Blues for the Curious Guitarist

1. Preview: Hi, welcome to the course. I'm Dan Dresnik. I'm your guitar teacher. I've been teaching guitar lessons for over 30 years. I've published a number of guitar method books, and I've created over a dozen online guitar courses. I am the perfect person to take you on your guitar journey with Blues. This is going to be a lot of fun. This course is about 9 hours long. We've got about 9 hours of streaming guitar lessons videos. We have dozens of PDFs also that go along with the videos. Most of the videos are going to have a PDF attachment that goes with them that you can download the yours. We're going to cover off on major blues and minor blues. You should be able to play any blues guitar by the end of this course. This is from a perspective of like Delta blues or jazz blues. What we're going to do is focus on first, the guitar basics. If you're starting from scratch, that's okay. This is a great place for you to be. So you're starting from scratch, but you want to get into guitar and learn blues guitar. You're in the right place. I'm going to start off by going through the guitar fundamentals that you might not know. Like the strings, the basic chords, the notes on the front board, things like that, how to play basic scales. Go to start off with things like that. Then we're going to get into the blues lessons. If you are an advanced player because I know some of you are advanced. I know that. I know that some of you are intermediate players. So you have been playing for five years. Some of you have been playing for 30 years. I know that. We're going to get to the advanced lessons. A lot of times really great guitar players will sometimes have skipped some of the basic learning in their journey. They might not know all of the notes. They might have missed a couple of how scales connect to each other, things like that. These are the things that we're going to make sure that we cover off on in this course. Once we get past the guitar basics, we're jumping into the different sections, going through major blues, we're going to go through the minor blues. We're going to then go through a handful of actual blues songs, learning a couple of blue songs. Then we're going to have a Jam track section, and this is going to be your opportunity to start practicing blue soloing. This is going to be a lot of fun practice going through some soloing over some actual blues progressions in different keys. Then I've got some bonus lessons, where we're going to work on things like turnarounds, and stuff like that. I'm really excited that you're here. This is going to be a lot of fun. I'll see you in the course. 2. Welcome to the Course: Hi, welcome once again to the course. I'm Dan Dresni. I'm your guitar teacher. I wanted to take a few minutes and talk about what you can expect while we go through this course. Sort of like from the beginning to the middle to the end. I want to wrap up the whole thing in just a few minutes. So you'll understand where we're going with the whole thing, where we're going to wind up I can tell you now that at the end of this course, you're going to be and also blues guitarist. Not only that, but most guitar players, they just don't really know how to play blues. They're close, but they're not quite there, and you're going to be able to really play the blues, authentic blues. That's great. I'm very excited for you. We need more of that in the guitar playing community. We need more guitar players that know what they're doing when they play blues. So we're going to definitely have you at that place. You're going to be able to play blues in major keys and in minor keys in any key, and we'll be able to do several different styles of blues with several different turnarounds at the end, and you'll also be able to solo and improvise across the blues, which the blues, it's an improvisational style. And so we need to be able to solo and be creative, and I'm going to show you exactly how to do that. Okay. So Let's talk about the sections. The first section is just the guitar basics. This section, if you are starting from scratch, good the section is for you. Guitar basics is about the string names, the basic chords, the cowboy chords, the basic bar chords, finding the notes on the fret board, that kind of thing. If you are an advanced player or an intermediate player, you may already know all these things, and if you want to skip past these videos, that's okay and just go right to the videos that you need that you need to learn from to skip right to those videos. I understand, and that's okay. You can go right to them. If you're positive that you already know all that stuff. It's interesting to me that I've met so many guitar players over the years, really great guitar players that can play. But they have skipped some of the fundamentals to the point of they won't know if they're trying to find a note, they have to walk up to it and use their ear to find the note. They want up playing a couple of wrong notes in the process. You shouldn't need to do that. You should be able to go straight to the note that you're looking for. Some things that are in the fundamentals are things that you may have skip past if you're advanced for intermediate. Make sure that you know all the stuff before you skip past them. There's a lot of valuable information here. Once we get past the guitar basic section, now we're in the major blues section, and this is really now we're getting going with the blues. Blues guitar. Major blues. When I say major blues, I'm talking about blues using the major chords, we're not using minor chords. We're doing major chords using the seventh dominant seventh, essentially what I mean is we're not playing minor. Major blues. This is all from a Delta blues perspective. Delta Blues is the origin of the blues. It is the very beginning of the blues. Then after the major blues, we're going to go into the minor blues section. Minor Blues is a really important section also because it winds up in so much jazz and so much rock. We see minor blues all over the place. Minor Blues has a different approach to sing to playing and sling, the way that the music works is different. The way that we would approach playing it or improvising it is different. So That's the neat thing about the blues that it's not a cookie cutter. It's not like one size fits all. If you're playing this one kind of blues, we have to take this approach. If you're playing this blues, we need a different approach. That's what we're doing with the major in the minor blues. Then we're going to go through some blue songs. I've got a handful of blue songs, actual blue songs that we're going to learn so that we can begin our blues guitar repertoire. I want you to have a good starting song list. This is a starter song list for you. A lot of guitar masters, not just blues masters, but guitar masters in general, all agree that while we want to learn the techniques and we want to learn all the theory and the techniques and all that kind of stuff, that's all really important. But really the most important thing in all guitar of all styles is your repertoire, your ability to play songs. If you know a lot of theory and you know a lot of techniques and you can do neat things, that's great. But if you can't play songs, you really need to be able to play songs. That's the most important thing. The Blue songs is giving you a starter song list. It's really important to be able to do that. I'm also going to give you some ideas on how you can go out and start looking for some other songs, blues standards to start working on. That's going to be a really helpful thing for you as well. Then we're going to go into this Jam track section. And then Jam track section is backing tracks music for you to solo over. So for me, when I first started learning scales on the guitar, way back, the funnest part of scales was when I got to use them to solo and improvise. This was like everything about playing guitar was being creative and making it up and that's what really drew me to the guitar. I was a drummer before I was ever a guitar player for a long time. I played drums as a kid, and then I started learning guitar years after I was a drummer. The thing that drew me to the guitar was that it just is just a tool to be creative to be so creative with, and this is what I love about the guitar. When we learn things like scales and arpeggios and things like that, so we can be creative, so we can make it up and have fun with it. That is what playing guitar is supposed to be supposed to be about having fun. We've got the Jam tracks section for us to solo with. Then we have our last section is like a bonus lesson section. We're doing things like more turnarounds, things like that, which wind up giving us slightly different progressions also when we have different turnarounds. The progressions will change and we wind up almost like with different blue songs every time we have a different turnaround. That is one of the really great things about learning different turnarounds is it's like you just learned a new blue song. The Blues is relatively simple style in some regards, and I should say it's easy to get into and it's difficult to master. It is one of those things, words easy to get into the blues because it's relatively simple. Blues in a nutshell is three different chords. If you play three chords and you just here's the sequence, you play it. Then that's it, you're playing blues. That's the great thing about it is that there's a low barrier to entry. You can quickly start playing blues and having fun with it. Becoming a blues master, we need all the stuff that we're going to discuss in this course. But don't worry. We're going to discuss it, and I'm going to show you exactly how to do it so that you can get to that Blues master point, and you will be there by the end of this course. Also, I want to make a huge point about a lot of times people that have an interest in blues. Blues spills over into other styles of music. Jazz was created from Blues. So much blues influence is the reason that we have jazz music. Blues came first and then Jazz came after that. But Jazz jazz music is like an evolution from Blues. So is rock and roll, by the way. Rock and roll is an evolution from Blues. Then you could say things like folk and Bluegrass and country music is also an evolution from blues. It's pretty amazing if you think about it. I just named all of the popular styles of music. They're all evolutions that came from Blues. What we're learning here is you could think of as the foundation of modern music, and it's something that is so exciting because there is so neat helps put together and it's so neat to see the different ways that's used. One of the really fun things about music theory is that it's not a hard rule. When we talk about music theory, we're not saying, you have to do it this way and this is the way you have to always do it, and there's no other way. That's not how music theory is supposed to be. Music theory is supposed to say, here's an idea that has worked well for people in the past. Try this, but there's other ways to also try. And that's one of the neat things about music theory. That's why the blues has evolved into different styles. If you play the blues in a certain way, it sounds like Delta blues. If you play it in a different way, it sounds like minor blues, or it might even sound a little bit like jazz, or if you play it in a different way, it might sound like rock and roll, or if you play it in a different way, it might sound like a country song. It's really amazing how we can just take this thing and we make a few small minor tweaks to it, and we've got all these different genres of music. Okay. I think I pretty much covered off on everything here. Be sure to get the PDFs. PDFs, get them, download them. I'm really glad to here. This is going to be a lot of fun. I love blues, and it sounds like you love the blues also. Thanks for watching this video. Let's get started with the course. 3. Guitar Fundamentals (page 2 - 5): Okay, Let's go through some of the basics about the guitar and reading tab and the strings. So this will be a quick refresher course for us to get up to speed. Okay, let's talk about tab. Tab is the sixth lines that we see written down here. You'll see it either on the whiteboard or on the PDFs in the additional resources. And the tab is the staff with the six slides. The six lines are the strings. So what we're gonna do with the tab is we're going to write numbers, each one. And the numbers are telling us what fret to press on which string. So the best way to think about tab is you see I'm holding my guitar, okay? And if I slide my guitar down like this, now, I am looking at the strings exactly like I would be looking at the tablet of use of favor. Okay, if I was holding and imaginary piece of paper, I'm looking at the strings exactly same as I'll be looking at the tab on the piece of paper. So my high string is the top line and my low string is in my low pitch string is the bottom line. Okay? And so then what I'll see is numbers, numbers on each one and it tells me what Fred to push on. Okay. All right. Let's wrap back around to that in a minute. So we've got the six lines representing the six strings on the guitar. Let's talk about the string names for just a minute, okay? Going from low as in low pitch to high as in high pitch. We've got E, a, D, G, B, and E again. So we have a high and a low, E to E strings, IE, Louis, low pitch, high pitch. Low pitch, high pitch. Okay? E, a, D, G, B. There's a couple of different sayings that people use to memorize the string names. The one that I like to use is Eddie and Dean go buy eggs at a and Dean go buy eggs. Any, and Dean go buy eggs. A very popular one though is Eddie Ate Dynamite. Good by any a dynamite, good by Eddie. Eddie a dynamite goodbye. Edit. Okay. So if I said Jaime the a string, okay, so every named names, okay, by me, the B string, Eddie a dynamite, Good bye, bye. Okay. Play me the G string. Eddie a dynamite. Good. Okay. Let me the high E string isn't high pitch. Eddie a die, goodbye. Any light with the low pitch eStream. Eddie. Eddie again. Okay. So there's the string names is pretty straightforward and you have to know them. You want to know them gold, okay, so have them memorized. Ada dynamite, goodbye. Any symbol? Moving on to the tab where the tablature, okay, and this is what it's going to look like over here. When you're reading tab, you'll see it. One of two ways. You're going to either see just the tab by himself, six lines, a group of six lines and then bloat another group of six lines, then blow it another group of six lines. That's just the tablature staff. Okay. The tab or the tablature staff. Sometimes you will see it with two steps, okay, like in a lot of my music that I have on my PDFs, I have two stamps. I have the traditional standard five-line staff up top and then below it I have my 69 tablature stuff. The reason I like to use to staff's, 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, you'll see the notes and you'll look at annual say I don't know how to read those notes and that's fine. But the notes 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 kinda like connect that to the number on the tablature staff below it to see, you know, when you push on this friend, How long do I hold that note for it? You can connect it to the note of above it on the standard notation on the treble clef. Okay, so how do we actually play tab? Down here? This is my loo pitch, E string, okay, so this guy, if I have a 0 on a line, that's telling me to play it open. So open is just this pressing anywhere. Okay. So the first note is open. And I've got a four on the E string. So 12344, right? Next string, the a string and read a two on it. Okay? So 12, just picking the string of the node I want. Ok. Next string, the D-string, D string, fourth fret, okay, 1234. Good. Next string, G string, God the two on it, on the G string. Because two, which is the second fret. These numbers are never talking about what finger to use, okay. The temperature does not care what finger you use. Not make a difference in regards to the tablature and these are not fingers. Okay. It doesn't go like 1, 2, 3, 4, and thus not your fingers. These are only at the frets. You could use. I could use my nose to play. All of these are 0s, my elbow to play 0424. So it's just a French. That's what the numbers are. Okay. We're too on the G string. Then we're three on the B string, okay? So open, open 123, and then four on the high E string, okay, so it's open. 1234. Okay. What does that sound like? If we put it all together, we've got 444 is just a little something in E7 that I put together. Now this would be a melody because it's kind of like it's kind of like almost as if you did karaoke. Okay. And you have the bouncing ball that goes over the words. And when the ball hits the word, it tells you, you know, sing that part of the word right now. That's kind of what this is. So if we're going like this, then it's a melody. We're hitting the nodes one at a time. If you ever see the notes just stacked up right on top of each other, then that is going to be representing the cord. And you're meant to strong those notes all at the same time. So if they're stacked up like this, you know, like 000 one to two, we're meant to strum those all at the same time. Makes sense. So you're looking for if they're stacked up, they go together. And if they're not, they're just individual themselves. We hit them one at a time. Pretty simple. Okay. That's how tab or tablature works. So we're going to see this a lot in the PDF pages for all of the chords and the arpeggios and the scales. We're going to be looking at a lot of tabs. Okay? We've got one more thing that we need to cover off on before we can move on. And we have to talk about the chromatic scale, okay? The chromatic scale. The chromatic scale is, it's more of a music theory lesson, okay? But its 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 nodes that exist in all music, okay? It's the chromatic scale. And there are 12, there are 12 notes. The way that it goes, it just keeps on going in a circle. Once you have play all the notes that just repeats itself in Guinea and keep going higher or lower. They just start back at the beginning again, 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. And then after G just goes back to AIG, and like I said, it just goes in a circle, keeps going. A B C D E F G a B C D E F G a B C D E F G. Now, in between all of these, we've got sharps and flats, or sharps and flats are essentially the same thing. So in this example, I'm just going to show you using the sharp sign. So in the sharp sign is this little number sign or pound sign or hashtag. Okay, and it's right next to the note. So here we've got a sharp a, and then the hashtag means it's sharp. And sharp means it's just one higher, one fret higher, okay? So it's just one fret higher. So for example, if we have our a string, okay? A and k. So this is not a straight woman. And I play it open and as the a string, so it's gotta be an 8-note. Okay? So if I just go one friend from there. So the first fret on the a string is a sharp. So this is a open a string. I go one fret. It's a sharp because it's just won higher than a. Now it's also a B-flat. A sharp and B flat are the exact same note. And that's, I know it can be a little confusing. Don't worry too much about that. But in between a and b, there's only one node or one fret, okay? And so it's going to either be called a sharp or can be called B-flat, because flat is where we have a little b sign next to the note. And it's just telling us that it's one fret lower than. So B flat and a sharp or the exact same note, they exist in the same space. They are the same fret. So for example, here's my head. So if I go one higher than on the a string first fret as a sharp. It's also the flat. B flat also, it's a sharp or B flat. I go up one fret higher. Now it's B. So I want to be no now. So this is a B note on the second fret. So if I go back one Fred, I can call that a B flat because it's one lower than b, one fret lower than B. So B flat, it, you would be a B with a lowercase b right next to it. The flat sign is always a lowercase b. Just a coincidence that it happens to be right next to the v. This example, I could do a D-flat. So D flat, and if I go to my denote, okay, I'm gonna go to this dean over here. And then dina right there. Let me go back one fret. That's a D-flat. So I would write that like a D. And then I have a lowercase b right next to it. And it would be a D flat. Now, D-flat is the exact same note as what? C-sharp. Because what comes right before D, C, so D-flat is going to occupy the exact same fret as the C-sharp, right? So D flat and C sharp are the exact same node. Or the reason that the chromatic scale, which is the musical alphabet, is really important for us to know, um, is of 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 are a bunch of different shapes and know when and where to use them. And knowing where to use them is about being able to find our root note, which we'll talk about a little bit later on. And we find our root node by using the chromatic scale, okay? So you need to be able to find notes on your strengths. This is how you practice the chromatic scale. We already know history tab. We know the names of the strings. So Eddie aimed Dynamite, good eye. So what you do is you randomly pick a string. Okay, Let's do the street 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. Remember to start from open. A sharp first fret, second fret, third fret. Now, one more thing about the chromatic scale is that it's ABCDEFG. 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 it here. There is nothing between B and C and there's nothing between E and F. What I mean is there's no B-sharp and there's no C-flat. We don't have anything in between VNC. And there's no E sharp either, and there's no F flat. There's nothing between E and F. We go right from E to F, We go right from B to C. Okay? That's the only exception to the rule. So a, B, C D E F G, a B, C D E, F G. Everything has a sharp or flat in-between it, except there's nothing between B and C, and there's nothing between E and F. And I've got a million of these little sayings to memorize. One that I remember from school is birds cry eagles fly. Birds cry eagles fly. Nothing between B and C, nothing between E and F. Okay, so starting over here on the a string, you to see. C-sharp, which is the same as D flat. D, D sharp, which is the same as E-flat. E, F, We were right from E to F. F sharp, which is the same as G flat. G, G sharp, which is the same as a flat. A. I just went around the world and went from G-sharp. And my next note, I did a, I was here on the double-dot, the 12th fret. The double-dot is the 12th fret, and that's where the open string repeats itself. So this is a again, and it just continues on. I can keep going higher from the 12th fret. This is a, a sharp, C sharp, D, D sharp, E. It just keeps on going. Ok. Now, I'll show you one more string to work on the chromatic scale. What if we did the D string? Okay? A dynamite, dynamite, Dynamite, okay, so the string, So it's a D note. So open D. Now, first fret, D-sharp. Remember, whatever the string name is, we're going to start counting from that string name. Okay, So D, D sharp, which is the same as E flat. Good. E, F. We've already from E to F sharp, G, G sharp, a, a sharp, B, C. We already from B to C, C sharp, D. And I landed on my double-dot that told Fred. So I can keep on counting if I wanted to do sharp. We already from E to F, F sharp and so on. So this is a great thing to practice. I would recommend that you go through your strings, do this once a day. Go through your strings and just count up at least all the way to the 12th fret. You'll know you did it right? Because when he gets your 12th fret, which is usually your double-dot and you've got to fret markers on it. And he gets to it. If you say, if you think it's the same note as the name of the open string that you're on. You did it right? So if I'm doing my E string and I get here the double-dot, and I think it's e, Then I did it right? But if I get here, the double dog, and I think it's F 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 string name. Okay? I think that about covers it. So we've got the string names, we've got Reading tab and the chromatic scale. So we'll be moving on in our next video. 4. Tuning Your Guitar: Let's quickly talk about tuning your guitar. So this is something that a lot of beginner guitarists don't need to worry too much about because you don't even know that your guitar is out of tune. A lot of times your ear hasn't developed to the point that you know your guitars out of tune. Other people may know that they may hear you playing and say, oh my goodness, your guitar is, sounds terrible. So if that's the case, then this is a good thing to start working on. It's a great thing to work on to start developing your ear. So the sooner you start developing your ear, the better. And tuning is a great way to do it, even though it doesn't feel like you're playing a whole lot of guitar tuning is carefully listening to your strings and making sure these tiny little differences in frequency will be correct so that you can achieve the, you know, the harmonic resonance that you're looking for out of your strings. Traditional tuning. So we're going to do the biosphere traditional tuning. First. This is how I first learn how to tune my guitar. And this is the kinda thing that can be a little frustrating at the beginning, but it is a great thing to know. We have to start out by imagining that our low pitch E string are, our fat E string is already Intune, okay? So we have to pretend it's in tune. It may not be in tune. It may be, instead of being an IED supposed to be the E string. So suppose B and E note, it could be an E-flat, or it could be an f, which is a little bit higher than an E. But if we just pretend that it's Intune, then we can tune the guitar or relative to that string. So relative to itself, the guitar will be in tune. So when you play chords and scales, that stuff, they're going to sound good because it'll be all tuned based on this one node. Okay, so don't worry, it doesn't have to be exactly perfect. But we're going to pretend the low E string is in tune. You could use a piano or a pitch pipe, or a tuning app, which we're gonna talk about in just a minute to make sure that that low E string has perfectly in tune. So it should be an open E, because that is an E string. So we need to have it be a perfect, ie. Assuming that it is already in tune, we're gonna go to the fifth fret on the low E string. We're going to hit it. So that's going to be in a note. So we're tuning the open a string. Now if they open a string, does not match my fifth fret on the low E string, then I need a tune my, a string that will open a string. And I'm tuning my pegs. Tighter, makes to pitch go higher and looser makes the pitch go lower. So it depends on it's not as easy as just saying clockwise and counterclockwise because it depends on your headstock, on your guitar, depending on which way your machine head is going to turn. Basically, titer means the pitch goes higher. Looser means the pitch goes lower, pitch goes down. Okay, so once we have that the fifth fret of the low E string and the open a string sound identical. When they sound exactly the same, that open a has to get tuned to match that. We're pressing on the fifth fret. That's basically how this whole thing works. Every open string is the one that we're tuning. So we're actually turning the machine head on the one strain that we're tuning the open. A lot of beginners accidentally turned the wrong machine head. So the machine header, the little pegs, the headstock of your guitar, make sure that you follow the string to see that you're turning the correct machine head, okay? The right tuning peg, make sure that you're doing the right one. Um, because a lot of times people will turn it over to turn it and turn it, turn it, turn it, turn it, turn it, turn it. The pitch doesn't change. You're probably turning the wrong peg if that's the case. Okay, so make sure you're turning the right one. Now that are a string isn't tune that are opened a. Now when we go to the fifth fret on the a string, that's going to make a D note. So we're going to fifth fret on the a string is a denote. So then we can tune our open D string and our open D string. We have to turn it to make it match what we're pressing on the fifth fret. Every time we're pressing on a fret, that is because we have verified that string is Intune. So the one that we're pressing on is the one we're saying is correct. The open string is the one that we're saying. We're not sure if it's correct, but we have to turn that, make it higher or lower to match what were the string that we're pressing on? Okay? So we tune the open D string. Then that's Intune. We go to the fifth fret on the open D string, okay, that's a G note. Now that we know that the d strings in tune, then we've got the fifth fret. We know that's a perfect genome. So we're going to tune the open G string. Okay? Once we turn that, get the G string and tune. Now here we go to the fourth fret on the G string. This is the only change is to get a B. We, it's the fourth fret on the G string. Instead of the fifth fret, is the only time we do a different fret. Fourth fret on the G string. And then we're tuning the open, be, tuning it, tuning it to and he hit Okay. Then once that open B string is Intune, we go to the fifth fret on the B string, and we're tuning the high E string. Okay? And then we tune the height eStream to make a match that fifth fret on the B string. You always want to test, after you finished tuning all the strings, you always want to test it with a cord, like a six string chord. Like a G chord. And a G chord has all six strings. Or E chord, maybe D minor, some cord where we have all six drinks, that's a good way. And if the court sounds good, You're good shape. You just did traditional tuning. You used your ear. And you're also understanding your instrument, your guitar, a lot better on how to use it. Great, good job. Okay, now, in the modern age, a lot of people just use tuning apps. I use tooting apps also. So even though I grew up as a kid doing traditional tuning and I still do to original tearing. Sometimes the tuning apps are extremely convenient. They're a very convenient, quick way to get your guitar in tune. And they're free also. So you can get tons of these tuning apps completely free on your phone or on your device. So I don't really, I don't want to promote a specific app. I can tell you that right now as of today, I'm using an app called Guitar tuna. Tuna like the fish, guitar tuna. And it's pretty good. I like it. You know, in a couple months I might be using a different app. I've used so many tuning apps. And so many young. They're good, they're very simple. Our phones have really amazing microphone's on them. So that's why our phones or devices are such good way to tune our guitar. So you get a free app, you open it, and then you usually will select what string you're trying to tune. And you'll, you'll play that string open on your guitar. And it'll make a beep. It'll tell you, you know, you're in the green than you're in tune. If you're in the red, you're out of tune, you need to go higher or lower. It's very easy to do. It'll usually tell you exactly what you're supposed to do and if you're in tuned or not. So the tuning apps are great. I also have a built-in tuner on my guitar, which I use. So anyway, the tuning app, there's nothing wrong with it. I use them of guitarists use tuning apps all the time. They're great. They're very convenience. So download one, try it out, start learning how it works and get your guitar in tune. All right, so this is, this is the quick tuning lesson. There are some other methods like tuning to a piano tuning using harmonics. There are other methods of tune your guitar I want you to be aware of, but traditional tuning and tuning app, or probably the easiest and most convenient ways to tune. So start working on this and I'll see you in the next video. 5. Open Chords (page 6 - 7): Let's go through our open course. Okay, So you've got the PDF attachment, which has all of the open coordinates that you're going to need written on it. We've talked about how to read tab and tablature. So you should have a pretty good grasp on it. I 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 on. When you're reading tab. When it's a cord, they're going to be stacked up like this. Okay? So the first chord we've got here is an E chord, 0, 2, 2, 1, 0, 0. Okay? So what I'm gonna do is I'm going to just go through the open chords so you can kind of check out how I'm using my fingers. There aren't that many different possibilities for how you could do your fingers. There's a few, but not that many. Most of the 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. Okay. We're going through the tab. 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 chord, okay? The second thing we want to pay attention to is how many of the nodes are we supposed to strum? How many strings are we supposed to strong? What I mean is that we can see on this first chord is E corner here that we're supposed to strum all six because we've got some kind of a number on all six strings. But over here on this next chord, this is a D chord. And on this one we don't have any thing written on the bottom too. Strings, okay? So bagasse strings, these guys have nothing on them. So what that means is we're not supposed to strum them where I was supposed to pick them. One of them was to touch up. Okay, when we do our D chord, it starts from this open D-string here, open to 32. So we're not supposed to strong these bottom two strings were supposed to strum it from the D string. And then this is true also for the C quarter here. This is a C chord, 32, 0 0100, but there's nothing on the bottom string. If you were meant to strum it open, there would be a 0 on it. Same with the decor. If you were meant to do these two strings open, you, there were these zeros on them. And if you see nothing on them, sometimes people will write an exon them when I have a brand new student. All right, X on the stream that you're not supposed to strum 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, strum it, they get anything, leave it alone. We want to the next string that has a number on it. Okay, So let's check out this e quarter here. So 0, 2, 2, 1, 0, 0, 0, 0, 0. Stroke at all. Okay? So check out my fingers. All right. I guess there is a general ergonomic to your left hand. And that would be because if you check out the 2, 2, right? So I'm using my two middle fingers to do the two to the second fret, second fret of the a string that D-string students will say doesn't make a difference if I flip it like this. And my answer is not really, it doesn't really make a difference. However, if I do that, I got a twist my wrist a little bit. So my wrist is kinda pointing in this direction. Whereas if I make my middle finger the lowest, my wrist opens up and my palm of enzymes in the palm is kind of pointing that direction right there. Okay? So the ergonomic, the general idea here is tried to make your middle finger, not always, but a lot of times your middle finger try and make it the lowest, the lowest pitch string. Okay? Not always, but a lot of the time. And it's whatever we need to do to make sure that our wrist is kind of opened up and pointing in this direction. We don't want our hand twisted like this when we're making a court. So as you're going through it, even after you've watched this video and your, your guide, your PDF, and you're going through your courts. And he can't remember exactly how I fingered it, how I did my fingers. Just say how's my rest is my wrist like this or as my wrist like this. Because you want yours to be like this a little bit more opened up. Your palm is opened up. You should be comfortable. Okay. All right, let's get into it. So we've got E chord. Over here we've got the D chord in, like I said, we're streaming it from the open D string. So two to three, okay? And I'm streaming it from the D-string, D chord. Check out my pig. You see my pic? Okay. I use these little pigs. Their Dunlop jazz three is what they're called, but they're just little hard fix. Okay. You can use anything you want. You can use a light pink or immediate bigger, heavy Baker, big pig or a small pig. You can use any kind of picky one. 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 points sticking out. Okay? And when I strung, part of how I get my sound is since I only have such a tiny little bit of the points sticking out. Okay. I'm brushing the string with my skin of my index finger in the side of my thumb, just a little bit. So when I strung, I can give a little bit of a softer sound because the peak is just meant to be an extension of my fingernail. So I don't need too much Pig sticking out. And I want to treat it like it's a brush, like it's a paintbrush. Okay. So let it give don't force it, don't make it stay in one place. Let it move. Let it move as you strum. Okay? Let it move. Alright, that was D chord. C chord is over here. And we're not strumming the low E string, so we're streaming from this three and the a string, okay, 321, open to see forward. Okay, let's do a G chord. G chord is all six. See how my middle fingers the lowest. Okay? Okay, Let's look at an a chord. A chord, they're all on the second fret. And I was trimming it from the a string. Right? So you have kind of got my fingers tapered all the second fret. This one's a little tricky because this first one here is back pretty far on the fret. Usually we want to get right behind the metal. That's the sweet spot, is right behind the metal of the fright You're supposed to be on. That's the best place to be. When we do the in court. There's no way around it. We just have to do the best we can and get them all on the second fret and press little heart. Good. It's an a chord. Okay, so we've got E, D, C. All right, let's take a look at our minor courts. Okay. So we've got an E minor. So I just do it. It's like the E chord, but without this guy, E minor, the minor chord is going to have a lowercase m right next to it. So it will be like e with a little m next to it. That's how you know, it's minor. It's going to have a little lowercase m next to it. E minor, a minor. Okay, Here's a minor. D minor, D minor, D minor. So for open chords, that pretty much is the major and minor chords. They're called open chords because they're going to have at least one open string in them somewhere. That's what classifies it as an open court. In open court as opposed to a which we'll take a look at in a minute. Open courts have at least one open string. Bar chords have no open strings and pressing on everything. So open court has at least one open string in it, sometimes a couple of strings. Okay, so now let's take a look at our sevenths, okay? And these are also called dominant sevenths. There's a lot of different kinds of seven courts. In blues, we mainly deal with what's called a dominant seventh, but it's just a plain old seven, okay? You can think of it as just a plain seven chord. When it's written. If I was playing in K7, it'll just be a with a southern next to it, a seven. Okay. Over D7 will be D with seven next to it. So they're just seven courts. To qualify. We can call it a dominant seventh because that's what they are. They're dominant seventh chords. Okay, So in a seven or a dominant seven, looks like this. And I just have a little open G string in the middle of it this time. Okay. Always paying attention to where do I Strome this quarter from the A7. The a string open. Let's do an E7. Okay, here's how we can do in E7. Got the open D string on it this time is E seven. Let me do a D7. Okay, here's a D7. See my shape. It's kind of like the mirror version of what a D chord looks like. It's like looking at a D chord in a mirror, almost. Strumming that D7 from the D string. Good. Okay, Let's do the B7. B7 actually pops up a lot, okay. B7. A lot of times open courts will use her pinky lot of times because we just don't need to. We need to own the B7 though, right? So B7 is a four-fingered court and not struggling my low E string though. So it's five strings, all four fingers here. And astronomy from the a string. Okay. It's like 212 open and two with my pinky. Okay. It's a B7 to great quarter pops up a lot, pops up a lot in all kinds of music, especially blues. B7, okay? And of course be dominant seventh, same thing, be dominant seven or B7. And the dominant seventh chords are the courts that are 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 seventh chords. Okay, let's take a look at a G7, okay, Got a few different ways to do it. And here I'll show you the popular way of playing it. This is the popular way of playing it. Okay? It's pretty spread out. It's like if this was a G chord, keeping all the stuff low, but I'm going to be that high note back to the one. So I have to kind of shift my fingers a little bit. So as the popular way of doing a G7, I play G7 like this. I just don't strum the high string. So 32, three, open, open. That's how I like to do my G sevens. Okay, and then I think lastly we need to do a C7. So it's like doing a regular C chord. This one's a forefinger court also, it's like a regular SQL. And I'm going to add in my pinky here in the G string. Third fret. Strumming from the a string is a C7. Okay? So I believe that pretty much gets us on the dominant seventh chords. Let's take a quick look at our minor seven chords. We've only got just a few of them. And it's going to be E minor seven is the first one. And the way it's going to be a written sounds like a lot. E minor seven. So it's E. And it's got a lowercase m, little m to tell us as E minor. And then just a sudden just the number 7, So E minor, lowercase m seven. So you're going to get to where you can read these chords. And it's just reading it from left to right and you just say each symbol and it tells you the name of the court. E. Lowercase m is minor seven. E minor seven. Okay. And an easy way to figure this one is just with one finger, okay? It's just a second fret on the a string right here. Now with chords, There's always tons of variations and different ways to play the same court. You can give it a little bit of a different tone. And maybe you'll press fingers on different frets. Sometimes it'll be the exact same core though, little bit of a different tone, putting this note here or that note there. But it's always got the exact same notes and it has the same name on paper. So if you're ever playing a chord in someone's like, Oh, your E minor 7 like that. I do it like this. They're both E minor seven. Okay? And they both are cool. So it's kind of like what kind of tone are you going for? So one of the things that we do when we're learning guitar is 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 is all about. But start off by learning it one way, okay? And then later on you can learn a second way to do the CT. So E minor 7, this is totally acceptable. Some people will do like this. Okay? A minor seven. So we take an a minor chord and we just open up the G string. So G strings over them. That's a minor seven. D minor seven is going from high, it's 112. Okay. I'm actually going to press on both of the ones with my index and my index finger down to get both these ones, 11. And I'm just going to get the two. And the middle finger and strum from the D string. Well, two-finger, D minor seven chord. Okay? And so those three courts, that covers us on the open minor seven shapes. So, um, I think that about covers it for our open chords. We're going to have to move on to bar chords to get deeper into this thing. But you play a lot of blues, but they'll concordance. And sometimes you want to mix up your blues playing between open chords and bar chords just to give yourself, like we said, some dynamic range in some different tonal sounds. So we'll go to maybe play the blues for thirty-seconds using bars and it'll jump to playing in thirty-seconds in the open position. So we'll talk more about how to do that, but work on all of these open shapes. 6. Barre Chords (page 8 - 11): Let's go through our bar chords. Bar chords are sometimes referred to as movable courts because we can move them anywhere. They're just shapes. And once we know how to use root notes, then we can take the shape of a bar chord and good in any key we want. So we'll look at that in just a minute. What I've got here are two different groups. So we've got a G and a G minor, and then we have a C and a C minor. See the lowercase M next to the GI. So that means it's minor. Lowercase c Next, or lowercase M next to the C. That means that's a C minor. So the m has to be lowercase for it to be a minor chord. If you ever see an uppercase M, that means something else. Okay? So it's gotta be a lowercase m. Now, what I meant by two groups is that these two shapes, the G and the G minor, are pretty similar. You just have one, no difference between them. And they're all six strings on both of them, right? And then over here, this is another group, the C and the C minor, um, and there's just a one, no difference, and they're just the middle four strings. Good. So I said in an earlier video that a lot of playing the guitar, learning how to play the guitar is about redundancy and getting as much redundancy into your bag of tricks as you can. Learn how to do the same thing in as many different shapes and positions as possible. So that's what we're doing with our ports. Okay? So the deal with bark words is that we're not playing any open strings, nothing open. We're pressing on everything. Sometimes we have to press on more than one string with one finger. So multiple strings with one finger sometimes. So just a warning. If you are new to bar chords, they can be frustrating. So if you get frustrated with bar chords, that's totally normal. Everybody gets frustrated with bar chords. They're pretty hard to do. They're pretty uncomfortable. 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. Barcodes are hard. So just stick with it. You'll get the hang of them. But everyone, everyone has a hard time with them. Okay. Isotypes, igm words, I went backwards, but we have to be able to play them. We need them. Okay, so let's jump in the G and the G minor, okay, so the first thing that I see is that I've got 3 third fret on the outside here. So I've got 33 on the high strings, and we've got three on the low string. Let's go on for both these cores, the G and a G minor. What I'm gonna do, the mistake my pointer finger, and I'm going to straighten it out. Okay. So I'm not going to let it bend. I'm going to keep it straight. Not bending at all. They keep it straight. And I'm going to press on every string, all six strings on the third fret. And we talked about the sweet spot is right behind the metal. So you really wanna do that here so you won't have to press his heart right not on top of it, but right behind the middle. I'm going to keep what people would. They can't help this knuckle right here. They will kinda accidentally bended. Try to push your wrist out and keep this finger as straight as you can. Okay. And yes, it's uncomfortable at first, but you'll get the hang of it. So we're pressing on all six strings. We'll just test that out. Okay? So we've got all six strings. All right, so now with that we've got the 3s all taken care of any 3s. And the third fret, we've got it just with this one finger. So now all we do is we fill in the rest. So we've got 55 and four. Okay. So we've got threes, then we've got these guys on 55 and forth. Okay? And here is my G, G major art board. Okay? So that's the G-Major bar chord. And in order to turn it into the minor G minor bar chord, all I do is my middle finger comes off. Okay. I just take it off. All right. So now my middle finger was on the four. So my middle finger was on the four here. So I'm going to take it off. And when I 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? This just G and its major. G major. We're just G. So when I take off my middle finger, middle fingers off. Okay. And now my index finger is holding down that 3 here, the difference in it. So before when my little finger was down, my middle finger off for the G minor versus the major. So it makes sense. Okay? So when we are routing on the low E string, those are the two shapes we've got. The major is with middle finger down, liner, middle finger off. When I say routing on the E string, what's going on is these are G and G minor because my first Fred here are my first note. My first note is the third fret. The third fret is a G note. Remember a chromatic scale. Okay, well, so we're on the E string here. So if we counted up on the chromatic scale, it goes E, open, Sharma, g. So g, This is a genome. So our firstNode and the shape is a genome. That's why it's a G chord, because it's our root node. This node right here. The first note of both of these chords is a G note, F sharp. So that's our root node or Jumana. Same root note. And so that's why these are Gs. And so when I said before that these are movable chords, what I meant is that we can move it if I take this whole shape of the G-Major, okay? I move the whole thing up one fret. Okay? Now it's G-sharp, G-sharp chord. If I move it up one more for it, with the whole thing up. Okay, Now on the fifth fret, now it's an a chord because my lowest node that is now on a note. So that makes this whole thing in a court. And if I take my middle finger off, it's off. Now it's an a minor chord. A minor. Okay. I don't think are off is minor, middle finger down pressing on the G string. And you said major. A minor. If I go up another, Fred has a sharp. I've opened on the thread, it's a V chord. I go, they'll figure off to be monitored. If I go up another friend with middle finger off, It's seem lighter. Like a middle finger down, same thread as the C major. So I can just move this around. C sharp, D, D sharp, E. And come back to my G here. G, if I go back afraid it'll be G-flat or F-sharp. This is an F-sharp chord. It's like a little finger off, and it's F-sharp minor. If I come back here, the first fret, It's an F. This is an F chord on the first fret. And I'm just using this exact same shape. But that's why some people call bar chords be a IRR, E bar chords. Movable courts, because the bar chords, you just take the shape and then you move it anywhere you want. And the root node, which is usually your lowest note in the chord. Your root node will dictate the name of the court of three key of the cord. Ok. Now let's move on to the reading on the a string. We've got some redundancy here, okay? And believe it or not, the redundancy, it seems like it's gonna be a lot to remember, maybe a little bit. But he's going to help you with your technique and you're going to have to move as far. And it's going to give you a break. Some chords are harder than others and there's more tension on some courts and others. So having some other shapes to build a use is going to help you tremendously. Okay? So the C chord, all right. When we're doing the shapes, read it on the a string, see how we're not using the strings at all. There's nothing on the East rings, the high or the low. We were just doing the middle four strings. So we're routing on the a string. So the a string, our root, note, our OT, our root node. Okay? So 35, 55 years, I do it, okay? Three and the a string. And then 555, I'm using my ring finger to mesh down on all those fives. Just kind of mashed down with my ring finger. 35, 55, green. I'm playing with two fingers, just my index and my ring. There's a C chord. And it's a C chord because my first note is a C note. Because running a string, write a sharp, getting up from the a string. Okay? A, a sharp, B says 38, 55. And that's a C chord. Now, let's turn it into a C Meyer, Okay? The only know that that's different here is the five turns into a four over here on the B string. Now that's going to cause me to shift my fingers route. Still keep the three that I'm going to have to use all four fingers to get this. So 3, 5, 5, and 4. Okay, I got it Makes sense. So I'm using all four my fingers. This shape pretty much looks like what we're doing over here with this shape, except we're just down a string. So try not to confuse it with this shape, even though it looks pretty much the same. We're down a string though, and this is a minor shape when we're on the a string doing the shape, it's a minor quarter, okay? So 554, okay. That gives us C minor, okay? But they have the same rootNode, this three on the a string. Okay? So let's move this guy around a little bit. So let's go back to the SQL or 35, 55. So if I go up a fret with old thing, now that's a C-Sharp chord or D-flat chord. Let's go open other Fred. Okay, now in 5777 is a D chord. That is a D chord. I can compare it to like an open D chord. Debug word. I go up another fret, D sharp, E. Okay, if I sit here on this E on the seventh fret seven, 999, but I'm going to turn it into the E minor, okay, so I just do that, turned it into my E minor shape and modern, it's an E minor chord, E minor bar chord, rear on, rooted on the a string. If I hope one more, Fred. There we go. Now it's going to be F minor. Let's go one more, Fred. F-sharp minor. Sharp minor. I'm going to turn this into F sharp, F sharp major, okay, so just turn into the two-finger shape like that. And that's F sharp major. Okay? So a good thing to do, to practice the bar chords is to try to do one of each. So you kind of spin the wheel of the chromatic scale and we say, Okay, I'm going to play a to B chords. I'm going to play one V chord root on the E string, and I want to play the quarter it on the a string. Okay, So counting up an E, F, F sharp, G, G sharp, a sharp coming. And then I plug in my major shape over here. Let's make a V chord. Nice. Now I'm going to come and do a B chord ridge on the a string. So I count up on the a string a sharp peak, here it is, and its major. So the two-finger one, B chord on the a shape. Okay, Let's do another one. Let's do F sharp minor. Okay? So I'm going to do really on the E string of ligand for F sharp. F sharp. Okay, and I plug in this shape, the second shape here for the minor and as the one with the middle finger off, right? Okay, Then on the a string, I need F-sharp minor, so an a sharp, B, C, C sharp, D sharp, F sharp determines where we're looking for. And I just plug in this shape right here to do the F sharp. F sharp minor. Good. Now, these shapes can be turned into the seven chord, the dominant seven, and the minor seventh quarter for really easily. A lot of times it's just a matter of removing a finger. So if we go back to our G chord here, can G bar chord. So let's go back to that guy, right, gamma G bar court. Now, all I'm going to do that you've got this in the PDF, so you're going to see it. It just may not be as evidenced. Went the first time you look at it, the difference between a G bar chord and a G7 bar chord. But I'm going to show you It's really simple. Okay? So here's the G bar chord, Here's this one. And I'm going to turn it into a G7 or a G dominant seven. Same thing. Okay, here's my G and take off my pinky. Then he comes off completely. Okay. So I just turned it into a G7. We went from a G with pinky down. Let's take the pinky off. And it just turned it into a G7. So I can shift that. And I just keep the picky often has shifted around. It's always going to be seven chord dominant, seven sharps, 77 sharps seven, the seven, C7, D7, okay, seven. Now, we covered this before about how sometimes you'll see like little 10 differences and people will say You owe you do your G7 like that. Well, I do my like this. I didn't I don't know that I'd do it like this. So they'll just have like a one finger difference, as long as the notes are all the same, then you're playing the same quarter. So some people will add in this pinky up high on the B string. And it's just a redundant note. So again, the word redundancy comes into play. We've already got this note in the chord. We did it, we added it in when we lifted off our pinky. And then when we put it down here, we just added in that note again. So now we've got that node twice, willing you to once, but you some people like the sound of having it twice and the court. And good, it's good both ways. But they're both the same chord and both G7 in this case. Okay? So the easy way to get into a seventh chord is just taking off the pinky. Now when we are going for our C chord, okay, and we're going to turn into a C7. So we've got three, five-by-five, okay? Turning into seven chord. I'm going to go like this. I have to kinda bar the 3s. And then I have 35, 35. So I've got a whole the middle, almost like I would have if I was doing an A7 open court. An open string in the middle, it's kind of like I'm doing that except I'm holding down these guys with my index finger. So it's 3 5, 3, 5, 3, 5, 3 5. So this is a C7. C7. Okay? And I can slide this guy around. So C sharp seven. And of course, these are also known as dominant seventh, but we can just call them C7. If you see a written down, it'll just be C seven, okay? Here, C sharp seven. Here's D7, seven years, E7, and F7, F sharp, G. So good. Now, and as always, a good thing to do is to say, I'm going to practice finding two of them, okay? So I'm going to say fine to see sevenths, okay? So I'm going to find one on the E string. So here's my E C shape on the E string. And then I just take my pinky off. There's a C7. Then I'm gonna do my C-shaped region on the a string. And I just flip it so make the hole in the middle. And the G string got to C7 here, C7, C7, C7, C7. And he can see how they sound slightly different. The tones are a little different, but they're both C7 courts. So it's up to you to decide what sound you want, what tone do a lot at this moment. Okay? And lastly, let's take a look at creating a minor seven chord. Okay? So let's take a look at our G minor quarter rooted on the router, it on the E string. Okay, here's my G minor, and I've got my middle finger off. This trick works exactly the same as it did on the major. I just take off, my pinky. Pinky comes off. Okay. And that's a G minor seven. And I will use the shape a lot. Sometimes people add in this picky node and, but it's just an extra note of the seven. Okay? So sometimes people who add in this pinky up high on the B string, in this case, it's on the sixth fret on the B string. But it's just an extra quick and easy way to do it. It's just take the pinky off. So that's a G minor, seven years, G-sharp minor 7. Here's a minor seven. Okay? Now if we come over here to our C minor chord shape, right here it is. For this one, it's really easy. And just take off the pinky. There's a whole lot of picky coming off to make these heavy course. So just take off the pinky for my C line or shape. And I just turned it into a C minor seven. C minor seven. C sharp minor 7 minor 7 sharp minor 7 minor 7. So you say, okay, I'm going to find two E minor sevenths. I've got one way up island 12th fret. And I've got one here on the a string, that E minor sound. And then of course, don't forget your open chord possibility. So if you combine your open chords and your two bar chord shapes, we can find two bar chords in the major. We can find T bar chords in the minor, radius on the E string and a string. We can find two bar chords of the dominant seven rooted on the E string and a string. And we can find to mark words of the minor seven also on the Eastern in a stream. If we combine all that stuff with all the stuff we can also do with our open chord shapes. Okay, we're starting to get a whole lot different chord shapes now. So I want you to go and start familiarizing yourself with all of these different bar chords and make sure you focus on those dominant seventh because we're going to be playing a lot of seven courts. 7. 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 we're going to be talking about duple rhythm. So duple just means anything that's divisible by 2246816. So we are going to end when we're playing the blues, we're going to use a lot of triplet feel and swing feel. So that's going to be mostly what we're doing. And that's a little different from what we're talking about here. But I need you to have a basic understanding of this stuff. Because triplet, triple rhythm is built upon duple rhythm and they can co-exist a lot of times if you want to be a Rhythm Master and you're able to like do one than the other. And so it's all just timing. It's all based on time and how you break up the beat. So needy, you have a basic understanding of this stuff. So we're going to just run through it. And it's pretty simple, it's pretty easy to understand. Okay. I think I'm going to tap it out first for you. Count it in, tap it out and show you what the symbols are. And then we'll take a look at strumming it. Okay, so what I did over here on the whiteboard is we've got the, the beat and then we've got the rest, the equivalent rest right next to it. So the circle, the whole circle right here is a whole note and it gets held out for four beats. So 12341234. When we're talking about rhythm, by the way, everything is centered around the beat. How many beats are? How do we break up the beat? It's all based on the beat. The beat is the quarter note. So we're going to look at the quarter, I'm just a minute. But first we have to cover off on these big beaks like the whole note, half note. Okay. So the whole known as the circle, that's hollow, it's not filled in. It gets held up for four beats. 12341234. The rest right here. It looks like an upside-down tile palette. Looks like an upside-down hat. And so whenever you see arrest, these are all rests over here on the right side. Arrest of silence. So when you see arrest, it's silence. You do nothing. You don't even let the strings vibrate. You just have to stop them and quiet. Okay? So when you see the o sound, had you just quiet for four beats, 1234. Okay? So the rest guest the exact same amount of time as the beat, but V is the sound and the rest is the silence. Okay? So now the hollow circle with a stemless see that little stem on it. That's a stem. Okay, That's a half-note, is two beats. 12. Now, when we're thinking about the measure, when we're looking at music, we have to divide it or somehow so that it's not just a big, massive, a string of endless notes. And we want to organize it somehow. So we have measures. And so the measures will have a certain amount of beats and rests every single time. So like down here in the example which we'll get to in a minute. These big lines see these big lines that I drew. They are measured dividers. Now inside of a measure, you want to have the same amount of beats and rests. You take the beats and the arrests and you add them up. It has to equal the same amount every time. Most of the times, especially in blues, is going to be four beats. Four beats is the most common. That's true for most styles of music. But it's especially true in blues. Most blues music is in four beats for time or 44 time. Okay? And so over here we've got our time signature, which has a 4 on top of a for this looks like a fraction. It's not a fraction because four over four would be one. And that doesn't make any sense. It's four coordinates. The top number is telling me how many in the bottom number is telling me of what kind. So four is what kind is quarter? Fourth quarter. So it's a quarter note and there's four of them. If this top number was. Three, and the bottom number was for three or four, then it would be telling me play three quarter notes in every measure. But it's 44. This is the most common time for over four, and it means there's a total of four beats, four beats, and arrests total in every measure. So within every big measure break, there's going to be a total of four V's and rests. Okay. Now, getting back to the half-note, the hollows or Goldstein. So if we says two beats, so it's going to go 1, 2, 3, 4, 1, 2, 3, 4 z. So it gets 12 and it also gives 34 because two beats, 2341234. The rest for the silence, it looks like a right-side up top hat. Okay, so I'm going to add on your head two beats of silence. All right, now, the filled-in dot with a stem on it. This is our quarter note, okay? This guy right here is the beat. When we talk about the bead, this is, it is the quarter note. And we is our basic unit of measurement when we're talking about rhythm. Okay, let me give you any kind of time, with the exception of an eight time. But for the most part, the quarter note, the basic unit of measurement and all rhythm, okay? And what we're talking about, the beat, we're talking about the quarter note. How fast is it was the tempo. When we talk about things like how fastest music and the tempo, we're talking about how fast as the quarter note go. The other bits are all in relation to it. But we're always talking about the coordinate. So the quarter note is one beat, one. So if we've got four beats in a measure, there's really four quarter notes. So if we have four quarter notes and measure, they would go 1234 and we have to hit every single one. We're going to want to do something guitar in just a minute. Right now we're just pretending like we're drummers. Okay? This is a drummers learn how to count the bang it on their legs. 12341234. Also. You'll notice how after four I just go right back to one. I don't do any kind of big pause, muscle explaining something to you. If you don't do this, you don't go 1, 2, 3, 4, 1, 2, you don't do that. You just keep going. It just keeps going. The beat is consistent. And constant. Never stops or slows down or speeds up. It's just like a ticking clock. Okay. So imagine the clock always consistent. 123412341234. Those are straight quarter notes and just count to four and then I go back to one. Okay, now, anything smaller than a quarter note? We're breaking it up and breaking the beat up into smaller pieces. So here we've got the eighth note, okay? And it's a filled-in dot this down. But now it's got this little flag on it. See the flag, guys got one flag. And that means it's an eighth note. If it's by itself, it'll just have that one flag that goes down. But if eighth notes are next to other eighth notes, were sometimes other smaller beats to have flags also. Instead of the flag going down, we'll just connect the flags and they want to be these beings. So you see how I have beams over here. They're connected. So the beam is the same as a flag. It's Dennis, if it's got one beam, you know, it's an eighth note, one flag or one beam. You're dealing with an eighth note. Unlike the 16th note down below, where if it's got to flex or two beams. So two beams, two flags, you know, you're done with the 16th note. And if you're dealing with one flag or one beam, then you've got it. Okay. The eighth notes, there's two of them. For every quarter note. You still with me grow almost Rawls there at the end. Okay? So there's 2 eighth notes inside of a quarter note. So we're going to count them as 112. And, and sometimes it'll be like a plus sign 1234 and so it will be like 1234123412341. And I'm tapping everything one NTU and 3 and 4, and those are eighth notes. Inside of all that. The 1234 is still the quarter note. We're just hitting the and in between now we're breaking up the quarter note. So we still have the 1234123412341234 end. We still have the quarter note in it. We're adding the ends into it. Okay? Those are eighth notes. Eighth notes. And by the way, there are 2.5 notes that can go into a measure because to these two beats, that equals four is four quarter notes that can go into a measure. This is four quarter notes. You break it into quarters. There's 8 eighth notes that you can put into a measure. And there's 16 16th notes that go into measure. Okay? And so like we said, the 16th note is got two flags. And the way that we count them is we have the 1234. And so if you just had one and for B11 end or the eighth notes, we're going to put an E and an in-between the end. So it's going to go B1, E. And that's one string of 16th notes, 1, E and a. So if before we're going 12341 E and a 23 and of four eat panda, right? They go twice as fast. And that's something that we're seeing all the way down here. Every time we go to a smaller bead, these are duple time, so they're divisible by two and they always get twice as fast. The smaller the oikos. Okay, we're not speeding up the tempo was breaking it into half and size. So we are going in squares. Salary is going twice as fast afterwards, go twice as fast as a whole note. Quarters go twice as fast as half. It's go twice as fast as a quarter. And in sixteenths go twice as fast as eighth, 1D or one. So if we go, Let's do a quick thing where we go a one measure four quarters, Let's go. Eight eighths was 16 sixteenths. And we'll just connect them all. So we're gonna go 1234123412 and the 40 and up 12341234123 and affording NDA exams. Good. And the rests for the eighth of the 16th, they are Slash see the slash. And it's got one flag, if it's an eighth, and it's a slash with two flags, I, if it's a 16th. So you can always easily identify an eighth note or an eighth rest. But does it have one flag or one slash? One flag or one beam? Or is it a 16th note in which case it has two flags or two beams. And the arrest slab, either one flag or two flags. And you know which one it is because it's got two flags and 16th. When flags and eighth. Alright, Says, making a little bit of sense. You didn't go to, okay, let's do a string and we're gonna do one measure of whole, one measure of 2.5 notes. And we're going to go measure four quarters eighths and 16 sixteenths is one of these two of these, 4816, okay. 1234123412341234123, pianoforte. End up feeling we're getting somewhere. So I wrote this down here to kind of show you how we can start putting different kinds of beats into the same measure. Like I said, we've got our 44 time. We just need to make sure that each measure, none or below or doesn't exceed the four beat rule. Okay? So with the combination of beads and rests, we have to have four beats. Okay, So let's try it out. 12341234. Okay, so that was 1.52 ago and then 34 and the quarters 1234. Okay. Then 1, 2, 3, and 4. And review that again. 1234 tens. Okay. Next measure, I've got a a quarter rest. Okay. And I don't know, I think I kinda skip past that one, the quarter rest. It kind of looks like a lightning bolt or jaggedy three. Okay. And it's just one week of silence. All right? So we're going to rest on beat one. We're going to hit B to two. And then we have it again, quarter rest. So we're gonna rest on beat three silence. But then we're going to hit before four. So this measure right here is going to look like 1234. We're still going to say the name of the rest. There is not going to hit it or strum it. 1234. Good. Now a last measure is we've got a string of four sixteenths because we see two beams. 1282. Magic words. Very poor. Okay, Let's put that all together. 1, 2, 3, 4, 1, 2 and 3, 4. That make sense. Okay, let's put the whole sequence together. This whole phrase is putting together, okay? And like I said, time should be consistent. So I'm gonna do without pausing this time in between the measures 12341234123412341234. Again, one more time. 123412341234123 for one E and a 2 and 3 4. Makes sense. Okay, good. So that is your crash course in reading rhythms. Now, if your leg is kinda sore at this point, if you've been doing it with me. Good Good job. Okay. And if your leg isn't sore, tap these out on your leg. Part of getting rhythm is the feel of it. So you want to feel it. So it kinda banging on your leg and you get this red mark on your leg from begging on yourself. That's good. That helps you to learn it. I know the little, little mean to do yourself, but it's a good way to learn is to feel it, really feel it. Okay? So when we are strumming a lot of times, these first three beats, anytime you have these first three beats, we're just going to downstroke. So for example, if I just take any chord, doesn't matter what coordinate tick, tick a G chord, a whole note. So 3.54234 months. Same thing, the downstroke, but I'm going to beats per all down. Now quarters, four quarters still all down. Everything is down. When I get to eighths, sixteenths, I'm going to start alternate strumming. I'm going to go down, up, down, up, down, up. Okay. What? I'm just on aids and I'm going to go like that. When I go to sixteenths, I'm still going to go alternate strumming. Okay, So it's going to be like like that. So I'm doing altruists droning on the eighths, sixteenths. And the general rule of thumb is that if I have, if I'm dealing with a lot of 16th notes, so I'm going to go down, up, down because they're so fast, I have to have to go down, up, down, up and sixteenths money and the 2D have to do that. So if I'm playing 12 sixteenths and then I see some eighth notes, I'll just do the eighth notes as downs. Okay? So if I'm doing sixteenths, like money and end-to-end. Okay. So it kinda makes sense. So what I did was I was going down, up, down, up on the 16th notes. And then when the eighth notes came up and started going down on them. So as not to confuse myself. But if I'm just playing, happening as in quarter notes and eighth notes, then I'll go alternate, strumming down upon the eighth notes. Whatever my smallest beat is going to be. That is what I'm going to do. My alternate strumming on my smallest big. So if 16th is my smallest big, then you alternate strumming on that. It is my smallest. Them do alternate strumming on that. I'm gonna say this one more time. If 16th is my smallest speed, I'll do downstrokes on all my eighth notes. Makes That's so funny. I did kind of like that. Okay. I'm gonna play this real quick, okay? And I'll just do it on G chord. Okay? 34. Good. I started to kind of missed that last one. That last measure goes. Good. One more time. Okay? Now, to make this a little more interesting, because you may be thinking, if I start mixing on my course little bit because we weren't doing anything interesting with this guy. So I'm just going to randomly pop down syndrome courts. Okay. Doing this again. 34. All right. I was just with a, G, C, and D chord. Brought a lot more life 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 then strum them. And we're going to be really on two triplets next, which is going to give us our true blues feel. 8. Swing Feel (page 18): Let's work on developing our swing feel. This is pretty exciting because this is us starting to actually sound like the blues. So this is going to be your best friend of the swing feel. And when we talk about the swing feels, some people call it a shuffle field. So the shuffle feel, swing feel. I called the swing feel. And what it is is it's the use of triplets. So we covered off on our basic rhythm, all of the duple timing. Okay? So the tuple timing was stuff like eighth notes, quarter notes and 16th notes and half notes, stuffed divisible by two. That's all duple time. And so there is also a triple time, which is anything divisible by three, okay? And these things can coexist. I mentioned this before. They can coexist. You can find some duple notes and VCE, right? Besides some triple nose AND gates in the same measure. And that's where you start developing some real rhythm mastery. So we'll talk about that a little bit later on. But the triple feel, all the rules that we already learned with the duple, we build on that to get to the triple field. So, okay, so let's jump into it. The most common thing that we're going to encounter, our triplet, eighth notes, eighth note triplets. Okay? And this is what they look like. 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 it's going to have a three or a six. It could have a nine or 12. But it's always going to have something divisible by three and a bracket to kind of group it and show you this is in triple time. And the reason for that is because when we're dealing with duple, it has to add up. We talked about how to measure. It has to always add up to a certain amount of beats, usually four beats. And so if you start having groups of 369 and 12, that can get really confusing. So there's always going to be a bracket. If it's me writing it, or some other musician writing it, or anyone that's writing it is a universal thing. So it was a bracket is going to have a three or a six or nine, or 12. So you always know you're dealing in some kind of a triple time. So that's all that is. And, but the same rules apply. Here. We've got strings, there's groups of three. Notice it says three beats, three B's TVs, tributes. And they all have one beam. And one beam or one flag tells us what that we're dealing with. Eighth notes. Okay? There's just one beam. So these are eighth notes, but their eighth note triplets. And what's going on here is that we can, before we were only a 2 eighth notes inside of one quarter note. So before in duple time, we're going 1234 with a quarter note. And then we would put the ads in between it, we go 1234. Okay? So with triplets, we can get three of those inside of one quarter note. Okay? So, and the way we're going to count it is with the word trivalent. So one, tread, blood, okay? One trip, flat, two, flat three, trip. But for trip blood, it will use different methods of counting triplets. I've got a drawing background. I was a drummer before ever touched a guitar for many years. And so the way that I learned Kent triplets was one trip flipped. All right, so we can fit three of these inside of one quarter note. So if we've got quarter notes, 12341234, we're going to put the triplet eighth notes inside of them. Okay, so we're gonna go one triplet, triplet, triplet, triplet, triplet, triplet, triplet, triplet. I'm hugging the corner a little louder. I'm accessing it so you can hear where the coordinates are. I stop accepting the quarter note. Progress. I like this. One. Trip blood to triplet three triplet, triplet, triplet, triplet three triplet, triplet, triplet, triplet three triplet for driftwood, right? So that's a string of eighth note triplets. Okay? So that is the triples. Now. What the actual swing fill is. 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 eighth note triplets on your courts when you're strumming and when you're soloing as well, when you're doing your melodies were going to be playing either straight eighth note triplets, one triplet, triplet, triplet, triplet. Or we're going to play the actual swing feel itself. And in the swing fill itself. You see this guy is a slash. It's got one flag. A slash with one flag is arrest. It's an eighth rest. Okay? So we're resting on the middle note of the triplet. It's the trick. The trick. So it's one triplet, but we're resting on the trip. Every time. We're resting on the trip. If it's one trip planet, we're resting on the middle on the trip. Okay. So we just don't hit there. So what the swing feel winds up sounding like we rest on the trip. So it's going to be like one triplet, triplet, triplet, triplet, triplet, triplet, triplet forward trip. But in the first time you do this, it may seem unusual. Say it out loud like I'm doing. Okay. Say it out loud and tap it. One triplet. Don't hit the trip in everything except for the trip. One triplet, triplet, triplet, triplet, triplet, triplet, three, trip, but more trip. But also keep in mind as I'm doing this member, the whole thing about consistency and it's like a ticking clock. It's still like a ticking clock was breaking it into groups of three. So as you do each group, you should be going like to do that. That did, that, did no pause in between There's no pause in between the groupings. You just continue on. So you're saying one triplet, triplet, three triplet, triplet, triplet to a. You're going like that. Just don't hit everything but don't hit the tread. Okay. And then you're going to have the swing feel one, triplet, triplet, triplet, triplet, triplet, triplet, three, true that for trip. Okay, let's talk about strumming, right? So one of the main things that we wanna do when we're strumming is we always want to, on the new quarter beat, on the new 123 for the quarter note, we wanna make sure we do a down. Okay, That's really important. So what we can do when we're strumming straight eighth note triplets is we're going to go down, up, down, and then down, up, down, down, up, down, down, up, down, down, up, down, down, up, down. And it is a little bit of an unusual feeling. Sometimes guitar players will want to go down on all the triplets. Sometimes. Where, say if we took our E 7 quarter cake, gummy said the court. So I may just want to go down on all of them. One trip to two blue creature that for true, that one to two to the two. But for today and I'm just going down on everything. Your trip. I may also want to go down, up, down, down, up, up, down, down, up, down. That can give you a little bit of the different field. So I may go. Good. Ok. Now, when we're doing the swing feel, we want to go down on everything. Grep is we're doing one of two things on the street or in the Australia and in triplets where they're going down and everything, which case says down, down, down or we're going down, up, down. Either way. The first one and the last one are going to want to bring him down a downstroke. So when we do this and feel we want to go down on everything, okay? And if I just mute over here and we're going do one trip lead to true LED three triplet for triplet, one trip lead to triplet, triplet, triplet. Say it out loud the first couple of minutes, the practice this. I've noticed in lessons when I'm taught this, sometimes people will put a pause in between each beat or they may rush certain notes. You want it to be like a ticking clock. Nothing is faster and nothing is slower. They're all evenly spaced. Okay? All of the notes and all the beats are. Based. So if you say it, it forces you to think about it more. One triplet to true. Let three triplet for triplet and were strumming down everything except the trip. Trip that to triplet, triplet, triplet, triplet, triplet, triplet, triplet. Okay. Let's put it in with our E7 court. Doesn't really matter what chord right now, okay, you can use any chord, use G chord, D chord, C chord. It doesn't matter what the court is at the moment. I'm just doing ISA cortex. It's a good blue sounding chord. Okay? Okay, So it makes sense. All right, This is the swing feel. We would use this also if we were soloing. Okay. So if I was soloing and we'll be getting into soloing in just a little bit. But if I was going to just go through some notes and I'm going to only play the notes using the Springfield. So I'm going to be like, okay, starting to sound bluesy. So I'm getting in the rhythm that the blues rhythm space that we want to be in, okay, breaking everything into pieces of three. And like I said, when you're when you're getting into with the cores and getting into with the soloing, you may choose to go straight eighth note triplets, which is fine. In which case you'll be like. Those are straight into triplets where he may break it up as swing feel 1, 2 to the 3, that fortune. So you may decide to go for either one because they both sound very bluesy. But the swing feel is the standard of creating a blue sound. Okay. So sweet deal is what we're going to be doing primarily for all of our blues. A lot of times when you look at a piece of music may be in the very beginning in the notes like where the title is, and then the notes of some 44 time. It's this tempo is this key. You may see something that looks like this, okay? And what is a quarter note? And then it has an equal sign. And then as gods, just a little picture of our swing fill triplets. Okay. It's got to eighth note triplets with the rest in between. It's got the bracket and the 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 agents. So that song written down, we'll just have regular eighth notes. And you're not going to see maybe the three and the bracket and the rest in between because that's a lot of writing. There'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 quarter note symbol equals this, which is our swing field. And what that's telling you is if you see just regular eighth notes, turn him into a swing field, turn him into a triplet, instead of playing like 12. And you're supposed to play 123412, 34 instead of 1234123411 trip let 1234. And you can hear the difference between that and 1234 pens drags a little bit more. Okay. One more thing I want to cover off on before we move on to the next lesson. When we're talking about triple time, anything can be turned into triple time. So, so far we've just been talking about eighth notes. But in our basic crash course rhythm lesson, there's a lot of different kinds of beats. There's whole notes and half notes and quarter notes and these notes and 16th notes. And there's even more unknowns than that. But Here we're just talking about turning 8000 and triplets. And yes, you can turn quarter notes into triplets were no triplets. And you can turn half notes and triplets even. You see that sometimes, but not quite as often. General rule of thumb with triplets is that the larger the beat is, and it's turned into a triplet, the harder it is to count. And they get really difficult to count. When you're dealing with quarter note triplets or half note triplets, you don't see those as often. What you see more often are the smaller beats, eighth note triplets and 16th note triplets. Here we have a 16th note triplets. This is also referred to as A6. It's a six tablet. And all it is is six notes. Okay. It's got two beams on it. The two beams tell us we're dealing with 16th notes. But bracket and the six, that tells us it's in a triple time. So what's going on is all these notes right here are going to equal one quarter note. Okay? So within one-quarter now 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 and they're doing a quick run and they want to do something a little faster than notes. But they don't want to go quite as fast as 30-second nodes because they're really fast. They may just pump it up to play some 16th note triplets. The way that you count these, there are various ways, but the way that works best for me is just counting 1, 2, 3, 4, 5, 6 real fast. 123456123456123456123456, like that. So if you've got the beat, the beat is going like 1234123456123456123. Four hundred four hundred four questions, what would you for us? That's how you do 16th note triplets. So only if we're going our E seven chord, like the TV for us to access. What do you do for access to systems? For instance, if I go from eighth note triplets, 26 tablets, okay, on the seventh chord will start on quarters. So we can start hearing that we're getting more of a bluesy sound. And that by the way, was a pretty slow tempo. So we start speeding it. I'll begin, start seeing the possibilities for such systems. So when people are doing that kind of fast and furious strumming, a lot of times they are just bumping it up to 16th note triplets. May also have noticed that when I was doing that, I was backing off quite a lot with my right hand. So just because I'm going faster doesn't mean I have to be going louder. Right. So so I'm not digging into it as much and I'll what I'm doing is I'm just brushing it like we talked about pulling back on the point of my pig, brushing against it. Okay. 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 eighth note, triplets, one triplet, triplet. And then removing that trip so we can get the swing field trip. Trip. Makes sense. Alright, I will see you in the next lesson. 9. Arpeggios (page 19): Let's talk about our arpeggios. Arpeggios are a soloing tool that are pretty much a fail-safe. You cannot go wrong if you use arpeggios properly. So your thick and of course, King or wrong if you use it properly. What I mean is if you are looking at the court and you're supposed to solo over the song. And as the court is going by, you use the arpeggio that is supposed to occur over that chord. You are only going to hit the 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 a mode, you have so many notes that you can choose from that some nodes will sound better than others and some nodes will be stronger than others. So you may hit a node where it's again, that was not the greatest node. That's not the case with arpeggios. When you're playing an arpeggio, all of the notes or strong notes. So that's why arpeggios are a very powerful soloing tool. So I want to talk about that today. What is an arpeggio? And arpeggio is if you take a CT, any court and you break it down one note at a time. And you look at all of the different notes in that chord. And then we took those notes, just the different notes. And we created a little miniature scale only using the notes from the court. That's an arpeggio. That's it. So our videos look like little miniature scales. But what they are is they're just composed of the notes of a court. Any chord can be turned into an arpeggio, arpeggiated. Any court can be arpeggiated. It could be as simple as a G chord, or it could be as complex as an E-flat. Minor, seven flat nine, sharp 11. We can make an arpeggio for that court. We just take all the notes in the chord and we create a little mini scale only using those notes. And you would have arpeggio for that quarter. And if you had an obscure coordinate that in arpeggio would be the perfect thing to do because it would be tricky to find a scale that would work perfectly with such an obscure court. So if we arpeggiated and then we solo using the arpeggio, we're only hitting Notes. We're only playing notes from that court. So we're playing the perfect notes to go with that bizarre obscure court. However, even if we're doing basic courts, majors, minor sevens, arpeggios are wonderful. And blues guitar players use them all the time because a lot of time, lot of times blues guitar players, especially in the Delta style. Are they there solo musicians? What I mean is there playing by themselves? So there are a lot of different genres of blues. And you can think of some as being Electric and some as being acoustic, some armbands, and some are just people by themselves. So if you think of the person by himself playing acoustic guitar, I would, I'm thinking more of like a Delta style of blues. That person would be using a lot of arpeggios to solo because they can break off into his solo where they're no longer playing chords. But in their solo They're playing the notes of the chord so you can still hear the changes of the song. Okay, so that's how our prejudice work. So let's take a look at them. In what I'm doing for you is I'm jumping you directly into two different arpeggios. We're going to do in arpeggio shape for a seven chord, dominant seventh chord. And then we're going to do a minor or veggie O shape. So when we're playing major blues, blues in a major key, all of those chords are there mostly going to be seventh chords or dominant seventh chords? So the dominant seventh arpeggio is going to be the best bet for you. And you're going to use this thing all the time. So it's going to sound great. And then we'll have the minor arpeggio for us when the modern courts pop up. If we want to have an arpeggio option for that. Why the minor arpeggio too? Okay, so let's take a look at it. And let me start off by, by saying that for both of these arpeggios, got the tab here and tab down here. For both of these arpeggios, the starting note on the low E string, the string is going to be our root note or root node. So our root node is telling us it's in the key of whatever, whatever the key is. This is our root node for the, a dominant seven arpeggio and is an 8-note because it's five on the low E string. Since the fifth fret. Our Eastern, remember the chromatic scale, G-sharp. So that's a root node. Why is this important? Because these are shapes. There's no open strings in any of these shapes here. So when we kind of clue into the shape and we know where the root node is, how to start the arpeggio shape, we're going to be able to just move it to whatever Keq we get our starting finger on that note. And then we're going to be playing your Bedouin whatever key we want. We'll look at that more in a minute. So, and then we've got the three here for the G. Boehner said it was 3 on the Ruby string. It's the eStream, F, F sharp, G. So that's the root node is the first note on the luis string. Okay? So for the a seven or a dominant seven, we're actually going to start this one with their middle finger. Okay? So middle finger goes on the five because it's the a. But this is going to be a good shape to launch us into it. Okay, So let's just jump through it and see how it sounds. We've got five and then the next string is 44 threads, so 45765859. Okay, So we're going 47, 57, 58, 59 is play it backwards. Okay. That is the, a dominant seventh arpeggio, or just a seven arpeggio. Now what that was is just the notes from our A7 chord. So our most basic A7 chord, this guy right here, 0, 200, 200. So all we did was we just took the notes from this court. Said the court, and we are playing them one at a time. Now, I don't need you to build, to analyze the cord and to create the shape. I did it for you. This is, uh, okay. So what I need you to do is to memorize this shape. Okay? It's a dominant seven arpeggio. Those are just notes from the A7 chord. Okay? So it's just a shape, like I said. So when we move this around to different frets, it on a, so what if I went up a sharp to B? Okay, so now among be, so if I play the exact same shape here, I'm just going to start it out B instead. Thus, the B7 arpeggio. Just the notes from a B7 chord. What if I kick it up here to the d? Okay, so if you're on 10 and the d, and then do a D7 arpeggio. Let's go up to the 12th. Be okay. Awesome. So we can put em anywhere we wanted. And we're going to be playing all the notes from that chord of whatever keyword in. So they're going to sound perfect over that court. And like I said, this is a soloing tool, so I just played them forward and backward. But what you are meant to do is once you get comfortable with the shape, is to spend some time mixing up the WPS. You can only play these notes. Okay. Kia, you could only play the notes of the shape, but play amount of order makes a lot of jump around a little bit. So for example, if I was just going to play around in the key of a. And it sounds awesome. It sounds great. And all I'm doing is I'm playing around and I'm reflecting that A7 chord, but I'm doing it in a melodic way instead of a harmonic way. Okay? Melodic is soloing, harmonic is courts. Okay? So that is how the a seven arpeggio works. Now, with arpeggios, they're a little different from scales. We'll look at skills later on. But I will tell you that with scales. So a lot of times you can just stay put on a scale for the entire song. So if I said, play in this scale on this key and just are going to stay there for the whole song. All the chords are passing by your distinct, but it is one scale and the one key, okay? Arpeggios are different because arpeggios 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 in blues. So if we've just got a whole bunch of different seventh courts, usually there'll be 33 different seventh courts. Then we are just going to take that shape and slide it up to whatever the key is. If the next court, when the court changes, you have to change with it. You have to slide your arpeggios shape up. Okay? I'll give you a very basic example. So if we are, because we're going to get deeper into this as we go on. A basic example. If we are have a little mini song and our core changes go from a seven to a D7, okay? Because this will work only over the seven courts to dominant seventh chords. So our song goes like this, A7, D7. You'll see that I'm using the Springfield from astronomy. Now. I'm going to solo over it using the arpeggio, dominant, dominant seven arpeggio over the A7 chord where it was being played, going to solo the a arpeggio. And over the D chord, I'm going to slide up here to 10 because this is D. D on the Easterns were my root node is, here's the fifth fret, a, a sharp, B, C, C sharp, D. So the 10th Fred is d. Okay, so let's trade. So To see what I'm doing, every time the core changes in my head, I'm just moving up to the same key as whatever the court is going from a to D. Seven. Good, So that's how arpeggios move. And if we threw us more chord changes every time the core changes, I would just follow it with that arpeggio shake. So I want you to become best friends with this arpeggio shape. All right, Let's take a quick look at the minor arpeggio here. I've got the G minor arpeggio starts on three. Okay, so this guy, we're going to start with your pointer finger, okay? Minor arpeggio starts with the index finger, 6553336. Okay. In backwards. What I did was I just played the notes of the G minor chord. So if there was a, if we're playing the G minor, awkward, right? So we've got that. Then. I would use the minor arpeggio in the key of G to reflect it. You my solo, right? So what if we did a couple of changes where we said, we've got a song, imaginary song, and it's going to go from G minor to C minor. Okay? So it's going to sound like going to do a G-minor arpeggio over the G chord. And then I'm gonna come up here to see and do a C minor arpeggio where the C chord, the C minor chord would be in C is, here's g of three, is a. And G sharp a, a sharp me sees a Z as an aid for it. Okay? So let's try. And all I'm doing is I'm playing only the notes from the G-minor chord, the C minor chord. Okay? So when you have a situation where you have seventh chords and minor chords coming up, just go for the edge coordinate. If it's a minor chord, use the minor arpeggio. If it is a seventh chord, you use the dominant seventh arpeggio, whatever the court says, that's what you go for. So for the most part, the blue stuff that we're going to be working on is going to be either seventh chords or they're going to be minor or minor seventh chords. So like I said, there are arpeggios for any core that exists. You can turn any core to an arpeggio. But we're just focusing on the ones that we're going to be 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 soloing, okay? Like I said, we've got MOSFET scales and we've got arpeggios. So I want you to have a couple of different tricks that you can use when you're soloing. But if you ever get into a bind or start feeling like you're solo, it doesn't sound great. You should always revert back to playing arpeggios because it's going to bring it back together and it's going to sound really good. 10. Scales (page 20): Let's talk about our scales. So I'm going to show you the scales that you need to know to sum over the blues. The best scales to use when you're soloing over the blues. Lot of people really don't know what to do when they solo. The blues. Accomplished players do just fine because they're accomplished players. But the blues, simple style and it's easy to get into, usually just do records. And people will grab an easy skill shape and just bang around on it. And they need to know a few extra things in order to really get better and to make it work. So I'm going to show you how to do that right now. The Mixolydian mode. The Mixolydian mode is a scale, okay, but it's called a mode. So I don't want to bog you down too much in modal theory. But essentially, it's kind of like if you had 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 notes. So it's called the Mixolydian. And it's called a mode, MO DE. So the Mixolydian mode. But the Mixolydian mode is also scale. It's the Mixolydian scale. If you want to be more property called a mode though. And this one's in the key of a. So everything that we've seen so far, we're having root notes that our students, our firstNode, and it starts with the low E string. Us what key we're in. So that is still true for all the stuff that we're doing here. And the Mixolydian mode is what you're going to use whenever you are soloing over a seven chord. Just a plain old seven chord, which is major. It's a dominant seventh chord. When you're playing major blues, it's what's called parallel movement. And so when you have parallel movement, we have to shift the scale or shape we're arpeggio as the chord moves. So we're going to treat the Mixolydian mode the exact same way that we treated the dominant or Reggio. Every time the cord nerves, we have to move the shape along with it. But the Mixolydian is the imperfect scale to use over dominant seventh chords. So let's jump into it. And we can see just by looking at it that has got a lot more notes than the arpeggio dose. So the arpeggio has four individual notes and the full Mixolydian mode has seven. So we've got the extra three notes, which are going to make a big difference in our options for getting different tones. Okay, so let's just jump into it. We're going to use start fingering it the same way we did the dominant arpeggio. We're going to start with our middle finger crack. So 57. And then a fourth, 57. 57 again for 67. Memory shift up here to the five, and this 578 and then 579. Okay, let's try it again. Let's do it backwards. Good. And our root node, like I said, is a, because our starting note is day after F-sharp, G-sharp. So it's a. Okay. Now the 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 forward and backwards a bunch of times and tried to memorize this shape. Once you do have a memorized, you're going to start playing around with it and mixing it up. You can only play these notes, only these notes from the shape. But I want you to mix them up to play around with them. Tried going forward and backward on one string. So we'll take a look at that a little bit more in a minute. But like I said, when the cord is changing, we want to go with it. So let's just stay on the a Mixolydian for just just a minute. Okay. And so for playing around, when I was going slow, I was picking everything down. When I start to speed up, alternate picking so good down, up, down, up, down, up, down, up every time. And just because I changed strings doesn't mean I'm necessarily starting with a down. Sometimes I'll choose strings that start with enough. I'm just following down, up, down, up, down, up, down, up constantly. So sometimes you want to choose strings, it'll go to it. It'll start with a down and sometimes it starts with an up and just falling down, up, down, up, down, up with my right hand. Doesn't even matter was going on with my left. And arresting over here on my bridge. You may be playing in electric. That's fine. Find a comfortable place to kind of rest your wrist and just alternate pick, alternate pair. So let's just take a minute and let's solo over the Mixolydian. See what it sounds like. We're just going to mix it up a little bit, so okay, It's pretty cool. Sounds good. Now what we need to do is take a couple of those legs and pop them in and then be able to change the key when the core changes. So this is something that we play over seven courts. We played over dominant seventh chords. So let's do a little example of, I've got a little venture song. It's gonna go A7 chord to a D7 chord. Okay? So, or the A7 chord, I'm going to play a Mixolydian over the D7 chord. I'm going to play D Mixolydian, and you come up to the tenth fret, because this is done from. So E, F, F sharp. Today is your a, B, C, C sharp, D. Okay? So let's try. We'll go a couple of bars, two bars of A7, and then two bars or measures of diesel. So we'll go like exempts. Okay? And so now that's my imaginary chord progression. So I've got the a to the egg. The egg. Keep on going forth between the a and the D. Every time the core changes, we change. So we could pump in some more courts and we will have to follow them. So every time the core changes, we're going to go with it. Okay, so that's the Mixolydian and that is one of the big tools that we're going to be using when we get into the blues, which we're almost there, we're almost M2, the actual application. We're just trying to get all of the tools that we need. Start playing around with actual blues progressions. Okay, so moving on, we've got the natural minor scale. I mentioned before when we're talking about arpeggios. That a lot of times with scales, you stay put in same scale, the same key for the whole song. 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 blues means you take the same shape, they keep popping it around to different keys. So the Mixolydian mode, or the dominant arpeggio, we have to pop it around that shape every time the core changes into the new key of the court. When we're playing minor blues though, we get to hang out and just relax a little bit more on the shape. So let's take a look at the G natural minor. The G natural minor, you can just call it the minor scale. I'll, it's called the natural minor because 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 minor scale. So like you've got the major scale and you got the microscope. This is the minor scale, the actual proper microscale. We'd call the natural minor. I have put it here in the key of G. Okay, so let's take a look at it. We're starting on G, which is the third fret. Because it's G. Dream 5, 6. And by the way, I'm starting this one with my index finger because it's minor. And we did the exact same thing with the arpeggio. Started it with her index finger. Okay. So 563. 56 again, 52333463. 56 studio. Let's play it backwards. It sounds cool. Very good. All right, so if, and again, I want you to get comfortable with the natural minor scale, because when we're playing minor blues, that is going to be your best friend. When you're playing a major blues. Mixolydian is what you're using when you're playing minor blues. D, natural minor scale is going to be where you're going for. And you can hang out in the, in the, whatever the key is. If we're playing, say, minor blues in the key of G, you can just hang out here for the entire song. More than likely, or at least 90 percent of the solid, you're going to spend most your time just chilling out, enjoying, meandering around the G natural minor scale. Okay, So if I had a chord progression that went maybe from G minor to a C minor, okay, so my song maybe sounds like this. I'm going to play around with the G minor scale through both of those changes. A mistake, but good luck. Now, even though I was staying in the G scale 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 chord. So it's all in there because minor blues is not parallel. So we don't have to take the shape and move it around. We can still access all those sounds within the same key. Okay, So, and 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 be using them a lot. Okay? Lastly, I do, I thought that the pentatonic minor deserved of mentioned because it is such a cool little scale. So penta means five. So a pentatonic scale, pentatonic has five tones. Pentatonic, five tones. So it's a five note scale. It's got five different notes in it yet, because there's more than five things going on here, but we repeat it because the octave, so there are five different notes going on in the pentatonic scale. And this is the pentatonic minor. There are dozens and dozens of different kinds of pentatonic scales. Most people have no idea. They just think there's only one kind of tonic skill because it's so popular as the pentatonic minor. As matter of fact, this is the first scale that and on the guitar. And there 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's very useful also. So I still use it all the time. And it is, it's something that you can use as an alternative to the arpeggio. Also, you can use it as an alternative to the minor arpeggio. For he could use it as an alternative to the natural minor scale. It has elements of both in it. So if you are dealing with a minor chord and you're not sure what to do or your brain is just seizing up on you. You can always go for the pentatonic minor skill because it's always going to work. Almost always going to work and sound great. Okay, Let's take a look at it. It's got some big jumps in our fingers. So are the key of G again. So 36353535. And the two high streams are 36, 36. That's, it's the pentatonic minor. Anytime you have a minor chord, you can always play the pentatonic minor over it. So if you're feeling like, I can't remember all of the notes or the shape of the full natural minor scale. Just grab the pentatonic minor. It's going to serve you just fine until you can kinda get stronger on your natural minor scale. Let's go back to our example of G minor chord, to a C minor chord. Okay? So we've got and jump into the g pentatonic minor. Works. It sounds great. Sounds really great. So that is one way to use the pentatonic minor is you can just stay put or you can treat it the same way that we treated the, the dominant arpeggio and the Mixolydian where we treated the parallel way, where we just move it to the key of the court. So NRG minor to C minor example. And I could do the g pentatonic minor over the G-minor chord. I can do this C pentatonic minor over the C minor chord. Let's see what that sounds like. Okay, do the chorus verse. And at g pentatonic minor, C pentatonic, but that works too. It definitely both work. So I can either hanging out in the g pentatonic minor or I could move it. Every time There's another minor chord, I can always just move it in rooted in the minor pentatonic, lighter than that key. That makes sense. So we've got a lot of different ideas swirling around. So okay, quick recap. When we're playing major blues and we've got just seventh chords, regular seventh chords. Every court guessed that Mixolydian. Okay, let me just pop it in different keys. Whatever the core key is. When we have minor blues, we can hang out in the key of the minor and just play around with the, the natural minor scale in that key the whole time. Or what we could do is we can play the pentatonic minor in that key. Or we could do that minor following each minor chord in the courts key. So we've coupled different options here. And that's what I want you to have his lot of different options. So adding onto the arpeggios, we've got now bunch of different scale options. Okay, they weren't going to be exploring all of these options. What 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 familiar with these shapes. And I will see you in the next video. 11. Techniques (page 21): Let's talk about techniques. Techniques are awesome. They allow us to make extra notes without having to pick them. You've already seen me using some techniques in some of the examples. Okay, So let's get into it. We've got about four or five techniques that we can use on a regular IS. And techniques, by the way, when people will describe guitar players and they talk about their style of this person's style, are that person's style, their style of playing? It sounds like them. A lot of why it sounds like them is because of the techniques that they use and the way that they use their techniques. Part of it is, you know, the notes they choose. Part of it is there 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 and what their style is. Their personal signature to the guitar playing. Okay? And one of the great things about it, like I said, is that you can make more notes that you don't have to pick. So let's jump into it. I'm going to show you these five basic techniques. Okay? Hammer on the first one. Now, for these examples, I'm going to use the pentatonic minor scale. It's a simple shape and we can easily go through it and try these out, okay? When you're using techniques, you can use them over scales, melodies, single-dose. They're usually used over single. Sometimes we'll use some of these over chords, but we're usually going to use them when we're playing scales or arpeggios. Okay, so pentatonic minor will do the key of G. Key of G. So, okay, so the hammer on. We're going to start off by pressing on the third fret with our index finger. We're going to hit that note, pick it. Then we're going to smack down with our pinky. On the sixth fret. We're not going to pick it. So we hit the three and then we smacked down with the pinky. Okay. So what's going on is wall when I hit the pinky, continuing to press down with my index finger, is the hammer on. Okay. If we want to hit it pretty hard, I'm just doing the piggy because that's the note in our scale. If I was maybe on the, one of the middle strings, like say the D string. So I'm on the third fret on the D string, and then pick it. So I pick the lower note. And then I'm going to with the ring finger snack on to the fifth fret as a smack because veterans really try to hit it hard with that second finger. So kids then smack on to the fret. And what's happening is I'm getting two notes and I'm only picking 1 vigor the first node. And I'm still pressing down on the first day and I'll let I'll buy it at any point. Okay. So what I can do is I can go through this pentatonic minor shape and I hit the first note of and I'm going to have her on the second note. Every time I get two notes, I'm only picking one. Okay. Also, low point out that it's at my discretion or your discretion as to how fast or short the spacing between the two nodes is going to be. You can make it long, where you can make it shorter. So we could say we're going to go that like really lead, hang out. Or we could try to make it faster. Or we can make it really close together where it's like butter. So the spacing, the rhythmic spacing is up to you, Okay? It's whatever you need it to do. Alright? So that's hammer ons. Let's look at pole ofs. Ofs are kind of the opposite of a hammer on. So let's start with our first example. We've got the third fret of the high string. Pressing on it, and we're also going to press on the sixth fret, pressing on both, pressing on the third and pressing on the six and the same string. Okay, I'm going to hit the high one this time. Picker. Now what I'm gonna do is I'm going to hang off with my pinky. Still pressing on this guy. When I pull off with my pinky, It's almost like I'm blocking it with my pinky right here. Okay. So I pick the picking up and I caught tweaking it with my pinky wall. I'm still pressing down here. It's a pull off. Okay. So what I want to get set up for a pole off, I have a press on both Fred's both of the notes. I hit the high ion. Then I twist it off to the low one. Right? Just go through the pentatonic minor ofs. I get two notes for one pick. And the deal with techniques is that you want to, you're going from a note in the scale or veggie of you going from an O, the scale to another scale, from another scale to another scale. So we're not just randomly grabbing notes. We want to do notes that are within our scale shape. All right, so moving on, let's look at slides. Kind of slides are a lot of fun and a lot of sliding and the blues. Alright, so we will go in our three on the high string. Now what we're gonna do is I'm going to slide up with the same finger to the sixth fret. When I do that, I'm going to continue pressing all along the way. All along the way I'm going to continue pressing. And I'll sliding up to the sixth fret. So I can do that all the way down. And we're going to start on the logo of each string. Slide up to the high fret of each string. So okay. And just with everything else is 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 we can do a quick way to slow. It's our choice. So there's a lot of opportunities to be creative. You're alright, We slide up using same figured it out, you're pressing all the way. So we can slide up or reselect back. Okay, so I'll go to the high note, the six, and I'm going to hit it and slide back to the three. Okay, Good six and the B string it and slide it back to 3. Now, one of the things with sliding that I think is helpful is don't watch your finger as you're moving it. Don't do that. Okay? Some people like to watch their finger as it slides. Don't do that. Instead, look at your destination Fred, Fred, you're going to just look at that and only look at that. Look at where you're going and slide to it. Okay? So don't look at where you're going. Look at your destination, and just fix your eyes on that and go right to it correctly. So we can slide up and slide back. Back. Makes sense. Okay, good. Bending. Bending is really cool thing that we can do on the guitar. It is pretty hard to do on the acoustic guitar. It's a lot easier to do on an electric guitar. So if you are playing electric guitar than have at it, go bend in crazy. I will give you some pointers. Obviously, the, the most important one is we wanna go from a node in a scale to another scale. And Wu, with bending, you can break that rule sometimes, but you always want your destination nodes via note in the scale. Never been to a note outside of the scale. Never. Always. If you're going to bend from an outside, you can vet from a note outside the scale sometimes would always want to vent it to another that's in the scale. So you want to wind up on a note in the scale. Really important. Okay. And we've got forward bends and backwards beds, also called reverse fence. So I'm going to on the acoustic guitar, it's easier to then the high strings. So I'm going to go for the B string here, okay? Now even though this node is not in our pentatonic scale, I'm going to bed from the fifth fret of the sixth fret. So on fifth fret, on the B string, I'm going to go from this node to that node, will then use, no matter what I do, say, there are pushing up. We could do is use a couple of fingers behind it to help you push. So using a couple of fingers to help you with that string to push it up. And I'm trying to get to this number here, okay. For that. So that is a forward bends and I'm just going from there. We've also got reversed beds. And that's basically where I start the band, but I don't hit, I don't pick anything. I go bush, hit it then in let it release it. So I unbonded. So I start off by bending, but I don't hit it. Bent, Push. Then I hit it. And it releases a unbonded that's reverse bent. So o and reverse beds. Okay. So that's been a vibratory. Vibrato is a very cool technique that you can use all the time. On single-dose, any single node that you happen to be on, you can use a little vibrato. And all that's going on with our broader is that it's kinda like you see in people with shaky hands, you just shake, kinda deal with that except we're doing it while pressing on the note. We're just trying to make rapidly do little mini shakes. Yep. And what it does is it gives us a little sustain. It bends to know a little bit more, which gives it a little bit more sustain, helps it ring a little longer, a little louder. We don't want to be moving it too much because we don't want them to go run to try to prevent it. We just want to give it a little bit of a little extra. Somebody keeps ringing. Vibrato. So you may be playing in, you may go. You're going to be mixing up all your techniques, okay? When you're improvising, you're supposed to be mixing up your techniques. It's doing some hammers and pulls some slides, bands in vibrato when you land on a good note that you want to accentuate. So makes sense. All right, Go practice your techniques. 12. Dominant 7th Chord Shapes (page 22): Let's talk about playing dominant seventh chords all over the place. One of the things we've 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 the blues. A lot of times you're going to 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 build a new different tricks is to have a lot of different shapes. Dominant seventh chord, just the regular plain old seventh chord. So we want to be able to do it in as many places as we can. And since the blues is usually just about three chords for any song, it's roughly three courts for basic blues. We want to build a mix of these chords in as many ways as possible to try to get as much out of it as we can. So what we're going to look at right here is taking the A7 chord and playing it's all over the place. Okay? The good news for you is you've already learned two of these shapes. The first two shapes. So this first shape right here is the bar chord to a seven bar chord rooted on the E string. So remember, are a bar chord here, the fifth fret, where we are holding down all six strings with our index now. Okay? And then we take our picky off. That's a, that is a seven. All right. So you already know that one. So we got one. The second 12. This is the one where we were doing the this would be like an a chord way up high on the 12th fret. So the two figure a coordinated discipline would be the 12, 141414. And then we opened up the G string, right? This is a, so we've opened up the G string. Okay? What I want to talk about next is these other ones, which are based on shapes that we're kind of used to buy it. So the third one here, 22 to three. Okay. So this one can Elsevier two-fingered court. Right? Now what's going on in this chord? The to, to, to kinda looks like an open a chord, right? Remember from our open a court, we've got the two 22. That's where this comes from. And then we're just hitting this high note here, which happens to be the seventh, the seventh interval, which makes it the seventh chord. Don't get too confused by that. But our root node in this guy is going to wind up being the G string node right here, and that's where our actual a's. So when we're looking for this chord in different keys, we're looking for it. It is on the G string. So because it's the G string, G, G sharp. So we know that we can think of that middle node on the G string is a root note for the shape. So here's a seven. So for example, if I was going to look for a D7 using that shape, we're looking for d on the G string, right? So as G, G sharp, a sharp, B, C sharp, D. I'm just going to put my fingers down and get this gallery here. There's a DSO, The D-sharp, and this would be E7. Okay? That makes sense. All right, real good. Now, these next two are both going to be the same kind of shape. And these are little mini seven chord shapes. So 545, okay, Starting on the low E string, 545. And we're just strumming where we're pressing on. So that is a seven is an easy way to get to an A7. Okay? Now we're gonna do this exact same shape, but we're going to kick down a string. So we're routing on a stream going up to 12, because the 12th fret on the a string is a good. This is going to be a seven. So that's this guy, 12, 11, 12, which is the exact same shape is coming down here, reading it on the E string, the lower Now the last shape that we've got on the white board is 989 on the high strings. Okay? So 989. This one is a great one. I use this one a lot because I kind of borrowed it from studying some guys like Robert Johnson. And you can really manipulate this quarter life. This what looks like a D7 chord. Okay, remember our D7 was this guy right here, 22. Now what's interesting about this one is It's difficult to find the root node because it doesn't have a root node in it. Yeah. So if we were saying that this is a D quarter here, D7, there's no denote in it though. So there's kind of a problem. Our D would normally be this quarter here, just an open D chord. And our dino would be my ring finger. But since we took it away and we moved it back to you friends, that note. Now I don't have a d at all. So there's no root note. But this is where it would be two friends up on the B string. Okay. And that's how I know would the court is. So two friends up on the B string from the shape is going to be my hypothetical root note is my hypothetical root node. It's what the court would be. An infant had already noted it. So when I come up here to 989, okay, if I look at my b string and I imagine two friends off from there, it's on the tenth fret. And I'm either be strings of bees on 12. So B flat. So I know that this is my a. So does that make sense? Let's try another one. What if I was looking using that last shape, looking for in IE seven E7. Okay, so I need my hypothetical readout to V here. Here's my eNode, B, because it's out of Eastern B, C, C sharp D, D sharp B. So I need my hypothetical read and to be here. So I just need a backup, kind of like a D7. Open, courtship. Back it up and make sure that as two frets higher than IV string node. Yep, it is. So there would be my E7. So that makes sense. Because my b string node is two frets back from that E. Note my hypothetical root node. Okay? So here's my A7. Okay? So a good way to practice these is just to take one key and to bounce around all these different shapes. Just stay maybe the key of a standard key of a vague round all these different shapes with the swing fill, please. Okay. Then you want to try it in different keys, being used in moving around in different keys, and try it in the key of D. Okay, so we're gonna go to the key of D, D7 fringes, shift all of these up to here deep, right? So see my D7. That shape is actually D7 chord here open. And then I can try different keys. But you want to hang around and start messing around with these. What's really unbelievable. But the blues is if we take some of these shapes and we figured 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. So that is a pretty cool thing about the blues. So for example, going from my A7, D7, we can take this shape right here and just bring it to a D7, which I'm barely even have to move my hands to get to A7 using the Shaper here. And then I just back it up to this D6 and D7 and this shaker here with the T22. But I'm up on 777. And you're going to start finding things like that and it will point those things out more as we go on. But I want you to start working on getting a lot of different dominant seventh chord shapes so that you're going to have just endless possibilities is I want you to be improvising, not just on the solos, but I want you to be improvising when you're playing your courts. So I want you pretty much constantly improvising when we get into the blues, I always want you to be creative with it. So the working on your redundant dominant seventh chord shapes. 13. 12-Bar Blues in E (page 23): Let's go through our 12 bar blues. 12 bar blues is the standard form of the blues. And this paved the way for a lot of other styles of music. So the blues influenced bluegrass jazz, rock and roll, pop music as we know it today, was all influenced by the blues. And it's the blues form. So what we're doing here is we've got three chords. And some people will refer to the top bar blues as one 45, which it is, it's 145. And what that means is, if we, in the example that we've got here, we're in the key of E because our first chord is E. So we're applying 12 bar blues in the key of E. If we consider the E to be the one of the scale, because it's the key of E, So it's the first node. And there are seven nodes total in the IQ scale. And so if we just do some simple counting, this is not a 100 percent precise, but this is a quick and easy way to get to what the 145 is. So E is one. And then we just count through the musical alphabet, the naturals. So E, F, F is the two G, and it goes back to a and a. So a is the four, b is the five. And then C would be the six, and D would be the seven. Those back to E again, which is the 88 is the octave. So just repeats. 8 is the same as one. So e is one. And then F, G, a, so a is the four. So there's the four. We have four there. And then B is 25. So when people say 145, That's a really quick and easy way to figure out what the 145 is. Um, so what, what people make the mistake of is they say, Oh, the blues is so easy, it's just one, 45, it is just 145, but it has to be played in the right form, in the right order. So we can't just play an E and a and a b in, just saves the 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, the word BAR, BAR is the same as the word measure. So to call, to call this 12 bar blues, the exact same as saying is 12 measured lose, there's 12 measures, 12 bars told measures, I mean the exact same thing. And the dashes over here are indicating our measure breaks. So there's new measure every time you see a dash. So there's four beats inside of each dash. So four beats of E7 for me today, silently for me to V7, four beats of E7. And it keeps going like as a 12, 3, 4, 5, 6, 7, 8, 9, 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 and start playing around with putting our chords in different places. We want to work on getting her chord shapes that we also want to make sure that we can start working on getting the swing feel is because we want it to sound bluesy. So we want to give it the swing field. Okay, so let's jump into it. I'm going to go through a password, two of it just doing the open courts. So I'm using E7, A7, and we seven. Okay? And we're gonna go with their swing feel. One measure or one bar, just that very first E7 is going to go like this. Okay? Because remember we're going one trip lead to triplet, triplet, triplet. So that'll be just one measure, okay? And then we would change to the a. Okay. I'm going to go through it and then we'll see what it sounds like. Pretty cool. It sounds like the blues. Okay, good. And I ended on just one strum of the E7 after I'd finished the B. And just one style moving ISA court. So when you're playing the blues, you're going to play this over and over and over again until you're done. And when you're done, just go one strum on that first port, whatever the first court is. Okay. Let's go one more time. I want to hear it again, okay? Okay. All right. Great. Now, let's start mixing up our courts. Let's start introducing some bar chords and see the mix. Okay? So we've got a number of different shapes of bar chords. But I'm going to start with just the first two shapes. The, the dominant seventh shape. We're, we're rooted on the E string, so I've got my E, we have here on 12th. My a is on fifth fret, and the bees on the seventh fret. Let's go through one pass like that, right? Let's go. All right, still sounds bluesy. Now let's do our bar-code reading on the a string. Okay? So I've got this shape. It starts on the a string, 79, 79. That's my E. On the seventh fret. I'm going to come up here to the 12th fret for the egg. And I can either come up here to the 14th fret for Wie wurden, come down here to the second fret for the B. Okay, so let's try just using those shapes too. 34. Okay, Goal, get some options going on. All right, now what I wanna do is I want to start combining routing on the E string and reading on the a string. So I'm going to start combining the root on the E string seven chord and the root on the a string seventh chord, I'm going to be able to start keeping my core changes a lot closer. So I'm not going to slide up and down the fret board as much anymore. Okay, so Let's start off by going to image. I'll do that. A ridge on the E string and the B route on the Eastern 234. Good. Now I'm going to start mixing and matching route, okay, just using those two shapes. Great, great, great. Now I want to do a little slide. Okay, We're gonna do a little slide. We said that when we're doing techniques that are usually with scales and single notes. But sometimes we can do things like sliding a chord. Okay, we're going to go, I'm back one fret from where the court is going to start. So for example, if I'm gonna do this E7 here, I'm going to start on the fret right behind it with the whole seven chord shape. And I'm going to slide into the e of one fret like that. If I was going into an, a seventh chord. So here's my A7 chord root on the E string. I'm going to start one fret and back and strum it, and then slide how boyfriend? Okay, if I was doing it for B, here's my big router on the E string, str 1 for it. Back from that, Let's trim it and slide up. Okay. Now the rhythm of how I'm going to do that is it's going to be on the last let on before. Okay. Right before I'm supposed to hit the court. So it's one trip lead to triplet three trip lift four trip lat, one. So on the four trip, lead one, lead one. It's all there. Let that I'm back when Fred, and then on the one that I slide up. Okay? So imagine if we're going like this. I'm starting off very beginning one triplet, triplet, triplet for true. Okay, let's start again at some real bluesy sounds going on. Alright, now, wants to do one more thing. We could do a walk down right here from the B to the a. And where that's going to be is it's going to be right on beat four, right on before. So when I'm on the V right here on the last line to one frame back among the a for meat, one of the next measure. So one more time on the B and I'm gonna go to go one more time, okay, without slowing down. So before It's where I go back to Fred. Let's go through the whole thing and I'm going to slide up except right here, I'm going to do that walk, that walk from B to a. Wow, start us out. Pretty cool. Sounds like the blues. Okay, great. So I want you to work on that and a one YouTube familiarize yourself with the sequence here, the sequence is really important. So it's 12 things, 12 measures to memorize toolbars. And I want you to be able to write this down, okay, it just from memory, so it's u0, v0. Then the second line is AAA E, and then the last one is B, a, E, B. Really need you to have that in your brain. Just know the 12 bar blues sequence because we're going to start putting it in different keys. And it's always going to be the same movements of the 145. Remember we said that e is 1, the a is the fourth and the b is the fifth. But when we do it in a different key, the sequence will be the same, but we'll just, everything will be shifted. Okay? So we're going to work on now you're going to work on sliding up to the court from fret behind on the Let of 44 trip let one. Okay. And then on the last line going from the theatre, the a or the five to four, we're going to walk down before. So before just goes back or fret right before we do the core change. Okay, one more thing I want to cover off on when we're going through the 12 bar blues. Because anytime you have something simple in music, usually it can be opened up and explored pretty deeply. And that's exactly the situation with the blues. There's a ton 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 Mickey of a. So what I want you to also work on once you go two shapes, is I want you to start introducing the other three or 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. Okay, I'm gonna go through the toolbars using some of the different shapes for each one. So yes. Okay. Start to get some different possibilities going on now. All right, good. So, uh, want you to work on, go through the first few shapes, use your slide up and slide up and walk down that we did here. And the sliding up in every court. It doesn't have to be done every time is something that you can do sometimes when you want to. So it's not something that has to be done on every chord change. It's just something that you can do sometimes to add a little bit of a slide sounds and will that oblivious to it. And moving around to the different chord shapes is something that is really good to give you some different tones and to start bringing the courts to life. Okay. So work on that and I will see you in next video. 14. Walk-Ups & Walk-Downs (page 24): Let's talk about lockdowns and walk ups. So lockdowns have lockups are some signature riffs that we can play on the blues at the ends when the sequence repeats itself. And it sounds incredibly bluesy. You know what it sounds like because you've heard this before. But you might not know what it was called and they're called lockdowns or more cups. And they're used to turn around the progression turnarounds to restart it, the beginning. Okay? So we're still going to use our 12 bar blues progression in the key of E. To go through these. I'm going to show you two of them today and show you a walk down. A walk-up. Okay. So first let's listen to what the walk down sounds like. Okay, I'm going to play it up here on the 12th fret, okay? Because this is where my e is. So I've got open a, but I've also got e up on the 12th fret. So just to do it in a nice closed position so we can do it in different keys when we need to. Okay, so let's do it like that. Was, let's do it again. All right, Sounds cool. Now, where do we use it? We use it over the last two chords in the toolbar blue sequence. So what that means is that you may be playing courts over the 12 bar blues, or you may be soloing. Either way. The walk is going to happen over the last two courts. Let's imagine that we're recording, we're playing the course, okay, but we want to do the walk. So what we're gonna do is we're going to play the courts, play the chords, and then we're going to play the B, and then a. And then we're going to skip these last two chords and we're going to play the walk instead. And then right after the walk, we're going to go back into the first equilibria. Okay? So let's go through that. I'm going to play the chords and they want to get to the b. I'm going to play D and then play the a. And then I'm gonna go immediately into our walk, which you've gotten your PDF in the additional resources. So hopefully you've got that either opened or you've got it printed out, but you're looking at the walk, um, so you can see what I'm doing, but you've also regard it's written down so you can see it a little clearer. So going from the courts that we're going to go into the walk and the last two measures. Okay. Hello. Isn't that goal? Okay. So what I was doing is I was just going through different core shapes, following the sequence. And then I skipped these last two cores and I just played the walk instead. And then immediately after the walk, when I went, buddy and I immediately go into my bag and see my first E chord. Okay? So that is a, a walk down and that is a release. One sounds great if we are playing the blues and the different key, we're all starting right on your route. Know you're hired node. So I'm on my high E. So I just started from that sequence and I'm using all my fingers when I'm applying it. Okay. So it's a really great one. So just check out the timing on it. I'm going to play it one more time for you. Okay. All right. That is our walk down. Now let's take a look at our walk up. Okay? So our walk up is the same thing. It's just going to go in a different direction this time the node, the melody will go in a different direction, but the concept is the same, the timing is the same. So we're going to do it over the last two chords also. So just like before, we're starting with our high root node on the 12th fret the high E string. Okay? So let's listen to what the walk of sounds like. Just like before, right after we finish the walk up, we're going to go and see you our first seven chord. I just disturbed the whole thing over again. Let's play wartime cake. This is the walk-up, right? That sounds cool. I'm gonna go to the courts, go through the whole thing, and then I did walk up this time. Okay. Great. All right. So you've got a walk-up and a walk down. And what you wanna do is you want to alternate between the two. So maybe one time I'll do the walk-up and then the next pass you'll do the walk down so you can sort of mix it up and make it sound a little different each time. You may also decide you don't want to do it every time. So you may sometimes play the coordinates instead, or you may decide to play the walk-up or the walk down. It's really your call. 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 going to go through three passes, passes. And I'm going to try and mix up the n equal that every time. 234. Hello. Sounded pretty good, didn't it? So what I did was the first time I did the walk up, second time I finished with actually playing the courts. And that was just mixing up the different shapes of the E and the B chord. And then third time into the walk down. And in between, I was mixing up the dominant seven chord shapes. And I was doing that slide a lot of times into the chord. 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 excitons and surprise every single time. So that's what I want you to work on. Who would have thought that three chords could have so much stuff to do. So start working on the walk downs in the lockups and incorporating it into your 12 bar blues. 15. Soloing with Arpeggios (page 25): Let's solo the 12 bar blues using arpeggios. So we've already talked about how arpeggios word, what they are. Videos are the notes of the chord. And they are the perfect tool for soloing as long as they're used the right way. And so with that's what we're gonna do right now is we're going to use them the right way so that we can solo, a solo using the perfect notes. Okay. And these are just one, or videos or 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 the dominant seven arpeggio. Just a dominant seven arpeggio. And we're going to move it around. Every time the chord changes, we are going to follow the court. So we're going to go over the 12 bar blues. But we're going to change using the arpeggio. Yeah. So I believe we were working on the dominant seventh arpeggio in the key of a. So that one was starting on five with our middle finger. It was going like this. One more time. Okay. So that's good. And actually is one of the ones that we're doing in this key. We're in the key of E, but we've got a coordinate, so we're going to use that shape on the fifth fret. Let's go on to the B, since we're just right next to it. So we've got to do the B, we've got to do the E, or the fifth fret, the slide up to the seventh fret with our middle finger. We're gonna do the exact same shape, just starting on the seventh fret now. And what's good? Okay, So that was the key of B. And now let's do the key of E. So what we're gonna do is we're going to slide way up here to the 12th fret, which is our double-dot 12th fret on the E string with our middle finger. And we're going to put the shape in right here and backwards. Now this may seem kind of high on your guitar. If you're playing acoustic. If you're on the electric, you're, you're doing just fine. 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 going to be up here on the 12th fret, okay? And every time there's an, a chord, we're going to be on the fifth fret. I'm timer on the B coordinate early on the seventh fret, doing the exact same shape every time. So when we're soloing this, we have a goal, okay? And our goal is that we want to try to keep swing fields and we want to follow the swing fill play a note for every beat of the swing feel. Which is 2, 3, 4, 1, 2, 3, 4. So inside of every quarter note or every beat, we're going to hit two notes. Bum, bum, bum, bum, bum note. Nope, nope, nope, nope, nope, nope, nope, nope. Okay. And so 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, so we're going to run through that a couple times. So let's just get the hang of switching the shape. So we're starting in the key of E, okay? And we're gonna go with the swing feel. An easy way to count this is to kind of just kept the quarter notes. So I'm going to play two notes for every quarter note, 1. Now I have to change to the egg, okay, so they cannot hear the fifth fret. Now to change back to the IEP. And I've got two measures of it. 1, 2, 3. Now I change today two bars on one. E for two bars on one or another beak for one mark on a for one bar. And the E for one bar, one. And the B for one bar on low seems like a lot, 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 node. Ultimately, we don't want to do that. We're doing it right now just to kinda get the change in the change on the beat. So for right now it's okay, but we're going to stop doing it in a minute. All right. So let's go through it in 4321 to agree on what care or what's really cool about your edges is that you can hear the chord changes. I'm not even doing anything special with the arpeggios, I'm just playing them forward. You can hear the core changes because I'm just playing the notes of each court as it's supposed to be going by. So like I said, the trickiest part of this is keeping track of how many beats you've played. And to remember to change the position because the court has changed. Once you get the hang of that, what you wanna do is you want to start practicing changing the arpeggio. So when you shift your arpeggios shape, you want to keep it in the same register that you left in. So what I mean is instead of starting on that load root note every time if I finished off maybe on the B string or the E string, I want to shift my new shape and start that arpeggio on the same string that I just left on. Okay, let's take a look. So money at the beginning. 1, 2, 3, 4, 4, 4, 2. So what I did that time was whatever the string was on my last beat, and it's time to change. A started the new arpeggios shape on the same string. That way, I'm keeping the melody more consistent. I'm keeping the register the same in the melody, and that's what we want. We don't want these big changes melodically like the notes are going from high to low. Every time there's a chord change, we want to try and keep the melody notes nearby each other if possible. Okay? So we talked about how our goal is to keep with the swing feel. And that's true. So when you have the swing feel, then you can start to manipulate the song using the arpeggio. You can start soloing and getting away from the chords a little bit and keep the song rolling, keep it moving. You can start playing around with the rhythm a little bit by adding an rests or filling in some of the filling in some of the rests that are already there. So adding more rests or filling in some rest by adding beats, more notes. So let's end. Of course we've got all of our techniques. So we want to start trying to use hammers and slides and pull offs, really with arpeggios, we're going to be sliding more than hammering are pulling off. But we will be able to slide and we will build use the vibrato. So we want to take full access of that stuff. All right, So let's jump in and do it again. And this time, let's play around with our rhythm. And let's do some sliding and a little bit more of a broad oh, okay. 234. Hello. Alright, starts coming to life a little bit more, doesn't it? Starts sounding a little bit like a blues solo, actually. Okay, Good. So one of the things that I was doing, I was using a little bit of pull offs because we need in order to do a pull off for a hammer on, we have to have two nodes on the same string. Then 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 a and the fifth fret, I was going. So we can do that anywhere. Then pull offs. Okay, good. Another thing that I like to do when I'm playing arpeggios is I like to play dyads. Dyads, we have not talked about them yet. Dy ADS, dyads. A dyad is just a little to note court. Essentially. You take two notes that are right next to each other, two strings. And we're just going to play those two notes at the same time. Okay, So that's a dyad, or these two notes. They're both notes from the arpeggio, so they're right next to each other on strings right next to each other. It sounds very cool, very busy doing AS little slide tricks, just like I was doing with the courts, would ever buy a destination is a disturbed when Fred behind slide into it. Okay. So using dyads is a great way to get a blues sounds. Make sense. Okay, last thing I want to cover off on is when we are solving with arpeggios. This is true with everything. This is true with courts. Chewed your pages and it's 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 religious and I'm gonna do a walk at the end. Okay, 2, 3, 4. That makes sense. I just played the arpeggios. And then when I knew I was coming to my last two chords, instead of continuing his solo, I just did a walk up. That time. I do a walk up or walk down to the walk-up that time. So this is a really powerful soloing technique. I think you see why is because we can hear the core changes in the solo. That's what we want. And we want to hear the chord changes. So if I'm playing by myself and people are listening and going through the courts and everyone's like, Oh yeah, blues. Then I 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. My solo. And so the arpeggios are a great way to achieve that. So start working on your dominant seventh arpeggios going through the 12 bar blues, use your techniques to try to make the note sound as interesting as possible. And start playing around with dyads. Your little to no money to note chords right next to each other that are from the arpeggios shape. And you may decide to throw in a walk down or walk up on the last two bars instead of soloing. 16. Soloing with Mixolydian (page 26): Let's talk about soloing using the Mixolydian mode. So we talked about how to use the Mixolydian in an earlier video. And it is a scale, okay? And it's a particular kind of scale which makes it a mode. And the way that you use the Mixolydian is the same as how you use 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 chord that's being played. And the Mixolydian 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 Mixolydian. Let's look at it in the key of a. Okay, so I'm going to fifth fret here and reading the misleading with my middle finger. Okay. Okay. Backwards. Okay, awesome. And so we've got a lot more notes than we did with the arpeggio. And so that is going to be one of the tricky things. It's a good thing and it's a bad thing, okay? It's a good thing in the sense of we can get more note possibilities so we can be more creative with our melodies by using the Mixolydian. The bad part of it is that we are less guaranteed to have a really wonderful melody. We may get one. But with the arpeggio you're kind of guaranteed to get and it's going to work great. Although some people may say the arpeggios can sound a little predictable. Because you're just playing the notes, the chord. So if you want to go more for an element of melodic surprise, you may choose to go with the Mixolydian because we've got a lot more note possibilities. Okay, So we'll deal with that in just a minute. So same as with the arpeggio. In the key of E. We're going to have the A's on the fifth fret of the D will be on the seventh fret. Let's do that one real quick. Seventh fret and middle finger doing the Mixolydian. Okay. And then the E is going to be on the 12th fret the double dots, middle finger. Always the same shape. It's always the same shape. Mixolydian makes Lydian Mixolydian, so it's the same shape. Okay? Okay, awesome. So now what we have to do is we're going to play through it and every time the court changes, we need to now, we're going to be spending a lot of time up here on the 12th fret because there is a lot of e is logging cord in the blues in E. But every time it shifts, we need to shift with it. So the first thing that I already know we're going to run into is what? Are we going to play it because we're not even going to be able to get through the scale. A lot of times we're just going to run out of beats before we have to change. So we'll deal with that in a minute. Let's just jump in and see what happens. Okay? I'm going to play one time real quick through the course just so we can kind of get it in our head. Okay, 234. Good. Got it. Okay. I'm gonna jump in and sort of soloing. Now, what I'm doing is I'm going to try to think about the courts warm soloing in my mind. I will be pretending that there's someone sitting right next to me playing the courts. So every time they change, I'm going to have to change also, I'm going to have to move. To the key of whatever key either coordinates and the third, okay, my imaginary ring guitar player, 1234. Okay. So I was mostly just going through the skill in order on that one. There are too many notes, too many notes for me to just go up and down the scale. And even if I did, I'm just playing up and down the scale. So what we want to do, and by the way, picking with the swing fields. So I'm going kind of like bump, bump, bump, bump, bump. 12341, triplet teacher put three triplet quarter. Good venture, put teacher, good feature. Unfortunately, alternate picking. So going down, up, down, up, down, up, down, up, down, up, down, like that. Okay. So what we wanna do, ideally is we want to come up with a small reef that we can do in the Mixolydian. And then we're going to just place that riff over the key that we needed to. So we don't feel like we have to fill up every single note. Okay? So what's a good idea is to spend a little time on the Mixolydian, which you may have already done, spent a little time on the Mixolydian just in one key and just get used to it and come up with a couple licks, riffs that you can do quickly. So for example, if we're in the key of E. So if I just spent 20 seconds playing around with mics lead in the end, I'm just kinda banging around it. Just play around, looking for some cool little note combinations. Don't need to fill up every beats. And so just looking for some quick little things and I'm using watery techniques, hammer ons, pause, slides, will Ben's lot of vibrato. And so I'm just trying to go with some links that I can do. So now what I'm gonna do is I'm going to take a look. Let's say that I just take a real simple lick, 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 who's creative. So what we're trying to do is we're just trying to get your brain to where you can start coming up with riffs and change positions. But to not get flustered by the fact that you change position. So just constantly think of it as the same thing as always the Mixolydian. So it's the same shape. We're just shifting it to different places to follow the court. Okay. So what if I did do a memorized with real quick. Okay. And what if this is my ref and the symbol, okay? So that's going to be one bar, one measure, right? So I'm just going to try to plug that in through here. 2, 3, 4, twice, twice on the A, B, E, and B. Okay. So that's an idea of what I'm talking about. Like I said, I don't want you necessarily memorizing roofs and using it all the time when you play the blues, it might have big a way to help you get started to get into the Mixolydian is to try a couple of riffs, Taiwan and then pop it in every key and then try a different result. But the main thing I'm looking for here from you is to always be looking for new riffs. Always be looking for new riffs. Never just settle on a single river. If you've been playing this riff a lot recently. Move on, pick something else. I'll create a new, a new riff. Keep on creating stuff. All right, so let's go again. And this time we're going to try to get a difference, different sound for each day, okay. To drink, fall apart. The correct answer. Okay. That sounded a little bit better. So sometimes you would see on trying to make a riff and then I'll do a fast burst. And when I say fast burst, It's where I'm going kind of I'm just running through the scale, but I'm going kind of fast. And so that's a good thing to do sometimes is just to the place of slow nodes and then placing fascinates and some slow notes and some fast notes. Okay, let's, let's go again. 1234 and cultures. Okay? Okay. That's a good moments and some bad moments. But that's the whole point is we're trying to keep looking for different things. We're trying to keep looking for different things. When I was doing those fast riffs, by the way, there's fast legs. I was trying to keep it with the triplet feels so a lot of those were 16th note triplets that I was doing. So if I'm going 1234, like that, and when I do this fast bursts, that's just where I'm going twice as fast for short run times. So it's ongoing. Chem like that. And I'm not really thinking about bringing it up in my head. I'm, what I'm focusing on is the quarter note. So I'm thinking about the beads and I will be doing those fast bursts, but I'm really focused on that quarter note. So I am trying to focus on the quarter note so I can lands on my finishing note and be ready to change when the chord changes. Okay? So work on the Mixolydian because what I'm doing in this exercise is I'm trying to keep myself exclusively on the Mixolydian 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 and 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 in. 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 at them. And it's good to spend some time only working on the Mixolydian. Good, good at that. But ultimately, when we get into playing and having fun, you want to combine a little of this and will that. So, and that's what we're working towards. So right now if your main goal is to focus on Mixolydian, the great thing about the Mixolydian. I think I've mentioned this a number of times. I'm gonna say it one more time. It is the scale. If there is a seven chord, a dominant seventh chord, this is the scale that you would use in, in music and all styles of music. There is a, there's a concept of this thing called the dominant. And the dominant. You know, it's where we get our dominant seventh from. The Mixolydian is considered dominant, is the fifth degree of the major scale. Don't worry, you're not going to be tested on this. And we're, this is not part of the cumulative part of the course, but the Mixolydian is the fifth degree of the major scale. And in the fifth degree is considered dominant. So anything that is a seventh chord is considered dominant. In music theory. People love that dominance so much that we created a thing called a secondary dominant because we just wanted it more, 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 can get even more of the seven chords in. So when you start learning songs and looking at a lot of core charts, you're going to start seeing lots of seven courts, dominant seventh chords in music. In classical theory, There's only supposed to be one per key, one dominant seven chord per key. But in a lot of songs we see more than one. And it's because of this secondary dominant thing, and it's also because of parallel relationships. So we like the dominant so much we humans, you know, we tried to stick it in the music as much as we possibly can. So whether you're dealing with a dominant or a secondary dominant, it doesn't matter if you're dealing with a seven chord to a dominant seventh chord, which is the same as a plain old seven chord. When you encounter that guy, the Mixolydian is your scale. So if it pops up in music and the regular scale or a vegetal you're doing doesn't seem to be working with that dominant chord. You can always just go to the key of whatever the court is in play, the Mixolydian, it's going to work. It's going to sound a good Mixolydian works over dominant chords. We use in the blues. It sounds great. Okay, So I think that about covers it. We're going to be looking more at the Mixolydian mode, going through the cords when we start playing a different keys. So start familiarizing yourself with it. And start thinking in terms of roughs. Spend time just going through the Mixolydian in one key for a little bit to try to feel, come up with some quick riffs or 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 graph. And you're going investor applying it to the changes of the 12 bar blues. If you haven't memorized the toolbar blues in. And what I mean by that is, could you just take a blank piece of paper? And if I asked you to write down the 12 bar blues in the key of E, Could you do it? You should write down three rows, the top row, each row has four things in it. The top rows e, a, e, then the middle rows, ie, the bottom rows, v, a, E, B. 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. A lot of people that play the blues are thick, they can 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, if you're on a gem of the blues, it would be really helpful if you could tell them. Here are the courts. Because they may have their own idea of what the courts are or where the sequences. So you should be able to help them out with that. Okay, I think that's about it for this lesson and I will see you in the next video. 17. 12-Bar Blues in A (page 27): 12 bar blues in the key of a. Ok. So everything that we've talked about with toward blues applies to the key of a, of course, is just a key change. So everything we've talked about is going to also apply in the key of a. So the key of a is it's just got a D. So that is the main difference between the given key of E. We've got the D instead. And one of the things we want to be aware of is this 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 we quickly want to get 145. So it's in the key of a, right? So a is one. And we said there are seven notes total on the major scale, so a is 1. What comes after a in the alphabet? B is two, C is three, D is four. So a is 1, b, c, d, so d is the fourth, and E is the fifth. And F is the 67. So a, B, C, D E. So 145 a D e. So people say 145 does basically what they're talking about. It's the first, fourth, fifth degree of the a major scale. And where I'm using a very quick and dirty method to figure that out. And what I mean by that is in a major scale, it's a, B, C-sharp actually, D, E, F-sharp Actually in as G-sharp actually. But if we don't worry too much about the sharps and flats, this usually works worse. All right, 145, a, D, and E. So I'm gonna go through it a couple times and I'm going to go through the courts first and then we'll jump into some soloing. Just to really, just to show you how this works exactly the same as it does in the key of E. Because when you're playing the blues, you know, it doesn't really matter what the key is. It's all the blues. So once you know the form 145, and so if you have memorized or been working on memorizing the 12 bar blues in the key of D is 145. So if we know that whatever keyword in this case we're in the key of a. So when you memorize in the key of E, it was the e and a e, second line was a. Last time was be a, E, B. And so if you had to write this down in the key of a, for example, you just shift the whole thing up to the key of a, but it's always going to be the same sequence. And that's what we've got here. We've got the one and the four, and the one and the one. And we've got the four and the four and the one and the one, and the five. And the four and the one and the five. And that's what the sequence is. It always goes that way, okay? Or at least in a general toolbar blue sense, that's the way it's going to go. Okay. So let's jump in and I'm going to go through the courts felt times. I'll start out by doing thing opens. That I'll go through some of the basic bar chords and then I'm going to branch out into some of the other partnerships, the other seven chord shapes, okay? 234. Hello. Hi. What I'd take this opportunity to point out a couple of cool other tricks that we can do, okay? Because I'm going to start doing them, is it's time that we start introducing some more moves into our courts. So the first thing that I want to point out is even though everything is written as a seventh chord, I want you to sometimes experiment with moving between its regular major chord and it's seven chord. What I mean by that is the first chord is a seventh. But really what I'm going to experiment with is going just a regular a chord. Then to the A7. I may go from a regular D chord then to a D7. So I have to break up the beat. So maybe two beads of an, a major chord with just a regular a Court. And the two beats of an A7 and maybe two beats or the regular D chord and then TVs or the D7. This is something that we can do to also give it a more bluesy feel. Not all the time, but it's another trick that we can use. Let's try and see how it sounds. Okay. Hey, did you hear that? Sounds pretty cool, doesn't it? And we're really punching that seven because we're not starting off that way. So we're bouncing between regular major chord and the seven. So that creates a real bluesy aspects. Okay, so we've gotten that move. Another thing that we can do, and I've touched on this before, but I haven't gotten into it that much. When I was younger, I studied a lot of Robert 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 in his life. There's all kinds of really exciting folklore about how we made a deal with the devil so that he could the best guitar player in the world. And anyway, it's pretty interesting stuff. When I listened to you wherever Johnson, I noticed that he did a lot of interesting rhythm stuff. And what I mean by that is he would combine duple and triple a lot in his strumming. So when, when I say to you, let's work less strong with the swing feel. Okay. So we're going once your left leg 3, 2, let forgery. And that is the swing fill. 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 duple to mix it up a little bit, and it throws this interesting twist into the rhythm. And so to throw in a duple feel would be like if we're going, and I'm going from eighth note triplets to 16th notes, just regular 16th notes, 1, 2, 3, and a 40, and a 1234123. And the four you end up getting here, that one too. So triplets, so I'm gonna do two beats of eighth note triplets, one triplet to triplet. And then I'm going to do two beats have 16th notes, the end of 40 and a one triplet, triplet P, and the 40 Nano one triplet to triplet the end of 40 and a one triplet, triplet the end for me. And it's kind of like this little it's not twice as fast, but it's all speed up, okay? And 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 chords a lot. So let's practice that just a little bit. We're going to throw in a little string of 16th notes, 1 IANA or 3D and or 40 kinda. We're just going to throw it in. What we're going to try to mostly maintain that swing feel. Okay, let's try it. Over the 80 garb lose 234. Okay. Do you hear it? It's pretty complicated. It's simple to hear, but it's a little complicated to do because it's kind of like a little speed up and to be able to execute from triples to duple time, all with a beat apart. As hard to do. So if you try it and it's hard to do, that's normal. You just you'll get the nag him and if you keep trying it out. 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're having a hard time set down and just tap it on your leg. So if you just go like 1 and we're on triplets to sixteenths, one triplet, triplet three and a 4 E and a worn triplet to triplet 341 triplet, triplet B and a for the one trip due to the end. And what we're trying to do is keep the quarter note. The quarter of the 1234 VT is always going to be the same pulse. You'll know you're doing it right, if the quarter note is always the same pulse. One way to think about doing it is if I'm tapping it, okay? And let's say I'm going to go 234 on one of my hands. I'm just going to go through the quarter note. 1, 2, 3, 4, 1, 2, 3, 4. With my other hand, I'm going to tap the eighth note triplets, and then the 16th notes one triplet to triplet, 341 triplet, triplet, repeat end of 40, and a one triplet, triplet 3D end of 40 and a one trip to the 40 NDA. And what's going on is that this guy, if you just listen to a by itself, it would selling is stopping and going faster and slower. And it may not make sense. But if you listen to an interrelation to the constants quarter note attack, which is even. Then it starts making sense. Okay? Now let's get into the soloing. Okay? We covered off on the core stuff in a pretty good way. So I want you to go between the major chord and the seven chord. I'm going to bounce back and forth to in that, even if it tells you to play a seventh chord, Why did it? So it says do a seven, I'm gonna go a, then a. So we're in the bar shaped 2. And then we're going to experiment with trying to throw in some strings of regular eighth notes or 16th notes 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 it though. Okay. Let's move on to soloing. Going to go through this, and let's do, let's start with the arpeggios. I'm just going to do arpeggio soloing. And then we'll do a Mixolydian soloing, 234. And why? Okay, so that's just gone through with your arpeggios. Sounds good. Or pledgers, and narrow this down. Okay, now let's go through it using the Mixolydian. Okay. 234. Okay. Good, good, good, good, good, good. Okay. Don't you hate it when guitar teachers just sit there and show off. I am really not trying to, I'm trying to illustrate to you guys how this can work, how the Mixolydian can work for solving. But like I said before, using the Mixolydian exclusively is not how I would normally play. I have done many times, but as I've learned more tools about soloing the blues, you want to do a combination of different things. And those combination of things are using more arpeggios. So you can break up the, the Mixolydian mode. And here's something that I don't think we've really mentioned before. The arpeggio, the perfect notes, okay, the dominant arpeggio, the perfect notes. All of those notes are in our Mixolydian mode. So for example, if I took the a dominant arpeggio, those for individual notes are all in my a Mixolydian mode. Mixolydian just has three extra notes. Okay. Was that extra note that extra note. That extra note. That extra note that this is a repeat. So just going through the first octant, that's an extra node. That's an extra notes as an extra note. And that's it. Three extra notes that are repeated. When we go back to the argument. This is an extra node and some extra notes. That's an extra note, and that's it. Okay? So the Mixolydian is just adding in three nodes, three extra notes into our arpeggio. That's one way to think about it. So the arpeggio is inside. You can take your Apigee and place it directly on top of the Mixolydian or the Mixolydian just opens up a couple more node possibilities for us. So sometimes we want those extra notes and sometimes we don't. So you want to use a combination of the arpeggio and the Mixolydian. You also want to use courtesans chord tones. Are you, you are an idea that they're there like a little miniature arpeggio. We have arpeggios all over the fretboard of any court. So if we're just doing the a, the, a dominant seven arpeggio, we have in this one shape right here on the fifth fret, okay? But that doesn't mean that we can't access notes from the A7 chord by using chord tones. They're all over the place. If you know some A7 courts, which I know you do because we've learned a bunch of different shapes of the seven chord. All you have to do is to grab one of those courts. So for example, we've got this guy right here, 22, 23. That's one of our A7 shapes. Instead of strumming of them, Let's pick it out, pick through it a little bit. And let's try to not let the notes ring into each other. Let's kinda just stop them. But we're going to pick out these notes. So we're gonna go like and we can do that. Those are chord tones, and I can use that to solo. So if I took, say, here's an A7 shape, here is a D7 shape. Here is an IEE. I just slipped that guy up. Okay. So what I can do is use these courtrooms. And all I'm doing is I'm grabbing the courts, but I'm picking out like it's a solo. Okay. And this is something that you can do to find note opportunities where you wouldn't otherwise have thought of looking for them, usually will look over the arpeggio shape, over the scale shape. And then that's kind of it. We're limited to it. But if you know, records are in 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 try to stop them after you pick that note. Cinnamon pressing arm. All gardeners. I could do that, but I want them to be more staccato. I want them to not reading to each other. So I'm going to get in the node after I hit it. Let's try it. Okay, 234. It's pretty cool. Just came up with a little melody that I could play. And I wasn't using arpeggios and I wasn't using the Mixolydian, It was just using chord tones. Well, let me try that in a different place. I'm going to use a seven here. D7, ISA, struggled was up 234. It works. If I can hit for red strings, it works. All right, good, good, good. Okay, so I'm gonna go one more time through. I'm going to use a combination of arpeggios, makes the Lydians and chord tones. Okay? 234, please. Alright, alright, alright, good, good. Did you hear that I was mixing in a couple of 16th notes in with my triplets. So that's something that we definitely wanna do with our soloing also. Okay. So let's stop with that and we're going to move on to some more cool tricks. In the next video. 18. 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 first one is called the Blue Note. The blue node is a special thing. If you dig deep enough into blues, you will eventually here about the Blue Note. And when people talk about the glue notes, 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 I'm going to say, write out what it is. The blue note is, it is in blues. It is the syntax or the space between the minor third, major third interval. Okay? So and I know this is music theory and we're trying to not get too deep into music theory. We want to keep it simple. Apply it. I'm gonna show you how to do that, how to find the blue node into access it. We said that the scale, whatever scale we're in, it's going to have seven notes, with the exception of the pentatonic, any of the major scales or the Mixolydian mode, they have seven different notes. Okay? So what we're gonna do, and then the seven notes just repeats, right? So if we took the, a Mixolydian, right? So that's the a Mixolydian. We're going to count each note. We're going to count 1, 2, 7, 1, and 2, 3, 4, 5, 6, 7. After seven, you go back to one, so you keep playing the scale, but the next node is going to be one again. Okay, let's do that. I get to count what does seven flying scale and after seven go to one. Go while yet just UK 1356726. And we could use we just have to count backwards. That was 37656. So when we kinda backwards test to make sure that every time a one is still wanted, three is still a three if I was still alive. And what what happens is days or one, obviously. But when we got to our other 1234567, this is a again, our other one. So both the ones are eg 3456 10 and it's a again. So all the ones are a and that's going to be true with all. So like all the twos, one, this is a Bina, is all the 2's are going to be beads. 2, 3 4 5 6 7, 1 2 3 4 5 6, 7, 1 to b again. So all of the interval of numbers will have the same note in there. All of the interval numbers will have the same note name. Good. Okay, So we've got that. So what we're looking for here is the third who we want to find that blue note, that elusive blue note. It's okay. So we're looking for the third narratives. So I found a third, it's just the third node if I'm Mixolydian mode. And it's going to be all of the trees that when I do this. So 123, There's one of my 3456. There's another one, there's another 3456 is high one up here as another three. Okay, so I've located my 3s. Now the blue note is the syntax between I said that minor third, major third. What we're playing the Mixolydian mode over thirds of major thirds. It's all rather drum major thirds. So it's somewhere between the fret behind it and the actual node itself. Okay? There are two ways for us to access the Blue Note. One way is to bend the string from back one fret. Or we can hammer on, hammer on to our regular third from one for behind it. So let's try. So 123. So this is our regular third major third radios fret behind it. Okay. Then that a little bit. Now I may have mentioned before that bending is kind of hard to do on the acoustic guitar. It's easier to serve places on the acoustic view are applying an electric. Please bend away and away because you have an instrument where it is designed to be bad. And a bent string is a really beautiful setting that no sound great when he bend them. So it's one of the downsides to playing the acoustic guitar. Now, there's pros and cons with everything. One of the deals us to the acoustic is bending his heart. So if you're on an electric, please, That sounds good. Just be careful not to over bed. Make sure you go into your note, not hast it. Okay. On the acoustic, we can use a hammer on and get similar effects. So here's my notes. So I just go to the Fred behind it and I'm going to hit it over onto my normal third. Now really, what's happening is I'm just going from a minor third, major third, just going from the fret behinds my third note and hammering on to it. And the concept of the blue is that it is somewhere in between those two. And so if I hit enough of these minor thirds, two major thirds, somewhere in there, the blue node is supposed to be coming out. And you can, you can hear that bluesy sounds. So I've got another third regular, Keck, 2, 3, 4, 5, 6. So yeah, so here's another third. So what I do is just go to the front behind it and I hammer onto my normal third area. Can you hear that sound right there in, in-between those two notes? That's where the, the elusive blue node exists. In the interesting thing about the use of the blue note is that in music, there's only one node. That is the thing that separates minor for major. And it's the third. Third is the only difference between a liar coordinate, a major chord, a minor scale, and a major scale, or a minor arpeggio and a major arpeggio, just one single nodes, always the third, always the third, cross the board in music theory. Hundreds of years and always will be. It's never going to change. The third note is the only thing that distinguishes major for minor. You're going to have major seven, minor seven major six, minor six major to minor two. That's all fine. That doesn't matter. None of that has anything to do with whether the chord scale or arpeggio is visual motor or the key. And solve for that matter is major or minor. It's only the third note. And so what we're doing with blood O is we're playing with both, playing with the a major and the minor interval going from low to high. And it's almost like we've got some built-in riffs, you know, like these, these risks want to come out. This is one of the few places where it's comfortable with that as the string. So going from that, why our third up to my major third? I'm trying to find my blue node. Okay? So that's the blue node. And so that's how you find it anywhere. And as we're going through 12 bar blues, you can look for the blue note, every chord pattern. So for example, we said it was right here in my egg. Back to the egg. Go to my E, D and E. The blue note sounds also. Okay, so that's the blue. One more trick I want to show you right now. Going from the octave AVE. Ave is a fancy way of saying the octave. Octave is the same as your one. It's just your high root note. Going through your higher note where your Octave walking into your minor seventh. The minor seventh is the seventh. The seventh that we've been talking about. All, It's just the seven from our seven chord. And that's two frets down from the octave. What am I talking about? Okay, so a foreign, a, right, or a day and a seven Lydian. Here's my high. Okay. I'm talking about walking back to for us. Is that when I walk back to France, it takes me to the seventh. So that's all talking about. When you do this from any core that we're on. This is just a very cool trick. It adds a lot of chromatic movement. So if I'm soloing and a A7, it makes a Mixolydian. I just grab my root notes and a higher note of a, walk it back to threats. Let's try it in D. Here's D. D back to you for us. Like to eat. Right now on D walked back. I'm back on I so you want to find the right timing to be able to pull that off. But if you know, you've got some space like where we've got two measures of the record. It's a great opportunity to do it. Or if you walk into a major chord and you want to walk it down. So we will be exploring that a little bit more income, but these are two tricks you wouldn't want to be aware of and using blue node and walking octave back to frets. So I will see you in the next video. 19. 12-Bar Blues in C (page 29): 12 bar blues in the key of C. If I asked you, what's the 145 in the key of C? Was the 145 in the key of C? C is one, D, E, F, F is four, G, G is the five, C, F and G. Good, Good job. Okay, C, F and G. Now what's the sequence that we would play them in to do good 12 bar blues. So you go one and then four, and then 111411, and then the second line, 4411. And then the third line is 5, 4, 1, 5. It's always bad. 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. And we're just gonna do it in the key of C this time. Okay, So let's jump in. I'm going to go through the basic courts and that'll get more to the courts then we add it to the soloing. 234. Hi. So to start with Okay. Did you see some of the stuff I was doing there? Let's jump into some soloing, Okay. This time I'm going be using a little bit more stuff like the blue node and the octave walk down. And I'm going to be mixing up my arpeggios and the Mixolydian. Let's go through 234. Right? Okay. Did you see some of the stuff that I was doing? I want to mention again about the use of diets. Dy AD, AD dance. A dyad is a two note chord. The reason that we even have a special word for that is the definition of a chord is it's got to have three different notes, three unique notes. So in order to qualify as a court, You gotta have three notes. If there's just a two-node harmonic thing, we call it a dyad. Violin players have a thing called a double stop. It's the same thing as a dyad, where they had two strings at the same time. It's called a double stop on the violin. So when we're doing diets, they're like little mini courts. And sometimes when we're using our chord tones, we can also access dyads to do a mixture between. And banging on these chords and hitting a couple of melody notes. So use the dyads alive and use your core tones. Sometimes you'll be in a situation where you'll look at a song and it won't always be as cut and dry as the 12 bar blues. You'll be trying to learn a song. And there you may understands what to do for 80 or 90 percent of the song, 80 or 90 percent of the chords. We've already covered off on all the tricks. As matter of fact, you should be good to go right now to be able to play almost any blues song. There shouldn't be too much that we'll have in you, that should be a problem. And but if you do see a corps and you're not sure what to do over it. You can always use chord tones. If you know how to play that chord. And you can individually it the nodes of the court and try to make it into a melody, try and make it into a solo. Okay? So for example, if I just said, I can't remember how to play the C mixolydian. I can't remember how to play the C arpeggio. I can't remember any of that stuff. So that I can remember my C chord, my EF Core to my G chord. Okay, so I'm just going to chord tones, all right, so that was just notes from the bar chord in C and G. Okay? So we know we can play these chords and all kinds of different places. So if you just grab on to chord tones, it'll get you through the core and Kennedy back into the space where you know where to do. Scale lies arpeggio wise. Okay, so let's go again and let's look at some of the close chords, right? So right here, I've got a C7. Okay? It's kind of like our A7 shaped the two to two but it's 5555556. Okay. Now I'm going to my F. Okay. So my F is going to be really close to where M. See how close that is for my C to my, and this is kinda like my D7 chord shape. Going from height alone, I'm 545 to do my F7. Ok. And now to go to my G, I'm just going up one to go seven 67. In my week. It's like my D7 chord shape. So it's almost like the season, the middle, and it's sandwiched by the F and the G7. So this is a technique that I like to use this shape a lot because I like how close the chords are. There's actually occurs twice. I'll show you the other one just a minute. So if I've got C seven here and I'm just picking down in a triplet like one trip. And I go to my the one true teacher of feature. Unfortunately, back to my seat. Back to my F7. Love to do that. What Fred back. Thanks to the Sikhs. And I'm just going to go up to the G7 here. And that's the same walk we've been doing all along. I'm just going 341. That's on before I do the walk. 23412341. Okay. Do you see it? Awesome. All right. Now I'm going to show you, we're going to take these chords bores going to flip him. Okay? So now I'm going to do the C using my D7 shape up here. Then I'm going to wind up using. F seven, G7. And again, it's in the middle. So there's my C7, F7, F sub g seven setup. And so I've got that going on in two places. I, I, I flip it each time. So I'm either going for the C chord, C7 chord, which is sandwiched by the F sub g seven. Oregon for my C7 up here. And again, it's flipped, the shape that has flipped. So now I'm sandwiched by F7 and the G7. This is one of the very cool things with the blues, is that 145, that seems like big jumps. Like one to four. That's a big jump. But if we look at some of these chord shapes there, one front apart, some of these cores or one frame apart. It's really cool. So that's the thing that we want to explore is how similar these guys are to each other. Okay? So I think that we've covered all fond of pretty much everything I wanted to tell you about in this lesson. I guess. The big takeaway is work on your chord tones and start paying attention to how we can get melodies to come out of our courts. And also combining our courts and our soloing. Because it doesn't always have to be. We're going to play a passive. The courts, they're going to play pass him the solo and passing the course and passed the solo. Sometimes we can just mix up the two kind of do will reach within the same paths. Give you a quick example of that. Okay. That kind of makes sense. I'm trying to get a little bit of court and a little bit of melody in there. Okay, so let's start with that. Ends. We'll pick it up more in the next lesson. 20. Relative & Parallel Modes (page 30 - 31): Let's talk for a few minutes about the difference between the relative and the parallel modes in relation to the blues. So this would be the Advanced Blues lesson, one of the Advanced Blues lessons in the course. And if you don't understand what I'm talking about, that's okay. This is not an absolute crucial thing for you to know. I wanted to do this for the advent students that have already been studying modes and have been working up and down the fretboard. This is also good for the students that have not gotten into the votes yet, but are curious about. 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 fretboard when you're soloing? Even just staying in the one chord, moving all around, staying in one court. That is where you want to start studying your modes, 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 modes, right? So there are a lot of things in music that's gets boiled down into a couple of categories. And this times we have things that are relative in music, and we have things that are parallel in music. These are two different categories. Things that are going to be either relative or parallel. When things are relative, it means that they have the same notes, their relatives of each other, like family. They have the same genes, the same DNA, same blood. So it would be different scale shapes, different shapes that have the same exact notes. Those are the relatives. So they may look different, but they're going to have the exact same notes as each other. Even though they look different, they will not have any different notes. The notes will be the same. Those be in different orders and different patterns. Those are relatives of each other. And that is what guitarists do to play up and down the fret board when you're in one key. And that works when you're only in one key. So that is a relative connection. Then you have parallel. In parallel is what the 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 in the key of E. That's an acuity. But what parallel means is that we're going to take the same shape. We're going to put it in a different key. So when 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 of different notes each time we move it, because it's the same shape. The same shape can't be played twice and have the same codes. It's going to be different nodes every time. That's parallel. And when you're doing parallel stuff, everything is constantly shifting. You can always just rely on, I know where all the notes are on the guitar because there are the notes that I can hit because they're constantly changing every time there's a parallel shift. So an example of parallel is when we're playing the Mixolydian mode in the key of a over the A7 chord. And then we go to the D for the D7 chord and we play D Mixolydian. That's a parallel shift because we're actually playing different notes now is the same shape, but we're actually hitting different nodes on the guitar. The D mixolydian has different nodes than a Mixolydian, and that's a parallel shift. Okay? So here is the thing though. Parallel and relative co-exist. You have to go an extra little layer deeper into music or guitar theory to unlock that. And that's what we're going to talk about for just a minute. For the advanced users or people that wants to know. There's more to this than, than we've talked about so far. Blues goes incredibly deep. Blues goes incredibly deep. Okay, so here is one way to think about it. I'm like, Well, I'm going to give you two different scenarios. One scenario is so far we've been shifting. Every time the chord changes, we've been moving, even taking the Mixolydian and shifting it. What if we want to stay put? 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 and key of a. Okay, so we've got our A7, D7, E7, okay? A7, D7, and E7. So the A7, we're just going to keep it with the Mixolydian because that's fine. That's where we are. And that's the perfect, perfect mode to use. We've talked about that before. It's the perfect mode user of the x1 coordinate. So we're not changing that. Record. We're going to stay with a Mixolydian. Now over the D7 chord. Okay, stay with me here. The D7 is relative. If as D7, that implies it's the Mixolydian. 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 a. Alright? So we're, we're saying D7 chord. D7 is relative to G major. And so if it's G major, then we're going to be in a Dorian. Do you see how I got that? We're trying to figure out what we can do over the D7 chord to stay in a shape. D7 is the Fed's D Mixolydian. D Mixolydian is relative to G major. And the second mode of G-major is a Dorian. So over the D7 chord, we're going to play a Dorian. And if you are thinking Dan is talking Greek right now, you're exactly right. I am talking Greek. The Greek modes. They came up with a, sorry, we blame them, not me. But so happy they did. Okay, so a Dorian over the D7, now over the ys court. So the E7 is now going to be Mixolydian and it's the fifth. So E7, E Mixolydian is the fifth, so it is relative to a major. So we're going to play the a major with a Ionian mode over the E7. So let me do a quick recap on that. A Mixolydian over a sudden a Dorian, or the D7, because D is the four. So we're gonna do a Dorian. We're trying to figure out a way to stay in a the whole time. And then the E7 is the fifth and its relative to a major. So luckily, you lucky for us, we don't want to do any shifting there is just relative to a major. So we're going to do a major or the Ionian mode over the E7. Okay? What's incredible about this when we're going to take a look at it. And as we go deeper into it, is how similar all these modes are. And there's really just like a 10 difference between them. When we look at playing them in this kind of parallel way. We're doing a relative look at the parallel modes. So we're trying to figure out how to stay put. We're using the relative aspect of them so we don't have to shift. Okay? So if I am starting with my a Mixolydian or the A7. Now, we wanted the D7 chord, okay, so I'm gonna do that a Dorian. Back to the A7, which is a Mixolydian. Now run the second line, which is Tuesdays. So I'm on a Dorian. Back to the a, so as a Mixolydian. Okay, last line. Now we're on the E 7, so we're gonna go a major on this one, okay? Now we're on the D chord, so it's a mix, a Dorian, a Dorian, a course. There was a Mixolydian. The last court is ISA them, so it's a Ionian. Okay. I'm gonna do that again and I'm going to play it without all the breaks in between 234. So you guys can you hear that changes when I was doing it, maybe you didn't catch every time I shifted the scale but could you hear the changes their resume? I did. Okay. So what you wanna do is you are staying could enable time. So the one chord is staying Mixolydian is now going to change. The forecourt, is going to become the Dorian in the same key. So isn't the key of a forecourt? It's going to shift us to the Dorian. And then the five chord is going to shift us to the Ionian. Okay, the major scale, a major, so a mix, so a Dorian in a major scale. Now, okay? So that's scenario number 1. And scenario number 2 is going to be opening that up on the fretboard. Once you get to 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've opened up the fret board and we can start moving rounds at will. Granted, you have to be kind of sharp to do this. But if you spend some time practicing in just one key of the blues, you'll be able to get the hang of it. And you'll pick up a couple of tricks. If you've got a few mode shapes that you prefer to use, maybe few really like using the Dorian. I'm a fan of the Dorian shape. I like the symmetry of it. I like the fact that it's symmetric shape. So if we said, okay, so we're going to start off with a seven. So I'm going to start grabbing some Dorian shapes here. Okay? So I'm actually going to start off in the E Dorian. Why am I starting off in E Dorian? Because I'm, my first quarter is A7, right? A7 is relative to D major, right? The second node of D major is E Dorian. So in theory, the E Dorian should be the exact same notes as my a Mixolydian. Okay, let's try it. And I'm going to bounce around my Dorians. A should be E. Dorian will work over the a. The a Dorian we just talked about is going to work over the D7. And then the B Dorian should work over the ISA. So straight out, okay, 234. Okay. And on and on and on and on it 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 be aware of the fact that there's this thing called the modes. And for guitar players who have nothing else going on in their lives, and 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 want to look for. It's called the modes. Ok, so hope this was helpful and thought-provoking. Hope some of you guys this questions that has been confusing you for awhile. 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 are doing. They're not shifting every time the chord changes necessarily. Sometimes they do, sometimes they stay put. And when they stayed put, this is what they're doing. Okay. They're doing is little parallel shift using their relative connections. All right. Sue, I think that about covers it, so we'll be moving on to the minor blues here shortly. So I'll see you there. 21. 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, then this is going to be a piece of cake for you. This is going to be really easy. Minor blues is a lot more laid back and easier to play. And there's less, less complicated theory going on. So this is going to be fun, is going to be good. All right, we're still going to stay with the 12-bar structure. Okay. And it's pretty similar to what we were doing before. There's a little modification in the sequence, but it's pretty much, it's pretty similar. We're still dealing with 14 and 5. However, all of the chords are now minor courts. Okay? So what we've got is we're going to do a 12 bar sequence in a minor. So we've got a minor, D minor, and E minor. It's still 145145. A is one, b, C, D is four, E is five. We're just making all the chords and minor this time. Okay? So notable changes. The first two lines are exactly the same as we've been doing in 12 bar blues to measure tool bar blues. The last line, the third line, is the change. So we're going to be doing two bars of the five chord, the E minor, and then two bars of the one chord, the minor. So tempos, the speed of minor blues can be anything, it can be slow, it can be fast. It goes both ways. I want to do this one at kind of a medium or a little bit of a faster tempo. And we are still going to use the swing field, okay, we're still using the swing feel. But when we increase the tempo, the swing feel is going to turn into more of a quarter note, Chuck. But we're going to have that up chuck this time. For the let. So for growing like 1234, three left for level 2, level 3, level 4, 11, 12, 13, 14. Like we're going faster. So the idea of doing all those as Downes is going to be too hard on array hands. So we're going to relax and let it go on an up for the left. And yeah, okay. So let's just jump in. Let's see what it sounds like. I'm going to start off with open courts. Let me point out one more thing. These are all written as just minor courts. They can be played as minor sevenths, okay? So in the major blues, everything is a seven. But in the minor blues we can play them. They're just there standard minor chords. We're going to bounce back and forth between playing the minor and the minor seven. So let's just start off by trading with minors. Okay. I'm gonna do start off with open, okay. 1234. Did you catch it? Okay. I'm gonna go gamble kinda the same. 23423423423. Number 1, 0 1 4 5 2 3 4 3 2, 1, 2 3, 1, 2 3 4, 3 2, 3 4 minus 32. You'll notice I'm not doing my upper my leg and I do You'd every time we're doing it sometimes. Okay. To try to show you the swing feel is still in here. So I'm not doing it all the time, but I'm doing some taps. A key. Let's move on to some br courts. All right. We've got our E route on the E string, ends route on the a string. So we've got a minor chord here. Okay? So we do a minor there, D minor, E minor here. I've also got my D minors here. In my E minor is here. I've got a minor way if you're in the 12th fret. Okay, so let's bounce around those guys just a little bit. 1234. In Azure AD. Sounds good, Sounds like Minor Blues. Okay, to introduce the minor seven, in either of these shapes, we'd be rated on the E string or the a string. For both of them, we're gonna do the same move. We're just taking off our pinky. Pinky comes off, it turns into a minor seven chord. So we're going from a minor, a minor seven. If I do this shipper here for the D minor, my pinky comes off of D minor seven. So we can bounce around between the regular minor chord and the minor seven. So let's try that a little bit. Okay, 1234. But that's it. That is minor blues in the key of a. So we were playing in a pretty fast tempo. If we were going to go through on time and go through it at a slower tempo, okay? I like it a little bit faster, but some songs are going to have it a little bit slower. And when it's slower, we could hear that sweep. They'll comment a little bit more. Okay, 1234. I guess that sounds good. It sounds could put ways. All right. So start working on this guy. And yeah, this should be pretty easy for you. Just want to get you in the habit of playing some minors and minor sevens and hanging on that five chord a little bit longer on the end. Okay? That's pretty standard for the Minor Blues is that we hang on that five chord longer. We don't want to be too moving round of courts. So work on that. And we're going to start looking at ways to solo over the blues coming up shortly. 22. Soloing with Minor Arpeggios (page 33): Let's talk about soloing the Minor Blues using minor arpeggios. So this is going to 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 arpeggio, which is actually a little bit of a simpler shape. It's the exact same concept as before, so there's not, not too much new stuff going on here. We're going to plug in the minor arpeggio shape as each chord changes. So we've got a fifth fret, D of the tough Fred, an E on the 12th fret. Let's take a look at that arpeggio shape. Again. Got vive 8775558. When I first showed it to you, I showed it to you in the key of G. So we're doing in the key of a doubt. So it's 58 in the next few strings or seven. And then the next three strings are 5555, and the high note is eight. Now with a minor arpeggio, we're rooting it with our index finger. Okay? Regarding with index finger, so and backwards. Okay, let's try the key of D. So the books and the 10, and plugging in the same shape. Good. Let's do in the key of E. So we have to 12 and play in the same shape. 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 lighter arpeggios. 1234. Okay, sounds good. And you can hear all the core changes in my solo. Because the universal thing about arpeggios is sound great because you're only playing the notes from the court. And I play the a minor arpeggio, I'm only playing the notes of the a minor chord. All of that. Those are just the notes from my a minor chord. What I do, the D minor arpeggio, I'm just playing notes from the D minor chord and the E minor or visuals just to notice that the E minor chord, so they're kind of like you can't go wrong with those notes. They're great. They're going to sound awesome. All right, let's go again. And this time, let me try to make some of the notes a little bit more. And I'm going to incorporate our techniques, any techniques that I can get away with. If I could do a hammer or a pole or a slide, I definitely could always do libro. So great go for some of the techniques that get 1, 2, 3, 4 has changed. Okay. There was okay. It was okay. I guess the thing that I really went for was the dyads on that one. So the diets, That's what we're trying to grab the two notes, adjacent strings to notes from the arpeggio were the shape. Try to grab to those. And try to make like a little cord that I can bang out a little bit. So it make sense. Okay? So this is obviously going to be one of the foundations of how we are going to solo over the Minor Blues. Now, your first inclination after coming off the major blues and having so many possibilities for soloing is that the miner arpeggios may seem like it fall short. They're just boring. And I get that. As we get into the other stuff, some of the scales and stuff like that. We're going to be, the arpeggios will be saving us sometimes because we're going to ability use them within, we're going to see them within our scales. Because remember the arpeggios or you can lay them on top of the scale the same, the same notes that are the arpeggiate or also in the scale. So we, if we ever need to isolate certain strong notes when we're planning a scale, lot of times it will be going for the arpeggio notes. So to become familiar with the shape is going to help you out tremendously. And if you're ever playing scale and it just starts sounding like, I have no idea what I'm supposed to be on. You can ran it back in by going back to the arpeggio note. Okay? So it's pretty straight forward. Work on the minor arpeggio following the core changes. It is an institute way to start soloing and sounding pretty good over the Minor Blues. 23. Soloing with Pentatonic Minor Scale (page 34): Let's talk about soloing with the pentatonic minor scale. So the pentatonic minor was made to be soloing over minor chords and minor songs. Is the pentatonic minor is probably the most popular scale in the guitar world. Probably more guitar players know the pentatonic minor than any other scale. And it's a great one. There's a good reason for that is because it's a great scale, is the first scale that I ever learned. Let me also point out about the pentatonic minor. It is referred to as the blues scale. Lot of people call it the blues scale. The pentatonic minor is also the blue scale. So, and it is the blues scale by adding in a couple of extra notes, which are passing tones to help us get that blue note that we talked about. Okay, so I believe I showed in the pentatonic minor in the key of G. We're going to do in the key of that because we are still in the key of a right here, alright, a minute. So tonic minor is, we are just adding really two notes to our minor arpeggio. So it's going to look kind of familiar, right? In the key of that fifth fret, 5, 8. And then 57, and 57. 57 again to high strings or 5858. Okay, let's do it again. 57, 57, 57. And the two high strings are 58, 58. Okay. Yeah, so the thing about the pentatonic minor that we want to focus on is what is the court as being played while we're playing it. What I mean is when you've got the arpeggio, you have to move around to show the court is when you are able to stay on a scale. As the chords are moving. As in, you don't have to move. Then it puts a little bit of extra pressure on you that you want to show. You still want to show what's going on through your solo. Okay, So the blues is more relaxed in the sense of we don't have to move as the a minor and the D minor and E minor or passing by, I can just stay put on this, a pentatonic minor scale the whole time. Okay? So here's one idea will play the sequence, wants it the courts. And then I'm going to jump onto the a pentatonic minor. Okay? I'm gonna show you a couple of examples. 234. Hey, are you lost because I am, because I came here, the core changes in what I'm playing. Okay. Did that on purpose. So we can just have fun and play around. And that was that I was having fun. That was cool. But you can hear the core changes anymore. All right, they kinda 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 for playing to a backing track, for jamming along with the song that we like to listen to or playing with another dark layer or a band. They might be holding down the music to kind of make it, make sense while we just have fun and just play around with the scale. If you want to be a little on a higher level, that you want to show the chords a little bit in your solo. Okay? So I'm going to give you an easy way to do that, okay. We know because we've been looking for a lot of root nodes on the low E string and a string. So we know that we have an a here, okay? And we know right below it is D because we find our D minor chord here. And then we go up two frets, E minor, so event E Here, d here, and a here. Okay? So this is just with training wheels right now. And so I'm gonna go back soloing on the pentatonic minor. And every time the core changes, I'm just going to kind of grab the root node, one of these three notes. Whichever one is supposed to be of the core that's changing in my mind. 1234. Did you hear the core changes that time? Because I heard them every time the chord change there were two. I'm gonna do it one more time. Okay? So one of these three gods that every times a day or even every time the court changes, I'm just going to start on the nodes are going to hit it just one time. And then I'll play whatever notes I want to after that, I'm just going to hit it one time on the first beat of the change, and then I'm going to play whatever I want after that. Okay. 1234. Okay. Could you hear the changes that time? Okay. So now what we want to do is we're going to look for some of these notes in a higher place. Okay? So I've got my a high up here. So that's why I can go to also got an a right in the middle on the D string. Okay? And then right below my a, that are on the G string, same fret, I've got a deed note. And then here on the fifth fret on the B string, I've got an Egypt. So I can grab those notes to show the change. And I just wanna do it on V1. And then after that I can hit any notes. I want you 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 can hear, I can hear that there was a chord change. So if I'm just soloing and I'm by myself and as no one else around, I can still show the song in my solo. Okay, let's try it again. 1234. Okay. What I was doing is I was just grabbing my notes anywhere in the whole shape that I could. Every time there's a chord change, if it was going to D as going for either d or d. And when it was going to E, I was going to either E or E. And when I went to a, I had a, a, a. Okay. So soloing with the pentatonic minor, that is one approach. And there's a lot of fun stuff where you can just stay, put, relax into it, but still play with some intelligence and show the changes. Another thing that we could do with the pentatonic minor is we could treat it the same way that we've treated the arpeggios. Everytime of the chord changes, we could shift the whole thing. 2, 10, and 12 are the D and the E minor. Let's try that one time and see how it sounds. Okay, 1234. Did you hear that? It sounds good. It works. So that is another thing that I could do. I could either stapler here and try to kind of the course with my note starts on beat 1 of the change. Or I can actually just move the pentatonic minor shape up to the root node of each chord. It's going to work. Either way. Either way it's going to work. And this way, you can take the simplest shape on the guitar, which is the pentatonic minor, the simplest scale. And have a lot of fun with it. And you saw what I was doing. It sounded very cool. And there are guitar players that can shred the pentatonic minor. Some of the, some of the really fast. I'm like 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 some really cool tricks with it. And it may look like it's really intricate what they're doing, but it's not just fast and 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. Okay, so start working on the pentatonic minor. Pentatonic minor could be your best friends. So cultivating the relationship with it. And you can use it anytime, almost anytime that you're on a minor chord, a minor key that you're playing in a song in a minor key where you have a minor chord. So you could go through the arpeggio if you really wanted to lock it in. But if you wanted to play around a little bit more than you can open it up to the pentatonic minor. And you can do it either over the court or if it's the song is in the key of a minor and you could just pick the pentatonic minor and Vera that for the whole song. So how fun playing the pentatonic minor. 24. Soloing with Natural Minor Scale (page 35 - 36): Let's solo the Minor Blues using the full natural minor scale. So the natural minor scale is also called the Aeolian mode. This word mode is pumped up a couple times. Now. We've used the Mixolydian mode. We've talked about modes in with the major blues and how they all work together. So the natural minor scale is one of the modes. So the good news is that if you decide at any point, want to start learning the modes, I can tell you there are only seven modes, okay? There's only seven of them. And you already know one of them, you know that Mixolydian. So you know one of the modes. And we've, I think we've already worked on the natural minor a little bit, and we're going to work on it some more right now. So this is another Moses is 2. So you've already got a couple of them under your belt. So if you did want to say, I'm just gonna go ahead and learn all of them. You've already got a head start. So that's really great. The natural minor scale, It is the law. Steve, definitive minor scale, okay. Because there's a few different scales that have the word minor and there's the harmonic minor, melodic minor, the double harmonic minor. There is, there's a lot of skills that have minor attached to the name. But there is only one minor scale. It's kind of like there's only one, the major scales, the major scale. There's only one, the minor scale, and that's what we're applying right now. Some people call it the natural minor, just to kind of qualify that it's the minor scales, the natural minor scale. Okay? And it's what we played over the Minor Blues, and we've just play it in the key of the song. So you guys may think, Dan keeps forgetting to change the whiteboard. I'm not forgetting. 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 of 40 when we talk about this stuff. And you've got your PDFs in the additional resources. So hopefully you got these documents either opened up or you have printed them out, downloaded them. So hopefully you have them and are looking at them while we talk about this stuff. Okay, let's take a look at the natural minor scale in the key of a, right? Well quick, the minor arpeggio is in the natural minor scale. I can lay it on top of it. The pentatonic minor scale is also in the natural minor. I can lay the pentatonic minor directly on top of it. So we're just in two nodes now, writing two more nodes in from the pentatonic. All right, so first string, 5, 7, 8. Next dream, 5, 7, 8 again. Next string, 57, G string 4, 5, 7. We're going to do a little shift back there. Okay, now we're going to shift up again. These strings, 5, 6, 8. And the high string is 5, 7, 8. Let's do it one more time. 578, and then 570 again. Then 57. G string shifts back one for 57. It was shipped up again for the B string 568, high stream 570. Let's do it backwards. Good. Sounds good. Good. And I'm alternate picking up, down, up, down, up, down, up, down, up every time. All right, let's go through, before we start solving, let's go through the course just to kind of get him in our head. All right. 1234. Okay, so what I'm doing is I'm using the same approach that we did with the pentatonic minor. What do we have more notes? We run the risk of the solo getting confused. Okay. 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 wanted to be clear. So we're using the same approach that we did with the pentatonic, where we're trying to hit the note of the chord, the root note of the chord that's being played, at least on the one so that we know, Oh, I hear it here, the change and then he can hit any notes you want after that. Okay. Let me just play around for a second just to kind of show you what happens if I don't do that. Okay. So I'm just going to solo through till we're blue is one time. They can tell you right now this is going to sound like a mess. 1234. It's a mass, right? I mean, it's cool, but it's a mess. You can hear the song of. All right, so I'm going to write it in and I'm going to start trying to focus on those notes. Right. And it's the same exact knows that it was when we did the pentatonic. So I've got a a, and a, got my denotes here and here. And I've got my notes here and here. Okay, So let me chord changes on and try to hit those notes. And then I can play any of the other notes I wanted to. The more divs we have, the more chance there is for the solo to get confused. That's why the arpeggios are great, because that will not happen. The arpeggio can't have it. You're just playing the notes. The court, let me go to the pentatonic and we add a few more notes. We have to be careful. It's still not as many, but with be careful because it could get confused. Maybe when we go to the full minor scale, we've got seven nodes now. And it could happen. You just heard it. You can definitely happen. Okay? So I'm going to try to bring it in so you can hear the core changes. 1234, a young man. Okay. Hopefully us. So try to show the cords through my notes. And I'm still solo, still improvising and having a good time along the way. Okay, Good. So that is the natural minor scale. And just like with the pentatonic, I can stay put the whole time and just have a good time with it. I just want to kinda show. If I'm playing by myself, I have to have to show with the chords are, so that the solo makes sense. If I've got someone that's playing with me and they're blind courts, maybe. Then I can, I've got a warm room to experiment and try some notes where I, I don't necessarily have to show the core as much I can experiment more because I've got the rhythm. The person playing with me. Okay. I want to talk about one more thing. When we discussed modes. And this would be something for the more advanced 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, key of a, of a minor or a Aeolian mode is relative to C major. So what that means is that I have access to all of the mode shapes relative to a minor, a eolian, or the C major scale. Okay? So I can start traveling up and down the neck in the minor key. And I don't have to worry about changing keys are shifting. You're doing any calculations in my head because the minor doesn't work that way. The minor is relative. Minor blues is relative. Major blues is parallel. Minor blues is relative. And when your relative, you can stay put in the same key and just focus on your relative modes. So what that means is that if we're playing lighter blues, an a, I've got the Aeolian mode. I've got the C major scale, got the D Dorian mode that the e Phrygian, The F Lydian, g Mixolydian. And that takes me around the world to the a Aeolian course, the below grade. And this is a way for me to start soloing all up and down the fretboard. Now the original concepts of us trying to show the courts, you still wanna 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 ESR right here around the fifth seventh fret. But do you know where they are over here? We're down here. And so that's why it gets a little trickier. You have to be able to where your notes are. If you're playing by yourself, okay? If you're playing by yourself. So and I don't want this, this lesson to go fully into a mode lesson. I just wanted to make you aware of the fact that when you're playing minor blues, you do have access to all of the relative modes. Relative to the minor key, a minor nodes into C major. Okay, so I'm gonna go again. This time, I'm just going to travel around and bounce around and couple of the modes just for a second. Okay, 1234. Hello. And welcome. In this lecture, essentially. Welcome back. Okay, I could keep going because that's fun. But I just wanted to show you how I'm going around through all the different mode shapes. And as I'm doing it, I'm always the about the core changes. And so I'm just quickly looking for I'm in this shape and I need a D or a Min, the shape I need an E. I'm going to shave, I need an a. So that's what I'm going for and I'm just having fun letting my brain go and my fingers. Um, okay, so that's relative modes, just everything relative to C major. And I'm just going through the shapes. But if you are not at a point or if you're looking at me thinking I have no idea what you're doing. That's okay. Stay put on the natural minor shape. 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 in classical theory as in the last three or 400 years, all of the great musicians that had lived, died. They, the minor scale is probably the second most popular. The first would be the major scale. And so all music is based on the major scale. And then the second most popular scale would be the natural minor scale. So it's huge, it's huge. The Mixolydian mode has been a huge focus of this entire course. And it is the foundation, I would say, of blues music. But keep in mind that blues is not in blues is a 100 year-old form. So I'm talking about going back hundreds of years. And the Mixolydian came from major scale. So, okay. All right, so focus on getting a really good with that natural minor scale. And hopefully, I opened your eyes to the possibilities of, you know, once you get good at this and you want to start moving and opening of the fret board to other possibilities. That's how you do it. There are lots of endless possibilities for playing the blues. Who knew that three chords could be so much fun. 25. Minor 12-Bar Blues in E (page 37): Let's play the minor 12 bar blues in the key of E cubed E. If I was to ask you, what's the 145 in the key of E? Okay, with e is 1. E f g, a is the for the, is divide e is one, F, G, a, B, EAB, and they're all minors. Okay. And what would be a good sequence to play those in? So we've got the three lines. The first few lines are the same as they are with the major blues is 1411 as the first line, 14, 11, as in this case, E minor. A minor, E minor either. All right, then the second line is 4411, as in a minor, E minor EMR. The last line is was different. He goes 55, 11. So the minor, D minor, E minor. You are. I got it right. Okay, so let's jump in. Let's bang out some chords and we're going to go to, in some open courts and some bar chords. And I am going to bounce between the minor chord and the minor seventh chord. Okay? And when I'm doing bar chords, remember that's just a matter of taking my pinky off in either shape. All I do and either shape is take off my pinky and I just turned it into a minor seven chord. Okay? 1234. Okay, Good, good, good, good. Easy, right? Okay. Let's take a look at doing some soloing, right? And now as you may have noticed by now, Alex, I haven't mentioned it. But we don't really do walks in minor blues the same way that we do them in major blues. The major blues to walk is a big deal, right? It's a big special part of the form. We don't really do them in minor blues as much. There may be some base snow walking back into the one chord. But that is not really unique to the blues. I would say it's just something that you could do here. Sometimes you're that in every style of music though. So something that you might do if we're in the key of E and we're walking to the world, The worthy ends. And we're going to just walk to this guy. And also the reason for it is because, you know, we're, we're playing major blue is their last chord is the five chord. Here we've got two bars of the one chord and we're going back to the one chord again. So there's nothing to walk to. The only place to walk to something would be maybe right here. And so if I'm on the pia mater, which is a bar chord, by the way, B minor. I can pull one of those guys out where I'm just kind of go walking into the E note. The node denotes or 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 buyers is not really the same phenomenon that it is for major blues. So sorry about that, but we've got a lot of cool of scale stuff that we can do because we've got the relative aspect. As opposed to the parallel stuff. Alright, so let's jump into the soloing. I'm just gonna do a hodgepodge them and mix up the minor arpeggios, knees, a little bit of pentatonic minor, and a little bit of natural minor scale, all the key of E, Okay? Now, I'm going to be pretty high on this one is up here on the E. What I may do is I might bounce down here to the a and the B to do some of the arpeggio, the minor arpeggio, or the minor pentatonics over the a and the a and the B. So let's jump into it. Okay, 1234. Okay, That's awesome. It's fun and can keep gone. One of the things I wanna point out to you that I was doing, and I've done this before over some of the other minor lose stuff. I am using the concepts of going between rhythmically, going between the triple time and the duple time. Adding, throwing in a couple of 16th notes into it. When I was going like, those are 16th notes and they feel slightly different. I don't know if you can hear that. Because if the sound is going like that, that, that, that, that, that, that data, the data set that up, up, up, up, up, up, up, up, up, up, up, up and up. So I'm throwing in those 16th notes there to give it a little bit of rhythmic shift. So that's something you don't forget about that one of the very cool things that we can do with the blues, lot of players cannot do that. You don't even know about it, not aware of it. So if everything is feeling like swing feel and I'm mixing up the succeeds notes with the triplet eighth notes. So it's a very cool thing that you want to try to get into your plank. Okay, so I think that about covers blues in E minor minor blues. So practice that it's good too. It's good to practice it in different positions. And if you're kinda thinking it's a pretty high, you may be loving it up high, up on the toll fret, or you may be hitting it. So if you're an acoustic guitarists, maybe you don't have a cutaway like I've got over here. And so you're kind of like blocked in writing, hence the sound of the guitar. Um, yeah, I get it. I understand. So you may want to play in the key of 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. And sometimes you have to play an E and that's where it's going to be. So have fun with this. And the wonderful thing about playing in some of these open keys is we can drone those open strings. And it sounds really good even when we're playing bar chords. Don't know if you noticed that. But like when I come down here to play this E minor mark or here, I'm including the open string into it to get a nice deep sounds. And I might even open up my hand to get the Hawaii and two it also. So anything that we can do to make it a little bit more special, we definitely wanna do that. Okay? All right, so go have fun with the E minor blues. 26. Minor 12-Bar Blues in G (page 38): Let's play some minor blues in the key of G minor. G minor is a key you might not play in 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 that both major and minor that influenced jazz a lot. So Blues came first, jazz came after that. And there is a sub-genre of jazz, jazz blues. A lot of blues songs that are played and sang by jazz musicians. So they crossover quite a lot. But the jazz players, since jazz is largely the horn dominated style of music, they, there are a lot of flat keys, so E flat, a flat, D flat. And so when you're playing in those kinds of keys, if you're gonna go Minor, the miners will be in bizarre places. So playing blues and G minor would be like B flat major for a horn player. So a lot of horns like to play B-flat major. They're gonna do a minor key. They would play it in G minor. So this is something that definitely can happen, definitely could come up. No worries. You know exactly what to do. We're going to use every single tool and trick that we've already learned. And we're just going to shift the key. And it's going to be, no problem. Everything is going to have to be a bar chord. I guess we could do a D minor open, but the G minor and this C minor have to be bar chords. But everything else, we've got, we're going to jump between the minor chord and the minor seventh chord for each one. And we're going to then use the minor arpeggio and the pentatonic minor and the a natural minor in the key of G. So let's jump in. Let's go through the course first, 1234. Okay, So just to recap, got a G minor here. I've got a C minor here and a D minor here. I can come all the way up and hit my G minor here, router on the a string. Then right here is my C minor, and then up to from that is my D minor. Okay? If he comes off, that turns it into a minor seven, alright? So the 145 is a, G, C, and D, of course. But g is 1, and this case g. And energy we go to agan. So g is 1, a, b, c, the four, D, D is the 5145. Okay. Let's hear the courts one more time. 1234. Good. Okay. Let's jump into some soloing. I am going to do a combination of the arpeggio, the minor arpeggio. And I may be bouncing between the G, the C on aid and the d on 10 with the minor arpeggio. And I also might bounce a little bit on those three positions with the pentatonic minor scale. And then I may just stay put a little bit on the natural minor scale here in the key of G. But as I'm doing it, I want to focus on the one or the other. See the four or the five. Every time the core changes or want to try to hit that note on beat 1 of the change, and then I can hit anything else I want to go, Let's try it. 1234. Okay. Good, good, good, good. Okay. One of the things I was also doing is I was accessing some court tones. Okay. So I was up here and I was in the D position, but I was playing over the G chord and I was actually going for these notes. So don't forget about your chord tones. This is something that pops up a lot. What do I do over this cord though? And you play the chord tones, if you don't know what to do over a certain chord, play the chord tones, the core tones are just the notes of that chord. But don't, don't ring them into each other. Don't go. Don't do that. Play the note and stop it. Play the next note, the coordinate, stop it. Stop it. So sounds like a melody, right? So if someone wasn't looking at you play you, they were just hearing you like, then they would think that you were playing some kind of a scale or arpeggio over something like that. They wouldn't see that you're doing a chord shape. So cortex, they're great. Okay. Let's go one more pass. Okay? And hoping to point out all of the stuff that I'm doing. And let's also not forget to use our dyads. Okay, we're going to try to connect notes on adjacent strings wherever we see opportunities to do that. Okay? 1234. Hi, good. Alright, sounds good. It sounds like the blues. Sounds like the blues. So practice that one. That is a tricky Keq is we have to borrow on pressing pretty much on everything. Don't have a whole lot of open string possibilities there, but that's okay. That makes it a little more challenging. And to play it in a different shape is really good for our brains. It, we don't want to be associating key or a scale or a shape with certain key. So we want to be able to move the shapes and scales and arpeggios and courts anywhere we wanted to accommodate any key that we could do, anything we want to do any song, any key, right? So it's good to play in different keys. It's good for you. Alright? So practice your G minor blues. 27. Backwater Blues (page 39): Backwater Blues. This is a pretty old song, was made popular by Bessie Smith. But she didn't write it. It's, it's pretty old. Well into the public domain at this point. All of the songs that we're doing in the course are quite old. So this is 12 bar blues in the key of E. That's perfect. This is our wheel house, is, is going to be easy. All right, so all of these chords can be seventh chords, dominant seventh courts. Even though I didn't write it down, they can all be sevenths. And everything pretty much is what we're used to. The only difference here is this last line. This is what we would normally see when we're playing the Minor Blues. We've got 52 bars of five. And the two bars have one, the one chord. So, but that's okay, two bars of B and then two bars of the IEP. We can do it. So this one's a little bit more uptempo, little faster. So 1234. Hi there. Okay, that's just a fun one. It's drummer. Alright, let's solo it. You know, to do redo the dominant, her pet you were the Mixolydian, following each chord. All right, 123. And also want to point this out. We have to be careful on doing a walk where we don't have a standard ending. So how did this isn't a standard ending. It's just not the one that we're used to. This is not standard tool bar blues because they end it kind of in the middle here. So you have to be careful about doing your walk, you doing a walk down or walk up. It's resolving to the one chord, which is the E 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 chord and the V chord. So we're not just hanging on the Eel time. So just watch out for that. All right, so we're soloing 1234. Abstract concept. It's fun. It's fun. And I tried to walk and it kinda works. So yeah, say go for it. Backwater Blues to good one. Do you want to play with your friends? 28. Frankie and Albert (page 40): Frankie and Albert. So the song is pretty old. The earliest recording effort is Leadbelly, but it's been covered by tons and tons of people. Great song. This song is a folk song. Also. It's definitely blues, but is also a folk song. Blues it crossed over with folk a lot back in the early 1900s. So there was a lot of blues band that also were playing folk and vice versa. There was a lot of folk players that were also playing some blues. So this is a great one. We can treat everything as a seventh chord here, which means that we can use the dominant arpeggio or possibly the Mixolydian. But let's jump into it. So what's going at a really fast pace? Going to use open chords, just jump into it. Okay, So the template is going to be like 123412341234234122. Now let's do our jobs. And as you can see, we're not using the swing fill in this one, we're just cutting, giving it a Streets beat. Very strict read. Okay, let's go ahead and take a solar wind. We can use the dominant arpeggio. So let's give that a shot. Okay, 1234. All right, so I'm sliding, started jumping into the Mixolydian are a little bit, they're using a little bit of the dominant arpeggio, the Mixolydian going to G, the C and the D chord is changing. I'm changing with it. So let's go one more time. 1234. Hello. Okay. All right. Frankie and Johnny. 29. 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 in the key of D is time. So this is actually pretty standard to what we're used to. Just have a tiny little turnaround or hear two beats on the deed to beads under G 7's, right there at the next to last bar. Okay? So you should know what to do on this one. All right. 1234. Hi, again. Okay. Soloing over it. We have, we know exactly what to do. We're going to use the dominant or Petraeus following the court. Or we can use the Mixolydian mode, also following the court. 234. Hello. Again. All right, That's it. Just my room had the lead dust mite grew. 30. Going Down the Road Feeling Bad (page 42): Go on 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 funky field to it. Okay, so let's just jump into an end. By the way, we've got four beats for VGS. For me, it's for me, it's four beats, two beats, two beats. To me. It's two weeks, four weeks. Okay. So let's just jump into it and see what it sounds like. 1234. And again, trying to say is 34034. And again, 12341234. Good, good, good, good. Okay. All right. And so soloing over, we can use the GO, we can use the Mixolydian. So let's jump into it. Let's jump into it. I would say go for the dominant arpeggio of following the courts. And the only exception would be the C-sharp Minor, where we can use the minor arpeggio. Anytime you have a minor coordinate, you just hop on to the minor arpeggio to get you through it. There's only two beats of it, so it goes pretty quick. Okay. So 1234? Yes. Okay. Okay, so I am using combination between the Mixolydian mode and the dominant arpeggio over all of the courts. Sometimes doing the minor arpeggio of the C sharp minor. Yeah. Go again, 1234. So let's go on down the road feeling that. 31. Saint James Infirmary Blues (page 43): St. James Infirmary blues is a cool old song of minor blues. And I am familiar with the Cab Calloway version. It's pretty cool song. Alright, so something that we, we might not have talked about before. This one has alternate endings, okay, they're easy. So see how it says. It's going to bracket and says first, the known has a bracket and says second. So all we're supposed to do is we're going to play, well this top line, we're going to play this bottom line. And we're going to play the first ending. Okay? Let me go back to the beginning, the topline. We play the bottom line and we already played the first setting, so we skip it and we just jump right into the second ending. That's our alternate endings work and play the top-line, bottom-line and the first ending. And you've actually beginning to put in top line, second line, skip the first ending and jump to the second ending. For beads inside of each dash, four beats inside of the measure. So if there's two chords, then they each get two strobes to use Trump's to Ostrom's. That was by himself. So he gets forced Trump's to use Trump's to struggles, forced Trump's two to four, B flat seven, to Ostrom's a seventies, Trump's to storms to use realms. And then that second ending is four. Okay? So, and this one is in D minor. So let's jump into it. Okay. 234, secondary. That's beginning. First. I'd like to begin a second. Okay, very cool. You can hear a lot of power in this core changes, okay? Soloing over it. We're in the key of D minor, so we can use the D natural minor scale, or we can use the minor arpeggio is where the pentatonic minor scale. For this one. There's some stuff I see where I really think that the natural minor scale would be good. It's this B flat, B flat seven chord is really telling me natural minor scale would be a good one. Because we've got a B-Flat node in R, D minor scale. So that'll be good. Okay, and you're really just hanging out in D minor for most of it. So soloing over it, pretty simple. I tried, seemed kind of reflects the balance between the D minor and the G minor in the solo. And I'm going to try to get to v flight in the a as I can, the ends. So we'll see what happens. Okay. 234, secondary. I think I did that right. So yeah, go the first setting, that is the beginning of second heading. So all of those really doing in my solo was I was hanging out at the D natural minor and kind of bouncing between the D note and the genome. That's 90% of what it is. And then you just want to try to hit that B flat to the a where that happens or if they're older than that, you can hit any of the notes that he wants you, that if we get those, the D, the D, the D, the GI, lot of that, free it to be fun. A. Then it shows pretty much the whole chord progression solar. That makes sense. St. James Infirmary blues. It's a fun one to play. All right, we'll go have fun with this book. 32. Nobody Knows You When You're Down & Out (page 44): Nobody knows you when you're down and out. This is a great old blues song. You may have heard Eric Clapton made it popular again in his unplugged recording. Great song. Okay, so I'm going to play through the courts a time or two and then we'll do a solo over it and just kinda get you up and running on it. The dashes are the measure breaks. So there's a total of four beats inside of each dash. So if there's cords inside of a dash, each coordinates two beats in. If there's just one court side of the dashed, it'll get four beats, were forced drops. Okay. So two beats, two beats, four beats, two beats, two beats, four beats, kind of like that. Okay, so let's jump in. 234. It sounds pretty cool, isn't it? All right, let's take a look at soloing it. On this one. There are courts all over the place. So is not something as cut and dry. It's not just as easy as saying it's in the key of C, because the first quarter see a lot of times that works, but it doesn't exactly work in the song. The song is in the key of C, but there's courts all over the place. So we are going to do a combination of using chord tones. When you don't know what to do, you do chord tones. So we're going to just pick out the notes of the chord and try to make it sounds like a solo. And when we get to the seventh chords, a seven, D7 and G7, we can do the dominant arpeggio. We can do the Mixolydian mode over those. So that would be a good plan of action for soloing over this one. And by the way, we have a D minor chord here, a D minor chord here. A D chord here. D major is time, and a D7 here. So that's pretty crazy. Ha, D minor and a D and a D7. So yeah, like all kinds of d's. So yeah, there's corps all over the place. All right, so courtesans chord tones over the sea. And I'm just going to jump into it and wall calling them out. Okay? So take a C chord and bang out some core tendons. E chord tones, A7. We do dominant arpeggio. D minor chord tones. A7 chord tones. D minor chord sounds. Okay? F cortex. Or towns. C chord tones. A seven, you do dominant arpeggio. D7, dominant arpeggio, G7, dominant arpeggio. Okay, so let's do that again and see if we can get a little speed going. Okay? So see quartets. And on those D minors, we could always do a minor arpeggio. So whenever Viggo would work also over those. All right, so hello. Where do you think? That makes sense? This is a pretty tricky one to solo over, but it's a great one to keep you on your toes. So I would recommend using chord tones and just having these courts memorized or at least in front of you to where you can quickly look at a wall you're playing. But memorizing them is the best bet. So just go play the chords played, play and play them over and over and over again. So you kind of have them in your minds. And so then when you're soloing, you can say, okay, I know it's a C chord, so they had some see notes. Ii chord, so an A7. And do my little arpeggio, then, D minor. So an A7 in D-minor. Student chord sounds that I've got an F, and we've got a D chord tones. See, OK, to that, a arpeggio. Then I've got the D arpeggio, the gene. Okay? And that is nobody knows you when you're down and out. 33. 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 end. You must feel great because you did 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 playing. Okay, So a 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 didn't fully grasp the concept, go back and watch it again. Or it could be a situation of going back through one of the songs, going back through any of the chord progressions. If you had a problem with any of that stuff, you can watch these videos as many times as you want to. So do it, go back and watch the videos again. So 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 I would want to know at all. So go back and watch this stuff as many times as you want until you have completely understand it. Okay? The second thing that I would recommend you do is possibly get a book, maybe go buy a book, a blues book, blues songs. And when you're getting the blues songs book, you want to get something that has the, the courts at a very minimum. You want to have a book that's got the chords listed kind of like we did above the Tab or above the notation where it's got the cores listed to where we can see how many beats are for each chord. And blues is relatively simple with his core charts. But what you may see in a book, and there's a few different things you could do. You may get a book with chords and tau. But more than likely, for blues book, you'll have the chords up top and then you'll have the lyrics. So if you've got a blues book like a Blue's Facebook, fake books are popular books that have the chords, the lyrics, and the basic melody. So whenever I'm teaching a different genre or style of music, will usually recommend someone go out and get a fake book. Sometimes it'll be called real books. A real book were fake book. And then the name of fake book has just means that these are the all the correct components of the song. He arrangement may not be a 100 percent the exact same as it was written originally. And the key may have changed from its original key. But usually those are things that are unimportant. If we want to just play the song, we don't need it to be in 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 core progressions, give you the lyrics, and give me the basic melody, just a very basic melody. And from there you can play the song. 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, a real book or Facebook, blues, real book, Blue's Facebook. These are just ideas. You may find some other book that's got blues songs in it. And if it looks good to you, get it. 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 the scales and arpeggios following the coordinates. And you can sing along with it. You can go through the melodies and trust tried to Corps all up and down using your swing feel. And so you can start playing with a lot of different, there are a lot of variations on the blues that we covered, the basic ones in this course. But you can learn some new variations of blues songs by going through a bunch of different blues songs 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 can jam with. This could be another guitar player, could be a bass player, could be a piano player, could be a singer. Find another musician that you can play the blues with. And when you're playing the blues with somebody else, you have an idea now on how to put together a chord progression. You can just take a piece of paper and a pencil and just write down the chord chart for them and hand it to them. So be willing to teach some friend how to play a blues progression that you've been working on. And they're going to show you one that they're working on. And so 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 to cultivate a relationship with a person or 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 find musicians that you can interact with, get engaged with other people. And easy way to do that maybe just defines, maybe someone else who's also guitar player. Guitar players love blues and just start off with one person. They may be, you can 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'll be so excited and you will run home and you'll grab your guitar and you'll practice until your fingers hurt because you want to be good and better the next time you get together with your new friend. So find a musician to play with. Thank you for going through this course with me. I'm really excited for you. This is going to be a really wonderful thing for you. And I'm glad had a fun time making this course. Really glad you were here with me. And so keep on playing the blues. And I'll see you next time. 34. How to Use Backing Tracks: Okay, let's talk about how to use backing tracks. In just a minute. I'm actually going to go through a backing track on my guitar. And so over it and show you guys exactly what I'm doing, okay? But first let's talk about some, some things. When we're doing banging tracks. This is an opportunity for us to practice soloing and kind of being creative. So this is the last thing that I made on the bolt points is be creative. Probably though this the most important point, right? This is kinda the whole point of learning scales and modes and arpeggios. And trying to figure out all the notes on the fretboard. We're doing that so that we can, so that we can solo, so that we can jam along with backing tracks or jam tracks. Okay? So people call them jam tracks. So people call them backing tracks. They're the same thing. They are the same thing. So we're trying to be creative. We're trying to practice our skills. And our modes are arpeggios. And it's really an amazing thing that we live in an age where we can just go onto a video site like YouTube or something like that. Get a bunch of different backing tracks to solo our scales and modes. And this doesn't cost us any money. It's really amazing. And people spent a lot of time in their home studios putting these backtracks together. Just for us to solo over and have a good time to make our guitar practice more enjoyable. So it's really amazing. So what you do is you go onto a site like YouTube and you do a search for backing track, a minor, exactly like I wrote it down here. Or backing track G-Major, exactly like I wrote it down. Or it might be backing track B, Dorian backing track D, Dorian backing track e, Phrygian, backing track B for Jian backing track C, Lydian backing track a, Mixolydian backing track II, alien or backing track E natural minor scale. So you can basically you tell it backing track, and then you tell it the key, and then you tell it what the mode or scale is that you want. And you're going to come up with tons of stuff for almost anything. You're going to search for almost any key, any scale, any mode. Now, once he started listing to your backing track, it's going to have drums and bass and guitar, keyboards. And people do this in all different styles music. So pick one that you like. And when you're start soloing, make sure you are in the right key and scale. It's right in the name of the backing track plus you searched for it so you should know what the right key and scale is. Just make sure you're in the right key and scale or mode. You tried to make little riffs. Okay, that's kind of what the whole point is here is we're trying to make little riffs, little melodies, little phrases. Some people like to just do drills. And as a drill, you know, you might say you're just going to play continuous eighth notes. You might try to do a specific sequence of like groupings of three or groupings of four, going ascending or descending, you may have drills that you're trying to do. But if we're trying to be creative, we want to be making these little riffs, these little melodies or phrases. And we're basically going to connect them. Each little melody connects to the next little melody and connects to the next little melody. And a good rule of thumb is that when you're soloing, you're trying to tell a story. Think of it as the same way that you would speak if you're trying to tell a story using your language, using using your mouth, you're trying to tell a story. So you take a sentence and then you build on it with another sentence, and then you build on it with another sentence and you've got a story happening, okay? That's the way you're solo should go, is you're, you're telling a story. A lot of these guitar shredder. I'm a fan of, I love the guitar creditors, but a lot of them are not very good at telling a story because they're just one random technique followed by another random technique and it's super fast. And that's totally cool. I love that stuff, but it's not good for storytelling, for musical storytelling. So we want to tell a cool story. We want the solo to go somewhere, okay, that's our goal. We're going to, we're going to use techniques. So we're going to do hammer ons and pull offs and slides and vibrato, and Hammer poles and all kinds of different tactic, any kind of technique that you can imagine. Just try to do bends and put in your techniques, combine your techniques. You don't have to do continuous techniques, but use some techniques. Use step and skip when you're soloing. So a lot of times when people start soloing, they just kind of run up the scale in a stepwise manner. When you're stepping, you're playing each note in the scale in order. Like almost as if you're just playing the scale. When you're skipping, you're only doing notes from the scale, but you're jumping over a node. You might jump over like you play the first known as scale. You might skip the second note, jump right to the third note. Or you might skip the second, third node and jump right to the fourth note. And you can skip forward and skip backwards. You're still only playing notes from the scale, but you're, you're not playing an order, you're jumping, okay, That's skip. But if you're doing continuous skip, you'd be playing something like maybe an arpeggio. Like arpeggios have built-in skip, okay? And scales are built-in step. But when you're doing a melody, when you're making something interesting, new, you want to combine stepping and skipping. You do step, we'll skip will step, we'll skip it, kinda mix them up. Okay? And now you've got something like a melody that you're making. Use different rhythms. So that's beats and rests. We don't want every riff to have the exact same rhythmic feel. So try to mix it up. Push yourself to do that because a lot of guitarists fall into a trap. Me included. I also fall into the trap of playing the same rhythm. You have to force yourself out of that. So try to put in an arrest in places or hold a note out, or play a little faster at a part of the measure that you normally would not mix up your rhythms. Use the mode shapes of your scale. What that means is that if I'm playing in the a Dorian mode K, So like let's say I've got an, a Dorian backing track that I'm soloing over. I can be over the fifth fret and just stay on my a Dorian shape over the fifth fret. Or I can use the mods and the mode shapes of that scale. So I can say I'm in the fifth Fred, but I can use the third fret G, Ionian shape. I can use the seventh fret be Phrygian shape. I can go to the 12th fret and do the Aeolian shape, that kind of thing. If I'm in the G major scale. So if I'm doing a backing track and G-major, I can do the mode shapes all across the fretboard. So about just stuck on the third fret that I can say. I'm going to do the a Dorian shape. I've got the fifth fret Dorian shape in the key of a, that's relative to the G-Major. I've got the sum fret be Phrygian, that's relative to G major. I've got the 10th Fred D Mixolydian shape that's relative to G major. So that gets me out of my third fret. It's have been stuck there and I can play the entire fretboard. So I can really have fun on a G-major backing track by doing the mode shapes of my scale. So instead of it just being G-Major, now I've got the entire fretboard so that it's really becomes a fun thing to be aware that when you're, when you're playing with what we just talked about with the mode shapes of your scale that would be considered playing in a relative, relative music, relative song, relative pattern. Meaning that we can just take a G major. The backing track will just be G-Major for the tire thing, when I'm really changing to any other keys. Looks have as opposed to parallel. There are certain cells that music like jazz and blues that are parallel. What that means is that basically we're not staying inside of like one key or the, the song is not beholden to a certain scale or wonky. So jazz and blues, if you're playing 12 bar blues in a major key. So like you played major blues in the key of G over the GI quarter G7 chord, you're soloing following those rules. Mixolydian dominant arpeggio. When you go to the C chord or the C7 chord, now you have to change. You can't stay in G. Now you have to go to the c, c Mixolydian, see dominant arpeggio. And then when it goes to the decoder, the D7 chord, now you have to change again. Now you're the D Mixolydian or the D dominant arpeggio. Jazz will do this in an even more rapid fire away. So in blues you'll have like a whole lot more time to play around with that, get comfortable with those parallel changes. Jazz could do this with giving you a maybe two beats, sometimes less than two beats, two, to solo over a quarter until it changes and you have to change with the court. So basically parallel means changing with the court. Most backing tracks, you don't need to worry about that. Okay? The whole idea of a backing track is that it's going to stay this one thing for the whole time, unless you've got a blues backing track, okay, So blues backing tracks, you have to change with each chord. If you had a jazz backing track, you're doing some pretty advanced stuff. So jazz backing track a lot of times will be your changing with each chord that's parallel. Okay? That's going to be way more advanced. Most backing tracks, like I said, you're going to be just in the a minor scale or the D Dorian scale with C major scale or the, the E natural minor scale, something like that word stays that way for the whole time. I just want you to be aware of the fact that there's a lot of blues backing tracks out there. And a lot of times blues will change with each chord, except for minor blues. Minor blues typically is relative, so mandible is usually stays the same for the entire song. The entire track will stay the same key, same key, same scale. So like if we're playing a minor blues, I'll probably be able to stay in like a Aeolian, a natural minor scale, I could probably say in that for the entire song without changing at all. And be creative. That's the whole point of this. And have fun, really having fun being creative. So some people backing tracks, you have to kinda flicked, forced them a twist their arms like do your backing tracks. Don't forget to press playing over your backing tracks. I love playing over bag is my favorite thing to do. This is like one of the main reasons I wanted to learn how to play guitar in the first place was to build a do backing tracks, jamming with other people. And this is just practice for jamming with other people. Backing tracks are what you do right before you go play with other people. If you can jam along with a backing track, that next step is to go jam with a friend. So this is so much, I mean, this is so much fun. The fact that you're here at this point is great. Okay, So going to do a backing track jam for you guys and hope you enjoyed this. So let's check it out. Okay. 35. Jam Track - 12-Bar Blues in G: Okay. This is Week. Hi. Yes. Hi. In this section. Let's hear it. Hi. Hello. Hi. Hello. Yes. Hi. 36. Jam Track - 12-Bar Blues in A: It is hi. This is the hi. Hello. Hello. Hi. Hi. The chain? No. Hi. Yes. Hi. And it needs to hi. 37. Jam Track - 12-Bar Blues in C: Hi. Hi. 38. Jam Track - 12-Bar Blues in E: Okay. Okay. Hi. Okay. Okay. Hi. Hello. Hello. Okay. Okay. Hi. Okay. Okay. Hi. 39. Jam Track - Minor 12-Bar Blues in A: Okay. Hi. Okay. Hi. Okay. Feature. 40. More Blues Turnarounds #1: Okay, We're back. We are going through more blues turnarounds. Got a series of five more blues turnarounds that we can go through and does just gives us lot more possibilities and helps to understand a lot of other blues songs that we're going to wind up playing. Because the turnarounds are a lot of what a blues song is going to be about. You've got the courts, you've got the turnarounds. We've covered soloing over pretty much any situation you could be in the blues. So the turnarounds are really what makes each blues song very special. Okay, So number one, this one is going to be just a variation on the original turnaround that we've done before. So let's hear what it sounds like first, so I'm gonna play it. So the beginning of it is the same as what we're used to. It's that last measure, that 12, 14, 11, 12. That's the new part. And this is a familiar sounds. You've heard this before. But let's go one more time. Okay, so the chords at the ends. So it's the last two measures of the 12 bar blues. Everything else in the 12th, ours will be the same, except for the very last measure, the 12th bar. And what we're gonna do is we're going to pop that E on beats 34. So we're just going to come back to that E or the E7 a little bit early. So if I'm playing the last line of the toolbars, which is to be starting with the B7. It's going to be like this, CT wise. Now, I wrote just two beats of B7 and two beats of E7. But really that E7, it's just going to come in on the, on the plight of two. So the B7 is like one trip will lead to trip like the E7 comes in on the so it comes at just a little bit early. So let me go one more time. The whole bottom line starting with the B7, 234. So that makes sense. All right, let's listen to the turnaround one more time. That's it. Pretty simple, pretty cool, and pretty, pretty common. You know, this is something that you're going to hear in some songs where we just incentive hanging on to that B7 all the way through that last measure, we come to that or home chord. In this case it's E, it a little bit early. Now this is one that's easy for you to transfer to any key that you want. We don't have any open strings, and so your root node is just on the 12th fret. So just move this to whatever you need it to be on. And that's about it. So it's kind of cool. One, more blues turnarounds, number one. So also get the PDF for this video. For the, there are five new blues turnarounds. So 1, 2, 3, 4, 5 of the more loose turnarounds. But I'm going to have them all in one PDF. It'll be for this video. So go ahead and get that PDF for this video. And it'll have all of the five turnarounds for the series. Great, good job. I'll see you in the next video. 41. More Blues Turnarounds #2: Well back. More blues turnarounds number two. So we've got the tab on here, six lines representing the six strings. The top line is your high-pitched little string. And the bottom line is your low pitch, base E string. Okay? And the numbers are the frets. So this one is a little bit more specific to the key of E. But we can do this one at any key by just leaving out really that high E string because we're sort of driving that high E string. Let's listen to what number two sounds like. Okay? Alright, let's go again. Number 2. All right. So on this one, the 12 bars, the courts are exactly the same as they usually would be, except for the very last measure. So that last measure is going to have, it's got four beats in it. So beat one is the E chord, B2 is the C7 chord. Beats 34 are the B7 chord. So like that last measure could be played like this. Okay, Let's do that again. What if I was going to play the entire bottom line of chords starting with the B7 chord, besides the next measure of a seven. Okay? Because the dashes are, each dash is the new measure. So there's four beats inside of each dash. That last measure words, ie, C7, B7, and then there's a slash that's slashes saying play the previous court for one more beat. Usually what a slash will mean unless you're dealing with a slash chord, then the slash will tell you that played the previous court for one more B. So that's, that last measure is one-bit of E chord, one beat of C7 chord, one beat or two beats of B7, B7 and other slashed has played B7 for one more beat. So that's 1, 2, 3, 4 equals out to our 4-bit measure. I'm going to play the last row starting with the B7 chord, 1234. Okay? Now you notice how when I went to that be just slightly early. Okay. This is really typical. This is going to be true for a lot of these turnarounds. We're going to go to that last chord. It's a swing fill. So we're going to do it on that Padlet. Or if we're thinking of it, if we think about it like one triplet to triplet, three triplet for triplet is going to be on that plate of two instead of right on beat three. It's going to be the plenitude just a tiny bit early. One trip lead to triplet right on that plate of 2. So 1, 2, 3, 4, kinda like that. You think about it maybe in terms of 123123123123. So people think about triplets like that. It 123123123123. It'll be on the three of the second beat. So 123123123123123123123123. Okay, Let's do one more time of super slow. 123123123, that B7 just comes in a little bit early. But if we play it a little bit faster, like back in time, and it just sounds like that. And we're going to kind of hold that B7 to the end. Let's listen to the actual turnaround though. One more time. Okay? And the 65, 55 is the C7 chord, 5444 is the B7 chord. Okay? See you on the second measure that for the E, where zeros are 0 and hammer to one. That's what that little, um, that little tie is telling us to play the zeros 0000. And then on the G string, hammer on to the first fret, so it's 000. And that hammer onto the G string first fret. So it's, and it happens really fast. It happens so fast. It's not even really within any kind of rhythm. It's just like, but like a flam, okay. It's a drunk term, but that's a flame. It happens so fast. It's not even really a b is just like book. Like that. Barely inherit, but I'm going first open, open, open, and then quickly hammering onto the first fret G string. Okay, So those are the turnaround one more time. That's really good. And that's it. That is term number 2. Good job. I hope you got the PDF from the first video. And let's move on to the next turnaround. 42. More Blues Turnarounds #3: More blues turnarounds. Number three. This is a pretty exciting one because here we're starting to see how a lot of these chord shapes intertwine and connects to each other. A lot of our court shapes that we want are just right around the corner. They're not far at all. That's one of the very neat things about getting deeper into the blues is that you see how all these shapes are just really nearby. And we can actually get a lot of mileage out of number three. Let's listen to what it sounds like. Let's listen again. Col, less doesn't again, a little bit faster. Great. Okay. So this one, we have seen this same Corporation before. It's exactly the same 12 bars except for the last bar, the 12th bar. We've got two beats if E and two beats of B seven at that, at the very end. I'm gonna go ahead and play the last line of the chords, starting with the B7, 234. Okay? Do you see how I kinda hang on that E little bit longer? Because when we're doing the aunt down, it's the E chord. And we're resolved to E, which is the 546, and then finally to the quick B7. Okay, so let's listen to it again. So now we've seen this every time is that last chord, which it looks like it's happening on beat three. But it's really just going to come in a little bit early. Okay, so we're going to hit it on the swing feel just a little bit early on the planet of two, or the 1231233 of the second beat, okay, 123123123123, the three of the second beat. So the very last measure is E, 1234, okay, see I hit that B7 all the early. So E chord. Three, come in that beside a little bit early. And that's pretty much it. Let's listen to it again, Okay. Okay. Let's listen to it again a little bit faster. Now, let's talk about sort of like what's not written down here. The the 978 or 97986 and say some 57. Think of those as core shapes because they are, they look sort of like a seventh shape and we're just moving it backwards. So don't be you don't need a finger that like 979 with one finger, make a court 979. It looks like a sudden shape. And these slide it back 1868. It looks like a seven chord shape. Back another 175, 7. It's just a chord shape. Okay? So these are all chord shapes. And what's interesting is that we're kind of learning like we start out with what looks like an E sub and that's the 9979 was like an E7 bar chord. I don't have a root node at it, but that's, that's an ISA more chord. And we just are moving it back. And we're resolving to an E major chord, the 54 six. Okay? But what's really neat about this is that we can descend that and we can also a setup that we did not. We're now looking at the ascending here, but we can assign it as well and we can go. And I just resolved. I finished off on the 979. So I just kind of went backwards. I started from the 54 six of the E major chord. And I just sort of played the courts backwards, which would wind up being a ascending like or. So there's a lot of mileage we could really get out of number three. It's the way it's written is also a set of by going. So there's a lot of cool stuff that we can see here. And really what I love about this one is that we're going from E to E. And that is just what the blue is, is really about, is like what can you do with this one chord? Show me everything you could do with one chord. And that's really what we're doing here is we're just like moving from E to E. Love that. Okay, so anyway, but let's listen one more time, number 3, so you're one chord. We can play these turnarounds. I hope you know, we should always really be resolving to the one chord, one strum of whatever your one-quarter is. In this case, it's going to be your E7. But this one is pretty easy. You can put this in any key. Want the only open court or the open string we have is the e. So that's very easy to work around. And you can kinda see where we're starting and resolving to. So you can put this in any key you need to. But great one, great one. Number three. Let's move on to the next turnaround. 43. More Blues Turnarounds #4: More blues turnarounds. Number four. Number four is just like number 3, except we're doing it a little bit higher up. But same exact concept as number three. The chords will be the same as they were in number three. So the last measure is two beats have an E chord and then two beats of the B7, B7, same as before. It comes in just a little bit early. Let's go ahead and listen to number four. Good. Let's listen again. Was listen one more time. The timing of it is identical to number 3. And we've seen this a lot. Okay? So I would say one of the main differences is we're starting out with just a little partial bar chord at the beginning. So the 12, 12, 13, 14, that's just an E chord. And then what's happening in the first measure is same as number 3. We're just winding down from E1, E2, and E. So we're using these chord shapes and these are seventh chords. So the first one is 12, 13, 12. So 12, 13, 12. This is just an E7 court. Exactly like we saw in number three. It's just a slightly different shape of a seventh. But this is why the seventh, the dominant seventh chords are so powerful is because the way that the stock you could do with them is unbelievable. There's so much stuff you could do with a dominant seventh chord. Okay, so moving it back, moving it back. And I'm not just like fingering this all with, you know, I'm not just going with my index finger. 12, 13, 12. I'm making a forming little cord. Okay. And then move it back one back one. And then 1909. Okay. And so I'm just picking through it though in a triplet feel like 99. And then that last 787 is another seven cores to be so. So this is 7 seventh chord shape that if you're not familiar with, is a really cool one. It's an easy one to grab. And you're going to be directly over the root. If you're routing on the low string or the high string, either the strings are going to be on the same fret. Okay? You see how like if we're on E, which we are, we're over the 12th fret. So we'll start on the 12th fret to make this 12, 13, 12 on kind of the middle strings, BG, D strings. So okay, so that's an E7 court. He said, I'm kinda wine back. Same as before. Okay. All the same rules apply. So as number three is that here we're just wanting dissenting from E2 and E. We can also a sons this okay, we can move it up. So I can start on the 99 nine, which is my E major triad. On the E major triad. And I can start climbing up going from 1909 to 10, 11, 10. And sort of almost going backwards, like I'm ascending. So I can descend it backwards. And I can send it upwards. Really, really powerful move here. This is just like what we did in number three when we were doing that from the 979. And we can also assign one. Here. We're just starting up higher on the 12th, 1320. There is so much that we can get out of this. Since playing Major Blues, the major Delta style blues, when we're dealing with the major, the dominant seventh chords is all about these parallel relationships. Like you do, everything you can do in the key of E seven is the same stuff you could do in the key of A7, or when we change the A7 chord, which is also the exact same stuff you can do in what we change to the B7 chord. This is what parallel means is that everything we can do over the E7 cord is the same stuff we could do over the A7 chord, which is the same stuff you can do, or the B7 chord, That's what parallel is. So if you've got one move, you can do over the E chord. You could do that same move over to a court and the court, any, really any chords that wind up being a dominant seven, which is everything here, the progression. So this move can be done over the A7 and the B7 is what I'm trying to get at. Same the move from number three and number four that we're looking at here. You just have to kind of get familiar with like where you are. So for example, if I'm going to do this over the key of a, then I just need to know that I have starts, like on number three, I would start the same shape. And then if I was going to be thinking about like number 4 or the key are the order of the a chord. Then I just need to go to the fifth fret and I could do this over the beak cord. So if I think like number three, I just have to go to my where the number 3 started. Okay, over that seventh chord for the number 3. There we go. Okay, that's to the B. And then to do number 4 over the B chord. It's like I'm over the seventh fret, just making that 787. Got it. Okay. So I can do this over every single core change gives me a lot of different possibilities. And I'm going up and going back. So a turnaround, there are lots of powerful lessons inside the turnarounds for actually what you're doing when you're in the middle of the toolbars. Okay. Let's listen one more time to number 4, 234. And of course I need to finish with my one-quarter. There we go. Nice. All right. That's it. Before I will see you in the next video. 44. More Blues Turnarounds #5: More blues turnarounds. Number 5. All right, We're doing great. I got a lot of good stuff under our belt. Number 5 is contrapuntal. So that means contrapuntal means that it's like, it's a term from counterpoint. That essentially means we are having two melodic lines. And contra is saying that they are sort of going against each other or going the opposite direction from each other. Really what's happening. So contrapuntal, what that means in this context is that member, the first two turnarounds that we did, one of them was basically going backwards. It was done. I'm talking about the first turnarounds that we ever did in this course. The first one was descending wise. And then the second one was an ascending line which was like. So one is going backwards, ones like and the other one is a setting. It's like. So contrapuntal is saying, we're going to do both of those are the exact same time. And that's really what's happening here at number 5. Definitely, number five is the most complicated turnarounds that we have seen so far. Let's listen to it. Let's listen again. Let's listen one more time. Okay? So we can see that on the first measure, we've got some really unfamiliar shapes happening. That 1299 and a Y you to come think of each of these groups of three as its own shape. Okay, so the 12, 99. So think of it as being able to form a shape. So you can almost like strum it. And then we've got the 11, 9, 10. Same thing. Make a shape so that you can stroke. And we're just picking through these chord shapes that we're making. And then we've got the 10, 9, 11, which is sort of like we flip our fingers. And then the 99, 12. Okay. So and the last measure we have, the 9898. I am calling that at G diminished seven. You may be saying way, that's on the C-sharp. Yeah, it is Good Catch. It is also sharp. Diminished seventh, which is also in E diminished seventh, which is also a G diminished seventh. That diminished seventh chord has this symmetry worried is able to move three frets in every direction. And those are all going to be chord inversions of itself. So the diminish diminished seventh chord has four names and it's always going to be the same court. So G diminished seven, I go up three frets. That's a sharp, is a sharp diminished seven. I go three frets again to the mine. That's C sharp diminished seven. I got three frets again, that's the 12th as E diminished seven frets as G, a sharp, Guthrie Fred's C Sharp, he goes indefinitely like that. So even though it's up there on the ninth fret, which it is C sharp diminished seven. I like calling it g dim seven because if we look down at the chords when we're actually trying to like get through those last two measures, it's a lot easier to get a G DEM seven on the high third front than it is to come all the way up to C sharp, diminished seventh, even though the same chord. But you may not know that. So doing it on the 32, 32 is kind of like right within our area of where we're playing all of these open courts. If we're playing open courts, let's listen to number 5 one more time. Okay, The turnaround. Now, the last two measures of the chords are really unique. We, we have one beat for each court. If the last two bars, That's why give it its own row down there. So one. Strum of the chord. One E7, a chord, C7. Alright, now the next measure, one E chord. One G dim seven, starting on the high string, the little string, it's 32, 32, which if you kind of like fall that up three frets each sub 32, 32, three frets. So that's going to be 65653 frets. Again, there's going to be 9898, which is our chord in the tab. And go three frets again that 12, 11, 12, 11. Gop, three friends again, 1514, 1514. And you just keep on going. So that's basically the dim seven chord. But we're going to do 32, 32 for GTM seven down here, one strum of it, and then two strobes of the B7 chord. And you can, you could do any fingering of the B7 that you want. I'm doing a bar chord because it's actually easier to do that the open court. So going 2, 4, 2, 4, 2, barring all the way to the high string because That's kind of what we want for the core change there. Okay. So let's listen to get to the courts. And the slash at the end of the, after the B7 is telling me, play the B7 for another beat. So that last measure gets one e, one g dM, and that to be CEF, the courts. Let's go again that the last two bars kinda last two measures. For now, same as always, that B7 chord that's comes in on B3. It's really coming in a little bit early. It's coming in sort of on the, the play of two or the 123123 to three of the second beat. Okay? So just like we've always seen in the other examples, in the other Turner, as it comes in a little bit early, just because of the swing feel or the shuffle feel that we're playing. Okay? So I'm going to actually play all toolbars here so we kind of get what it's supposed to sound like. 234, B7, A7, and then the last line. Okay. Let's actually listened to the turnarounds. Again. 1, 2, 3, 4. Finish with by one chord. Nice. Really good. So that is number 5. So we have a bunch of more turnarounds under our belt that we can use and also used to understand all the other blues songs that we're working on. So this is going to help shuttle lot of light on what we're supposed to be doing here. And also when we're in the middle of our progressions, these turnarounds are really the clues to how we're supposed to play better and all the tricks that we can do. So keep working on all of these turnarounds. And I will see you in the next video.