FULL COURSE, TAB, JAM TRACKS: truefire.at More Free Guitar Lessons: bit.ly On Twitter – www.twitter.com On Facebook – www.truefire.com Annie joins me here on “Custard Pie” by Blind Boy Fuller (Vocalion, Memphis 1939). Originally recorded as “I want some of your Pie” in 1939, this is another great example of Piedmont style blues, which is both “uptown” and “raggy”. We’re capoed up on the 1st fret in standard tuning. All references in the breakdown are made relative to the capo. The song is in the key of E and starts off with a slide up to a barred E chord with the root E on top (12 frets up from the capo). Video two contains the breaks; the parts that are played beneath the harmonica part. These are a series of single line bass riffs followed by the chords from the original progression.
FULL COURSE, TAB, JAM TRACKS: truefire.at More Free Guitar Lessons: bit.ly On Twitter – www.twitter.com On Facebook – www.truefire.com The first two volumes will get you up and running lickety split. We’ll cover 10 blues feels and teach you both rhythm and solo parts. While the base examples are fairly easy, the real meat of this course is in the detailed video presentations so please make sure you watch the entire video segments. Let’s start with an uptempo interpretation of Allman Brothers southern-style shuffle rhythm. Visit the Allman Brothers at www.allmanbrothersband.com.
FULL COURSE, TAB, JAM TRACKS: truefire.at More guitar lessons: bit.ly On Twitter – www.twitter.com On Faceboook – www.truefire.com A large part of becoming a good player and improviser is about expanding your vocabulary. This is true for every genre of music, but let’s talk blues. Some people feel that Eric Clapton, Stevie Ray Vaughan or Albert King were playing as if the gods were speaking through them. Well, OK they do sound like that, but I’m sure they would have a different take on it if you asked them. I am sure they would tell you that they learned solos from other people and practiced their butts off. Although they were improvising at that moment, the licks they were playing are based on licks, patterns and ideas they have in their musical vocabulary and they were simply drawing on them. That is not to say they aren’t masters of the instrument and unique. My point is; learn as many licks as you can! What I tried to do is supply you with 50 Blues Licks You Must Know that will expand your vocabulary and make you a better player. Poke around and start with the ones that jump out at you, get them under your fingers and go to the next. Let’s get started!
FULL COURSE, TAB, JAM TRACKS: truefire.at GUITAR LESSONS: bit.ly This Paul Rishell guitar lesson from his new TrueFire course, Dirt Road Blues, covers one of Charley Patton’s country blues guitar favorites. Get tab for this guitar lesson on TrueFire TV. More video samples from this course on TrueFire TV ( truefire.com ).
FULL COURSE, TAB, JAM TRACKS: truefire.at More blues guitar lessons: bit.ly On Twitter – www.twitter.com On Faceboook – www.truefire.com At some point your’re gonna wanna run up a scale with guns a blazin’ and end the assualt with a screaming bend for good measure. When doing so, it’s even better when the run towards the ending bend is based on a numeric sequence such as the one that resides in this next lick based out of D Aeolian. Starting out with some pummeling palm-muted picking, this lick delivers the raw power and climatic anticipation to do the job right.
FULL COURSE, TAB, JAM TRACKS: truefire.at GUITAR LESSONS: bit.ly Derived in part from “country” guitar, twang is really a modern hybrid of blues, country, rock and jazz guitar. Players like Albert Lee, Arlen Roth, Danny Gatton, Johnny Hiland, Ray Flacke, Leon McAuliffe, Brent Mason, Chet Atkins, Scotty Anderson, Red Volkaert, James Burton and Jimmy Bryant all have their own classic Big Twang signature sound and technique. But today, contemporary players across all styles have incorporated twang influences in their signature sounds.
FULL COURSE, TAB, JAM TRACKS: truefire.at More Free Guitar Lessons: bit.ly On Twitter – www.twitter.com On Facebook – www.TrueFire.com I’d like to share with you my approach to music — to writing, arranging, and ways to come up with new ideas and techniques. You may find many of these concepts can be apply to your own playing and writing. There are some that can help your guitar playing sound smoother, or crisper, or bouncier, or funnier, depending on what you’re going for, and many techniques are much easier than they may seem at first. Listen with open ears. Borrow approaches from other players in other styles, different instruments, sounds around you, and pretty soon you’ll be looking for new ways to get across your ideas. I’d love to hear what you come up with! I’ll start by walking you through the inspirations behind several of my arrangements and compositions, and the techniques used in them. Video 2 takes you to “Arioso,” a piece that has changed a lot since I first started composing it. As I say in the intro, the process of composing and developing the theme is much inspired by JS Bach, and the overall idea of the piece is an effort to capture in music the essence of unconditional love. You can think of it as a love song to your guitar.
FULL COURSE: truefire.at More blues guitar lessons: bit.ly On Twitter – www.twitter.com On Faceboook – www.truefire.com Face it–we love to play in E minor and so does your guitar. With a 22 fret neck there’s E’s abound ranging from the open low E string for raucous riffing all the way up to the screaming whole step bend from D to E on the first string at the neck’s highest fret. This lick ends end with that climatic string stretcher, but not before it scrambles through some single string ascending three-note patterns at blazing speed.
FULL COURSE: truefire.at More free guitar lessons: bit.ly Josh walks through his rhythm performance on the Texas Shuffle in E. Making an appearance along with more walking bass ideas are some cool inverted Boogie Woogie lines these lines are opposite of our standard Boogie Woogie rhythm in that they have a static note in the higher register with melodic motion beneath. Check out measure 3 & 4 for the first appearance of this cool trick.
FULL COURSE: truefire.at More free guitar lessons: bit.ly Besides the requisite 12- and 8-bar I IV V blues progressions, do you know at least 12 other distinct forms and progressions? Do you know at least six ways to voice, alter and extend all of the dominant and minor chords in those progressions? When comping the blues, are you adept at voice leading when making chord and voicing selections? If you answered “no” to any of the above three questions, then three things are likely true; 1) you’re not bringing anything fresh to the jam or rehearsal; 2) you’re bored stiff with your own blues comping; and 3) you need this edition of Guitar Lab: Blues Progressions yesterday. True to form in these Guitar Lab intensives, Chris Buono digs deep into the what, how, whys and wherefores of blues progressions. Buono presents 23 progressions in various keys and forms including a few eclectic 6-, 14- and 16-bar forms. So, just in terms of expanding your bag of progressions you’ll be way ahead of the game, but that’s just the start. The truly juicy quality of this course is the six-string rocket science revealed within those 23 progressions. Buono steps you through three choruses for each of the 23 progressions. The first chorus utilizes familiar 7th chords and “stock changes.” Chris then spices up the second chorus with tasty chord extensions and voicings to demonstrate how to expand the palette of colors you can draw on when comping the blues. In the third chorus, Buono takes you to …
