Fresh simple approach to 12 bar blues for harmonica players. Basslines, jazz heads, new structures | Ben Hewlett | Skillshare

Fresh simple approach to 12 bar blues for harmonica players. Basslines, jazz heads, new structures

Ben Hewlett, Helping you play harmonica better!

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12 Lessons (1h 30m)
    • 1. Promotion and trailer - please watch this!

      1:55
    • 2. Introduction - let me tell you something

      2:46
    • 3. C Jammy Blues

      8:37
    • 4. Bags Grove

      5:38
    • 5. Fresh4b Bags Grove with band

      9:13
    • 6. Knight Trane A

      8:05
    • 7. Knight Trane B

      7:16
    • 8. 1875 box bass line

      10:30
    • 9. 1571 backwards Linda Lou

      12:15
    • 10. 123765 Last Night

      11:53
    • 11. Boogiewoogie 1134b55b55

      7:02
    • 12. Outro

      5:10

About This Class

Take some new basslines, some easy jazz tunes, re-learn the 12 bar blues on harmonica and become the instrumental star!

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This is a new way into BLUES!

Part 1.

HEADS

There are various heads (tunes) in blues and jazz where one riff is repeated three times to make the ‘head’, or in other words, the tune.

In this course you learn three of these, and I think they are easy, fun, and extremely useful.

When you know some of these heads you will be able to play a harmonica instrumental which makes you the soloist and the star of the band. Not bad.

Great for confidence, independence, and musicianship.

Part 2.

BASS LINES

In the second part of the course we will take a fresh look at learning to play some bass lines.

You will learn a bunch of classic bass lines and this will act as a massive structural support for your playing.

These famous bass lines work with the chords and rhythm plus they have their own melody.

This is a really good way to support your solos and your improvising.

Once you can feel the structure of the piece you can start to relax and improvise freely without any stress!

Note - I'm describing this as 'all levels' because everyone will get something from this. Much of the course will be fine for beginners but you will be challenged as you go on. If you can't bend yet just play everything without bending. Then study bending and circle round to do this again. The last two lectures (boogiewoogie) will challenge everyone so just a heads up.

Transcripts

1. Promotion and trailer - please watch this!: Hi there. Thanks for stopping by and having a look at this course in this course, we're going to take a fresh look at 12 Bar Blues, so there's two things we're gonna dig into. The first is learning nice long riffs that can be played through an entire 12 bar blues. So a nice head something that this Theo Good thing. Several of those three or four that will and then the next part is baselines. So in the past, we've learned baselines in different courses. We've learned baselines, Theo, that kind of thing. And I think they provide a really good structure and framework for your playing. So I've seen a lot of students getting lost in the blues. Where are we? What's going on? What do I do? They say, What do I do? Well, learning a baseline can give you an exact blueprint of what to do. You don't have to play all of it all the time. But having that foundation, I think, is really useful. So I'm gonna teach you lots off baselines, something like this. And that's what going to learn in this course. You'll get it all written down and you'll get some audio tracks to practice with. And I'm gonna recommend some tracks that you can get yourself, which have particularly good life band recordings. Great Texas, man. That's it. Come on inside. Have a look. So what you think? I think this will benefit your blues playing hugely? 2. Introduction - let me tell you something: Hi there. Welcome to the course. Thanks for stopping by to have a look. Now this is all about playing blues. It's a fresh look at playing blues. The two things we're gonna do here are going to help you to frame your solos. They're going to give you a really nice structure on a confident feel about playing blues. So the first thing we're gonna do is we're gonna take nice long phrases which work over an entire song so you can play each phrase three times, and that will be your entire 12 bar blues. So there's lots of examples of that around, and I've picked out some for you to learn and to play with. I think you're gonna find that's very, very useful. It's a fun thing to do. It's an easy thing to do. I'm going to give it UAL written out. You have all the tablets for it and you'll be able to pick it up and learn it very easily from the video demonstrations and from the written material. The second thing we're gonna do in this course is I'm gonna look at baselines. So in previous courses we've looked at a shuffle you know, like a sort of theme. So the Walters shuffle something like that work. That's a big Walter shuffle. So we've looked at that in previous courses. This time I'm gonna look at lots of different baselines. I think I got five of baselines lined up for you and you'll learn those, and it'll give you a great structure to your solos. So this course should be extremely useful if you're trying to take a fresh view off the 12 bar blues, trying to look at it in a different way. So, like I said, I'll give it your written down will do some backing tracks as well. You've got to practice these, and then the practical application is play with other people, go to a jam session or play with pick up a guitarist or piano player. Awesome backing tracks. I would some of the tracks I'm using a nester from jimmy lee dot com, jimmy lee dot com and I reckon they're fantastic backing tracks. They're a really live Texas Austin, Texas, recording off bands of a band of Jimmy's band so you can get those from his website and I. When I first came across them I thought these were brilliant, so I bought them and I think you should as well. They go hats off to Jimmy Lee. That's it. Come on inside and let's have a look. And let's start on some nice simple baselines and some nice structures big long riffs that you can play across the whole 12 bar blues O K. C. Inside. 3. C Jammy Blues: Hi there. We're gonna start with looking at using a riff to create a whole song. Just one riff creating the whole song there. In the past, we've looked at Big Walters be we baby remember that one? So you just repeat those phrases and they end up making the whole song with variations. I'm kind of simplifying a little bit, which is my intention to simplify. So now we're gonna look at Duke Ellington jazz piece called C Jam Blues, and it only has two notes in it to draw G on four blow. See? And the idea is that you make the do dot Do that do dot dude? Uh, sure. Long, short. Long. That's the idea is you give it that kind of Duke Ellington swing because you can interpret it how you want. So should we just try that NASA, grab your C harmonica and hold to complaint play blow three if you prefer. But to draw is the one I'm going to years. 1234 on four Blow was the note of See, that's to draw all the way for three Blow if you prefer, and then four blow for the night to see. 1234 It doesn't matter if you miss it. We're just using this as a hook toe. Hang our hat on. 1234 123 Again. So she tried that with a backing track. Gonna use Jimmy Lee's backing tracks. You can get them from jimmy lee dot com. L doubly, jimmy lee dot com. Really good backing tracks. I think he's allowed me to use these. So here we go. This is a swing blues jazz swing, actually. Here we go. Joining in. Here we go. Uh huh. Next one uh huh. Way Just playing the same thing each time. Okay, You luda food boom done do, do, do, done do, do do Don't try and do the same thing again Add a little different things in there Joining in change the notes of it the rhythm We're just adding a few different things. - The reason I'm changing is I'm listening to the track I hate different things pulling in different directions about that but without second beat pushed bum bum bum ending coming up. Okay, how about that? So we're just using Duke Ellington C jam blues. Just that little starting rift dude up. Do that. Do that dude up, which is 100 years old or thereabouts or 80 or something. We're just using that, Andi slightly developing it, but not very much. That was pretty easy. What's next? Hopefully, that's a nice, easy way into this course. Leaning on Lee shoulders standing on the shoulders of June Ellington. Okay, practice that you can use any backing tracks you like, rather than in the right key. We were playing in the key of G on a C harmonica. So any backing tracks will do, and you will be swayed by the swing of the peace. So you may not be doing exactly as you expect to do. Go with the flow, I think is the best solution. You'll do that when you're on stage. You'll just go with the flow. Okay. Enjoy that. Practice that. And I'll see you next time. Bye. For now. 4. Bags Grove: now leaning on the shoulders of the jazz giants again, his bags groove. This is a great theme by I think it Milt Jackson, wasn't it, dude? Ah, you dio singer with me 123 todo to the DDO DDO using it to three duty. Oh, so let's break it down to draw a man four drawer. Just try that 123 So if you can only get that that's a good start. If you can get the next Little Doody dio triplet, that would be very good as well. Full blow three drawer on back to a four Blow themed The Middle Out is only very short and slightly bent if you can. Uh, so let's play the whole thing from the top. 12 three Oh, sorry, wrong. 12 three. Try it again. 12 they Theo, You can't really bend notes perfectly at the moment. Doesn't matter too much. It's something you can come to later. These things don't just happen overnight. They take time to figure out. So I don't think is anything wrong with playing things right now that sound better with Bent notes. I think it's good to keep going at them. It'll give you an appetite and a hunger for getting those Benz do da Do do duh. Now another little group of three. Dude. Ah, three drawer. You stay on three for the whole piece of you want. Hold those little group three three drawer slight Event has before then three blow. Then the three draw again. Try with me. Really go. If you're not bending a tall, it's gonna sound like this which, whilst it isn't perfect the rhythm of its good Onda Well, we'll get there. Thenia Subtle little inflection. Let's try from the beginning. 12 three e again 1230 the ah, that's the last bit The, uh That's all on hold to it's to draw on Ben it down a bit. You can? Yeah, You could blow if you can't. But to draw is going to sound better with the bend. So it's draw. Bend it later off. Droid again. Sorry, Drew. Spend it. Release it on bended again. Have to Drawer is alluding you at the moment. You can come back to it later. You could get away with just playing that just the to draw without the bend. So should we try the whole thing together? Yes, I hear you cry. If the answer was no, then why don't you just pause here and practice this bit? He was to draw four. Draw the start. 12 three. 123 Theo! Theo. Okay, So I think what we do is we pause there and you practice that to leave. Got it as close as you can get it. And then in the next lecture, we do with the band, see an event. 5. Fresh4b Bags Grove with band: So let's have a go at this. Banks groove with the band now, just to remind you. 123 Okay, you ready? If you can't play all of it, just play bits of it. Let's do with this same jazz swing. One Teoh. You know what? I'm gonna do that slower. I think that's a real slow. Let's see how that sounds. Here we go. 12 Theo! Theo! Theo! Good, isn't it? Theo? Theo! On your own. 123 Again! I want to Theo! Theo moved up a whole now. Theo! Theo! Theo! You want regular one way, Theo. 123 Bomb! This time I'll add a few other bits. Scene that's before start to improvise. But keep using this all the time. Way, - Theo . One note. Just season that rhythm way. Theo, Theo, Theo and Theo. Okay, I'm trying to you know, teachers get accused of showing off. Don't. I'm trying to not do that. I'm trying to keep it within keeping of what we're learning, but subtle, but also to show you a few horizons. And I don't want to tell you everything. I think it's good to struggle a bit so nice to you. I think it's good to work for things. You learn them better. If I just give it to you on a plate, you'll get Oh, yeah, whatever. On. You might not remember it, but if you found anything in here that you like that you've had to work hard to find. What is he doing there? What are you doing on after the two minutes section? Notice E starting. You'll be able to figure it out. But I said I've started in the next holds up. That was to draw, Huh? When I started the next hole up, that was my drawer in the next. Holed up within six drawer. Uh, I'm just making that up, really. But it sounds like quite nice harmonies to May. I don't think the original composer would have done that. Perhaps he did, you know. So that's it. That's a little play around with Bag's groove. Hope you enjoyed that and learn something from it. I think it's been fun on that's what you practice. You just practice that along with any track you want or in a live session in a jam session . Try it. I might try it tonight. Going to jam session tonight. I might try exactly that. We'll see how we get on. Okay. See you later. Bye. 6. Knight Trane A: now, the next riff piece, which makes the whole tune, is Jimmy. Uh, it was a Jimmy. Think of his name now, Jimmy Forest Night Train, But do do, do, do, do do do do do do do in probably 53 or something So really at the at the birth of rock and roll Doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo The and I've heard some people do it where they rather in swing that and make it straight At the end of the piece they'll turn in straight Do you do? Do do do which is more rock and roll again So you got that first rift you do, do, do, do, do, do, do, do, do, do, do, do, do do do do toe do do you sing it doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo Teoh Do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do do do do do really big band Listen it so it comes exactly from you can see how big band music from the forties and fifties was then converting into blues and rock and roll jazz, blues and rock and roll. All the same kind of family, isn't it, Then the second part, the rift Ah, bound but on the ah, the dead did the the the don't do do do says to riffs. Let's learn the 1st 1 So is mostly two drawers. Name 12 or breathing in. Do you do the 33 slightly bent, if you can. 12233 to 2. Oh, then you got a to blow on a one drawer to get you going in. Last night was pushed the last beat. Mm. Can you feel it? Pushes against the beach? Do do dio do, do, do, do, do, do, do do do do the dude Duke do do The lost do comes in before the click that's the beat is pushed, but notice pushed. You can't bend the notes on to draw. Doesn't matter too much or three Draw. Sorry doesn't matter too much. Just do your best with it. It'll sound great. Anyway. Let's try that with the track. Shall we listen slow? 123 way Dio do dio dio do dio dio. Okay, let's look at the second part of it. The three drawer on entry draw again and the little glass. Sando. Yeah, I'm still breathing. And do you do that? I just a glass and no down towards her. 11230 who do you think of the exact timing of it Now? We'll come to that later. Then the next bit. We need to shift up the operative, so we go right up to seven drawer. That's the same noticed three drawer, but it's an occupier, so seven droll six draw. Six. Blow five blow blow. Three drool. That's right, Read Rule. Thank you. Congrats and off the end of that one, Theo. Then hit that three drawer again. Maybe with a bit of a Ben. Amend the falling phrase from seven drawer thing again. Theo, I'll just play a little bit. Then you'll hear how it goes. Join in if you want to. When I go up to that seven without falling phrase, I tend to play a few notes on the way up. So let's see how it goes 7. Knight Trane B: way. Oh, - way todo do we owe, uh, bile. Uh, dude, this is you, by the way. Todo, - uh , straight here. - When you play straight with a swing background, it fights, doesn't it? But if you're doing that, live with a band and you organized it so you would all be playing straight at that moment. It was sound fantastic. And I've done it. It sounds great. Or I have you enjoyed play along with that in joint. Using the gaps for your own use is See you next time. Practice that bye for now. 8. 1875 box bass line: So now we come to baselines. This is another way of really getting into the blues and providing a good structure for your soloing. So I'm just suggest to you that you learn the series of baselines as a support for your plane. It might be that you don't know what to do. You could play the baseline. You could start a song with the baseline. You don't have to play all the way through. That's I guess, what a bass players job is. In the past, we've looked at the sort of shuffle Theo Onda, Walter Horton's version, so I think we've done that more or less. There is, of course, on that. If you haven't seen that already, you can get it. Message may if you can't find it and I will tell you So I want to look at Theo the Blues baseline. I think it's called a box pattern, which is in the original off nights train, which we just looked at before. So it's boom do dio so in terms of the notes of the scale one and then opted again, where and then note 77 and then five do do do on that shifts across the court. Unlike the riff phrases that we've been doing up till now. In this course, which a constant throughout the blues progression these change with the progression. So you got Do Dio for the one chord thing. When it goes the four chord, you have to start on the tonic. No to the four chord, which is one blow for blow. Oh, you pay the same thing one active, 75 And then when you come to the five chord, the principle is the same. But you start in one drawer, afford role. So that's what Bass players do, so we can use this. We don't have to get 100% accurate. It's just a an idea for you that I think, Well, it's certainly served me very well, so I think it might help you. So let's try learning this baseline. Um, we're in G on a C harmonica. So far, one court is G two draws. The Notre G two. That's a tonic note of that cord. You can play that once or twice, thank you. Shift up to the octave higher, which is six blow, which isn't very awkward. Israel could is not very easy, so you could just zoom in and practice this. If you want you move your head or do you move your hands? It's a good question. I know people who do one don't know people to do the other. I think I probably move my hands and keep my head roughly still. I don't see my head moving as I look in the monitor, their also their head is heavier to move, isn't it? Why not move the lightest thing? I think if you move the head, you might get 1/2 a note somewhere. Almost got that. I might use that as a guide. So let's play. This show is just the first bit on the G chord. So it's to drawer six. Blow, uh, five drawer, four drawer. Easy, isn't it? 12 way Go now for our four chord. That's a C chord. So we gotta play No to see is the root of it One whole blow and then four hablo. And then we got to get the next to last Do Dio, uh, three drawer double bend on men to draw. If you can't do the bending, don't worry about it. Just play whatever you can play, there is a bending course. If you really want to dig into that and then we're back to our one chord for a couple of bars on, then we've got our five chord, which is going to be a D chord. So starting on one drawer jump up. Not too. That's too far. Four drawer thin five blow. Sorry for 14 draw. One drawer, four drawer for blow thing. If you can manage the three draw double band again, put it in there. Uh, and that's where it tax back into the one chord, which is the sea coy for one blow e o. And then back to our tonic chord So uncomplicated it does actually, doesn't it? I thought it was very simple when I started this, but actually is quite a lot of work involved. Try it with me one Teoh. Let's put a groove on show. Here we go. Thank uh Huh. Stops on the by weight way go. You hear the basting as well. Way Theo o t o d way Theo Geo I e o I just improvise a little bit not showing off. Theo! Theo! Oh, boom. Both So if you just get the route notes. If nothing else. Ruijin. Okay. All right. Well, I hope you enjoyed that little groove there learning the baselines. And next time we'll learn another one. Okay, See out of it. 9. 1571 backwards Linda Lou: if you take the last baseline that we did, Which is this one thing that's called sometimes a Linda Lue. And if you reverse it, it can be called a reverse Linda Lue, not vindaloo. So Linda Lue. So I've been trying this and I've actually found it quite awkward, so you might also find it tricky. I think it's worth a look, though, because it just gives you another view on stabilizing your Your blues solo playing. So instead of the notes, the notes numbers, if you number them if we're lucky a g g a B c d E f g 12345678 So the previous one waas uh , one eight the octave 1875 This time it's gonna be 1571 So we've got to draw four drawer my drawer. Just play that round a few times, showing 12 three full Theo 2456 Blow to draw for draw fire blow 63 So just crying for that to draw four drawer, five drawer six blow because you could double up on that when you get used. Teoh. That's our one chord on. Then we need our four chord, which is in the key of C. So go to start, you know, to see what's one blow. Ah, to drawer three drawer, double bend. Uh um four blow. This could be played an octave higher that if the bending on that is difficult, you could play an octave higher on the previous when you could also play an octave lower if you wished so all of these can be up or down. I'll give you a lot this written down so you don't have to remember it right now. Thing is the C chord, the number one chord, I think. One blow to draw what could be three blow if you wish. Three drawer, double bend. Full blow. You might want to stop here and practice that one, and then we get to our d chord. So number five chord starts on Notre D one drawer? Uh huh. That's one drawer than three. Draw double bend for blow for drawer thing. So how is that quite challenge, isn't it? Let's try and piece it all together, shall we? So we're just it. Slowly. 12 three from the top four. The C chord. Theo G Chord Dio. How's that challenging? Good. So we learned. Isn't it challenging? Let's take the first little riff, their 1st 1 of its down active. So you got to draw. It starts the same thing. One draw us easy thing, noted F. So it's a to draw. Double bend on. They release it for the to draw. You could put little passing note in there. If you want based place often, Dio that's just releasing the bend on the to draw a little bit to get enough shopping. It started starting on the F sharp. Then it's releasing to get to the starting on the F and releasing to get the F shop. Okay, Should we try that with the band? Myson Slowly. Just wait for the introduces the turnaround. 12312 Are you ready? Here we go. 12 go Your turn. Let's go! C chord! Uh, de Theo three chord again. One more time changed the C chord now. Thanks, G. Now see the way the 1st 2 notes of each on That's just improvise way. No, they go. How was that? Quite a long electoral tonight You stayed till the end and, um, practice that do it again and again. Okay, Hope helps. Bye for now 10. 123765 Last Night: Now let's look another baseline. This is from the tune last night. I'm sure you'll No, it's a little Walter TUNEL. That's the recording. I've got this little Walter boom burden Better todo See how a band would play it. So listen, the baseline good is not changed. Do the banks the GTO, GTO, GTO duty? Todo the CEO G Sounds really nice, I think. Theo. So I think the G part of it sounds really good, and that's what will focus on. You can play it right across the range, as I just did, and I'll show you how to do that as well. So here's the G to drawer and then three draw bent into three drawer, three drawer double band into a released no Bend Do Do duh actually store Amy. It's door Amy in the kitty, but we don't like to think of that in blues, Dewey. But you can do and then you shoot up to whole five drawer in, out on all five thing. Drop down to hold for Breathe in. Try that with me just repeating that phrase. Theo, if you just get that from this lecture, only that you have won something Theo try that with a band, but just will stay on that phrase all the way through. Here we go, I think. Okay, so that's going to sound pretty good everywhere. Except when you get to where it's supposed to be The d the d chord. So let's have a look at this. See version of it. So you're starting on the note of See that's whole one blow. That's door, Amy. And see now don't. Good. Um, dead on. Uh um, dude, he's got six notes in each phrase. Uh, the, uh the first ones long. Um, Then you got a couple, dude. Uh, and then three more going down. Good. Ah, uh, so in C ah, uh, one blow, one drawer to blow. Ah, uh, three drawer single bend now double Ben to draw so that no, that three Group three notes together. Yeah, getting there just about challenging current. Okay. Ah. Then he goes back to the two drawer for the tree cord. Theo, Now in the deep part of the d chord. Don't. So don't worry me in Dina. Oh, Remy. Such one drawer to blow to draw single bend. Uh ah. The, uh, shop the rainy. The you climb up to the four blow for the next three nights. Dio for blow three. Draw thing Challenging. Yeah, it is quite hard, isn't it? It's a little harder than I thought it was gonna be, to be honest, but at least if you learn the first part of this, that will help you a lot. I think. Let's put that last phrase together from D uh, play around a few times me. It's very good practice, isn't it? It's a real struggle to do this stuff. We normally just kind of take it easy on a harmonica. Don't way. But this is not taking it easy. Shall we try and put the whole thing together with the band? All the best. If nothing else, just play the 1st 1 No way, - Theo Way, - Theo , Theo, - Theo Way so you could see I got I got bored in the end, struggling with trying to play it right. So I just improvised as a lot of people do. You just go Whatever. I just play it. So I think if you can learn some of these structures, they're very, very helpful. But you don't have to stick to them. That's it for now. See you next time 11. Boogiewoogie 1134b55b55: Hi there. The road now finished this course with one mawr baseline, which is a piano bass. Lines of buoy, boom dio do, do, do, do, do, do, do, do, do, do, do, do, do, do do do you can play it straight or swing as you wish. Um, it's a bit like when the saints, you know, uh, todo those same notes is when the Saints but with a little dude booby Woogie put in there, which is pretty nice. I think you'll agree thing. So it's quite a bending challenge. Let's look at the 1st 1 showy. You'll manage that easily The 1st 1 That won't be a problem. You'll do that guaranteed. Here we go. So that's to draw twice Free drawing and four blow display that with me. 1234 23 I thought, and then we got to this ButI would movie, so it's all centered around five drawer four drawer trying to bend. Four. Dude, dude for drawer Bent released Bent Released Just 1/2 step end Good bending challenges now, Theo way! Come to the C chord. Think of when the saints Yeah, One blow to go to draw double Ben Holst event on to draw released Way to find that, Borghi Whoa, G, Which I know you want to get way. That is pretty tricky, but it's on the to draw So that's to draw Double bend On that goes single Ben Release single Ben Release. Ah, Double bend. Okay, Single bend, release a single man So it goes double bend on, then Single Bend Release single Ben Release That's gonna take some time to figure out. That's pretty tough challenge. And then we go to the d chord. I think in the same studio One drawer Oh, to draw single bend to draw no bend Friedel A little bend. We're going with two Double bend to single bend double Ben single men Double single ordered a double single double single says aerial Serious spending challenge. Isn't it like that you can't ignore all this and just do the first part If you want and use that as something to build soldiers on, should we try the whole thing together? Let's give it a go way. Nothing slow. 1234 Theo! Theo, How about that? That's it. Pretty amazing thing if you could manage to do it hard work, But give it a shot. See what you can dio 12. Outro: I'll just play a little bit of off that booby, but I'll play it straight on on a teen teen beat sort of drumming teen beat are going to use that this particular track is in E. So I'm gonna use an A. I think if you'd want to just watch for this one, we'll grab in a harp on joining if you wish. Here we go. I'll play it a bit than improvise a bit. Way, way, way, - way , way, - way . Hello. Okay, so I just wanted to end this course on a little bit of a demonstration. Eso I found that learning that that boogie baseline was very useful for me in that particular track because I was able to use it as a starting point. Andi, because it's all straight. The that all helped a lot. And then I got bored and wanted to just Dutilleux do don't. But I've still got even. I'm swinging it. I've still got that the that the thing going on inside my head on the drums of doing that as well. So you're you're backed up by that. So personally, I found learning that baseline or that boogie line for that particular track was helpful in sort of framing my solo. And what I'm hoping throughout this course is that learning these baselines has bean helpful for framing your solos. In the beginning, the course of remember, we started by learning lots of long riffs which work over vast amounts of the song in some cases, the entire song. And again, that's very useful for helping you to create your solos. So I hope this has been a useful course. Do let me know. Do you give me lots of stars? Five stars will be ideal. That's what I'm aiming for and let me know we think. Ok, thanks a lot. See you later. Bye for now.