing between open chords and bar courts just to give yourself like we said, it's, um, dynamic range and some different old sounds. So maybe play the blues for 30 seconds use bars and it'll jump to playing for 30 seconds. Open position. So we'll talk more about how to do that. But work on all these open shapes. 5. Barre Chords (page 8 - 11): Let's go through our bark orders. Bar chords are sometimes referred to as movable course because we can move them anywhere. They're just shapes. And once we know how to use rudiments, then we can take the shape of a bar chord and put in any he we want. So we'll look at that in just a minute. Um, what I've got here are two different groups. So we've got a G energy Meyer. No, he was seeing a sea mine. See the lower case M next to the G. That means his minor lower case Enix. Our little case am next to the sea. That means that's a C minor. Eso the m has to be a lower case for it to be a mire. Or have you ever seen all uppercase? That means something else. Okay, so it's gotta be a lower case. Um, now, what I meant by two groups is that these two shapes the geology minor are pretty similar. You just have one no difference between them and they're all six strings, both of them. And then over here, this is another to see in the sea liner. Um, there just one new difference and they're just the No. Four strings. So I said in the earlier video that a lot of playing the guitar learning have planning guitars about redundancy and getting as much redundancy into your bag of tricks as you can learn how to do the same thing in his many different shapes and positions as possible. So that's what we're doing with our boards. Okay, so, um, the deal with park words is that we're not playing any open strikes. Nothing open, pressing on everything. Sometimes we have to press on more than one strength with one finger, so multiple strength flow finger sometimes. So, um, it's just a warning. If you are new to bark words, they could be frustrating. So if you get frustrated with bark words, that's totally normal. Everybody gets frustrated with bar chords. They're pretty hard to do. They're pretty uncomfortable, Um, and so if you feel like there's something wrong with you because you're having a hard time , there's nothing wrong with you. Workers are hard, Uh, so just stick with it. You'll get the hang of it, But everyone, everyone has a hard time Good. I sometimes have a hard time obor quarts, but we have to be able to play them. We need them. Okay, so let's jump in of the G and the G minor. Okay, so the first thing that sees that got 3/3 front on the outside here. So I've got 33 on the high strings that got three on the loose string. It's going on for both these course the G energy. Meyer. What? I'm gonna do the money. C'mon, pointer finger! I'm gonna straighten it out. Okay, so I'm not gonna let it bend, but keep it straight, not bending at all. We keep it straight. I'm going. Teoh press on every string. All six strings on the third fret and we talked about this sweet spot is right behind the metal. So you really want to do that? You're see. Won't have to press his heart, right? Not on top of it, but right behind the mill. What a cute what? People that they can't help this knuckle right here. They will kind of accidentally bend it. Try and push your wrist out. Keep this figure a straight as you can, OK? And yes, it's uncomfortable at first, but you'll get the hang of it so pressing on all six strings. Just all six strings, huh? All right, So now with that, we've got three years old taking care of any threes Any third, Fred, we've got just with this one finger. So now all we do is we fill in the rest. We've got 554 Got threes. That these guys at 55 and four here is my G, the major work. Yeah. So that's the major bar chord, and we're going to turn it into the minor. Gee, minor mark word. All I do is my middle finger comes off, okay? It's taking off. Right? So now my middle finger was on the four. My middle finger was on the four here, so I'm going to take it off. You want to take it off now? My pointer finger, which is on all the threes, is going to be holding it down. So that's where the differences between the G minor G major Okay, It's just g as major since genius Worst G. So what's when I take off my little finger? Oh, middle fingers off. Now my next finger is holding down that three. You're different before way off way that makes us Okay. So when we are rooting on the low e string, those are the two shapes got the major is with no finger down lighter middle finger off. Great. When I say rooting on the e string Um, what's going on is these are G and G. Maier because my first fret here are my first note. My first note is the third front. The third friend is aji Note. Remember chromatic scale. Okay, well, so we're on the east ring. Sure. So if we counted up on the chromatic scale cause he opened? Sure. G so G, this is a gene. It's our first note. And the shape is a Gino slice of G court because it's our room. Note. This is not right here on the first note of both of these courts is a G note. So you're saying and so that's why these air G's. And so when I said before that, these a removable cords, What I meant is that we can move it if I take this whole shape with the G major. Okay, move the whole thing up. One for it. There was g sharp g sharp moving up with more fret with holding up. Uh, okay, come on. This is Fred. Now it's in 1/4 because my lowest note that is now on the a note. So that makes this whole thing in a chord. And if I take my middle finger off a minor finger off his fire milk down, pressing on the G string, this is Major I e. I go up, another friend say Sure, I hope another friend. It's a B court. I go little figure off to be mater final up. Another friend with Bill finger off in C minor building down. Same friends to see Major so I could just move this around c sharp d d sharp ease and come back to my gear g If I go back, Fred, it will be g flat or sharp. This is enough short court. A little finger off. It's sure minor come back first fret. This is an F court on the first fret, and I'm just using this exact same shape. But that's why some people call bar courts B a r r e our words provable course because the bar chords, you just take the shape and then you have it anybody want and the root note, which is usually your lowest note in the court. Your room note will dictate the name of the court through the key of the court. Now let's move on to the ruling on the A string we've got does more done see here and believe it or not, the redundancy. It seems like it's got a lot to remember, maybe a little bit, but it is going to help you, uh, with your technique and you're gonna have to move is for, and it's going to give you a break. Some chords are harder than others. There's more attention on some courses and others. So having some other shapes to be able to use is going to help you tremendously. Okay, so the C course right? We're doing the shapes rooted on the A string. See how we're not using the East rings at all? There's nothing on the e strings high or the low. We were just doing little four strings. Um, so really, on the a string. So the a string is our root note. R o T r. Root note. Eso 35553 On the A string the 555 I'm using my ring finger to smash down on all this fives . National refigure playing with two fingers. Just my index in my ring. Okay, I see it's a c court, because my first note is a C note. A string right coming up from the a string. Okay, three. Yeah, Let's turn it into a C. Meyer. Okay. You know, this different years, the there's the five turns into a four over here on the G string. Um, Now, that's going to cause we have to shift my fingers around. Still keep the three. Gonna have to use all four fingers to get this. 3554 Right. Using all for my fingers. Um, this show pretty much looks like what we're doing over here with this shape. Except we're just down a string. Um, so trying to confuse it with the shape, you know, it looks pretty much the same. We're down a string, though. This is a minor shape. When we're on the a string doing this shape, it's a minor good. That gives us c minor. OK, but they have the same birthday. Three on the A string. It's the same room Okay, so let's move this guy around a little bit. So let's go back to the secret. So if I go over front with old thing, that's a word it's going on, Fred. Okay, No, five cents. That's up. It's a DeCourcy. That is a d ord. I Teoh another front. Sure. Okay, if I sit here on this e on the seventh fret 7999 But I'm going to turn it into the e minor . Just that into my e minor shape. You minor part work rooted on the a string. If I hope one more Fred now, it's gonna be f water. Let's go when we're fresh. Sure. OK, so just trying to figure shape the sure eso a good thing to do to practice the bar course is to try to do one of each so you could spin the wheel of the chromatic scale you say Okay , I wanna play to be chords. Play one bqool route on the east ring, and I want to play the chord root on the a string. Okay, so counting up e f g shirt, maybe a sharp from me, OK, that I plug in my major shape over here to make a court. I'm gonna come and do be corporate on the A string so accountable here. This is Major says the two finger one. Ok, Do you know let's do have sharp minor. Okay, so I'm going to do root on the e string of living for our Okay, plug in this shape second shape here for the minor. Yes, the middle finger off. Okay, then on the a string in need of short buyers A sharply see looking for just this shape right here. Good. Now, um, these shapes can be turned into the seven court of the dominant seven and the motor seven court really easily. A lot of times is just a matter of removing a finger. So way go back to our G course, your G bark word. So let's go back to that guy. Right. Our court Now we're going to do You got this in the pdf. So you're going to see it? It just may not be as evidence went the first time. You look at the difference between a g Barr cord and a G seven bar chord, but I'm gonna show you it's really simple. OK, so Here's the G Park Word hears of this one, and I'm gonna turn into a G seven or G dominance up. Same thing. G take off my pinky if he comes off completely. Okay? So just trying to cheese way, just turn it into a G seven so I can shift that, and I just keep the picky off shifted around. It's always gonna be seven for dominance of the oh, diese. Okay, way. Cover this before about how sometimes you'll see like little one. No differences. And people will say you owe you do your g seven like that? Well, I do mine like this. I do this. They'll just have, like, a one finger difference, as long as the notes are all the same that you were playing the same court. So some people will add in this pinky high on the string, and it's just aren't redundant note. So again, the world were done as he comes into play. We've already got this note in the court. We did it. We added it in where we lived it over Pinky. And then we'll put it down here. We just added in that note again. So now we've got a new place. We only need it once. But you. Some people like the sound of having twice in court, and it is good to go both ways, but they're both the same court, both g seven in this case. Right? So the easy way to get into a seven quart is just taking off. Picky. Now when we are going for R C court. Okay, we're gonna turn into a sea set to have got three during into seven core. I'm gonna go like this. I have to come. Are the threes in that? I have 3535 So I've got, like, a whole mill, almost like I would have if I was doing in a seven open court. I got that open string in the middle. It's kind of like doing that seven holding down these guys with my index finger. So is 353 33 So this is a cease up, okay? And I can slide this guy around C sharp seven. And, of course, these roles and known as dominant sense. But we could just call him, see something? If you see over it down, it'll just be see, So Okay, your C Sharps up. Here's diese. Here's D short years now. Um and as always, a good thing to do is Teoh say I'm going to practice finding tool. Okay, so going to say find to see sense. OK, so we'll find one on east drink. So here's me. Uh, let's see ship on the eastern and then just take up itself. Ah, do my c shape rouge on a string? I just live So make the whole middle on the G string C seven here s O. C. So you can see how this absolutely different tones were a little different, but they're both C seven courts. So it's up to you to decide what sound you want. What tune do want at this moment? Okay, um and lastly, let's take a look at creating a minor seven chord. So let's take a look at RG Meyer Court ruled on the routed on East. Right. Okay, Here's my G minor. I've got my little finger off. This trick works exactly the same as a dude on Major. I just take off my pinky, but he comes off. That's a G minor. So way use the shape a lot sometimes people will add in the speaking of and but it's just a extra note of the seven. Okay, sometimes people add in this pinkie pie on the B string in this case is obviously threat B string, but it's just extra easy way to do it. Just take a big leap off. Ah, that's a G Minor said. Here's g sharp. Okay, now if we come over here is ur c minor courtship here is thats one. It's really easy. Just take off the biggie. There's a whole lot of picky coming off to make these seven cores, So just take off the picky for my C Meyer shape and just turn it into a C. So you say Okay, I want five to e minor says, Um, fret and I got was here on the A string you And then, of course, don't forget your open. So if you combine your open course and you're to bark word shapes, we confined to bar chords in the major do you find to bar chords in the Lina rooted on the eastern and a string we could find to bark words of the dominant seven route on the Eastern with a string, and we could find T bark words of the minor seven also in the Eastern a stream. If we combine all that stuff with all the stuff we could also do with our open chord shapes . Okay, We're starting. Get a whole lot different court shapes now. So I want you to go and start. Familiarize yourself with all of these, different our records and make sure you focus on those dominant seventh because we're gonna be playing a lot of seven course. 6. Basic Rhythm (page 12 - 17): Let's talk about basic rhythm. So I am going to give you a crash course in basic rhythm. And, um, we're gonna be talking about do bull rhythm so people just means anything that's divisible by two. Yeah, 2468 16. So, um, we are going to when we're playing the blues, we're going to use a lot of triple feel and swing feel, so that's going to be mostly what we're doing. Um, and that's a little different from what we're talking about. Sure, but I need you to have a basic understanding of this stuff because, uh, triplet triple rhythm is built upon do Bora, and they can co exist a lot of times if you want your rhythm master and you're able to, like, do one that the other. And so it's all just time. It's all based on time and how you break up the beach. So you do you have a basic understanding of this stuff, so we're going to just run through it, and, uh, it's pretty simple. It's pretty easy to understand, you know, I think imminent. Tap it out first for you, count and tap it out. True with symbols are, and then we'll take a look at strong it. So, um, what I did over here on the white board is we got the, uh, the beat, and then we got the rest the equivalent rest right next to it. So the circle, the holo circle sure is a whole note, okay? And it gets held out for four beats. So what? 234 up to 34 Good. When we're talking about rhythm, by the way, everything is centered around the beat. How many beats or how do we break up the beach? It's all based on the beat and beat is the quarter. So we're gonna look at the quarter in just a minute. But first we have to car off of these big beats. The whole note half the whole note is the circle. That's hollow. It's not filled. It gives LF four beats 234 234 The rest right here. It looks like an outside out tell hat hat. And so whenever you see, arrest these air old rests over here on the right side. Arrested. Silence. So when you see arrest, now it's silence. You do nothing. You don't even let the strings vibrate. You just have to stop them. And what? So when you see the osa had your just quiet for four beats? 1234 Good. So the rest gets the exact same amount of time as the beat, but is sound and the rest is the silence. So now the hollow circle with the stem. Let's see, that will stem on it. It's a stamp. Okay, that's 1/2 note his two beats. What to now, when we're thinking about, um, the measure. Okay, When we're looking at music, we have to divide it off somehow so that it's not just a big, massive string of endless notes we wanted working isn't some house that we have measures, And so the measures will have a certain amount of eats and rests every single time. So, like dumb? Sure, in the example, which we'll get to in a minute off these big lines sees big lines that drew. They are measured dividers. Now, inside of a measure, you're gonna have the same about beats rests. You take these and the rests and Adam up. It has to equal the same amount every time. Most of the time, especially and blues is going to be four beats for bees is the most common. That's true for most 1000 music, but it's especially true in Blues. Most blues music is in four beats, four time for four times on. So over here we've got a time signature, which has a four before this looks like a fractured. It's not a fraction cause for over four would be one that is making sense is 4/4 notes top members telling me how many the bottom numbers tell me off what kind. So fours. What kinds? Court foursquare. So it's the quarter. Note. There's four. If this top number was three, the bar was for three or four that it would be time to play 3/4 every measure, but it's 44 This is the most common time for over four means there's a total of four beats , four beats and arrests hole in everybody. So within every big measure break, there's gonna be a toll for beads and arrests. Now getting back to the half note hollow circle. So if we say is to eat so it's gonna go to three or two 34 c. So I guess. One and two. And it also gets three or four students. 23412 34 of the rest for the silence. It looks like a right side up top. Okay, so I had a good to be all right now filled in dot with Step on it. This is our quarter note. Okay, This guy right here is the beat, but we talk about the beat. This is it is the quarter note, and we is our basic unit of measurement. We're talking about rhythm. Okay, We could be in any kind of time with the exception of an eight time. But for the most part, the quarter note is the basic unit of measurement and all rhythm. Okay, we'll talk about the beat. We're talking about 1/4 note. How fast is it? Was the tempo. What? We talked about things like how fastest music and the tempo were talking about. How fast is the quarter note? Go. The other bees are all in relation to it, but we're always talking about 1/4 quarter note is one beat. So if we've got four beats in a measure, there's only four quartets. So if we have 4/4 and measure they would go. 1234 We have to hit every single one we're gonna want to do in this. Something that are just a bit right now. We're just presenting like drummers. Okay, This is how drummers learned how to count. Banging on the relates. 12341234 Also, um, you'll notice how after four, I just go right back to one. I don't do any kind of big paws. Must explain to you. Oh, you don't do this. You don't go. 1234 You don't do that. You just keep going. It just keeps going To beat is consistent. Constant never stops or slows down or speeds up just like a ticking clock. Okay, so imagine the clock. It's always consistent. 1234123 For for those air, straight quarter minutes is capped. Four than expected. Okay. Yeah. Anything smaller than 1/4 note, we're breaking it up or breaking beat up small pieces. So here we've got the eighth note, okay? And it's a filling dot with stone, but now it's got this little flag on it. See the flight guys No one flag and that means is that these notes, If it's by itself, it will just have that one flag that goes down. But if a fitness our next other eighth notes were sometimes other smaller beats that have flags also is that the flight going down was connected flags And then why beings? Beans? So you see, I have beans over here. They're connected. So the beam is the same as a flag is Dennis is just about one being, you know, it's an 8th 1 flag or one being you're doing with aides. Note. Unlike the sixties Debelo where it has got to flex or to bees. So two beings, two flags You know you're going with 16th if you're doing with Juan Flag or one being that , you gotta days. Okay, Ive knows there's two of them required. You still with me? We're almost there almost there at the end of this to 800 1/4. So we're gonna count that as one ant one and two and in terms of you plus I one and two and three and four and so it will be like one tends to pass three. Add four one and two and three and 41 tends to 34 bunk, tapping everything one and two and three and four. Those air eight minutes inside. All that. 1234 Still 1/4. We're just hitting the And in between now we're breaking out the quarter. So we still have one, too. 341 and two and three and four and 1234 234 Still have the quarter note in it. We're adding the hands into it. Was there aid notes? Eight knows. And by the way, there are 2/2 notes that could go to a measure just to these to these is four corners that could go to measure forwards breaking intercourse. Uh, there's 88 nous. Then you can put into a measure 16 16 notes go to measure. Okay? And so, like we said, 16th note has got to flags. And the way that we count them is we have the one and two and three and four. And so if you said one and for the want one end or the eighth notes, we're gonna put a e a in between of the end, so I was gonna go. One e That's one string of sixties. This won t end up good. So before we were going as two hands three and four and one key and A to B and a free weekend for good, the twice as fast. That's something that we're seeing all way down here. Every time we go to a smaller beat, these air do full time. So there this will about two, and they always get twice as fast. Smaller of egos. We're not speeding up. The tempo was breaking into half size, so we are going. It's what Sally's going twice as fast after his good twice is best quarters go towards his tasks. Half it's going twice as fast is 1/4 16 to go twice as fast. Eighth. Lucky or so. If we go, let's do a quick thing where we go. One measure for cores. Let's go 88 16 16. I just connect. Of all what? 34 2341 be four is. That's good, Um, and the rest. For the age of the 16th they are slash, slash, and it's got one flag. It isn't eight as slash with two flags on if it's a 16 so you can always easily identify an eighth note. Born eighth rest. Does it have one flag? Or was slash uh, one flag or one being, um, floor? Is it 1/16 note? Which case has two flags or two beats? And the arrests will have either one flag or two flats. You know which one it is, because it's got two flags in 16 floods. All right, this is making a little bit assess You don't get Okay, let's do a string of really one measure hole. One measure of to have this measure for, um, worse. Eights in 16. 16. One of these two of these. 48 16. 1234 Well, to for two, 341234 All right, get somewhere. Eso I wrote this down here. Teoh. Show you how weekend starts putting different kinds of beats into the same measure. Like I said, we've got a 44 time. We just need to make sure that each measure is not below or doesn't exceed before be rule. Okay, So with the combination of eats and rests, we have to have four beats. So let's try it out. Well, 1234 Well, to 34 Okay, so that was 12 on the half out and then three or 4/4 to three. Okay. Uh, 123 and four. Do that again. Well, to three at four. Okay. Next measure I've got and court arrest. Okay, Um, and I don't think I can get past that. Won the quarter arrest. It kind of looks like letting bulls or Giant e three. Okay. And it's just one beat of silence. All right, So rest of you one, we're gonna hit me too, to way we have it again. Quarter rest to arrest on the three silence. But they were gonna hit before. So this measure Rick here is gonna look like one, 23 We're still going to say the name of the rest is not gonna hit or strong What? Three. Good. Now, last measure is we've got a string of 4/16 because we see two beings. One key, 28 to where's three more? What the hell? Yeah, what to four? Makes sense. Okay, let's put the whole sequence together, this whole phrase sporting together, okay? And like I said, time should be consistent. So I'm gonna do it without pausing this time in between measures. Well, to three. Four to more to 41 three for one. He ended 23 Yeah. 12 three, four Teoh. Three to three and 41 three for 20. And it's you And three four basis. Okay, so that is your crash course in reading ribs. Now, um, if your leg is kind of sore at this point, if you've been doing it with me Oh, good. Good job. Okay, if you're like, isn't sore, um, taxies out on your leg? Part of getting rhythm is the feel of it. So you want to feel it so kind of bang on your leg and you get this spread mark on your legs from Beijing on yourself. That's good. That helps you learn it. I know that sounds, um will mean Teoh do yourself, but it's a good way to learn is to feel really feel it. Okay, So when we are strumming a lot of times thes 1st 3 beats any time you have these 1st 3 beats first going down strong. So, for example, if I stayed any chord, doesn't matter what quarter take decades before 34 and have the same thing down strong to these per now quarters before. Worse Still all down. Okay. Things down against eight in 16th. Going to start ultra strong when you go down a dog. Ok, um what? I'm just on eats. Well, 16 I'm still going to go ultra strong is gonna be oh so strong on the 16th. And the general rule, though, is that if I have, if I'm dealing with a lot of 63 So I'm going to go down, up, down because they're so fast. I have to go down up down 16. I have to do that. So if I play a lot of 16 then I see some. It's nuts. I'll just do the eighth notes is down. Okay, so Lucy seems like money. Okay, So what? I did waas I was going down, up, down on the succeeds. That's and then when the news came up, a story going down that good. So it's not confuse, miss. But if I'm just playing half those quarter notes and eighth ups that I'll go alternate strolling down upon the eighth notes, whatever. My smallest B is going to be. That is what I'm going to do. My ultra strong. Okay, small speed. So if 16 this my smallest feet do ultra, it's for me on that. And, uh, it this must balls do Also, it's running on that. I see this one more time. If 16th is my small speed, I'll do down strong on all my eighth notes. Access. So, um, play this way. Good. I started Teoh this that last one. Good. Okay. Now, to make this a little more interesting because you may be thinking if I start mixing on my courses because we weren't doing anything interesting with this guy. So just going to randomly uptown superior courts doing this again. All right, let's just with a g c and deport. I love your wife to it. Okay, so that is your crash course in rhythm. So I hope this makes sense to you and be sure to tap these out. And that is strong, though. We're gonna be moving on to triple its next, which is going to give us our true blues feel 7. Swing Feel (page 18): less work on developing our swing feel this is pretty exciting because this is us starting to actually sound like the blues. Um, so this is going to be your best friend of the swing fuel. And when we talk about the swing field, some people call it a shuffle Feel so the shuffle feel swing feel like all the swing feel? Um, and what it is is it's the use of triplets. So we covered on our basic rhythm of all of the do pull timing. Okay, so the ducal timing was stuff like it knows, quarter notes and 16,000 half notes stuff divisible by two. That's all doable time of. And so there is also a triple time, which is anything divisible by three. Okay, and thes things can co exist. I mentioned this before. They could co exist. You can find some Dugal notes, beats Reppas eyes and triple nose and eats in the same measure on. And that's where you start developing some real rhythm mastery, so we'll talk about that later on. But the triple feel all the rules that we already learned with the ducal. We build on that to get to the triple feel, so oh, okay, so let's jump into it. The most common thing that we're going to encounter are triplet agents. It's no trouble. It's OK, and this is what they look like. Um, it may look a little bit like a mess, but you're always going to know that you're dealing with triplets or something in a triple time, because it's always going to have a bracket above above it and is gonna have a three or a six. He could have a nine or 12 but it's always gonna have something divisible by three bracket to kind of group it and show you this isn't triple time on. The reason for that is because you know what we're doing with people. It has to add up. We talked about how in the measure it has to always add up to a certain amount of beats, usually four beats. And so if you start having groups of three and six of nine and 12 that can get really confusing. So there's always going to be a bracket. It's me writing it or some other musician writing it or anyone that's writing it. This is a universal things. It was a bracket. It's gonna three or six or nine or 12. So you always know that you're doing some kind of a triple time. Um, so that's all that is. And but the same rules apply, you know, here, we've got strings. There's groups of three notes to those three B's three beast Rubies, Rubies, and they'll have one being one beam where one flag tells us what that we're dealing with eighth notes. Okay, so there's just one being So these a Wraith, it's other eight triples. And what's going on here is that weaken. Before we were able to get to it, That's inside of 1/4. So before I do full time, we were going 1234 with 1/4. And then we would put the answer in twin we go. One hands, two hands, three and four. So, with triplets, we could get three of those inside of one quarter new go. So on the way we're gonna count. It is with the world triplet. So one trip. Bless. Okay, one trip. Bless to trip. Let three trip. Let's four trip. But people these different of methods of counting triplets. I've got a drumming background. I was a drummer before. Ever touched a guitar for many years. And so the way that I learned can triplets waas one trip blood. All right, so we can fit three of these inside a little quarter. So we've got shortness. You four to three for the triplet Ignace inside of them. We're gonna go one triplet, triplet, three triplet four triplet triplet to triplet three trip flip for triplets being the quartet A little louder accenting it so you can hear where the quarter It's our stop accenting 1/4 like this one triplet to triplet three. Trip with for trip on triplet to triplet three. Trip for 2 to 3. Four. So that's a string of eight new tributes. Okay, so that is the Germans. Um, no. When the actual swing feel is, um because when you're playing the blues, you're going to do a mixture of really two things. You're either going to play straight 800 blitz on your courts when you're strumming and when you're soloing as well. When you're doing your melodies, we're gonna be playing either straight eighth note Triplets Want your blood to triplet three triple for triplets or we're gonna play the actual Sweden feel itself in the swing feel itself. You see this guy to slash has got one fly slash with one flag, his arrest. It's either breast. OK, so arresting on the middle. Notes of the triple. It's the trip, right? The trip. So is one trip. Plus we're resting on the trip every time resting on the trip. It's one trip Plet resting on the middle of the trip. Okay, so we just don't hit there. So what the swing feel? Winds of sounding like we rest on the trip. So it's gonna be like one trip plant to trip. Let three troop, but four troop one trip went to triplet three Trip Put for truth in the first time you do this, it may seem unusual. Say it out loud like I'm doing okay, sandal out and tap it. One trip. Let's don't hit The trip hit everything except for the trip. One trip to truth, but three truth but for trip but one trip to trip but three trip, but for true also, keep in mind as I'm doing this. Remember the whole thing about consistency, and it's like a ticking clock It's still like a ticking clock. Where is breaking into groups of three? So as you do each Peru, you should be going like Teoh like No pause in between. There's no applause in between the groupings. You just continue on. So you're saying one trip led to trip blood? Three triplet, four triplet, one truth lit. You're going like that? Just don't and hit everything, but don't get the trend, okay? And then you're gonna have a swing. Feel one trip, but trip, but trip for truth. Truth true. True for trip. Okay, let's talk about strumming. All right, so one of the main things that we want to do when we're strumming is we always wanna on the new quarter beat on the new 1234 The quarter note. We want to make sure we do it down. Okay, That's real important. So what we can do when we're strumming straight A's triplets is we're gonna go down, up, down, And then down, down, down, up, down, up, down, up, Down To help down. And it is a little bit of an unusual feeling. Sometimes guitar players will want to go down all the triplets. I'll do that too. Sometimes Where? Say, if we took our e seven chord coming E seven chord so I may just want to go down Oh, I may also want to go down, Up, down, up, Down, up, down, up, down, up, down That could give you a little bit of a different feel theme Good cut. Now what? We're doing this swing feel we want to go down on everything right is we're doing one of two things on straight it on the straight triple It's really going down and everything Which cases Down, down, down or we're going down, Up, down Either way the 1st 1 in the last one We're gonna wanna be it down, down strong So when we do this swing feel we're gonna go down on everything okay And a dispute over here And we're going true Let to true Let three true love for trip blood One trip trip Let fame trip Blood for trip Saying out loud the first couple Minister He practiced this. I noticed the lessons when I talked this Sometimes people will put a pause in between each beat or they may rush certain notes lying to be like a ticking clock. Nothing is faster and nothing is slower than all evenly spaced. Okay, All the notes, all the beats are usually spaced. So if you say it, it forces you to think about it more. One trip let to truth. Let three trip left four triplet and were strumming down Everything except trip trip, trip, trip left portrait like one. True, true, True. Okay, let's put in with our e seven chord Done are what chord right now use any court use g chord DeCourcy court. It doesn't matter what the court is at the moment. Just during the seven course, it's a good blues sound in court. Okay, so make sense. All right, this is the swing feel. We would use this also if we were sewing. Okay, um so if I was soloing and we'll be getting into soloing in just a little bit. But if I was going Teoh just go through some notes and I'm going to only play the notes using Springfield So we owe okay. Starting a sound Lewsey. So getting in the rhythm, the blues rhythm space that we want to be in Okay. Breaking everything into pieces of three and Like I said, Uh, when you're when you're getting into with the cores and getting into with soloing, you may choose to go straight to the triplets, which is fine, in which case you'll be like I those air straight into a dreamless where you may break it off his swing field. One trip to the breach that forge that. So you may decide to go for either one, because they both sound very bluesy. But the swing field is the standard of creating blues out. Okay, so sweet deal is we're gonna be doing primarily for all of our blues. Um, a lot of times when you look at a piece of music, there may be very beginning in the notes, like where the title is and then notes of 44 time. It's this tempo is this key. You may see something that looks like this is what is it quartered up? And then it has an equal sign, and that is God's just a little, um, picture off our Springfield triplets okay to a triple its with arrested between the bracket three. And what that's telling us is that every it's telling us that they're going to write that all of the music just using regular residents. So that song written down We'll just have regular eighth notes and you're not going to see maybe the three in the bracket and the rest in between, because that's a lot of writing. It's a lot of stuff to write down every single time. And so what you will see sometimes on sheet music is at the beginning of the music. You will see Corno Civil Eagles this which is our swing view and what that's telling Use. If you see just regular eighth notes, turn him into a swing field tournament to a triple it instead of playing like one and two and just display 12 34 But 1234 instead of one and two and three and four and 123411 True. Let 1234 You can hear the difference between that and one and two and three and £4 drags a little bit more. OK, one more thing I want to cover off before we, uh, move on to the next lesson. Oh, we were talking about trouble time. Anything can be turned into triple time. So so far we've just been talking about a thickness. But in our basic, uh, crash course rhythm, listen. There's a lot of different kinds of beats, this whole, those half dozen quarter notes. He's doesn't succeeds notes. And there's even more, is that. But you were just talking about turning 1000 triplets. Yes, you can turn Corneau's into treatments where no troubles. Um, and you could turn half news in triplets either. Um, you see that sometimes, but not quite as often. General rule of thumb with triplets is that this the larger the beat is and has turned into a triplet. The harder it is to count, they really difficult to count when you're doing with quarter note triplets or half contributes. You don't see those as often. Well, you see more all they're of the smaller bees, even triplets and 16th note triplets. Here we have 16th note triplets. This is also referred to as a six tablet, Um, six on all that is six notes. Okay, it's got two beams on it. The two beings tell us we're dealing with 60th this but bracket in the six that tells us it's in triple time So what's going on is all these six. No treasure. We're going Eagle 1/4. So they one where we have to be able to fit in six of these beats. And so you'll see this a lot in faster music. Or if there's a solo over doing a quick run and they want to do something a little faster than 16th notes. But they don't want to go quite as fast as 32nd notes because they're really fast. They may just help it up. Teoh Place from 16th. No, the way that you count thes their various ways, but the way that works best for me is just counting. 123456 Really last. 123456123456123456123456 So if you got to beat the beast going like you I 41234 That's how you do. 63 triples. So we're going Way E seven Chord eighth. No triplets to sextuplets. Way, way. Start hearing that we're getting more bluesy sound. And then, by the way, it was a pretty slow tempo way people are doing that fast and furious, strumming a lot of times they're just holding it up to 16th note triplets. They also have noticed that when I was doing that was backing off quite a lot with my right hand. Just cause of going faster doesn't mean I have to be going lower, right? So I do too much. You know what I'm doing? Just brushing like we talked about pulling back on the point of my pick, and I'm just brushing against it. OK, but let's reel it in. Let's bring it back. Because the main thing that I want you to take away from this is the triplets on thin. Removing that trip so we can get this swing. Feel access. All right, I will see you next lesson. 8. Arpeggios (page 19): Let's talk about our are Jews. Edges are a soloing tool that are pretty much a fail safe. You cannot go wrong if you use arpeggios properly. So again, of course, que garage if used properly. What I mean is, if you are looking at the court and you're supposed to solo over this song and as the quarters going by, usually arpeggio that is supposed Teoh her over that court, you're all included perfect notes. So when we're soloing, we use a combination of scales or scales and modes and arpeggios. And when you're using a scale or remote, you have so many notes that you can choose from. That's some news will sound better than others, so those will be stronger than others. So you may get nowhere. It's like that was nothing. Greatest note. That's not the case with RV Jews when you're playing an arpeggio, all of the notes or strong notes. So that's why our edges are a very powerful Soling tool. So once I got that today, what is overpaid you arpeggio, is is you take a court, any court and you break it down. One note at a time and you look at all of the different notes in that court. And then we took those notes just the different notes. We created a little miniature scale Onley using the notes from the court. That's Rifugio. That's it. There are videos look like little miniature scales, but what they are is there just composed of the notes of a chord. Any chord can be turned into. An arpeggio are initiated. Any court could be or vegetated. You could be as simple as a geek or or it could be his complex as E Flats Meyer. Seven Flat nine 11 We can make an arpeggio for that court. We just take all the notes in the court. We create a little mini scale only using those notes, and you would have arpeggio for that court. And if you had an obscure corner, an arpeggio would be the perfect thing to do, because it would be tricky to find a scale that we worked perfectly with such an obscure court. So if we are edgy, it is. And then we solo using Europe NGO were only hitting notes or only playing notes from that court. So we're playing the perfect notes to go with that bizarre, obscure court. Our even if we're doing basic courts majors, minor sevens are Jews are wonderful and blues guitar players used them all the time because a lot of time, a lot of times blues guitar players, especially the Delta style. Are they their solo musicians? What I mean is there playing by themselves? So there are a lot of different genres of blues on, and you can think of. Some is being electric. Some is being acoustic. Some are in bands and sell largest people by themselves. So if you think of the person by himself playing if used to guitar and I was thinking more of like a Delta style of blues, so done person would be using a love arpeggios to Seoul because they can break off into a solo where they're no longer playing chords. But in their solo, they're playing the notes of the course. You can still hear the changes of the song. OK, so that's how our bridges were. So let's take a look at now. What I'm doing for you is I'm jumping you directly into two different arpeggio shapes were going to do an arpeggio shape for a seven court dollar in court and they were to do a liar or a ship. So when we're playing major blues blues in a major key, um, all of this Cordier mostly going to be set courts were dominance, of course. So the dominance of the video is going to be the best bet for you. You're uses an old time, so it's gonna sound great. Um, and then we'll have the minor ARV issue for us when the vital importance pop up. If we want have perpetual option for that love. Mirer has you, too. Okay, So Oh, and let me start off buying by saying that for both of these are pictures got top appear for both of these are the Jews. This starting note on the Lower East during the Luigi Stream is going to be our root note. A root note. So our room note is telling us it's in the key of whatever. Whatever the queues, this is our room. No, for the A darkness over video, it is an a note because it's five on the Lower East re system friend are eastern over the chromatic scale. Sure. Okay. Says her ruin it. Why's this important? because these air shapes there's no open strings in in any of these shapes here. So when we kind of clue into the shape and we know where rude eyes how start the arpeggio shape we're gonna build, just move it to whatever key. We get our starting finger on that note and then we're gonna be playing your visual where you want. Look at that. More of it. So and then we've got the three here for the G bunker. So it was three under Louis String thestreet. Sure. So that's the renewed. Its the first note of the Louis straight. Okay, so for the A seven or the A dollar seven, we're actually going to start this one with the middle finger bill. Figure goes on five because the A but this is going to be a good shape will launch us into it. So let's just jump through it and see how it sounds. Got extremes for four threat self for eso 658 Okay, so we're going for seven. That is the a dominance of the bed. You were just a separate video. Now what? That waas Justin notes from our a seven court. So our most basic A seven course. This guy over here to 0 to 0 way just took knows from this court s and are playing the wand at the time. You know, I don't need you to build to analyze the cord ends, to create the shape for you. This is it. Okay, So I need you to do is to memorize the shape, way those air just knows from the A set, Of course. So it's just a shape like I said. So when we move this around to different friends started on a So what if I went up sharp to be cases now be so I play the exact same shape here. That's the BCE ever did you just a note from a B seven court? If I kick it up here to the D guy So if you're on 10 d, let's go up to the 12 b so we could put the anywhere we wanted and we're going to be playing on Lee knows from that court, whatever key were it. So they're going to sound perfect over that court on. And like I said, this is a soloing tool, So I just play them forward and backward. But what you are meant to do is once you get comfortable to shape is dispensing time, mixing up the nuts. You could only play these notes, guy and whatever. Here, you only play the notes of the shape. But playing that word makes him up Jump around a little bit. So, for example, I was just going to play around in the key of a Theo. Great along doing isn't playing around. And I'm reflecting at a seven court doing in a lot of way. Is it a harmonic way? Okay. Melodic is sewing. Harmonic is courts. Okay, so that is how the A seven as your works Now with arpeggios, they're a little different from scales. We'll look at skills later on. Um, but I will tell you that with scales. So a lot of times you could just stay put on a scale for the entire soul. So if I said playing this scale in this key, just stay there for the whole song. All the gorgeous passing by your state puts one scale in one key. Our edges air different because our edges are following the court. So every time the court changes you have to change with it. The good news is that it's usually going to be the same shape, especially blues. So if we just got a whole bunch of difference seven courts, usually there will be 332% of course. Then we are just going to take that shape and slide it up to whatever the key is is the next court. When the core changes, you have to change with it. You have to slide Europe edges shape. Oh, all right. Um, I'll give you a very basic example. So if we are because really get deeper into this as we go have your basic example is we are have a little mini song, and our course changes go from a seven to a visa. Okay, is this will work well laid over the seven ports down south, Of course. So are songs like this a 77 go to solo over it, using the arpeggio dominant over the A Seven Corp where he was being played going to solo the A visual The D chord on a slide appeared attempt cause this is deep D on the east. Drinks were our room. Notice you say a sharp B C c sharp D 10 Fridays D. Okay, so let's try thing to see what doing? Every time the court changes in my head, I'm just We're going up to the same key as whatever the court is from A to D. So good. So that's how arpeggios moved. And if we threw his Mork or changes every time the court changes, I would just follow it with that, Are you shade? So I want you to become best friends with this arpeggio shape. All right, let's take a quick look at the minor issue here. Okay? The G minor. Did you sisters? Three. So this guy, we're going to start with a reporter figure. Okay, My armpits. Users with the index finger. 365 323 What I did was just play the notes of the G minor court. So if there was, if we're playing the G minor park word way got that, then I would use the murder of azure qg to reflect. So what if we did a couple changes where we said we've got a song imaginary song and is going to go from G liar to see? So it's gonna sound going to do? Gee, my arpeggio over the G court here to see and do a c my are as you where the Sea Court and C is Here's g 03 is being after she sharpen a sharp me seen since he's on a friend so way. And all I'm doing is I'm playing on Lee the notes from G model. Okay, so when you have a situation where you have so the cores and or minor words coming up, just go for the arpeggio off the court. It's my report used my arpeggio. If it is a seven court, you used the something. Whatever the court says, that's what go for. So for the most part, um, the blue stuff that we're gonna be working on is going to be either Seventh courts were there would be minor or minor seven course. So, like I said, there are NGOs for any court that exists in turn any court to our video. But we're just focusing on the ones that were going using all the time, which that's these guys. So I want you to become really familiar with them, and these are just one option for solar. Like I said, we've got those in scales and we've got our issues. Why do you have a couple of different tricks that you could use when you're solo? But if you ever get to abide or start feeling like you're solo doesn't sound great. Um, you should always revert back to playing arpeggios because break back together. It's going really good. 9. Scales (page 20): Let's talk about our skills. So I'm going to show you the scales that you need to know to some over the blues the best scales to use when you're soloing over the blues. What people really don't know what to do when they so low that lose. Um, accomplished. Players do just fine because they're accomplished players. But the blues is a simple style, and it's easy to get into usually just drink courts. Um, and people will grab easy skill shape and just being around on it, and they need to go a few extra things or really get better and to make it work. So I'm gonna show you how to do that right now. Um, the mix O Lydian boat, um, Mesa Lydian mode is a scale, Okay, but it's called a mode, So I don't want a bog you down too much in, uh, motile theory. But essentially, it's kind of like if you have the major scale and we just started the major scale from the middle of it, and we wind up with just a different sequence of bits. So it's called the Mix O Lydian. It is called a mode M o. d E. So the mix o Lydian mode. But the mix of Libya move is also scale. It's the utility in scale. If you want more property cold, move though, Um, and this one's in Kiev day. So everything that we've seen so far we're having root notes that our students are first note in the starts of the low e string, and that tells us what key were in. So that is still true for all the stuff that we're doing here. Um, and the missile idiom mood is what you're going to use whenever you are soloing over a seven court. Just a plain old seven chord, which is major. It's a dominant seventh chord. Um, when you're playing major blues. Um, it's what's called parallel movement on DSO. When you have parallel movement, we have to shift the scale or shape, or reggio as the court moves. So, um, we're going to treat the Sicilian mode the exact same way that we treated the dominant or reggio. Every time the court moves, we have to move the shape along with it. But the mix o Lydian is the perfect scale to use over dominant seven courts. Um So let's jump into it and we can see just by looking at it that it's got a lot more notes than the orcas. You does. So the Arpege, US four individual notes and the full Maximilian mood has seven. So we've got the extra three notes, which we're gonna make a big difference in our options for getting different tones. Okay, so let's just jump into. We're going to start figuring it the same way we did the dominant arpeggio. We're gonna start with her middle finger. So 57 and then 45757 again, They were shipped up here to 55 75 79 I was trying. I think you're backwards. Good. And a Rudo, like I said, is a because we're starting nose day after a DJ Sharp today. So stay now. Scales are a soloing tool. So you're meant to use this to improvise, to play around, to make melodies, to try to come up with different stuff. So you're going to play this for backwards a bunch of times and trying Teoh, memorize this shape. Once you do have it memorized, gonna start playing around with it, mixing it up You can only play these notes on Lee. These knows from the shape. But I want you to mix that love to play around with, um, try going forward and backward on a string so we'll take a look at that a little bit more, Um, in a minute. But like I said, when the court is changing, we want to go with it. So let's just stay on the a big solidity for just, uh just a minute, okay? And so we're playing around I when I was going slow, I was picking everything down when I start to speed up alternate picking. So going down, up, down, up, down every time. And just cause I change strings doesn't mean I'm necessarily starting with it down. Sometimes I'll change strings and start with enough. I'm just following down, up, down, up, down, up, down Constantly. So sometimes when itching strings that will go to start with down Sometimes it starts with an up I'm just falling down, up, down, up, down, up with my right hand's Doesn't even matter was going with All right, resting over here on my bridge Your you may be playing an electric spine. Find a comfortable place to kind of rest your wrist and just culture that pick ultra there . So let's just take a minute and less solo over the we'll just see. Oh, wait. - Okay , Cool. Sounds good. Now what we need to do is we need to be able to take a couple of those legs and then be able to change the key when the court changes. So this is something that we play over seven. Cordes. We played over dominant seventh course. So let's do a little example of I've got a little miniature song. Todo a seven court to descend course. Good. So over the a 7/4 minute played a mix Ilian over the d seven court. I'm gonna play d mix Lydia up to the top. Tougher. Because this is ideas. Germany is your PC. Okay, so let's try. Um, we'll go. A couple bars, two bars of a seven and two bars or measures of December. So exists. So that's my imaginary Theo. I keep going back and forth between the every time the court changes. We change so we could puppets and more courts, and we will have to follow them. So every time the court changes, we're gonna go with it. Okay, so that's the mix religion. And that is one of the big tools that we're gonna be using when we get into the blues, which were almost that we're almost into the actual application. We're just trying to get all the tools that we need. Start playing around actual blues progressions. Okay, so moving on with God's the natural minor scale I mentioned before What we're talking about arpeggios that a lot of times with scales you stay put in same scale. The same key for those saw that is the case. A lot of times with minor blues when you're playing major blues major blues I mentioned before. It's called Parallel. So parallel lose means you take the same shape but keep popping around to different keys. So the mixture Lydian mode or the dominant arpeggio we have to pop it around that shape every time the court changes into the new key of the court. We're playing minor blues, though we get to hang out and just relax a little bit more off shape. So let's take a look at the natural minor. The natural wire. Um, you could just call it the minor scale Likes called in that from minor cause. It's a little bit more specific. There's a lot of different minor scales. The natural minor is like It's like the official liner scale. So you've got the major still, and you got the minor scale. This is the minor scale, the actual proper minor. Still, someone called a natural water. I put it here in the key of G. Okay, so let's take a look at it. Oh, are starting on Jewish is the third front his G 36 By the way, I'm starting this, what with my index finger because it's minor. We did the exact same thing with your video, starting with the index finger. So 346 studio school. Very good. All right, So if and again, I want you to get comfortable with the natural minor scale because when replying minor blues that is going to be your best friend when you're playing major blues makes a lady is what you're using and then when you're playing mind of lose, the natural minor scale is going to be going for and you can hang out in the whatever the kids were playing, say, minor blues and key of G. You could just hang out here for the entire salt. More than likely were at least 90% of salt. Is most your time just chilling out. Enjoying the entering arounds. The natural minor scale. Um okay, so if I had a court progression that went maybe from G minor to a C Meyer. Okay, so my song maybe sounds like this way. I'm going to play around with her skill through both of those changes. Stay put thing. - Now , even though I was staying in the g scared the whole time, you could hear the core changes a little bit with what I was doing, because I was still able to kind of grab elements of the C minor court. Um, so it's all in there because minor blues is not parallel, so we don't have to take the shape of move around. We could still access all those sounds within the same key. Um, OK, so we're gonna talk more about that later on. What I want you to be working on right now to be getting out of this is that this is time for you to start working on these scales because we're going to using them a lot. Lastly, I do. I thought that the pentatonic Meyer deserves of mention because it is such a cool little skill. So Penta means five. So pentatonic scale pentatonic has five tones pence atomic, five tones. So it's a five note scale. It's got five different notes of it. Yeah, because there's more than five things going on here. But we repeat it because the active. So there are five different notes going on in the pentatonic scale, and this is the pentatonic minor. There are dozens. Doesn't different kinds of pentatonic scales. Most people, I have no idea. They just think there's like one pentatonic scale because it's still popular. It's the pentatonic minor. As a matter of fact, this is the first scale that I ever learned on the guitar, and it was a long time ago, but I still play it all the time because it's just so good and useful. Sounds great, but it is very useful also, so I still use it all the time. Um, and it is. It's something that you can use as an alternative to the arpeggio also use it as an alternative to the minor arpeggio before you could use it as an alternative to the natural minor scale. It has elements of both in it it. So if you are dealing with a minor court, um, and you're not sure what to do, or your brain is just, uh, seizing up on you. You can always go for the pentatonic minor scale because there's always gonna work almost always going to work and sound great. Okay, let's take a look at it's got some big jumps in our fingers. So G so 36355 to fostering or 3636 Theo. Any time you have a minor, you can always play the Panasonic minor over it. So if you're feeling like I can't remember all of the nose or the shape of the full natural minor scale, just grab the pentatonic minor. It's going to serve you just flying until you can kind of get stronger on your natural minor scale. Let's go back to our example of G minor or to see my artwork so we owe todo works. Sounds great. Sounds really great. So that is one ways to use pentatonic minors you could just stay put or you can treat it the same way that we treated the, uh, the dull and are a Jew. And then explaining were retreated the parallel way where we just move it to the key of the court. So in our G minor to see my example, I could do the G Panasonic minor over the Jean Marc or do you see? And it's on a minor over the sea. My report. Let's see what that sounds like. A horse Theo. That was, too. They definitely both work, so I can either hang out in the G Panasonic Meyer or I could move it every time There's another Meyer court, I can always just move it in. Ruse in the minor pentatonic liner. In that key, that makes sense. So we've got a lot of different ideas rolling around. S O Okay, quick recap. We're playing major blues and we've got just seventh chords. Regular seven chords. Every court guess that makes a lady Okay, just pop it in different keys. Whatever the corgi is, when we have minor blues, we can hang out in the key of the minor, um, and just play around with the, uh the natural minor scale in that key the whole time or what we could do is we can play the pentatonic Meiring key. Or we could do the talking minor following each miner court in the course key. So we have a couple different options here on that's what I want you to have a lot of different options. So adding on the arpeggios we've got now a bunch of different scale options. Okay, we're going to be exploring all of these options. Where I want you to do now is take the time to start getting these tools in your belt, getting ready to use them. So get with these ships and I will see you in the next video. 10. Techniques (page 21): Let's talk about techniques. Techniques are also they allow us to they extra notes without having to pick those. You've already seen me using some techniques in some of the examples. Okay, so let's get into it. Um, we've got about four or five techniques that we can use on a regular basis techniques. By the way, when people describe guitar players and they talk about their style off this person style of that person style of play, it sounds like them a love. Why it sounds like them is because of the techniques that they use in the way that they use their techniques. Part of it is, you know, the notes that use part of it is their rhythm, and part of it is the techniques that they use. So the way that a guitar player uses techniques will define how they sound with their style is, um, their personal signature to the bazaar Play okay, And one of the great things about it, like I said, is that you could make more notes that you don't have to pick, so let's jump into it and I show you these five basic techniques. Camera is the 1st 1 now for these examples, I'm going to use the pentatonic minor scale to simple shape, and we can easily go through it and try these out. When you're using techniques, you can use them over scales. Melanie's single those. They're usually used over single notes. Sometimes we'll use some of these over courts, but we're usually going to use them when we're playing scales or arpeggios. Okay, so has a tonic water into the Q G. Q G C O. So the, um camera, we're going to start off by pressing on the third front with the next figure. We're gonna hit that note picket thing. Then we're going to smack down there, Pinky on the sixth threat. We're not gonna take it. So we had the three way specs out with big. So what's going on his wall. But it the picky continue to press down with me way. We wanted it pretty hard. I'm just doing the digging. Possess the note in our scale. If I was maybe on the one of the middle strings, like saying the d string. So on the third front on the d string, pick it, pick the lower notes on I voted with the ring finger back onto the fifth Fret. I say smack because I really tried to get a heart with that second finger. So pick it fresh. What's happening is I'm getting two notes in the 51st. I'm still pressing down on the first. I don't let up at any point. Yeah. So what I do is I can go through this Panasonic minor shape, and I hit the first note of each string, and I'm going to have her on the second every time I get to good. Also, let me point out that is at my discretion or your discretion as to how fast were short. The spacing between that she knows this is going to be You could make it long where you make a short So we could say we're going to go that way. You try to be faster way to make it really close together. Yeah, you. The spacing, the rhythm, X pacing is up to you. It's whatever you needed to do. All right, that's him, Rods. Listen, we got pull ups. Whole officer kind of the opposite of a hammer on. So the start of their first example, we've got the third front, High Street pressing on it. And we're also gonna press on the six. Fred pressing on both president on the six string. Okay, I'm gonna hit the high one this time. Figure how do isn't going Teoh twang off with Vicky? Okay. Still pressing on this guy? What? Hold off with my pinky is almost like a plucking it with my pinky right here. So I picked the picking up way twang it with my pinky wall of still pressing down here. Yeah. So what? I want to get set up for a pull off. I have to press on both friends. Both of the notes hit the highway. 20 below, right, Los e, get to nose for one. Good. And the deal with techniques is that you want to You're going from a note in the scale. Were you? You're going from another scale to note scale from another skill to another skill. So we're not just randomly grabbing notes. We want to do those that are within our scale shape. Great. All right, so slides, slides or a low flow on, you know, a lot of sliding lose. All right, So we will go there are three clustering. Okay, Now we're gonna do is I am going to slide up with Sam finger to six threat when I do that. Going to continue pressing all along the way along the way. Really Continue pressing, sliding to express So I could do that all the way down, Going to start in the load of the strength, slide up to the high friend straight, So yeah, and just with everything else the same. Our durations are up to us. We get to decide how long or how short the technique will last with the rhythm is in between. So you do a quick we do slow. It's our choice. There's a lot of opportunities to be creative here. All right, we slide up, you say figure Teoh pressing all of the way. So we slide up. Reese, let back. Okay, So high. No, the six overhead slide back to the 36 vehstree. Now, um, one of the things was sliding That I think is helpful. Um, is don't watch your finger as you're moving it. Don't do that. Okay? So people have to watch their figure as it slides. Don't do that. Instead, look at your destination. Friend. Friend, You're going to just look at that Onley. Look at that. Look at where you're going and slide to it. Okay? So don't look where you're going. Look at your destination. Just fix your eyes on that. Go right to it. Access. Okay, Good bending bending is a really cool thing we could do on the guitar. Um, it is pretty hard to do on the acoustic guitar. It's a lot easier to do on an electric guitar. Um, so if you are playing electric guitar than have a go Ben and crazy, um, I will give you some pointers. Obviously, the the most important one is we want to go from a note in scale to another skill. Um, and well, with Ben, and you could break that will sometimes. But you always want your destination to be a note in the scale. Never been to a goat outside of the scale. No, always. If you're gonna bend from a note that said you could bet from a note outside scale sometimes we always wanted it to another since ago. So you want to wind up on a note in the scale. That's really important. OK, Um, okay, we got forward bends and backward spends also called reverse bits. So I'm going Teoh acoustic guitar. It's easier to then the high strings. So I'm gonna go for the B string here, even though this notice not our kind of talks. A little bit of that. Fifth friends and six fret So there one b string of this new that dio pushing up well, you could do is use a couple fingers behind it to help you push. So using a couple fingers to help me with that string to push it up, I try to get this over here for that. So that is a four bet, and I'm just going from We've also got reverse beds and that's basically where I start the bend. But I don't hit. Don't pick anything. I go. Bush hit that and let it releases. So I on it, sister, all by bending. I don't hit Bush. They released, unbending. It's reversed first. So that's that. Um, von Barato y barato is a very cool technique that you can use all the time on single Does any single know that you have to be on could use a little vibrato Um and all that's going on with brother is that it's kind of like, uh, seeing people shaky hands. You would just shake kind of doing that. Except we're doing it while pressing on was tryingto rapidly do little mini shakes. Yep. And what it does is it gives us a little sustaining bends to know a little bit more, which is a little bit more sustained. Bring longer, a little louder. We don't want moving in too much because we don't want Teoh. I try to bend it, just want to give it a little bit, A little extra something. Keep it, Ricky. So you may be playing and you may go. You're gonna be mixing up all your techniques. Okay? When you're improvising, you're supposed to be mixing up your techniques, doing hammers, pulls some slides, bends and vibrato when you land on a good note that you want situate, so access . All right, go practice your techniques 11. Dominant 7th Chord Shapes (page 22): Let's talk about playing dominant seventh chords all over the place. One of the things we talked about is how important it is to have a lot of different shapes and ways to do the exact same thing on the guitar. When you're playing blues, a lot of times you're gonna be playing major blues. Sometimes you're playing minor blues, but a lot of times you're playing major blues. And if you're playing major blues, you're going to be playing a lot of dominant seventh chords and a good way to get different tones and building do different tricks is to have a lot of different shapes to do. The dominant seventh chord. Just the regular plan will set before, so we want to able to do it in his many places as we can. Since the blues is usually just about three quarts for any zone, it's roughly three courts for basic blues. We want to be able to mix up these chords in many ways as possible and try to get as much out of it as we can. So, um, what we're gonna look at right here is taking the A seven chord and playing. It's all over the place. Um, the good news for you is you've already learned to these shoes the 1st 2 shapes. So this first shape right here is the bar chord. The A seven bar chord rooted on the Eastern. So remember our A our work here in the fifth front? No, where we're holding that. All six strings there, Index. No. Okay. And then we take pinky off. That's a that is a so All right, So you already know that one. So we got one. You know, the 2nd 1 to, um, this is the one where we were doing the, um This would be like an acorn way of high in this world, friend. So the two finger Ankara this one would be the 12. 40 40 14 on. And then we opened up the G string. Right. This'd is the of the G street. Oh, what I want to talk about next is these other ones which are based on shapes that we're kind of used to. All right, so the 3rd 1 here, 22 to 3. Okay, so this one can also view two fingers report. All right. What's going on in this chord? The 2 to 2. Kind of looks like an open a chord, right? Remember, from our open a quirk, we've got the teaching too. That's where this comes from. And there was hitting this Heino here, which happens to be the seventh, the seventh interval, which makes it the seven court. Um, don't get too confused by that, but our room known and this guy's gonna while being the G string. No, right here. That's where are actual A is. So we're looking for this court in different keys. Were looking for it where it is on the G string. So is this the G string? So we know that we can think of that little note on the G string is a room for the shape years a seven. So, for example, if I was gonna look for a d seven using that shape, we're looking for a D on the G string. Right? Those g sharp a sharp three years down. You're so there's d sharp. You're That makes sense. All right, Well, good. Now he's next to are both gonna be the same kind of shape and the Zahraa little me seven court shapes So 545 Okay. Starting on the lower east. Drink five for five way. We're just stroking. Were pressing. That is It's easy way to get to today. Seven, uh, do this exact same shape, but we're going to kick it down a string. So we're rooting on the a string going up to 12. Is that a toll for it? On the A string was a gah. This is so shame is coming here on the east. Now, the last shoot that we've got on the white board is 98 9 on the high strings. So 989 This'll one is a great, um, I use this one a lot because I kind of borrowed it from studying guys like Robert Johnson. And you can really manipulate this court a lot. This one looks like a d seven court. Can't remember. Our d seven. Was this guy right here? Teoh now was interesting about this. One is yes. Difficult to find the root note because it doesn't have a room in it. Yeah, so if we were saying that this is a d chord right here, d seven. There's no denoted in it though, So this kind of problem R d would normally be this quarter here, just open D chord and our denote would be my ring finger. But since we took it away and we moved it back to friends that note Now, I don't have a d l So this is over note, but this is where it would be to friends up on the B string. Okay? And that's how I know what the court this. So to friends up on the B string from this shape is going to be my hypothetical. No, it's my hypothetical word. No, it's what the court would be in if they had a written note it. So when I come up here to 989 Okay, look at my be stream and I imagine to for himself from there. So the time frame my mother be strings of these on 12 b flat A. So I know that this is why eso does that make sense. So let's try another one. What if I was looking using that last shape looking for, um e seven? He said, Okay, so I need my hypothetical redone to be You're Here's my enough b is all of Eastern B C C sharp d sharp. So you have a single room to be here, so I just needed backup. Kind of like a G seven over worship. Back it up. Make sure those two friends higher than my fee. String note. Yep. Is there is my b string. Those two friends back from that e note. My hypothetical, Rudo. Okay. Oh, So here's my, uh Okay, So a good way to practice these is just to take one key And to bounce around all these different shapes. Just a maybe the Cuba stay in Cuba and hang around all these to her shapes with the swing feel. Please. - Way good. Then you want to try it in different keys to Houston. Moving around in different keys, trying to keep d. Okay, we're gonna go, kid. D d seven. It's just shift all these up to keep deep. So this is actually the sudden you're open, try different keys, but you want to bang it around and start messing around with these. What's really unbelievable about the blues is if we take some of these shapes and we figure out ways as the courts change to keep the the shapes as close together as possible. They are really close. They are closer than you can imagine. S O. That is a pretty cool thing about the blues. Eso, for example, Going from my A seven to G seven. Uh, take the shipper here. Oh, just bringing to d seven. Barely even have to move my hands. Teoh seven using the shipper here. Just back it up to this diese d seven. This shaper here, like t two. How are you going to start finding things like that? Well, point those things out. Wars we go on. But why use to start working on Oh, getting a lot of different dominant seventh chord shapes so that you're gonna have just endless possibilities Because I want you to be improvising. Um, not just on the solos, but I want to be improvising when you're playing quartz weight Pretty much constantly improvising When we get into the blues I always want you to be creative with it. So be working on you were redundant, dominant seventh chord shapes 12. 12-Bar Blues in E (page 23): Let's go through our 12 Bar blues 12 Bar Blues is thes standard four of the blues. Um, and this, um, ate the way for a long of other styles of music. Um, so the blues influenced, um bluegrass, jazz, rock and rule hop Music, as we know today, was all influenced by the blues. And it's the blues form eso What we're doing here is we've got three quarts, Andi. Some people refer to 12 bar blues as 145 which it is. It's 145 And what that means is, um, if we in the example that we've got here where the key of e because their first quarters e so applying 12 bar blues and he had e If we, um, consider the e to be the one off the scale because its security. So it's the first note and there are seven notes toll in the e skill. And so if we just do some simple counting, this is not oh, 100% precise. But this is a quick and easy way to get to what, the 145 This So he is one. And then we just count through the musical alphabet using the natural. So e f f mr to G because Dr Again Okay, so is the four be is. The five and C would be the six and the would be in South Dennis back to be against the 88 is the active, so just repeats eight is the same one. So he's one and, uh, f g a. So is the four. So there's before Okay, before there and the B is the five. So when people say 145 that's a really quick and easy way to figure out what 145 is. Um, so what, uh, what people make the mistake of is they say, out of the blues is so easy. It's just one for five. It is just 145 but it has to be played in the right form in the right order. Eso we can't just play ah e and and be just a slow blues. And you could maybe say that. But we want to play in the proper form. And the most standard form is the 12 bar blues. So 12 bar blues to the word bar B A. R is the same is the word measure. So to Cole tell his 12 bar blues is the exact same sayings. 12. Measure blues. There's 12 measures. 12 bars. 12 measures in the exact same thing on the dash is over here are indicating our measure breaks, so there's a new measure every time you see a dash. So there's four Bates inside of each dash. So four beats of E 74 beats a nice island for beauty. Seven. For Peace of E seven and keeps going past 1234 56789 10 11 12 12 Bars or 12 measures. Okay, so what we want to work on right now is we just want to get through the 12 bars on, start playing around with putting our cords in different places. We want to work on getting our courtships, and we also want to make sure that we can start working on getting this swing field because we wanted to sound bluesy. So we want to give it the swing feel. OK, so let's jump into it. I'm going to go through Ah, password thio of it just doing the open courts. So I'm using e seven, a seven on Lisa, we're going to go there. Swing field. So one measure or one bar? Just that very first e seven is going to go like this. Okay, remember, we're going one truth let to trip that three triplet for true plan. So that would be just one measure, Okay? And then we would change to the A. Okay, I'm gonna go through it and, uh, we'll see what it sounds like. Way pretty cool. Sounds like the blues. Okay, Good on. And I ended on just one strong of the E seven after unfinished to be just once from of the center court. So when you're playing the blues, you're gonna play this over and over and over again until you're done. And when you're done, just go one strong on that first court. Whatever the first court is. Okay, let's go one more time. I want to hear to get good. - Alright . Right now, let's start mixing up our courts. Let's start introducing some bark wars into the mix. So we've got a number of different shapes of bark words, but I'm gonna start with just the 1st 2 shapes of the the dominant seven shape where were routed on the e string. So I got my e wave here on 12. My eyes on fifth fret use on seven. Okay, good. One pass like that. - All right. Still sounds easy. Now let's do our bar chord Rooting on the a string. OK, so this shoot, it starts on a string. 79790 that's my e on some front. I'm gonna come up here to the 12 froth, and, um, I can either come up here to the 14th fret for B, come down here to the science Friday for B E o. So Stratasys fill ships to three four. - Okay , cool. Get some options going on. All right? Now, what I want to do is I want to start combining rooting on the e string and rooting on the A strict. So I'm going to start combining, um, the no, really the e string seven chord and the route on the A string seven chord. I'm gonna be able to start keeping my core changes a lot closer. So I have to slide up down the fretboard as much anymore. Okay, so let's start off by going. E, I'll do that. A route on the Eastern B through the eastern 234 way. Oh, now I'm going to start mixing and matching around just using those two shapes. - Great race, Grace. Now I want to do a little slide, Can read you a little slide. We said that when were doing techniques through, usually with scales and single news. But sometimes we can do things like sliding Accord. Okay, we're gonna go young back. One fret from where the court is going to start. So, for example, I'm gonna dio e seven here. I'm going to start on the threat right behind it with the whole seven chord shape, young or slide into the off. Yeah, if I was going into in a seven court. So here's my a seven court route on the east ring. I'm gonna start What? Front, back instrument slide. Help, Fred. Okay. I was doing it for be. Here's my B. We're in the Eastern Start. One for a back from that, it's from it. Now. The rhythm of how we're going to do that is going to be on the last, let on before, right before I'm supposed to hit the court. So it's one trip let to truth. Let three triplet for trip Let so on the four trip that one let its all the let that I'm back in front and then one slide up. So imagine if we're going like this. I'm starting off. Very good. One triplet to Triplet three. Trip for trip. - Okay , Started. Get some room Losey sends. Go on. Um all right now wants to dio one more thing. We could do a walk down right here from the B to the and where that's gonna be. Is this gonna be running before? Okay, Right on before. So when I want to be right here on the last line? Yeah, um, for being one of the next measure. So one more time. Big time to go going. That's long out. So before I go back, Fred, let's go through the whole thing and I'm going to slide up. Except right here, man. Do that. Walk that walk from Butto, huh? - Whoa . Starts out Very cool. Sounds like the blues. Okay, great. So I want you to work on that and I want you to familiarize yourself with sequence here sequence is really important. Eso it's 12 things. 12 measures to memorize told bars. And I want you to be able write this down just from memory. So e, the second line is a a eat in the last times B A e b. So I really need you to have that in your brain. Just know Thedc 12 bar blues sequence because we're going to start putting in different keys, and it's always gonna be the same movements of the 145 Remember, we said that he's one. That is the fourth B is the fifth. But what we do in a different key, the sequence will be the same, but we'll just everything will be shifted. Okay, comes we're gonna work on that. You're going to work on sliding up to the cord from Fripp Allies on the left of 44 trip. Let what? Okay. And then on the last line, going from the beauty A or five to the four walk down on the floor so before just goes back to fret right before we do the court change. Okay, One more thing I want to cover off on when we're going through the 12 bar blues. Um, because, uh, anytime you have something simple in music Usually it can be opened up and explore predictably. And that's exactly the situation. The blues. There's Aton of stuff for us to do. We talked about doing a lot of different seventh chord shapes. We went through a number of them just make you a So what I want you to also work on once you go through these two shapes is the one you started using. The other three were four shapes that we've got to start playing around with going through these changes using the different shapes. So let's just explore that for a minute. Gonna go through the thes full bars using some of the different shapes for each one. Right? So, Theo Theo Okay, Start to get some different possibilities going on now. All right, Good. So I want you to work on, go through the 1st 2 shapes, use your slide up, and in this slide up and walked down that we did hear sliding up in every court that doesn't have to be done every time is something that you could do sometimes when you want to. So it's not something it has to be done on every court change. It's just something that you could do sometimes to add a little bit of a slide sound a little bit of blessings to it. And moving around to the different courtships is something that is really good to give you some different tones and to start bringing the courts to life. Eso work on that and I will see you next video. 13. Walk-Ups & Walk-Downs (page 24): Let's talk about walk downs and walk ups. So what? Towns of walk ups are some signature riffs that we can play on the blues? A. To the ends when the sequence repeats itself. It sounds incredibly, Liuzzi. You know what it sounds like you've heard this before. Um, but you might not know what it was called, and they're called walked outs or walk ups, and they're used to tour around the progression turnarounds to restart it back in the beginning. Okay, so we're still when you use our 12 bar blues progression kiddie to go through these. Um, I'm gonna show you two of them today. I'm sure you walk down, walk up. Okay. So first, let's listen to of the walk down. Sounds like a good play appear on the 12th. Fret because this is where I use. So I've got open e of also gonna you up on the 12th. Fret. So just to do it in a nice clothes position so we can do it. Different keys when we need to. Okay, so let's do it like that. It was those two together. There are some school. Yeah. Where do we use it? We use it over the last 2/4 and 12 bar blues e once. So what that means is that you may be playing courts or the 12 bar blues. Um, where you may be soloing. Either way, the walk is going to happen over the last two course less Imagine that we recorded were playing the courts, Okay? But we wanted to the walk. So what we're gonna do is we're gonna play the courts, play the courts, and then we're playing be no a and then we're gonna skip these last two chords, and we're gonna play the walk instead. Right after the walk. We're gonna go back into the first quarter, get so let's go through that, play the courts. And then when I get to be, play beyond played a and then I'm gonna go immediately into our walk, which you've got in your pdf in the additional resource is so hopefully you've got that. Either open or you've got printed outs. But you're looking at the walk so you can see what I'm doing. But you've also got it's rigged out seeking See the little clear. So going from the courts, they were really going to the walk in the last two measures way. Theo, is that cool? Okay, so what I was doing is I was just going through different course shapes following the sequence. And then I skips these last two cores, and I just played the walk instead. And immediately after the walk when I went way first quarter. Good. So that is a walk down, and that is a really standard one. Sounds great if we are playing the blues of the different key were it's all, you know, starting right on your you know, your higher note. So my high the So I just started from that sequence and I'm using all my fingers were playing it. Okay, so it's a really great one. So just check out the timing on it, Play it one more time for you. Okay? Yeah, that is our walk down. Let's take a look at our walk. Okay, so I walk up is the same thing. It's just done going to go in a different direction this time. The new the melody will go in a different direction, but the concept is the same. The timing is the same. Eso we're goingto do it over the last two chords Also, um, so just like before, we're starting with our higher note on the 12th fret high e string. OK, so let's listen to what the walk up Sounds like. Just like before. Right after we finished the walk up, we're goingto go into our first e seven chord. Just destroyed the whole thing over again. Play awards. Okay, this is the walk up. All right? That sounds cool. I'm going through the courts, drift a little thing, and then I'm gonna do the walk up this time. Okay? - Theo ? Great. All right. So you've got a walk up and they walked down. And what you want to do is you want to alternate between the two, so maybe one time, do the walk up and then the next pass to do the walk down so you can sort of mix it up and make it several different each time. You may also decide you don't want to do it every time. Um, so you may sometimes play the corpse instead, or we may decides, playing walk up for the walk down. It's really were called. You can mix it up in a lot of different ways. because if we're just playing 12 bar blues, we don't want it to sound exactly the same every time we want to do something a little different every time, if we can. And so let's just go through. I'm gonna go through three passes, guy do three passes, and I'm gonna try to mix up the little bit every time to 30 wait, - Theo . - Theo sounds pretty good. Didn't So what I did was the first time I did the walk up. Second time I finished with actually playing the courts. I was just mixing up the different shapes of the B chord on. And then the third time in the walk down and in between, I was mixing up the dominance of courtships and I was doing that slide in a lot of times into the court. So and I think I got it to sound a little bit different every time. It was kind of like adding a little bit of excitements and surprise every single time. So that's what I want you to work on. Who would have thought that three courts could have similar stuff to do? So start working on the walk downs and walk ups and incorporating it into your 12 bar blues 14. Soloing with Arpeggios (page 25): Let's solo the 12 bar blues using arpeggios. So we've already talked about how arpeggios work, what they are. Veggies are the notes of the chord, and they are the perfect tool for soloing as long as there used the right way. And so that's what we're gonna do, right, House. We're gonna use them the right way so that we can solo a solar using the perfect notes. Okay, Andi Zehr. Just one arpeggios, air, one soloing tool that we've got. But they are a powerful one, okay? Especially if you're playing by yourself. So we're going to use just a dominant seven or NGO just the dominant seven arpeggio, and we're going to move it around Every time the court changes, we are going to all over the court, So we're going to go over the 12 bar blues. Uh, we're going to change using the arpeggio. So I believe we were working on the, um, don't ever put you in the key of a So that one was starting on fire with her middle finger and it was going with this Theo. Okay, so that's good. And actually is one of the ones that were doing in this key when you eat, but we've got the a chord in it. So we're going to use that shape on the fifth fret let's go on to be since we're just right next to it. So we've got to do the B. We're gonna do the so on the fifth friendless slide up to the seventh fret with their middle finger. We're gonna do the exact same shape just starting on some froth. Okay, so that was the Q B. And now let's do the key of E. So what we're gonna do is we're gonna slide way up here to the 12th fret which is our double dot I told Fred on the Eastern with their middle finger for the shaping right here. Now, this may seem kind of high on your guitar, playing acoustic different electric. You're, uh you're doing just fine. Oh, we're going to spend a lot of time up here because we're in the key of E. So every time there's an e chord, we're gonna be appear on toll front. Okay, every time there's an ache or we're gonna be on the fifth, fret sometime around the beak or we're gonna be on the seventh fret doing the exact same shape every time. So when we're soloing this we have a goal guy. And our goal is that we want to try to keep with swing fields. We want to follow the swing feel playing note for every beat of the swing feel, which is 23412 b for so inside of every quarter Note every beat we're gonna get to notes. No. Okay. And eso usually the hardest part of this process is just keeping track of where you are, how many beats you are and to remember to change courts. Okay, we're gonna run through that a couple times, so let's just get the hang of switching the shape. So we're starting in the Q b k. And we're gonna go with a swing field. An easy way to count. This is to kind of just cut the quarter notes. So I'm gonna play two notes for every quarter. What to now? I have to change to the head. Okay. Come in your front. Change back to the studio e bars. Theo. Way go. Whoa. Seems like a lot of moving, doesn't it? You will start to get the hang of it. And also one of the things that we're doing right now is every time I change doing this to show you how to do the changes, we're starting on the root note. Okay? Ultimately, we don't want to do that. We're doing it right now just to kind of get the change, the change on the beat. So for right now, it's OK, but we're gonna stop doing it in a minute. All right? So let's go through it again. Thing thing, what's really cool about their pledges is that you can hear the court changes, and I'm not even doing anything special with Europe. Inches of just playing on forward. You can hear the court changes because I'm just playing the notes of each court as it's supposed to be going by. So, like I said in Treaty is part of this is keeping track of how many beats he played and to remember to change the position because the court has changed. Um, once you get the hang of that, what you want to do is you want to start practicing changing of the arpeggio. So when you shoot the arpeggio shape, you want to keep it in the same register that you left it. So what I mean is instead of starting on that low, Rudo, every time if I finished off, maybe on the B string or the e string I want to shift a new shape and start that arpeggio on the same string that I just left on. Okay, let's take a look So mighty that we get Theo. Theo. So what I did at that time was whatever the string was on my last beat in this time to change I started the new arpeggio shape on the same string. That way I'm keeping the melody war consistent. I'm keeping the register of the same in the melody. That's what we want. We don't want to speak changes melodically like the nose high low Every time there's a court change we want to try to keep the melody notes nearby, each other possible. Okay. Um so we talked about how our goal is to keep with swing field on. And that's true. So when you have the swing feel, then you can start to manipulate the song using the arpeggio. You could start soloing and getting away from course a little bit and keep the song rolling . Keep it moving. You can start playing around with the rhythm a little bit by adding and rests or filling in some of the feelings of the rests that are there. So adding more arrests were filling in some rest by animal beats. More notes. Um, so let's end off course. We've got all over techniques, so we want to start trying to use hammers, slides, um, and, uh, pull off really with our judges were gonna be sliding more than hammering, pulling off. But we will be able to slide, and we will be able to use the Toronto Um, so we want to take full access of that stuff. All right, so let's jump in, do again. And this time let's play around that rhythm and let's do see sliding and a little bit more of a pronto cut. 234 Theo , Theo. Alright. Starts come to life a little bit. War. Doesn't it start sounding a little bit like a blues solo, actually. Okay, Good. Um, so one of the things that I was doing, I was using a little bit of pull offs because, uh, we need In order to pull off or hammer on, we have to have two notes on the same string that we can access. We only have that in a few places on the arpeggio shape. But like when I was down here on the on the fifth fret I was going up way. Another thing that I like to do when I'm playing arpeggios is I like to play diets di abs. We have not talked about them yet. D y a. D s diet. It's a diet is just a little to no court. Um, essentially, you take two notes that are right next to each other. Two strings? Yeah. We're just gonna play this two notes at the same time. Okay. So Oh, that's a diet, or I do. These two knows they're both notes from the arpeggio. So they're right next to each other on strings right next to each other. Very cool. Very busy. Doing well tricks. Just like I was doing with the courts. Whatever my destination is just started with from behind todo So using dia is a great way to get a blues sound. Makes this okay. Last thing I wanna come Ralph on is when we are solely with arpeggios. This is true with everything. This is truth, courts, truth, Europe NGOs is true. When we're playing with scales, we can always throw in the walk down or the walk up at the end. So one pass using the garbage is I'm gonna do a walk. Yes, way that makes sense. I just play the arpeggios and that when I knew I was coming to my last two courts instead of continuing solo, I just didn't walk up that time. You walk up or walk down to the walk up that time, So, um, this is a really powerful soloing technique. I think you see why it's because we can hear the core changes in the solo. That's what we want. We want to hear the court changes. So if I'm playing by myself, people are listening, going through the courts and everyone's like, Oh yeah, blues. They don't want to launch into my solo and the courts have stopped. I don't want people to lose it. I want people to continue to hear the changes in my solo, and so the arpeggios are a great way to achieve that. So start working on your dominant seven arpeggio is going through the 12 bar blues. Use your techniques to try to make the note. Sounds interesting as possible, Um, and start playing around with diets your little to no any to know courts right next to each other that are from the air. Paju shape Um, and you may decide to throw in a walk down or walk up on the last two bars instead of solar . 15. Soloing with Mixolydian (page 26): Let's talk about soloing using the mixing Lydian mode. So we talked about how to use the facility in in an earlier video, and it is a scale. Okay, um and it's ah, particular kind of scale, which makes it a mood. Um, ends the way that you used to make stallion is the same as how you used the dominant seven arpeggio we talked about how, with the dominant seven arpeggio, you have to move the shape and put it over the key of the court that's being played. And the mix of Lydian works the exact same way and we touched on that. So right now we're going to go through that, explore that idea all the way through the 12 Bar Blues. Okay, let's take a quick look at the facility and let's look at it in the key of a Okay, So fifth Frank here on day, I'm rooting them exploding with my middle finger, okay? And so we've got a lot more notes than we did with the arpeggio. Um and so that is going to be one of the tricky things. It's a good thing, and it's about okay, it's a good thing in the sense of we can get, you know, we're no possibilities. So we could be more creative with our melodies by using the mixer. Lydian. The bad part of it is that we are less guaranteed to, um, have a really wonderful melody. We may get one. Um, but with Europe NGO, you're kind of guaranteed to get something that's gonna work. Right. Um although, you know, some people may say the European Jews consent a little predictable. Um, because you're just playing the notes of the chord. So if you want to go home or for an element of melodic surprise, you may choose to go with the mix, Lydia, because we've got a lot more note possibilities. Okay, so we'll deal with that in just a minute. So same as with your video. Um, in the q b, we're gonna have a is on the fifth. Fret. The B B on the seven friends do that quick. Seven front Bilfinger Theo. And then the e is going to be on the 12th. Fret holdups. Middle there always the same shape. It's always the same shape makes Lydian X letting it be splitting. So it's the same shape. So Now what we have to do is we're going to play through it. And every time the court changes, we need to shift up. We're gonna be spending a lot of time apparent told front because there is a lot of e Islami according the wasn't he? Um, but every time shifts, we need to shift with it. So the first thing that I already know we're gonna run into is, um What are we gonna play? Because we're not even gonna be able to get through the scale. A lot of times was gonna run out of beats before we have to change, So we'll deal with that. Let's just jump in and see what happens. Okay, Um I'm gonna play one time a quick through the courts. Just we kind of get 1234 Good God jump in our solar. Now, what I'm doing is I'm going to try to think about the courts, Will also in my mind's eye will be pretending that there's so sitting right next to me playing the courts. So every time they change, I'm going out to change. Also, I'm gonna have to move to the key of whatever key their quarters. Another plane? Okay. My imaginary really guitar player. Uh, well, 234 Theo. Theo. Okay, so I was mostly just going through the scale in order on that one. There are too many notes, too many notes for me to just go up and down the scale. Even if I did, I'm just playing up and down the scale. So what we want to do, And by the way, I'm picking with the swing field. So I'm going kind of like, 01234 Triple a teacher. Come, furniture Fortune comes from true pumped 10 shirt. Come potential unfortunately, and I'm alternate picking. So going down, up, down, up, down, up, down, up, down, up, down Like that. So what we want to do, ideally, is we want to come up with a small riff that we could do in the mix, Lydia. And then we're going to just place that riff over the key that we need to. So we don't feel like we have to fill up every single note. So what's a good idea is to spend a little time on the mixer, Lydian, which you may have already done. Spend a little time on the pixelated just in one key and just get used to it and come up with a couple licks riffs that you could do quickly. So, for example, if you were in Cuba E. So if I just spent 20 seconds playing around with the video, I just got banging around it, just playing around, looking for some cool little note combinations that don't need to fill every beat. And so just looking for some quick little things. I'm using a lot of techniques and Iran's pull off slides Little Ben's a lot of Rob's. Oh, and so I'm just trying to go over some licks that I could do. So now I'm gonna dio is I'm going to take a look. Um, let's say that I just take a real simple like okay, and what I really don't want you to do is I don't want you to memorize riffs, and every time you're gonna play this memorized riff, I want you to be always improvising. It was creative. So what we're trying to do is we're just trying to your brain to where you can start coming up with riffs and change positions, but not get flustered by the fact that changed position. So just constantly think that is the same thing. So it's the mix, Olivia. So it's the same shape. We're just shifting into different places to follow according. Okay, So what if I did do a memorize with real quick? And what if this is Laura? If so, OK, so that's gonna be one bar, one measure. So it was going to try to plug that in through here. 234 Theo. Theo. So that's an idea of what I'm talking about. Like I said, I don't want you necessarily memorizing riffs and using it all the time when you played the blues. It might be a good way to help you get started to get into the mix of Lady. It is to try a couple riffs, drive on and pop it in every key. Try a different with um, but the main thing of looking for here from you is to always be looking for new riffs. Always be looking for new Griff's. Never just settle on a single refer. If you've been playing this rift log recently, pick something else out, creating a new riff. Keep on creating stuff. All right, so let's go again. And this time I'm going to try to get a difference. Don't sound for each day to three Theo Theo way. Okay, that sounded a little bit better. So sometimes you would see I'm trying to make a riff, and then I'll do it fast burst. And when I say fast first it's where I'm going. I just running through the scale, but I'm going kind of fast. Um, and so that's a good thing to do sometimes is just to place slow notes, place and passing notes slow knows it's fast. Um, okay, let's, uh, let's go again. 1234 Theo way. Okay, okay. That's a good moments and bad moments. But that's the whole point is, we're trying to keep looking for different things, trying to keep looking for different things. Um, when I was doing those fast riffs, by the way this past Lex, I was trying to keep it with the triple feel. So a lot of those were 16th note triplets that I was doing, Um, so if I'm going to be oh, like that when I do this fast bursts, that's just we're going twice as fast for times three going up and I'm not really thinking about breaking it up in my head. I What I'm focusing on is the quarter note. So thinking about the beach and I will be doing those fast bursts. But I'm really focused on the court. So I, in trying to focus on the quarter, does like lands on my finishing note and be ready to change when the court changes. Okay, so, um, work on the mix. Elated because, um, what I'm doing this exercise is I'm trying to keep myself exclusively on the mix of Lillian when I freely play the blues with no camera rolling. And I'm just having fun, enjoying myself, I will do a combination of a lot of stuff, a lot of stuff that we've already talked about, stuff we're still going to cover, and I will just combine everything and to create this kind of blues environment that I like to be. And that's the thing is that we don't want to just have one thing that we're doing. It's good to work on, spend some time working on the arpeggios and get good it down. It's good to spend some time only working on the facility get good at that. But ultimately, what we get into playing and having fun, you want to combine a little of this and a little that so and that's what we're working towards. So right now, if your main goal is to focus on mixed ability in the great thing about the mix of late, Um, I think I mentioned this a number of times to say it one more time. It is the scale. If there is a seven port dominant seven court, this is the scale that you would use in in music and all styles of music. There is a, uh, there's a concept of this thing called the dominant and the dominant. It's where we get a dominant seventh from the mixto. Linnean is considered dominant is the fifth degree of the major scale. Don't worry, you're not gonna be tested on this and where this is not part of the fields of part of the course, but he makes Lillian is the fifth degree of the major scale, and the fifth degree is considered Tom it so Anything that is a seven court is considered dumb in music theory, um, people love that dominant so much that we created a thing called a secondary dominant because we just wanted it or we wanted more of that dominant. And so there's a thing called a secondary dominant. And it's where if you don't get enough dominant, we figured out a device where we could get even more of the seven chords in. So when you start learning songs and looking at a lot of court charts, we're going to start seeing lots of seven courts dominant seven course in music. In classical theory, there's only supposed to be one perky one dominant seven core perky. But in a lot of songs we see more than one, and it's because of this secondary dominant thing. It's also because of parallel relationships. So we like the dominant. So much humans deal. We try to stick it in the music as much as we possibly can. So whether you're dealing with the dominant or secondary dominant, it doesn't matter. You're doing with a seven chord, a dominant seven court, which is the same as a planning seven chord. When you encounter that guy, he makes a Lydian is your scale, so if it pops up in music and, um, the regular scale or NGO you're doing doesn't seem to be working with that dominant court. You can always just go to Kiev. Whatever the court is. Play the mixer, Lydia. It's going to work. It's gonna sound good. Makes lady works over done in accordance. That's why we use in the blues. It sounds great. Okay, so, um, I think that about covers it. We're going to be looking mawr at the mixer Lydian mode going through the courts when we start playing different keys. So start familiarizing yourself with it and start thinking in terms of roofs. Spend time just going through the facility in in one key for a little bit to try. You'll come up with a quick wrists, quick little riffs that we can do. And as we're moving keys, we can quickly just grab a riff or do a little lick. Um and, uh, you're going investor, applying it to the changes of the 12 bar blues if you haven't memorized the told Barb Luzia and what I mean by that is, um could you just take a blank piece of paper? And if I asked you to write down 12 Bar Blues and Q E. Yeah. Did you do it? You should write down three Rose. The top row. Detroit has four things in it. The top pros e a e in the middle, rose a e g the water rose Be Yeah, e big, That's it. You should have that memorized. You should be able to write that down on a piece of paper if I asked you to, um, a lot of people that play the blues or think, think and play the blues they don't. They're unclear on the sequence. And so when you get together with other people to play music to jam feeling, jam the blues, it would be really helpful if you could tell them your other course. Because they may have their own idea of what records are or with sequences, so you should be able to help them out with that. Okay, that's about it for this lesson, and I will see you in the next video 16. 12-Bar Blues in A (page 27): 12 Bar blues in the key of a Okay, so everything that we talked about with 12 Bar Blues applies to the key of a, of course is just a key change. So everything we talked about is going also apply in Cuba. So the key of a is, um it's just got a D. So that is the main difference between Cuba in Kiev e Oh, we got d instead. And, um, one of the things we want to be aware of his blues is just 145 Yes. Okay, so let's count that one more time using easy counting, because this is not accurate to the major scale. But it's accurate in the sense of if you quickly want to get one for five. Um, OK, so it's a cute a right, so a is one. And we said There's seven notes total major scale. So is what what comes after? A The also that these two seas three d is for so is one The C D. D. Is the fourth e is the fifth and half is the six and uses up, So a u C d hey, so 145 a. D e So people say what? 45 That's basically what they're talking about. It's the 1st 4th and fifth degree of the A major scale, and we're using a very quick and very method to figure that out. Um, what I mean by that is in a major scale. Um, a B it's c sharp, actually. D you is f sharp, actually. And his g sharp, actually. But, you know, if we don't worry too much about the sharps and flats, this usually works force for five A. D and e. Um, So I'm gonna go through it a couple times and I'm gonna go through the courts first, and then we'll jump into some solo. Just Teoh. Really? Just to show you how this works exactly the same as it does in the Q e, um, cause when you're playing the blues, you know, it doesn't really matter what the key is. It's all the blues. So what's you know, the form 145 And so, if you have memorised or been working on memorizing the 12 bar blues in Q B, it's 145 So if we know that whatever key were in this case were cute eh? Um So when he members in the key of E, it was e and e. Second line was a E last night was B A E b. And so if you had to write this down in the key of a for example, you just shoot the whole thing up to Cuba. It was always going to be the same sequence, and that's what we've got here. We've got the one, the four on the line in the one, and we go before before in the one on one in the five before the one in the five. And that's what sequences it always goes that way, or at least in a general 12 bar Blues says that's the way it's gonna go. Okay, so let's jump in and I'm gonna go through the courts of times, okay to start off by doing, think opens. Then I'll go through some of the basic bar chords, and then I'm gonna branch out into some of the other bark or shapes the other seven warships. 234 Let's take this opportunity to point out a couple of cool other tricks that we could dio, um, because going to start doing them because this time that we start introducing some war moves into our courts. So the first thing that I want to point out is, even though everything is written as a sum court, I want you to sometimes experiment with moving between its regular major court and a seven chord. What I mean by that is the first court Sese. But really, what I'm gonna experiment with is going just a regular 1/4 then today. So I may go from regular d chord then to a d. So So I have to break up the beat. So I maybe two beings of a major court story, their record and the to be seven a. So maybe two beats of the d chord to Visa decell. This is something that we could do to also give it a more bluesy feel, not old time. But it's another trick that we could use. Let's try and see how it sounds. - Did you hear that? Sounds pretty cool, is it? And we're really punching that seven because we're not starting off that way. So we're bouncing between the regular major chord and seven, um so that creates a real bluesy aspect Um okay, so we got that move. Another thing that we could dio and I've touched on this before, but I haven't gotten into it that much. Um, when I was younger, I studied a lot of rubber Johnson and Robert Johnson is one of the greatest Delta blues guitarists that ever ever lived. I don't think he lived that long, but he did some amazing, amazing stuff, his life. There's all kinds of really setting foot Laura how we made a deal with the devil so that he could be the best guitar player in the world. And, um, anywhere it's pretty interesting stuff. What I listen to Robert Johnson. I noticed that he did a lot of interesting rhythm stuff, and what I mean by that is he would combine double and triple a lot in his strumming. So when when I say to you, let's work this strong with the swing feel. OK, so we're going once you're planting, let future let Forgeard let and that is the swing vote. That's what we want most of the time. That's what we want. Sometimes What you can do is you can throw in a due bill feel to mix it up a little bit and throws this interesting twist into the rhythm. And so to throw in a due bill feel would be like if we're going up going from eighth. No Tripolis to 16th Notes. Just regular sixties nous. 123 and 41 23412 for you Can you Help? I want to triple its own due to, um, beats of a snow triplets. One trip led to triplet and them. And due to Visa of succeeds in its and a 41 trip with two troop would pretty enter 41 trip to Troop 41 trip with two trip. It's kind of like this little It's not twice as fast, but it's a little speed up. Okay, it really introduces a cool, rhythmic thing, and a lot of the great old blues guys would do that. And it just really punches the cords a lot. Eso let's practice that just a little bit. We're going to throw in a little string of 16th notes. What? He had a or three and or four years we're just gonna throw it in. We're gonna try to mostly maintain that swing feel. Okay? Let's try it over the age. Wilbur Bliss 234 way way do you hear? It's pretty complicated. Um, it's simple to here, but it's a little complicated to do because it's kind of a little speed up. And to be able to execute from triples, Teoh do full time all with being apart as hard to do, so if you try it and it is hard to do that's normal. You just you'll get the knack of it if you keep trying it out. Um, and so the best thing to do is tap it out. I tell my students this all the time. I know we're trying to play guitar, but if you have a hard time, set your guitar down and just happen on your leg. So if you just go like one and our triplets to 16th 1 triplet True three and a 40 a one triplet 10 Trip T and A three and the one triplet triplet P and the Front and the one trip to Troop that the and what we're trying to do is keep the quarter note. The core of the 1234 B is always gonna be same pulse. You'll know you're doing it right. If the corner note is always samples, um, one waves that think about doing it is if tapping it. Okay. And let's say I'm going to go 2341 of my hands. I'm just going to go through the quarter You 34 three or with other hands I'm going to have the It's a triplets. And in the 16th notes, triplets, triplets, the and the 41 triplet trip with trip. Yeah, and what's going on is that this guy, if you just listen to it by itself, it would sound like stopping and going faster and slower, and they don't make sense. But if you listen to it in relation to the constant where top, which is even that starts making sense. Um, now, let's get into the solar, recover off on the, uh, course stuff in pretty good way. So when you go between the major court and the seven chord bounced back and forth during that, even if it tells you to play seven chord, why did so says do a seven. Okay, then except, uh, were in the bar shipped to, um and then we're going to experiment with trying to throw in some strings of regular It knows or succeeds nous inside alongside of our triplets. Okay, that's hard to do. So don't. Don't be mad at yourself if you can't do it immediately. Just takes a little practice. Most people can't do it. I want you to be able to do with that. Okay. Was not solely, um, going to go through this and, um, less dio start with European Jews. I'm scared you arpeggio solely and that will do make saliyah. So 23 way Theo Theo way. Okay, so that's just going through it with your pitches. Sounds good. Pitches never let us down. Okay, Now let's go through it. Using the pixel idiot. Okay. 234 Theo! Theo! Theo! Theo! Good. Don't you hate it when guitar teachers just sit there and show off? I am really not trying, Teoh, Trying to illustrate to you guys how this can work, how the mix ill idiot can work for solar. But like I said before, um, using the mix living exclusively is not how I would normally play. I have done it many times, but as I've learned more tools about soloing the blues. You want to do a combination of different this and those combination things are using war or pitches so you can break off the, um, makes Lillian mood. And here's something that I don't think we really mentioned before. E arpeggio The perfect nous by the dominant are did you perfect? All of those notes are in or makes a Linnean. So, for example, if I took the A dominant or Reggio Theo's four individual knows are all in my a mix Lydian mode, the facility in just has three extra notes that extra note extra, extra. I think this is a repeat, so just go through the first talking. That's an extra note. That's an extra note. Three extra notes repeated when we go back. Teoh. That's extra. Okay, so the mixture Lydian is just adding in three. Those three extradites into our studio. One way to think about so the arpeggio is inside. You could take your picture in place it directly on top of the Mezzaluna mix. Lane just opens up. A couple more note possible of his force. So sometimes we want those extra notes, and sometimes we don't. So you want to use a combination of the arpeggio and the pixel idiot you also want to use. Um, court tells Cort. Zones are, uh are an idea that, um there were, like, a little miniature arpeggio. We have arpeggios all over the front work of any court. So we're just doing the A, um, a dominant seven or video we have in this one shape of here in the fifth Fret. Okay, but that doesn't mean that we can't access notes from the A seven chord by using court tons . They're all over the place. If you know some a seven course, which I know you do, because we've learned a bunch of different shapes of the seven court. All you have to do is to grab one of those courts. So, for example, we've got this guy right here 22 to 3. That's one over a seven shapes. It's tough strumming it, though. Let's pick it out, pick through it a little bit and let's try toe. Let's not let notes ring into each other. It's kind of just stop, but we're going to pick out these notes were gonna go way could do that. Those air quarter tones and I can use that to solo. So if I took, say, here's on Asep shape Here is a D seven ship. Here is a e seven shape. Just sweat that guy up. What I can do is use these court tons on. All doing is I'm grabbing the courts. But I'm picking out, like into solo. Okay, This is something that you can do to five no opportunities where you wouldn't otherwise have thought of looking for them usually will look over the arpeggio, shame over the scale shape and then that's kind of related to it. But if you know where courts are different places, use that to your advantage. Just if you want to make it sound melodic, don't let them ring out into each other. Just trying to stop after you pick that note. Pressing on a ball. Go could do that, but I want to be more staccato. I want them to not reading to each other. Okay, so that in the note after it, let's try it. Okay, 234 Theo, it's critical. Just came out with a little melody that I could play, and I wasn't using arpeggios and I wasn't using the look makes a Lydian. It was just using court tones. Wow. Let me try that. In a different place. I'm gonna use a seven year D seven. Yusa, struggle 234 It works. If I could hit parade strings, it works. All right. Good. Good. Okay, So I'm to go one more time through. I'm gonna use a combination of, uh, arpeggios, Bixel, Indians and quarter tones. - All right, all right. All right. Good. Good. Did you hear that? I was mixing in a couple of 16th notes in with my triplets. So there's something that we definitely want to do with their soloing Also. Okay, so let's stop with that. And we're gonna move on to some more cool tricks in the next video. 17. The Blue Note (page 28): Let's talk about a couple of cool blues tricks that we want to be aware of and we want to use. So the 1st 1 is called The Blue Note. The blue note is a special thing. Um, if you do deep enough into blues, you will eventually hear about the blue note. And when people talk about the blue note, especially accomplished musicians, they're usually really cryptic about what it is. So took me a while to kind of clue into what it is. What it Until you write out what it is, the blue is it is in blues. It is the syntax or the space between the minor third and the major third interval. Okay, so and I know this is music theory, and we're trying to get to do you been a music theory. We'll keep it simple. A play. I'm gonna show you how to do that. How to fly in the blue and access. We said that of the scale, whatever steel were in is going toe have seven notes. With the exception of pentatonic, any of the major scales with facility and mode, they have seven different notes. Okay, so what, we're gonna do, and then the seven knows Just repeats, right? So if we took the A mix illegal right way. Each note already found one to self. 1234 After seven, you go like to want to keep playing scale. But the next day I was gonna be one yet 23 Okay, let's do that. Count. 127 playing scale. And after seven, go to one good ways backwards. We just have to count backwards. Those three do one way backwards test to make sure that every time one is still wanted three is still a three. If I was still alive and, um what what happens is days or one, obviously. But we got to our other 123456 thing is again or other one. So both of one's air. So old ones air. That would be true with all So, like all the twos want to. This is Savino. It's all the twos. They're gonna be beats Teoh. So all of the interval numbers will have the same. All of the interval numbers will have the same name. Good. OK, so we got that. So what we're looking for here is the third because we want from that blue note that elusive blue note. Okay, so we're looking for the third on 23 there. ISS. Okay, so it's just 1/3 of my mixer Lydia mood. And it's gonna be all of the threes that when I do this. So one there's one of threes for there's another one. There's another three 4531 appears three. Okay, so I'm looking in my threes now. The blue note is the syntax between I said, the minor third and the major third. We're playing the mix Lydian mode over thirds of major thirds, all over other major thirds. So it's somewhere between the threat behind it and the actual itself. Good. There are two ways for us to access the blue note, um, one ways to bend the string from back one front. Or we can have our on ever on off to our regular third from one front behind it. So let's try that. So 123 So this is our regular third or major third. So we're gonna go to the front behind it. Okay? Ben's that? No, a little bit now. I have mentioned before that bending is kind of hard to do on the acoustic guitar. It's easier to certain places on the acoustic. If you are playing an electric, please bend away. Bend away because you have an instrument where it is designed to be bet and a bent String is a really beautiful sending that no sound great, but better. Um, so it's one of the downsides to playing the acoustic guitar up. There's pros and cons with everything. One of the downsides to acoustic is bending his heart. So if you're on an electric, please yes, Sounds good. Just be careful not to over bet to make sure you're going to your note. Not past it. Okay, on the acoustic, we can use a hammer raw and get similar effect. So here's my nose. So I just go to the friend behind it. I'm going to hit it and have around to my normal dessert. You're now Really. What's happening is I'm just going from a minor third to a major third, just going from the front behind my third and hammering onto it. And the concept of the blue is that it is somewhere between those two notes. And so, if I had enough of these minor 3rd 2 major thirds. Somewhere in there the blue note is supposed to be coming out and you can you could hear that floozy sounds so got another third. Okay, so here's another third. So what is this going front behind it and ham around area? Good thing. Yes, that sound right there in between those two notes. That's where the thing the elusive blue know exists. And the interesting thing about the use of Blue note is that in music there's only one. No, that is the thing that separates Meyer for Major. It's the third. Third is the only difference between a liar court in a major court doing a minor scale on a major scale were a minor arpeggio and a major arpeggio. Just one single lives, always the third, always that there across the border, in music theory off hundreds of years and always will be. It's never gonna change. The third note is the only thing that distinguishes Major for minor. You have major seven Niner seven major, six minor, six major to minor, too. That's all fine. That doesn't matter. No, that has anything to do with whether the chords, scales or arpeggios, mutual minor or the key solved, for that matter is major reminds. Pulling the third note. And so what we're doing with Blue does is we're playing with both playing with the major and the minor going from the low. It's almost like we've got some built in riffs, you know, like these. These risks want things, is one of a few places where it's comfortable. Event is about B string, So I'm going from that. My major third Theo trying. Okay, so that's the blue. And so that's how you find it anywhere. And as we're going through 12 bar Blues, you could look for the blue note, every chord pattern. So, for example, you know, we said it was right here in my Theo. That's the blue one more trick I want to show you right now. Uh, going from the active 80 80 eats a fancy way of saying the octave octave is the same as your want. It's just your high. Trudeau's go from your however note, were active walking into your minor seventh. The minor Seventh is the seventh descendant that we've been talking about a law. It's just a seven from our seven chord Ondas Two fronts down from the octave. What am I talking about? OK, so if we're in a all right, we're in Day 97 a facility in. Okay, here's my high. A good I'm talking about walking back to for us is that when I walk back to friends and take me to the South So that's all talking about a way to do this from any court that were on. This is just a very cool trick. Adds a lot of chromatic movement. So if I'm soloing in a mesa, Okay, mix eggs. Linnean. Jura. I just grabbed my route. My higher note. They walking back to you for s strident Di dio dio Okay, No todo weight timing to be able to pull that off. But if you know you've got some space like where we've got to measures of the accord, it's a great opportunity to do it. Or if you walk into a major court, you won't walk it down. So we will be exploring that a little bit more to come. But that's these air to treat. You wouldn't want to be aware of it using his Luneau and walking back to France. So I will see you in the next video 18. 12-Bar Blues in C (page 29): 12 Bar Blues in the Q C. If I asked you What's the 145 QC? What's the 14 and five QC see is one D E f f is before g Use the five c, f and G. It's good. Good job. Okay, see other G. Now, what's the sequence? That we would play them. Teoh do Good 12 bar blues. So you go one and then four. Then 11 1411 Second life 44 11 And the third line is five for one fund. It's always that it's always going to be the sequence. Okay, good. So we're going to just run through all the stuff that we've already covered off on. Uh, we're just gonna do it. But you see this stuff, Okay, so let's jump in. I'm going to go through of the basic courts and then we'll get more records that will get us to the soul. 234 Okay . Did you see some of the stuff I was doing there? Let's jump into some soul. Okay, This time I'm going to be using a little bit more stuff like the blue note. And the doctor walked down. I'm mixing up my arpeggios and the excellent Ian's um, way thing way. Okay, Did you see you? Some of the stuff that I was doing I want to mention again about the use of diets. D y a d d Y A de diets. A diet is a to note chord. The reason that we even have a special word for that is the definition of accord is has gotta have it. Three different notes. Three Unique knows eso in order to qualify as a court. Got have three notes. If there's just a to note harmonic thing, we call it diet, Um, violent players have a thing called a dull stop. It's the same thing is a diet where they hit two strings at the same time. Don't stop violin. Um, so when we're doing diets, they're like little bitty courts. And sometimes when we're using our core tones, we can also access diets to do a mixture between banging on these courts and hitting a couple of Filipinos. So use the dyas a lot and use your core tones. Sometimes you'll be in a situation where you'll look a song. It won't always be his cut dries to troll for blues. You'll be trying to learn a song and there you may understands what to do for 80 or 90% of the song, 80 or 90% the courts. We've already covered off on all the tricks. As a matter of fact, you should be good to go right now to be able to play almost any blosil. There shouldn't be too much that will happen. You that you grow. And But if you do see a course and you're not sure what to do over it, you can always use court tones. If you know how to play that court, then you can individually hit the notes of the court and try to make it into a melody. Try make it into a solo. So, for example, if I just said I can't remember how to play the C makes a lady in, I can't remember how to play the sea or Reggio Um, I can't remember any of that stuff so that I can remember my c court in my f court McGee court. Okay, so just go to court ups, right? So way thing that was just notes from the bar chord and C g Good. So we know we can play this course all kinds of places. So if you just grab the court tones, you don't get you through the court and kind of get back into the space where you know what to do. Scale wise. You are wise. Um okay, so let's go again. And let's look at some of the close, um, courts. Right. So right here, I've got a okay, like our A seven. Shape that you to to, but it's 5555556 Now I'm going to my f. Okay, so my f is going to be really close to worry about. See how close that is. See, two thess is kind of like my d seven courtship, Um, going from high alone 545 to do my f seven. And now I go to my G. I'm just going up one to go 76 in my It's like d C. Almost like the sea is in the middle and it's sandwiched by after the G seven. So this is a technique that I like to use this shape a lot because, like, how close the courts are this actually occurs twice. I'll show you the other one. Just a minute so I can see seven here on just picking down in a triplet way. I love to do that. Work right back, Theo. G thesis work we've been doing all along. Just going way before, right? Walk. Okay, you see it? All right, Now, going to show you we're gonna take these cords for is gonna flip. Okay, so now I'm going to do the sea using my G seven shape up here. Then I'm going to see one of using my f So, my jesu, and again it's in the middle. So, Theo Theo! So I've got that going on to places. I flip it each time. So I'm either going for a C chord. Si seven court, which is sandwiched G seven, where I go for my C seven up here on again is flipped. The shape has flipped. So no sandwich by seven on Ji said eyes. One of the very cool things with the blues is that 145 That seems like a big jumps one before It's a big job. And but they if we look at some of these court shapes their one friend apart. Some of these scores were one from apart. It's really cool. So that's the thing that we want to explores how similar these guys are to each other. Okay, um, so I think that we've covered off on, uh, pretty much everything I wanted to tell you about in this lesson. Um, I guess the big take away is work on your core tones and start paying attention to how we can get melodies to come out of our courts and also combining our courts and our soul away because it doesn't always have to be. We're gonna play a passive records there and play pass of the soul passes, of course. And past solo. Sometimes we could just mix up the two kind of do a little of each within the same pass, give you a quick example. Okay. Way. Theo. Theo, that makes us I'm trying to get a little bit accord and a little bit of melody in there. Okay, so let's stop with that and we'll pick it up. War in the next lesson. 19. Relative & Parallel Modes (page 30 - 31): Let's talk for a few minutes about the difference between the relative and the parallel moods and relation to the blues. So this would be the advanced blues lesson when the best blues lessons, of course. Um and if you don't understand what I'm talking about, that's okay. This is not absolute crucial thing for you to know. I wanted to do this for the event students that have already been studying roads and have been working up and down the fretboard. This is also good for the students that have not going into the boots yet, but are curious about them. And one of the things that we've been focusing on is staying put in one place when we're soloing. So what about moving all over the fretwork when you're soloing, even just staying in the one court, moving all around, staying in court. That is where you want to start studying your moods, your relative modes, and I didn't want to do a big lesson about that. But I want to explain how that works in relation to the blues, because the I said the relative moods, right? So there are a lot of things and music that get boiled down into a couple categories, and this is one of those times we have things that are relative in music, and we have things that are parallel in music. These are two different categories. Things were going to be the relative or parallel. When things are relative, it means that they have the same nose, their relatives in Chile like family. They have the same genes DNA, same blood. Um, so it would be different scale shapes, different shoes that have the same exact notes those would be relatives. Um, so they may look different, but they're gonna have the exact same notes as each other. Even though they look different, it will not have any different notes. The notes will be the same. Be different orders, different patterns, doesn't relatives of each other. And that is what guitars due to play up and down the fretboard when you're in one key, and that works when you're only anyone key. So that is a relative of connection. Then you have parallel in parallel is what blues is. Major blues is a lot of the time. Major blues is parallel, and what that means is that we still have a key for playing blues and Q e. That's the Q B. But we'll parallel means is that we're going to take the same shape, but we're gonna put in different keys. So where we take the same shape and then we take that same shape and put it in a different place, played in a different key. We've got the same shape, but we wind up playing different notes each time. There's a couple different notes each time we move it because it's the same shape, same shape can be played twice and have the same house. It's gonna be different notes every time that's parallel. And when you're doing parallel stuff, everything is constantly shifting. You can always just rely on. No world knows are on the guitar because there are the notes that I can hit because you're constantly changing every time there's a parallel shift, So an example of parallel is when we're playing the mix. Lydia moved in the key of a over the a seven chord, and then we go to the D for the D seven court. We played even facility. That's a parallel shift because we're actually playing different notes now is the same shape, but we're actually hitting different notes on the guitar de Mesa. Lian has different us in the image. That's a parallel shift. Okay, so, um, here is the thing, though parallel and relative, they do co exist. You have to go an extra layer deeper into music or guitar theory to unlock that. And that's what we're gonna talk about for just a minute. For Thea vast users or people that wants to know there's more to this than then we talked about so far. Lose goes incredibly deep. Blue's goes incredibly deep. Okay, So, um, here is one way to think about. I want to give you two different scenarios. Okay? One scenario is, so far, we've been shifted every time the quarter changes have been moving. Who taking facility in and shifting it? What if we want to stay put? Okay, we want to stay in the same place. So that's our first scenario. Here's how we do that. We have to figure out a relative connection to our original key. Let's say we're playing blues in Cuba. Okay, so we've got our A seven. D 700 isa a seven. D seven and eso. So the A seven. We're just gonna keep it with the mixer, Lydia, Because that's what it's where we are. And that's the perfect perfect voted to use. We talked about that before. Perfect user with seven court. So we're not changing that. So over the A seven course, we're going to stay with a diesel idiot now over the D seven course. Okay. Stay with me. You're the D seven is relative. If his d seven, that implies it's the missile idiot. Okay, so that implies that we're in g major. Okay, What we're trying to figure out here is what's the A? Because I want to stay in. All right, so we're saying D seven chord de seven is relative to G major. So this G major, then we're gonna be in a door. Do you see how I got that? We're trying to figure out what we can do over the D seven chord. To stay in a shape de seven is the fence de basil idiot de makes Linnean is relative to G major. And the second mode of G major is a Dorian. So over the d seven court. We're gonna play a door And if you are thinking Dan is talking Greek right now, you're exactly right. I am talking Greek. Greek modes. They came up with it. Sorry. Blamed them, not me. What? Uh, so happy They did. Okay, So enduring over the diese now over the e seven chord. So the e seven is now going to mix a Lydia. And it's the fifth so visa you mix. Lydian is the fifth, so it is relative to a major. So we're going to play a major with a Ionian mood over the E seven. So let me do a quick recap on that A makes a lydian over a set a door in or the diese because D is the four. So we're gonna do a door trying to figure out a way to stay in a the whole time. And then the E seven is the fifth, and it's relative to a major. So a lot of liking for us, we don't have to do with the shifting. There is just relative to a major. So we're a major with the Ionian mode over the visa. What's incredible about this, but we're going to take a look at it as we go deeper into it is how similar All these boats are this really just like a about one of difference between them. When we look a plane in this kind of parallel life, we're doing a relative look at the parallel notes. So we're trying to figure out how Teoh stay put, were using the relative aspect of them so we don't have to shit where? So if I am starting with my A facility over the A seven way now we're going to the G seven court, So I'm gonna dio a PSA, which is a mix second these way, Theo Way. Okay, last line. Now on the E seven. So we're gonna go a major on this one. Okay, Now, on the d chord. So it's a during a Dorian. Hey, courses. Last quarter's e seven. So it's a Ione do that again. Played without a break between 234 thing Theo way. Do you guess that? Can you hear the changes? What? I was doing it. Maybe you didn't catch every time I shoot it the scale, But could you hear the changes every time I did? Okay, So what you want to do is you were staying put enables. So the one court is staying. Mix Chilean psycho change. The forecourt is going to become the door in in the same key. It's always in the Cuba Forecourt is going to shift us to the door and the 5/4 been shipped us to the Ionia are the major scale a major? So it makes so a Dorian a major scale. Okay, so that's scenario number one And Scenario number two is going to be opening that off on the front court once he gets the point that you can do that staying put in one shape. Then it sort of makes staying in any particular position meaningless because now we opened up fretboard and we can start moving around and will, um, granted, you have to be kind of sharp. Teoh do this. But if you spend some time practicing and just one key of the blues, you'll be able to get the hang of it. Andi will pick up a couple of tricks if you've got a few mode shapes that you prefer use. Maybe if you really like using Dorian. I'm a fan of the door in shape. I like the symmetry of it. Like the fact that it's ah, symmetric shape. So if we said, um okay, so we're going to start off with a seven, so I'm just grabbing some Dorian shapes here, Okay, So I'm actually gonna start within the E doria. Why am I starting off in e to read? Because I'm first court is a PSA, right? A seven is relative d major, right. The second note of the major is Dorian. So, in theory, the Dorian should be the exact same notes has my A facility. You're just try it and I'm gonna bounce around my Dorian's. It should be eat during will work over the A of the eight Dorian we just talked about is gonna work over the D seven and then the door and should work over the ISA. So straight up 234 Theo on and on and on and keeps going. Fun, fun, fun, fun. Okay, so if you've been watching this and you have no idea what I'm talking about, that's okay. Don't worry about it. I just want you to Are you aware of the fact there's this thing called the modes and four guitar players who have nothing else going on in their lives. They just want to devote themselves to fully unlocking the guitar. It keeps going, and that's what it's called. That's the thing that you wanna look for. It's called the modes. Um, OK, so I hope this was helpful and thought provoking. Hope. Some of you guys, this answers questions that has been confusing you for a while. How to solo the whole thing, staying in one place. Because if you watch some of your favorite blues guitarists, that's what a lot of these guys were going. They're not shifting every time. Court changes, necessarily. Sometimes they dio sometimes they stay put, and when they stay put, this is what they're doing. Okay, Jamie's little parallel shift using their relative of connections. All right, Sue, I think that about covers it. So we'll be moving on to the minor blues here shortly. So see there 20. Minor 12-Bar Blues in A (page 32): Let's play some minor blues. If you guys made it through all of the major blues section that this is going to be a piece of cake for you, this is going to be really easy. Um, minor blues is a lot more laid back and easier to play, and there's less, less complicated theory going on. So this is gonna be fun is gonna be good, all right, We're still going to stay with the 12 bar structure, OK and is pretty similar to what we were doing before. There's a little modification in sequence, but it's pretty much pretty similar. We're still dealing with 1 45 However, all of the cords air now, minor course. So what we've got is we're gonna dio 12 are sequence in a minor. So we've got a minor de Meyer and e minor. It's still 145145 a is one B c d for he is five years, maybe all the courts of minor this time. Okay, so notable changes. The 1st 2 lions are exactly the same as we've been doing. Told Barb Loose, the major 12 Bar Blues. The last line. The third line is the change. So we're going to be doing two bars of the five court that you minor and then two bars of the one chord they so tempos The speed of minor blues can be anything it could be slow Could be fast. Um, he goes both ways. I want to do this one at kind of a media are a little bit of a faster tempo and we are still going to use the swing feel OK? We're still using the swing feel, But when we increase the tempo, the swing feel is going Teoh turning into more of 1/4 note, Chuck. But we're going to have that up, Chuck, this time for the let, um, so going like 1234123 way. We're going faster. So you had to have doing all those Aziz downs. It's going to be too hard on all right hands. So we're gonna relax and let it go on for the less and, um, yeah, Okay, so let's just jump in. Let's see what it sounds like. I'm to start off with open course. Well, let me point out one more thing of these were all written as just mine reports. They can be played as minor sentence. So in the major blues, everything is a so But in minor blues, we can play them as their just their standard. Minor courts were going bounced back and forth between playing the miner and Miner said So let's just start off by trying with sky. Do start with the way you catch up to three ways notice. I'm not doing my every time. What do we sometimes okay to try to show you. Uh, Springfield is still in here Not doing all the time I'm doing sometimes. Yuki, let's move on to some bar chords. All right, um, we got our, um, e root on the e string and root on the a string. So wait here. Okay. Are there any minor? You sure? Also God's my d. Myers here. You miners here got a minor way. Okay, so let's bounce around those guys just a little bit. - Sounds good. Sounds like minor blues. Okay, to introduce the minor seven, either of these shapes will be written on Eastern or the a string for both of them Were gonna do the same move was taking off our pinky big he comes off, it turns into water. Seven. Course we're going from. I do this shape here in D minor. I think he comes off. Yeah. So we could bounce around between three. The regular my record. And Meyer said so Let's try that. Okay, that's it is minor blues in the key of Okay, so we were playing at a pretty fast tempo. If we were gonna go through one time, go through the slower tempo, OK? I like it a little bit faster, but some songs, we're going to have it a little bit slower. And when it slower, we could get a sweet deal, Come out a little bit more Good. One to 34 way. I guess that sounds good. Sounds good both ways. All right, So start working on this guy, and, um yeah, it should be pretty easy for you. Just want to get you in the habit of playing some liners in my her sons and hanging on that five court a little bit longer on the ends. Okay, That's pretty standard for the Meyer Blues that we hang on that five court longer. We don't want be to moving around. Of course, so work on that and we're going to start looking at the ways to solo over Blues coming up shortly. 21. Soloing with Minor Arpeggios (page 33): Let's talk about soloing, the minor blues using minor or videos. Um, so this is gonna be pretty simple for you. You already understand how to use a dominant arpeggio to solo. So we're using the same concept here. We're just going to go with the minor or NGO, which is actually a little bit of a simple shape. Um, it's the exact same concept as before, so there's not too much new stuff going on here. We're going employees in the minor arpeggio shape as each court changes. So we've got 1/5 fret de on the front e girlfriend. Let's take a look at that arpeggio shape again. Eight, 77 I think when I first showed it to you, I should issue qg So we're doing in Cuba now. So it's 58 in the next two strings or so. Three strings or five. As the hideout is now with minor arpeggio, we're rooting with our index finger. Okay, routing with the next finger. So I was trying to q Dees of Ocean 10 plug in the same shape. Good. I was doing you d 12 employees in the same ship way Good, good, good, good, good Okay, so let's go through the pattern one time just to get it in our heads of the courts. And then we're going to solo through the changes, just using the minor arpeggios. Good. 123 Theo . Okay, sounds good. You could hear all the court changes in my solo because the universal thing about arpeggios is that they always sound great because you're only playing the notes from the court. But I play the Aymara or video on Lee playing the notes of the higher court. Those were just a nose for my minor work. When I do the d minor arpeggio just playing that's from the D minor port and the minor arpeggios just in those you minor court. So they're kind of like you can't go wrong with his nose. Great. You're gonna sandals. All right, let's go again. And this time, let me try Teoh, make something notes a little bit more, and I am going to incorporate our techniques, any techniques that I can get away with, Um, if I do have a or a pole or a slide, I definitely could always do that Brought so going to go for some of the techniques. One, 234 I think. - Okay . It was okay. Was okay. Um, I guess the thing that I really went for was the diets on that one. So the diocese, that's where we're trying to grab Two notes, Jason, Strings, two notes from your head, you or the shape trying to grab to those try to make, like, a cord way makes us. Okay, So this is obviously going to be one of the foundations of how we're going to solo over the latter blues. Now, your first inclination after coming off the major blues having so many possibilities for solo is that the minor arpeggios may seem like they fall short a little bit. They're just boring. And I get that as we get into the other stuff. Some of the scales, stuff like that we're going to be The arpeggios will be saving us sometimes because we're going to really use them within. We're gonna see them within our scales. Because remember the arpeggios. Are you laying on top of the scale there? Same same knows that are the arpeggio are also in the scale. So we if we ever need to isolate certain stronger notes when we're playing a scale, a lot of times that will be going for the Europe, NGO notes. So it's become familiar with these shape is going to help you out tremendously. And if you were ever playing a scale and it just starts sounding like I have no idea what court I'm supposed to be on, you could ran it back in by going back to the AARP NGO. Okay, so it's pretty straightforward work on the minor arpeggio following the court changes, it is an instant way to start soloing and sounding pretty good over the minor blues. 22. Soloing with Pentatonic Minor Scale (page 34): Let's talk about Cilla way with the pentatonic minor scale. Um, so the Panasonic minor was made to be soloing over minor cords. Admire solves, um is the pentatonic minor is probably the most popular scale in use. Our world, uh, probably, or guitar players know the pentatonic buyer than any other scale. Oh, it's a great there's a good reason for it is because it's a great scale. Who's the first scale that I ever learned? Um, let me also point out about the pentatonic Minor is, um, refers to you as the blues scale. People call it the blues scale. The pentatonic minor is also the blues scale. So and it is the blue scale by adding in a couple of extra knows, um, which are passing tones to help us get that blue note that we talked about. Um, OK, so I believe I should pentatonic minor and q g we're gonna do with the kid that because we are still in the Kiev right here. All right, so that's all the minor is, um we are just adding really two notes to our mother arpeggio. So it's going to look kind of familiar. All right. Uh, Q. That's different. And then 577 Too high strings or five. Okay, let's do it again. 575757 Um, yeah. So, um, the thing about the platonic minor that we we want to focus on is what is the court that's being played? What? We're playing it. What I mean is, when you've got the AARP is you you have to move around to show the quarters when you are able to stay on a scale as the cordial moving as you don't have to move. Then it puts a little bit of extra, um, pressure on you that you want to show you still wanna show was going on through your solo. Okay, so the blues were relaxed in the sense of we don't have to move. Um, as the A minor and the D Minor and e minor are passing by. I could just stay put on this. A pentatonic minor scale the whole time. So well, she was going to do is play the sequence wants of the courts, and then I'm going to jump onto the a pentatonic minor. Okay? Way you lost. Because I am. Because I can't hear the court changes. What on play? Okay, did that purse, Um so we could just have fun and play around, and that was that. I was having fun. That was cool. But you couldn't hear the core changes anymore, right? They kind of disappeared. So that's what I'm talking about is we can just kind of have fun. And if there's someone else playing with us or we're playing to a backing track for jamming along with the song that we like to listen to, um, or playing with another star player or band, they might be holding down the music to kind of make it make sense. While we just have fun, just play around with scale. But if you want to be a little at a higher level, then you want to show the courts a little bit in your solo. So, um, I'm gonna give you easy way to do that. We know, because we've been looking for a lot of rooms on the Lower East ring on a string. So we know that I am a here, okay? And we know right below it is d we find our d minor or hear way too. So you're here. So this is just with training wheels right now, So I'm gonna go back. So living on the pentatonic minor. And every time the core changes, I'm just gonna kind of grab the route. One of these three knows whichever one it is supposed to be of the core. That's changing in my mind. Teoh, did you? Exactly. Every time the court changed, I went Teoh some one of these three every times a day. Every time the quarter changes, I'm just gonna start on. That note was gonna hit it just one time, and then I'll play whatever it is I want to after that. Just gonna hit it one time on the first beat with the change, and then I'm gonna play whatever I want after that. Good. 1234 Okay. Could you hear the changes in the time? Okay, so now we want to do is we're going to look for some of these notes in a higher place. Okay, so I got a high appear. So that's what I can go. Teoh also got a right in the middle of the district, so and then right below my a their G string so friends get adios. And then here in the fifth round of the Be Strong I got you so I can grab those notes to show the change, and I just want to do it on the one. And then after that, I could hit any notes. I want just bang around some notes. But when the court changes, I want to make sure I hit the note at least one time so you could hear. And I can hear that there was a court change. So I'm just soloing and by myself there's no one else around. I could still show the song in my solo. Okay, starting it 1234 way Theo. What I was doing is I was just grabbing my notes anywhere in the whole shape that I could every time there's a court change. If it was going to deep, that's going for D or D. And when it was going to e was going to either e or e t. O. Okay, so soloing with pentatonic minor. That is one approach, and there's a lot of fun stuff. Recon. Just staple it, relax into it, but still play, you know, with some intelligence and showing the changes. Another thing that we could do with the pentatonic minor is we could treated it the same way that we treated the arpeggios. Every time the court changes, we could ship the whole thing to 10 and 12 over the D over the water. Let's try that one time. She has to be Oh, Theo, - did you know it sounds good. It works. So that is another thing that I could do. I could either stay put here and trying to kind of show the course with my note starting one of the change, Or I can actually just move the pentatonic minor shape up to the room out of each chord. It's gonna work either way. Either way is going to work. And this way you can take the simples shape on the guitar, which is the pentatonic, my simplest scale, and have a lot of fun fit. And you saw what I was doing. It sounded very cool. And there are guitar players that can shred Panasonic Meyer, some of the some of the really fast, um, rock and heavy metal guitar players that are really good. A lot of times they are just using the pentatonic minor scale. They're just doing it super fast and doing really cool tricks for that. And it may look like it's really intricate what they're doing, but it's not this just fast, cool. And they're just doing a good job with pentatonic minor, so there's a lot of good stuff that you can do with it. Um, okay, so start working on the Panasonic minor pentatonic Minor Could be your best friend. Eso cultivate the relationship with it and you can use it any time. Almost any time that you're on a minor court gave a minor key that you're playing a song in a minor key where you have a minor court so you could go for the arpeggio. You really wanted to lock it in. But if you want to play around a little bit more than you can open it up to the pentatonic minor, and you could do it either over the court where if it's the size in the key of a minor, you just pick pentatonic minor and banner on that for the whole song. So have fun playing the pentatonic water 23. Soloing with Natural Minor Scale (page 35 - 36): let's so the mire blues using the full natural water skill. So the natural minor scale is also called the Aeolian mood. Um, this word mode is part of a couple times now, uh, we used miscellany in mood. We talked about modes and with the major blues and how they all work together. Um, so the, uh, natural minor scale is one of the modes. So the good news is that if you decide at any point that you want to start learning the boats, I can tell you there are only seven votes. Okay, there's only seven of them. And, um, you already know one of them, you know, the pixel, Lydia. So you know, what are the modes? And we've I think we've already worked on the natural minor a little bit, and we're going to see more right now. So this is another poses to eso. You've already got a couple of them under your built. So if you do want to say, I'm just gonna go ahead and learn all of them. You already got a head start, so that's really great. The natural minor scale. It is the minor scale, Steve. Definitive minor scale because there's a few different scales that have the word. My room. There's my daughter a lot of minor. Um, the double murder there is. There's a lot of skills have minor attached to the name, but there is only one the minor scale. It's kind of like there's, like, one the major scale to the majors go. There's only one of the minor scale, and that's what we're playing right now. Some people call it the natural minor, just kind of qualify. That is the minor scales, the natural, Okay, And it's what we play over the minor blues and we just playing in the key of the salt. So and you guys may think Dan keeps forgetting to change the whiteboard, not forgetting. Uh, we are just covering things off that I want to stay in the key of a minor here. So I wanted to leave the progression up for you when we talk about this stuff and you've got your PFC in the additional resource is so hopefully you've got these documents either opened up or you part of them out downloaded them. So hopefully you have them looking at them while we talk about this stuff. Okay, let's take a look at the natural water scale in the key of a All right, look where the minor or did you is in the natural minor scale. I can lay it on top of it. The pentatonic minor scale is also in the net for a minor. I can lay the pentatonic minor directly on top of it. So we're just adding in two notes now writing to Morneau's in from the Pentatonic. Alright, So first string 578 Next dream 70 again. Next drink. G string 457 Okay, now rush it up again. Be strings. 568 on high string is 57 Okay, so it's doing overtime. 578 G string shifts back. 1457 You were shipped up again for the B string. 56 age High street. Good. Sounds good. Alternate picking. Crack down, up, down, up, down Every time. All right, let's go through before we start soloing. Let's go through the courts just to kind of get him in our head. All right, way. - Okay . So what I'm doing is I'm using the same approach that we did with the pentatonic Liar. Where we have Bordeaux's. We run the risk off the solo getting confused, as in. If you just heard someone soloing, you wouldn't know what the court is that they're soloing over. That's not what we want. We want it to be clear. Um, so we're using the same approach that we did with Pantai, where we're trying to hit the note of the core of the root note of the court that's being played, at least on the one so that we we know. Oh, I hear it here. The change. And then you get hit. Any knows you want after that? Okay, let me just, uh, play around for a second just to kind of show you what happens if I don't do that. Okay, so I'm going solo through 12 Bar Blues one time. Tell you right now, this is going to sound like a 1234 way thing, Theo. But it's a message in you is horrible. So I'm going to rein it in. I'm going to start trying to focus on those notes right as the same exact knows that it was when we did the catatonic. So I got the A K. Got Latinos here. Sure. Got those here. Okay, so let me court changes on and try to get this news, and then I could play any of the other notes I want to. The more news we have, the more chance there is for the solo to get confused. That's why the arpeggios air. Great, Because that will not happen. The arpeggio. Yeah, you're just playing. It goes to court when we go to the past. Holic, we had a few notes. We have to be careful. It's still not as many blood will be careful, cause it could get confused. Maybe when we go to the full minor scale. We've got seven notes now, and you could have you just heard It definitely happened. Okay, so I'm gonna try a pregnancy, can hear the court changes. 1234 way , Theo. Okay, you're hopefully us. So trying to show the courts through my notes and I'm still so still improvising and having a good time along the way. Okay, Good. So that is the natural minor scale. Um, and just like with the pentatonic, I can stay put whole time. It's just have a good time with it. All right. I just want to kind of show if I'm playing by myself, I have to have to show with the cords are so that solo makes sense. If I've got someone that's playing with me and then playing courts baby of that, I can go war room to experiment, try some notes, right? I don't necessarily have to show the court is much experiment war because I've got the rhythm of the person playing with me over. I want to talk about one more thing. Um, when we discussed modes on this would be something for the more Vince players again, or the people that are interested in further exploring this concept, the relative modes. So if we are in the minor key here of cute, eh Um, a minor or a aeolian mode is relative to see, Major. So what that means is that I have access to all of the mod ships relative to a minor, a yulin or C major scale. Okay, so I am concerned traveling up and down the neck in the minor key, and I don't have to worry about changing keys or shifting. You're doing any calculations in my head because the minor doesn't work that way. Liner is relative minor blues is relative. Major blues is parallel, iron loses relative. And when your relative you can stay, put in the same key and just focus on your relative boats. So what that means is that if we're playing the blues today, I've got the Aeolian mode. Got the C major scale, got the d Dorian mode that the E fridge in the F Lady in the G makes a Lydian. It takes me around the world to the A Yulia course, and this is a way for me to start soloing all up and down the fretboard. Now the original concept of us trying to show the courts you still want to do that, and that is going to become a little harder for you as you're traveling because you know where the A's and D's and E's are right here around fifth and seventh fret. But you know where they are over here, we're not sure. And so that's why it gets a little trickier. You have to be ableto know where your nose are. If you're playing by yourself, right, if you're playing by yourself so and I don't want this, uh, this lesson to go fully into a mode lesson. I just wanted to make you aware of the fact that would play minor blues. Do you have access to all of the relative modes? Okay. Relative to the monarchy. A liar. Deceive, major. Okay, so I'm gonna go again this time. I'm just going to travel around. That's right. On a couple of votes just for a second, Teoh. - Three way way. But I just want to show you how going around through all the different mode shapes and as I'm doing it always thinking about the course changes. And so just quickly looking for amend this shape. I need a d. I'm in the shape needed e I'm gonna shit on you today. So that's what I'm going for. And I'm just having fun letting my brain go and my figures. Okay, so that's relative moves. Just everything relative to see, Major, I'm just going through the shapes. But if you are not at that point, or if you're looking at me thinking I have no idea what you're doing, that's okay. Stay put on the national minor shake and a way to get really familiar with it. The natural minor scale is, I would say, the second most popular scaling in classical music theory. I don't mean classical music. I mean, classical theory is in. For the last three or 400 years, all of the great musicians that have lived died off they. The minor scale is probably the second most popular. First would be the major scale. All music is based major scale on then the second most popular scale would be the natural water skill. So it's huge. It's huge. The mix of Libyan mood has been huge focus of this entire course on DIT is the foundation, I would say of blues music, but keep in mind that blues is not loses 100 year old for So I'm talking about going back hundreds of years and the mix Lydian came from major scale. So all right, so focus on getting really good with that natural minor scale, and hopefully I opened your eyes to the possibilities off. Once you get good at this and you want to start moving and opening up the fretboard, two other possibilities, that's how you do it. There are lots of endless possibilities for playing the blues. Who knew that three course could be so much fun? 24. Minor 12-Bar Blues in E (page 37): Let's believe the minor 12 bar blues in the Q e here. E If I was to ask you what's the 145 in the key? Use one? Yeah. Yeah. You okay? Is the four be is the five You is one g a be e a V in their own liners. Okay, end. What would be a good sequence to play those it So we got the three lives. Um, the 1st 2 lines are the same as they are with the major blues. This 141 What is the first line? 1411 is in this case. Jumiller a Are you are You are right. In the second line is 4411 as in our aim Are you are you are the last lines was different because 5511 So the monitor you matter you are You are. I got it right. Okay, so let's jump in. Uh, let's bang out some chords and we're going to go to some open courts. Is it dark words? And I am going to bounce between the minor chord and the minor seventh court. And when I'm doing barkers, remember, That's just a matter of taking my pinky off in either shape. Well, I do, and neither shape is take off my picky. And I just turned it into a minor Seventh chords. 1230 good, good, good. Easy, Right. Okay, let's take a look at doing some solo, all right? And now you may have noticed by now because I haven't mentioned it. Um, what we don't really do walks in my blues. Same way that we do them in measure blues, major blues. The walk is a big deal, right? It's a big special part of the form. We really do them admire blues as much. There may be so, uh, base, no walking back into the, uh, one court, but that is not really unique to the blues. I would say it's just something you could do. You hear? Sometimes you're that every cell of music, though, um, so something that you might do if we're kiv e and we're walking to the were worth the ends , we're gonna just walk to this guy. And also, the reason for it is because, you know, we're we're playing major blues there. Last quarter's the five court here. We've got two bars of the long court going back to the one court again. So there's nothing to walk to. You are in place to walk to. Something would be maybe right here. And, um so I'm on the b minor. Just a bark word, by the way, walking into the e note something like that. But if you've been wondering, like when I'm going to start showing the walks for minors, there really are walking for minors is not really the same phenomenon that it is for major lose. So sorry about that. But we've got a lot of cool off scale stuff that we could do because we've got the relative aspect of the scales as opposed to the parable stuff. All right, so let's jump into these Soling. I'm just gonna do a hodgepodge, um, makes up the line, or Jews use a little bit of time minor and a little bit of natural minor scale, all naked e. Okay, Now, uhm, I'm going to be pretty high on this one because I'm appear on the Yeah, um, what I may do is I nine bounce down here to the A and B to do some of the arpeggio, minor arpeggio or the buyer Pentatonix over the A the A B. So let's jump into 123 Theo lost splint and keep going. Oh, one of the things I want to point out to you that I was doing and done this before over some of the other minor blues stuff. Um, I am using the concepts of, um, going between rhythmically going between the triple time and the ducal time. Um, I throwing in a couple of 16th nose into it when I was going like those Air 60th. This. They feel slightly different if you can hear that, because if the sound is going like but that so I'm throwing in those 16 things there to give it a little bit of ah, rhythmic shift. Eso That's something. Don't forget about that. That's one of the very cool things that we could do with the blues. A lot of players cannot do that. They don't even know about not aware of it. So if everything is feeling like swing feel, mixing up the 16th notes with triple it a business, so it's a very cool thing that you want to try to get into your plan. Okay, Um, so I think that about covers blues in E minor Liar, blues. Um, so practice that it's good to It's good to practice it in different positions. And if your kind of thinking eso pretty high, you may be loving it A pie guy upon the toll front, uh, where you may be hitting it. So if you're an acoustic guitarist, maybe you don't have a cutaway like I've got are here. And so you're kind of like locked in right against the side of the guitar. Yeah. Then I get understand. So you may want playing Q A or something else. Instead, I get that, but it even if you don't have a cutaway, you can reach that. It's maybe not super comfortable, but you can do it. You can at least practice it a little bit on, and sometimes you have to play me, and that's where it's gonna be. So have fun with this, And the wonderful thing about playing some of these open keys is weaken drone open strings on it sounds really good, even when we're playing bar chords. Don't know if you noticed me doing that, but like when I got to play this e r, including you. Nice. You sound I might even open up my hand to get the high e two way could do to make a little bit more special. We definitely want to do that. Uh, all right, so go have fun with the e minor blues. 25. Minor 12-Bar Blues in G (page 38): Let's play some minor blues in the Q G minor. So Joyner is a key. You lined up playing that often. The reason I want to go through it is because you could play minor blues in any key, and the blues is a form of both major and minor that influence jazz a lot. So blues came first. Jazz came after that. Andi. There is, uh, a sub genre of jazz verse, jazz, blues. There's a lot of blue zones that are played and sung by jazz musicians, so of the cross over quite a lot. But, uh, the jazz players, since jazz is largely the horn dominated, so music they There are a lot of flak ease e flat, a flats d flat. And so when you're playing in those kinds of keys, if you were going to go minor, the Myers will be in bizarre places. So playing losing G. Meyer would be like B flat major for ah horn player. So a lot of Ford's like to play in B Flat Major. They were going to do a minor key. They would play it in G. Maier. So this is something that definitely could happen. Definitely could come up. No words. You know exactly what to do. We're going, Teoh, use every single tool and trick that we've already learned. We're just gonna shoot the key is gonna be no problem. Um, everything is gonna be a bar chord. I guess we could dio d minor open but the g minor and see Meyer have to be bark words But everything else we've got, uh, Joe between the a lot of hoard and the miners. Of course, for each one and we're going Teoh, then use the minor arpeggio and the pentatonic Meyer and the natural water in here g the first way. - So just to I've got a g minor here. I've gotta see moderate here in D minor. Sure, I can come all the way up much minor here. Room on the a string then, right? Sure is my C minor. And then to think that is my Dema if he comes off, that turns it into Meyer said, All right, So the 145 is G C and D, of course, off. But G is one in this case G after Giulio against G. Okay, do you C c is the four deep. Do you survive? What? For life. Okay, way good. Good. Let's jump into these solar. Um I am going Teoh do a combination off the arpeggio minor. Did you on may be bouncing between the G C on eight and d on 10 with the minor. Are did you and, um I also white bass a little bit on those three positions with pentatonic minor scale. Um, and then I may just stay put a little bit on the natural minor scale here. The qg OK, but as I'm doing it, I want to focus on the one with see the four or the D five. Every time the court changes, I want to try to hit that note on one off the change. And then I could hit anything else. I want to try it. - Way , way. - Good , good, good, good. Okay. One of the things I was also doing is, um I was accessing some quarter tones, so I was up here. I was in the d position, but I was playing over the G court and I was actually going for so don't forget about your court tons. This is something that pops up a lot what, you over this sport, though by the courts, If you don't know what to do over a certain court, play the Cortes. The court owns air. Just the nose off that court. But don't Don't bring them into each other. Don't go do that. Play the note and stop it. The next recording stop. So sounds like a melody. Right? So if someone wasn't looking at you play, they were just hearing play. Then they would think that you were playing so kind of a scale or arpeggio verses like that , they wouldn't see that you're doing court shape, so portents. Right. Okay, um, let's go. One more pass and hoping to point out all of the stuff that I'm doing and less also, enough. Forget to use our diets. Okay? We're going to try to connect those on adjacent strings wherever we see opportunities to do that. What? 234 way good. All right. Sounds good. Sounds like the blues sounds like the blues. So practice that one. That eyes a tricky cause. We have to are a lot of pressing pretty much on everything. Don't have a whole lot of open string possibilities there, but that's OK, that makes it a little more challenging. And to play it in a different shape is really good for our brain's way. Don't want to be associating, but he our scale or shape of certain key. So we want to be able to move thes shapes and scales and arpeggios, imports anywhere we want to to accommodate any key. So we do anything. We want to do any song and keep good play in different Cute. It's good, all right, so practice your G minor blues. 26. Backwater Blues (page 39): backwater blues. Uh, this is a pretty old song was made popular by Bessie Smith. She right? It's real well into the public domain. At this point. A lot of the songs that really, of course, are quite old. Um, so this is a 12 bar blues in the Q E. That's perfect. This is our wheelhouse. This is gonna be easy. All right? So all of these courts can be seven course dominant seven courts. Even though I didn't write it down the hall, the sentence on everything pretty much is what we're used to. The only difference here is this last climb. This is what we would normally see. We're playing with Fire blues. We've got five wars of five and the two bars of one one court. Um, so that's OK. Two bars of being that members of the you don't. So this one's a little bit more upset goes a little faster. So what Teoh way? I think, uh, you know, to do, do the things you were mixed following each court. Okay, 12 On also point this out. Um uh, we have to be careful on doing Oh, walk where? We don't have a standard ending. So after this isn't stamp ending, it's just not the one that we're used to. This is not standard 12 bar blues because they end it kind of in the middle here. So you have to be careful about doing your walk, doing a walk down or walk up its resolving to the one court, which is the eat in this case. And so I mean, I suppose that you could maybe try to pull it off here, But just watch out for that. Usually when we do our walk, we're doing it from the B chord, the equal to be court. So we're just hanging out at the usual time. Just watch. All right, So what way, Theo? Wait. Three way. So trying to walk and it kind of works. So, um yeah, I would say Go for it. Back Water blues to go. Do you want to play with your friends? 27. Frankie and Albert (page 40): Frankie and Albert. Thus the song is pretty old theme. The released recording effort is Let Billy, but it's been covered by tons and tons of people. Great Song. This song is a folk song also definitely lose but is also full song blues. It crossed over with full a lot back in the early 19 hundreds. Eso There was a lot of bluesman that also were playing full and by subversive folk players that were also place and blues. So this is a great one. We can treat everything as a seven core here, which means that we can use the dining, arpeggio or possibly the mix of Lydian. Let's jump into what's going on a really fast pace. Um, I'm going to use open course. Just jump into it Way, - way Aziz. You can see we're not using swing feel this one kind of giving it a straight beat very straight. Okay, let's go and take a soul. Why we can use the dominant arpeggio. So let's give that shot. 1234 Theo Way So sliding started jumping into the mix ability in a little bit there, using a little bit of the video mixing Lydian G. C. And the present in court is changing. I'm changing with it. So Teoh all right, 28. Dust My Broom (page 41): Let's play dust, My broom. So this is a great old blues song. 12 Bar blues 12 Bar blues that you d this time. Um, so this is actually pretty standard to what we're used to. Just have a tiny little around here to be Tom de to these other G seven right there, the next to last bar. Okay, so you should know what to do with this, right? 1234 Okay, so, looking over it, we have we know exactly what to do. We're going to use the dominant arpeggios following the court. Or we could use the mix a Lydian mode also following court. Okay. Um 234 Theo . Theo! All right, that's it. Just a group. I believe I'll dust my broom. 29. Going Down the Road Feeling Bad (page 42): going down the road feeling bad? This is a fun one. This is another blues song that has crossed over default. So it has a little bit of a folky feel to it. Um Okay, so let's just jump in tow. And by the way, got four beats. Four beats, four beats, four beats for these two beats, two beats to these to these orbits. Yeah, so let's just jump into to it. Sounds like way , way good, good, good, good Cut. All right. And eso soloing over. We can use the dominant or Bijou. We can use the Bixel idiot. So less, um, jump into it was jump into it, I would say Go for the Dummett arpeggio following the courts. The only exception be the c sharp minor where we could use the minor as you. Anytime you have a minor court, you just hop onto the minor arpeggio to get you through. It was like to base of it. So goes pretty quick. That so 1234 Theo Theo Way. Okay, so I am using a combination between the facility and the dominant arpeggio over all of the courts. Except I'm just doing the Myra because you're with C sharp. Minor. Yeah. Teoh Theo going down the road feeling that 30. Saint James Infirmary Blues (page 43): ST James Infirmary Blues. It is a cool old song of modern blues. And, uh, I, um, similar with the cab Calloway version. Um, Sprinkle Brickell song. Um, all right. So something that we we might not have talked about before. This'll one has alternate endings. Okay, they're easy. See how it says it's gonna bracket says First known hasn't brackets, says Second. So all we're supposed to do is pile the stuff line, play this plot of life. We're gonna play the first good. Well, Alexis begun top line with a lot of line. We already played the first ending, so we skip it. Just Joburg to the second. That's how things work. Hotline online in the first inning gang for top play second line. Skip the first inning and jumped to the second ending, um, for bees inside of each dash for bees inside of the measure. So if there's two course than each get twos drops to strives to Strom's, that was by themselves who gets four strokes. She's drums to struggles. Four shows, 2 to 4 B flat, seven. Too strong. A 70 Strom's two strokes, two strokes and then that second. And it is for so and this one is in D minor. So, um, what's jump into it, Teoh? Way, Way, Way. - Okay , Very cool. You can hear a lot of power in this court changes. Okay, soloing over it. We're in the key of D minor so we can use the D natural minor scale. Or we could use their minor arpeggios were the pentatonic minor scale. Um, for this one, uh, there's, ah, stuff. I see where I really think that the natural minor scale would be good. It's this B flat B, flat seven. Corn is really telling me natural minor scale would be a good one because we've got a B flat note in our d minor scale, so that would be good. Okay. And you're really just hanging out on D minor for most of it. So So I over should be pretty simple. I try to kind of reflect the balance between the d minor and G minor solo. I'm gonna try to get to be flying a can. Yes. So that's 234 way. - Theo . Theo, I think I do that right. So, yeah, the first thing that beginning second, and so that was really doing in my solos I was hanging out D natural, minor and kind of bouncing between Dina and Gino. That's 90% of what it is and then just want to try to hit that B flat with a Theo there other than that can hit any of the nurse that you want to. But if we get those the d, the g, the D the G wanted that for you to be flying a, then it shows pretty much the whole core progression song that makes us ST James Infirmary blues from one play. All right, we'll go have fun with this one. 31. Nobody Knows You When You're Down & Out (page 44): Nobody knows you when you're down and out. This is a great old blue song. You may have heard their clubs in popular again in his unemployed recording. Graceful. Okay, so I'm going to play through the courts, Um, time or two, and then we'll do a solo over. It just kind of get you up writing on it. The dashes are the measure breaks, so there is a total of four beats inside of each dash, so there's two chords inside of a dash. Each core gets to these. If there's just one courtside the dash, you'll get four beats were four stripes also to be stupid. Forbids two beats, two beats, four beats. Okay, so let's jump in Teoh way. - It sounds pretty cool, isn't it? All right, let's take a look at soloing. It, um, on this one, there are courts all over the place. Eso it is not something has come try. It's not just Azizi saying it's in the QC because the first quarter see, a lot of times that works, but it doesn't exactly work in this song. I mean, this song is in the QC with this porcelain place, so we are going to do a combination off using court tones when you don't want to do, you do court tones. So we're going to just pick out the notes of the chord and trying to make it Sounds like a solo. Um, And when we get to the seven course, he's, uh, d c g seven we can do the dominant arpeggio you do the pixel idiot boat over those s O. That would be a good plan of action for soloing over this one. And by the way, we a d minor course here a d minor course here a d cor here, d major, this time decell here. So that's pretty crazy, huh? De Miner and a d So your legal kinds of these. So yeah, this course, a little place. All right. So quarter tones court tunes with seat, and I'm just gonna jump into it and while calling him out. Okay, So take a C corps and paying us court tons e cords. Owns a seven dio you minor Cortona see a seven. You did you d seven. So let's do that again and see if we get a little speed going. So see, Georgians, um and all those de miners, you know, we could always do arpeggio. So, - Theo Theo, what is that? That makes sense. This is a trick you want to solo or but it's a great one to keep you on your toes. So I would recommend using court owns and just having these courts memorized or at least in front of you to where you could quickly look out while you're playing. Uh, the memorizing of is the best offensive. Just go play the courts, play play, play over and over again So you could have been your minds And so that when you're solo and you could say OK, c chord so big on E courts seven and then deep minor. So, Seo Tae, are you okay? That is nobody knows you when you're down now. 32. Jam Track - 12-Bar Blues in G: 33. Jam Track - 12-Bar Blues in A: 34. Jam Track - 12-Bar Blues in C: 35. Jam Track - 12-Bar Blues in E: looks. 36. Jam Track - Minor 12-Bar Blues in A: 37. Closing Thoughts Moving Forward: Well, you got through the course. Congratulations. Good for you. That's great. You did a lot of stuff and you got to the ends. You must feel great because you do a lot. So good job. Well done. I wanted to talk for just a few minutes about ways that you should continue to work on your blues guitar player. Um, okay, so way number one, continue watching these videos, go back and watch these videos again. Any of these videos that you feel you didn't fully understand or you fully grasp the concept, go back and wash it again. Or you could be a situation off going back through one of the songs going back through. Um, any of the corporate Russians. If you had a problem with any of that stuff, you could watch these videos as many times as you want to. So do it. Go back and watch the videos again. Eso continue going through the material until you feel like you've got all of it. Because I feel like all of it is important to me. All we want to know it all. So go back and watch this stuff as many times as you want to you until you have completely understand it. The second thing that I would recommend you do is possibly get a book, maybe go buy a book, blues book, blues songs. And when you're getting the Blues songs book, you want to get something that has the, um, the courts and a very minimum. You want to have a book that's got the courts listed, kind of like we did above the tab or above the notation where it's got the course listed to where we can see how many beats are for each chord it loses Rosalie Simple with its core charts. But what you may see in a book on and there's a few different things you could do. You may get a book of courts and tab, Um, but more than likely for blues book, you'll have the cords up top and then you'll have the lyrics. So if you have a blues book like a blues fig look, um, fake books are popular books that have the cords, the lyrics and the basic melody. So whatever I'm teaching a different genre or style of music, we usually recommend someone go out and get a fake book. Sometimes they'll be called real books, a real book or a thick book, and the name of fake book is just means that thes are the all the correct components of the song. The arrangement may not be 100% the exact same as it was written originally, and that he may have changed from its original key. But usually those are things that are unimportant. We want to just play the song. We don't need to be the exact same original key, and we definitely don't need the arrangement to be identical to the original arrangement. We just need the basic stuff giving the court progressions give the lyrics on Give Me the the basic melody, Just very basic melody. From there you play this hole that's a fake book as a real book is the same stuff, but it will be in the proper arrangement and property as it was originally written. So either one really look or fake book blues Really book blues, Facebook thes. They're just ideas. You may find some other book that's got blues songs in it, and if it looks good to You get And so with the blues as we've learned. One of the things that you can work on is just go through the courts, play the chords and all your different forms, and then work on doing your solos using scales and arpeggios following the courts and you can sing along with it. You can go through the melodies and tress trying cores, all of it down, using your swing feel, and so you could start playing with a lot of different. There are a lot of variations on blues that we cover the basic ones in this course, but you can learn some new variations of blues songs by going through a bunch of different blue salts from like a book number three Ideas on What to Do. Find some other person to play the blues with. Find another musician that you could jam with. This could be another guitar player. Could be a bass player. Could be a piano player. Could be a singer. Um, find another musician that you can play the blues with. And, um, when you're playing the blues, that somebody else you have an idea on how to put together a court progression, you could just take a piece of paper and a pencil and just write down the court chart for them and handed to them. So be willing to teach some friend how to play, um, of blues progression that you've been working on, and they're going to show you one that they're working on and eso look for people in your town that make a new friend. Maybe you already know someone that's a musician that you can play the blues with. And if you don't, you know there are many, many different ways to get out in the world and meet people. So start looking, too. Cultivate a relationship with personal people to start playing music with. This is a huge, hugely important thing for musicians. Music is social. It's a social thing. It's a way for us to connect to each other. We want to interact with each other through music. Music is a form of communication, so you need to go and finds musicians that you could interact with, get engaged with other people. Easy way to do that. Maybe just defines maybe someone else who is also a guitar player. Star players love blues and just start off with one person and maybe find a band. There's a lot of opportunities out there for finding other musicians to play with, so I would highly highly encourage you to find some other musicians to play with. And they make you really nervous at first. But once you do it after the first time, you will be so excited and you will run home and you will grab your guitar and you will practice until your fingers hurt because you want to be good and better the next time you get together with your new friend. So fine musicians play with Thank you for going through this course with May. I'm really excited for you. This is gonna be a really wonderful thing for you. And, um, have a fun time making this course really glad you were here with me and eso keep on playing the blues and I'll see you next time