Comping Minor Rock & Blues Songs | Scott Perry | Skillshare

Comping Minor Rock & Blues Songs

Scott Perry, Author of Creative On Purpose

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3 Lessons (17m)
    • 1. Intro to Class & Your Guitar Guide

      2:30
    • 2. Minor 7th Chord Grips & Application

      8:26
    • 3. B Minor Blues Changes in 2 Positions

      6:21

About This Class

An EZ Guide to a Professional Approach to Rock & Blues Guitar Comping

Class 2 - Comping Minor Rock & Blues Songs

In this short class (three 6 minute vids!), I'll show you:

  • two easy to finger minor 7th chord grips that will allow you to play in any minor key.
  • how to play changes similar to Bill Wither's Ain't No Sunshine When She's Gone with a slow rock feel.
  • how to play changes similar to B. B. King's The Thrill Is Gone with a slow blues or funk groove.


This class is perfect for beginners and advancing students can go further by enrolling in the previous class on dominant 7th grips and the follow up courses that teach other Freddie Green grips including major 6th.

Freddie Green was the long-time rhythm guitarist of the Count Basie Orchestra and pioneered a simple, but effective set of chord grips and strumming pattern that helped make the Basie's rhythm section the envy of every band of that era.

Transcripts

1. Intro to Class & Your Guitar Guide: Hegang. Scott Perry here vintage blues guitarist, the creator of Got a Guitar Lessons dot com Welcome to my new skill share class. Siri's called an easy Guy toe, a professional approach to blues comping. This is the second class in that Siri's and we're going to learn to minor seventh court grips, and we're gonna use those to play both a rock and the blues in a slow and funk groove. All the groups in the Siri's were pioneered and popularized by the longtime guitarist in the Count Basie band Freddie Green. This class is Mitt, but just two short six minute lessons and the first will learn the two minor seventh court grips and will locate the 145 chord in two positions on the neck in the key of a minor to play. Changes similar to those of Bill Withers ain't no sunshine when she's gone and will apply both a slow rock feel and a funk roof to those changes. In the second lesson, we'll learn to play a minor blues in the key of B minor and will be playing changes similar to B B King's The Thrill is Gone. The court grips the corporate Russians, and the string patterns taught in this class will allow you to play hundreds, even thousands, of your favorite blues, rock and country songs. The material top in this class is suitable for beginning guitar players, and it's a great starting point for advancing players wanting to master the Freddie Green grips that will allow you to be a confident and competent and complementary accompany ist in any situation. This is a fantastic class, the material that I'm teaching here. I've taught to hundreds of students in my private lesson practice, and now I'm presenting it here in a very organized, progressive, step by step manner. And I'm sure, just like all the other students have taught it to. You're going to have a great time learning this material and applying it to your rhythm guitar playing. I look forward to seeing you on the inside 2. Minor 7th Chord Grips & Application: Hegang Scott Perry Here finish Blues guitarist. The Creator got a guitar lessons dot com in this video, I'm going to show you 23 things Reminder Seventh Grips. We're gonna use them to find the 14 and five chord and the key of a minor in two positions on the neck. And then we're gonna use a slow rock groove to play changes similar to those of Bill Withers. Ain't no sunshine when she's gone Gonna show you the first, a minor seventh grip First it looks like this. We would call this a 555 grip using our numbering system my middle fingers on the throat of the sixth string My third finger is on the fifth fret of the fourth string my pinkies. On the fifth fret of the third string, I will new strings five and two and not play. One thing. This is the most common fingering for 1/3 agreed style, a minor seventh chord. You could also use the standard jazz fingering which looks like this, and the only difference is now I'm borrowing from the fourth string down with my third finger across all the strength from the fourth string down to keep the form here are only play that through the through the third string, but oftentimes you'll see me grab this. I've also seen people grip the sixth string with their thumb by wrapping it over the top of the neck and grabbing the fifth fret of the six string with their thumbs. You want to give that a try? I recommend starting with this fingering. And if you're already used to this pandering, going ahead and using that in this 555 fingering, we have our room on the sixth string. We have our minor seventh on the fourth string, and we have our minor third on the third string. There's no fifth in this court. The four chord would be a D minor seven cordoned To get to that grip, we're gonna leave her middle finger on the fifth fret of the sixth string. We're going to drop our third finger to the fifth threat of the third string in our first finger's Gonna play the third fret of the fourth string again. Muted strings five to what I have now is the fifth degree of a D minor, seventh in the sixth strength have the minor third on the fourth string, the minor seventh on the third string. And if I wanted to locate the route that simply read below on this fifth string, but to keep our 643 strength fingers, we're gonna do this. This would be a 535 grip. And, of course, the five chord is simply to Fritz higher. Here's an E minor seven ground to go to another position on the neck. I'm going to take this grip and I'm going to simply bring it up here. And now it's a 12 10 12 on a minor seventh chord. My work, or are we call them the Five Court. Next. That's here. The 12 threatened in a 12 12 12 grip. Of course, the four Ford is two friends lower a 10 10 10 grand. So now that we've located are 14 and five chord and the key of a minor and two positions on the neck, we're ready to play our court progression. This progression is gonna be an eight bar form. What we're going to do is we're gonna start off with four measures of the A minor court. Then we're gonna go to a measure of e minor. A measure of the minor Finished off with two measures of a minor. And we're gonna play this what I call a slow rockfield, which is really just a kind of a boom chuck. We could make things a little bit more interesting in this particular key by adding a little walking base in measures one and three. So that would look like this. We do the boom show that's 12 and then beats three and four are gonna be based. US three is open east ring nays for is fretting the third fret of the sixth string with my first finger and then were to measure to some Everyone looks like this 13 for two measure to to change things up a little bit. So they just went Boom, Chuck. Chuck. What? You're welcome to Dio. We can also play a little bit more kind of active, funky rhythm. And that starts with a boom chuck that's beats wanted to. Then we're gonna go 341234 to That's beats measures to it, for they're, uh boom Chuck up there. Um, chuck up, up, down, up 123 10 4 and on 23 and 41234123 men for So if I were to play through the changes now I'll go to the second position as well. Now, obviously in the second position, I can't do the walking bass thing that I did earlier. Unless they're able to come all the way back down here to get those bass notes. So it was kind of keep it in that funkier rhythm up here in this position. So here we go one to actually, before I do that let me just quickly usually play these changes. And I be thinking of a song like Bellwethers Ain't no sunshine When she's gone, I'd start with little vampire. I just played the way three times that I would breast for an entire measure. Or I could do my little rhythmic 333 So there you go. You've got to positions to play the 14 and five of a in the key of a minor and using two different core groups. Of course you can use is to play in all 12 keys. And now that we have these court grips under our fingers in the subsequent lessons in this section, we're gonna look at how we can incorporate them into some with some of the other courts that we learned in the previous section to come up with some other really cool and useful progressions. 3. B Minor Blues Changes in 2 Positions: this'll s I'm going to show you the typical changes for a minor blues in the blues tradition. And we're goingto need to go back and grab one of the voicings that we learned during in the dominant section of this course. So we're gonna be in the key of B minor. We're gonna be playing changes very similar to be became. The thrill Is Gone will be in the key of B minor. So here's my B minor shape 777 Group. That's my one Court will be playing that for the 1st 4 measures of the Tim. The second grip is my four chord, which is an E minor seven grip, a 757 grip up play that for measures five and six when I'm back to B minor for measures seven and eight now in a Blues, the five chord is normally going to be a dominant chord, and so we're gonna grab this 989 dominant grip and F sharp seven. That's gonna be our five chord, which will play for measures nine and 10 and then we're back to be minor for measures 11 and 12 in another position on an acoustic It's a little tough, but doable. We have a 14 12 14 Griffin Zehr, One chord, the Miners a 12 12 12 grip and and the five chord that sharp seven is a 14 14 15. I'm not going to play in this position cause it's just a little bit too, too difficult on the acoustic guitar. But if you're an electric guitar player, you're certainly welcome Teoh. Try in that position, the group that will use as we play through these changes going very similar to the one that we just used. We're just going toe play in a way that kind of accents the back beat the two in the four each measure, and that's going to provide that nice kind of lazy blues. E back beats sound. So it will be something like 12342234 Very some of that boom chuck that we just did, Um, so, through the changes with that particular rhythm itself, like this 12341 3467 33 11 12 3 we could make it a little bit more funky again, similar to what we did in the last lesson. 23 one ball to two more. Two more things. When I'm playing this shape, it's really easy to take this thing and slide it up to get a kind of a jazzy seven. So that count 3333 workers. Well, on this one back here on, then I'm gonna just add in here that when people typically play the changes to the thrill is gone. They'll before they go to the five court, they'll play this shape here, and this is kind of like a G augmented court. What I'm doing is I'm fretting the fifth string at the 10th fruit with my third finger, the fourth string at the ninth fret with my second finger. And then I'm fretting on the third and second string at the seventh. Fret with my first finger in a little mini bar contact. I'll just go ahead and put that into this last run through the progression. Three way