Blues guitar for intermediate guitar players

1. Welcome: My name is Gamer Felix, in today I want to introduce my new course about blues. We're going to teach you all the tricks about blues, rhythm, walking, base blues, harmony and guitars are going to play in this style. We're going to learn chords, tricks about musk, deervls, how to create our own guitar legs, improvise a lot, and blues music using several types of blue structures. Then of course, we're going to have backing tracks and PDF as complementary material to help us understand this amazing style. So I hope you enjoy all my lessons. See you in lesson number one. Bye bye. 2. Blues effects: Should learn about equipment, Se effects that we use in blues. Most of the case we use vintage instruments. Strata casters, semi hollow tours. Of course. Telecarsos Welcome as well. We talk about amplifiers. Fender, Marshall, and Vox are very common. This music style, we don't use too much Strt. Most of the case we put a little bit of drive on the amplifier or we can use over drive. Screaming is a very famous torpedo we can think in S D. One by bus as well is really common. And blues, not too expensive but be careful about the drive. Do not put too much drive. We just need to And a little bit of saturation to sound like a real bluesm does not have metal. We don't need to make gainst, Okay. Be careful about that. Another trick is use a little bit of river. So this Ben sound is really nice. You can use the river in the mode of spring or room. That's very common as well. If you want to sound more aggressive, we have the option to use a fuzz pedal. Sometimes you can find in Jimmy Hendrix, Steve Vogue Sound. Okay, but it's up to you at least to me, my favorite sound is with Over, Drive, in River. This blend sounds perfect. Let's play a little bit Add. 3. Blues famous struture: I'd like to show a few blue structures that are very important and we need to memorize and understand. The first one is the slow change blues, as you can see on the screen. And the key of a and all the example is going to be Q, right? So we need to use the seven. You can play like this in fract number five on string number six. And as you can see, we play 4 bars, seven, bar number five. We go to seven. A seven is one of the key, if you check the sales going to be number one, roots notes, and is going to be number four of a measure, just because the key is a measure. All right? So you play 4 bars, the roots notes in 2 bars, number four of your scale. It is important to memorize this 14.5 just because if you want to change the key is going to be easier, okay? If you memorize just the chords going to make everything difficult for you. All right? So bar number seven and wait, we come back to seven. Okay, going to play a little bit, check this out. What 23412 or 341 more time in and come back to bar one. Sorry to court now it's seven, just one single bar in seven, it's number 5.4 of our scale. And come back to one and come back to number five, okay? This last bar is option. You can stick with this seven to seven to make the turnaround to the top of the sun, all right? This is the most common simple blues. Let's play everything together. 1234, bar 12, 34d1 more time. Come back to seven more 77d and come back to go the top of the song, okay? This is the most common and simple blues. It's important to memorize the structure, okay? Let's go to the second one that is the fast change blues. As you can see, it is very similar to the first example, but in bar number two, we go to our number 47. Let's play everything together. 12347, come back to A one more time. Goes to D, we come back to one more time, A D, Y, come back to the top. As you can see, we call fast change just because the board number two, we change very fast to the number 44k. In this case seven. So the chord is going to be seven, right? As you can see, everything is with seven. A major chord with a minor seventh. What is the blues? Blues. So let's go to example number three to 51. Yes, this example is very nice and you can find it. Several blue stuns, board number four instead of play or the root. Or we're going to play to five of seven, to five of number four D. So it's going to be in 7.7 Check this out. 1234, first score D combat to 51 more D. A, A once again. D, Y, and come back to the top. It's a very nice variation of blues. You can take the first example. If you are compose a song or provide something, some harmony pattern, you can take the first example. Play the slow change blues right after and play five. Sound More Ban blues. The blues are very similar with just single details. But let's go to blues number four. This time we have 3651. In this case we are going to use the 51 and we use before in bar number four, okay? Is going to be in 75, is going to be a 7.17, Okay? We have 36 in bar number 83 is going be sharp minor seventh core. In this case we are going to choose the three of the root note note C sharp is three of, I'm going to choose this F sharp seven core. All right? So number six of eight is going to be B minor 75 is going to be seven income back one. So be careful about the sport. This is a very nice variation, it's very coming in jazz as well. If you listen a lot of jazz and blues, you're going to see that they mix a little bit, okay? A few artists such as John Try and Steve Revoke, they mix a little bit of the styles, Okay? And do this kind of fusion. It's very interesting. Let's split together and very slowly, 34 second chord, a 7571, more time seven. Now the newest part, 777, very nice. It. I really enjoy this core progression. Let's go to the next example, 1625 Turnaround. It's very nice example. As you can see, we have a new core. We have a full diminished core in bar number six, you create a kind of bridge 7-7 In this case you can compre like this if we play seven, the regular D seven. Burn number six, we're going to have this shape right here. I'm going to use this shape because it's going to be user to understand. Okay, if we transform the next chord in the sharp, full diminish, we're going to have this shape right here. As you can see. We just change the base of the chord, okay? The same thing if you have a bass player. If you play the D in both chords, seven, but you have a bass player playing this in this D sharp is going to sound exactly the same, okay? So as you can have this kind of change, our seventh chord sounds very nice, okay? And of course we have three of A and Barnum 86, okay? The same thing, this five. Then come back to this. Turnarounds a little bit different in this case, we're going to have a seventh court relative shine court in the June 5 of as we see. We have more, we have more chains. Our harmony turns a little bit more busy, right? But sounds really cool. Check this out. Let's play together. And low, okay, 1234, first or second quarter. Come back to the top 25 full of diminished chord. Seven sharp. My seven A seven a measure sharp. We'll come back to the top. Very nice, isn't it? I really enjoy the score progression sounds really blues and jazz as well. And finally, the contrain turnaround are famous as well. As you can see, it's really similar to the previous progression, okay? But in board number four, we have this seven of 75. That is the same thing as seven flat flat 30 sharp fives. The same thing. Okay, Jump on train, uses this type of thing, okay? It's very common his music. And you can stick with this sharp, full diminish, Okay? In the end of the progression, we have a little bit of changing, right? We use this 713, Okay, so the same thing, measure six. All right. We use this 13 S. Well, we have this measure cord with a measure seven you can use. Okay, it's better. You have this Hendrix cord? Yes, Tim Hendrix. Use this cord a lot. It's a seven sharp nine. Sharp nine is going to be right here. Okay, this part of our lesson sounds a little bit nerd, right? A little bit geeky, but it's really nice to analyze this type of army. Okay? Remember that it is important to memorize the number 135, all these chains, okay? Just because we are in A, right? But if you want to play G in F on any kind of key is going to be easier for you, all right? Stick with the basic progressions that they are the most common. All right? After you memorize everything, you go to the most difficult core progressions. So let's play together. We are slowly 34, first quarter, a five full nish, a five, B minor seven, and come back to the top. It's very nice quarter progression. Now it's time to press Memorize Everything. 4. Music Intervals: Now it's time to learn. Music Intervals in this subject is really important to blues, musk, any kind of style. Let's go. Music Intervals are very important for music. Even more important is understanding and being able to apply. First, I need to explain this table to you. Note that we have several numbers. These numbers are the formulas. Let's take an example. Major second. It's from number one to number two. A third from number one to number three. Interval of four from number one to number 4.1 very easy, right now, the minor intervals. With this, you will find the flat minor second 1-2 But following the formula, let's set a flat. We have from one to the second flat. Let's check another example. Minor third from one to number three, flat diminished fifth from number one to flat five, and so on. Now we need to find this Muskitervs on the flatboardy. My trick is find the major third first. We're going to use two strengths. In this case, you're going to have this pattern right here. This is major third pattern. If you want a minor third, just change. All right? As you can see, just half step this example. We are going to use a example. Major minor, if you want a perfect fifth is right here. Just remember about the power quarts in blues, rocking. If you want the blues note is right here, sharp 44 is right here. Five. The major seven test. Really common blues is the same thing, the same threat, but strings, okay? String number four. And of course our roots notes right here. Okay? Just think about the part as well, or pink fingers going to do with the root. You can use the same approach on a string number five as well. Not just to the octave, okay? But to the other music intervals as well. It is important to memorize these music intervals because they are going to be very important to create the rhythm part with the walking bass, with the shapes, the core progressions with the guitar leaks, of course, right? So this lesson, I think, least in my opinion, is one of the most important of this course. 5. X7 and variations: When we talk about blues, we need to think about a major chord with a minus seven Kate. Important that you remember about is trick. Okay, We use metatonic minus scale, but the structure of blues is with a major chord with a minus seven. In this lesson, we would like to introduce a few guitar shapes and a few variations. This guitar shape is very common. You can play as bar red or just with your finger in fret number five and a string number six. Okay? But it's important to play this right here, this frat number five on the string number four. Just because it's the minor seven, neither area you're going to play a kind of ball. Right? Okay. This court is very common. An auditor shape is this one works really good because this finger number one is going to mute string number five, okay? You can play with pig with just your fingers. Okay? If you're going to play a kind of jazz or walking base blues, this shape is very common as well. An auditor shape is this one right here. In this case we have the measure with a minor seventh. It's a bar court, you can find the perfect fifth right here. The minor seventh right here in the major right here. Another shape there come is this one. You have 13 minus seven of your core. As you can see, we cut the perfect fifth. This seven is really nice play. You can have a kind variation that is very come and put the nine right here. If your pink finger bright number five on string number two, if you want sharp nine, you go. We have step, if you want to flat nine, you can remove your pink finger and use your index finger to play football. Okay? You're going to have flat nine right here. It's a very nice score. It's very common in jazz blues, of course, Funk Music Okay, another shortcut is about the 13th score. Sometimes when you want to sound more fencive, we use this 13th score is seven, sorry, eight major with a minor seventh. And the 13th score right here, the 13th note. This is the 13th note and this is the flat 13th. And you can see we just change our pink finger. You can call the score as with a sharp sharp five as well. Okay? It's really common as well. But please memorize these chord shapes. They are very important. Common blues. Another guitar shape, think that is important to talk. It's a very simple one, but it is the polo chord. Sometimes we forget about the core guitar shapes. Very common just because we have that simple sound that we enjoy. Blues, Just finger number one. Finger number three, Frag number 57. Just two notes, roots notes, and a birth fifth, right? So stick with this guitar shape just because you can repeat one string down, say guitar shape, right? Yeah, of course. As I told you before, memorize these guitar shapes. Memorize the finger patterns just because I play everything in A and D, but you can change the key, you can play in, or you can play in. It's up to you. Okay? That's why I always touch my students, memorize the guitar shape and not the chord. 6. Walking bass blues: Now time to learn walking bass. This trick is really common in blues music, especially if you are a bass flier. But we're going to learn a walking base through the guitar and you can reproduce this. Sdk is going to let for guitar, of course, the trick is, remember about this 13.5 pattern. Check this out. If you think about A, we have 135, okay? Memorize this finger pattern, okay? This is very important because you can play entire blues. Just thinking about this, I'm going to prove it for you. Let's play this 1353, okay? Remember about these four notes? We're gonna play the blues, and I'm going to talk about the changes, okay? When I go to A, when I go to D, in this kind of thing, I'm gonna play a fast change blues in a. Let's go 34 Corn decordcord One more time. Decorde more time. Come back to Corcor or come back to the top. As you can see this is bluesy, right? This is a very nice bass groove bass line bus. Music But you can reproduce this on a guitar as well. This lesson let's think about cheers, the melody. I'm not going to introduce the chords when I mix the chords in the walking bass. Okay, I'm not going to introduce this sport, at least in this lesson. Okay, so let's just think about notes. This is the most simple and walking base line you have. A second approach is take notes. Number four. This last note, right, is measured the last note of your base line. And change it to a note that is very close to the note that you're going to go. For example, if we are going to note, you can play this D sharp or this C sharp right here. Check this out. Sounds really curo, isn't it? Let's try this C sharp, okay? Works really good. As you can see, it works perfectly. This kind of note, this kind of trick works really good. It sounds very chromatic. Okay, so let's try with A. So instead of play just 13 fine in three of the, the last note, we can play this she sharp and it goes to A. Okay, Check this out. It sounds really cool, isn't it? So you can try this approach and use this chromatic trick in any kind of situation. Okay, just thinking about the notes that you want to go. And think that you have the option to play one note up or one note down the target. All right, another trick to enjoy when I create plays lines is think about the perfect fifth note. Just about the perfect fifth. You can mix between the root notes and the perfect fifth. It's really simple, It sounds really nice. Check this out. So 1515, if we add the red sounds really nice. As you can see, I use the same trick when I play D chord. In this case I use the D nodes in perfect fifth. That is a. Okay. A trick for you guys is if you are using the root nodes on the string number five, the perfect fifth is right here on the string number six, okay? So it's going to be easy to find the node, the right note, okay? Stick with this trick. Let's play a blues, entire blues using just the trick. Just thinking about the root and the fifth cord. Slow chain blues, or come back to cord. Let's go, let's go to come back to the top. Sounds really cool, isn't it? In this case right here, I add the core. I play based this case right here. I add the seven and I play the base with my thumb finger and the other two notes with my index. In the middle finger, I play the base. The core, I let the car ringing and play the base. So 12121212, try to do this exercise with me. E 41.21 in 21212121 engine, one engine. It's very important to let the cords ringing, okay, as we see when I say two is the perfect fifth of my core. All right, so prac, this trick, it's very important to create walking base as well. Let's go to the next trick, the chromatic trick. And we mix a lot of things. The idea here is play the cord. They're fast, okay, base in cord. And thinking about this pattern right here, this pattern of three notes, you're going to play right after you go to the next and role to note, in this case D. In this example we're going to play fast change blue, so it's 1 bar in, 1 bar in D and come back to and play twice. So I play this, it's a kind of bridging right to our root note, that is. And after you play this pattern right here, you need to come back to the, the pattern that we are going to. So thinking about that, you're going to play very slowly. Try to play 348d D as you can see it a little bit treat, right? If you play this fast, gonna sound much better. But first of all you need to breaks of course. So we have this kind of pattern that works really good. You're gonna play a little bit fast. Check this out. 234, really nice, isn't it? The, as can see in the end of the blues, I mix with other tricks. Let me give you this idea. When I change to this or I use this other or shape, this dor ship is really nice. And my advice for you is do not stick with just one single or shape. When you are going to play there the reading part, try use the other shapes that you know that you want. This course will sound very fancy. Another trick is when you go to play this, this note, you can create this kind of bridge using T pattern. We learned a few minutes ago that 135, okay? And instead of playing just 13.5 you can play with the chromatic notes like this. Some really nice, isn't it? Another trick is use chromatic chords. Not just the chromatic notes, but the chromatic chords. In this case, when I play and go to D, I use this shop as chromatic chord. Okay? You can use this any part you want. For example, let me play the ending part. Really cool, right? So as can use this chromatic right here, right here when I go to our court. As can. Sounds really cool. It's important to practice, okay? This walking based tricks, not easy sometimes can look really difficult when we play trick. Very technical, but it's going to be perfect. Should develop your speed, your cures, and instrument your knowledge about the notes on the fretboard and understand all the blues concept. Now, Sampras, take your blues, okay? Start with the basic structure that we already learned and start to wet this walking pace. You can use this perfect fifth. You can use this 13.5 trick. You can use this 135 in the last notes, Uh, chromatic notes to your next root note, so sounds really cool. Or you can use this chromaticaproat. And of course, chromatic course as well. Works really good. 7. Scales : Blues. Music Is very common to use pentatonic minor scale. Example is going to be a pentatonic blues scale with the blues notes. Sharp four, right here, right here. This D sharp. Sound very blues. Sometimes we can mix everything and use a few chromatic notes. Okay? And this is going to create a kind of blues, let just a kind of fusion. And this is what this lesson is about. When you play blues, you can stick with this shortcut instead of play and think just in pentatonic minor scale. Try to mix with the blues nodes in a few hermetic notes, okay? For example, the blue zaxon. You can play this flat five to five, It's very common, right? Or this flat three, measure three. Okay? So this, it's very common as well, but probably are thinking, for Gabe, my blues is a seven blues. A major core with a minor seven. But why we use this minor right here is the accent is the blues. Accent is just sound like a real blues man. A real blues Sound. You need to have this kind of fusion between major and minor. That's why it works. It's stick with these two short cuts, find the perfect fifth. So right here, right here in this case is going to be right. Play one note before, you're going to have the blues notes, or the chromatic notes that you want. So in this case, we can play the, the chromatic notes in the perfect fifth. Avoid to play the opposite perfect fifth to the chromatic notes. Okay? Sound Choose spicy. Okay, If you finish your leg in the blues notes, in this chromatic notes, it's gonna be a little bit weird. Check this out. It's weird, isn't it? That's why I prefer the opposite sounds much better, isn't it? And stick with this second short cut, find the minor third. It's inside of your pentatonic minor scale, so you can find here, here, or here, if you think in the first pattern, okay? But it's important to Px and finding the other patterns as well in plate in C sharp, avoid play the opposite C sharp in C. So as you can see, you can create several max things. Check this out. As you can see, I use a lot of trick. Another trick that I like to use is this chromatic por here. Five flat seven, major seventh in one please me. Sounds very cool. Another short cut is major seven to minus seven. We are playing major core minus seven, isn't it? If you play this short mas six that is a spice note in fina in a minor seventh going Sound really cool. Check this out. Sounds really nice, right? So stick with these three short cuts and improvise. Improvise a lot. 8. Transposing guitar shapes and keys: Transpose a few keys in scales. I have a great shortcut for you about that. Let's think about, let's start with cat mince, Okay? The first pattern is right here if we want. The second pattern is going to be right here on the string number six, frat number eight. We just need to think about the second note of minor pentatonic. If we are in A, in the first note is going to be A. The first pattern is going to be, that's why we start right here in this A note. We just need to think about string number six. The second pattern is going to be the second notes. Penton, we cut number two, right? Because pentatonic, five notes. K with five notes, we need to think about the next note. That is, that's why our second shape, right? All right, note number three is going to be right here, D, y shape here in the. But let's suppose we, we want to transpose this key. We don't want to play in a, we just want to play. So instead of playing the first pattern right here, we play where is note? Right here. Right here. That's why it's so important to memorize the fin pattern and not the frets second guitar shape. In a pentatonic, Myers Chao should be in my second note, but we cut the second note. We need to think about the next note that is flat and so on. You need to repeat this approach in every single ear shape. If you want to use pentatonic blues is the same thing. So pentonic blues, first pattern right here. Second pattern should be were right here. Oh, sorry. Start on the second note of cape. Okay, You can practice this using any kind of key, A minor minor, C, D, and key you want. In my advice for us, this separate ten, 15 minutes of your day and prac playing this exercise, choose a random key and play all the notes. I think it's important to write down a piece of paper to key. First key, write down all the scale correctly with all hold step and half steps. Okay. Then you play on a threat boards, great exercise. I repeat this exercise thousands of times in my music life. 9. Blues trick to create guitar licks: I have a very nice blue streak for you to create any kind of utter leg. So the first one is about the root third in the perf, fifth. You need to start and finish your leg with one of these notes, okay? For example, I have my pack right here. I'm going to start in this A right here. Root notes in fin, in the third notes. Check this out. Sounds really nice, isn't it? But let's say that I don't know about this kind of trick, so I'm going to start in seven. And finishing what? Let me see, in 47 is going be in four is going to be. Check this out. It's a really bit weird, isn't it? Let's try one more time. And D, okay? Seven in four, not too blues, that's why I stick with the short. Let's try start in C minor, third in finish in the B fifth, okay? So let's go lose very blues, finishing this note. That's perfect fifth of our key. All right? And I use another trick, the flat five, perfect fifth, okay? So five flat, sorry, your perfect fifth notes. And play flat five and perfect fifth. Okay? This movement sound really blues and really nice. You can play the same thing with flat three and tree. Really cute, isn't it? It's a very simple and nice trick. Okay, Now time t brags. My advice for you is take one guitar shape shape number one. For example, find the most important notes, 13.5 and use your creativity to create the guitar legs. After you play a lot, the first guitar shape, the second guitar shape, okay? After the second one, go to the third one, okay? Try to do this in any kind of key you enjoy playing. Any kind of guitar shape type of thing is going to help you to develop your creativity. Memorize the patterns or flat board, memorize the notes on the flat board. That's very important to this style, in the red styles as well. All right, let's stick with one more example. I got to start in a note right here in finishing a. Check this out, cool, isn't it? If I use more blues note, this this short, right? You're gonna sound more bluesy. And this is the trick number three. Use the blues note and use a lot, okay? Avoid you stop your lick in the blues notes because you're gonna sum to spice, okay? But pass through the notes and finish in 13 or five. Sounds really cool. That's why this lesson is so important. Now stem to pret. 10. Call and response: We call call in response. And the idea is to simulate a kind of chatter kind of conversation between two people. So you always have two legs. For example, let's say we are on and I'm going to play this, okay? So if we put this leg and put a kind of lyric, we could say, cook, isn't it? This is the call. The answer could be this simple analogy can transform your guitar solos and make everything sound a lot of blues and rock and roll as well. Take this idea, choose a pattern, single pattern on your frat board, a key, and Px. This idea. Try to create a question on your mind and try to transpose this question to your fingers, okay? And create a simple guitar. Just be careful about two things. Finger number one, try to simple. Keep it simple, okay? Fing number two. Start and finish or with the notes, number 13 or five of your scale. You can take any kind of leak, you know, and try to breck this approach. Play the k, the first leaks, call or answer or question, and create a second leg to complement the first one, the response. This trick works pretty good. Let's try another example. Let's say we have this guitar lake right here. Very nice and simple guitar leg with the. But this could be our. Let's try to create an answer, a response very simple and easy. So let's play everything together. Hello, I'm fine, fine, ask, See you have infinite possibilities to play the strick. Now it's time to break. 11. Tricks to improvise guitar licks: I have another trick for you. When you are playing a blues, let's post goes to number four. That is number five is you can change the pentatonic scale. You can provide a pentatonic. Pentatonic, okay? It's not a problem at all. Change when the core change. Or you can just stick with a minor pentonic scale during the entire progression. Okay, When he goes you play play, but be careful about the notes. All right. Let's say if you stop your guitar in A notes, when the armon is in A, you are stopping the roots notes. When you stop in D is perfect fifth of D, okay? Be careful about that. If you stop is not going to work so much just because A is number four of all right? Be careful about these details. The most important thing are the notes trick that at least I'd like to use is keep repeat the same guitar leak between chords. For example, if I repeat the simple guitar lick play. Okay, In both chords I go to CNA's flat tree. In root nodes of chord CNA is flat seven in perfect fifth of D. Okay, I'm going to have the same guitar, but with different meaning. It's a very nice trick as well. And of course, repeat the same pattern, or the same guitar octaves. Let's suppose I have a lick like this. I can repeat the higher octave in. Sound very fan, very nice as well. So I am using pattern number five of pentatonic minor scale. I can repeat this pattern right here, okay? So stick with these tricks then. They're going to help you to improve your improvisation part as well. 12. Pop lick - Shape 1: Stu, learn a few guitar licks using our blues music style. We have minor blues pentatonic and minor pentatonic skills. Let's go, let's take a look to a very fast guitar lick. It's a minor pentatonic, and we are going to apply the first guitar shape, this shape right here. Okay? The first step is eight to five, all right? So keep your finger number one in the fret number five, on the string number one, Play eight and pull off. All right, after this eight more time. However, on the string number two, come back to five on the string number one, and repeat the same step by step on the string number 2.3 All right, this time we are going to play fret number seven, string number three. The first step is eight to 58. Second, come back five of second step is 8575. Okay? So one more time in the last two notes. Going to be 8.5 on the string number two. Okay? So I'm going to play a little bit faster. Check this out one more time. You can speed up a little bit. This guitar K is a great exercise to press hammer on and pull off this type of technique, okay? And of course exercise the pentatonic first guitar shape. Okay, So let's play three times together, right? 341 more time, once again. Now let's play fast 34. 13. Rock lick - Shape 2 : Next time to learn it I'll using batter number, check this out. 34. Just remember pentatonic minor scale is this one blues. You are going to add our sharp four or our flat five, All right? If you play the minor pentatonic blue, second shape shape number two, you are going to find our blues note right here, here or here. You can play here as well. Okay? Judicial guitar shape. You're going to play eight to ten with hammer on everything on the string number two, okay? On the string number one, come back to ten. However, on the string number two, come back to eight. On the string number one, play 8.10 One more time. On the string number two, you are going to play eight on the string number 110, string number one, slide 11. That's our blues. Not come back to ten, play 810. Okay? I think I talked too fast. I'm going to explain one more time a little bit though, okay? So have the first part, that's this one hammer on 8108, but instead of coming back to ten, you play eight on the string number two. All right? 101 more time. Okay? After this part, let's play one more time, okay? After this part is everything on the string number two, everything on the string number one. Sorry about that. All right. So you're going to play eight on the string number 110, slide 11, come back to ten. Okay? When I say slide, you just pick 10.11. Ten with just one single pick like this. Okay? All right, eight and the last note is ten. All right? Ten is a node. It's important to end our get with one of the most important nodes. All right? So let's spend more time very slowly. 34. Let's play a little bit faster, right? 34. And of course you can provide this guitar lick as well. So. 14. Blues lick - Shape 3: The next leak is with the patter number three. Let's go shape number three. Right, so we are going to play 21210 and play pull off. Okay, on the string number one. Remember when you have a pull off and it's 12 to ten, it's important to put your finger number one in the fret number ten before play 12, okay? If you do not do that, it's going to sound a little bit weird as you can see. All right? So put your ten in the fret. Put your finger in the fret number ten, okay? Before 121210 on the string number 113, string number two. Come back to ten on the string number one. Now you are going to play pull off the ten on the string number two. All right? So you have, okay, on a string number three, now you have a very fast pull off and hammer on. Okay? So you're going to play 1,013.10, Okay? Everything on a string number two in this case, right here, you have three notes and one single pick. Okay? So it's very fast. All right, we're going to play this very slowly and carefully check this out one more time. So as you can see, I play with my finger number 1.3, index, single ring finger. But you can play with your pink finger as well. It's up to you. Okay. But be careful with this last part. One single pick, hammer on and pull off. All right? It's very fast. 15. Metal lick - Shape 4: This next gutter leak. Right, enjoys a play and I use pattern number four. Let's go, this leak is very fast and we are going to apply shape number four. Okay? The first notice. Okay, Finger number one. Fret number one. Oh sorry. Fret number 12 on the string number one. For this step, I play 15.13 on string number two with a pull off. After this 14 on string number three, come back to 13 on string number 21412 on string number 314 on string number four. And my last notice a 14 on string number three. It's because the scale is in a minor. Allright the idea here is to play the sleek very fast. And from this my devices follow fingers, repeat, and apply the same fingers on play. All right, finger number one, pull off with 3.1 finger number two. When you go to 14 on screen number three, come back finger number three, entry. Okay, Remember you can always change the speed of this video to make everything easy for you, okay? But it is important to practice this slowly. Start to speed up, okay? Okay, if we imagine the first level should sound like this. So you play this very slowly, go to level number two. So after you play in this speed, you speed up a lot. 16. Guitar lick - Shape 5 and thanks: This next example is with the pattern number five of pentatonic scale. Let's go frat number five on the string number four. This not miss notes. So one of the most important notes of a minor pentatonic scale, a minor seven. After this, you play frack number two on string number 3.5, on string number three as well, right? So we have a note, in a wrote note of our scale and a minor. Next part on the string number two, we play 34.3 okay? So just pick one and play the hammer and pull off. All right, and our blues note is going to be right here, D sharp. Next part is come back to five on string number 322, string number three. I finished my leg in this note right here, just because it's so the root note of armor scale. This is the last lesson of our course. I hope you enjoy all my tricks about blues. And as you see, it's important to pre and pret a lot. Okay? Blue is not an easy style, but it's really fun. Ands if you want to learn more about blues and other music styles, check my profile on the platform. I have very nice course for you over there. Okay. Thank you so much and see you next course. Bye bye.