Comping a Dominant Blues in Any Key | Scott Perry | Skillshare

Comping a Dominant Blues in Any Key

Scott Perry, Author of Creative On Purpose

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4 Lessons (22m)
    • 1. Intro to Class & Your Guitar Guide

      3:14
    • 2. First Dominant 7th Grip

      5:58
    • 3. Second Dominant 7th Grip

      6:43
    • 4. Adding a VI7-II7-V7-I7 to a Dominant Blues

      6:22

About This Class

An EZ Guide to a Professional Approach to Blues Comping

Class 1 - Comping a Dominant Blues in Any Key

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

  • one easy chord grip and a four-to-the-floor strumming pattern to play the essential changes of a 12 bar dominant blues in G.
  • a second grip and a swing strumming pattern to play the basic changes of a dominant blues in any key.
  • how to add a VI7-II7-V7-I7 turnaround to a dominant blues.


This class is perfect for beginners and advancing students can go further by enrolling in the follow up courses that teach other Freddie Green grips including minor 7th and 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: I'm going way. I don't want no daddy who was hanging around way from here. I don't mean no iceman gonna be a fringe of dead weight on the way. 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 first class in that Siri's entitled An Easy Guide to copping a dominant blues in any key. This class is made up of just three short six minute videos. By the end of Lesson one, you'll have mastered a very easy to finger three finger grip for a dominant chord. This grip will allow you to play the three courts necessary to play the essential changes of a dominant blues in the key of G and what's called a four to the floor rhythm This rhythm in the grip and all the groups in the series were pioneered and popularized by the longtime guitarist in the Count Basie band Freddie Green. By the end of the second lesson, you'll have mastered a second dominant grip and a swing strumming pattern that will allow you to play the basic changes of a dominant blues in any key in two different positions on the neck. By the end of the third lesson, you'll have learned a 6 to 51 turn around that you can add to the dominant blues in any key . 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. First Dominant 7th Grip: I'm gonna show you how to play the essential changes of a 12 part dominant blues in the key of G, using a single three finger Freddie Green styled court grip in what's called a four to the floor rhythm. Some of the cool features of the court shapes I'm gonna show you in the Siri's is that first of all, we're only going to be fretting notes on the 6th 4th and third strength. The fifth and second string will be muted, and we will not play the first strength and will also always have the third or seventh degree of the cord on the third and fourth string. And the interior strings are sixth String will always be playing either the tonic or root note of the corn or the fifth degree of the court. So let's go ahead and take a look at our first script. I'm going to use my 1st 3 fingers. The finger choices that you use for any of these groups is largely a matter of personal preference, but you want to take into consideration the cord that you're going to next, or any extensions or alterations that you want to add to the court shape in this case, my 1st 3 fingers of my dominant fingers. It's gonna be the easiest set of fingers for Meteo to play this one court shape all the way through the dominant blues and I'm going to demonstrate. So my first fingers at the third fret of the sixth string my second fingers at the third fret of the fourth string and my third finger is at the fore threat of the third string. I'm muting strings five into play through those get a seven cent. My major third is here on the third string. My minor seventh is here on the fourth string My room No G is here on the sixth string. One of the other nice things about these courtships is that I can call up the fingering just by calling up the frets that I'm going to be fretting from the sixth string down. Knowing that I'm always reading the 6/4 and third strength, I would call this a 334 grip 334 Now to find my C seven court, my four chord and the key of G. I'm simply going to locate the root note on the sixth string, and that happens to be here with my first finger at the eighth. Fret. I have what is called an 889 grip for my C seven and my 5/4 2 frets higher than my four chord. And so it's located here and a 10 10 11 group. So now that we have our grip and we have our location of the one Form five court, let's talk about the four to the floor rhythm and play through our dominant blues in the Key of G. In addition to pioneering the three voicings that I'm showing you in the Siri's, Freddie Green was also a master of the four to the floor rhythm, which was the heart beat of the rhythm section in the big band era. And in the Count Basic Man that pretty green played with. So, as the name implies for the floor simply means that we're playing four evenly timed or evenly pulsed quarter notes strums, and we're going to accent the two in the four to create the backbeat. So with dead strings, it would sound like this 123 41234 Now to further give the sound of the four of the floor were going toe play these in what I call a long, short rhythm with my G seven grip. It simply gonna look and sound like this lows. So the long strong is just keeping my fingers down on the strings Is that play through them on the short Strong involves lifting my fingers off the strings, but not off the fretboard on the second and fourth strong. So the first and third are long. The second and fourth beats are short short. 123 That gives a little bit more accent to the backbeat. Gives it that nice swing feel now that we have our core grip and an understanding of the four to the floor rhythm. What we need is to know what the essential changes of a 12 bar dominant losing the key of G . R. So the blues frequently uses just the 145 chord, and I think of the essential changes is being broken up into 34 bar sections. The 1st 4 bars or measures are gonna be the one core G seven. The second poor bars are going to be made up of two bars of the four chord C 72 bars of one Chord G seven and the last four bars. They're going to be made up of two measures of the five chord D seven and then two final bars of the one court Giza. So let me demonstrate the 12 bar dominant blues in a Ford of the four Rhythm in the key of G using this one. Freddie Green Grip 123433 five, 36237234 3. Second Dominant 7th Grip: Let's look at a second dominant grip that's going to allow us to play the basic changes of a dominant blues in two different positions on the neck. In any key, we're gonna stick with the key of G for right now, I am going to re finger the grip that I've taught first lesson Instead of playing it this way with my 1st 2nd 4th finger, I'm going to use my 2nd 3rd and fourth finger. And again the grip is 334 from the six string down. And I'm using this grip because it's going to be the most efficient grip for getting to the next chord. My forecourt. C seven Using the new grip, which looks like this now, this is a 3 to 3 grip. My second finger remained on the six string at the third. Fret. My first finger came down at the second fret of the fourth string in my third figure, dropped to the fourth string. Start the third string at the third Friend. There's my four chord. I'm still muting the strings. Five to my five chord, then is two frets higher so you can see that I have much. What's called better Voice leading notes are closer to each other. Going from court cord. I'm going, Teoh also be able to play using these to grips in a second position on the neck. And what I'm gonna do is I'm gonna take this 323 grip and I'm going to bring it up to the 10th fret. And that's now a 10 9 10 That's now my G seven Ward. We already know from the last lesson that if I play an 889 grip, that's my C seven and a 10 10 11 ground is my Giza. I just want to point out quickly, where the 3rd 7th and fifth degrees in this new grip are the third degree of the chord in the C seven grip. The 3 to 3 grip is here on the fourth string, the minor seventh, which makes it a dominant seventh quarters here on the third string. And rather than playing the roof on the fifth chord to maintain my 643 string fingering, I'm going to play the fifth degree of the cord on the sixth string. Now I'm going to be playing through what I call the basic changes of a dominant blues. It's a little bit different than the essential changes in the 1st 4 measures. I'm gonna play a measure of the one a measure of the four, followed by two measures of the one. The Middle four is still going to remain the same two measures of the 42 measures of the one. And then in the last four measures I'm gonna go from the five court and measure nine to the four chord and measure 10 and then back to one court for measure 11 and 12. So if I worked to play through that twice first in this position and then the second time through in this position, I'm gonna play this example in what I call a swing feel Now the difference Tween the four to the floor and the swing. I still have 4/4 notes per measure. I'm still accenting two and four to establish the backbeat, but I'm going to play an upstroke right before the one and right before the three. And so in the swing feel every B every quarter. No is actually broken down into a triplet, so it's 123 and four and I take out the middle of that triplet be have 1234! 12341234 That's also known as a shuffle feel now to create the swing pattern that I'm going to show you. I'm going to just play that upstroke before the one and before the three. So it's 12341234 Now let's go through the basic changes using the swing feel, and I'll play in two different positions on the Net. First time through, I'll be down here in third position. Second time through use my but 10th position. G 71234 Way six. As I mentioned at the beginning of this video, we can play now the 12 Bar Blues into different positions on the neck in any key. Let me just demonstrate a couple more. So let's say I wanted to change to the key of a Here's my first position with my 1451 Court is out of 556 4/4 isn't 545 and my 5/4 is a 767 group to play in another position. Let's start with the scrip This is my one Court A seven. It's a 12 11 12 grip. My forecourt is here a 10 10 11 grip On my 5/4 of 12 12 13 grip. I wanted to play a jazz. Your key, Let's say, B flat. My first position is here. It's a 667 Grab my 4/4 at 656 script. My five chord is an 878 grip. My second position for B flat, who have a 13 12 13 grip for my one poured. My four chord is a 11 11 12 grip. My five ward is a 13 13 14 grip, and so you can see that now again, I can play the 12 bar dominant blues in two different positions on the neck in any key. 4. Adding a VI7-II7-V7-I7 to a Dominant Blues: in this lesson. I'm going to show you how to play a 6 to 51 turn around. I'm gonna show you how to insert this into a dominant blues in the key of G and how you can play this. That progression in two different positions on the neck and how it could be used to play a bunch of songs, including the one that I demonstrate here, Louis Jordan's I'm Gonna Move to the outskirts of Town, which was also a favor of B B. King's. The turnaround that I want to show you is called a 6 to 51 And to play this turnaround, we just going to use the same to grips to find r two and R five court in the key of tree. So jeez, my one Well, my to cord is gonna be the same grip simply to friends. Higher with my 2nd 3rd finger at the fifth Fret. That's my A seven. The dominant version of my two chord. The six scored is gonna use the other grip, and it's gonna have my second and third finger at the seventh. Fred, that's my E seven, the dominant version of my six scored. Now I'm going to play and sing. A person, Of course, is I'm gonna move to the outskirts of town. It's a big hit for Louis Jordan back in the day, and it was a favorite of BB cames, and I'm gonna walk you through the changes because a little bit more sophisticated than what I played up to this point. The first measures G seven second measure is C seven, third and fourth measure back to G seven. Fifth measure si seven. The same grip could pass for a C sharp diminishing. That's what we're gonna call it. Measure six. Although nothing has changed in terms in terms of our fingering, then Measure seven back to G seven, Measure eight. I now go to my E seven. My six scored Measure nine a seven. Measure 10. I'm at D seven and then for Measure 11. I double up. I play for the first half and she's seven. Second half E seven. Measure 12 1st half I played a seven and then I play 57 for the second half. So here, coming up is the verse first person course of I'm gonna move to the outskirts of town Actually, it's the first course in verse, but I'm gonna move to the outskirts of town before I play the to. And I want to give you just one more tool that you can use as you're working up these arrangements with these court grips. And they again come from the playing of Freddie Green. And it's going Teoh just allow you to play with a little bit mawr self expression and a little bit more diversity. And the concept is approach towards and just simply means that any core grip that you intend to land on, say, this G seven you can approach from a friend below or friend above, you'll see me use this as I performed the to way. I don't know who way from here. I don't mean no iceman gonna be a fringe of dead weight on the outskirts of town. We show you how to play those same changes in a second position on the neck. I'm gonna walk you through the changes first. So here's my G seven. It's a 10 9 10 grab Second measures of C 789 grab measures three and four on back to my G seven and measure five back to my C seven years. The change to play the C sharp diminished chord in Measure six. I'm going to use the second grip I showed you play in in a 989 fingering. That's a C sharp diminished, and you could see that now that provide really nice voice. Voice leading for grabbing the G seven in Measure seven. Measure eight. I've got a E seven grip here. 12 12 13. Measure nine is a 7 12 11 12 measure. 10 is a D 7 10 10 11 and then measure 11. I split between g seven e seven. Mr 12 split between a seven the seven. So I'm gonna play through the changes now pretty straight, and I'm instead of singing, I'll just call it the Court. So here we go. 1234 G seven measure to its C seven measure through four g seven metre five in C seven. Measure six is my see Sharpton. Measure seven is a G seven metre gate is 97 9 is a 7 10 67 11. 27 p. 7 12 a seven d seven years ago