Blues Guitar - By Olav Torvund
Olav Torvund's Guitar Pages
Book of the Month
January 2005
Guitar Lessons
Files in PDF format
I have made many of the files available in .pdf format, in
addition to graphic and Finale format. You will need
Acrobat Reader to view these files. They are optimized
for printing rather than viewing on screen. I have done
this with the files I had in original format (I did not have
all of them).
Introduction
Blues Guitar - Overview
Happy Traum: Blues
Guitar
New: Blues Guitar
lessons in PDF
format.
Bestsellers
New Books
Newsletter
Some fingerpicking
challenges
More examples in E
and A
Some theory: The
tritone, dim and the 7
chord.
Blues in D
Introduction to open
tuning - Open D
Blues in G
Introduction
12 bar blues in Emajor
12 bar blues in Amajor
E-major revisited
Some other blues
progressions
Bottleneck/Slide
Guitar
Blues in C
Minor Blues
Jazzier blues moveable chords in
F, Bb and Eb
The circle of fifths have you noticed
the sequence of the
keys?
The 12 bar blues progression in E-major
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Retailers:
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New Lessons
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Open C Tuning
Silent Night in
Open C Tuning
Minor Blues
Reading Music
- Lesson 3
Reading Music
- Reading
Chords
Blues
Turnarounds
A Chord
Excercise jazzy 7th
1 -The Basic
Chord
Structure
1 B - Another
version of the
basic lesson
2 -Some
variations of
the 12 bar form
3 - The
turnaround
chord
3B - The
importance of
rhythm - some
damping
techniques
4 - The shuffle
4B - E-Shuffle
4C - The
Hoochie
Coochie Shuffle
Blues in A-major
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5 -The harmonized
shuffle
6 -The treble shuffle
7 -Some other shuffle
style licks – Boom
Boogie
7B -Muddy Boogie
8 - A turnaround
chord sequence
9 - The turnaround
lick
10 - The "fill in" – Part
1 * Part 2
11 - The Boogie bass
line - Part 1 * Part 2 *
Part 3 * Part 4 - Boom
Boogie * Part 5 Muddy Boogie * Part 6
- The Trip of The Day
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12 - An
introduction to
blues
fingerpicking
12B Monotone bass
fingerpicking –
Rocking Baby
13 - 16-bar
blues
13B - Smoky
Metal and
Muddy Onions
- Power Chords
13C - With A
Taste of Onion
13D - You
Nearly Got Me
On The Foggy
Water
Blues for Beginners
So you'd like to ...
Teach yourself how to
play blues guitar
The Greatest Blues
Guitarists of All-Time
Great Electric Blues
Guitarists
The Country Blues
The Delta Blues
Downhome Blues
Chicago Blues for
Blues Guitar - By Olav Torvund
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chords
Open Chords
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information on new
lessons.
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14 - 12 bar blues
progression in A
14B: Rocking Bill
15 - Fingerpicking
with monotone
bass in A
15B - Betty Blues
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15C Fingerpicking
Instrumental in A
16 - The "Long A"
and "moveable
C7" chord
17 - A shuffle solo
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Go here for books
and videos on
blues guitar
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Go here for links
to other Blues
Sites
18 - The minor
pentatonic
scale - a
simplified blues
scale
19 - The "Blue
notes" - the
blues scale
20 - The
relation
between the
"Long A" chord
and the blues
scale
beginners
Essential Chess Blues
Library
15 Essential Blues CDs
(And A Great Place To
Begin)
Blues/Rock Essentials
Learning Blues Guitar
E-major Revisited
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21 - Blues
scale in E
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22 - The minor
pentatonic scale in
E and A, all positions
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23 - The moveable
D / D7 shapes
Some Other Blues Progressions
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8-bar blues – 8bar Blues in E
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8-bar blues in A –
Key to The
Highway
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8-bar blues in A
– Come Back
Baby
Some fingerpicking challenges in E and A
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Pony Blues / M&O Blues
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Willie Brown's Mississippi Blues
The Power of the Tritone, dim and the 7 chord.
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Tritone Blues - Part 1 * Part 2
* Part 3
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Tritone Blues - Part 4 Kansas
City
Blues in D
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The basics: 12-bar and
chords
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Dropped D tuning, Alternating
bass, See See Rider
Blues in G
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The basics: 12-bar and chords
A 12 bar blues in G.
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G-Boogie
Rev Gary Davis is Funny That Way
Blues in C
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C C Rider
Cocaine Blues
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Blues Rag in C
Diddie Has Something There
Minor Blues
Minor Blues - Lesson 1, Part 1 * Part 2 * Part 3
Jazzier blues - moveable chords in F, Bb and Eb
12-bars, Two Chord Shapes
and a Touch of Jazz * Part 2
* Part 3 * Part 4
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The Flat Five Substitution - part 1 * Part 2 *
Part 3 * Part 4 * Part 5 * Part 6 * Part 7
Add the m7 chord Part 1 * Part 2 * Part
3* Part 4
Blues Guitar - By Olav Torvund
A Turaround Lesson
Turnaround - Lesson 1, part 1 *
Part 2 * Part 3
Turnaround - Lesson 2, part 1 *
Part 2
Turnaround - Lesson 3, part 1 *
Part 2
Introduction to open tuning - Open D
That's No Way To Get Along the Train
Bottleneck/Slide Guitar
Roll and Tumble
Walking Black Mama
The circle of fifths - have you noticed the sequence of the keys?
Great blues-guitar players - guides for those who want to play their styles
These are annotated lists of books, records and videos for those of you who want to learn more about
the playing styles of some of the great blues-men. (Sorry, ladies. There are not many ladies in the
history of blues guitar. Memphis Minnie is the only one that comes to my mind, and I do not know any
material devoted to her playing.)
Robert Johnson
Lonnie Johnson
Big Bill Broonzy
Blind Blake
Rev Gary Davis
B. B. King
Eric Clapton
Books and videos on Blues Guitar.
Main Book Menu
Beginning Blues Guitar ** Acoustic Blues ** Electric Blues ** Acoustic Texas Blues ** Electric Texas
Blues ** Delta Blues Guitar ** From the Delta to Chicago ** East Coast Blues ** Chicago Blues **
Fingerpicking Blues ** Lead Guitar ** Bottleneck / Slide Guitar ** Jazz Blues ** Scales, Chords
etc ** Blues Songbooks ** Individual artists** Masters of Country Blues - DVD series
Introduction
Home
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partner:
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar – Minor Blues - Lesson 1, Part 1
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar – Minor Blues - Lesson 1, Part 1
C-Major
Diddie Has Something There
Minor Blues
Lesson 1, Part 2
You can subsitute all major chords in a 12-bar blues with the parallel minor chords, and voila: You get a minor
blues. In the key A-minor, a 12-bar blues Type 1 would be like this:
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
Newsletter
Retailers:
I have not included a turnaround chord, which would be an Em7 if we should stick to minor chords througout
the tune. But as there are no tritone in the m7 chord, it does not have the turnaround effect. It is the tritone
in the V7 chord that calls for a resolution to the I chord, which has the turnaround effect.
Some examples of tunes played with this progression are:
Artist
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Go here for
links to other
Blues Sites
Key
All Your Love
Eric Clapton (I Miss
Loving)
Otis Rush
Go here for
books and
videos on
blues guitar
Tune
All Your Love
(I Miss
Loving)
Am
CD Main link goes to
Amazon US, Amazon UK
link in parenthesis)
John Mayall and the
Bluesbreaker (UK)
F#m
Source
Comments
The Bluesmen (from
Musicroom)
An Otis Rush tune.
The middle (shuffle
section) modulates
to major, and then it
modulates back to
minor.
Guitar White Pages
I have not written out any arrangements in this lesson, as it is the chord progression and not a particular
playing style that is covered. Instead I have included backing tracks in various keys and styles. The minor
pentatonic scale should be the basis for your soloing over these progressions.
Backing Track - MinorBlues-1
A Basic Minor Blues progression Type 1: Minor chords only, i chord in bar 2, no turnaround. Download
all files in on zip-file
65 Very slow
Cm C#m Dm Em F#m Gm G#m Am Bm
90 Slow
Cm C#m Dm Em F#m Gm G#m Am Bm
120 Medium
Cm C#m Dm Em F#m Gm G#m Am Bm
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Blues Guitar – Minor Blues - Lesson 1, Part 1
If we write the similar progression as a Type 2 progression, it would be like this:
Here are some backing tracks to practise with.
Backing Track - MinorBlues-2
A Basic Minor Blues progression Type 2: Minor chords only, iv chord in bar 2, no turnaround. Download
all files in on zip-file
65 Very slow
Cm C#m Dm Em F#m Gm G#m Am Bm
90 Slow
Cm C#m Dm Em F#m Gm G#m Am Bm
120 Medium
Cm C#m Dm Em F#m Gm G#m Am Bm
C-Major
Diddie Has Something There
Minor Blues
Lesson 1, Part 2
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
Home
The lawfirm where I am
partner:
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar – Turnaround - Lesson 1, part 1
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar – Turnaround - Lesson 1, part 1
The Minor 7th Chord
Part 4
Turnaround - Lesson 1
Part 2
The turnaround takes you from the end of one verse to the beginning of the next. It will typically end on a
V7-chord, which will be resolved by the I-chord at the beginning of the next verse.
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
Newsletter
Before going more into turnaround, we have to recapitulate, in case you have not been following the Blues
Guitar Series. As pointed out in the Blues Guitar - Lesson 3: An introduction to turnarounds - the
turnaround chord - lesson, the blues turnaround usually has two parts: The first part takes place from the
first beat of bar 11 to the first beat of bar 12. We start from a I-chord, do some melodic and/or harmonic
embellishments, and return to the I-chord. From there the second part goes to the V7-chord.
You can find one example of a turnaround chord sequence in E in the lesson Blues Guitar - Lesson 8: A
Turnaround Chord Sequence, and a turnaround lick in Blues Guitar - Lesson 9: Turnaround licks in E.
We will start from where we ended in these lessons, so it might be an idea to review them before you
continue.
Here I will start with a few chord sequences that can be the basis for many turnaround licks. We start in the
key of E-major. The chords we will be using in addition to the E, are three diminished chords: G#dim, Gdim
and F#dim.
Retailers:
E
G#dim
Gdim
F#dim
E
Written in tablature, the sequence will be:
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Blues Sites
You may ask why I call them diminished, and give them these strange root notes. Isn't the G#dim just the
E7 in a D7-shape moved up two frets? The answer is a kind of yes and no. If we take the root out of the E7,
we are left with a G#dim chord. But it will often function as an E7, and it will often be notated as E7. Play
the same sequence of chords as real 7th chords with the root, and listen carefully. The chords will then be E7,
D#7 and D7.
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Blues Guitar – Turnaround - Lesson 1, part 1
E
E7
D#7
D7
E
I think they sound better as dim chords, which means that I do not want them to function as 7th chords in
this context. If I should make them into some kind of 7th chords, I prefer the dim7 in this contxt. It will then
be E#dim7, Edim7 and D#dim7.
E
E#dim7
Edim7
D#dim7
E
There is no right or wrong here. I am telling you what kind of chords I prefer to use in this context. Your ears
decide what you like. What is right for you is right. But listen carefully to the subtle differences between the
three chord sequences E - E7 - D#7 - D7 - E, E - G#dim - Gdim - F#dim - E and E - E#dim7 - Edim7 D#dim7 - E.
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Blues Guitar – Turnaround - Lesson 1, part 1
More on Blues Turnarounds
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Blues Guitar - Lesson 3: An
introduction to turnarounds - the
turnaround chord
Blues Guitar - Lesson 8: A
Turnaround Chord Sequence
Blues Guitar - Lesson 9:
Turnaround licks in E
Turnaround_Lesson 1-1
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Turnaround_Lesson 1-2
Turnaround_Lesson 1-3
Turnaround_Lesson 2-1
The Minor 7th Chord
Part 4
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Turnaround_Lesson 2-2
Turnaround_Lesson 3-1
Turnaround_Lesson 3-2
Turnaround - Lesson 1
Part 2
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
Home
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partner:
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Introduction
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar - Introduction
Lesson 1
The 12 bar blues in E
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
Newsletter
When I was a law student, I used to teach blues guitar to help support my living. Eventually I collected and
edited the material I used in my teaching, and published it as a book. The book was published for the first
time in 1980. The book was revised, and a 2nd edition was published in 1990. But the book has long been out
of print. And since it was published in Norwegian only, it would probably be of little use for the majority of you
anyway.
I have decided to make the content of the book available on the net, along with material that I now think
should have been in the book and material from books that was never written. Some of the material has
already been on the net for a while, and some is almost ready for the net. Other parts have to be written from
scratch. The outline is a reading list with reference to underlying documents, and there might be more than
one reading list that utilizes the same material. So do not expect me to start at the top of the outline and
include new material in sequence - even though the sequence is meant to be a recommended sequence for
studying the material.
It is fun to write about music, and still I learn a lot from having to work with it - and my own learning is the
major inspiration for the work. But it takes time, even if it is fun. I know from experience that there will be
periods where I work a lot on this project, and other periods where I do not touch it at all. So I give no
promises on when it will be finished - if it ever will. But look back to this page from time to time, and see if
some of the headlines in the outline has turned into active links.
Lesson 1
The 12 bar blues in E
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videos on
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Go here for
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Blues Sites
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - The 12 bar blues in E
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar - Lesson 1: The 12 bar blues in E
Lesson 2:
Some variations of the 12-bar blues in E
Introduction
This is the first in a series of lessons on playing blues guitar. For a more on the 12 bar blues progression in
general, go to my BASIC BLUES and Basic 12-bar blues lessons. (The lessons might be overlapping).
Happy Traum:
Blues Guitar
We start with the blues progression I have labeled Blues progression 1, in the key of E. E is a popular key
for blues guitar, but it is not the easiest key to play if you are a beginner on the guitar. To play the blues in
it's simplest form, you need to know four chords:
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
Newsletter
E
Retailers:
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links to other
Blues Sites
E7
A7
B7
How to finger the chords
If you are not used to play these chord, the change to and from B7 in particular might be a bit difficult. Be
careful with how you finger these changes. When fingering chords, you should try to make as little finger
movement as possible. It takes time to shift fingers, and the less you do it, the more fluent will the changes
be. A typical beginner error is to lift all the fingers off the fingerboard and relocate each finger. If you can
keep a finger where it is, do it. Look at the fingering indicated in the chord diagrams. The fingering of the Echord is in my view the only sensible way to finger this chord. There is also only one way to finger this
voicing of the B7 chord. Notice that your 2nd finger is in the same position in both chords. Don't lift the finger
off the string just to place it where is was - keep it on the 2nd fret of the 5th string through the change. This
will reduce the finger movement, and the finger will be a guide for the rest of your fingers. The first finger is
on 1st fret in both chords. But in the E chord it holds the first fret on the 3rd string, and in B7 it holds it on
the 4th string. Just move the finger across, lifting it as little as possible. Your 3rd finger crosses in the
opposite direction, from 4th string 2nd fret to 3rd string 2nd fret. If you find the change difficult, practise just
this movement without caring about your 4th finger until it is fluent. Then you just add your 4th finger on 2nd
fret 1st string for the B7.
There is no clear "right" or "wrong" when it comes to fingering of the A and A7 chord. It depends on where
you are coming from and where will go next. When looked at in isolation, the easiest way to finger the simple
A7 chord is with 1st finger on 2nd fret, 4th string, and 2nd finger on 2nd fret, 2nd string. But it is the least
flexible fingering. You use two fingers, while the other two are placed in a useless position. So I will not
recommend this fingering. Usually I will recommend that you use 1st finger on 4th string, 2nd finger on 3rd
string and 3rd finger on 4th string. This will give you an A chord. Lift off the 2nd finger, and you get A7. It
might be an alternative to finger the A7 with 2nd finger on 4th string and 3rd finger on the 2nd string. With
this fingering it might be easier to change to and from both E and B7, but you do not have the A chord under
your fingers. On the other hand, you get the Amaj7 by placing your 1st finger on 3rd string, 1st fret.
The blues progression in E can be played as follows:
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Blues Guitar - The 12 bar blues in E
MIDI file - 12 bar blues in E
We often use roman numbers to indicate chords relative to the root chord. The root chord will then be I. The
chord a fourth above is labeled IV, and the chord a fifth above is labeled V. The advantage of using such
notation, is that we can notate a chord structure that can be applied to any key. I the key of E the numbers
will be: I=E, IV=A and V=B. The 12 bar blues will then be:
Listen carefully to the change from E to E7. It is almost as the harmony starts preparing for a jump to A. And
this is in fact just what it does. The E7-A change could be seen as a V-I resolution in the key of A, and it
really illustrates the double identity of the I-IV change.
Play the blues slow with a steady rhythm with four beats in each bar. You must play the 12-bar blues
progression until it becomes second nature to you, and you can play it on "auto-pilot". Count the rhythm as
you play. You should know both in which bar you are, and which note in the bar you are playing. The way to
count is 1 - 2 - 3 - 4, 2 - 2 - 3 - 4, 3 - 2 - 4, etc, until you get to 12 - 2 - 3 - 4, when it is time to start over
from 1 again.
The "Hoochie Coochie Lick"
I will give you one rather simple, but effective and very useful lick. By the name I have assigned to it, you will
probably understand that it is inspired by Muddy Waters and the playing in his son The Hoochie Coochie
Man. But I am not saying that this is exactly how Muddy Waters played the song. It is a simple lick played
on the two bottom strings (or on the 6th string only, if you prefer that).
Download Finale File
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Blues Guitar - The 12 bar blues in E
Alternate fingering - the entire lick on one string
More Material on Basic Blues Guitar
If you want some books and CDs to work with, in addtition to surfing the web, I will suggest these for
beginners:
Order from:
Beginner's Blues Guitar
Fred Sokolow teaches you how to accompany yourself while singing the SheetmusicPlus
(US)
blues. You'll learn to play melodies and solo in several keys, throughout
the neck. This book will help build the foundation for your understanding
of blues guitar techniques and styles for both acoustic and electric
guitar. Addresses the simple blues form in E,G, and C, gradually
expanding on concepts. Includes simple first position blues scales
needed for soloing (both fingerpicking and flatpicking) in the keys of E,G,
and C. Songs and solos are presented in standard notation and tablature
with lyrics. Beginning Blues Guitar. Includes 3 CD's. Published by
Grossman's Gtr Workshop. (SG98506BCD)
See more info...
Happy Traum Teaches Blues guitar
Beginning Blues Guitar, Acoustic Blues. A Hands-On Beginner's
Course In Acoustic Country Blues Homespun Listen & Learn Series Take
a lesson in fingerstyle blues guitar from one of the world's most
respected teacher/performers. All you need to know is how to play a
Bestseller! few basic chords to get started playing along with this user-friendly
book/audio package. Beginning with the most basic strumming of a 12bar blues pattern. Happy gradually starts adding fills, runs,
turnarounds, bass rhythms and 'boogie woogie' walking bass patterns
that make the basic blues progression come alive. Way back in the 70's,
a blues series on cassettes by Happy Traum was a great help for me. I
do not know this specific set, but as I know Happy Traum, it should be
a good one. But: I am a bit sceptic to a version where the audio is
squeezed down to on CD. I hope he publish the full version of the
course on CDs. Published by Hal Leonard.
See more info...
ToC
No HL841082
Review:
Order From:
SheetmusicPlus
(US)
MusicRoom
(UK)
Amazon UK
Order from:
The Ultimate Beginner Series ..Blues Guitar Basics, Steps One &
SheetmusicPlus
Two Combined(Book & CD)
Amazon UK
Performed by Keith Wyatt, Kenn Chipkin. Beginning Blues Guitar.
Take the first step towards mastering blues guitar. This book/CD will
guide you through everything you need to know to begin playing blues
Bestseller! guitar: shuffle rhythms, turnarounds, blues soloing, call and response
patterns, play-along 'jam' tracks, slow blues, blues scale positions, and
the 'B.B. King secret scale pattern.'
See more info...
ToC
No WBUBSBK103CD
Review:
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Blues Guitar - The 12 bar blues in E
Order from:
Beginning Blues Guitar (book & Enhanced Cd)
SheetmusicPlus
Blues Lead Guitar. Here's a comprehensive method dedicated to the
blues! This book is perfect for beginning blues and rock/blues guitarists.
All examples are shown in standard music notation and TAB. There are
tons of licks in the styles of the blues masters such as Muddy Waters and
Buddy Guy. This is the best step-by-step blues method for guitar that
teaches the substance and style of the blues. The Enhanced CD
demonstrates the examples in the book. Beginning Blues Guitar.
(Complete Blues Guitar Method). Published by Alfred Publishing.
See more info...
ToC
No AP8230
For more suggestions, go the the Beginning Blues Guitar in the Guitar Books Section.
Backing Tracks for Practise
Here you can find a simple Band-In-A-Box file with this 12 bar progression in E. If you have Band-In-ABox or you have downloaded the free Band-In-A-Box player you can play just to listen to the chords, and
as a backing track for your own playing.
Backing Track - 12B1
These are MIDI backing tracks of 12-bar Blues progression 1. For more information, go to lesson on
bluesprogression in the chord progression series.
They are in 8 keys and three tempos (65, 90 and 120). Use them to get the sound of the cords, and as
backing tracks. They are long 10-15 minutes, which makes them boring as listening track, but good for
practise. Download all files as a zip-file.
65 very slow
C D Eb E F G A Bb
90 Slow
C D Eb E F G A Bb
120 Medium
C D Eb E F G A Bb
12-bar blues
●
●
●
●
Classic Lesson: 1 - BASIC
BLUES
Blues Guitar Lesson 1: The
12 bar blues in E
Blues Guitar Lesson 2: Some
variations of the 12-bar blues
in E
Chord Progressions: Basic 12bar blues
●
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●
Home
●
●
●
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4
Blues Guitar – Add the m7
chord - Part 2 * Part 3 *
Part 4
The same in Theory: The
Flat-five Substitution
Lesson 2:
Some variations of the 12-bar blues in E
Introduction
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Lesson 14: Blues in A introduction
Tritone Blues - Part 1 *
Part 2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
© Olav Torvund
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Lesson 2: Some variations of the 12-bar blues in E
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Blues Guitar - Lesson 2: Some variations of the 12-bar
blues in E
Lesson 1
The 12 bar blues in
E
Happy Traum:
Blues Guitar
Guitar Lessons
Lesson 3:
An introduction to turnarounds - the
turnaround chord
In the first lesson we looked at a very basic 12 bar blues structure in the key of E. But there are many
variations of the form. You will often hear the IV chord in 2nd bar instead of the I chord. As long as we are
in the key of E, the IV chord will be A. I label this progression 12-bar Blues Progression 2, just to give it a
name. In the key of E, the this progression will be:
New: Blues
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12 bar blues Type 2 in E
In roman numbers, the progression will be written as follows:
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Backing Track - 12B2
These are MIDI backing tracks of 12-bar Blues progression 2. For more information, go to lesson on
bluesprogression in the chord progression series. Download all files as a zip-file.
65 very slow
C D Eb E F G A Bb
90 Slow
C D Eb E F G A Bb
120 Medium
C D Eb E F G A Bb
Another variation is to play V7 chords in both bar 9 and 10. In E, the V7 chord is B7, and the progression
will be:
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Blues Guitar - Lesson 2: Some variations of the 12-bar blues in E
12 bar blues Type 1 in E - alternate
10 bar
You can of course also play a IV-chord in bar 2, with this ending, which will give you this progression:
12 bar blues Type 2 in E - alternate
10 bar
More on the "Hoochie Coochie lick"
You may have wondered what I played when I came to the A-chord in bar 5, if you listened to the MP3. As
you probably heard, I played the lick both as an intro before landing on the A, and at the end before returning
to E. Over the A chord, I played a very simple little figure:
Download Finale File
Material for further exploration of the blues form.
There are of course many books that deals with blues. But these three books will take you through many
ways of playing the basic 12-bar chord structure. They all come with CDs
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Blues Guitar - Lesson 2: Some variations of the 12-bar blues in E
Dave Rubin: 12 Bar Blues
In the book, Dave Rubin explores the 12 bar blues form. The term '12bar blues' has become synonymous with blues music and is the basis
for an incredible body of jazz, rock 'n' roll, and other forms of popular
music. This book/CD pack is solely devoted to providing guitarists with
Bestseller! all the technical tools necessary for playing 12-bar blues with authority.
The CD includes 24 full-band tracks. Covers: boogie, shuffle, swing, riff,
and jazzy blues progressions; Chicago, minor, slow, bebop, and other
blues styles; soloing, intros, turnarounds, accompanying keyboards and
more. This is one of my favorites!
See more info...
This book was selected as Guitar Book of the Month - July 2002
ToC
No HL695187
Review:
Order from:
SheetmusicPlus
(US)
MusicRoom
(UK)
Dave Rubin: The Art of the Shuffle.
As the name says, the book focuses on the shuffle, and not the blues as
such. It explores shuffle, boogie and swing rhythms for guitar. Includes
tab and notation, and covers Delta, country, Chicago, Kansas City, Texas,
New Orleans, West Coast, and bebop blues. As the name says, the book
focuses on the shuffle, and not the blues as such. But as all examples are
in a 12-bar blues format, it will take you through various blues
progressions, as an added bonus to the exploration of the shuffle style.
(HL695005)
See more info...
Order From:
SheetmusicPlus
MusicRoom
(UK)
Amazon UK
Jim Ferguson - All Blues for Jazz Guitar
Jazz-Blues. By Jim Ferguson. Book/CD package. Rhythm/backup. Jim
Ferguson has a jazz approach to the blues, which means jazz comping and
more sophisticated chords. In this book you will learn many arrangements
based on three-note 7th chords (which often could be labeled as dim
chords) in a blues context. (There are many other chords as well). Unless
jazz is you main interest, I will suggest that you start with Dave Rubin's
12 Bar Blues, before going on with Jim Ferguson's book. 92 pages.
Published by Guitar Master Class Pub. - Mel Bay Fingerstyle Jazz.
ToC
No MB96842BCD
Amazon UK
Order from:
SheetmusicPlus
(US)
This book was selected as Book of the Month February 2003
12-bar blues
●
●
●
●
Classic Lesson: 1 - BASIC
BLUES
Blues Guitar Lesson 1: The
12 bar blues in E
Blues Guitar Lesson 2: Some
variations of the 12-bar blues
in E
Chord Progressions: Basic 12bar blues
●
●
●
Lesson 14: Blues in A introduction
Tritone Blues - Part 1 *
Part 2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
Lesson 1
The 12 bar blues in
E
Home
The lawfirm where I am
partner:
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●
●
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4
Blues Guitar – Add the m7
chord - Part 2 * Part 3 *
Part 4
The same in Theory: The
Flat-five Substitution
Lesson 3:
An introduction to turnarounds - the
turnaround chord
© Olav Torvund
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●
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - An introduction to turnarounds
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Blues Guitar - Lesson 3: An introduction to turnarounds the turnaround chord
Lesson 2:
Some variations of the 12-bar blues in E
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
Newsletter
Guitar Lessons
Lesson 3B:
Damping techniques
You have probably already heard the word turnaround, and I am sure that you have heard many turnarounds
played. A turnaround turns you around: It takes you from them end of the verse to the beginning of the next.
What you do is to create some tension at the end of the verse, that is resolved when you start the next verse.
You do this by ending on a V7 chord, which is dissolved by the I chord in the beginning of the next
verse. This creates a V7-I change.
The simplest turnaround is just to end on the V7 chord, giving you a last line that looks like this:
In E, it would be:
Retailers:
You should notice that the V7 chord is played from the second beat of the last bar. You might play it on
all four beats of the last bar, but it does not sound as good.
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You cannot end on the V7 chord - or at least one usually does not end on this
chord. If you end on the V7 chord, you will feel that you have to play another
verse. In the last verse, you have to end on a I chord, or a I7 chord.
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We can introduce the C7-chord on the second beat in the last bar. You get the
C7 just by moving the B7 up one fret. And then you go to B7 by moving the
chord down one fret. The open B string will give you a strong dissonance if you
let it ring with the C7 chord. It sounds better if you damp it out by leaning your
3rd finger on the 2nd string. But for this very short chord, it is not that
important. If you let a strong dissonance ring, then it will sound "wrong", but it
might work well as a quick passing chord.
12 bar blues Type 1 in E with turnaround chord
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C7
Blues Guitar - An introduction to turnarounds
The end of the Hoochie Coochie lick
When starting on the turnaround, it is time to turn around to our Hoochie Coochie lick on more time, and
look at how it ended. As you see, it is a very simple move ut the the B in bar 9, and another simple chromatic
run down to A in bar 10, and then it is the normal route back to E again. In bar 12 there is little chromatic
run from A to B, a run I am sure you have heard many times before. And then it is back to the basic lick, and
you are ready for another 12 bar.
Download Finale File
PDF-File
If you want to make a short cut ...
It's Easy To Fake...Blues Guitar by Joe Bennett.
Blues Lead Guitar. Guitar Method. 96 pages, 6.5 x 9.5, softcover.
Published by Amsco. (AM973775)
See more info...
From SheetmusicPlus
Backing tracks for practise
I leave you with these backing tracks with 12-bar blues type 1 and 2, with turnaround chords this time.
Backing Track - 12B1T
These are MIDI backing tracks of 12-bar Blues progression 1 with Turnaround chord. For more
information, go to lesson on bluesprogression in the chord progression series. Download all files as a
zip-file
65 very slow
C D Eb E F G A Bb
90 Slow
C D Eb E F G A Bb
120 Medium
C D Eb E F G A Bb
Backing Track - 12B2T
These are MIDI backing tracks of 12-bar Blues progression 2 with Turnaround chord. For more
information, go to lesson on bluesprogression in the chord progression series. Download all files as a
zip-file
65 very slow
C D Eb E F G A Bb
90 Slow
C D Eb E F G A Bb
120 Medium
C D Eb E F G A Bb
More on Blues Turnarounds
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Blues Guitar - An introduction to turnarounds
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●
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Blues Guitar - Lesson 3: An
introduction to turnarounds - the
turnaround chord
Blues Guitar - Lesson 8: A
Turnaround Chord Sequence
Blues Guitar - Lesson 9:
Turnaround licks in E
Turnaround_Lesson 1-1
●
●
●
Turnaround_Lesson 1-2
Turnaround_Lesson 1-3
Turnaround_Lesson 2-1
Lesson 2:
Some variations of the 12-bar blues in E
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© Olav Torvund
●
●
●
Turnaround_Lesson 2-2
Turnaround_Lesson 3-1
Turnaround_Lesson 3-2
Lesson 3B:
Damping techniques
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Damping techniques
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Lesson 3B: Damping techniques
Lesson 3:
An introduction to turnarounds - the
turnaround chord
Lesson 4:
The Shuffle
Rhythm
We do not always want the strings to ring out. It creates a stronger rhythm if we cut the notes short and have
a more staccato playing. You can damp the strings by either the right hand , the left hand or both.
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
Newsletter
Rhythm is a key to good blues playing, and you need to learn damping techniques to get the rhythm. It is
simple, but you will need a lot of practise to get control.
12 bar blues Type 1 in E - 6 verses with
various damping techniques
Right hand damping
You can damp the strings with your right hand in two different ways. Blues, rock and jazz players will usually
damp the strings by either the heel or the side of the hand. You "simply" touch the strings with your hand,
and by that stop the ringing. It is "simple", but that does not mean easy. It takes some time to get the
control you need. But it is a must for rhythmic playing.
You can vary the time from playing to damping. If you damp hard (short time), it can be almost only rhythm.
Is is almost as if you are playing some kind of a drum. A lighter damping will give you more of the actual
note. What to prefer depends on what you are playing.
Retailers:
After some time of practise, you will be able to damp the bass-strings and let the treble strings ring out. This
can give you a driving rhythm and a singing melody and/or clear harmony at the same time. This is the main
element in the Merle Travis / Chet Atkins style.
A classical player will damp by resting the fingertips on the strings. With this technique you can damp out
individual strings, which makes it possible to combine legato and staccato lines. But it is harder to get a really
driving rhythm with this technique.
Left hand damping
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Damping by left hand is also done by touching the strings with your fingers. If you want to damp out
individual strings, for instance if one string will give you a note that does not belong to the chord you are
playing, you will touch this string with one of your fingers. You will often do it by leaning over the finger that
is fretting the adjacent string.
If you are playing barré chords, you can release the barré, and by that damp the whole chord. You can
strum the strings without letting them ring, which gives you a strong rhythm. You can have an even strum of
8th or 16th notes, and create a strong syncopated rhythm just by damping with you left hand. This is the key
to the rhythm of Bo Diddley.
Order from:
Easy Blues Rhythms For Guitar
SheetmusicPlus
By Ed Lozano. Guitar Method. Book and CD, 72 pages. Published by
Amsco.
See more info...
ToC
No AM971432
Review:
Order from:
Blues Rhythm Guitar Technique Book/Cd
Guitar method. Instructional method book with compact disc. Published by SheetmusicPlus
Koala Publications (Australian import).
See more info...
ToC
No CP-69100
Review:
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Blues Guitar - Damping techniques
Order from:
Blues Guitar Rhythm Basics
SheetmusicPlus
By Corey Christiansen. For Guitar (Electric). licks & phrases. QwikLicks.
Blues. Level: Intermediate. DVD+Chart. Size 8.75x11.75. 3 pages.
Published by Mel Bay Publications, Inc.
See more info...
ToC
No MB20389DP
Review:
The Ultimate Beginner Series Beyond Basics: Blues Guitar Rhythm
Chops
Keith Wyatt, GIT's resident blues authority, reveals his favourite blues
chord voicing and comping concepts. Keith explores everything from
straight-eighth boogie blues to rock shuffles and sophisticated uptown
styles. Includes: classic blues chord voicings, blues progression variations,
chord substitution, straight-eightth and shuffle patterns, and several
complete 12-bar blues progressions. This video has all the tricks to help
you go beyond the basics of playing blues rhythm guitar. Edited by Tim
Landers. Guitar video: DVD/VHS Video. Published by Warner Brothers.
See more info...
ToC
No WBREH891
Order DVD
from:
SheetmusicPlus
MusicRoom
Amazon UK
Blues Riffs, Rhythms & Secrets DVD, 2nd Edition
guitar. DVD. Published by Music Sales.
See more info...
ToC
Review:
Order from:
SheetmusicPlus
Order VHS
from:
SheetmusicPlus
No FR00915
For more on Rhythm Guitar, go to the Rhythm Guitar Page in the Guitar Books Sections
Rhythm Playing
●
●
●
●
●
Blues Guitar Lesson 3B: Damping
techniques
Blues Guitar Lesson 4: The
Shuffle Rhythm
Blues Guitar Lesson 4B: E-Shuffle
Blues Guitar Lesson 4C: The
Hoochie Coochie Shuffle
Blues Guitar Lesson 5: The
harmonized shuffle
●
●
●
●
Blues Guitar Lesson 6:
The Treble shuffle
Blues Guitar Lesson 7:
Some other shuffle licks
- Boom Boogie
Blues Guitar Lesson 7B:
Some other shuffle licks
- Muddy Boogie
Lesson 11: The Boogie
Bass line - Part 1 * Part
2 * Part 3 * Part 4 *
Part 5 * Part 6
Lesson 3:
An introduction to turnarounds - the
turnaround chord
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© Olav Torvund
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Lesson 13 B: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 C: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 D: You Nearly
Got Me On The Foggy
Water
Books and videos on
Rhythm Guitar
Lesson 4:
The Shuffle
Rhythm
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Lesson 4: The Shuffle Rhythm
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar - Lesson 4: The Shuffle Rhythm
Lesson 3B:
Damping techniques
Lesson 4B:
E-Shuffle
Don't ask me what shuffle really means. But it is used as a term for a rhythm where each beat is subdivided
in two. Of these two notes, the first is longer and heavy, the second is short and light. You have to use some
damping to get it right. This gives you the shuffle rhythm, which is the back bone of a lot of blues playing.
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
Newsletter
The first Delta artist to record a shuffle, was Johnnie Temple with his Lead Pencil Blues from 1935. You
can hear it on the record Roots Of Robert Johnson. And now, for the first, but far from last time in this
series of blues lessons, is it time to mention Robert Johnson. Many his songs have a shuffle style, but now I
will mention Sweet Home Chicago and You've Got A Good Friend. Everyone interested in blues guitar
should know Robert Johnson.
Books and records for further studies
If you want to learn the blues, you have to listen to the real bluesmen and study their playing style. I have
included references to books and CDs that I think should be of interest. Many bluesmen have issued
hundreds of records. If you search CDNOW, Amazon US and Amazon UK for records by John Lee
Hooker, you will find more than 200 titles. Some are very good, some are not. I am not pretending that I
know all their records, but I list a few that in my view are good collections.
A tip:
Retailers:
CDNOW, Amazon US and Amazon UK have soundbits (ca. 30 sec) from the majority of the records they
have listed. If you don't know the artists, you will get an impression of their playing style by listening to
some of these soundbits.Amazon US has also made available a large number of music files for free
download. Choose "Music" on the menu to the left at their main page, and then "Free Downloads" on the
banner menu.
Robert Johnson.
You simply have to listen to Robert Johnson if you are serious about blues guitar. I have made a separate
web-page with references to material on his playing. But I will suggest that you start with this one:
If you like the
site, give me
your vote:
Robert Johnson - Signature Licks
A Step-by-Step Breakdown of the Legendary Guitarist's Style and
Technique. Performed by Robert Johnson. By Dave Rubin. Signature
Licks (Authentic guitar transcriptions in notes and tab). Book and CD
package. With notes and tablature. Size 9x12 inches. 64 pages.
Bestseller! Published by Hal Leonard.
Chosen as Book of the Month December 2002.
See more info...
ToC
No HL695264
Review:
Order from:
SheetmusicPlus
MusicRoom
(UK)
Amazon UK
For more on this style, see:
Go here for
books and
videos on
blues guitar
Go here for
links to other
Blues Sites
The Roots Of Robert Johnson Book/CD Set By Stefan Grossman and
Woody Mann.
The playing of the legendary Delta bluesman, Robert Johnson was firmly
rooted in the blues of the 1920s. In this study, Woody and Stefan have
transcribed those arrangements that we feel had a great influence on the
guitar approach, technique and style of Robert Johnson.
Titles include: Scrapper Blackwell Blue Day Blues, Kokomo Blues · Blind
Blake Georgia Bound · Big Bill Broonzy Saturday Night Rub, Stove Pipe
Stomp, Worryin' You Off My Mind · Willie Brown Future Blues, M&O Blues ·
Son House Dry Spell Blues, My Black Mama · Skip James Devil Got My
Woman, Hard Time Killin' Floor, Special Rider · Lonnie Johnson Go Back To
Your No Good Man, Life Saver Blues · Hambone Willie Newbern Roll And
Tumble Blues · Charlie Patton Screamin' And Hollerin' The Blues, Stone
Pony Blues and 34 Blues.
Beware: Many of the songs are included in the "Early Roots ..." set.
But the "Early .." is more of an instruction series, with detailed
breakdown of the songs.
Book/CD package. Solos. Published by Mel Bay Publications, Inc.
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Order From:
SheetmusicPlus
Blues Guitar - Lesson 4: The Shuffle Rhythm
(MB95074BCD)
Chosen as Book of the month for August 2002.
Roots of Robert Johnson
This CD has nothing to do with the book of the same title. Here you can hear the
first recorded delta blues shuffle: Johnnie Temple with his Lead Pencil Blues
Order from:
Amazon US
Amazon UK
Order from:
Acoustic Country Blues Guitar
SheetmusicPlus
By Dave Rubin.
This collection presents note-for-note transcriptions and performance
notes for 12 timeless songs that inspired the legendary Robert Johnson,
including: Cross Road Blues * I'm Gonna Yola My Blues Away * Lead
Pencil Blues * Life Saver Blues * My Black Mama * Roll and Tumble Blues
* You Gonna Need Somebody When You Die * and more, by seminal
bluesman such as Blind Blake, Son House, Skip James, Lonnie
Johnson, Booker White and others. Published by Hal Leonard. The
book is discussed a little further in conjunction with The book of the
month August 2002. (HL695139)
See more info...
Jimmy Reed - Master Bluesman* Performed by Jimmy Reed. Guitar
Recorded Versions (Authentic note-for-note transcriptions). With notes
and tablature. Size 9x12 inches. 72 pages. Published by Hal Leonard.
(HL694937)
See more info...
Order from:
SheetmusicPlus
MusicRoom
Order
Jimmy Reed : Blues Masters-Very Best Of Jim
from:
I have not found any CD that includes all the songs in the book above - unless you
Amazon US
go for the Boxed set with 10 CDs. But the record listed should give a good selection.
Amazon UK
The typical shuffle is played as a chord fragment on two bass strings. You will notice that we alternates
between two shapes while playing to one chord. In E we will vary between 2nd and 4th fret on the 5th string,
and in A we will vary between 2nd and 4th fret on the 4th string. The best way - in my opinion - to finger this
shuffle, is by making a short barré covering two strings on 2nd fret with your index (1st) finger, and fret the
4th fret with your 3rd (ring) finger. What you are doing, is to shift from E to E6 or A to A6. Go to the 5th fret
with your 4th finger, and you get the 7th chord.
.
There is only one way to finger
the shuffle over the E - E6 - E7
chords. You play only the
bottom two (or three) stings,
and make a small barré with
your 1st finger over the 4th and
5th string at 2nd fret. Then you
use the 3rd finger on 4th fret,
and 4th finger on 5th.
E-
shuffle (E, E6, E7)
A-
shuffle, pos. 1
A-
shuffle, pos. 2
There are two ways to finger the A-shuffle. I usually prefer to play it almost as I play the Eshuffle. I just move it across to the 5th, 4th and maybe 3rd string. But be careful not to play the
6th (bottom) string. It takes some time to get enough control to play a good shuffle without
hitting the 6th string.
The other position is out of the 5th fret: 1st finger on 6th string, 5th fret, 2nd finger on 5th string, 7th fret.
Then you can use 3rd finger on 5th string, 9th fret, and 4th finger on 10th fret. It is a tough stretch, so it will
take some time to get it. But since there are no open string, it is a moveable position, which makes it very
useful. When coming down from B7 (see below) I might prefer this fingering.
As always, the B7 is difficult. You can either move the second A-position up two frets, or you can move the
fingering across to the 5th and 4th string, and play out of 2nd fret. This fingering is even harder.
Use your pinky (4th finger)!
Many guitar players find their 4th finger too weak, and don't use it. I have even seen well known
instructors - no name given - recommend that you don't use it. But if you remove one finger from
you fretting hand, you will limit you playing possibilities. It is a matter of practise. The 4th finger
will never be the stronger of your fingers, but with some training it can do a lot of work!
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Blues Guitar - Lesson 4: The Shuffle Rhythm
Are your fingers "too short" for the stretch? Use capo!
The shuffle requires a stretch that some players find hard, and one can have the feeling that the
fingers are too short. Again, it is really a matter of practise. You will eventually be able to stretch
you fingers more. But a good way to practise these stretches is to put on a capo in 2nd, 3rd, 4th
or whatever fret that makes it comfortable. The distance between the frets are smaller higher up
the neck. A stretch from 2nd to 5th fret might be somewhere from very hard to almost
impossible, but the stretch from 7th to 10th fret (with capo on 5th fret) might be quite
comfortable. Move the capo down one fret at the time, until you can play the stretch without the
capo.
By varying the ratio between the first and second part of the beet, you can create different grooves. Jimmy
Reed typically plays with a heavy shuffle, meaning that the first part is much longer and more heavy than the
second. In Chuck Berry's style, they are almost equal, giving a more straight feel. Click here for an example
of a shuffle, where the first verse is played with a heavy shuffle, and the second with a more straight feel.
Both verses are played with alternating down- and up-strokes.
Another way to vary the shuffle, is to vary the strokes. You can either play alternating down- and up-strokes
as done in the recorded example mentioned above, or by down-strokes only. Alternating strokes tend to
emphasize the heavier shuffle, while all downstroke give you a more even and straight sound. In Chuck
Berry style and in more modern heavy rock style, one will typically use down-strokes only.
Go to the Next lesson for a 12-bar shuffle blues written out in tab.
Rhythm Playing
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Blues Guitar Lesson 3B: Damping
techniques
Blues Guitar Lesson 4: The
Shuffle Rhythm
Blues Guitar Lesson 4B: E-Shuffle
Blues Guitar Lesson 4C: The
Hoochie Coochie Shuffle
Blues Guitar Lesson 5: The
harmonized shuffle
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Blues Guitar Lesson 6:
The Treble shuffle
Blues Guitar Lesson 7:
Some other shuffle licks
- Boom Boogie
Blues Guitar Lesson 7B:
Some other shuffle licks
- Muddy Boogie
Lesson 11: The Boogie
Bass line - Part 1 * Part
2 * Part 3 * Part 4 *
Part 5 * Part 6
Lesson 3B:
Damping techniques
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© Olav Torvund
Lesson 13 B: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 C: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 D: You Nearly
Got Me On The Foggy
Water
Books and videos on
Rhythm Guitar
●
●
●
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Lesson 4B:
E-Shuffle
University of Oslo
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I appreciate comments
Blues Guitar - E-Shuffle
Olav Torvund's Guitar Pages
Guitar Lessons
Lesson 4B: Blues Guitar - E-Shuffle
Lesson 4:
The Shuffle Rhythm
Download Finale File
As always when we are playing in the key of E, the B7gives us some
challenges. In the arrangement above, I have been faithful to the shuffle
throughout the piece. But you do not have to do that. You may prefer to
play the B7as it is written to the right. It is easier to play, and it will often
sound better. This is the way Eric Claptonusually plays when he is
playing acoustic blues in E. If he can, why should not we do it? If you play
this B7, then you continue with A7as you played in bar 5 and 6, you do
not go up to 5th, 7th and 9th fret.
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Lesson 4C:
The Hoochie Coochie Shuffle
PDF-File
Blues Guitar - E-Shuffle
Rhythm Playing
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Blues Guitar Lesson
techniques
Blues Guitar Lesson
Rhythm
Blues Guitar Lesson
Blues Guitar Lesson
Coochie Shuffle
Blues Guitar Lesson
shuffle
3B: Damping
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4: The Shuffle
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4B: E-Shuffle
4C: The Hoochie
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5: The harmonized
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Blues Guitar Lesson 6: The
Treble shuffle
Blues Guitar Lesson 7: Some
other shuffle licks - Boom
Boogie
Blues Guitar Lesson 7B: Some
other shuffle licks - Muddy
Boogie
Lesson 11: The Boogie Bass
line - Part 1 * Part 2 * Part 3 *
Part 4 * Part 5 * Part 6
Lesson 4:
The Shuffle Rhythm
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Lesson 13 B: Smoky Metal and
Muddy Onions - Power Chords
Lesson 13 C: Smoky Metal and
Muddy Onions - Power Chords
Lesson 13 D: You Nearly Got Me
On The Foggy Water
Books and videos on Rhythm
Guitar
Lesson 4C:
The Hoochie Coochie Shuffle
© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - The Hoochie Coochie Shuffle
Olav Torvund's Guitar Pages
Guitar Lessons
The Hoochie Coochie Shuffle
Lesson 4B:
E-Shuffle
Lesson 5:
The harmonized shuffle
Now you should have a simple, but very effective lick and an equally simple but strong rhythm pattern under your belt. As I hope you
have seen, they work well on their own. But they fit nicely together. Combine them, and you are ready for prime time.
Download Finale File
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PDF-File
Blues Guitar - The Hoochie Coochie Shuffle
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Classic American song form. By learning the secrets of his technique, you can get your own
mojo working for you. Bob Margolin leads this entire private lesson enlightening the viewer
about the secrets of Muddy's solo guitar and ensemble work. Signature Licks Licks DVD.
Performed by Muddy Waters. By Bob Margolin. Dvd. DVD (Digital Video Disc). Size 5.3x7.5
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Rhythm Playing
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Blues Guitar Lesson
techniques
Blues Guitar Lesson
Rhythm
Blues Guitar Lesson
Blues Guitar Lesson
Coochie Shuffle
Blues Guitar Lesson
shuffle
3B: Damping
●
4: The Shuffle
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4B: E-Shuffle
4C: The Hoochie
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5: The harmonized
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Blues Guitar Lesson 6: The
Treble shuffle
Blues Guitar Lesson 7: Some
other shuffle licks - Boom
Boogie
Blues Guitar Lesson 7B: Some
other shuffle licks - Muddy
Boogie
Lesson 11: The Boogie Bass
line - Part 1 * Part 2 * Part 3 *
Part 4 * Part 5 * Part 6
Lesson 4B:
E-Shuffle
Home
●
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Lesson 13 B: Smoky Metal and
Muddy Onions - Power Chords
Lesson 13 C: Smoky Metal and
Muddy Onions - Power Chords
Lesson 13 D: You Nearly Got Me
On The Foggy Water
Books and videos on Rhythm
Guitar
Lesson 5:
The harmonized shuffle
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NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Lesson 5: The harmonized shuffle
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Blues Guitar - Lesson 5: The harmonized shuffle
Lesson 4C:
The Hoochie Coochie Shuffle
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Guitar Lessons
Lesson 6:
The Treble shuffle
We can build on the E, E6 and E7 shuffle (and the similar in A), but extend it to chords. Instead of E6, you
might play an A/C# chord. The /C# means that you are playing a C# as bass note, which again means that
you are playing the chord in first inversion. Here we get a little bit into chord substitution. The chord
might be also be written as F#m7. But we will not discuss that in this lesson. Then we move the chord up to
a G, played as an E-chord moved up to 4th/5th fret. Play these chords as closed position chords => do
not play any open strings.
Over the A-chord, we play D (or Bm7) instead of the A6, and we play C instead of the A7. Again you play
them as closed position chords. In this progression, I prefer to play the A-chord as a partial barré with 1st
finger fretting 2nd, 3rd and 4th strings in 2nd fret. It takes some time to get this position to sound good: To
fret three strings in a way that gives you a clear tone, and at the same time not touch the 1st string. In this
harmonized shuffle, we do not play the 1st string, so it does not really matter if you touch it with your 1st
finger. I also prefer to play the C-chord as a similar partial barré, but now played with the 3rd finger. It takes
some time to get this right.
As usual, the B7 gives us some trouble. If you want to continue the harmonized shuffle, you can move the
closed A patterns two frets up. But you might also just go out of the harmonized shuffle and play a more
simple pattern over the B7 chord.
Retailers:
The fingerings for the A/C# (F#m7), G, D (Bm7) and C are shown below. If you take a sidestep to my
Harmonized fretboard lesson, you will find a discussion of these sonic shapes, labeled E/Am shape,
Middle minor shape, A-shape and Middle D-shape.
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A/C# (F#m7)
G
D/F# (Bm7)
C
You might prefer not to play the middle note, just the two on the outer strings. Experiment with it!
12 bar blues - Harmonized shuffle in E
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Blues Guitar - Lesson 5: The harmonized shuffle
Download Finale File
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PDF-File
Blues Guitar - Lesson 5: The harmonized shuffle
If we look at the harmonized shuffle as a chord progression, it can be labeled a I-IV-IIIb progression, or if
we shift the order, a I-IIIb-IV progression. This chord progression is discussed in my lesson A Green Onion
After Midnight will Change the World - The I - IIIb - IV and I - IV - IIIb progression.
Material for further exploration the shuffle.
Dave Rubin: The Art of the Shuffle.
As the name says, the book focuses on the shuffle, and not the blues as
such. It explores shuffle, boogie and swing rhythms for guitar. Includes
tab and notation, and covers Delta, country, Chicago, Kansas City, Texas,
New Orleans, West Coast, and bebop blues. As the name says, the book
focuses on the shuffle, and not the blues as such. But as all examples are
in a 12-bar blues format, it will take you through various blues
progressions, as an added bonus to the exploration of the shuffle style.
(HL695005)
See more info...
Order From:
SheetmusicPlus
MusicRoom
(UK)
Amazon UK
Rhythm Playing
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Blues Guitar Lesson 3B: Damping
techniques
Blues Guitar Lesson 4: The
Shuffle Rhythm
Blues Guitar Lesson 4B: E-Shuffle
Blues Guitar Lesson 4C: The
Hoochie Coochie Shuffle
Blues Guitar Lesson 5: The
harmonized shuffle
●
●
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Blues Guitar Lesson 6:
The Treble shuffle
Blues Guitar Lesson 7:
Some other shuffle licks
- Boom Boogie
Blues Guitar Lesson 7B:
Some other shuffle licks
- Muddy Boogie
Lesson 11: The Boogie
Bass line - Part 1 * Part
2 * Part 3 * Part 4 *
Part 5 * Part 6
Lesson 4C:
The Hoochie Coochie Shuffle
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Lesson 13 B: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 C: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 D: You Nearly
Got Me On The Foggy
Water
Books and videos on
Rhythm Guitar
Lesson 6:
The Treble shuffle
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Lesson 6: The Treble shuffle
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar - Lesson 6: The Treble shuffle
Lesson 5:
The harmonized shuffle
Lesson 7:
Some other shuffle licks: Boom Boogie
This is another variation of the shuffle. Now the movement E - E6 - E7 is played on the treble strings. I think
of it as typical for the playing of Brownie McGhee, but he fingerpicks with a monotone bass.
Happy Traum:
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We start with an E-chord, fingered as discussed
in Blues Guitar lesson 1: The 12 bar blues in
E, a fingering that leaves your 4th finger free. To
get E6, you fret 2nd string 2nd fret, and to get
E7, you fret 2nd string 3rd fret. Note that this
gives you another voicing of the E7 chord than
the one shown in the first lesson. Personally I like
this new voicing better, but it is a matter of
context and of taste. You should know both.
E - E6 - E7
Retailers:
A - A6 - A7
I often start with open 3rd string as a pick-up note, hammering on to 1st fret. Look in the tabulature for this.
It gives you a change from Em to E
Over the A-chord we have the same movement, once again with the 4th finger doing all the work on 1st
string. You can have the same kind of minor - major change, but the fingering is more difficult. So it is better
to slide the whole chord up from 1st to 2nd fret.
B7 is difficult, so we do not care about this chord now.
12 bar blues - Treble shuffle in E
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Blues Guitar - Lesson 6: The Treble shuffle
Download Finale File
PDF-File
Dave Rubin: The Art of the Shuffle.
As the name says, the book focuses on the shuffle, and not the blues as
such. It explores shuffle, boogie and swing rhythms for guitar. Includes
tab and notation, and covers Delta, country, Chicago, Kansas City, Texas,
New Orleans, West Coast, and bebop blues. As the name says, the book
focuses on the shuffle, and not the blues as such. But as all examples are
in a 12-bar blues format, it will take you through various blues
progressions, as an added bonus to the exploration of the shuffle style.
(HL695005)
See more info...
Rhythm Playing
http://www.torvund.net/guitar/BluesGuitar/6-The_Treble_shuffle.asp (2 of 3)07.01.2005 04:02:29
Order From:
SheetmusicPlus
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(UK)
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Blues Guitar - Lesson 6: The Treble shuffle
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Blues Guitar Lesson 3B: Damping
techniques
Blues Guitar Lesson 4: The
Shuffle Rhythm
Blues Guitar Lesson 4B: E-Shuffle
Blues Guitar Lesson 4C: The
Hoochie Coochie Shuffle
Blues Guitar Lesson 5: The
harmonized shuffle
Lesson 5:
The harmonized shuffle
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Blues Guitar Lesson 6:
The Treble shuffle
Blues Guitar Lesson 7:
Some other shuffle licks
- Boom Boogie
Blues Guitar Lesson 7B:
Some other shuffle licks
- Muddy Boogie
Lesson 11: The Boogie
Bass line - Part 1 * Part
2 * Part 3 * Part 4 *
Part 5 * Part 6
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Lesson 13 B: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 C: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 D: You Nearly
Got Me On The Foggy
Water
Books and videos on
Rhythm Guitar
Lesson 7:
Some other shuffle licks: Boom Boogie
© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Lesson 7: Some other shuffle licks
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar - Lesson 7: Some other shuffle licks - Boom
Boogie
Lesson 6:
The Treble shuffle
Lesson 7B:
Some other shuffle licks - Muddy Boogie
There are many variations of the shuffle. I have included a few variations. The first is one that reminds me of
the playing of John Lee Hooker, and that is why I have called it Boom Boogie.
Happy Traum:
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New: Blues
Guitar lessons
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Blues Guitar - Lesson 7: Some other shuffle licks
Boom Boogie
Download Finale File
For more on John Lee Hooker's playing, you can get this book. (Follow the link to artist for more
information).
John Lee Hooker: - A Blues Legend
Performed by John Lee Hooker. For guitar and voice. Format: guitar
tablature songbook. With guitar tablature, standard notation, vocal
melody, lyrics, chord names, guitar notation legend, introductory text and
performance notes. Blues. Series: Hal Leonard Guitar Recorded Versions.
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specially recorded CD featuring soundalike instrumental tracks, performed
to simulate the original recordings. The matching music book features both
guitar tab and standard notation for each song, as well as chord symbols
and complete lyrics for vocalists. Includes 'Boom Boom', 'Think Twice Before
You Go' and 'I'm In The Mood'.
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Rhythm Playing
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Blues Guitar - Lesson 7: Some other shuffle licks
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Blues Guitar Lesson 3B: Damping
techniques
Blues Guitar Lesson 4: The
Shuffle Rhythm
Blues Guitar Lesson 4B: E-Shuffle
Blues Guitar Lesson 4C: The
Hoochie Coochie Shuffle
Blues Guitar Lesson 5: The
harmonized shuffle
Lesson 6:
The Treble shuffle
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●
●
●
●
Blues Guitar Lesson 6:
The Treble shuffle
Blues Guitar Lesson 7:
Some other shuffle licks
- Boom Boogie
Blues Guitar Lesson 7B:
Some other shuffle licks
- Muddy Boogie
Lesson 11: The Boogie
Bass line - Part 1 * Part
2 * Part 3 * Part 4 *
Part 5 * Part 6
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Lesson 13 B: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 C: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 D: You Nearly
Got Me On The Foggy
Water
Books and videos on
Rhythm Guitar
Lesson 7B:
Some other shuffle licks - Muddy Boogie
© Olav Torvund
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - A Turnaround Chord Sequence
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar - Lesson 8: A Turnaround Chord Sequence
Lesson 7B:
Some other shuffle licks - Muddy Boogie
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Lesson 9:
Turnaround licks in E
We have discussed the turnaround chord. But I am sure you know that there is more to the turnaround
than just the ending chord. In this lesson we will look closer at the chord sequence that we used in The
Harmonized Shuffle in E. But before we do that, you should know where the turnaround licks takes place.
They will "always" (there is no really "always" or "never" in blues) take place in bar 11 of a 12 bar blues. You
come down from the V7 -IV7 chords in bar 9 and 10, and land on the I chord in the first beat of bar 11. In E
this means that you play B7 - A7 and then land on E. But on the second beat of bar 11 you take off for
something to make the ending more interesting, and you once again land on the I chord, this time in the first
beat of bar 12. The turnaround lick takes place on 2nd, 3rd and 4th beat of bar 11, it starts form the
I chord at beat 1 of bar 11 and ends on another I chord at the first beat of bar 12.
We pick up from where we left in lesson 3, and continue with a sequence of chords in bar 11. These chords
are A7, A and Am. Note the fingering of these chords. There is no correct way to finger one specific chord.
What fingering to choose depends on where you are coming from and where you are going. In this sequence
of chords you are coming from E to E7, and this is easy. We use the same fingering of the E7 as we used in
the Treble Shuffle. You change from E to E7 just by adding the 4th finger on 2nd string, 3rd fret.. But when
you go from E7 to A, you should finger the A-chord with your 2nd, 3rd and 4th finger, as shown in the
diagram. If you to it this way, you only have to move your fingers a little bit. If you finger the A-chord as you
would usually do, with 1st, 2nd and 3rd finger, you will have to reposition the entire hand. When you continue
to the Am, you only have to lift your pinky if you finger the chords as described, as indicated in the A / Am
diagram. If you finger the A-chord as you would normally do, you will have to reposition your hand once
more, by going back to the position you just left. The fingering of the A-chord might feel awkward, but in this
particular chord sequence, it makes your playing more fluent.
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E7
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A
A / Am
Am
The sequence of chords is (E) - E7 - A - Am - (E). The key to a fluent playing of the sequence is the
fingering of the A-chord.
More on Blues Turnarounds
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Blues Guitar - A Turnaround Chord Sequence
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Blues Guitar - Lesson 3: An
introduction to turnarounds - the
turnaround chord
Blues Guitar - Lesson 8: A
Turnaround Chord Sequence
Blues Guitar - Lesson 9:
Turnaround licks in E
Turnaround_Lesson 1-1
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Turnaround_Lesson 1-2
Turnaround_Lesson 1-3
Turnaround_Lesson 2-1
Lesson 7B:
Some other shuffle licks - Muddy Boogie
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Turnaround_Lesson 2-2
Turnaround_Lesson 3-1
Turnaround_Lesson 3-2
Lesson 9:
Turnaround licks in E
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Turnaround licks in E
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar - Lesson 9: Turnaround licks in E
Lesson 8: A Turnaround
Chord Sequence
Lesson 10: Fill In
Part 1
So far we have been playing turnarounds as chords only, and we have only used one chord sequence. There
are many more you can use. But I am sure you know that there are many turnaround licks, played as more or
less melodic runs. You should learn as many turnaround licks as possible. In the long run it is boring if you use
only one turnaround for all your songs. And they are building blocks for solos.
Happy Traum:
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New: Blues
Guitar lessons
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12 bar blues in E with turnaround
This one is hard to read, but easy to play. You only strum the chords, until you come to the turnaround.
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Blues Guitar - Turnaround licks in E
12 bar blues in E with turnaround
PDF-File
Turnarounds in E (not edited yet)
Download Finale File
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Blues Turnarounds
A Compendium of Patterns & Phrases for Guitar. By Dave Rubin and Rusty SheetmusicPlus
MusicRoom
Zinn. Guitar Educational. Book and CD package. With notes and tablature.
Size 9x12 inches. 40 pages. Published by Hal Leonard.
See more info...
ToC
No HL695602
Review:
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Larry McCabe - 101 Blues Guitar Turnaround Licks
SheetmusicPlus
For electric guitar. McCabe's 101 Series. Blues. Level: Multiple Levels.
Book/CD package. Licks and phrases. Size 8.75x11.75. 48 pages.
Published by Mel Bay Pub., Inc.
See more info...
ToC
No MB95360BCD
Review:
More on Blues Turnarounds
●
●
●
●
Blues Guitar - Lesson 3: An
introduction to turnarounds - the
turnaround chord
Blues Guitar - Lesson 8: A
Turnaround Chord Sequence
Blues Guitar - Lesson 9:
Turnaround licks in E
Turnaround_Lesson 1-1
●
●
●
Turnaround_Lesson 1-2
Turnaround_Lesson 1-3
Turnaround_Lesson 2-1
Lesson 8: A Turnaround
Chord Sequence
●
●
●
Turnaround_Lesson 2-2
Turnaround_Lesson 3-1
Turnaround_Lesson 3-2
Lesson 10: Fill In
Part 1
Further references
Ls:G1 1998-08, Ls:GP 2000-03
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Fill In
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Blues Guitar - Lesson 10: Fill In – Part 1
Lesson 9:
Turnaround licks in E
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Guitar Lessons
Lesson 10:
Fill In – Part 2
You have of course noticed that turnaround-like licks are not only played at the end of each verse, but at the
end of each line. I call these licks at the end of the first and second line Fill in licks. They are basically the
same as turnaround licks, and takes place in the same position in the line: They start from a I-chord at
the first beat of the third bar of each line, and end on a I-chord on the first beat of the last bar of
each line. The last three bars of the last bar varies, according to which line it is. In the first line we go to a I7
chord, on the second line we stay at the I chord, and as we already know: The last line often ends at a V7
chord.
12 bar blues in E with fill ins
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Blues Guitar - Fill In
Download Finale File PDF-File
Blues Fill Ins
●
●
Lesson 10: Fill In – Part 1
Lesson 10: Fill In – Part 2
Lesson 9:
Turnaround licks in E
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Lesson 10:
Fill In – Part 2
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar – Lesson 10: Fill In – Part 2
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar – Lesson 10: Fill In – Part 2
Lesson 10: Fill In
Part 1
Lesson 11:
The Boogie Bass line - Part 1
In principle all turnaround licks can be used as fill-in licks. But some sounds better at the end of a verse,
some sounds better at the end of the first or second line. Your ear decide what to choose.
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
You can of course combine the shuffle with fill-ins. The example show one way to break up the monotony of
the shuffle. It is loosely based on a Robert Johnson's classic, «Ramblin' on my mind», made famous by
Eric Clapton's recordings.
Shuffle with fill ins
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Blues Guitar – Lesson 10: Fill In – Part 2
PDF-File
Other examples are Eric Clapton's recordings of Before You Accuse Me and Malted Milk on his
Unplugged album. Malted Milk is on of many Robert Johnson classics recorded by Eric Clapton's. The
most famous of Robert Johnson's shuffle recordings is probably Sweet Home Chicago. Follow this link for
more material on Robert Johnson's playing.
Robert Johnson - Signature Licks
A Step-by-Step Breakdown of the Legendary Guitarist's Style and
Technique. Performed by Robert Johnson. By Dave Rubin. Signature
Licks (Authentic guitar transcriptions in notes and tab). Book and CD
package. With notes and tablature. Size 9x12 inches. 64 pages.
Bestseller! Published by Hal Leonard.
Chosen as Book of the Month December 2002.
See more info...
ToC
No HL695264
Review:
The Roots Of Robert Johnson Book/CD Set By Stefan Grossman and
Woody Mann.
The playing of the legendary Delta bluesman, Robert Johnson was firmly
rooted in the blues of the 1920s. In this study, Woody and Stefan have
transcribed those arrangements that we feel had a great influence on the
guitar approach, technique and style of Robert Johnson.
Titles include: Scrapper Blackwell Blue Day Blues, Kokomo Blues · Blind
Blake Georgia Bound · Big Bill Broonzy Saturday Night Rub, Stove Pipe
Stomp, Worryin' You Off My Mind · Willie Brown Future Blues, M&O Blues ·
Son House Dry Spell Blues, My Black Mama · Skip James Devil Got My
Woman, Hard Time Killin' Floor, Special Rider · Lonnie Johnson Go Back To
Your No Good Man, Life Saver Blues · Hambone Willie Newbern Roll And
Tumble Blues · Charlie Patton Screamin' And Hollerin' The Blues, Stone
Pony Blues and 34 Blues.
Beware: Many of the songs are included in the "Early Roots ..." set.
But the "Early .." is more of an instruction series, with detailed
breakdown of the songs.
Book/CD package. Solos. Published by Mel Bay Publications, Inc.
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Amazon UK
Order From:
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Blues Guitar – Lesson 10: Fill In – Part 2
(MB95074BCD)
Chosen as Book of the month for August 2002.
Eric Clapton: From The Album Eric Clapton Unplugged
Signature Licks. Acoustic Rock. Performed by Eric Clapton, written
by Wolf Marshall. For guitar. Includes instructional book and examples
CD. With standard guitar notation, guitar tablature, vocal melody,
lyrics, chord names, guitar chord diagrams, guitar notation legend,
Bestseller! introductory text, instructional text and performance notes. Blues rock
and adult contemporary. Series: Hal Leonard . 72 pages. 9x12 inches.
Published by Hal Leonard.
See more info...
ToC
No HL695250
Review:
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SheetmusicPlus
From
MusicRoom
If you think we are going too fast, and in particular want some more material for listening and getting the
sounds, I suggest that you get a book/CD set or a video with such material. Go to Recommended Books for
Beginning Blues Gutiar to get some suggestions.
Blues Fill Ins
●
●
Lesson 10: Fill In – Part 1
Lesson 10: Fill In – Part 2
Lesson 10: Fill In
Part 1
Lesson 11:
The Boogie Bass line - Part 1
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - The Boogie Bass line - Part 1
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar - Lesson 11: The Boogie Bass line - Part 1
Lesson 10:
Fill In – Part 2
Lesson 11:
The Boogie Bass line – Part 2
Many songs are carried by a driving bass-line, and the Boogie Bass is a good example and a starting point
from where you can derive many variations. We can start with a boogie pattern for each chord. It is simple,
sometimes boring, sometimes interesting - it depends on how you play and the context.
Happy Traum:
Blues Guitar
Simple Boogie Bass in E
New: Blues
Guitar lessons
in PDF format.
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Download Finale File
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Blues Guitar - The Boogie Bass line - Part 1
Rhythm Playing
●
●
●
●
●
Blues Guitar Lesson 3B: Damping
techniques
Blues Guitar Lesson 4: The
Shuffle Rhythm
Blues Guitar Lesson 4B: E-Shuffle
Blues Guitar Lesson 4C: The
Hoochie Coochie Shuffle
Blues Guitar Lesson 5: The
harmonized shuffle
●
●
●
●
Blues Guitar Lesson 6:
The Treble shuffle
Blues Guitar Lesson 7:
Some other shuffle licks
- Boom Boogie
Blues Guitar Lesson 7B:
Some other shuffle licks
- Muddy Boogie
Lesson 11: The Boogie
Bass line - Part 1 * Part
2 * Part 3 * Part 4 *
Part 5 * Part 6
Lesson 10:
Fill In – Part 2
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●
●
●
●
Lesson 13 B: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 C: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 D: You Nearly
Got Me On The Foggy
Water
Books and videos on
Rhythm Guitar
Lesson 11:
The Boogie Bass line – Part 2
© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Lesson 11: The Boogie Bass line - Part 2
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar – Lesson 11: The Boogie Bass line - Part 2
Lesson 11:
The Boogie Bass line – Part 1
Lesson 11:
The Boogie Bass line – Part 3
What we really want, is a more continuous line, which we can get if we extend the pattern into a two-bar
pattern. We play an ascending phrase in the first bar, and a descending in the second.
Happy Traum:
Blues Guitar
Bass Boogie in E
New: Blues
Guitar lessons
in PDF format.
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Blues Guitar - Lesson 11: The Boogie Bass line - Part 2
Download Finale File PDF-File
Rhythm Playing
●
●
●
●
●
Blues Guitar Lesson 3B: Damping
techniques
Blues Guitar Lesson 4: The
Shuffle Rhythm
Blues Guitar Lesson 4B: E-Shuffle
Blues Guitar Lesson 4C: The
Hoochie Coochie Shuffle
Blues Guitar Lesson 5: The
harmonized shuffle
●
●
●
●
Blues Guitar Lesson 6:
The Treble shuffle
Blues Guitar Lesson 7:
Some other shuffle licks
- Boom Boogie
Blues Guitar Lesson 7B:
Some other shuffle licks
- Muddy Boogie
Lesson 11: The Boogie
Bass line - Part 1 * Part
2 * Part 3 * Part 4 *
Part 5 * Part 6
Lesson 11:
The Boogie Bass line – Part 1
●
●
●
●
Lesson 13 B: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 C: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 D: You Nearly
Got Me On The Foggy
Water
Books and videos on
Rhythm Guitar
Lesson 11:
The Boogie Bass line – Part 3
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Lesson 11: The Boogie Bass line - Part 3
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar – Lesson 11: The Boogie Bass line - Part 3
Lesson 11:
The Boogie Bass line – Part 2
Lesson 11:
The Boogie Bass line – Part 4
It is possible to combine a boogie bass-line with chords. It give you some long stretches with your 4th finger the finger that has to do most of the work. But do as we said in lesson 4, and work on it.
Happy Traum:
Blues Guitar
Boogie with chords in E
New: Blues
Guitar lessons
in PDF format.
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Blues Guitar - Lesson 11: The Boogie Bass line - Part 3
Download Finale File PDF-File
Rhythm Playing
●
●
●
●
●
Blues Guitar Lesson 3B: Damping
techniques
Blues Guitar Lesson 4: The
Shuffle Rhythm
Blues Guitar Lesson 4B: E-Shuffle
Blues Guitar Lesson 4C: The
Hoochie Coochie Shuffle
Blues Guitar Lesson 5: The
harmonized shuffle
●
●
●
●
Lesson 11:
The Boogie Bass line – Part 2
Blues Guitar Lesson 6:
The Treble shuffle
Blues Guitar Lesson 7:
Some other shuffle licks
- Boom Boogie
Blues Guitar Lesson 7B:
Some other shuffle licks
- Muddy Boogie
Lesson 11: The Boogie
Bass line - Part 1 * Part
2 * Part 3 * Part 4 *
Part 5 * Part 6
●
●
●
●
Lesson 13 B: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 C: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 D: You Nearly
Got Me On The Foggy
Water
Books and videos on
Rhythm Guitar
Lesson 11:
The Boogie Bass line – Part 4
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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Blues Guitar - Lesson 11: The Boogie Bass line - Part 3
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar – Lesson 11: The Boogie Bass line - Part 4
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar – Lesson 11: The Boogie Bass line - Part 4
Lesson 11:
The Boogie Bass line – Part 3
Lesson 11:
The Boogie Bass line – Part 5
I think of this playing style as typical of John Lee Hooker, and have nick named the example Boom Boogie.
It is the rhythm that is driving his playing.
Happy Traum:
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Boom Boogie
New: Blues
Guitar lessons
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Blues Guitar – Lesson 11: The Boogie Bass line - Part 4
Download Finale File PDF-File
Material on John Lee Hooker's playing style
The Very Best Of John Lee Hooker
It is hundreds of John Lee Hooker records on the market, and it is hard to know
where to begin. But this is a good collection.
John Lee Hooker: - A Blues Legend
Performed by John Lee Hooker. For guitar and voice. Format: guitar
tablature songbook. With guitar tablature, standard notation, vocal
melody, lyrics, chord names, guitar notation legend, introductory text and
performance notes. Blues. Series: Hal Leonard Guitar Recorded Versions.
112 pages. 9x12 inches. Published by Hal Leonard.
See more info...
ToC
No HL660169
Order from:
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(UK)
John Lee Hooker: - Vital Blues Guitar
Authentic tablature transcriptions from the original Detroit recordings of
John Lee Hooker's greatest songs. Includes a selection of photographs and
an interview in which the blues legend discusses his early years, as well as
songs such as 'Hobo Blues', 'Boogie Chillen', 'Sally Mae' and 'I'm In The
Mood'.
ToC
No LC10000
Order from:
MusicRoom
(UK)
Amazon USA
Order from:
John Lee Hooker - Play Guitar With... John Lee Hooker
MusicRoom
Play Guitar With... series. Play along with six of his greatest hits with a
Amazon UK
specially recorded CD featuring soundalike instrumental tracks, performed
to simulate the original recordings. The matching music book features both
guitar tab and standard notation for each song, as well as chord symbols
and complete lyrics for vocalists. Includes 'Boom Boom', 'Think Twice Before
You Go' and 'I'm In The Mood'.
ToC
No AM951885
Rhythm Playing
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Blues Guitar – Lesson 11: The Boogie Bass line - Part 4
●
●
●
●
●
Blues Guitar Lesson 3B: Damping
techniques
Blues Guitar Lesson 4: The
Shuffle Rhythm
Blues Guitar Lesson 4B: E-Shuffle
Blues Guitar Lesson 4C: The
Hoochie Coochie Shuffle
Blues Guitar Lesson 5: The
harmonized shuffle
●
●
●
●
Blues Guitar Lesson 6:
The Treble shuffle
Blues Guitar Lesson 7:
Some other shuffle licks
- Boom Boogie
Blues Guitar Lesson 7B:
Some other shuffle licks
- Muddy Boogie
Lesson 11: The Boogie
Bass line - Part 1 * Part
2 * Part 3 * Part 4 *
Part 5 * Part 6
Lesson 11:
The Boogie Bass line – Part 3
●
●
●
●
Lesson 13 B: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 C: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 D: You Nearly
Got Me On The Foggy
Water
Books and videos on
Rhythm Guitar
Lesson 11:
The Boogie Bass line – Part 5
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
Home
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar – Lesson 11: The Boogie Bass line - Part 5
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar – Lesson 11: The Boogie Bass line - Part 5
Lesson 11:
The Boogie Bass line – Part 4
Lesson 11:
The Boogie Bass line – Part 6
This is a boogie that reminds me of Muddy Waters, a blues giant we will return to later.
Muddy Boogie
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
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Blues Guitar – Lesson 11: The Boogie Bass line - Part 5
Download Finale File
PDF-File
Order from:
Muddy Waters - Muddy Waters DVD
Muddy Waters' guitar style reflects the blues tradition all the way back to the SheetmusicPlus
MusicRoom
roots of this Classic American song form. By learning the secrets of his
technique, you can get your own mojo working for you. Bob Margolin leads
this entire private lesson enlightening the viewer about the secrets of
Muddy's solo guitar and ensemble work. Signature Licks Licks DVD.
Performed by Muddy Waters. By Bob Margolin. Dvd. DVD (Digital Video
Disc). Size 5.3x7.5 inches. Published by Hal Leonard.
See more info...
ToC
No HL320350
Muddy Waters - Deep Blues and Good News
By Dave Rubin. Guitar School (Lessons with exact
transcriptions in notes and tab). Size 9x12 inches. 48
pages. Published by Hal Leonard. (HL660052)
See more info...
Order from:
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Dave Rubin: The Art of the Shuffle.
As the name says, the book focuses on the shuffle, and not the blues as
such. It explores shuffle, boogie and swing rhythms for guitar. Includes tab
and notation, and covers Delta, country, Chicago, Kansas City, Texas, New
Orleans, West Coast, and bebop blues. As the name says, the book focuses
on the shuffle, and not the blues as such. But as all examples are in a 12-bar
blues format, it will take you through various blues progressions, as an
added bonus to the exploration of the shuffle style. (HL695005)
See more info...
Rhythm Playing
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Amazon UK
Blues Guitar – Lesson 11: The Boogie Bass line - Part 5
●
●
●
●
●
Blues Guitar Lesson 3B: Damping
techniques
Blues Guitar Lesson 4: The Shuffle
Rhythm
Blues Guitar Lesson 4B: E-Shuffle
Blues Guitar Lesson 4C: The
Hoochie Coochie Shuffle
Blues Guitar Lesson 5: The
harmonized shuffle
●
●
●
●
Blues Guitar Lesson 6:
The Treble shuffle
Blues Guitar Lesson 7:
Some other shuffle licks
- Boom Boogie
Blues Guitar Lesson 7B:
Some other shuffle licks
- Muddy Boogie
Lesson 11: The Boogie
Bass line - Part 1 * Part
2 * Part 3 * Part 4 * Part
5 * Part 6
Lesson 11:
The Boogie Bass line – Part 4
●
●
●
●
Lesson 13 B: Smoky Metal
and Muddy Onions - Power
Chords
Lesson 13 C: Smoky Metal
and Muddy Onions - Power
Chords
Lesson 13 D: You Nearly
Got Me On The Foggy
Water
Books and videos on
Rhythm Guitar
Lesson 11:
The Boogie Bass line – Part 6
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
Home
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NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar – Lesson 11: The Boogie Bass line - Part 6
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Blues Guitar – Lesson 11: The Boogie Bass line - Part 6
Lesson 11:
The Boogie Bass line – Part 5
Happy Traum:
Blues Guitar
Guitar Lessons
Lesson 12:
An introduction to blues fingerpicking
Many songs are based on bass-riffs derived from boogie playing. This is a 12-bar blues based on the riff from
The Beatles' Day Tripper. (But Day Tripper is not within the 12-bar blues format and have a few more bars
and chords). You can also hear Eric Clapton playing the same lick with John Mayall in the song What'd I
say.
Trip of the Day
New: Blues
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Blues Guitar – Lesson 11: The Boogie Bass line - Part 6
Download Finale File PDF-File
John Mayall with Eric Eric Clapton - Blues Breakers* Performed by
John Mayall, Eric Clapton. Guitar Recorded Versions (Authentic note-fornote transcriptions). With notes and tablature. Size 9x12 inches. 80
pages. Published by Hal Leonard. (HL694896)
See more info...
Order from:
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MusicRoom
The Beatles Hits - signature licks
Order from:
SheetmusicPlus
I like the books in the "Signature licks" series, by Wolf Marshall. They
break down songs, and presents the main parts played slow and up to tempo. MusicRoom
The songs are: All My Loving * And I Love Her * And Your Bird Can
Sing, * Back In The U.S.S.R * Can't Buy Me Love * Come Together *
Day Tripper * Drive My Car * The End * Everybody's Trying To Be My
Baby * Everybody's Got Something To Hide Except Me And My Monkey
* Fixing A Hole * Get Back * Getting Better * Good Morning Good
Morning, * A Hard Day's Night * Help! * Helter Skelter * Hey Bulldog *
I Feel Fine * I Saw Her Standing There * I Want You (She's So Heavy)
* I Want To Hold Your Hand * I'm Down * I've Just Seen A Face * If I
Needed Someone * Get Back * The End (HL695049)
The Beatles 1 There is of course a book that goes with the No 1 record.
HL690489
Order from:
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MusicRoom
Amazon UK
Rhythm Playing
●
●
●
●
●
Blues Guitar Lesson 3B: Damping
techniques
Blues Guitar Lesson 4: The
Shuffle Rhythm
Blues Guitar Lesson 4B: E-Shuffle
Blues Guitar Lesson 4C: The
Hoochie Coochie Shuffle
Blues Guitar Lesson 5: The
harmonized shuffle
●
●
●
●
Lesson 11:
The Boogie Bass line – Part 5
Blues Guitar Lesson 6:
The Treble shuffle
Blues Guitar Lesson 7:
Some other shuffle licks
- Boom Boogie
Blues Guitar Lesson 7B:
Some other shuffle licks
- Muddy Boogie
Lesson 11: The Boogie
Bass line - Part 1 * Part
2 * Part 3 * Part 4 *
Part 5 * Part 6
●
●
●
●
Lesson 13 B: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 C: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 D: You Nearly
Got Me On The Foggy
Water
Books and videos on
Rhythm Guitar
Lesson 12:
An introduction to blues fingerpicking
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - An introduction to blues fingerpicking
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Blues Guitar - Lesson 12: An introduction to blues
fingerpicking
Lesson 11:
The Boogie Bass line – Part 6
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
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Newsletter
Retailers:
Guitar Lessons
Lesson 12 B:
Monotone Bass - Rocking Baby
Fingerpicking makes it easier to play more than one line at the time. But it is harder to get a strong attack and a
driving rhythm. Remember that fingerpicking is not only for acoustic guitar. Many electric blues players fingerpicks,
or play with a combination of flatpicking and fingerpicking. In this lesson we will take a first look into blues
fingerpicking.
If you are not used to fingerpicking, you will probably have some difficulties getting the fingers on you right hand to
work independent of each other. The natural movement of the fingers is to grip. When you move the thumb, the
rest of the fingers follows and vice versa. The only solution to the problem is practice. To learn the basic technique
is almost as learning to ride a bicycle: In the beginning it seems almost impossible to keep the balance on the two
wheels. But suddenly it works, it becomes second nature, and you will never loose the skill.
We start with the monotone bass technique. You play a steady bass, either as quarter notes on the beat or some
kind of a shuffle. This playing technique gives you a steady rhythm and a harmonic back bone. When playing the
bass notes on open strings, you can move quite freely around the fingerboard. To get a good rhythm, you must
apply some right hand damping (see Lesson 4). Many players use a thumb pick when playing in this style. I
used to play with a thumb pick, but now I usually play without. Many players support their picking hand by resting
their little finger on the guitar top. It might help to give a more forceful attack, but it also stiffens your hand. It is
not without reason that this playing technique is a No-No among classical guitar players. But we are playing blues,
not classical guitar, and we might give higher priority to a driving rhythm. Experiment, and find out what you prefer.
I think of this style as typical of Acoustic Texas Blues Guitar, and in my opinion, Mance Lipscomb is the player
to start with. Then you can move on to Lightnin' Hopkins, Big Bill Broonzy (not a Texas player) etc.
Monotone Bass in E
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Blues Guitar - An introduction to blues fingerpicking
Download Finale File
Start by getting a steady bass line. It is boring, but a necessary step on the way to learn fingerpicking. You must
have a rock solid thumb, that does not get disturbed by what the other fingers are doing, and it takes time to
develop this.
More on Basic Blues Fingerpicking
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Fingerpicking Country Blues Guitar
SheetmusicPlus
by Stefan Grossman. This book offers a comprehensive collection of
fingerpicking guitar lessons. In support of the book's contents, the three
companion CDs contain three full hours of note-by-note, phrase-by-phrase
instruction. Focused lessons include: finger- strengthening exercises, the
hammer-on and pull-off, single-string runs, and counterpoint lines, blues vibrato,
syncopated bass, walking bass, chromatic runs and hot licks, and end tags.
Written in standard notation and tabulature with a complete explanation of the
tab system.
SG98503BCD
See more info...
Beginning Fingerstyle Blues Guitar
by Arnie Berle & M. Galbo. Takes you from the fundamentals of fingerpicking
to five authentic blues tunes. With graded exercises, illustrated tips, plus
standard notation and tablature. Fingerstyle Blues. Beginning Blues Guitar.
Book and CD, 96 pages. Published by Amsco.
Bestseller! See more info...
ToC
No AM71390
Review:
Fingerpicking Country Blues Guitar
taught by Stefan Grossman: . This video lesson has been
designed to help beginning and intermediate students of
fingerpicking blues guitar enhance their playing skills and
expand their repertoires using the alternating bass
technique. Stefan Grossman illustrates and explains in
detail ten fingerstyle arrangements in the keys of C, D, E,
A, G, and F. (SG95289VX)
See more info...
Order from:
SheetmusicPlus
MusicRoom
Amazon UK
Order DVD from: Order VHS from:
SheetmusicPlus SheetmusicPlus
MusicRoom
Fingerpicking Blues Gutiar Lessons
●
●
●
●
●
●
●
Blues Guitar Lesson 12: An
introduction to blues
fingerpicking
Blues Guitar Lesson 12B:
Monotone bass fingerpicking
Blues Guitar Lesson 13: 16-bar
blues
Blues Guitar Lesson 24 - 8-bar
blues
Blues Guitar Lesson 15:
Fingerpicking monotone bass in A
Blues Guitar Lesson 15B:
Fingerpicking monotone bass in
A – Betty Blues
Blues Guitar Lesson 15C:
http://www.torvund.net/guitar/BluesGuitar/12-blues_fingerpicking.asp (2 of 3)07.01.2005 04:02:56
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Blues Guitar Lesson 17: A
shuffle solo
Blues Guitar Lesson 24 - 8bar blues
Blues Guitar Lesson 24 B- 8bar blues in A - Key To The
Highway
Blues Guitar 24 C- 8-bar
blues in A – Come Back Baby
Tritone Blues - Part 1 * Part
2 * Part 3
Pony Blues
Willie Brown's Mississippi
Blues
Dropped D tuning,
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●
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●
●
●
●
●
A 12 bar blues in G.
G-Boogie .
Rev Gary Davis is Funny
That Way
C-major: C C Rider
C-major: Cocaine Blues
C-major: Blues Rag in C
Diddie Has Something There
Books and videos on
Acoustic Blues Guitar
Blues Guitar - An introduction to blues fingerpicking
●
Fingerpicking Instrumental in A
Blues Guitar Lesson 16: The
"Long A" chord
Alternating bass, See See
Rider
Lesson 11:
The Boogie Bass line – Part 6
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© Olav Torvund
Lesson 12 B:
Monotone Bass - Rocking Baby
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - An introduction to blues fingerpicking
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Blues Guitar - Lesson 12 B: Monotone bass fingerpicking
Lesson 12:
An introduction to blues fingerpicking
Happy Traum:
Blues Guitar
Guitar Lessons
Lesson 13:
16-bar blues
When the bass is going, you can try to add some melody notes. But keep it simple, and make sure that the bass is
going steady. Start with adding a single note here and there, add a turnaround, etc. When you listen to people who
are playing in this style, you will often hear that the bass stops. But the basic principle applies here as in so many
other aspects of our lives: Learn how to follow the rules before you start to break them. Rocking Baby is an
example on how you can combine some melody notes with a monotone bass.
Rocking Baby
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Blues Guitar - An introduction to blues fingerpicking
Download Finale File
«Lightnin' Hopkins lick»
The turnaround lick in Rocking Baby is typical of Lightnin' Hopkins. For this reason, I use to call it the «Lightnin'
Hopkins lick».
«Boom Boom lick»
This lick is often used in John Lee Hooker's Boom Boom. It is a variation of the "Lightnin' Hopkins lick", but to put
it apart, I call it the Boom Boom Lick.
PDF-File
More on Basic Blues Fingerpicking
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Blues Guitar - An introduction to blues fingerpicking
Order From:
Fingerpicking Country Blues Guitar
SheetmusicPlus
by Stefan Grossman. This book offers a comprehensive collection of
fingerpicking guitar lessons. In support of the book's contents, the three
companion CDs contain three full hours of note-by-note, phrase-by-phrase
instruction. Focused lessons include: finger- strengthening exercises, the hammeron and pull-off, single-string runs, and counterpoint lines, blues vibrato,
syncopated bass, walking bass, chromatic runs and hot licks, and end tags.
Written in standard notation and tabulature with a complete explanation of the
tab system.
SG98503BCD
See more info...
Beginning Fingerstyle Blues Guitar
by Arnie Berle & M. Galbo. Takes you from the fundamentals of fingerpicking to
five authentic blues tunes. With graded exercises, illustrated tips, plus standard
notation and tablature. Fingerstyle Blues. Beginning Blues Guitar. Book and
CD, 96 pages. Published by Amsco.
Bestseller! See more info...
ToC
No AM71390
Review:
Fingerpicking Country Blues Guitar
taught by Stefan Grossman: . This video lesson has been
designed to help beginning and intermediate students of
fingerpicking blues guitar enhance their playing skills and
expand their repertoires using the alternating bass
technique. Stefan Grossman illustrates and explains in detail
ten fingerstyle arrangements in the keys of C, D, E, A, G,
and F. (SG95289VX)
See more info...
Order from:
SheetmusicPlus
MusicRoom
Amazon UK
Order DVD from: Order VHS from:
SheetmusicPlus SheetmusicPlus
MusicRoom
Fingerpicking Blues Gutiar Lessons
●
●
●
●
●
●
●
●
Blues Guitar Lesson 12: An
introduction to blues fingerpicking
Blues Guitar Lesson 12B:
Monotone bass fingerpicking
Blues Guitar Lesson 13: 16-bar
blues
Blues Guitar Lesson 24 - 8-bar
blues
Blues Guitar Lesson 15:
Fingerpicking monotone bass in A
Blues Guitar Lesson 15B:
Fingerpicking monotone bass in
A – Betty Blues
Blues Guitar Lesson 15C:
Fingerpicking Instrumental in A
Blues Guitar Lesson 16: The
"Long A" chord
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●
●
●
●
●
●
●
Blues Guitar Lesson 17: A
shuffle solo
Blues Guitar Lesson 24 - 8bar blues
Blues Guitar Lesson 24 B- 8bar blues in A - Key To The
Highway
Blues Guitar 24 C- 8-bar
blues in A – Come Back Baby
Tritone Blues - Part 1 * Part
2 * Part 3
Pony Blues
Willie Brown's Mississippi
Blues
Dropped D tuning,
Alternating bass, See See
Rider
Lesson 12:
An introduction to blues fingerpicking
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© Olav Torvund
●
●
●
●
●
●
●
●
A 12 bar blues in G.
G-Boogie .
Rev Gary Davis is Funny
That Way
C-major: C C Rider
C-major: Cocaine Blues
C-major: Blues Rag in C
Diddie Has Something There
Books and videos on
Acoustic Blues Guitar
Lesson 13:
16-bar blues
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - 16-bar blues
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar - Lesson 13: 16-bar blues
Lesson 12 B:
Monotoen Bass - Rocking Baby
Lesson 14:
Smoky Metal and Muddy Onions - Power
Chords
The 12-bar format is the most common blues form, but there are many others. You can find 8, 16 (to types) and 24
bar forms, and many songs will not fit into any of these formats. As long as there was only one man and his guitar,
he could add or omit a bar or two without causing problems for any others.
Happy Traum:
Blues Guitar
We have played See See Rider as a 12-bar blues. Now we will play it as a 16-bar blues. In this 16-bar form, we
simply repeat the second line.
New: Blues
Guitar lessons
in PDF format.
Bestsellers
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Retailers:
(I have to re-write this into English notation. In Norway, as in Germany, the note that is B in English is named H,
and the English Bb is B. The H7 means B7. This is, by the way, the reason why English speaking people cannot
understand the story about Johann Sebastian Bach writing (or improvising - he was a master improviser) a fugue
based on the theme created by his name: B-A-C-H. As the note H does not exist in English, it does not make
sense. In English, the theme would be Bb-A-C-B, and then the whole point of the story has gone.)
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Blues Guitar - 16-bar blues
Download Finale File PDF-File
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Blues Guitar - 16-bar blues
There are many new challenges in this arrangement. First
we have to take a look at some moveable chords. If we
move the standard D and D7 chord up two frets, we get E
and E7. You should notice that many turnaround licks
starts in this E7 position.
When you play E and E7 in these positions, you cannot
play the 4th and 5th string. The 4th string is a D. It is a
note that belongs to the E7, but the chord usually does not
sound good with the 7th in the bass. The 5th string is A,
and it will crash very hard with the G# in the E and E7
chords.
E
E7
We will come back to these chords in the lessons xx and
The moveable D/D7 shape.
Fingerpicking Blues Gutiar Lessons
●
●
●
●
●
●
●
●
Blues Guitar Lesson 12: An
introduction to blues
fingerpicking
Blues Guitar Lesson 12B:
Monotone bass fingerpicking
Blues Guitar Lesson 13: 16-bar
blues
Blues Guitar Lesson 24 - 8-bar
blues
Blues Guitar Lesson 15:
Fingerpicking monotone bass in A
Blues Guitar Lesson 15B:
Fingerpicking monotone bass in
A – Betty Blues
Blues Guitar Lesson 15C:
Fingerpicking Instrumental in A
Blues Guitar Lesson 16: The
"Long A" chord
●
●
●
●
●
●
●
●
Blues Guitar Lesson 17: A
shuffle solo
Blues Guitar Lesson 24 - 8bar blues
Blues Guitar Lesson 24 B- 8bar blues in A - Key To The
Highway
Blues Guitar 24 C- 8-bar
blues in A – Come Back
Baby
Tritone Blues - Part 1 * Part
2 * Part 3
Pony Blues
Willie Brown's Mississippi
Blues
Dropped D tuning,
Alternating bass, See See
Rider
Lesson 12 B:
Monotoen Bass - Rocking Baby
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●
●
●
●
●
●
●
●
A 12 bar blues in G.
G-Boogie .
Rev Gary Davis is Funny
That Way
C-major: C C Rider
C-major: Cocaine Blues
C-major: Blues Rag in C
Diddie Has Something There
Books and videos on
Acoustic Blues Guitar
Lesson 13 B
Smoky Metal and Muddy Onions - Power
Chords
© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Power Chords
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Blues Guitar - Lesson 13 B: Smoky Metal and Muddy
Onions - Power Chords
Lesson 13:
16-bar blues
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
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Newsletter
Guitar Lessons
Lesson 13 C:
With a Taste of Onion
In this lesson we will take a brief look at some Power Chords. You can find a little bit more in my Power
Chord lesson, and some other application of the same chord progression in the lesson A Green Onion After
Midnight will Change the World, both in my Chord Progression series (The lessons are overlapping).
Muddy Waters or McKinley Morganfield that was his real name, grew up in the Mississippi Delta. But he
moved to Chicago, and the music moved with him. He was discovered by the musicologist Alan Lomax in
1941 and became one of the giants of the blues. His playing shows the development from the Delta to the
City. The example is based on some of his riffs, with the chords E(5) - A5-G5-E(5). Listen to Hoochie
Coochie Man and Mannish Boy for two examples. And repeat the The "Hoochie Coochie Lick" in the first
lessons in this series, if you do not remember it.
Muddy's Son of a Boogie
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Blues Guitar - Power Chords
Download Finale File
The 5-chords are often called
power chords. Strictly
speaking, they are not proper
chords, as they have only two
notes, the root and the fifth. It
means that they are neither
major nor minor, and have
some kind of an open,
unsettled sound. Listen to E5,
E and Em, and listen to the
difference made by the third.
When playing G5 as shown in
the diagram, you have to damp
out the 5th string. You do this
by left hand damping,
meaning that you rest one
finger on the string to prevent
it from ringing. It is indicated
with an X in the diagram.
Order from:
Gig Savers: Power Chords - A Basic Guide
SheetmusicPlus
by Corey Christiansen. For Guitar (Electric). chord book. Gig Savers.
Rock. Level: Beginning. Book. Size 5.5x8. 16 pages. Published by Mel Bay
Publications, Inc.
See more info...
ToC
No MB20026
Review:
For more on Powerchords, go to:
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Blues Guitar - Power Chords
●
●
Chords: Power 5
chords
Chords; Power 4
chords
●
●
Blues Guitar: Smokey Metal
and Muddy Onions
Progressions: Onion After
Midnight
●
●
Progressions: With A Taste of
Onion
Books on Power Chords
Rhythm Playing
●
●
●
●
●
Blues Guitar Lesson 3B: Damping
techniques
Blues Guitar Lesson 4: The
Shuffle Rhythm
Blues Guitar Lesson 4B: E-Shuffle
Blues Guitar Lesson 4C: The
Hoochie Coochie Shuffle
Blues Guitar Lesson 5: The
harmonized shuffle
●
●
●
●
Blues Guitar Lesson 6:
The Treble shuffle
Blues Guitar Lesson 7:
Some other shuffle licks
- Boom Boogie
Blues Guitar Lesson 7B:
Some other shuffle licks
- Muddy Boogie
Lesson 11: The Boogie
Bass line - Part 1 * Part
2 * Part 3 * Part 4 *
Part 5 * Part 6
Lesson 13:
16-bar blues
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●
●
●
●
Lesson 13 B: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 C: Smoky
Metal and Muddy Onions Power Chords
Lesson 13 D: You Nearly
Got Me On The Foggy
Water
Books and videos on
Rhythm Guitar
Lesson 13 C:
With a Taste of Onion
© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Power Chords
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar - Lesson 13 C: Smoky Metal and Muddy Onions Power Chords
Lesson 13 B
Smoky Metal and Muddy Onions - Power Chords
With a Taste of Onion
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
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Newsletter
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Lesson 13 D:
You Nearly Got Me
Blues Guitar - Power Chords
Download Finale File
PDF-File
You can hear the same chords in Green Onion, played by Booker T
and the MGs, with Steve Cropper on guitar.
As usual, the B-chord gives us some difficulties. You have to use
moveable positions, and you can choose either the F5-pos played with
your 1st finger on 6th string, 7th fret, or the Bb5-pos with 1st finger
on 5th string 2nd fret. If you play the F5-pos in 5th fret, you get the
A5 chord.
F5-pos
Bb5-pos
Order from:
Gig Savers: Power Chords - A Basic Guide
SheetmusicPlus
by Corey Christiansen. For Guitar (Electric). chord book. Gig Savers. Rock. Level:
Beginning. Book. Size 5.5x8. 16 pages. Published by Mel Bay Publications, Inc.
See more info...
ToC
No MB20026
Review:
For more on Powerchords, go to:
●
●
Chords: Power 5 chords
Chords; Power 4 chords
●
●
Blues Guitar: Smokey Metal and
Muddy Onions
Progressions: Onion After Midnight
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Progressions: With A Taste of Onion
Books on Power Chords
Rhythm Playing
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Blues Guitar Lesson
techniques
Blues Guitar Lesson
Rhythm
Blues Guitar Lesson
Blues Guitar Lesson
Coochie Shuffle
Blues Guitar Lesson
shuffle
3B: Damping
●
4: The Shuffle
●
4B: E-Shuffle
4C: The Hoochie
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5: The harmonized
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Blues Guitar Lesson 6: The
Treble shuffle
Blues Guitar Lesson 7: Some
other shuffle licks - Boom
Boogie
Blues Guitar Lesson 7B:
Some other shuffle licks Muddy Boogie
Lesson 11: The Boogie Bass
line - Part 1 * Part 2 * Part 3
* Part 4 * Part 5 * Part 6
Lesson 13 B
Smoky Metal and Muddy Onions - Power Chords
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© Olav Torvund
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Lesson 13 B: Smoky Metal and
Muddy Onions - Power Chords
Lesson 13 C: Smoky Metal and
Muddy Onions - Power Chords
Lesson 13 D: You Nearly Got
Me On The Foggy Water
Books and videos on Rhythm
Guitar
Lesson 13 D:
You Nearly Got Me
University of Oslo
NRCCL
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I appreciate comments
Blues Guitar - Power Chords
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar - Lesson 13 D: You Nearly Got Me On The Foggy Water
Lesson 13 C
Smoky Metal and Muddy Onions - Power Chords
Lesson 14:
Blues in A - introduction
You Nearly Got Me
Happy Traum:
Blues Guitar
This is not blues, but I will nevertheless include it. It is based on The Kinks You Really Got Me, which is one of the classic
power-chord tunes.
New: Blues
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Retailers:
Download Finale File
Fog on the Water
The last example is based on the song that drives every music store employee mad:Deep Purple's Smoke On The Water. I
have made up a bass-theme derived from the smoky original.
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Gig Savers: Power Chords - A Basic Guide
SheetmusicPlus
by Corey Christiansen. For Guitar (Electric). chord book. Gig Savers. Rock. Level:
Beginning. Book. Size 5.5x8. 16 pages. Published by Mel Bay Publications, Inc.
See more info...
ToC
No MB20026
Review:
The Kinks A Step-by-Step Breakdown of the Guitar Styles and Techniques of Dave and
Ray Davies. Performed by The Kinks. By Dave Rubin. Signature Licks (Authentic guitar
transcriptions in notes and tab). Book and CD package. With notes and tablature. Size
9x12 inches. 64 pages. Published by Hal Leonard.
See more info...
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No HL695553
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Blues Guitar - Power Chords
Deep Purple - Greatest Hits A Step-by-Step Breakdown of the Guitar Style and
Techniques of Ritchie Blackmore. Performed by Deep Purple. By Troy Stetina. Signature
Licks (Authentic guitar transcriptions in notes and tab). Book and CD package. With notes
and tablature. Size 9x12 inches. Published by Hal Leonard.
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For more on Powerchords, go to:
●
●
Chords: Power 5 chords
Chords; Power 4 chords
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●
Blues Guitar: Smokey Metal and Muddy
Onions
Progressions: Onion After Midnight
●
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Progressions: With A Taste of Onion
Books on Power Chords
Rhythm Playing
●
●
●
●
●
Blues Guitar Lesson
techniques
Blues Guitar Lesson
Rhythm
Blues Guitar Lesson
Blues Guitar Lesson
Coochie Shuffle
Blues Guitar Lesson
shuffle
3B: Damping
●
4: The Shuffle
●
4B: E-Shuffle
4C: The Hoochie
●
5: The harmonized
●
Blues Guitar Lesson 6: The
Treble shuffle
Blues Guitar Lesson 7: Some
other shuffle licks - Boom
Boogie
Blues Guitar Lesson 7B:
Some other shuffle licks Muddy Boogie
Lesson 11: The Boogie Bass
line - Part 1 * Part 2 * Part 3
* Part 4 * Part 5 * Part 6
Lesson 13 C
Smoky Metal and Muddy Onions - Power Chords
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© Olav Torvund
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●
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Lesson 13 B: Smoky Metal and
Muddy Onions - Power Chords
Lesson 13 C: Smoky Metal and
Muddy Onions - Power Chords
Lesson 13 D: You Nearly Got
Me On The Foggy Water
Books and videos on Rhythm
Guitar
Lesson 14:
Blues in A - introduction
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Blues in A - introduction
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar - Lesson 14: Blues in A - introduction
Lesson 13 D:
You Nearly Got Me
Lesson 14B:
Rocking Bill
We will leave the key of E for a while, but we will return to the key later. The key of A is another favorite key
for blues guitar players. One advantage of the key is that you have the root of all basic chords on open
strings. In A we will not run into the same kind of trouble as we did in E each time we were coming to the B7
chord.
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
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A is also a good key for soloing. We will start looking at blues scales in this key.
But first we must make sure that we know the chords and the basic chord progressions.
In A the three basic chords are: I=A (A7), IV=D(7) and V7 is E7.
12 bar blues Type 1 in A
The 12-bar blues progression 1 in A, with turnaround chord, is:
Retailers:
12 bar blues Type 2 in A
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Blues Guitar - Blues in A - introduction
There is only one new chord, as we are following the circle
of fifths from key to key. This new chord is D7. I guess that
you know it, but I include it just to be sure.
There are many ways to finger the D7 chord. You find some
examples here. But we will come back to other voicings in a
blues context in future lessons.
D7
I give you the same backing tracks to play with that you have met before
Backing Track - 12B1
These are MIDI backing tracks of 12-bar Blues progression 1. For more information, go to lesson on
bluesprogression in the chord progression series.
They are in 8 keys and three tempos (65, 90 and 120). Use them to get the sound of the cords, and as
backing tracks. They are long 10-15 minutes, which makes them boring as listening track, but good for
practise. Download all files as a zip-file.
65 very slow
C D Eb E F G A Bb
90 Slow
C D Eb E F G A Bb
120 Medium
C D Eb E F G A Bb
Backing Track - 12B1T
These are MIDI backing tracks of 12-bar Blues progression 1 with Turnaround chord. For more
information, go to lesson on bluesprogression in the chord progression series. Download all files as
a zip-file
65 very slow
C D Eb E F G A Bb
90 Slow
C D Eb E F G A Bb
120 Medium
C D Eb E F G A Bb
Backing Track - 12B2
These are MIDI backing tracks of 12-bar Blues progression 2. For more information, go to lesson on
bluesprogression in the chord progression series. Download all files as a zip-file.
65 very slow
C D Eb E F G A Bb
90 Slow
C D Eb E F G A Bb
120 Medium
C D Eb E F G A Bb
Backing Track - 12B2T
These are MIDI backing tracks of 12-bar Blues progression 2 with Turnaround chord. For more
information, go to lesson on bluesprogression in the chord progression series. Download all files as
a zip-file
12-bar blues
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65 very slow
C D Eb E F G A Bb
90 Slow
C D Eb E F G A Bb
120 Medium
C D Eb E F G A Bb
Blues Guitar - Blues in A - introduction
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Classic Lesson: 1 - BASIC
BLUES
Blues Guitar Lesson 1: The
12 bar blues in E
Blues Guitar Lesson 2: Some
variations of the 12-bar blues
in E
Chord Progressions: Basic 12bar blues
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Lesson 14: Blues in A introduction
Tritone Blues - Part 1 *
Part 2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
Lesson 13 D:
You Nearly Got Me
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Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4
Blues Guitar – Add the m7
chord - Part 2 * Part 3 *
Part 4
The same in Theory: The
Flat-five Substitution
Lesson 14B:
Rocking Bill
© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Blues in A - introduction
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Blues Guitar - Lesson 14B: Rocking Bill
Lesson 14:
Blues in A - introduction
Happy Traum:
Blues Guitar
Guitar Lessons
Lesson 15:
Fingerpicking monotone bass in A
This arrangement reminds me of Carl Perkins (who, among other things, wrote Blue Suede Shoes). Listen
to his version of Matchbox, and you will hear some of it. Carl Perkinsis not a blues guitarist. But Roackabilly
is very much blues based. In fact the most well known tune after Blue Suede Shoes that is often credited
Carl Perkins, is a tune originally by Blind Lemon Jefferson. Blind Lemon Jefferson recorded the tune
many years before Carl Perkins was born.
New: Blues
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Blues Guitar - Blues in A - introduction
Moderate tempo Faster
PDF-File
I have recorded the tune at a modreate tempo and at a faster tempo. The character will change with different
tempos, so you should experiment.
Rockabilly Guitar by Fred Sokolow.
1950s. Grossman Audio. Level: Intermediate. Book/CD package. Size
8.75x11.75. 40 pages. Published by Grossman's Gtr Workshop.
(SG98512BCD)
See more info...
Order from:
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(US)
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12-bar blues
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●
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Classic Lesson: 1 - BASIC
BLUES
Blues Guitar Lesson 1: The 12
bar blues in E
Blues Guitar Lesson 2: Some
variations of the 12-bar blues
in E
Chord Progressions: Basic 12bar blues
Rhythm Playing
http://www.torvund.net/guitar/BluesGuitar/14B-A-Rocking Bill.asp (2 of 3)07.01.2005 04:03:16
●
●
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Lesson 14: Blues in A introduction
Tritone Blues - Part 1 *
Part 2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
●
●
●
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4
Blues Guitar – Add the m7
chord - Part 2 * Part 3 *
Part 4
The same in Theory: The
Flat-five Substitution
Blues Guitar - Blues in A - introduction
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●
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Blues Guitar Lesson 3B: Damping
techniques
Blues Guitar Lesson 4: The
Shuffle Rhythm
Blues Guitar Lesson 4B: E-Shuffle
Blues Guitar Lesson 4C: The
Hoochie Coochie Shuffle
Blues Guitar Lesson 5: The
harmonized shuffle
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Blues Guitar Lesson 6:
The Treble shuffle
Blues Guitar Lesson 7:
Some other shuffle licks
- Boom Boogie
Blues Guitar Lesson 7B:
Some other shuffle licks
- Muddy Boogie
Lesson 11: The Boogie
Bass line - Part 1 * Part
2 * Part 3 * Part 4 *
Part 5 * Part 6
Lesson 14:
Blues in A - introduction
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© Olav Torvund
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Lesson 13 B: Smoky Metal
and Muddy Onions Power Chords
Lesson 13 C: Smoky Metal
and Muddy Onions Power Chords
Lesson 13 D: You Nearly
Got Me On The Foggy
Water
Books and videos on
Rhythm Guitar
Lesson 15:
Fingerpicking monotone bass in A
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Fingerpicking monotone bass in A
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Blues Guitar - Lesson 15: Fingerpicking monotone bass in
A
Lesson 14B:
Rocking Bill
Happy Traum:
Blues Guitar
Guitar Lessons
Lesson 15 B:
Fingerpicking monotone bass in A – Betty Blues
As said in the previous lesson, one advantage of the key of A is that we have the root of each chord on
open strings. The 5th string is A (I), the 4th string is D (IV) and the 6th string is E (V). We will not run
into the same kind of problems as we did in E each time we had to play the B7-chord.
I assume that your thumb has got some independence. But just to be sure, we go another round with only
the bass notes, now in the key of A. This time we will work with the Blues progression 2.
New: Blues
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Monotone Bass in A
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Blues Guitar - Fingerpicking monotone bass in A
Download Finale File
Fingerpicking Blues Gutiar Lessons
●
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Blues Guitar Lesson 12: An
introduction to blues
fingerpicking
Blues Guitar Lesson 12B:
Monotone bass fingerpicking
Blues Guitar Lesson 13: 16bar blues
Blues Guitar Lesson 24 - 8-bar
blues
Blues Guitar Lesson 15:
Fingerpicking monotone bass
in A
Blues Guitar Lesson 15B:
Fingerpicking monotone bass
in A – Betty Blues
Blues Guitar Lesson 15C:
Fingerpicking Instrumental in A
Blues Guitar Lesson 16: The
"Long A" chord
Lesson 14B:
Rocking Bill
Home
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●
●
●
●
●
●
●
●
Blues Guitar Lesson 17: A
shuffle solo
Blues Guitar Lesson 24 - 8bar blues
Blues Guitar Lesson 24 B8-bar blues in A - Key To
The Highway
Blues Guitar 24 C- 8-bar
blues in A – Come Back
Baby
Tritone Blues - Part 1 *
Part 2 * Part 3
Pony Blues
Willie Brown's Mississippi
Blues
Dropped D tuning,
Alternating bass, See See
Rider
●
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●
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A 12 bar blues in G.
G-Boogie .
Rev Gary Davis is Funny
That Way
C-major: C C Rider
C-major: Cocaine Blues
C-major: Blues Rag in C
Diddie Has Something
There
Books and videos on
Acoustic Blues Guitar
Lesson 15 B:
Fingerpicking monotone bass in A – Betty Blues
© Olav Torvund
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Fingerpicking monotone bass in A
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Blues Guitar - Lesson 15B: Fingerpicking monotone bass in A –
Betty Blues
Lesson 15:
Fingerpicking monotone bass in A
Happy Traum:
Blues Guitar
Guitar Lessons
Lesson 15 C:
Fingerpicking Instrumental in A
This should not be to difficult. But we move on to an arrangement called Betty Blues, which should give you some
challenges. Note that I have included an intro, which is nothing but a turnaround phrase played as an intro. The actual
turnaround in the arrangement is one that is very typical of Robert Johnson.
New: Blues
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Blues Guitar - Fingerpicking monotone bass in A
Download Finale File PDF-File
Fingerpicking Blues Gutiar Lessons
●
●
●
●
●
●
●
●
Blues Guitar Lesson 12: An
introduction to blues fingerpicking
Blues Guitar Lesson 12B:
Monotone bass fingerpicking
Blues Guitar Lesson 13: 16-bar
blues
Blues Guitar Lesson 24 - 8-bar
blues
Blues Guitar Lesson 15:
Fingerpicking monotone bass in A
Blues Guitar Lesson 15B:
Fingerpicking monotone bass in A
– Betty Blues
Blues Guitar Lesson 15C:
Fingerpicking Instrumental in A
Blues Guitar Lesson 16: The
"Long A" chord
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●
●
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Blues Guitar Lesson 17: A
shuffle solo
Blues Guitar Lesson 24 - 8bar blues
Blues Guitar Lesson 24 B- 8bar blues in A - Key To The
Highway
Blues Guitar 24 C- 8-bar
blues in A – Come Back Baby
Tritone Blues - Part 1 * Part 2
* Part 3
Pony Blues
Willie Brown's Mississippi
Blues
Dropped D tuning, Alternating
bass, See See Rider
Lesson 15:
Fingerpicking monotone bass in A
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© Olav Torvund
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●
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A 12 bar blues in G.
G-Boogie .
Rev Gary Davis is Funny That
Way
C-major: C C Rider
C-major: Cocaine Blues
C-major: Blues Rag in C
Diddie Has Something There
Books and videos on Acoustic
Blues Guitar
Lesson 15 C:
Fingerpicking Instrumental in A
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Fingerpicking monotone bass in A
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar - Lesson 15C: Fingerpicking Instrumental in A
Lesson 15 B:
Fingerpicking monotone bass in A – Betty Blues
Lesson 16:
The "Long A"
chord
One of the nice features of the guitar, is that many positions are moveable. Once you have learned positions,
licks etc in one key, then you can (often) move them into other keys. If you move the Lightnin' Hopkins
Lick up 5 frets, you are in the key of A.
Happy Traum:
Blues Guitar
Instrumental in A
The next tune is an instrumental in A put together from some standard licks.
New: Blues
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Blues Guitar - Fingerpicking monotone bass in A
Download Finale File PDF-File
Fingerpicking Blues Gutiar Lessons
●
●
●
●
●
●
●
●
Blues Guitar Lesson 12: An
introduction to blues
fingerpicking
Blues Guitar Lesson 12B:
Monotone bass fingerpicking
Blues Guitar Lesson 13: 16bar blues
Blues Guitar Lesson 24 - 8-bar
blues
Blues Guitar Lesson 15:
Fingerpicking monotone bass
in A
Blues Guitar Lesson 15B:
Fingerpicking monotone bass
in A – Betty Blues
Blues Guitar Lesson 15C:
Fingerpicking Instrumental in A
Blues Guitar Lesson 16: The
"Long A" chord
●
●
●
●
●
●
●
●
Blues Guitar Lesson 17: A
shuffle solo
Blues Guitar Lesson 24 - 8bar blues
Blues Guitar Lesson 24 B8-bar blues in A - Key To
The Highway
Blues Guitar 24 C- 8-bar
blues in A – Come Back
Baby
Tritone Blues - Part 1 *
Part 2 * Part 3
Pony Blues
Willie Brown's Mississippi
Blues
Dropped D tuning,
Alternating bass, See See
Rider
Lesson 15 B:
Fingerpicking monotone bass in A – Betty Blues
http://www.torvund.net/guitar/BluesGuitar/15C-monotone_bass_in_A.asp (2 of 3)07.01.2005 04:03:24
●
●
●
●
●
●
●
●
A 12 bar blues in G.
G-Boogie .
Rev Gary Davis is Funny
That Way
C-major: C C Rider
C-major: Cocaine Blues
C-major: Blues Rag in C
Diddie Has Something
There
Books and videos on
Acoustic Blues Guitar
Lesson 16:
The "Long A"
chord
Blues Guitar - Fingerpicking monotone bass in A
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - The "Long A" chord
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar - Lesson 16: The "Long A" chord
Lesson 15 C:
Fingerpicking Instrumental in A
Lesson 17:
A shuffle solo
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
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The chord shape called the "long A" is very
useful. You fret strings 2, 3 and 4 (and
actually 1st string too) with your index
finger. Then you can put you 4th finger
on 1st string, 5th fret to get A and The
2nd finger on 1st string, 3rd fret to
get A7. Then you see that you can alter
easily between A and A7, and you have a
few nice licks right under your fingers.
Retailers:
A
A7
In the arrangement of Going Down Slow, I have thrown in many challenges. The intro is a turnaround lick
based on the Long A, (as was in fact the turnaround in the previous lesson's Betty Blues as well). The key is
to slide a partial barré over 2nd, 3rd and 4th string from 1st to 2nd fret.
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Blues Guitar - The "Long A" chord
Download Finale File PDF-File
The first bar of the 12-bar blues is built around the long A. Again it is a Blues progression 2, but in bar 2 we go
to a D9 chord, fingered as a moveable C7-shape.
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Blues Guitar - The "Long A" chord
A moveable chord can, as the name indicates, be moved up and down the
neck. It will usually have no open strings. When I say usually it means
that we can use some open strings in some positions. As shown in the
diagram, fingered with 1st finger at 1st fret, it is a C7 chord. That is why
it is called the C7-shape When payed in this position, you can use the
open 1st string. It gives an E, which is the 3rd of the C chord. You have
the E at the 6th string as well, but it does not sound very good, even if it
belongs to the chord.
If you move it up two frets, you get a D7. In D7, we play no open strings.
We do however play the open 1st string in this bar, which gave us a D9.
(For an explanation of the 9th chord, go to xxxx).
Go up two more steps, and you have the E7. Now the open E-strings (1st
and 6th) are the root, which we of course can play with the chord.
You can continue up the neck to F, F#/Gb , G, G#/Ab, A (where the open
E-string will be the 5th of the chord), etc.
Then comes a fill in lick, which you should finger with 1st and 2nd finger, and move them down until you come to
the "long A" again, and you see how it smoothly changes to A7.
The lick in bar 7 is really tricky. Just keep the A-chord in the beginning. You actually play an descending blues
scale in the Long A position.
In bar 9 and 10 we use the Moveable C7-shape again. We start with an E7, and then we move down two frets
to D7.
The
turnaround is
basically the
same as the
fill-in in bar
3, but here
you have to
be careful
with your
fingering to
play it
smooth. The
trick is to fret
the 1st string
5th fret first
with your 1st
finger, then
with your 3rd
and finally
with your 4th
finger.
You do
actually get a
series of
chords here
too, but I
think of it
more as a lick
than a series
of chords.
The first is A,
the next is a
partial F7 (or
Adim). The
last one is not
easy to label,
but I will call
it Bm7. You
can read
more about
the
challenges of
naming the
m7 chords in
the lesson on
the I-ii
http://www.torvund.net/guitar/BluesGuitar/16-Long_A.asp (3 of 4)07.01.2005 04:03:29
Blues Guitar - The "Long A" chord
progression
A
Notice that it is the sonic
shapePartial F
F7 (or Adim)
Notice that it is the sonic
shape D7
Bm7
This is the sonic shape
Middle D
Fingerpicking Blues Gutiar Lessons
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Blues Guitar Lesson 12: An
introduction to blues
fingerpicking
Blues Guitar Lesson 12B:
Monotone bass fingerpicking
Blues Guitar Lesson 13: 16-bar
blues
Blues Guitar Lesson 24 - 8-bar
blues
Blues Guitar Lesson 15:
Fingerpicking monotone bass in
A
Blues Guitar Lesson 15B:
Fingerpicking monotone bass in
A – Betty Blues
Blues Guitar Lesson 15C:
Fingerpicking Instrumental in A
Blues Guitar Lesson 16: The
"Long A" chord
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Blues Guitar Lesson 17: A
shuffle solo
Blues Guitar Lesson 24 - 8bar blues
Blues Guitar Lesson 24 B- 8bar blues in A - Key To The
Highway
Blues Guitar 24 C- 8-bar
blues in A – Come Back
Baby
Tritone Blues - Part 1 * Part
2 * Part 3
Pony Blues
Willie Brown's Mississippi
Blues
Dropped D tuning,
Alternating bass, See See
Rider
Lesson 15 C:
Fingerpicking Instrumental in A
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© Olav Torvund
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A 12 bar blues in G.
G-Boogie .
Rev Gary Davis is Funny
That Way
C-major: C C Rider
C-major: Cocaine Blues
C-major: Blues Rag in C
Diddie Has Something There
Books and videos on
Acoustic Blues Guitar
Lesson 17:
A shuffle solo
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - A shuffle solo
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar - Lesson 17: A shuffle solo
Lesson 16:
The "Long A"
chord
Lesson 18:
The minor pentatonic scale - a simplified blues scale
The next arrangement is Betty Blues. The main lick is a shuffle on 2nd and 3rd string.
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Guitar lessons
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It is a very useful lick, and you will often
hear it in rockabilly music. Look at it as part
of an A chord and part of a D-chord, or as
part of D7 and A(7). If you play the A7fragment on 3rd and 4t string, and then the
D at the same string, you get the main
positions for The Beatles' Doctor Robert
Over the D-chord, you just move the whole
lick up 5 frets. And you will se from the tab
that you slide the lick down at the end of
each bar.
A
D
A7
D7
In bar 10 there is a sequence of
chords instead of just the D7 chord. It
is some kind of a "pre-turnaround".
The chords are Adim7, D7, F7 and
then Adim7 one more time. Note that
you do not move the 3rd and 4th
finger through the changes.
Just for confusion: The dim7 is a
symmetric chord. It is a minor third
between the notes, no matter what
you choose as root. So the same
chord can be labeled Cdim7,
D#dim7 or Adim7.
If you find it too difficult, just play the
D7
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Blues Sites
http://www.torvund.net/guitar/BluesGuitar/17-A_shuffle_solo.asp (1 of 3)07.01.2005 04:03:34
Adim7
D7
F7
Blues Guitar - A shuffle solo
http://www.torvund.net/guitar/BluesGuitar/17-A_shuffle_solo.asp (2 of 3)07.01.2005 04:03:34
Blues Guitar - A shuffle solo
Download Finale File PDF-File
Fingerpicking Blues Gutiar Lessons
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●
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●
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●
●
●
Blues Guitar Lesson 12: An
introduction to blues
fingerpicking
Blues Guitar Lesson 12B:
Monotone bass fingerpicking
Blues Guitar Lesson 13: 16-bar
blues
Blues Guitar Lesson 24 - 8-bar
blues
Blues Guitar Lesson 15:
Fingerpicking monotone bass in
A
Blues Guitar Lesson 15B:
Fingerpicking monotone bass in
A – Betty Blues
Blues Guitar Lesson 15C:
Fingerpicking Instrumental in A
Blues Guitar Lesson 16: The
"Long A" chord
Lesson 16:
The "Long A"
chord
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Blues Guitar Lesson 17: A
shuffle solo
Blues Guitar Lesson 24 - 8bar blues
Blues Guitar Lesson 24 B- 8bar blues in A - Key To The
Highway
Blues Guitar 24 C- 8-bar
blues in A – Come Back
Baby
Tritone Blues - Part 1 * Part
2 * Part 3
Pony Blues
Willie Brown's Mississippi
Blues
Dropped D tuning,
Alternating bass, See See
Rider
●
●
●
●
●
●
●
●
A 12 bar blues in G.
G-Boogie .
Rev Gary Davis is Funny
That Way
C-major: C C Rider
C-major: Cocaine Blues
C-major: Blues Rag in C
Diddie Has Something There
Books and videos on
Acoustic Blues Guitar
Lesson 18:
The minor pentatonic scale - a simplified blues scale
© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - The minor pentatonic scale
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar - Lesson 18: The minor pentatonic scale - a
simplified blues scale
Lesson 17:
A shuffle solo
Lesson 19:
The "Blue notes" - the blues scale
If you want to play a solo, you need to know the minor pentatonic scale. It has a 3b, which makes it a
minor scale. And it consists of only 5 tones, that is why it is called penta-tonic (penta=five)
Happy Traum:
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New: Blues
Guitar lessons
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Now the number in the diagram no longer refers to fingers, but to the note of
the scale counted up from the root. 1=root, 3b=minor 3rd, 4=fourth,
5=fifth and 7b=minor seventh.
When playing scales, try to keep your hand movement at a minimum. The
scale position - often known as box position spans over 4 frets. Use one
finger for each fret: 1st finger on 5th fret, 2nd on 6th (no notes on sixth fret
here, but they will come), 3rd finger on 7th fret and 4th finger on 8th fret.
These scale box positions are all moveable. When you have learned this
scale in A, you can play in any key just by moving the whole box up or down
the neck. I call this box position box position 1. There is no common standard
for numbering these boxes - at least no standard I am aware of. So do not get
too confused if you see the same boxes with other numbers.
A-pentatonic
Box position 1
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Don't get too confused by the fact that I am
labeling the next box as box position 5. I am
presenting a few boxes in reverse order, and
there are 5 boxes in total. We move down, and
play the box from 2nd to fifth fret.
The third box I will present in this box is box
position 4O. I add an "O" to indicate that we
now have open strings (and it is really not a box,
but I keep the label). An open string position is
not moveable. You do of course understand that
numbers behind the nut (over the box) indicates
note on open strings.
Box 5
http://www.torvund.net/guitar/BluesGuitar/18-The_minor_pentatonic_scale-a.asp (1 of 3)07.01.2005 04:03:36
Box 4O
Blues Guitar - The minor pentatonic scale
If you want the scale written out in tabulature, and/or be able to hear it as a MIDI file, go to the Finale
versions. Now it is time to tell, in case you have not discovered it already, that in the Finale files, you can set
the number of the bar you want to start from. You do not have to start with hearing the box 5 MIDI first each
time.
You need to practice these scales, and practising scales on your own is boring. I have included two Band-InA-Box files (have you downloaded the Free Player?). Both are 8 choruses of slow 12 bar blues in A, the first
is Blues Progression 1, and the second is Blues Progression 2. It is more fun to have living musicians to
play with . But the Finale files are more patient, and it will forgive every mistake you make.
I give you the same backing tracks to play with that you have met before
Backing Track - 12B1
These are MIDI backing tracks of 12-bar Blues progression 1. For more information, go to lesson on
bluesprogression in the chord progression series.
They are in 8 keys and three tempos (65, 90 and 120). Use them to get the sound of the cords, and as
backing tracks. They are long 10-15 minutes, which makes them boring as listening track, but good for
practise. Download all files as a zip-file.
65 very slow
C D Eb E F G A Bb
90 Slow
C D Eb E F G A Bb
120 Medium
C D Eb E F G A Bb
Backing Track - 12B1T
These are MIDI backing tracks of 12-bar Blues progression 1 with Turnaround chord. For more
information, go to lesson on bluesprogression in the chord progression series. Download all files as
a zip-file
65 very slow
C D Eb E F G A Bb
90 Slow
C D Eb E F G A Bb
120 Medium
C D Eb E F G A Bb
Backing Track - 12B2
These are MIDI backing tracks of 12-bar Blues progression 2. For more information, go to lesson on
bluesprogression in the chord progression series. Download all files as a zip-file.
65 very slow
C D Eb E F G A Bb
90 Slow
C D Eb E F G A Bb
120 Medium
C D Eb E F G A Bb
Backing Track - 12B2T
These are MIDI backing tracks of 12-bar Blues progression 2 with Turnaround chord. For more
information, go to lesson on bluesprogression in the chord progression series. Download all files as
a zip-file
65 very slow
C D Eb E F G A Bb
90 Slow
C D Eb E F G A Bb
120 Medium
C D Eb E F G A Bb
Blues Scales / Minor Pentatonic Scales
●
●
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Blues Guitar Lesson 18: The
minor pentatonic scale - a
simplified blues scale in A
Blues Guitar Lesson 19: The
"Blue notes" - the blues
scale in A
Blues Guitar Lesson 20: The
relation between the "Long
A" chord and the blues scale
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Lesson 17:
A shuffle solo
http://www.torvund.net/guitar/BluesGuitar/18-The_minor_pentatonic_scale-a.asp (2 of 3)07.01.2005 04:03:36
Blues Guitar Lesson 21:
Blues scale in E
Blues Guitar Lesson 22:
Pentatonic scale boxes in all
positions
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Minor Pentatonic Scale in
Open D tuning
Minor Pentatonic Scale in
Open G tuning
Books and videos on Scales
Lesson 19:
The "Blue notes" - the blues scale
Blues Guitar - The minor pentatonic scale
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Blue notes - blues scale
Olav Torvund's Guitar Pages
Guitar Lessons
Blues Guitar - Lesson 19: The "Blue notes" - the blues scale
Lesson 18:
The minor pentatonic scale - a simplified blues
scale
One feature
that makes
blues
interesting,
despite it's
simple form,
is the
unsettled
tonality. In
the previous
lesson, we
looked at the
minor
pentatonic
scale. It is a
minor scale,
but it is
usually played
over major
chords. We
can add a few
notes to the
pentatonic
minor, to
make it a
proper blues
scale. The
first note is
the flatted
fifth, or
5bnote. Add
it to the scale,
and it gets
more
character.
Lesson 20:
The relation between the "Long A"
chord and the blues scale
A-
A-
A-
blues - box 4O
blues -box 5
blues - box 1
Michael Bloomfieldused a lot of flatted fifths (and chromatic notes) in his playing. In the diagram, the 5bare marked as blue
circles. If you want to look a little closer on his playing style, you will find three of Andy Ellis'lessons from Guitar Player
Magazineon TruefireThese are downloadable PDF and MP3 files, costing from $ 1 to $ 2.40: Chromatic Bloomfield, Full Bloom
1and Full Bloom 2.
The 3band 7bnotes might be raised to a 3or 7. Sometimes you will do it with a bend, sometimes as hammer-onand sometimes
as normal fretted notes. You can also bend or hammer-on the 4thand by this raising it so a 5b.
Blues Scales / Minor Pentatonic Scales
●
●
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Blues Guitar Lesson 18: The minor
pentatonic scale - a simplified blues
scale in A
Blues Guitar Lesson 19: The "Blue
notes" - the blues scale in A
Blues Guitar Lesson 20: The
relation between the "Long A" chord
and the blues scale
●
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Blues Guitar Lesson 21: Blues scale
in E
Blues Guitar Lesson 22: Pentatonic
scale boxes in all positions
Lesson 18:
The minor pentatonic scale - a simplified blues
scale
http://www.torvund.net/guitar/BluesGuitar/19-The_Blue_notes-the_blues_scale.asp (1 of 2)07.01.2005 04:03:40
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Minor Pentatonic Scale in Open D
tuning
Minor Pentatonic Scale in Open G
tuning
Books and videos on Scales
Lesson 20:
The relation between the "Long A"
chord and the blues scale
Blues Guitar - Blue notes - blues scale
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - The relation between the "Long A" chord and the blues scale
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar - Lesson 20: The relation between the "Long
A" chord and the blues scale
Lesson 19:
The "Blue notes" - the blues scale
Lesson 21:
Blues scale in E
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
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We have already done what I am going to explain in this lesson. If you go
back to the arrangement of Going Down Slow from lesson 16, we had
a difficult descending run in bar 7. This is the A minor pentatonic box 5
played from a Long A chord. We will look more into relations between
scales and chords later. Now we will only look at the relation between
Long A and A minor pentatonic scale and A-blues scale, both in Box
5 position. The change from Long A to A7 is just the beginning of this
scale lick. Just keep the partial barré with your first finger, keep the 5th
string open (unless you are playing a lick on it), and play some scale licks.
The numbering starts to get confusing, but it is not as difficult as it may
look. The black circles with numbers indicates the fingering of the Long
A, with indication of which fingers to use. The numbers in red an blue
circles indicates the scale degree of the note.
Retailers:
Blues Scales / Minor Pentatonic Scales
●
If you like the
site, give me
your vote:
●
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Blues Guitar Lesson 18: The
minor pentatonic scale - a
simplified blues scale in A
Blues Guitar Lesson 19: The
"Blue notes" - the blues
scale in A
Blues Guitar Lesson 20: The
relation between the "Long
A" chord and the blues scale
Go here for
books and
videos on
blues guitar
●
●
Blues Guitar Lesson 21:
Blues scale in E
Blues Guitar Lesson 22:
Pentatonic scale boxes in all
positions
Lesson 19:
The "Blue notes" - the blues scale
Go here for
links to other
Blues Sites
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http://www.torvund.net/guitar/BluesGuitar/20-Long_A_and_blues_scale.asp07.01.2005 04:03:43
© Olav Torvund
●
●
●
Minor Pentatonic Scale in
Open D tuning
Minor Pentatonic Scale in
Open G tuning
Books and videos on Scales
Lesson 21:
Blues scale in E
University of Oslo
NRCCL
olav@torvund.net
I appreciate
comments
Blues Guitar - Blues scale in E
Olav Torvund's Guitar Pages
Guitar Lessons
Blues Guitar - Lesson 21: Blues scale in E
Lesson 20:
The relation between the "Long A" chord and the
blues scale
Lesson 22:
Pentatonic scale boxes in all positions
As we have said, the blues scales are moveable. We start with
Box 1, but now we move it all the way down the neck, where it
includes open strings. This is the blues scale in E. I have made
two boxes: One with just the E pentatonic minor, and one
where I have added all the other notes. And you may notice that
I have added the 6th, in addition to the notes we used in the Ablues scale.I thought you would recognize that some of the
shuffle noteswhere missing, and ask if they do not belong to
the scale. And the answer is something like no, ehr... well,
maybe... it depends .... You will often hear 6th notes played, but
mainly as passing notes. The blues will not rest on a 6th note.
You will also notice that I have included an alternative fingering
of one of the 5ths. You can either play it on 3rd string, 4th fret,
or on the open 2nd string.
E minor pentatonic, Box 1
E blues scale, Box 1
I will present two other box-positions in E, and it should come as no surprise that these are Box 2and Box 3. I will first present the
minor pentatonic, and then the same box with all the added notes. Learn to play the minor pentatonic first, and then try to include
the flat 5, and then some bends and some other notes.
Minor pentatonic, box 2
Blues scale, box 2
Minor pentatonic, box 3
I give you the same backing tracks to play with that you have met before
http://www.torvund.net/guitar/BluesGuitar/21-Blues_scale_in_E.asp (1 of 2)07.01.2005 04:03:45
Blues scale, box 3
Blues Guitar - Blues scale in E
Backing Track - 12B1
These are MIDI backing tracks of 12-bar Blues progression 1. For more information, go to lesson on bluesprogression in the
chord progression series.
They are in 8 keys and three tempos (65, 90 and 120). Use them to get the sound of the cords, and as backing tracks. They are long
10-15 minutes, which makes them boring as listening track, but good for practise. Download all files as a zip-file.
C D Eb E F G A Bb
65 very slow
90 Slow
C D Eb E F G A Bb
120 Medium
C D Eb E F G A Bb
Backing Track - 12B1T
These are MIDI backing tracks of 12-bar Blues progression 1 with Turnaround chord. For more information, go to lesson on
bluesprogression in the chord progression series. Download all files as a zip-file
65 very slow
C D Eb E F G A Bb
90 Slow
C D Eb E F G A Bb
120 Medium
C D Eb E F G A Bb
Backing Track - 12B2
These are MIDI backing tracks of 12-bar Blues progression 2. For more information, go to lesson on bluesprogression in the
chord progression series. Download all files as a zip-file.
65 very slow
C D Eb E F G A Bb
90 Slow
C D Eb E F G A Bb
120 Medium
C D Eb E F G A Bb
Backing Track - 12B2T
These are MIDI backing tracks of 12-bar Blues progression 2 with Turnaround chord. For more information, go to lesson on
bluesprogression in the chord progression series. Download all files as a zip-file
C D Eb E F G A Bb
65 very slow
90 Slow
C D Eb E F G A Bb
120 Medium
C D Eb E F G A Bb
Blues Scales / Minor Pentatonic Scales
●
●
●
Blues Guitar Lesson 18: The minor
pentatonic scale - a simplified blues
scale in A
Blues Guitar Lesson 19: The "Blue
notes" - the blues scale in A
Blues Guitar Lesson 20: The relation
between the "Long A" chord and the
blues scale
●
●
Blues Guitar Lesson 21: Blues scale
in E
Blues Guitar Lesson 22: Pentatonic
scale boxes in all positions
Home
http://www.torvund.net/guitar/BluesGuitar/21-Blues_scale_in_E.asp (2 of 2)07.01.2005 04:03:45
●
●
Lesson 20:
The relation between the "Long A" chord and the
blues scale
The lawfirm where I am
partner:
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●
© Olav Torvund
Minor Pentatonic Scale in Open D
tuning
Minor Pentatonic Scale in Open G
tuning
Books and videos on Scales
Lesson 22:
Pentatonic scale boxes in all positions
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Lesson 22: Pentatonic scale boxes in all positions
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Blues Guitar - Lesson 22: Pentatonic scale boxes in all
positions
Lesson 21:
Blues scale in E
Happy Traum:
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New: Blues
Guitar lessons
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Guitar Lessons
Lesson 23:
The moveable D / D7 shape
Now it is time to see how these boxes goes together. I have presented all the boxes in the keys E and A. The
boxes are overlapping, and it is not too easy to identify each box. I have tried to color-code the boxes. I hope
you see that dots with two colors belong to more than one box. There is actually one dot that is being used in
three different positions. I have tried to mark that by making the interior blue and green, while the border is
orange. Maybe it helps, maybe it only adds to the confusion ....
To make it a little bit easier, I have isolated each box-position besides the 15 frets diagram.
The first set of diagrams is for the key of E
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Box 1 Open
Box 2
Box 3
Box 4
Box 5
Box 1
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Go here for
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Then we apply the same boxes to the key of A
http://www.torvund.net/guitar/BluesGuitar/22-Pentatonic_boxes_in_all_positions.asp (1 of 4)07.01.2005 04:03:53
Blues Guitar - Lesson 22: Pentatonic scale boxes in all positions
Box 4 Open
Box 5
Box 1
Box 2
Box 3
Box 4
I have not put in any of the blue notes. But you should by now be able to put them into the boxes. If not,
review lesson 19 and lesson 21. Practise these boxes until you can play them on "auto pilot" while having a
conversation. When you have learned these five box positions, then you can play the minor pentatonic and
the blues scale in all 12 keys. It might take some effort to get there, but when it is done, the world opens up.
For a Norwegian, it is tempting to use cross country skiing as a metaphor for the learning curve. You have to
go up hill for some time to get to the mountain plateau. But when you are there, you can go skiing for hours
at a nice and comfortable pace.
Blues/Rock Soloing for Guitar
A Guide to the Essential Scales, Licks and Soloing Techniques. By Robert
Calva. Musicians Institute Press (Instruction taken from the curriculum
of MI). Book & CD Package. With notes and tablature. Size 9x12 inches.
48 pages.
See more info...
ToC
No MI695680
Review:
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Order from:
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SheetmusicPlus
Advanced Improvising Concepts for Guitar. Taught by Bruce Saunders.
Amazon UK
For Guitar (All). improvisation. Private Lessons Series. Jazz. Level:
Intermediate-Advanced. Book/CD Set. Size 8.75x11.75. 48 pages.
Published by Mel Bay Publications, Inc.
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Review:
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Blues Guitar - Lesson 22: Pentatonic scale boxes in all positions
- Pentatonic Khancepts
Scales. This book is the natural continuation and completion of the
process Steve began in his book Contemporary Chord Khancepts. In this
new book, Steve shares his unique approach to improvising for guitarists
of all genres - rock, latin, funk, country, jazz and alternative. Includes a
CD of music examples, plus numerous play-along tracks for you to use as
you practice and hone your impovisational skills. Published by Warner
Brothers. (WB0667B)
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Pentatonic Scales for Guitar
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The Essential Guide. By Chad Johnson. Scales. Guitar Educational. Book
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and CD package. With notes and tablature. Size 9x12 inches. 40 pages.
Published by Hal Leonard.
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Gig Savers: Rock Scales - A Basic Guide
SheetmusicPlus
by Corey Christiansen. For Guitar (Electric). technique. Gig Savers.
Rock. Level: Beginning. Book. Size 5.5x8. 16 pages. Published by Mel Bay
Publications, Inc.
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Major Pentatonic Scales For Guitar
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English Edition. Pocket Guide. Scales. Size 4.5x12 inches. 32 pages.
Published by Hal Leonard.
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Minor Pentatonic Scales for Guitar
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English Edition. By John Stix and Yoichi Arakawa. Scales. Pocket Guide.
Size 4.5x12 inches. 24 pages. Published by Hal Leonard.
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Rock Lead Scales for Guitar
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by Mike Christiansen. For electric guitar. Value Line. Rock, rock & blues.
Scales. Level: Beginning. Book/CD package. Technique. Size 8.75x11.75.
48 pages. Published by Mel Bay Pub., Inc.
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Book and CD package. Scales. With notes and tablature. Size 9x12
inches. 48 pages. Published by Centerstream Publications.
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Rock scales For Guitar
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With Tablature. Hal Leonard Guitar Method. Scales. Size 9x12 inches.
16 pages. Published by Hal Leonard.
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The Ultimate Rock Guitar Scale Finder
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This companion volume to The Ultimate Rock Guitar Chord Finder helps
players figure out the Scales if they know the chords. It covers
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pentatonic scales, blue scales, all of the modes, and all types of rock
scales, featuring those popularized by Jimi Hendrix, Frank Zappa,
Stevie Ray Vaughan, Nuno Bettencourt, and Steve Vai. Also included
are tables showing where to find the right scales in any key. Guitar. Size
9x12 inches. 48 pages. Published by Hal Leonard.
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Blues Guitar - Lesson 22: Pentatonic scale boxes in all positions
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Askold Buk - Practical Pentatonics (Guitar)
SheetmusicPlus
Practical Pentatonics is an excellent introduction to the pentatonic
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scales. Mr. Buk diagrams the minor and major pentatonic scales in
standard notation and tabulature up and down the fretboard. He
additionally presents some nice little riffs along with each position. After
introducing us to the pentatonics, he introduces some useful techniques
such as string bending, combining patterns and scales, arpeggios, string
skipping and more. 44 pages, 4.5 x 12. Published by Amsco.
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Scales. By Matt Scharfglass. Guitar Method. 160 pages, 4.5 x 12,
softcover. Published by Amsco.
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Improvising 1 Rock Scale SoloingModern Record Included
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Fretted instrument method/supplement (Guitar). 52 pages. Published by
Warner Brothers.
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Pentatonics And Power Chords
By A. Kadmon. guitar. Published by Carl Fischer.
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Blues Scales / Minor Pentatonic Scales
●
●
●
Blues Guitar Lesson 18: The
minor pentatonic scale - a
simplified blues scale in A
Blues Guitar Lesson 19: The
"Blue notes" - the blues
scale in A
Blues Guitar Lesson 20: The
relation between the "Long
A" chord and the blues scale
●
●
Blues Guitar Lesson 21:
Blues scale in E
Blues Guitar Lesson 22:
Pentatonic scale boxes in all
positions
Lesson 21:
Blues scale in E
●
●
●
Minor Pentatonic Scale in
Open D tuning
Minor Pentatonic Scale in
Open G tuning
Books and videos on Scales
Lesson 23:
The moveable D / D7 shape
Further references
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GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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Blues Guitar - The moveable D / D7 shape
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar - Lesson 23: The moveable D / D7 shape
Lesson 22:
Pentatonic scale boxes in all positions
Lesson 24:
8-bar blues
The D chord is often the first chord people learn to play. But this simple chord shape is very useful.
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We will start with the D7-fingering that
was presented in Lesson 14. From
there you can get to the D-chord by
fretting the 2nd string 3rd fret with you
4th finger. If you are changing between
D and D7, this might be a good
fingering. But usually a fingering with
1st, 2nd and 3rd finger is better.
If you make a side-step to my Fingering of the G-chord lesson, you will see that you can make a rather
smooth change from D to G and vice versa with this fingering. It is also easy to move the 1st and 2nd finger
across for a simple fingering of the A7 chord.
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The next fingering starts from a position where you make a partial barré on 2nd fret over 1st, 2nd and 3rd
string, and then finger 2nd string 3rd fret with 2nd finger. This position leaves you with your 3rd and 4th
fingers free.
We start from the last fingering in the
row above. You can go to 1st string 5th
fret with your 4th finger. You can go to
4th string, 4th fret with your 3rd finger.
You can do this while keeping the 4th
finger on 1st string 5th fret, or you can
play 2nd fret as part of the barré.
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Blues Sites
The chord shape at the far right is actually a C-shape played over a partial barré in 2nd fret. With this
chord, you should see that the C-shape and the D-shape are closely related. It is a bit hard to finger, but it
is nice to know. As it is a closed position, you can move it around. Use the same trick as I recommended for
the shuffle, move it up some frets if you feel that your fingers are too short.
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Blues Guitar - The moveable D / D7 shape
There is one more fingering I will present, before we start to move around.
This is a closed voicing on inner strings. Closed voicing mean that you do not
play any open strings. You should notice that it is all within the last chord in
the previous row, so it is really a fraction of this chord. You can also notice that
it is the chord that we played as part of the harmonized shuffle from the Achord. It gives you the first inversion of the D-chord.
The only move we will do in this lesson, is up two frets. This will
give us the E or E7 chord.
Be careful with open strings when you start to move the chord
around. As an E-chord, you can of course use the open E-string.
But the A and D string will not work with this chord (unless you
expand it with some of the fingerings shown for the D-chord)
I do not indicate any fingering this time. From the discussion on
fingering of the D-chord, you should be able to see the various
possibilities, and their pros and cons.
Go back to to Lesson 13: 16-bar blues, and you will find an
arrangemet based on this chord shape.
Listen to Eric Clapton's unplugged version of Before You Accuse
Me for an example where this chord-shape is used in a 12-bar blues
in E.
Click here for a 12 bar blues in E based on moveable D-shape and
Long A in Finale format [not there yet]. It is written as a
fingerpicking arrangement with monotone bass. But in this lesson, it
is the chords and not the fingerpicking that is important.
Chord shuffle lick
This is a shuffle lick based on the D-shape. It is of course movable. Here it is written in D. But if you move it
up two frets, you are in E. Add another five frets (starting at 9th fret), and you are in A.
Before You Accuse me and other songs
If you want to look more into Eric Clapton'sBefore You Accuse Me and other unplugged blues, take a will
recommend:
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Blues Guitar - The moveable D / D7 shape
Eric Clapton: From The Album Eric Clapton Unplugged
Signature Licks. Acoustic Rock. Performed by Eric Clapton, written
by Wolf Marshall. For guitar. Includes instructional book and examples
CD. With standard guitar notation, guitar tablature, vocal melody,
lyrics, chord names, guitar chord diagrams, guitar notation legend,
Bestseller! introductory text, instructional text and performance notes. Blues rock
and adult contemporary. Series: Hal Leonard . 72 pages. 9x12 inches.
Published by Hal Leonard.
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No HL695250
Review:
Eric Clapton: From The Album Eric Clapton Unplugged
Acoustic Rock. Performed by Eric Clapton. For guitar and voice. Format:
guitar tablature songbook. With standard guitar notation, guitar
tablature, vocal melody, lyrics, chord names, guitar chord diagrams and
guitar notation legend. Blues rock and adult contemporary. Series: Hal
Leonard Guitar Recorded Versions. 112 pages. 9x12 inches. Transcribed
by Jesse Gress. Published by Hal Leonard. (HL694869)
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Lesson 22:
Pentatonic scale boxes in all positions
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Lesson 24:
8-bar blues
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - 8-bar blues
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar Lesson 24 - 8-bar blues
Lesson 23:
The moveable D / D7 shape
Lesson 24 B:
8-bar blues in A
The 8-bar blues is another standard progression. The most well known song with this progression is probably
Big Bill Broonzy's Key To The Highway. Other songs are Crow Jane and Sliding Delta.
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The progression has two lines, with the following chord structure:
I
V7
IV
IV
I
V7
I
V7
8-bar blues in E
In E this will be:
E
B7
A(7)
A(7)
E
B7
E
B7
Note the use of Moveable D/D7 shape and Long A in the following arrangement of an 8-bar blues in E.
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Backing Track B8
These are MIDI backing tracks of 8-bar Blues. For more information, go to lesson on bluesprogression in
the chord progression series.
They are in 8 keys and three tempos (65, 90 and 120). Use them to get the sound of the cords, and as
backing tracks. They are long 10-15 minutes, which makes them boring as listening track, but good for
practise. Download all files as a zip-file.
8-bar Blues in E
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Blues Sites
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65 very slow
C D Eb E F G A Bb
90 Slow
C D Eb E F G A Bb
120 Medium
C D Eb E F G A Bb
Blues Guitar - 8-bar blues
Download Finale File PDF-File
More on 8-bar blues in E
The magazine Acoustic Guitar has put some lessons on the net. They are taken from books that they
publish, and they do of course hope that you will like the lessons, want some more and buy the books. The
lessons are complete, with tab, sound files etc. Among the lessons are one on Crow Jane, written bySteve
James,based on Skip James' recording of the theme.
Other blues progessions (than the 12-bar Blues)
●
●
Progressions: 8, 16 and 24 bar
blues
Blues Guitar Lesson 13: 16-bar
blues
●
●
●
Fingerpicking Blues Gutiar Lessons
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Blues Guitar Lesson 24
- 8-bar blues
Blues Guitar Lesson 24
B- 8-bar blues in A
Blues Guitar 24 C- 8bar blues in A – Come
Back Baby
●
Books and videos on
Acoustic Blues Guitar
Blues Guitar - 8-bar blues
●
●
●
●
●
●
●
●
Blues Guitar Lesson 12: An
introduction to blues
fingerpicking
Blues Guitar Lesson 12B:
Monotone bass fingerpicking
Blues Guitar Lesson 13: 16bar blues
Blues Guitar Lesson 24 - 8-bar
blues
Blues Guitar Lesson 15:
Fingerpicking monotone bass
in A
Blues Guitar Lesson 15B:
Fingerpicking monotone bass
in A – Betty Blues
Blues Guitar Lesson 15C:
Fingerpicking Instrumental in A
Blues Guitar Lesson 16: The
"Long A" chord
●
●
●
●
●
●
●
●
Blues Guitar Lesson 17: A
shuffle solo
Blues Guitar Lesson 24 - 8bar blues
Blues Guitar Lesson 24 B8-bar blues in A - Key To
The Highway
Blues Guitar 24 C- 8-bar
blues in A – Come Back
Baby
Tritone Blues - Part 1 *
Part 2 * Part 3
Pony Blues
Willie Brown's Mississippi
Blues
Dropped D tuning,
Alternating bass, See See
Rider
Lesson 23:
The moveable D / D7 shape
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© Olav Torvund
●
●
●
●
●
●
●
●
A 12 bar blues in G.
G-Boogie .
Rev Gary Davis is Funny
That Way
C-major: C C Rider
C-major: Cocaine Blues
C-major: Blues Rag in C
Diddie Has Something
There
Books and videos on
Acoustic Blues Guitar
Lesson 24 B:
8-bar blues in A
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - 8-bar blues
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar Lesson 24 C- 8-bar blues in A
– Come Back Baby
New Lessons
●
●
●
Lesson 24 B:
8-bar blues in A
Pony Blues
Come Back Baby
Happy Traum:
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New: Blues
Guitar lessons
in PDF format.
The next tune was very popular in the 60's, at least in Europe. The first recording
I know, was done by Jack Dupree, but the arrangement that has been most
popular is - to my knowledge - based on the playing of Snooks Eaglin. The song
is recorded by many artists, including Lightnin' Hopkins, Dave van Ronk,
Davey Graham, Bert Jansch and Stefan Grossman. It is a variation of an 8bar form in A, but is different from "Key to the Highway".
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●
●
●
●
●
Open C Tuning
Silent Night in Open C Tuning
Minor Blues
Reading Music - Lesson 3
Reading Music - Reading
Chords
Blues Turnarounds
A Chord Excercise - jazzy 7th
chords
Open Chords
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information on new lessons.
Blues Guitar - 8-bar blues
Download Finale File PDF-File
In the introduction, we once again meet the Lightnin' Hopkins Lick, but now in A. At the end of the first bar of the verse, the
"moveable D7" is played as an A7 chord on 8th and 9th fret. From here you slide your fourth finger down from 9th to 5th
fret, and continue with the "long A". It is not too easy, but it sounds nice. You also get at chance to practise the long A
combined with a blues scale.
Note that an F-chord has sneaked into the arrangement. It does not really belong to
the key, but it works well here. The tune is a bit "minorish", and in this context the
F-chord function as some kind of an Dm substitution. You can read more about this
substitution in my Chord Progressions series. You can play the F-chord either
with a barré over all 6 strings in 1st fret, or by using the thumb around the neck.
Lightnin'
Hopkins lick in
A.
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Blues Guitar - 8-bar blues
My favorite recordings of "Come Back Baby".
Snooks Eaglin
I think of this as "the original". Snooks Eaglin's
album New Orleans Street Singer is a fantastic
FromAmazon UK From Amazon US
record from 1958. I have heard several other records
by Snooks Eaglin, but none of them comes close to this
one.
Bert Jansch
It might be politically incorrect to list a white Scottish
guitar player among my favorite. But I really like his
playing. Bert Jansch' is a fantastic guitarist and one
of the most innovative and influential acoustic players.
The lead guitarist of Led Zeppelin, Jimmi Page (or
maybe it was Pete Townshend of The Who or may be it FromAmazon UK
was Neil Young ...) has called him The Jimi Hendrix
of acoustic guitar. Bert Jansch recordedCome Back
Baby on the albumNicola. It is now reissued coupled
with the album Jack Orion on one CD called Jack
Orion/Nicola. It does not seem to be available in US
- unfortunately.
Other blues progessions (than the 12-bar Blues)
●
●
Progressions: 8, 16 and 24 bar blues
Blues Guitar Lesson 13: 16-bar blues
●
●
●
Blues Guitar Lesson 24 - 8bar blues
Blues Guitar Lesson 24 B- 8bar blues in A
Blues Guitar 24 C- 8-bar
blues in A – Come Back
Baby
●
Books and videos on Acoustic
Blues Guitar
Fingerpicking Blues Gutiar Lessons
●
●
●
●
●
●
●
●
Blues Guitar Lesson 12: An
introduction to blues fingerpicking
Blues Guitar Lesson 12B: Monotone
bass fingerpicking
Blues Guitar Lesson 13: 16-bar
blues
Blues Guitar Lesson 24 - 8-bar blues
Blues Guitar Lesson 15:
Fingerpicking monotone bass in A
Blues Guitar Lesson 15B:
Fingerpicking monotone bass in A –
Betty Blues
Blues Guitar Lesson 15C:
Fingerpicking Instrumental in A
Blues Guitar Lesson 16: The "Long
A" chord
●
●
●
●
●
●
●
●
Blues Guitar Lesson 17: A
shuffle solo
Blues Guitar Lesson 24 - 8-bar
blues
Blues Guitar Lesson 24 B- 8bar blues in A - Key To The
Highway
Blues Guitar 24 C- 8-bar blues
in A – Come Back Baby
Tritone Blues - Part 1 * Part 2
* Part 3
Pony Blues
Willie Brown's Mississippi Blues
Dropped D tuning, Alternating
bass, See See Rider
●
●
●
●
●
●
●
●
A 12 bar blues in G.
G-Boogie .
Rev Gary Davis is Funny That
Way
C-major: C C Rider
C-major: Cocaine Blues
C-major: Blues Rag in C
Diddie Has Something There
Books and videos on Acoustic
Blues Guitar
Lesson 24 B:
8-bar blues in A
Pony Blues
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne *
GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Pony Blues
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Pony Blues
Lesson 24 C- 8-bar blues in A
Come Back Baby
Happy Traum:
Blues Guitar
Guitar Lessons
Mississippi Blues
Pony Blues is one of the themes you can hear in many variations. Some classic versions are Charley Patton's
"Pony Blues" and "Stone Poney Blues", Tommy Johnson's "Bye Bye Blues", and not to forget Willie Brown's
"M&O Blues". The pony that is probably best know today is Big Bill Broonzy's "Hey, Hey", made popular
recently by Eric Clapton's recording of the song on his Unplugged album.
Pony Blues Theme
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Blues Guitar - Pony Blues
Download Finale File PDF-File
If you, as me, like Big Bill Broonzy's "Hey, Hey", there are at least two sources. The first, and in my opinion
the best, is to turn to the original. The song is transcribed and analyzed in Woody Mann's book/CD set on Big
Bill Broonzy's.
Woody Mann: Guitar of Big Bill Broonzy
In this comprehensive new audio lesson, Woody Mann explores the ideas,
techniques, and styles of this legendary musician who has influenced generations
of guitarists. The CDs contain three full hours of instruction featuring note-bynote, phrase-by-phrase instruction. Selections include: House Rent Stomp;
Brownskin Shuffle; Moppin' Blues; Hey, Hey; Worryin' You Off My Mind; Stove
Pipe Stomp; and Saturday Night Rub. Written in standard notation and tablature.
Includes 3 CD's. SG98508BCD
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The other option is of course to get the transcriptions of all the songs on Eric Clapton's Unplugged album.
Eric Clapton: From The Album Eric Clapton Unplugged
Signature Licks. Acoustic Rock. Performed by Eric Clapton, written by
Wolf Marshall. For guitar. Includes instructional book and examples CD.
With standard guitar notation, guitar tablature, vocal melody, lyrics, chord
names, guitar chord diagrams, guitar notation legend, introductory text,
Bestseller! instructional text and performance notes. Blues rock and adult
contemporary. Series: Hal Leonard . 72 pages. 9x12 inches. Published by
Hal Leonard.
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Blues Guitar - Pony Blues
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Eric Clapton: From The Album Eric Clapton Unplugged
SheetmusicPlus
Acoustic Rock. Performed by Eric Clapton. For guitar and voice. Format:
MusicRoom
guitar tablature songbook. With standard guitar notation, guitar tablature,
vocal melody, lyrics, chord names, guitar chord diagrams and guitar notation
legend. Blues rock and adult contemporary. Series: Hal Leonard Guitar
Recorded Versions. 112 pages. 9x12 inches. Transcribed by Jesse Gress.
Published by Hal Leonard. (HL694869)
See more info...
For other versions of this and more classic blues, I recommend:
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Rory Block - Classics of Country Blues Guitar
SheetmusicPlus
Robert Johnson is the best known of the intensely powerful musicians who
created these songs in the early part of the Twentieth Century, but he was by
no means the only outstanding player. You’ll also learn the sounds and styles
of great artists such as Willie Moore, Tommy Johnson, Mississippi John
Hurt, Willie Brown, Skip James, Blind Blake and the Reverend Robert
Wilkins. The classic tunes she teaches include: Old Country Rock *
Statesboro Blues * Big Road Blues * Canned Heat * Walkin' Blues * Cross
Road Blues * Frankie and Albert * Future Blues * M&O Blues * Police Dog
Blues * Devil Got My Man * Mississippi Blues * Ain't No Way for Me to Get
Along. SIX CDs * LEVEL 4 * Homespun Tapes (Instructional). Book and CD
package. With notes and tablature. Size 8.5x11 inches. Published by
Homespun. ()
Chosen as Book of the Month January 2003
See more info...
ToC
No HL841708
Fingerpicking Blues Gutiar Lessons
●
●
●
●
●
●
●
●
Blues Guitar Lesson 12: An
introduction to blues
fingerpicking
Blues Guitar Lesson 12B:
Monotone bass fingerpicking
Blues Guitar Lesson 13: 16-bar
blues
Blues Guitar Lesson 24 - 8-bar
blues
Blues Guitar Lesson 15:
Fingerpicking monotone bass in
A
Blues Guitar Lesson 15B:
Fingerpicking monotone bass in
A – Betty Blues
Blues Guitar Lesson 15C:
Fingerpicking Instrumental in A
Blues Guitar Lesson 16: The
"Long A" chord
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●
●
●
●
●
●
●
Blues Guitar Lesson 17: A
shuffle solo
Blues Guitar Lesson 24 - 8bar blues
Blues Guitar Lesson 24 B- 8bar blues in A - Key To The
Highway
Blues Guitar 24 C- 8-bar
blues in A – Come Back
Baby
Tritone Blues - Part 1 * Part
2 * Part 3
Pony Blues
Willie Brown's Mississippi
Blues
Dropped D tuning,
Alternating bass, See See
Rider
Lesson 24 C- 8-bar blues in A
Come Back Baby
Home
The lawfirm where I am
partner:
Bing & Co
http://www.torvund.net/guitar/BluesGuitar/PonyBlues.asp (3 of 3)07.01.2005 04:04:05
© Olav Torvund
●
●
●
●
●
●
●
●
A 12 bar blues in G.
G-Boogie .
Rev Gary Davis is Funny
That Way
C-major: C C Rider
C-major: Cocaine Blues
C-major: Blues Rag in C
Diddie Has Something There
Books and videos on
Acoustic Blues Guitar
Mississippi Blues
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Pony Blues
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Mississippi Blues
Pony Blues
Tritone Blues
Part 1
Mississippi Blues - verse
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
The next tune is «Mississippi Blues», which was recorded for the Library of Congress by one Willie Brown. We
know next to nothing about this , who is not the Willie Brown who played with Charley Patton and Son House,
and who recorded classics such as «M & O Blues» and «Future Blues».
«Mississippi Blues» imitates blues piano playing of the 1920s-talls blues piano, and it shows you some of the
possibilities of A.major. It is a classic. It is the graduation piece for blues fingerpickers. If you can play this, you can
play fingerstyle delta blues guitar. Many guitarist have recorded this tune, among others Stefan Grossman, Rory
Block and Jorma Kaukonen. It is often played as an instrumental, but Willie Brown played the verse as backing
to his singing.
Bestsellers
New Books
Newsletter
Mississippi Blues - verse
http://www.torvund.net/guitar/BluesGuitar/MississippiBlues.asp (1 of 4)07.01.2005 04:04:08
Blues Guitar - Pony Blues
Download the Finale File
Mississippi Blues - break
http://www.torvund.net/guitar/BluesGuitar/MississippiBlues.asp (2 of 4)07.01.2005 04:04:08
Blues Guitar - Pony Blues
Download the Finale File
Mississippi Blues- vers + break
Fingerpicking Blues Gutiar Lessons
●
●
●
●
●
●
●
●
Blues Guitar Lesson 12: An introduction
to blues fingerpicking
Blues Guitar Lesson 12B: Monotone bass
fingerpicking
Blues Guitar Lesson 13: 16-bar blues
Blues Guitar Lesson 24 - 8-bar blues
Blues Guitar Lesson 15: Fingerpicking
monotone bass in A
Blues Guitar Lesson 15B: Fingerpicking
monotone bass in A – Betty Blues
Blues Guitar Lesson 15C: Fingerpicking
Instrumental in A
Blues Guitar Lesson 16: The "Long A"
chord
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http://www.torvund.net/guitar/BluesGuitar/MississippiBlues.asp (3 of 4)07.01.2005 04:04:08
Blues Guitar Lesson 17: A shuffle
solo
Blues Guitar Lesson 24 - 8-bar blues
Blues Guitar Lesson 24 B- 8-bar
blues in A - Key To The Highway
Blues Guitar 24 C- 8-bar blues in A
– Come Back Baby
Tritone Blues - Part 1 * Part 2 * Part
3
Pony Blues
Willie Brown's Mississippi Blues
Dropped D tuning, Alternating bass,
See See Rider
●
●
●
●
●
●
●
●
A 12 bar blues in G.
G-Boogie .
Rev Gary Davis is Funny That Way
C-major: C C Rider
C-major: Cocaine Blues
C-major: Blues Rag in C
Diddie Has Something There
Books and videos on Acoustic Blues
Guitar
Blues Guitar - Pony Blues
Tritone Blues
Part 1
Pony Blues
Home
The lawfirm where I am
partner:
Bing & Co
http://www.torvund.net/guitar/BluesGuitar/MississippiBlues.asp (4 of 4)07.01.2005 04:04:08
© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Tritone Blues Part 1
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Tritone Blues - Part 1
Mississippi Blues
Tritone Blues
Part 2
Tritone is an interval with three whole-steps. In a normal major scale, you find the tritone between the
4th and 7th note, which is F and B in the key of C. The tritone might also be called an augmented fourth.
A perfect fourth consists of two whole-steps and a half step, while the augmented fourth have three whole
steps. If you listen to the tritone, you should notice that it is a disharmonic interval, with a restless sound that
call for some kind of harmonic resolution.
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
Newsletter
Retailers:
The tritone is the half of an octave, thus dividing the octave in two equal parts. If you take the interval B to F
in the key of C-major, you will notice that it consists of two whole steps (C-D and D-E), and two half-steps (BC and E-F). This interval is called a diminished fifth. But both the tritone and the diminished fifth have six
half steps, meaning that the distance from bottom to top is the same. The ear cannot tell the difference
between the two intervals, at least not when they are not played in a musical context. In theory they are
different, but in practice they are (almost) the same.
Now you should notice that F and B are two of the notes in a G7 chord. If you start from a G-major chord,
with the notes G-B-D, and add the minor 7th (F), you have G-B-D-F. And there you have the diminished fifth
between B and F, and you will have the F to B tritone if you invert the chord. And now one of the lessons to
lean: It is the tritone or diminished fifth that gives the 7th chord it's character. If you are in C-major,
the B is often referred to as the leading note, while the F might be called a leaning note. The diminished fifth
between B and F creates a tension. The tension is resolved when you go from B to C and F to E, and by that
going from the diminished fifth to a major third (C to F). You can omit the other notes from the chord, both
the G and the D, and it will still function as a G7. Try playing just the interval B-F instead of a G7, and it still
works. But if you take away the B and/or the F, it will no longer function as a G7 chord.
If you compare a G7 and a Gm7, you should notice that the minor7 has a much smoother and more jazzy
sound, and it does not create the same tension as the G7. One major difference is that there is no tritone
in a m7 chord. The Gm7 consists of G-Bb-D-F. From Bb to F there is a perfect fifth, and from F to Bb there
is a perfect fourth. The minor 7th interval from G to F and the corresponding major second from F to G are
two dissonant intervals. But they are not as dissonant as the tritone/diminished fifth. And the G7 has the
dissonant tritone/diminished fifth in addition to the minor 7th/major second.
You will also find the diminished fifth in the diminished chord. The diminished chord consists of to
minor thirds on top of each other. A Bdim (also notated as B°) have the notes B-D-F. And now you should
note that if you have a G and put a Bdim chord on top of it, you get a G7 chord. There are some clues
to chord substitution in this knowledge, but this will not be covered in this lesson.
If you like the
site, give me
your vote:
The tritone / diminished fifth is an easy interval to finger on the guitar. You find it in these positions:
xxxxx
Then we can play a simple 12-bar blues in the key of A, with the the root note in the bass, and the VIIb-III
tritone interval of each chord. I fingerpick, with a monotone bass technique.
Go here for
books and
videos on
blues guitar
Simple Tritone Blues 1 in A
Go here for
links to other
Blues Sites
http://www.torvund.net/guitar/BluesGuitar/tritone.asp (1 of 4)07.01.2005 04:04:12
Blues Guitar - Tritone Blues Part 1
PDF-File
In the next 12-bar blues, I utilize the magic of inverting these chords. The VIIb-III tritone interval of an A7
chord is G - C#. Now the III-VIIb diminished fifth interval in a D7 is F# - C. This means that you can just
move the "chord" one fret down, and then you have the inverted interval of the IV7 chord. And then there is
no prize for guessing that you can move this "chord" up two fret to the V7 chord. You should also try to slide
into these position from one fret below or one fret above, and you can slide from the V7 to the IV7 chord. I
will play one round of 12-bar blues with a bass-lick combined with a tritone that goes like this:
Dave Rubin: 12 Bar Blues
In the book, Dave Rubin explores the 12 bar blues form. The term '12bar blues' has become synonymous with blues music and is the basis
for an incredible body of jazz, rock 'n' roll, and other forms of popular
music. This book/CD pack is solely devoted to providing guitarists with
Bestseller! all the technical tools necessary for playing 12-bar blues with authority.
The CD includes 24 full-band tracks. Covers: boogie, shuffle, swing, riff,
and jazzy blues progressions; Chicago, minor, slow, bebop, and other
blues styles; soloing, intros, turnarounds, accompanying keyboards and
more. This is one of my favorites!
See more info...
This book was selected as Guitar Book of the Month - July 2002
http://www.torvund.net/guitar/BluesGuitar/tritone.asp (2 of 4)07.01.2005 04:04:12
Order from:
SheetmusicPlus
(US)
MusicRoom
(UK)
Blues Guitar - Tritone Blues Part 1
ToC
Review:
No HL695187
Dave Rubin: The Art of the Shuffle.
As the name says, the book focuses on the shuffle, and not the blues as
such. It explores shuffle, boogie and swing rhythms for guitar. Includes
tab and notation, and covers Delta, country, Chicago, Kansas City, Texas,
New Orleans, West Coast, and bebop blues. As the name says, the book
focuses on the shuffle, and not the blues as such. But as all examples are
in a 12-bar blues format, it will take you through various blues
progressions, as an added bonus to the exploration of the shuffle style.
(HL695005)
See more info...
Order From:
SheetmusicPlus
MusicRoom
(UK)
Amazon UK
Jim Ferguson - All Blues for Jazz Guitar
Jazz-Blues. By Jim Ferguson. Book/CD package. Rhythm/backup. Jim
Ferguson has a jazz approach to the blues, which means jazz comping and
more sophisticated chords. In this book you will learn many arrangements
based on three-note 7th chords (which often could be labeled as dim
chords) in a blues context. (There are many other chords as well). Unless
jazz is you main interest, I will suggest that you start with Dave Rubin's
12 Bar Blues, before going on with Jim Ferguson's book. 92 pages.
Published by Guitar Master Class Pub. - Mel Bay Fingerstyle Jazz.
ToC
No MB96842BCD
Amazon UK
Order from:
SheetmusicPlus
(US)
This book was selected as Book of the Month February 2003
Order from:
Gig Savers: Blues Changes
SheetmusicPlus
For Serious Players. by Corey Christiansen. For Guitar (All). Rhythm/
backup. Progressions. Gig Savers. Blues. Level: Beginning. Book. Size
5.5x8. 16 pages. Published by Mel Bay Publications, Inc.
See more info...
ToC
No MB20030
Review:
Order from:
Comping the Blues
SheetmusicPlus
Jazz-Blues. By Frank Vignola. For Guitar (Flatpick). accompaniment.
Vignola Play Along. Jazz. Level: Intermediate. Book. Size 8.75x11.75. 16
pages. Published by Mel Bay Publications, Inc.
See more info...
ToC
No MB99768
Review:
For more on tritones and the diminished chord, go to:
●
●
●
●
Theory:
Theory:
triad
Theory:
chord
Chords:
Tritone interval
The diminished
The dominant 7th
●
●
●
Chords: Dim7 chords
Progressions: Chord diminished
Progressions: V7-I change
●
●
dim chords
●
●
●
12-bar blues
http://www.torvund.net/guitar/BluesGuitar/tritone.asp (3 of 4)07.01.2005 04:04:12
Tritone Blues - Part 1 * Part
2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4 * Part 5
* Part 6 * Part 7
The same in Theory: The
Flat-five Substitution
Song: The Beatles' song
Michelle
Blues Guitar - Tritone Blues Part 1
●
●
●
●
Classic Lesson: 1 - BASIC
BLUES
Blues Guitar Lesson 1: The
12 bar blues in E
Blues Guitar Lesson 2: Some
variations of the 12-bar blues
in E
Chord Progressions: Basic 12bar blues
Lesson 14: Blues in A introduction
Tritone Blues - Part 1 *
Part 2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
●
●
●
●
●
●
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4
Blues Guitar – Add the m7
chord - Part 2 * Part 3 *
Part 4
The same in Theory: The
Flat-five Substitution
Fingerpicking Blues Gutiar Lessons
●
●
●
●
●
●
●
●
Blues Guitar Lesson 12: An
introduction to blues
fingerpicking
Blues Guitar Lesson 12B:
Monotone bass fingerpicking
Blues Guitar Lesson 13: 16bar blues
Blues Guitar Lesson 24 - 8-bar
blues
Blues Guitar Lesson 15:
Fingerpicking monotone bass
in A
Blues Guitar Lesson 15B:
Fingerpicking monotone bass
in A – Betty Blues
Blues Guitar Lesson 15C:
Fingerpicking Instrumental in A
Blues Guitar Lesson 16: The
"Long A" chord
●
●
●
●
●
●
●
●
Blues Guitar Lesson 17: A
shuffle solo
Blues Guitar Lesson 24 - 8bar blues
Blues Guitar Lesson 24 B8-bar blues in A - Key To
The Highway
Blues Guitar 24 C- 8-bar
blues in A – Come Back
Baby
Tritone Blues - Part 1 *
Part 2 * Part 3
Pony Blues
Willie Brown's Mississippi
Blues
Dropped D tuning,
Alternating bass, See See
Rider
Home
http://www.torvund.net/guitar/BluesGuitar/tritone.asp (4 of 4)07.01.2005 04:04:12
●
●
●
●
●
●
●
A 12 bar blues in G.
G-Boogie .
Rev Gary Davis is Funny
That Way
C-major: C C Rider
C-major: Cocaine Blues
C-major: Blues Rag in C
Diddie Has Something
There
Books and videos on
Acoustic Blues Guitar
Tritone Blues
Part 2
Mississippi Blues
The lawfirm where I am
partner:
Bing & Co
●
© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Tritone Blues - Part 2
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Tritone Blues - Part 2
Tritone Blues
Part 1
Tritone Blues
Part 3
The next example is the same as the previous, with a different fingering. Now we do not have open stings in
the tritone, which make these shapes moveable.
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
Newsletter
Retailers:
If you like the
site, give me
your vote:
Go here for
books and
videos on
blues guitar
Go here for
links to other
Blues Sites
Download Finale File PDF-File
http://www.torvund.net/guitar/BluesGuitar/Tritone-2.asp (1 of 3)07.01.2005 04:04:15
Blues Guitar - Tritone Blues - Part 2
Dave Rubin: 12 Bar Blues
In the book, Dave Rubin explores the 12 bar blues form. The term '12bar blues' has become synonymous with blues music and is the basis
for an incredible body of jazz, rock 'n' roll, and other forms of popular
music. This book/CD pack is solely devoted to providing guitarists with
Bestseller! all the technical tools necessary for playing 12-bar blues with authority.
The CD includes 24 full-band tracks. Covers: boogie, shuffle, swing, riff,
and jazzy blues progressions; Chicago, minor, slow, bebop, and other
blues styles; soloing, intros, turnarounds, accompanying keyboards and
more. This is one of my favorites!
See more info...
This book was selected as Guitar Book of the Month - July 2002
ToC
No HL695187
Review:
Order from:
SheetmusicPlus
(US)
MusicRoom
(UK)
Dave Rubin: The Art of the Shuffle.
As the name says, the book focuses on the shuffle, and not the blues as
such. It explores shuffle, boogie and swing rhythms for guitar. Includes
tab and notation, and covers Delta, country, Chicago, Kansas City, Texas,
New Orleans, West Coast, and bebop blues. As the name says, the book
focuses on the shuffle, and not the blues as such. But as all examples are
in a 12-bar blues format, it will take you through various blues
progressions, as an added bonus to the exploration of the shuffle style.
(HL695005)
See more info...
Order From:
SheetmusicPlus
MusicRoom
(UK)
Amazon UK
Jim Ferguson - All Blues for Jazz Guitar
Jazz-Blues. By Jim Ferguson. Book/CD package. Rhythm/backup. Jim
Ferguson has a jazz approach to the blues, which means jazz comping and
more sophisticated chords. In this book you will learn many arrangements
based on three-note 7th chords (which often could be labeled as dim
chords) in a blues context. (There are many other chords as well). Unless
jazz is you main interest, I will suggest that you start with Dave Rubin's
12 Bar Blues, before going on with Jim Ferguson's book. 92 pages.
Published by Guitar Master Class Pub. - Mel Bay Fingerstyle Jazz.
ToC
No MB96842BCD
Amazon UK
Order from:
SheetmusicPlus
(US)
This book was selected as Book of the Month February 2003
Order from:
Gig Savers: Blues Changes
SheetmusicPlus
For Serious Players. by Corey Christiansen. For Guitar (All). Rhythm/
backup. Progressions. Gig Savers. Blues. Level: Beginning. Book. Size
5.5x8. 16 pages. Published by Mel Bay Publications, Inc.
See more info...
ToC
No MB20030
Review:
Order from:
Comping the Blues
SheetmusicPlus
Jazz-Blues. By Frank Vignola. For Guitar (Flatpick). accompaniment.
Vignola Play Along. Jazz. Level: Intermediate. Book. Size 8.75x11.75. 16
pages. Published by Mel Bay Publications, Inc.
See more info...
ToC
No MB99768
Review:
For more on tritones and the diminished chord, go to:
●
●
●
●
Theory:
Theory:
triad
Theory:
chord
Chords:
Tritone interval
The diminished
The dominant 7th
●
●
●
Chords: Dim7 chords
Progressions: Chord diminished
Progressions: V7-I change
●
●
dim chords
●
●
●
http://www.torvund.net/guitar/BluesGuitar/Tritone-2.asp (2 of 3)07.01.2005 04:04:15
Tritone Blues - Part 1 * Part
2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4 * Part 5
* Part 6 * Part 7
The same in Theory: The
Flat-five Substitution
Song: The Beatles' song
Blues Guitar - Tritone Blues - Part 2
Michelle
12-bar blues
●
●
●
●
Classic Lesson: 1 - BASIC
BLUES
Blues Guitar Lesson 1: The
12 bar blues in E
Blues Guitar Lesson 2: Some
variations of the 12-bar blues
in E
Chord Progressions: Basic 12bar blues
Lesson 14: Blues in A introduction
Tritone Blues - Part 1 *
Part 2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
●
●
●
●
●
●
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4
Blues Guitar – Add the m7
chord - Part 2 * Part 3 *
Part 4
The same in Theory: The
Flat-five Substitution
Fingerpicking Blues Gutiar Lessons
●
●
●
●
●
●
●
●
Blues Guitar Lesson 12: An
introduction to blues
fingerpicking
Blues Guitar Lesson 12B:
Monotone bass fingerpicking
Blues Guitar Lesson 13: 16bar blues
Blues Guitar Lesson 24 - 8-bar
blues
Blues Guitar Lesson 15:
Fingerpicking monotone bass
in A
Blues Guitar Lesson 15B:
Fingerpicking monotone bass
in A – Betty Blues
Blues Guitar Lesson 15C:
Fingerpicking Instrumental in A
Blues Guitar Lesson 16: The
"Long A" chord
●
●
●
●
●
●
●
●
Blues Guitar Lesson 17: A
shuffle solo
Blues Guitar Lesson 24 - 8bar blues
Blues Guitar Lesson 24 B8-bar blues in A - Key To
The Highway
Blues Guitar 24 C- 8-bar
blues in A – Come Back
Baby
Tritone Blues - Part 1 *
Part 2 * Part 3
Pony Blues
Willie Brown's Mississippi
Blues
Dropped D tuning,
Alternating bass, See See
Rider
Tritone Blues
Part 1
●
●
●
●
●
●
●
●
A 12 bar blues in G.
G-Boogie .
Rev Gary Davis is Funny
That Way
C-major: C C Rider
C-major: Cocaine Blues
C-major: Blues Rag in C
Diddie Has Something
There
Books and videos on
Acoustic Blues Guitar
Tritone Blues
Part 3
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
Home
The lawfirm where I am
partner:
Bing & Co
http://www.torvund.net/guitar/BluesGuitar/Tritone-2.asp (3 of 3)07.01.2005 04:04:15
© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Tritone Blues - Part 3
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Blues Guitar - Tritone Blues - Part 3
Tritone Blues
Part 2
Happy Traum:
Blues Guitar
Guitar Lessons
Tritone Blues
Part 4
In the next 12-bar blues, I utilize the magic of inverting these chords. The VIIb-III tritone interval of an A7
chord is G - C#. Now the III-VIIb diminished fifth interval in a D7 is F# - C. This means that you can just
move the "chord" one fret down, and then you have the inverted interval of the IV7 chord. And then there is
no prize for guessing that you can move this "chord" up two fret to the V7 chord. You should also try to slide
into these position from one fret below or one fret above, and you can slide from the V7 to the IV7 chord.
Tritone Blues with Inverted Chords
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
Newsletter
Retailers:
If you like the
site, give me
your vote:
Go here for
books and
videos on
blues guitar
Go here for
links to other
Blues Sites
http://www.torvund.net/guitar/BluesGuitar/Tritone-3.asp (1 of 4)07.01.2005 04:04:18
Blues Guitar - Tritone Blues - Part 3
Download Finale File PDF-File
Dave Rubin: 12 Bar Blues
In the book, Dave Rubin explores the 12 bar blues form. The term '12bar blues' has become synonymous with blues music and is the basis
for an incredible body of jazz, rock 'n' roll, and other forms of popular
music. This book/CD pack is solely devoted to providing guitarists with
Bestseller! all the technical tools necessary for playing 12-bar blues with authority.
The CD includes 24 full-band tracks. Covers: boogie, shuffle, swing, riff,
and jazzy blues progressions; Chicago, minor, slow, bebop, and other
blues styles; soloing, intros, turnarounds, accompanying keyboards and
more. This is one of my favorites!
See more info...
This book was selected as Guitar Book of the Month - July 2002
ToC
No HL695187
Review:
Order from:
SheetmusicPlus
(US)
MusicRoom
(UK)
Dave Rubin: The Art of the Shuffle.
As the name says, the book focuses on the shuffle, and not the blues as
such. It explores shuffle, boogie and swing rhythms for guitar. Includes
tab and notation, and covers Delta, country, Chicago, Kansas City, Texas,
New Orleans, West Coast, and bebop blues. As the name says, the book
focuses on the shuffle, and not the blues as such. But as all examples are
in a 12-bar blues format, it will take you through various blues
progressions, as an added bonus to the exploration of the shuffle style.
(HL695005)
See more info...
Order From:
SheetmusicPlus
MusicRoom
(UK)
Amazon UK
Jim Ferguson - All Blues for Jazz Guitar
Jazz-Blues. By Jim Ferguson. Book/CD package. Rhythm/backup. Jim
Ferguson has a jazz approach to the blues, which means jazz comping and
more sophisticated chords. In this book you will learn many arrangements
based on three-note 7th chords (which often could be labeled as dim
chords) in a blues context. (There are many other chords as well). Unless
jazz is you main interest, I will suggest that you start with Dave Rubin's
12 Bar Blues, before going on with Jim Ferguson's book. 92 pages.
Published by Guitar Master Class Pub. - Mel Bay Fingerstyle Jazz.
ToC
No MB96842BCD
Amazon UK
Order from:
SheetmusicPlus
(US)
This book was selected as Book of the Month February 2003
Order from:
Gig Savers: Blues Changes
SheetmusicPlus
For Serious Players. by Corey Christiansen. For Guitar (All). Rhythm/
backup. Progressions. Gig Savers. Blues. Level: Beginning. Book. Size
5.5x8. 16 pages. Published by Mel Bay Publications, Inc.
See more info...
ToC
No MB20030
Review:
Order from:
Comping the Blues
SheetmusicPlus
Jazz-Blues. By Frank Vignola. For Guitar (Flatpick). accompaniment.
Vignola Play Along. Jazz. Level: Intermediate. Book. Size 8.75x11.75. 16
pages. Published by Mel Bay Publications, Inc.
See more info...
ToC
No MB99768
Review:
For more on tritones and the diminished chord, go to:
http://www.torvund.net/guitar/BluesGuitar/Tritone-3.asp (2 of 4)07.01.2005 04:04:18
Blues Guitar - Tritone Blues - Part 3
●
●
●
●
Theory:
Theory:
triad
Theory:
chord
Chords:
Tritone interval
The diminished
The dominant 7th
●
●
●
Chords: Dim7 chords
Progressions: Chord diminished
Progressions: V7-I change
Tritone Blues - Part 1 * Part
2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4 * Part 5
* Part 6 * Part 7
The same in Theory: The
Flat-five Substitution
Song: The Beatles' song
Michelle
●
●
dim chords
●
●
●
12-bar blues
●
●
●
●
Classic Lesson: 1 - BASIC
BLUES
Blues Guitar Lesson 1: The
12 bar blues in E
Blues Guitar Lesson 2: Some
variations of the 12-bar blues
in E
Chord Progressions: Basic 12bar blues
Lesson 14: Blues in A introduction
Tritone Blues - Part 1 *
Part 2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
●
●
●
●
●
●
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4
Blues Guitar – Add the m7
chord - Part 2 * Part 3 *
Part 4
The same in Theory: The
Flat-five Substitution
Fingerpicking Blues Gutiar Lessons
●
●
●
●
●
●
●
●
Blues Guitar Lesson 12: An
introduction to blues
fingerpicking
Blues Guitar Lesson 12B:
Monotone bass fingerpicking
Blues Guitar Lesson 13: 16bar blues
Blues Guitar Lesson 24 - 8-bar
blues
Blues Guitar Lesson 15:
Fingerpicking monotone bass
in A
Blues Guitar Lesson 15B:
Fingerpicking monotone bass
in A – Betty Blues
Blues Guitar Lesson 15C:
Fingerpicking Instrumental in A
Blues Guitar Lesson 16: The
"Long A" chord
●
●
●
●
●
●
●
●
Blues Guitar Lesson 17: A
shuffle solo
Blues Guitar Lesson 24 - 8bar blues
Blues Guitar Lesson 24 B8-bar blues in A - Key To
The Highway
Blues Guitar 24 C- 8-bar
blues in A – Come Back
Baby
Tritone Blues - Part 1 *
Part 2 * Part 3
Pony Blues
Willie Brown's Mississippi
Blues
Dropped D tuning,
Alternating bass, See See
Rider
Tritone Blues
Part 2
●
●
●
●
●
●
●
●
A 12 bar blues in G.
G-Boogie .
Rev Gary Davis is Funny
That Way
C-major: C C Rider
C-major: Cocaine Blues
C-major: Blues Rag in C
Diddie Has Something
There
Books and videos on
Acoustic Blues Guitar
Tritone Blues
Part 4
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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Blues Guitar - Tritone Blues - Part 3
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Tritone Blues - Part 4
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar - Tritone Blues - Part 4
Tritone Blues
Part 3
D-major
In this last part of the Tritone Blues lesson, we will combine the chord with a little bass-run. I think of this as
typical for Kansas City Blues.
Happy Traum:
Blues Guitar
Kansas City in A
New: Blues
Guitar lessons
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Blues Guitar - Tritone Blues - Part 4
Download Finale File PDF-File
Dave Rubin: 12 Bar Blues
In the book, Dave Rubin explores the 12 bar blues form. The term '12-bar
blues' has become synonymous with blues music and is the basis for an
incredible body of jazz, rock 'n' roll, and other forms of popular music. This
book/CD pack is solely devoted to providing guitarists with all the technical
Bestseller! tools necessary for playing 12-bar blues with authority. The CD includes 24
full-band tracks. Covers: boogie, shuffle, swing, riff, and jazzy blues
progressions; Chicago, minor, slow, bebop, and other blues styles; soloing,
intros, turnarounds, accompanying keyboards and more. This is one of my
favorites!
See more info...
This book was selected as Guitar Book of the Month - July 2002
ToC
No HL695187
Review:
Order from:
SheetmusicPlus
(US)
MusicRoom
(UK)
Dave Rubin: The Art of the Shuffle.
As the name says, the book focuses on the shuffle, and not the blues as such. It
explores shuffle, boogie and swing rhythms for guitar. Includes tab and notation,
and covers Delta, country, Chicago, Kansas City, Texas, New Orleans, West
Coast, and bebop blues. As the name says, the book focuses on the shuffle, and
not the blues as such. But as all examples are in a 12-bar blues format, it will
take you through various blues progressions, as an added bonus to the
exploration of the shuffle style. (HL695005)
See more info...
Order From:
SheetmusicPlus
MusicRoom
(UK)
Amazon UK
Jim Ferguson - All Blues for Jazz Guitar
Jazz-Blues. By Jim Ferguson. Book/CD package. Rhythm/backup. Jim
Ferguson has a jazz approach to the blues, which means jazz comping and more
sophisticated chords. In this book you will learn many arrangements based on
three-note 7th chords (which often could be labeled as dim chords) in a blues
context. (There are many other chords as well). Unless jazz is you main interest,
I will suggest that you start with Dave Rubin's 12 Bar Blues, before going on
with Jim Ferguson's book. 92 pages. Published by Guitar Master Class Pub. - Mel
Bay Fingerstyle Jazz.
ToC
No MB96842BCD
Amazon UK
Order from:
SheetmusicPlus
(US)
This book was selected as Book of the Month February 2003
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Blues Guitar - Tritone Blues - Part 4
Order from:
Gig Savers: Blues Changes
SheetmusicPlus
For Serious Players. by Corey Christiansen. For Guitar (All). Rhythm/backup.
Progressions. Gig Savers. Blues. Level: Beginning. Book. Size 5.5x8. 16
pages. Published by Mel Bay Publications, Inc.
See more info...
ToC
No MB20030
Review:
Order from:
Comping the Blues
SheetmusicPlus
Jazz-Blues. By Frank Vignola. For Guitar (Flatpick). accompaniment. Vignola
Play Along. Jazz. Level: Intermediate. Book. Size 8.75x11.75. 16 pages.
Published by Mel Bay Publications, Inc.
See more info...
ToC
No MB99768
Review:
For more on tritones and the diminished chord, go to:
●
●
●
●
Theory:
Theory:
Theory:
chord
Chords:
Tritone interval
The diminished triad
The dominant 7th
●
●
●
Chords: Dim7 chords
Progressions: Chord - diminished
Progressions: V7-I change
Tritone Blues - Part 1 * Part 2
* Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch of
Jazz - Part 1 * Part 2 * Part 3
* Part 4
Blues Guitar: The Flat-five
Substitution – Part 1 * Part 2
* Part 3 * Part 4 * Part 5 *
Part 6 * Part 7
The same in Theory: The Flatfive Substitution
Song: The Beatles' song
Michelle
●
●
dim chords
●
●
●
12-bar blues
●
●
●
●
Classic Lesson: 1 - BASIC
BLUES
Blues Guitar Lesson 1: The 12
bar blues in E
Blues Guitar Lesson 2: Some
variations of the 12-bar blues in
E
Chord Progressions: Basic 12bar blues
●
●
●
Lesson 14: Blues in A introduction
Tritone Blues - Part 1 * Part
2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch of
Jazz - Part 1 * Part 2 * Part 3
* Part 4
●
●
●
Blues Guitar: The Flat-five
Substitution – Part 1 * Part 2
* Part 3 * Part 4
Blues Guitar – Add the m7
chord - Part 2 * Part 3 * Part
4
The same in Theory: The Flatfive Substitution
Tritone Blues
Part 3
D-major
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne *
GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
Home
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - D-major
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
D-major
Dropped D tuning
See See Rider
Tritone Blues - Part 4
The next key is D-major. The basic chords are D, D7, G7 and A7. Of these, only D and G7 have not already
been used in previous lessons.
Happy Traum:
Blues Guitar
Below is the most common version of the D chord, and three versions of G7. I have given three fingerings for
the D chord, and in one of them I have indicated the shift between D and D7.
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
Newsletter
D
Retailers:
D
D
Du finner flere eksempler på hvordan du kan spille D-akkorden på siden The D-chord
If you like the
site, give me
your vote:
G7
Go here for
books and
videos on
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This is the 12-bar blues in D.
Go here for
links to other
Blues Sites
Fingerpicking Blues Gutiar Lessons
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G7
G7
Blues Guitar - D-major
●
●
●
●
●
●
●
●
Blues Guitar Lesson 12: An
introduction to blues
fingerpicking
Blues Guitar Lesson 12B:
Monotone bass fingerpicking
Blues Guitar Lesson 13: 16bar blues
Blues Guitar Lesson 24 - 8-bar
blues
Blues Guitar Lesson 15:
Fingerpicking monotone bass
in A
Blues Guitar Lesson 15B:
Fingerpicking monotone bass
in A – Betty Blues
Blues Guitar Lesson 15C:
Fingerpicking Instrumental in A
Blues Guitar Lesson 16: The
"Long A" chord
●
●
●
●
●
●
●
●
Blues Guitar Lesson 17: A
shuffle solo
Blues Guitar Lesson 24 - 8bar blues
Blues Guitar Lesson 24 B8-bar blues in A - Key To
The Highway
Blues Guitar 24 C- 8-bar
blues in A – Come Back
Baby
Tritone Blues - Part 1 *
Part 2 * Part 3
Pony Blues
Willie Brown's Mississippi
Blues
Dropped D tuning,
Alternating bass, See See
Rider
Tritone Blues - Part 4
●
●
●
●
●
●
●
●
A 12 bar blues in G.
G-Boogie .
Rev Gary Davis is Funny
That Way
C-major: C C Rider
C-major: Cocaine Blues
C-major: Blues Rag in C
Diddie Has Something
There
Books and videos on
Acoustic Blues Guitar
Dropped D tuning
See See Rider
Videre referanser
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Dropped D-Tuning
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Dropped D-Tuning
D-major
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
Newsletter
Guitar Lessons
G-major
You can tune down the low E-string to D, and you will get what is called Dropped D-tuning. When you play in
D, you will get access to the low root note on the open 6th string. In standard tuning, you will often get the
feeling that the notes stop one whole note above where you want to go. You get the root on the 6th and 4th
string, and the fifth on the 5th string. Get to the Dropped D-tuning page in the Open and Alternate
Tuning section for more on this tuning.
We will return to the tune See See Rider, this time loosly based on the playing of Mississippi John Hurt. (He
is playing in standard tuning, which means that he is playing different in the bass.)
With this arrangement we will introduce another fingerpicking technique: Alternating bass. It is istill one bass
note pr beat, but it gives a more "dancing" sound, compared to the monotone bass. Important blues artists
playing in this style are Mississippi John Hurts, Rev. Gary Davis, Blind Lemon Jefferson, Blind Blake
and Blind Boy Fuller.
Alernating bass is the basis of many fingerpicking styles. Two prominent players in this style are Merle Travis
and Chet Atkins.
See See Rider
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Blues Guitar - Dropped D-Tuning
PDF-File
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Blues Guitar - Dropped D-Tuning
Masters of Country Blues Guitar Series / The Mississippi John Hurt Order From:
SheetmusicPlus
Book and Two CD's
Amazon UK
The playing of Mississippi John Hurt combines lyrical songs with lovely
guitar arrangements. 26 arrangements are presented in this collection.
Arrangements in the keys of G, C, E, A and D are studied. Original
Bestseller! recordings by Mississippi John Hurt and transcriptions by Stefan
Grossman. Guitar method or supplement: Book and Two CDs. 100
pages. Published by Warner Brothers.
Book of the Month - May 2003
See more info...
ToC
No WBF3176GTXCD
Review:
Fingerpicking Blues Gutiar Lessons
●
●
●
●
●
●
●
●
Blues Guitar Lesson 12: An
introduction to blues
fingerpicking
Blues Guitar Lesson 12B:
Monotone bass fingerpicking
Blues Guitar Lesson 13: 16-bar
blues
Blues Guitar Lesson 24 - 8-bar
blues
Blues Guitar Lesson 15:
Fingerpicking monotone bass
in A
Blues Guitar Lesson 15B:
Fingerpicking monotone bass
in A – Betty Blues
Blues Guitar Lesson 15C:
Fingerpicking Instrumental in A
Blues Guitar Lesson 16: The
"Long A" chord
●
●
●
●
●
●
●
●
Blues Guitar Lesson 17: A
shuffle solo
Blues Guitar Lesson 24 - 8bar blues
Blues Guitar Lesson 24 B8-bar blues in A - Key To
The Highway
Blues Guitar 24 C- 8-bar
blues in A – Come Back
Baby
Tritone Blues - Part 1 *
Part 2 * Part 3
Pony Blues
Willie Brown's Mississippi
Blues
Dropped D tuning,
Alternating bass, See See
Rider
●
●
●
●
●
●
●
●
A 12 bar blues in G.
G-Boogie .
Rev Gary Davis is Funny
That Way
C-major: C C Rider
C-major: Cocaine Blues
C-major: Blues Rag in C
Diddie Has Something
There
Books and videos on
Acoustic Blues Guitar
D-major
G-major
Videre referanser
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - G-major
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
G-major
Dropped D tuning
See See Rider
G-Major
Blues in G
We continue our little journey through the keys, and now we get to G-major. The three primary chords are
G, G7, C7 and D7. It is only G that we have not been using so far. But we have not used C7 except as a
basis for movable chords. So to be sure, I include the C7 as well.
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
Newsletter
G
Retailers:
G
C7
G7
G og C-akkordene kan gripes på mange måter, se egne sider for G-dur og C-dur. For G-akkorden har jeg
også valgt å diskutere fingersettingen men inngående, se Fingering the G-chord.
En 12-takters blues i G-dur går slik:
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site, give me
your vote:
Dropped D tuning
See See Rider
Go here for
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videos on
blues guitar
Go here for
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Home
G-Major
Blues in G
Videre referanser
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - G-major
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
G-major
G-major
Boogie in
G-major
Blues in G
It is easy to make a melody line around the G chord. The next tune is basically a blues scale played over a monotone bass.
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
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Blues Guitar - G-major
PDF-File
Fingerpicking Blues Gutiar Lessons
●
●
●
●
●
●
●
●
Blues Guitar Lesson 12: An
introduction to blues fingerpicking
Blues Guitar Lesson 12B: Monotone
bass fingerpicking
Blues Guitar Lesson 13: 16-bar
blues
Blues Guitar Lesson 24 - 8-bar blues
Blues Guitar Lesson 15:
Fingerpicking monotone bass in A
Blues Guitar Lesson 15B:
Fingerpicking monotone bass in A –
Betty Blues
Blues Guitar Lesson 15C:
Fingerpicking Instrumental in A
Blues Guitar Lesson 16: The "Long
A" chord
●
●
●
●
●
●
●
●
Blues Guitar Lesson 17: A
shuffle solo
Blues Guitar Lesson 24 - 8-bar
blues
Blues Guitar Lesson 24 B- 8bar blues in A - Key To The
Highway
Blues Guitar 24 C- 8-bar blues
in A – Come Back Baby
Tritone Blues - Part 1 * Part 2
* Part 3
Pony Blues
Willie Brown's Mississippi Blues
Dropped D tuning, Alternating
bass, See See Rider
G-major
●
●
●
●
●
●
●
●
A 12 bar blues in G.
G-Boogie .
Rev Gary Davis is Funny That
Way
C-major: C C Rider
C-major: Cocaine Blues
C-major: Blues Rag in C
Diddie Has Something There
Books and videos on Acoustic
Blues Guitar
Boogie in
G-major
Videre referanser
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne *
GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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Blues Guitar - G-major
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - G-major
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
G-major
G-Major
Blues in G
G-Major
Rev. Gary Davis Was Funny That Way
Boogie Woogie in G-Major
Happy Traum:
Blues Guitar
This arrangement is a boogie bass line and a G-chord. It is actually much easier to play around a G chord
compared to the boogie bass and chord in E. When I first learned to play this kind of bass and chord, I
learned it in G. Leadbelly played «Good Morning Blues» this way. But remember that he played with his
guitar tuned down 11/2 tone, which means that he actually played in E when he was fingering the "G-chords".
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
Newsletter
Retailers:
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site, give me
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links to other
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Blues Guitar - G-major
PDF-File
Fingerpicking Blues Gutiar Lessons
●
●
●
●
●
●
●
●
Blues Guitar Lesson 12: An
introduction to blues
fingerpicking
Blues Guitar Lesson 12B:
Monotone bass fingerpicking
Blues Guitar Lesson 13: 16bar blues
Blues Guitar Lesson 24 - 8-bar
blues
Blues Guitar Lesson 15:
Fingerpicking monotone bass
in A
Blues Guitar Lesson 15B:
Fingerpicking monotone bass
in A – Betty Blues
Blues Guitar Lesson 15C:
Fingerpicking Instrumental in A
Blues Guitar Lesson 16: The
"Long A" chord
G-Major
Blues in G
Videre referanser
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Blues Guitar Lesson 17: A
shuffle solo
Blues Guitar Lesson 24 - 8bar blues
Blues Guitar Lesson 24 B8-bar blues in A - Key To
The Highway
Blues Guitar 24 C- 8-bar
blues in A – Come Back
Baby
Tritone Blues - Part 1 *
Part 2 * Part 3
Pony Blues
Willie Brown's Mississippi
Blues
Dropped D tuning,
Alternating bass, See See
Rider
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A 12 bar blues in G.
G-Boogie .
Rev Gary Davis is Funny
That Way
C-major: C C Rider
C-major: Cocaine Blues
C-major: Blues Rag in C
Diddie Has Something
There
Books and videos on
Acoustic Blues Guitar
G-Major
Rev. Gary Davis Was Funny That Way
Blues Guitar - G-major
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NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - G-major
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
G-major
Boogie in
G-major
C-major
Rev. Gary Davis Was Funny That Way
Happy Traum:
Blues Guitar
New: Blues
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G-major is a key well suited for alternating bass. In the basic G-chord, you get all the chord notes in the
bass: G on the 6th string, B on the 5th string and D on the 4th string. This makes it easy to find some good
bass figures.
The tune on this page is based on Rev. Gary Davis' «She's Funny That Way». It has 8 bars, but does not
follow the 8-bar blues form that we have been discussing in previous lesson.
Notice the chord progression G-E7-A7-D7. Another example of this progression in G-major can be heard in
Blind Blake's «That Will Never Happen No More».
In generic musical terms, we can call this progression a I-VI7-II7-V7 progression. You can find a little more
on this progression in the A salty dog at Alice’s Restaurant in the Chord Progression series.
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PDF-File
She's Funny That Way
I got a gal that is crazy 'bout me
She's just as crazy as any gal can be
She ain't crazy, she's just funny that way
One thing 'bout this gal I can't understand
I found out she's just a fool 'bout one old man
She ain't crazy, she's just funny that way
She got to the place that she got no woman friends
She don't want no woman be shifting around taking her man in
She ain't crazy, she's just funny that way
Now some people say this gal is just tight like that
But when she calls her man she always wants him to be right there
She ain't crazy, she's just funny that way
This gal will work hard for you every day and buy your clothes and
shoes
Come in and look for you and can't find you, she'll begin to have blues
She ain't crazy, she's just funny that way
A little more G-major
Acoustic Guitar has made available a lesson called Your first guitar rag where Dale Miller takes you
through an arrangement based on the same chords as She's Funny That Way.
Fingerpicking Blues Gutiar Lessons
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●
●
●
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Blues Guitar Lesson 12: An
introduction to blues
fingerpicking
Blues Guitar Lesson 12B:
Monotone bass fingerpicking
Blues Guitar Lesson 13: 16bar blues
Blues Guitar Lesson 24 - 8-bar
blues
Blues Guitar Lesson 15:
Fingerpicking monotone bass
in A
Blues Guitar Lesson 15B:
Fingerpicking monotone bass
in A – Betty Blues
Blues Guitar Lesson 15C:
Fingerpicking Instrumental in A
Blues Guitar Lesson 16: The
"Long A" chord
Boogie in
G-major
Videre referanser
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●
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Blues Guitar Lesson 17: A
shuffle solo
Blues Guitar Lesson 24 - 8bar blues
Blues Guitar Lesson 24 B8-bar blues in A - Key To
The Highway
Blues Guitar 24 C- 8-bar
blues in A – Come Back
Baby
Tritone Blues - Part 1 *
Part 2 * Part 3
Pony Blues
Willie Brown's Mississippi
Blues
Dropped D tuning,
Alternating bass, See See
Rider
●
●
●
●
●
●
●
●
A 12 bar blues in G.
G-Boogie .
Rev Gary Davis is Funny
That Way
C-major: C C Rider
C-major: Cocaine Blues
C-major: Blues Rag in C
Diddie Has Something
There
Books and videos on
Acoustic Blues Guitar
C-major
Blues Guitar - G-major
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I appreciate comments
Blues Guitar - G-major
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
C-major
G-Major
Rev. Gary Davis Was Funny That Way
C-Major
Cocaine Blues
The last key we will discuss a a key, is C-major. (I choose to say it this way, because you will find som
arrangements in keys that are not dicussed this way.) The basic chords are C, C7, F7 and G7.
Happy Traum:
Blues Guitar
New: Blues
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Once again we will take a look at a version of See See Rider, or C C Rider as I prefer to call it just to remind
myself that this is the C-major version. If my memory is correct, this arrangement is based on Mance
Lipscomb's version of the tune.
C C Rider
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C-major is a popular key among guitar players who play with alternating bass. Mississippi John Hurt, Rev.
Gary Davis, Big Bill Broonzy, Blind Boy Fuller and Blind Blake have all recorded many tunes in this key.
Blues fingerpicking
If you want to learn more about blues fingerpicking with alternate bass, you should start with the playing of
Mississippi John Hurt.
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Blues Guitar - G-major
Order From:
Masters of Country Blues Guitar Series / The Mississippi John Hurt
SheetmusicPlus
Book and Two CD's
Amazon UK
The playing of Mississippi John Hurt combines lyrical songs with lovely
guitar arrangements. 26 arrangements are presented in this collection.
Arrangements in the keys of G, C, E, A and D are studied. Original
Bestseller! recordings by Mississippi John Hurt and transcriptions by Stefan
Grossman. Guitar method or supplement: Book and Two CDs. 100 pages.
Published by Warner Brothers.
Book of the Month - May 2003
See more info...
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Review:
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Folk & Blues Fingerstyle Guitar taught by Dave Van Ronk
SheetmusicPlus
. Grossman Audio. Level: Intermediate. Book/CD package. Size 8.75x11.75.
32 pages. Published by Grossman's Gtr Workshop.
See more info...
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Review:
Blues and Ragtime Fingerstyle Guitar Dave Van Ronk presents his
arrangements of blues and a classic rag. The book includes a conversation
with Dave, a discography, 6 tunes in notation and tablature, and 3 CDs
teaching each tune phrase by phrase. LESSON ONE: A blues in 12/8 with
Leroy Carr's Midnight Hour Blues. Blood Red Moon follows played in a
dropped D tuning. The lesson ends with Blind Lemon Jefferson's One
Kind Favor. LESSON TWO: Sunday Street is an original Dave Van Ronk
song. Four choruses are taught demonstrating how this tune can develop.
Bessie Smith's classic blues You've Been A Good Old Wagon is taught in
the key of E. LESSON THREE: Dave's arrangement of St. Louis Tickle was
the first great challenge for fingerpickers interested in classic ragtime. This
four sectioned rag is played in the keys of C and F. Published by
Grossman's Gtr Workshop. (SG99470BCD)
See more info...
G-Major
Rev. Gary Davis Was Funny That Way
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SheetmusicPlus
C-Major
Cocaine Blues
Videre referanser
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olav@torvund.net
I appreciate comments
Blues Guitar - G-major
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
C-major
C-Major
C-Major
Blues Rag in C
Cocaine Blues - verse
Happy Traum:
Blues Guitar
«Cocaine Blues» is a typical Rev. Gary Davis arrangement in C-major. It has an 8-bar structure, but does
not follow any standard form. I have written both the verse and a break. Notice bar 3 and 4 in the break. We
go fron C to E to F. It is not easy, but it sounds good. You should also notice the 5/4 in bar 4.
New: Blues
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Blues Guitar - G-major
PDF-File
Cocaine Blues - break
PDF-File
Cocaine Blues - vers + break
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Blues Guitar - G-major
Order from:
Country Blues Guitar
by Stefan Grossman. Country Blues Guitar styles span a wide horizon. In SheetmusicPlus
these three lessons the ideas and techniques of Rev. Gary Davis, Charley
Jordan, Tommy Johnson and Mississippi John Hurt are presented. The
arrangements vary from alternating bass to a Delta strum to a monotonic
bass. 24 page tab/music book with three compact discs. Grossman Audio.
Level: Intermediate. Book/CD Set. Size 8.75x11.75. 24 pages. Published
by Grossman.
See more info...
ToC
No SG99465BCD
Review:
Rev. Gary Davis / CD Masters of Country Blues Guitar Series
This book from fingerstyle master Stefan Grossman features the music
of the legendary master Rev. Gary Davis. It comes complete with a
recording of Rev. Gary Davis performing all of the selections contained in
the folio. With standard notation and tablature. Includes a biography and
explanation of the tab/music system. Book and CD. 84 pages. Published
by Warner Brothers. (WBF3175GTXCD)
See more info...
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MusicRoom
C-Major
Blues Rag in C
C-Major
Videre referanser
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - G-major
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
C-major
C-Major
Cocaine Blues
C-Major
Diddie Has Something There
Blues Rag in C
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
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PDF-File
This is the same progression as in "Funny That Way", but now in C. There are many versions of this theme. Listen
to Blind Blake's «West Coast Blues», «Wabash Rag» and «Skoodle Loo Doo». Other examples are Big Bill
Broonzy's «Skoodle Do Do» and Blind Willie McTell's «Georgia Rag». Arlo Guthrie's «Alice's Restaurant» is also
based on this progression in C-major.
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Blues Guitar - G-major
Woody Mann: Guitar of Big Bill Broonzy
In this comprehensive new audio lesson, Woody Mann explores the ideas,
techniques, and styles of this legendary musician who has influenced generations
of guitarists. The CDs contain three full hours of instruction featuring note-bynote, phrase-by-phrase instruction. Selections include: House Rent Stomp;
Brownskin Shuffle; Moppin' Blues; Hey, Hey; Worryin' You Off My Mind; Stove
Pipe Stomp; and Saturday Night Rub. Written in standard notation and tablature.
Includes 3 CD's. SG98508BCD
See more info...
Order from:
SheetmusicPlus
Guitar of Blind Blake taught by Woody Mann. For fingerpick guitar.
Grossman Audio. Blues. Level: Intermediate. Book/CD package. Licks and
phrases. Size 8.75x11.75. 26 pages. Published by Grossman's Gtr Workshop.
(SG98507BCD)
See more info...
Order from:
SheetmusicPlus
Order from:
Masters of Country Blues Guitar Series / The Music of Blind Blake
SheetmusicPlus
Book and CDBy Stefan Grossman. As performed by Blind Blake. This is a
CD with 16 of his most famous songs that comes with a book, or a book that
comes with a Cd with original recordings. For a guitarist, it gives you the best
of both worlds. WBF3432GTXCD
See more info...
C-Major
Cocaine Blues
C-Major
Diddie Has Something There
Videre referanser
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* GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
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I appreciate comments
Blues Guitar - G-major
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
C-major
C-Major
Blues Rag in C
Minor Blues Lesson 1, Part 1
Diddie Has Something There
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
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We finish off this section with another well known theme in C-major. This arrangement is based on Blind Boy
Fuller's «You've got something there». The song was so popular that he recorded it 20–30 times with different lyrics.
Probably the most well known version of the theme is Blind Blake's «Diddie Wa Diddie», which has been recorded by
Ry Cooder and Leon Redbone. Other versions are Big Bill Broonzy's «Shuffle Rag», «Long Tall Mama» and «Guitar
Shuffle». You will also recognize the theme in Blind Lemon Jefferson's «Black Horse Blues». «Black Horse Blues» is
Blind Lemon Jefferson's version of «Pony Blues», which we have looked at in E-major. True Fire has a lection on
Diddie Wa Diddie available on the net.
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Blues Guitar - G-major
PDF-File
Blues-Rag
If you want to learn more about blues-rag playing, I will recommend that you work with some of the following.
Mississippi John Hurt is not included. But he is a good point of departure, and not as difficult as the others.
Big Bill Broonzy is an artist to start with, no matter what kind of blues you are playing. I have picked a book/CD set
by Woody Mann, where some typical Big Bill Broonzy are covered in detail.
Woody Mann: Guitar of Big Bill Broonzy
In this comprehensive new audio lesson, Woody Mann explores the ideas,
techniques, and styles of this legendary musician who has influenced generations of
guitarists. The CDs contain three full hours of instruction featuring note-by-note,
phrase-by-phrase instruction. Selections include: House Rent Stomp; Brownskin
Shuffle; Moppin' Blues; Hey, Hey; Worryin' You Off My Mind; Stove Pipe Stomp; and
Saturday Night Rub. Written in standard notation and tablature. Includes 3 CD's.
SG98508BCD
See more info...
Order from:
SheetmusicPlus
If you prefer video, you can get this.
Guitar of Big Bill Broonzy taught by Woody Mann. For
fingerpick guitar. Grossman-Gtr Workshop. Blues. Level:
Intermediate. Video. Licks and phrases. Size 4.13x7.5. 90
pages. Published by Grossman's Gtr Workshop. (SG98200VX)
See more info...
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from:
from:
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Blind Boy Fuller
This is another Master of Country Blues book with original recordings and transcriptions.
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Blues Guitar - G-major
Blind Boy Fuller / CD Masters of Country Blues guitar series. Original
recordings by Blind Boy Fuller and transcriptions by Stefan Grossman.
Another Book/CD set with original recordings and transcription - just as a guitar
player want. Book and CD. 92 pages. Published by Warner Brothers.
(WBF3270GTXCD)
See more info...
Order from:
SheetmusicPlus
Again you can also choose a video..
The Guitar of Blind Boy Fuller taught by Ari Eisinger. Grossman-Gtr
Workshop. Video. Size 4x7.5. 89 pages. Published by Grossman's Gtr Workshop.
(SG99411VX)
See more info...
Order from:
SheetmusicPlus
(US)
MusicRoom
(UK)
Rev. Gary Davis is propbably the most influential traditional blues guitarists. He received everyone who would pay 5
dollars for a guitar lesson, and many of today's most prominent teachers and authors of guitar books have been his
students..
Order from:
Ragtime Blues Guitar of Rev. Gary Davis taught by Stefan Grossman. In
SheetmusicPlus
this book, seven of Rev. Davis's blues are presented. These arrangements have
been performed and recorded by a host of great artists including Bob Dylan, Taj
Mahal, Hot Tuna, David Bromberg, John Renbourn, Bert Jansch and many others.
These lessons are for the intermediate to advanced fingerstyle guitarist. The
accompanying three CD lessons teach these arrangements phrase by phrase as
well as presenting the original recordings.
LESSON (CD) ONEhighlights two of Rev. Davis's most popular blues
arrangements. Hesitation Blues is played in the key of C. Baby, Let Me Follow
You Down is played in the key of G.
LESSON (CD) TWO: The key of C was a favorite for Rev. Davis. In this lesson
we explore the party tune Sally Where'd You Get Your Liquor From (made
popular by Hot Tuna). Rev. Davis used to joke that he could play Candyman so
many different ways that he would be able to play it nonstop for at least 8 hours
without repeating himself! We look at two versions of this very popular folk blues
with the regular Candyman followed by the Two-Step Candyman.
LESSON (CD) THREE: Raggin' the blues was a great part of Rev. Davis's
repertoire. His Walkin' Dog Blues is a tour de force in a blues in C. All fourteen
verses are transcribed here, and we study how this arrangement develops. Buck
Rag is a fascinating rag played in the key of C. Single-string runs, counterpoint
lines, rhythmic variations and syncopated bass patterns are featured.
Level: Intermediate. Book/3CD package. Size 8.75x11.75. 40 pages. Published
by Grossman's Gtr Workshop. (SG99464BCD)
See more info...
Rev. Gary Davis / CD Masters of Country Blues Guitar Series
This book from fingerstyle master Stefan Grossman features the music of the
legendary master Rev. Gary Davis. It comes complete with a recording of Rev.
Gary Davis performing all of the selections contained in the folio. With standard
notation and tablature. Includes a biography and explanation of the tab/music
system. Book and CD. 84 pages. Published by Warner Brothers.
(WBF3175GTXCD)
See more info...
Order from:
SheetmusicPlus
MusicRoom
If you are ready for Blind Blake, you are ready for anything – at least when it comes to this style of guitar playing.
Guitar of Blind Blake taught by Woody Mann. For fingerpick guitar. Grossman
Audio. Blues. Level: Intermediate. Book/CD package. Licks and phrases. Size
8.75x11.75. 26 pages. Published by Grossman's Gtr Workshop. (SG98507BCD)
See more info...
Order from:
SheetmusicPlus
Masters of Country Blues Guitar Series / The Music of Blind Blake Book
and CDBy Stefan Grossman. As performed by Blind Blake. This is a CD with 16
of his most famous songs that comes with a book, or a book that comes with a
Cd with original recordings. For a guitarist, it gives you the best of both worlds.
WBF3432GTXCD
See more info...
Order from:
SheetmusicPlus
Guitar of Blind Blake taught by Woody Mann. For fingerpick guitar. GrossmanGtr Workshop. Blues. Level: Intermediate. Video. Licks and phrases. Size
4.13x7.5. 94 pages. Published by Grossman's Gtr Workshop. (SG98199VX)
See more info...
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(US)
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(UK)
Blues Guitar - G-major
Fingerpicking Blues Gutiar Lessons
●
●
●
●
●
●
●
●
Blues Guitar Lesson 12: An
introduction to blues fingerpicking
Blues Guitar Lesson 12B:
Monotone bass fingerpicking
Blues Guitar Lesson 13: 16-bar
blues
Blues Guitar Lesson 24 - 8-bar
blues
Blues Guitar Lesson 15:
Fingerpicking monotone bass in A
Blues Guitar Lesson 15B:
Fingerpicking monotone bass in A
– Betty Blues
Blues Guitar Lesson 15C:
Fingerpicking Instrumental in A
Blues Guitar Lesson 16: The
"Long A" chord
●
●
●
●
●
●
●
●
Blues Guitar Lesson 17: A
shuffle solo
Blues Guitar Lesson 24 - 8bar blues
Blues Guitar Lesson 24 B- 8bar blues in A - Key To The
Highway
Blues Guitar 24 C- 8-bar
blues in A – Come Back Baby
Tritone Blues - Part 1 * Part
2 * Part 3
Pony Blues
Willie Brown's Mississippi
Blues
Dropped D tuning,
Alternating bass, See See
Rider
C-Major
Blues Rag in C
●
●
●
●
●
●
●
●
A 12 bar blues in G.
G-Boogie .
Rev Gary Davis is Funny
That Way
C-major: C C Rider
C-major: Cocaine Blues
C-major: Blues Rag in C
Diddie Has Something There
Books and videos on
Acoustic Blues Guitar
Minor Blues Lesson 1, Part 1
Videre referanser
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar – Minor Blues - Lesson 1, Part 2
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar – Minor Blues - Lesson 1, Part 2
Minor Blues
Lesson 1, Part 1
Minor Blues
Lesson 1, Part 3
Minor Blues - Lesson 1, Part 2
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
The progression with only minor chords may be a bit boring. If we substitute the v7 with its parallel major V7
chord, then we get a kind of lift in the third line. This second group of minor blues progressions has the
chords i - iv - V7.
This time I have also included a turnaround chord (the V7 chord), as it will give the V7-i resoulution when we
go to the next verse. What we do is actually that we choose Harmonic minor instead of Natural minor for
the very reason that we have harmonic minor. A Type 1 progression, still in Am will be like this:
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Here is the set of backing tracks for this progression.
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Backing Track - MinorBlues-3
A Basic Minor Blues progression Type 1: Major V7 chord, i chord in bar 2, V7 as turnaround chord.
Download all files in on zip-file
65 Very slow
Cm C#m Dm Em F#m Gm G#m Am Bm
90 Slow
Cm C#m Dm Em F#m Gm G#m Am Bm
120 Medium
Cm C#m Dm Em F#m Gm G#m Am Bm
As a Type 2 progression, it will be like this:
Go here for
links to other
Blues Sites
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Blues Guitar – Minor Blues - Lesson 1, Part 2
And again, here are the backing tracks.
Backing Track - MinorBlues-4
A Basic Minor Blues progression Type 2: Major V7 chord, iv chord in bar 2, V7 as turnaround chord.
Download all files in on zip-file
65 Very slow
Cm C#m Dm Em F#m Gm G#m Am Bm
90 Slow
Cm C#m Dm Em F#m Gm G#m Am Bm
120 Medium
Cm C#m Dm Em F#m Gm G#m Am Bm
Minor Blues
Lesson 1, Part 1
Minor Blues
Lesson 1, Part 3
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar – Minor Blues - Lesson 1, Part 3
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar – Minor Blues - Lesson 1, Part 3
Minor Blues
Lesson 1, Part 2
12-bars, Two Chord Shapes
and a Touch of Jazz - part 1
Minor Blues - Lesson 1, Part 3
Happy Traum:
Blues Guitar
In this third group of minor blues progression, we use a major IV chord instead of the minor iv. This gives us
the basic chords i - IV - V7. A Type 1 progression will be like this:
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
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Retailers:
The major chord as a IV chord have the major 6th instead of the minor 6th of the basic scale (based on the
root). As long as we use the minor pentatonic scale, it does not make too much of a difference, as this
scale has no sixth in it. But going from a minor 6th to a major 6th is what distinguish a dorian scale from a
natural minorscale. The major 6th hints on the dorian scale. But it is not a dorian progression. A strict
dorian progression would have had i – IV – v.
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Artist
Jeff Healey
Band
Tune
Confidence Man
Key
C#m
CD (Main link goes
to Amazon US,
Amazon UK link
in parenthesis)
See The Light
(UK)
Source (Main link takes
you to SheetmusicPlus)
Comments
The Bluesmen (from
Musicroom)
A John Hiatt
tune. In bar 5, it
goes F#-E-E#.
There is no
turnaround
chord. The bridge
moulates to the
IV-key (F#major).
Blue Heaven ( Amazon
US )
It is a 24 bar
blues, with the
structure of a 12bar: Play two
bars for each bar
in the 12-bar
structure.
Blues Guitar Legends
It does not follow
an exact 12-bar
blues form.
Go here for
books and
videos on
blues guitar
Go here for
links to other
Blues Sites
Mel London
Muddy
Waters
Cry For Me Baby
Am
Trouble, No More Gm
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His Best: 1947
to 1955 (UK)
The Chess Box
[BOX SET] (UK)
Blues Guitar – Minor Blues - Lesson 1, Part 3
B.B. King
Help The Poor
Dm
King of The
Blues (UK)
Live at the Regal
(UK)
B.B. King
Chains & Things
Am
King of The
Blues (UK)
King of The Blues
(Amazon US / UK)
King of The Blues
(Amazon US / UK)
It does not follow
a 12-bar form,
but it is built
around the
chords from this
progression
Backing Track - MinorBlues-5
A Basic Minor Blues progression Type 1: Major V7 chord, major VI chord, i chord in bar 2, V7 as
turnaround chord. Download all files in on zip-file.
65 Very slow
Cm C#m Dm Em F#m Gm G#m Am Bm
90 Slow
Cm C#m Dm Em F#m Gm G#m Am Bm
120 Medium
Cm C#m Dm Em F#m Gm G#m Am Bm
And the Type 2 progression will be:
These are the backing tracks:
Backing Track - MinorBlues-6
A Basic Minor Blues progression Type 2: Major V7 chord, major VI chord, IV chord in bar 2, V7 as
turnaround chord. Download all files in on zip-file
65 Very slow
Cm C#m Dm Em F#m Gm G#m Am Bm
90 Slow
Cm C#m Dm Em F#m Gm G#m Am Bm
120 Medium
Cm C#m Dm Em F#m Gm G#m Am Bm
These are the basic forms of minor blues progressions. There are of course many variations, and I will come
back to a few of them later. But you should learn these basic forms first. I have only written the basic minor
triads. But you can extend them to m7 chords. Experiment!
I have written all examples in Am only, but you should practise them in different keys. You should have not
problem translating them into other keys. But to ensure that you have no excuses for not trying this in other
keys, I will give you this table of chords for various minor keys:
C-minor
C#-minor
D-minor
E-minor
F#-minor
G-minor
G#-minor
A-minor
B-minor
i
Cm
C#m
Dm
Em
F#m
Gm
G#m
Am
Bm
iv
Fm
F#m
Gm
Am
Bm
Cm
C#m
Dm
Em
IV
F
F#
G
A
B
C
C#
D
E
v
Gm
G#m
Am
Bm
C#m
Dm
D#m
Em
F#m
V7
G7
G#7
A7
B7
C#7
D7
D#7
E7
F#7
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Blues Guitar – Minor Blues - Lesson 1, Part 3
Minor Blues
Lesson 1, Part 2
12-bars, Two Chord Shapes
and a Touch of Jazz - part 1
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
Home
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partner:
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - 12-bars, Two Chord Shapes and a Touch of Jazz - part 1
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
12-bars, Two Chord Shapes and a Touch of Jazz - part 1
C-major
Diddie Has Something There
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
Newsletter
Guitar Lessons
12-bars, Two Chord Shapes
and a Touch of Jazz – Part 2
By learning these two simple chord shapes, you can play blues comp with a jazzy touch in any key. It will get
boring after some time if you only use these chords. But they are the basis. You can make variations by
taking these chordshapes out of the standard 12-bar framework. But I will start with a standard 12-bar
blues, type 2, played in two keys that many guitar players will do anything to avoid: Bb and Eb. As long as
you use moveable shapes, no keys are difficult. If you want to play with other people, you have to break out
of our loved keys of E, A, D, G and C. If you are playing with someone who is playing trumpet, they will have
to play in the key F#-major, if you insist on playing in E-major on the guitar. That is six sharps. If someone
is playing alto saxophone, they will have to play Db-major, if you insist on E-major. In this key, they have
five flats. The favorite guitar keys are very difficult to play on most wind instruments. To play F-major, Bbmajor and Eb-major is not as difficult for us as our favorite keys are for them.
These two chord-shapes are often labeled as 7-chords. If one should be precise,
these labels are not correct.. The first chord is a 7th without the 5th. If you
remove a note from a chord, the fifth is usually the first to go. In a basic triad
(three-note chord), the root gives identity, the third gives character and the
fifth gives stability. It is more important to keep the identity and the character,
than to keep the stability. In a 7th chord, the seventh is added, which gives us the
notes 1, 3 and 7 (when the 5th is left out). When we expand the chord to 7th,
9th, etc, the 5th becomes less important. The chord is in root position, with the
root on 6th string, 7th on 4th string and the 3rd on 3rd string.
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The second chord is a 7th without the root. If one should be precise, such a
chord is a diminished triad, built on the third note. If we play it as a good old
G7, it will be Bdim. From what I said above, this chord should loose it's identity.
And it does. But if you are playing in a band, some other may play the root. If the
bass player is playing the root, then the band will play the full chord, even if the
guitar player only play a partial chord. And often our ear will "hear" notes that it
expects to hear, even if the notes are not played. Based on this, I will not use this
chord too much as a I chord (root) in a blues. You need the root note to establish
the root key. If we think of the chord as a 7th chord, it will be in 2nd inversion.
The 5th is on 6th string, 3rd on 4th stringand the 7th on 3rd string.
Notice the fingerings of these two chords. When changing from one to the other, you do not move your 3rd
finger. It remains in the same position on the 3rd string. You move the first and second finger between the
6th and the 4th strings.
The two most important notes in a 7th chord are the 3rd and the 7th. The interval between the two is a
Tritone, a disonant interval that calls for a resolution. If you play the root chord as a 7th chord, you will
never get this solution. The I7 chord will call for a solution to the IV-chord, and it is easy to be thrown out of
key if you resolve the chord this way. But it is this unstable and usettled tonality that makes the simple blues
form so rich and fascinating. Both the chord shapes have this tritone.
Now we get to this very simple 12 Bar blues in Bb, using these two chord shapes.
http://www.torvund.net/guitar/BluesGuitar/Three_note_chords-1.asp (1 of 4)07.01.2005 04:05:00
Blues Guitar - 12-bars, Two Chord Shapes and a Touch of Jazz - part 1
The very "perfect" and strict playing in these MIDI files is a bit boring. You can
download this MP3 file to hear me play the same chords, but with some
rhytmic variations. I play fingerstyle with a monotone bass in straight 4/4, and
some rhytmic variations on the middle strings. It is not played as written, but I
play only the notes in the chords as they are written.
Dave Rubin: 12 Bar Blues
In the book, Dave Rubin explores the 12 bar blues form. The term '12bar blues' has become synonymous with blues music and is the basis
for an incredible body of jazz, rock 'n' roll, and other forms of popular
music. This book/CD pack is solely devoted to providing guitarists with
Bestseller! all the technical tools necessary for playing 12-bar blues with authority.
The CD includes 24 full-band tracks. Covers: boogie, shuffle, swing, riff,
and jazzy blues progressions; Chicago, minor, slow, bebop, and other
blues styles; soloing, intros, turnarounds, accompanying keyboards and
more. This is one of my favorites!
See more info...
This book was selected as Guitar Book of the Month - July 2002
http://www.torvund.net/guitar/BluesGuitar/Three_note_chords-1.asp (2 of 4)07.01.2005 04:05:00
PDF-File
Order from:
SheetmusicPlus
(US)
MusicRoom
(UK)
Blues Guitar - 12-bars, Two Chord Shapes and a Touch of Jazz - part 1
ToC
Review:
No HL695187
Dave Rubin: The Art of the Shuffle.
As the name says, the book focuses on the shuffle, and not the blues as
such. It explores shuffle, boogie and swing rhythms for guitar. Includes
tab and notation, and covers Delta, country, Chicago, Kansas City, Texas,
New Orleans, West Coast, and bebop blues. As the name says, the book
focuses on the shuffle, and not the blues as such. But as all examples are
in a 12-bar blues format, it will take you through various blues
progressions, as an added bonus to the exploration of the shuffle style.
(HL695005)
See more info...
Order From:
SheetmusicPlus
MusicRoom
(UK)
Amazon UK
Jim Ferguson - All Blues for Jazz Guitar
Jazz-Blues. By Jim Ferguson. Book/CD package. Rhythm/backup. Jim
Ferguson has a jazz approach to the blues, which means jazz comping and
more sophisticated chords. In this book you will learn many arrangements
based on three-note 7th chords (which often could be labeled as dim
chords) in a blues context. (There are many other chords as well). Unless
jazz is you main interest, I will suggest that you start with Dave Rubin's
12 Bar Blues, before going on with Jim Ferguson's book. 92 pages.
Published by Guitar Master Class Pub. - Mel Bay Fingerstyle Jazz.
ToC
No MB96842BCD
Amazon UK
Order from:
SheetmusicPlus
(US)
This book was selected as Book of the Month February 2003
Order from:
Gig Savers: Blues Changes
SheetmusicPlus
For Serious Players. by Corey Christiansen. For Guitar (All). Rhythm/
backup. Progressions. Gig Savers. Blues. Level: Beginning. Book. Size
5.5x8. 16 pages. Published by Mel Bay Publications, Inc.
See more info...
ToC
No MB20030
Review:
Order from:
Comping the Blues
SheetmusicPlus
Jazz-Blues. By Frank Vignola. For Guitar (Flatpick). accompaniment.
Vignola Play Along. Jazz. Level: Intermediate. Book. Size 8.75x11.75. 16
pages. Published by Mel Bay Publications, Inc.
See more info...
ToC
No MB99768
Review:
For more on tritones and the diminished chord, go to:
●
●
●
●
Theory:
Theory:
triad
Theory:
chord
Chords:
Tritone interval
The diminished
The dominant 7th
●
●
●
Chords: Dim7 chords
Progressions: Chord diminished
Progressions: V7-I change
●
●
dim chords
●
●
●
12-bar blues
http://www.torvund.net/guitar/BluesGuitar/Three_note_chords-1.asp (3 of 4)07.01.2005 04:05:00
Tritone Blues - Part 1 * Part
2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4 * Part 5
* Part 6 * Part 7
The same in Theory: The
Flat-five Substitution
Song: The Beatles' song
Michelle
Blues Guitar - 12-bars, Two Chord Shapes and a Touch of Jazz - part 1
●
●
●
●
Classic Lesson: 1 - BASIC
BLUES
Blues Guitar Lesson 1: The
12 bar blues in E
Blues Guitar Lesson 2: Some
variations of the 12-bar blues
in E
Chord Progressions: Basic 12bar blues
●
●
●
Lesson 14: Blues in A introduction
Tritone Blues - Part 1 *
Part 2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
C-major
Diddie Has Something There
●
●
●
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4
Blues Guitar – Add the m7
chord - Part 2 * Part 3 *
Part 4
The same in Theory: The
Flat-five Substitution
12-bars, Two Chord Shapes
and a Touch of Jazz – Part 2
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
Home
The lawfirm where I am
partner:
Bing & Co
http://www.torvund.net/guitar/BluesGuitar/Three_note_chords-1.asp (4 of 4)07.01.2005 04:05:00
© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - 12-bars, two Chord Shapes and a Touch of Jazz - part 2
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
12-bars, two Chord Shapes and a Touch of Jazz - part 2
12-bars, two Chord Shapes and a
Touch of Jazz – Part 1
12-bars, two Chord Shapes and a
Touch of Jazz – Part 3
There are two basic ways to combine these two chord shapes in a blues context. In the next example we will
use the second shape for the root (I) chord, and the first shape for the IV and V chords. But remember that
the second shape has not root, so the basic key will not be as firmly established when we use the chords this
way. This time we play in Eb.
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
Newsletter
Retailers:
If you like the
site, give me
your vote:
Go here for
books and
videos on
blues guitar
Go here for
links to other
Blues Sites
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Blues Guitar - 12-bars, two Chord Shapes and a Touch of Jazz - part 2
PDF-File
Dave Rubin: 12 Bar Blues
In the book, Dave Rubin explores the 12 bar blues form. The term '12bar blues' has become synonymous with blues music and is the basis
for an incredible body of jazz, rock 'n' roll, and other forms of popular
music. This book/CD pack is solely devoted to providing guitarists with
Bestseller! all the technical tools necessary for playing 12-bar blues with authority.
The CD includes 24 full-band tracks. Covers: boogie, shuffle, swing, riff,
and jazzy blues progressions; Chicago, minor, slow, bebop, and other
blues styles; soloing, intros, turnarounds, accompanying keyboards and
more. This is one of my favorites!
See more info...
This book was selected as Guitar Book of the Month - July 2002
ToC
No HL695187
Review:
Order from:
SheetmusicPlus
(US)
MusicRoom
(UK)
Dave Rubin: The Art of the Shuffle.
As the name says, the book focuses on the shuffle, and not the blues as
such. It explores shuffle, boogie and swing rhythms for guitar. Includes
tab and notation, and covers Delta, country, Chicago, Kansas City, Texas,
New Orleans, West Coast, and bebop blues. As the name says, the book
focuses on the shuffle, and not the blues as such. But as all examples are
in a 12-bar blues format, it will take you through various blues
progressions, as an added bonus to the exploration of the shuffle style.
(HL695005)
See more info...
Order From:
SheetmusicPlus
MusicRoom
(UK)
Amazon UK
Jim Ferguson - All Blues for Jazz Guitar
Jazz-Blues. By Jim Ferguson. Book/CD package. Rhythm/backup. Jim
Ferguson has a jazz approach to the blues, which means jazz comping and
more sophisticated chords. In this book you will learn many arrangements
based on three-note 7th chords (which often could be labeled as dim
chords) in a blues context. (There are many other chords as well). Unless
jazz is you main interest, I will suggest that you start with Dave Rubin's
12 Bar Blues, before going on with Jim Ferguson's book. 92 pages.
Published by Guitar Master Class Pub. - Mel Bay Fingerstyle Jazz.
ToC
No MB96842BCD
Amazon UK
Order from:
SheetmusicPlus
(US)
This book was selected as Book of the Month February 2003
Order from:
Gig Savers: Blues Changes
SheetmusicPlus
For Serious Players. by Corey Christiansen. For Guitar (All). Rhythm/
backup. Progressions. Gig Savers. Blues. Level: Beginning. Book. Size
5.5x8. 16 pages. Published by Mel Bay Publications, Inc.
See more info...
ToC
No MB20030
Review:
Order from:
Comping the Blues
SheetmusicPlus
Jazz-Blues. By Frank Vignola. For Guitar (Flatpick). accompaniment.
Vignola Play Along. Jazz. Level: Intermediate. Book. Size 8.75x11.75. 16
pages. Published by Mel Bay Publications, Inc.
See more info...
ToC
No MB99768
Review:
12-bar blues
http://www.torvund.net/guitar/BluesGuitar/Three_note_chords-2.asp (2 of 3)07.01.2005 04:05:03
Blues Guitar - 12-bars, two Chord Shapes and a Touch of Jazz - part 2
●
●
●
●
Classic Lesson: 1 - BASIC
BLUES
Blues Guitar Lesson 1: The
12 bar blues in E
Blues Guitar Lesson 2: Some
variations of the 12-bar blues
in E
Chord Progressions: Basic 12bar blues
●
●
●
Lesson 14: Blues in A introduction
Tritone Blues - Part 1 *
Part 2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
●
●
●
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4
Blues Guitar – Add the m7
chord - Part 2 * Part 3 *
Part 4
The same in Theory: The
Flat-five Substitution
For more on tritones and the diminished chord, go to:
●
●
●
●
Theory:
Theory:
triad
Theory:
chord
Chords:
Tritone interval
The diminished
The dominant 7th
●
●
●
Chords: Dim7 chords
Progressions: Chord diminished
Progressions: V7-I change
●
●
dim chords
●
●
●
12-bars, two Chord Shapes and a
Touch of Jazz – Part 1
Tritone Blues - Part 1 * Part
2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4 * Part 5
* Part 6 * Part 7
The same in Theory: The
Flat-five Substitution
Song: The Beatles' song
Michelle
12-bars, two Chord Shapes and a
Touch of Jazz – Part 3
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
Home
The lawfirm where I am
partner:
Bing & Co
http://www.torvund.net/guitar/BluesGuitar/Three_note_chords-2.asp (3 of 3)07.01.2005 04:05:03
© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - 12-bars, Two Chord Shapes and a Touch of Jazz - part 3
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
12-bars, Two Chord Shapes and a Touch of Jazz - part 3
12-bars, two Chord Shapes and a
Touch of Jazz – Part 2
12-bars, two Chord Shapes and a
Touch of Jazz – Part 4
If you have worked your way through my Blues Guitar Series, then you will remember that we have
touched upon these tritones in a blues context before. We will combine these three-note chords with what is
covered in the Tritone Blues lesson, just to show how these ideas can be put togehter.
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
Newsletter
Retailers:
If you like the
site, give me
your vote:
Go here for
books and
videos on
blues guitar
Go here for
links to other
Blues Sites
http://www.torvund.net/guitar/BluesGuitar/Three_note_chords-3.asp (1 of 3)07.01.2005 04:05:05
Blues Guitar - 12-bars, Two Chord Shapes and a Touch of Jazz - part 3
PDF-File
Dave Rubin: 12 Bar Blues
In the book, Dave Rubin explores the 12 bar blues form. The term '12bar blues' has become synonymous with blues music and is the basis
for an incredible body of jazz, rock 'n' roll, and other forms of popular
music. This book/CD pack is solely devoted to providing guitarists with
Bestseller! all the technical tools necessary for playing 12-bar blues with authority.
The CD includes 24 full-band tracks. Covers: boogie, shuffle, swing, riff,
and jazzy blues progressions; Chicago, minor, slow, bebop, and other
blues styles; soloing, intros, turnarounds, accompanying keyboards and
more. This is one of my favorites!
See more info...
This book was selected as Guitar Book of the Month - July 2002
ToC
No HL695187
Review:
Order from:
SheetmusicPlus
(US)
MusicRoom
(UK)
Dave Rubin: The Art of the Shuffle.
As the name says, the book focuses on the shuffle, and not the blues as
such. It explores shuffle, boogie and swing rhythms for guitar. Includes
tab and notation, and covers Delta, country, Chicago, Kansas City, Texas,
New Orleans, West Coast, and bebop blues. As the name says, the book
focuses on the shuffle, and not the blues as such. But as all examples are
in a 12-bar blues format, it will take you through various blues
progressions, as an added bonus to the exploration of the shuffle style.
(HL695005)
See more info...
Order From:
SheetmusicPlus
MusicRoom
(UK)
Amazon UK
Jim Ferguson - All Blues for Jazz Guitar
Jazz-Blues. By Jim Ferguson. Book/CD package. Rhythm/backup. Jim
Ferguson has a jazz approach to the blues, which means jazz comping and
more sophisticated chords. In this book you will learn many arrangements
based on three-note 7th chords (which often could be labeled as dim
chords) in a blues context. (There are many other chords as well). Unless
jazz is you main interest, I will suggest that you start with Dave Rubin's
12 Bar Blues, before going on with Jim Ferguson's book. 92 pages.
Published by Guitar Master Class Pub. - Mel Bay Fingerstyle Jazz.
ToC
No MB96842BCD
Amazon UK
Order from:
SheetmusicPlus
(US)
This book was selected as Book of the Month February 2003
Order from:
Gig Savers: Blues Changes
SheetmusicPlus
For Serious Players. by Corey Christiansen. For Guitar (All). Rhythm/
backup. Progressions. Gig Savers. Blues. Level: Beginning. Book. Size
5.5x8. 16 pages. Published by Mel Bay Publications, Inc.
See more info...
ToC
No MB20030
Review:
Order from:
Comping the Blues
SheetmusicPlus
Jazz-Blues. By Frank Vignola. For Guitar (Flatpick). accompaniment.
Vignola Play Along. Jazz. Level: Intermediate. Book. Size 8.75x11.75. 16
pages. Published by Mel Bay Publications, Inc.
See more info...
ToC
No MB99768
Review:
12-bar blues
http://www.torvund.net/guitar/BluesGuitar/Three_note_chords-3.asp (2 of 3)07.01.2005 04:05:05
Blues Guitar - 12-bars, Two Chord Shapes and a Touch of Jazz - part 3
●
●
●
●
Classic Lesson: 1 - BASIC
BLUES
Blues Guitar Lesson 1: The
12 bar blues in E
Blues Guitar Lesson 2: Some
variations of the 12-bar blues
in E
Chord Progressions: Basic 12bar blues
●
●
●
Lesson 14: Blues in A introduction
Tritone Blues - Part 1 *
Part 2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
●
●
●
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4
Blues Guitar – Add the m7
chord - Part 2 * Part 3 *
Part 4
The same in Theory: The
Flat-five Substitution
For more on tritones and the diminished chord, go to:
●
●
●
●
Theory:
Theory:
triad
Theory:
chord
Chords:
Tritone interval
The diminished
The dominant 7th
●
●
●
Chords: Dim7 chords
Progressions: Chord diminished
Progressions: V7-I change
●
●
dim chords
●
●
●
12-bars, two Chord Shapes and a
Touch of Jazz – Part 2
Tritone Blues - Part 1 * Part
2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4 * Part 5
* Part 6 * Part 7
The same in Theory: The
Flat-five Substitution
Song: The Beatles' song
Michelle
12-bars, two Chord Shapes and a
Touch of Jazz – Part 4
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
Home
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Gitar - 12-bars, Two Chord Shapes and a Touch of Jazz - part 4
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
12-bars, Two Chord Shapes and a Touch of Jazz - part 4
12-bars, two Chord Shapes and a Touch
of Jazz – Part 3
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Guitar Lessons
The Flat Five Substitution
Part 1
When constructing examples for lessons, I try to do it in a way that clearly illustrates the
point in this lesson. If I should make real music, I would make other choices and include
more variations. The example in the previous part illustrates the relation between our three
note chords and the song from the Tritone Blues lesson. But it gets boring when you play
only A in the bass for 10 out of the 12 bars. So I would probably use another variation of the
IV chord (D7), at least I would use it as a variations. If you play this chord at 4th and 5th
fret, you get D7, and at 6th and 7th fret it will be E7.
In the example below, I am using the chords mentioned above. But when doing so, we move away from the
two shapes we started with. And we will hang on to these shapes for a few more (forthcomming) lessons.
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Blues Gitar - 12-bars, Two Chord Shapes and a Touch of Jazz - part 4
PDF-File
Dave Rubin: 12 Bar Blues
In the book, Dave Rubin explores the 12 bar blues form. The term '12bar blues' has become synonymous with blues music and is the basis
for an incredible body of jazz, rock 'n' roll, and other forms of popular
music. This book/CD pack is solely devoted to providing guitarists with
Bestseller! all the technical tools necessary for playing 12-bar blues with authority.
The CD includes 24 full-band tracks. Covers: boogie, shuffle, swing, riff,
and jazzy blues progressions; Chicago, minor, slow, bebop, and other
blues styles; soloing, intros, turnarounds, accompanying keyboards and
more. This is one of my favorites!
See more info...
This book was selected as Guitar Book of the Month - July 2002
ToC
No HL695187
Review:
Order from:
SheetmusicPlus
(US)
MusicRoom
(UK)
Dave Rubin: The Art of the Shuffle.
As the name says, the book focuses on the shuffle, and not the blues as
such. It explores shuffle, boogie and swing rhythms for guitar. Includes
tab and notation, and covers Delta, country, Chicago, Kansas City, Texas,
New Orleans, West Coast, and bebop blues. As the name says, the book
focuses on the shuffle, and not the blues as such. But as all examples are
in a 12-bar blues format, it will take you through various blues
progressions, as an added bonus to the exploration of the shuffle style.
(HL695005)
See more info...
Order From:
SheetmusicPlus
MusicRoom
(UK)
Amazon UK
Jim Ferguson - All Blues for Jazz Guitar
Jazz-Blues. By Jim Ferguson. Book/CD package. Rhythm/backup. Jim
Ferguson has a jazz approach to the blues, which means jazz comping and
more sophisticated chords. In this book you will learn many arrangements
based on three-note 7th chords (which often could be labeled as dim
chords) in a blues context. (There are many other chords as well). Unless
jazz is you main interest, I will suggest that you start with Dave Rubin's
12 Bar Blues, before going on with Jim Ferguson's book. 92 pages.
Published by Guitar Master Class Pub. - Mel Bay Fingerstyle Jazz.
ToC
No MB96842BCD
Amazon UK
Order from:
SheetmusicPlus
(US)
This book was selected as Book of the Month February 2003
Order from:
Gig Savers: Blues Changes
SheetmusicPlus
For Serious Players. by Corey Christiansen. For Guitar (All). Rhythm/
backup. Progressions. Gig Savers. Blues. Level: Beginning. Book. Size
5.5x8. 16 pages. Published by Mel Bay Publications, Inc.
See more info...
ToC
No MB20030
Review:
Order from:
Comping the Blues
SheetmusicPlus
Jazz-Blues. By Frank Vignola. For Guitar (Flatpick). accompaniment.
Vignola Play Along. Jazz. Level: Intermediate. Book. Size 8.75x11.75. 16
pages. Published by Mel Bay Publications, Inc.
See more info...
ToC
No MB99768
Review:
12-bar blues
http://www.torvund.net/guitar/BluesGuitar/Three_note_chords-4.asp (2 of 3)07.01.2005 04:05:08
Blues Gitar - 12-bars, Two Chord Shapes and a Touch of Jazz - part 4
●
●
●
●
Classic Lesson: 1 - BASIC
BLUES
Blues Guitar Lesson 1: The
12 bar blues in E
Blues Guitar Lesson 2: Some
variations of the 12-bar blues
in E
Chord Progressions: Basic 12bar blues
●
●
●
Lesson 14: Blues in A introduction
Tritone Blues - Part 1 *
Part 2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
●
●
●
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4
Blues Guitar – Add the m7
chord - Part 2 * Part 3 *
Part 4
The same in Theory: The
Flat-five Substitution
For more on tritones and the diminished chord, go to:
●
●
●
●
Theory:
Theory:
triad
Theory:
chord
Chords:
Tritone interval
The diminished
The dominant 7th
●
●
●
Chords: Dim7 chords
Progressions: Chord diminished
Progressions: V7-I change
●
●
dim chords
●
●
●
12-bars, two Chord Shapes and a Touch
of Jazz – Part 3
Tritone Blues - Part 1 * Part
2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4 * Part 5
* Part 6 * Part 7
The same in Theory: The
Flat-five Substitution
Song: The Beatles' song
Michelle
The Flat Five Substitution
Part 1
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
Home
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Music Theory for Guitar - The Flat Five Substitution - part 1
Olav Torvund's Guitar Pages
Book of the Month
January 2005
The Flat Five Substitution - part 1
Two Chord Shapes
and a Touch of Jazz - Part 4
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
Newsletter
Retailers:
Guitar Lessons
The Flat Five Substitution
Part 2
You have probably heard jazz musician talk about the flat five substitution
many times. You can learn to know that you can alway substitute a dominant
7th chord or any extension of such chords with the dominiant 7th a flat five
above or below. Instead of A7 you can play Eb7. But in my opinion, it is not
enough to know. We should understand the concept.
The key to this substitution is that the two most important notes in a 7th chord is the 3rd and the 7th. The
interval between these notes is tritone. If we start from the G7 chord, the 3rd is a B and the 7th is an F.
From B to F is a diminished (or flat) fifth = six half steps = tritone. From F to B is an augmented fourth = six
half steps = tritone. The tritone divides the scale into two equal parts, which makes it a symetric interval.
Our ears will not distinguish between a diminished fifth and an augmented fourth. We just hear the tritone,
for instance an F and a B. If you are not familiar with the tritone, you have to go back to some previous
lessons.
We can substitute the other notes in a 7th chord, but not the two notes that make up the tritone. If you
leave out one of these, the chord will loose it's character as a 7th chord.
If we go up one diminished fifth from G (six half steps), we end at Db. As the interval is symetric, we will
also end on Db if we go down a diminished fifth. The Db7 chord has the notes Db-F-Ab-Cb. Cb and B are
enharmonic, which means that they are the same note spelled in two different ways. In Db7, the correct
spelling of the note is Cb, a diminished fifth up from F. If we spelled it B, it would be an augmented fourth,
and the chord would be some kind of a sixth chord. But our ears do not distinguish between the two. And
this is the key to the flat five substitution: The tritone in the Db7 is the same as the tritone in a G7. The
other notes have changed, but we have kept the two important ones.
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With this new knowledge, we shall go back to where we stopped in the 12-bars, Two Chord Shapes and a
Touch of Jazz lesson, and play some blues with flat five substitution. We will still use only the two chord
shapes from this lesson, and we will be in the key of A this time. The flat five substitution for A7 will be Eb7,
for D7 it will be Ab7, and the flat five substitution for E7 will be Bb7. If you are like many of your fellow
guitar players, you will look for another tune when you see chords like Eb7, Ab7 and Bb7. But they are very
simple. We will use the same two chord shapes as we used in 12-bars, Two Chord Shapes and a Touch
of Jazz
Recommended
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5 fr
5 fr
5 fr
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A7
Eb7
A7/Eb7
We play both shapes based on 5th fret. The first will then give us an A7 chord. Then we move the note on
the 6th string up one fret, and we have a Eb7. You will have to change fingering of both the 6th and 4th
http://www.torvund.net/guitar/BluesGuitar/FlatFive-01.asp (1 of 2)07.01.2005 04:05:11
Music Theory for Guitar - The Flat Five Substitution - part 1
string – this is at least how I prefer to play this change. In the shape to the right, I have combined the two,
to show the relation. The black notes constitute the tritone, and we have to keep these notes in both
chords. When we play at 5th fret on the 6th string, we get the notes A, G and C#, which is an A7 without
the fifth. The tritone is the interval between G and C#. If we move up to the 6th fret on the 6th string, and
keep the tritone, we get the notes Bb, G and Db. Db is enharmonic with C#, so we will not hear the
difference. These notes constitute an Eb7 without root.
It would be more precise to say the the notes Bb, G and Db function as an Eb7. It is not really an Eb7 when
there is no root note (Eb) in the chord. What we really have is a Gdim. In the next part we will apply this
flat five substitution to introduce some passing chords in the 12-bar progression.
For more on tritones and the diminished chord, go to:
●
●
●
●
Theory:
Theory:
triad
Theory:
chord
Chords:
Tritone interval
The diminished
The dominant 7th
●
●
●
Chords: Dim7 chords
Progressions: Chord diminished
Progressions: V7-I change
●
●
dim chords
●
●
●
Two Chord Shapes
and a Touch of Jazz - Part 4
Tritone Blues - Part 1 * Part
2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4 * Part 5
* Part 6 * Part 7
The same in Theory: The
Flat-five Substitution
Song: The Beatles' song
Michelle
The Flat Five Substitution
Part 2
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
Home
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Music Theory for Guitar - The Flat Five Substitution - part 2
Olav Torvund's Guitar Pages
Book of the Month
January 2005
Guitar Lessons
The Flat Five Substitution - part 2
The Flat Five Substitution
Part 1
The Flat Five Substitution
Part 3
As said in part 1, now we will use the flat five substitution to introduce some passing chords in the 12-bar
blues. No new chord shapes are used, only new positions.
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
Newsletter
Retailers:
If you like the
site, give me
your vote:
Recommended
Books etc on
Music Theory
Go here for
links to other
Music Theory
sites
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Music Theory for Guitar - The Flat Five Substitution - part 2
PDF-File
If you know your music theory, and read standard notation, you should notice that the notation for the Eb7
chord is not correct in all bars where this chord occurs. In the first example below, it is written as Bb-G-C#,
which is not correct. The correct spelling, as in the second example, is Bb-G-Db. But I want to make clear,
also in the notation, that we have the same tritone – G - C#/Db – in both chords. I had to make a
compromise. I prefer to illustrate, also in the notation, that it is the same notes, even if they might change
their names. In the second example, we do not keep the tritone as the chord change, so then there was no
reason not to write it correctly.
The Ab7 is not correctly written either. It is written
as the first example to the right, with the notes AbF#-C. It should be no F# in a Ab7, it should be
written as the enharmonic Gb, and the notes should
be written as in the correct example to the far right:
Ab-Gb-C. But again I prefer to illustrate that the
note does not change from D7 to Ab7, even though
it change name.
You do have to use the flat five substitution for passing chords only, as we will see in part three.
For more on tritones and the diminished chord, go to:
●
●
●
●
Theory:
Theory:
triad
Theory:
chord
Chords:
Tritone interval
The diminished
The dominant 7th
●
●
●
Chords: Dim7 chords
Progressions: Chord diminished
Progressions: V7-I change
●
●
dim chords
●
●
●
http://www.torvund.net/guitar/BluesGuitar/FlatFive-02.asp (2 of 3)07.01.2005 04:05:13
Tritone Blues - Part 1 * Part
2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4 * Part 5
* Part 6 * Part 7
The same in Theory: The
Flat-five Substitution
Song: The Beatles' song
Michelle
Music Theory for Guitar - The Flat Five Substitution - part 2
12-bar blues
●
●
●
●
Classic Lesson: 1 - BASIC
BLUES
Blues Guitar Lesson 1: The
12 bar blues in E
Blues Guitar Lesson 2: Some
variations of the 12-bar blues
in E
Chord Progressions: Basic 12bar blues
●
●
●
Lesson 14: Blues in A introduction
Tritone Blues - Part 1 *
Part 2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
The Flat Five Substitution
Part 1
●
●
●
Blues Guitar: The Flat-five
Substitution – Part 1 *
Part 2 * Part 3 * Part 4
Blues Guitar – Add the m7
chord - Part 2 * Part 3 *
Part 4
The same in Theory: The
Flat-five Substitution
The Flat Five Substitution
Part 3
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
Home
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Music Theory for Guitar - The Flat Five Substitution - part 3
Olav Torvund's Guitar Pages
Book of the Month
January 2005
Guitar Lessons
The Flat Five Substitution - part 3
The Flat Five Substitution
Part 2
The Flat Five Substitution
Part 4
As said in part 1, now we will use the flat five substitution to introduce some passing chords in the 12-bar
blues. No new chord shapes are used, only new positions.
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
Newsletter
Retailers:
If you like the
site, give me
your vote:
Recommended
Books etc on
Music Theory
Go here for
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Music Theory
sites
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Music Theory for Guitar - The Flat Five Substitution - part 3
PDF-File
Once again I will remind you that these examples are designed to illustrate how you can apply these chords,
and not composed to make exciting music. You have to take it from here and experiment with your own
variations.
We have to do the same in another key, to make sure that you will be able to play in all keys. You will find
that in part 4.
For more on tritones and the diminished chord, go to:
●
●
●
●
Theory:
Theory:
triad
Theory:
chord
Chords:
Tritone interval
The diminished
The dominant 7th
●
●
●
Chords: Dim7 chords
Progressions: Chord diminished
Progressions: V7-I change
●
●
dim chords
●
●
●
The Flat Five Substitution
Part 2
Tritone Blues - Part 1 * Part
2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4 * Part 5
* Part 6 * Part 7
The same in Theory: The
Flat-five Substitution
Song: The Beatles' song
Michelle
The Flat Five Substitution
Part 4
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
Home
The lawfirm where I am
partner:
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Music Theory for Guitar - The Flat Five Substitution - part 4
Olav Torvund's Guitar Pages
Book of the Month
January 2005
Guitar Lessons
The Flat Five Substitution - part 4
The Flat Five Substitution
Part 3
The Flat Five Substitution
Part 5
This is basically the same 12-bar blues variation as in part 3, but this time it is in D-major. If you learn to
play these progressions in A and D, you should be able to play in any key.
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
New Books
Newsletter
Retailers:
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site, give me
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Recommended
Books etc on
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Music Theory
sites
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Music Theory for Guitar - The Flat Five Substitution - part 4
PDF-File
I have included one chord that is neither a primary chord or a flat five substitution for any of those. This is
the C7 in bar 5. I have put it in because I think it fits well into the flow of chords. I have noe explanation
why a C7 should work in this context. I am just sticking to the golden rule of music: If it sounds right, it is
right.
Also in this example, two chords are not correctly written in the standard notation. The version of Ab7 that
is used should be written as Ab-Gb-C, but is written as Ab-F#-C The Eb7 should be written Bb-Db-Eb, but
is written Bb-C#-Eb. Again the reason is that it would be more difficult to see that we are playing the same
notes, even though the names are changing.
One could also discuss how the chords should be labeled. I have chosen C#7 and not Db7, because C# is a
note that belongs to the A-major scale. But then it is an augmented fourth, and not a diminshed (flatted)
fifth above the G. One could also argue that it would be more corret to use G#7 instead of Ab7, and D#7
instead of Eb7. I am not going to discuss the choices, just say that I have made a choice that can be
discussed. If you would have preferred other labels, your choice would be as "correct" as mine.
For more on tritones and the diminished chord, go to:
●
●
●
●
Theory:
Theory:
triad
Theory:
chord
Chords:
Tritone interval
The diminished
The dominant 7th
●
●
●
Chords: Dim7 chords
Progressions: Chord diminished
Progressions: V7-I change
Tritone Blues - Part 1 * Part
2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4 * Part 5
* Part 6 * Part 7
The same in Theory: The
Flat-five Substitution
Song: The Beatles' song
Michelle
●
●
dim chords
●
●
●
12-bar blues
●
●
●
●
Classic Lesson: 1 - BASIC
BLUES
Blues Guitar Lesson 1: The
12 bar blues in E
Blues Guitar Lesson 2: Some
variations of the 12-bar blues
in E
Chord Progressions: Basic 12bar blues
●
●
●
The Flat Five Substitution
Part 3
Lesson 14: Blues in A introduction
Tritone Blues - Part 1 *
Part 2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
●
●
●
Blues Guitar: The Flat-five
Substitution – Part 1 *
Part 2 * Part 3 * Part 4
Blues Guitar – Add the m7
chord - Part 2 * Part 3 *
Part 4
The same in Theory: The
Flat-five Substitution
The Flat Five Substitution
Part 5
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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Music Theory for Guitar - The Flat Five Substitution - part 4
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Music Theory for Guitar - The Flat Five Substitution - part 5
Olav Torvund's Guitar Pages
Book of the Month
January 2005
Guitar Lessons
The Flat Five Substitution - part 5
The Flat Five Substitution
Part 4
The Flat Five Substitution
Part 6
Before closing, you should have a little bit more to play with. First you need to know where you find the
tritone on you guitar. These are the five basic tritone positions:
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I use the A7 as the basis in all examples, with the Eb7 as the flat five substitution chord. But the positions
are moveable. The tritone in these two chords are C#–G and G–Db. Before going on, I will remind you that
the C# and Db are enharmonic, and the the tritone is symetric. (The distance from C# to G is the same as
the distance from G to C#, meaning that we still get a tritone if the interval is inverted).
I remind you that these chords are not full 7th chords. We have removed either the 5th or the root from the
chords. The dominant7 chord without the root is really a dim chord that function as a dominant7. In our
context, a C#dim may function as an A7, and Gdim may function as Eb7.
Retailers:
Tritone on 6th and 5th string
We can start by building 3-note 7th chords around the tritone on the 6th and 5th string.
As this tritone is on the two bottom strings, we have to vary the notes in the treble, and
not the bass-note, as we did in the examples so far.
We find the tritone in two positions: 3rd fret on 6th string and 4th on 5th, and then at 9th
fret at 6th and 10th fret on the 5th string.
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Tritone on 3rd and 4th fret
A7 (C#dim)
Eb7
3 fr
A7 (C#dim)
A7
3 fr
Eb7
Eb7 (Gdim)
3 fr
A7
3 fr
Eb7 (Gdim)
Tritone on 9th and 10th fret
7 fr
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7 fr
8 fr
8 fr
Music Theory for Guitar - The Flat Five Substitution - part 5
A7
Eb7 (Gdim)
9 fr
A7
A7 (C#dim)
9 fr
Eb7 (Gdim)
Eb7
9 fr
9 fr
A7 (C#dim)
Eb7
Tritone on 5th and 4th string
Now we move our tritone to the 5th and 4th string. Still using the same chords in our
example, we find the frist tritone at 5th string 4th fret (C#/Db) and 4th string 5th fret
(G). The next tritone is at 5th string 10th fret (G) and 4th string 11th fret (C#/Db).
Notice that it is a tritone (flat fifth) between the two tritone intervals. This equals 6 frets.
This also means that you can get a flat five substitution by moving any of these chords up
or down six frets.
Tritone on 4th and 5th fret
4 fr
A7
4 fr
Eb7 (Gdim)
4 fr
2 fr
A7
4 fr
A7 (C#dim)
Eb7
2 fr
Eb7 (Gdim)
4 fr
A7
4 fr
Eb7 (Gdim)
Tritone on 10th and 11th fret
10 fr
Eb7
10 fr
A7 (C#dim)
10 fr
A7
8 fr
Eb7
10 fr
Eb7 (Gdim)
8 fr
A7 (C#dim)
10 fr
Eb7
10 fr
A7 (C#dim)
Before we continue, I will remind you to see which notes we are adding to the tritone to get these chords. To
get the A7 without fifth, we add an A (the root). To get an A7 without root we add an E (the fifth). To
get the Eb7 without fifth we add an Eb (root), and to get the Eb7 without root we add a Bb (fifth).
http://www.torvund.net/guitar/BluesGuitar/FlatFive-05.asp (2 of 3)07.01.2005 04:05:21
Music Theory for Guitar - The Flat Five Substitution - part 5
For chords with the next tritones, go to part 6.
For more on tritones and the diminished chord, go to:
●
●
●
●
Theory:
Theory:
triad
Theory:
chord
Chords:
Tritone interval
The diminished
The dominant 7th
●
●
●
Chords: Dim7 chords
Progressions: Chord diminished
Progressions: V7-I change
●
●
dim chords
●
●
●
The Flat Five Substitution
Part 4
Tritone Blues - Part 1 * Part
2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4 * Part 5
* Part 6 * Part 7
The same in Theory: The
Flat-five Substitution
Song: The Beatles' song
Michelle
The Flat Five Substitution
Part 6
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Music Theory for Guitar - The Flat Five Substitution - part 6
Olav Torvund's Guitar Pages
Book of the Month
January 2005
Guitar Lessons
The Flat Five Substitution - part 6
The Flat Five Substitution
Part 5
The Flat Five Substitution
Part 7
I remind you that these chords are not full 7th chords. We have removed either the 5th or the root from the
chords. The dominant7 chord without the root is really a dim chord that function as a dominant7. In our
context, a C#dim may function as an A7, and Gdim may function as Eb7.
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Tritone on 4th and 3rd string
Now we are back to where we started: Chords with the tritones on the 4th and 3rd
strings. But as you will see, there are a few more chords than the ones we have covered
so far.
Still in A7 / Eb7, we find the tritone in two positions: 5th fret on 4th string and 6th on 3rd,
and then at 11th fret at 4th and 12th fret on the 3rd string.
Tritone on 5th and 6th fret
5 fr
5 fr
5 fr
5 fr
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A7
Eb7 (Gdim)
4 fr
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4 fr
A7 (C#dim)
Eb7
Eb7
5 fr
A7
5 fr
Eb7 (Gdim)
Tritone on 11th and 12th fret
11 fr
Recommended
Books etc on
Music Theory
A7 (C#dim)
A7 (C#dim)
11 fr
Eb7
10 fr
11 fr
A7
10 fr
11 fr
Eb7 (Gdim)
11 fr
11 fr
Go here for
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sites
A7
Eb7 (Gdim)
Tritone on 3rd and 2nd string
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A7 (C#dim)
Eb7
Music Theory for Guitar - The Flat Five Substitution - part 6
As the inteval between the 3rd and 2nd string is a major third, and not a perfect
fourht, as it is between the other strings, the shape here is different.
With the chosen chords, the first tritone is on 3rd string 6th fret and 2nd string 8th fret,
and the second on 3rd string 12th fret and 2nd string 14th fret. When reaching 12th fret,
we can also go down one octave, and we have the tritone on open 3rd string and 2nd
string 2nd fret. But as chords with open strings are not moveable, we stick to the 12/14th
fret.
Tritone on 5th and 6th fret
5 fr
A7
5 fr
Eb7 (Gdim)
6 fr
A7
6 fr
6 fr
A7 (C#dim)
6 fr
Eb7 (Gdim)
Eb7
5 fr
5 fr
A7
Eb7 (Gdim)
Tritone on 12th and 14th fret
11 fr
A7 (C#dim)
11 fr
Eb7
12 fr
A7 (C#dim)
12 fr
A7
12 fr
Eb7
12 fr
Eb7 (Gdim)
11 fr
11 fr
A7 (C#dim)
Eb7
For chords with tritones on string 2 and 1, and some other tritone shapes, go to part 7.
For more on tritones and the diminished chord, go to:
●
●
●
●
Theory:
Theory:
triad
Theory:
chord
Chords:
Tritone interval
The diminished
The dominant 7th
●
●
●
Chords: Dim7 chords
Progressions: Chord diminished
Progressions: V7-I change
●
●
dim chords
●
●
●
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Tritone Blues - Part 1 * Part
2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4 * Part 5
* Part 6 * Part 7
The same in Theory: The
Flat-five Substitution
Song: The Beatles' song
Michelle
Music Theory for Guitar - The Flat Five Substitution - part 6
The Flat Five Substitution
Part 5
The Flat Five Substitution
Part 7
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Music Theory for Guitar - The Flat Five Substitution - part 7
Olav Torvund's Guitar Pages
Book of the Month
January 2005
Guitar Lessons
The Flat Five Substitution - part 7
The Flat Five Substitution
Part 6
Add the m7 chord
Part 1
Tritone on 2nd and 1st string
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This is the last tritone on adjacent strings, and the last we will build chord around in this
lesson. But there are more tritones, and we will end the lesson by showing a few of them.
But first we have to look at the tritone on 2nd and 1st string. We find the first tritone on
2nd sting 2nd fret and 1st string 3rd fret.. The next is on 2nd string 8th fret and 1st string
9th fret. If we go one octave up from the first, we end at 2nd string 14th fret and 1st
string 15th fret.
With the chosen chords, the first tritone is on 3rd string 6th fret and 2nd string 8th fret,
and the second on 3rd string 12th fret and 2nd string 14th fret. When reaching 12th fret,
we can also go down one octave, and we have the tritone on open 3rd string and 2nd
string 2nd fret. But as chords with open strings are not moveable, we stick to the 12/14th
fret.
Tritone on 2nd and 3rd fret
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A7 (C#dim)
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A7
Eb7
Eb7 (Gdim)
Eb7
A7
Eb7 (Gdim)
Tritone on 8th and 9th fret
5 fr
5 fr
8 fr
12 fr
Recommended
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A7
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Music Theory
sites
Eb7 (Gdim)
A7 (C#dim)
Eb7
If you try the chords above, you will find that this combination of strings are a bit hard to play for these
chords, as you get some hard stretches.
6 fr
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6 fr
7 fr
7 fr
Music Theory for Guitar - The Flat Five Substitution - part 7
A7 (C#dim)
Eb7
A7
8 fr
A7 (C#dim)
Eb7 (Gdim)
8 fr
Eb7
Tritone on 14th and 15th fret
11 fr
A7 (C#dim)
11 fr
Eb7
12 fr
A7 (C#dim)
12 fr
Eb7
There are of course more chords that can be played with tritone on 14th and 15th fret, but these are the
four where we partly used open strings on the lower position.
There are a few other tritones you can play on the guitar. The first is a real tritone. The others are tritone
+octave.
You should be able to figure out which chords can be substituted by which by now, but I list them just to be
sure. Remember that you can substitute both ways: A7 can be substituted by Eb7, and Eb7 by A7. The
chords in each column can substitute each other.
C7 / Edim
C#/Db7 / Fdim
D7 / F#dim
Eb7 / Gdim
E7 / G#/Abdim
F7 / Adim
F#/Gb7 / Bbdim
G7 / Bdim
Ab7 / Cdim
A7 / C#dim
Bb7 / Ddim
B7 / D#/Ebdim
Now we will leave tritones for a while. But we will not leave the 12-bar blues and three-note chords yet. We
will put in some m7 chords. But this will not be before next month and next newsletter.
For more on tritones and the diminished chord, go to:
●
●
●
●
Theory:
Theory:
triad
Theory:
chord
Chords:
Tritone interval
The diminished
The dominant 7th
●
●
●
Chords: Dim7 chords
Progressions: Chord diminished
Progressions: V7-I change
●
●
dim chords
●
●
●
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Tritone Blues - Part 1 * Part
2 * Part 3 * Part 4
Blues Gutiar: 12-bars, Two
Chord Shapes and a Touch
of Jazz - Part 1 * Part 2 *
Part 3 * Part 4
Blues Guitar: The Flat-five
Substitution – Part 1 * Part
2 * Part 3 * Part 4 * Part 5
* Part 6 * Part 7
The same in Theory: The
Flat-five Substitution
Song: The Beatles' song
Music Theory for Guitar - The Flat Five Substitution - part 7
Michelle
The Flat Five Substitution
Part 6
Add the m7 chord
Part 1
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - the m7 chord - Part 1
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar – Add the m7 chord - Part 1
The Flat Five Substitution
Part 7
The Minor 7th Chord
Part 2
It is recommended that you start with the lesson 12-bars, Two Chord Shapes and a
Touch of Jazz before this lesson, if you have not been through it already.
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If we compare the minor7 with the dominant 7 one difference is of course that the
minor7 is a minor chord, and the dominant 7 is a major chord. But a very important
difference is that there is no tritone in the minor7 chord. It does not call for a
resolution in the same way as a dominant 7, and the flat five substitution does not
apply. But it is still a useful chord.
You should know a little bit about the relation between the 6-chord and it's relative
m7 chord. A C6 is the C with an added 6th, and it has the notes C-E-G-A. The
relative m7 to C6 is Am7, which has the notes A-C-E-G. As you see, they both have
the same notes. The Am7 in root position is the same as C6 in third inversion, and
the C6 is the same as Am7 in first inversion.
We will use two m7 chord shapes, and they are both three-note fingerings with one
note omitted. The first has the notes 1-b7-b3, or A-G-C, if we stick to Am7. Here the
5th is omitted, which does not change the identity or the charachter of the m7 chord.
But if we invert the chord, and get the notes C-G-A, it would be the 1-5-6 of a C6. As
the 3rd is omitted, it will not the character of major chord.
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In the second shape, we have the notes E-C-G. Here the root is omitted, and the chord
will loose it's identity as an A-type chord. It is really a C-chord. These chords can
substitute each other.
m7 - 1-7-b3 voicing
Am7 when played at 5th fret
m7 - 5-b3-7 voicing (Major 3-1-5)
Am7 (C) when played at 10th fret
In Part 2 of this lesson, we will start with a variation of the 12-bar blues we used in
part 1 of the Three Note Chord - Lesson. We will once again be in the key of Bb, and
we will use the Cm7 chord, which is the ii-chord of Bb.
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For more on 7th chords in general, go to:
●
●
Theory: Seventh Chords
Chords: 7th chord
7th
Chord
types:
●
Chords: A
Chord Exercise
– dominant 7th
chord
(dominant) 7th maj7 m7 mM7 (m
(maj7)
The Flat Five Substitution
Part 7
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●
Progressions: V7-I
change
dim7 7b5
The Minor 7th Chord
Part 2
7#5
Blues Guitar - the m7 chord - Part 1
Further references
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FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar *
Gst=Guitarist * HTPG=How To Play Guitar
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - the m7 chord - Part 2
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar – Add the m7 chord - Part 2
The Minor 7th Chord
Part 1
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The Minor 7th Chord
Part 3
Blues Guitar - the m7 chord - Part 2
Instead of playing V7-IV7 in bars 9 and 10, we will play ii7-V7, and we will then land on the I7 (root)
chord in bar 11. What we then get is the ii-V-I progression. In the last bar of the turnaround, we will again
play ii7-V7, which will create a ii7-V7-I7 when it resolves at the first bar of the next verse.
I have also intrduced a VI7 chord (G7 when we are in the key of Bb) in bar 8, and the second half of bar
11. If we should put these chords in the context of C-minor, it would have been the V7-i chords of this
key. By playing these chord, we are almost modulating to C-minor. But as we do not let this key get time
to settle, we are only hinting at the key C-minor, rather than modulating to it.
I have difficulties explaining the function of the VI7 chord in the context of the home key. But it works,
which is most important. I have stolen the chord and it's function in this progression form Jim Ferguson,
who use it a lot in his book All Blues For Jazz Guitar. But he does not explain why he use it, and I have
not been able to figure it out myself. (Does anyone out there have a good answer to this?)
Jim Ferguson - All Blues for Jazz Guitar
Jazz-Blues. By Jim Ferguson. Book/CD package. Rhythm/backup. Jim
Ferguson has a jazz approach to the blues, which means jazz comping
and more sophisticated chords. In this book you will learn many
arrangements based on three-note 7th chords (which often could be
labeled as dim chords) in a blues context. (There are many other
chords as well). Unless jazz is you main interest, I will suggest that you
start with Dave Rubin's 12 Bar Blues, before going on with Jim
Ferguson's book. 92 pages. Published by Guitar Master Class Pub. - Mel
Bay Fingerstyle Jazz.
ToC
No MB96842BCD
Amazon UK
Order from:
SheetmusicPlus
(US)
This book was selected as Book of the Month February 2003
In part 3 we will play the same progression in Eb, to use the other chord positions.
For more on 7th chords in general, go to:
●
●
Theory: Seventh Chords
Chords: 7th chord
7th Chord
types:
●
Chords: A Chord
Exercise – dominant 7th
chord
(dominant) 7th maj7 m7 mM7 (m(maj7)
Progressions: V7-I change
●
dim7 7b5
7#5
12-bar blues
●
●
●
●
Classic Lesson: 1 - BASIC
BLUES
Blues Guitar Lesson 1: The
12 bar blues in E
Blues Guitar Lesson 2: Some
variations of the 12-bar
blues in E
Chord Progressions: Basic
12-bar blues
The Minor 7th Chord
Part 1
●
●
●
Lesson 14: Blues in A introduction
Tritone Blues - Part 1 *
Part 2 * Part 3 * Part 4
Blues Gutiar: 12-bars,
Two Chord Shapes and a
Touch of Jazz - Part 1 *
Part 2 * Part 3 * Part 4
●
●
●
Blues Guitar: The Flat-five
Substitution – Part 1 *
Part 2 * Part 3 * Part 4
Blues Guitar – Add the m7
chord - Part 2 * Part 3 *
Part 4
The same in Theory: The
Flat-five Substitution
The Minor 7th Chord
Part 3
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
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Blues Guitar - the m7 chord - Part 2
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I appreciate comments
Blues Guitar - the m7 chord - Part 3
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar – Add the m7 chord - Part 3
The Minor 7th Chord
Part 2
The Minor 7th Chord
Part 4
This is the same progression as in part 2, but now we are playing in Eb. When you have learned this
progression in Bb and Eb, you should be able to play it in any key.
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Blues Guitar - the m7 chord - Part 3
PDF-File
In part 4 we will re-introduce all the added chords based on Flat Five Substitution, and combine them
the m7 chord and the basic progression introduced in this lesson.
For more on 7th chords in general, go to:
●
●
Theory: Seventh Chords
Chords: 7th chord
7th Chord
types:
●
Chords: A Chord
Exercise – dominant 7th
chord
(dominant) 7th maj7 m7 mM7 (m(maj7)
Progressions: V7-I change
●
dim7 7b5
7#5
12-bar blues
●
●
●
●
Classic Lesson: 1 - BASIC
BLUES
Blues Guitar Lesson 1: The
12 bar blues in E
Blues Guitar Lesson 2: Some
variations of the 12-bar
blues in E
Chord Progressions: Basic
12-bar blues
●
●
●
Lesson 14: Blues in A introduction
Tritone Blues - Part 1 *
Part 2 * Part 3 * Part 4
Blues Gutiar: 12-bars,
Two Chord Shapes and a
Touch of Jazz - Part 1 *
Part 2 * Part 3 * Part 4
The Minor 7th Chord
Part 2
●
●
●
Blues Guitar: The Flat-five
Substitution – Part 1 *
Part 2 * Part 3 * Part 4
Blues Guitar – Add the m7
chord - Part 2 * Part 3 *
Part 4
The same in Theory: The
Flat-five Substitution
The Minor 7th Chord
Part 4
Further references
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G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - the m7 chord - Part 4
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar – Add the m7 chord - Part 4
The Minor 7th Chord
Part 3
Turnaround - Lesson 1
Part 1
Here we are developing further the progression we used in the Flat Five Substitution Lesson - Part 3.
Go to this lesson if you think we are going into too unfamiliar territory.
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Blues Guitar - the m7 chord - Part 4
PDF-File
If you have been through the Flat Five Substitution Lesson - Part 2, you may recall that I discussed the
notation of the chords.We are running into the same problem here, and we have to make a compromize
between a correct notation and a notation that shows the voice leading. Again it is a kind of information you
do not really have to worry about, and I guess that the majority of you readers out there would not notice
the difference. But I want to use correct note spelling, and I want those of you who might be interested (if
any) to know why I sometimes deviate from this principle. It is only a matter if you read the standard
notation. In tablature, the various spelling of notes do not make any difference.
The A7 in a 1-7-3 voicing should be notated with some
kind of a 1, 7 and 3 note, which would be some kind of
A, G and C. The C-type note here is a C#. In the first
example, when playing the chords Eb7-A7, as in bars 2
and 5, I have chosen to notate the enharmonic Db
instead of C#. The Db is some kind of a 4th, and not a
third, so the chord is notated as 1-7-b4 instead of the
correct 1-7-3. The reason is that we are comming from a
Eb7, which has the Db, and to make clear that this note
is not moving, it just formally change it's name, I keep
the Db spelling. In the next example, this is not an
issue, so there I have preferred the correct spelling.
We have the same kind of problem with the E7 chord. In
bar 4, where the first example is taken from, we come
from a Bb7 that has the note Ab in it. The E7 does not
have Ab, but the enharmonic G#. But again I prefer to
keep the Ab to make clear that the note is note moving,
despite that it will give an incorrect notation of the E7
chord. In bar 6, the reason is that we are going to the
Bb7 with a Ab in the next bar. One could argue that it
should have been spelled as the enharmonic chord Fb7
instead of E7. By spelling the bass note Cb instead of B,
the movement in the bass would have been clearer. But
then we would have had trouble with the D on top. In Fb7
the correct spelling would have been Ebb. But I do not
think many guitar players easily can relate to the Fb7
chord and the note Ebb. E7 is familar territory, so I prefer
to use this label and basic spelling. In bar 9 (second
example), we do not have this kind of problem, so here I
have used a correct spelling of the E7 chord.
Finally, the spelling of the B7 in bar 10 should have been B-A-D#, and not B-A-Eb. Again the reason is
that the chord we come from, the F7, has a Eb in it.
For more on 7th chords in general, go to:
●
●
Theory: Seventh Chords
Chords: 7th chord
7th Chord
types:
●
Chords: A Chord
Exercise – dominant 7th
chord
(dominant) 7th maj7 m7 mM7 (m(maj7)
12-bar blues
http://www.torvund.net/guitar/BluesGuitar/Minor7-4.asp (2 of 3)07.01.2005 04:05:44
dim7 7b5
●
Progressions: V7-I change
7#5
Blues Guitar - the m7 chord - Part 4
●
●
●
●
Classic Lesson: 1 - BASIC
BLUES
Blues Guitar Lesson 1: The
12 bar blues in E
Blues Guitar Lesson 2: Some
variations of the 12-bar
blues in E
Chord Progressions: Basic
12-bar blues
●
●
●
Lesson 14: Blues in A introduction
Tritone Blues - Part 1 *
Part 2 * Part 3 * Part 4
Blues Gutiar: 12-bars,
Two Chord Shapes and a
Touch of Jazz - Part 1 *
Part 2 * Part 3 * Part 4
The Minor 7th Chord
Part 3
●
●
●
Blues Guitar: The Flat-five
Substitution – Part 1 *
Part 2 * Part 3 * Part 4
Blues Guitar – Add the m7
chord - Part 2 * Part 3 *
Part 4
The same in Theory: The
Flat-five Substitution
Turnaround - Lesson 1
Part 1
Further references
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G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar – Turnaround - Lesson 1, part 2
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar – Turnaround - Lesson 1, part 2
Turnaround - Lesson 1
Part 1
Turnaround - Lesson 1
Part 3
As I said in the introduction to part 1, these chords can be the basis for many turnaround licks. I will give you
a few examples og licks that are all based on the sequence of diminished chords.
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The first one is some simple rhythmic variations.
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The next example is the first turnaround I learned. In those days, we thought that this was the turnaround,
and we were very proud when we had learned to play it.
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The next is arpeggiated chords.
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Blues Guitar – Turnaround - Lesson 1, part 2
The next two are some variations that it should not be necessary to comment.
The next is arpeggiated chords.
The last one is interesting because we open the first string when playing the Gdim chord. When adding this E,
it turns into a dim7 chord.
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Blues Guitar – Turnaround - Lesson 1, part 2
One good example on how these chords can be used in turarnounds, fill-ins, solos etc, is Eric Claptons
unplugged version of Before You Accuse Me.
Eric Clapton: From The Album Eric Clapton Unplugged
Signature Licks. Acoustic Rock. Performed by Eric Clapton, written
by Wolf Marshall. For guitar. Includes instructional book and examples
CD. With standard guitar notation, guitar tablature, vocal melody,
lyrics, chord names, guitar chord diagrams, guitar notation legend,
Bestseller! introductory text, instructional text and performance notes. Blues rock
and adult contemporary. Series: Hal Leonard . 72 pages. 9x12 inches.
Published by Hal Leonard.
See more info...
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No HL695250
Review:
Eric Clapton: From The Album Eric Clapton Unplugged
Acoustic Rock. Performed by Eric Clapton. For guitar and voice. Format:
guitar tablature songbook. With standard guitar notation, guitar
tablature, vocal melody, lyrics, chord names, guitar chord diagrams and
guitar notation legend. Blues rock and adult contemporary. Series: Hal
Leonard Guitar Recorded Versions. 112 pages. 9x12 inches. Transcribed
by Jesse Gress. Published by Hal Leonard. (HL694869)
See more info...
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From
MusicRoom
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More on Blues Turnarounds
●
●
●
●
Blues Guitar - Lesson 3: An
introduction to turnarounds - the
turnaround chord
Blues Guitar - Lesson 8: A
Turnaround Chord Sequence
Blues Guitar - Lesson 9:
Turnaround licks in E
Turnaround_Lesson 1-1
Turnaround - Lesson 1
Part 1
●
●
●
Turnaround_Lesson 1-2
Turnaround_Lesson 1-3
Turnaround_Lesson 2-1
●
●
●
Turnaround_Lesson 2-2
Turnaround_Lesson 3-1
Turnaround_Lesson 3-2
Turnaround - Lesson 1
Part 3
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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Blues Guitar – Turnaround - Lesson 1, part 2
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar – Turnaround - Lesson 1, part 2
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar – Turnaround - Lesson 1, part 3
Turnaround - Lesson 1
Part 2
Turnaround - Lesson 2
Part 1
These chord postiotions are all moveable, and can be used in any key. If we move the E - G#dim - Gdim F#dim - E sequence up five frets (a fourth), we go to A-major, and the chords will be A - C#dim - Cdim Bdim - A.
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A
C#dim
Cdim
Bdim
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Listen to the opening ant the break in Robert Johnson's tune Kindhearted Woman for an example on how
these chords can be used in A-major. (For a long time it has been my intent to discuss Kindhearted
Woman a little more in depth, but it is still nothing more than a plan for a future lesson.)
Robert Johnson - Signature Licks
A Step-by-Step Breakdown of the Legendary Guitarist's Style and
Technique. Performed by Robert Johnson. By Dave Rubin. Signature
Licks (Authentic guitar transcriptions in notes and tab). Book and CD
package. With notes and tablature. Size 9x12 inches. 64 pages.
Bestseller! Published by Hal Leonard.
Chosen as Book of the Month December 2002.
See more info...
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No HL695264
Review:
Robert Johnson: The Complete Recordings There are several
collections of Robert Johnson's songs, but I see no reason not to get this
double CD set with his total output of 41 recordings (incl alternate takes).
The record has sold more than 500.000, which is a substantial number for
a blues re-issue. CD374890
More information
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Blues Guitar – Turnaround - Lesson 1, part 2
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SheetmusicPlus
Since this is published by the same publisher as the previous, it might
have revised and more accurate transcriptions. Why else should they
publish new transcriptions? But I don't have the book, so I do not know.
It is the most expensive of the books.
Bestseller! More information
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No HL690271
Review:
In the next part of this lesson, we will discuss a few other positions for the same chords.
In this part 2, I will introduce some other chord positions, and you have to experiment with how you can
make various turnarounds based on these chords.
First we will move to the strings 4, 3 and 2, and go to they key D-major. The chords will then be D - F#dim
- Fdim - Edim - D.
D
F#dim
Fdim
Edim
Move it down two frets, and you are in C-major, where you have to play a few open strings.
C
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Edim
Ebdim
Ddim
Blues Guitar – Turnaround - Lesson 1, part 2
You can of course move this up one fret to Eb, two frets to E, etc, instead of going down.
(Some work still need to be done here. Come back in a few days ...)
If you prefer D - D7 - C#7 - C7 - D7, the chords will be:
And the D - D#dim7 - Ddim7 - C#dim7 - D will be:
On the strings 5, 4 and 3, we can for instance play in A.
A
C#dim
Cdim
Bdim
Go down two frets, and you are in G-major, where again you have to play some open strings.
The chords A - A7 - G#7 - G7 - A will be:
And the chords A - A#dim7 - Adim7 - G#dim7 - A will be:
You can move this across to the three bottom strings. The fingering will be the same, just on the adjacent set
of strings. I'll give you the chords E - G#dim - G#dim - F#dim - E for the key E-major, and you should be
able to figure out the rest. To me, the turnaround does not sound too good so deep down in the bass. But try
it, and make your own judgement.
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Blues Guitar – Turnaround - Lesson 1, part 2
This is so far we will get now. I will continue the discussion on blues turnarounds in about a month. If you
want more, and cannot wait, Dave Rubin has just published a book on Blues Turnarounds. I have not yet
seen the book, and cannot make any further commnets on it. But I have yet to see a book from Dave Rubin
that is not good, so I guess it will be worth having. I will get myself a copy of the book.
Order from:
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SheetmusicPlus
A Compendium of Patterns & Phrases for Guitar. By Dave Rubin and
MusicRoom
Rusty Zinn. Guitar Educational. Book and CD package. With notes and
tablature. Size 9x12 inches. 40 pages. Published by Hal Leonard.
See more info...
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No HL695602
Review:
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Larry McCabe - 101 Blues Guitar Turnaround Licks
SheetmusicPlus
For electric guitar. McCabe's 101 Series. Blues. Level: Multiple Levels.
Book/CD package. Licks and phrases. Size 8.75x11.75. 48 pages.
Published by Mel Bay Pub., Inc.
See more info...
ToC
No MB95360BCD
Review:
More on Blues Turnarounds
●
●
●
●
Blues Guitar - Lesson 3: An
introduction to turnarounds - the
turnaround chord
Blues Guitar - Lesson 8: A
Turnaround Chord Sequence
Blues Guitar - Lesson 9:
Turnaround licks in E
Turnaround_Lesson 1-1
●
●
●
Turnaround_Lesson 1-2
Turnaround_Lesson 1-3
Turnaround_Lesson 2-1
Turnaround - Lesson 1
Part 2
●
●
●
Turnaround_Lesson 2-2
Turnaround_Lesson 3-1
Turnaround_Lesson 3-2
Turnaround - Lesson 2
Part 1
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
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University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar – Turnaround - Lesson 2, part 1
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar – Turnaround - Lesson 2, part 1
Turnaround - Lesson 1
Part 3
Turnaround - Lesson 2
Part 2
In this lesson we will take a closer look a the lines in the chords we covered in the last lessons. These
movements between chords are called voice leading. Before we start, we will repeat the basic chord
sequence in E.
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What we will do then, is to play one line at the time, and listen how these notes work in isolation. Some lines
can work as a turnaround without any other notes, other lines get too dull. But you should try and listen to all
of them, and make up your own mind. The first is the top line.
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The next is the second line:
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Blues Guitar – Turnaround - Lesson 2, part 1
It should be no surprise that the next one is the third line:
If you worked through the previous lesson, you should also remember that we added two variations or a
fourth line, one based on dim7 chords, and one with ordinary 7 chords. The dim7 line will be:
And the 7 line will be:
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Blues Guitar – Turnaround - Lesson 2, part 1
We will develop some of these lines a bit further in part 2.
More on Blues Turnarounds
●
●
●
●
Blues Guitar - Lesson 3: An
introduction to turnarounds - the
turnaround chord
Blues Guitar - Lesson 8: A
Turnaround Chord Sequence
Blues Guitar - Lesson 9:
Turnaround licks in E
Turnaround_Lesson 1-1
●
●
●
Turnaround_Lesson 1-2
Turnaround_Lesson 1-3
Turnaround_Lesson 2-1
Turnaround - Lesson 1
Part 3
●
●
●
Turnaround_Lesson 2-2
Turnaround_Lesson 3-1
Turnaround_Lesson 3-2
Turnaround - Lesson 2
Part 2
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar – Turnaround - Lesson 2, part 2
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar – Turnaround - Lesson 2, part 2
Turnaround - Lesson 2
Part 1
Turnaround - Lesson 3
Part 1
Be can now break the notes up into triplets, and play line 1 against the root played on 4th string. Now it
starts to sound like a real turnaround again.
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Then we go to line 2, and play it against the root on the open 1st string.
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If we change key to A, and move line 2 down one octave, you get at turnaround that is very typical of Robert
Johnson.
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If we go back to E, and take another look at the chord sequence covered in Blues Guitar - Lesson 8: A
Turnaround Chord Sequence, we will find the same line. But now the line is harmonized:
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Blues Guitar – Turnaround - Lesson 2, part 2
If you listen to the playing of Big Bill Broonzy and Blind Blake, you can often hear them playing a
turnaround in C, which is also a "harmonized line 2". If we use the same sequence as above, and transpose to
C, it would be:
But they will usually play the relative major to the Fm chord, which is Ab. Then the sequence will be:
Big Bill Broonzy and Blind Blake played a highly syncopated rhythm. You do not get their sound just by
playing the chords. But I will not discuss their playing styles in this lessons.
If you should wonder if you could substitute the Am minor in the E-sequence with it's relative major C, the
answer is yes. But you have to try it out for yourself. In the next turnaround lesson, we will look more at
some turnaround licks.
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Blues Turnarounds
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A Compendium of Patterns & Phrases for Guitar. By Dave Rubin and
MusicRoom
Rusty Zinn. Guitar Educational. Book and CD package. With notes and
tablature. Size 9x12 inches. 40 pages. Published by Hal Leonard.
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Review:
Woody Mann: Guitar of Big Bill Broonzy
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In this comprehensive new audio lesson, Woody Mann explores the ideas,
techniques, and styles of this legendary musician who has influenced
generations of guitarists. The CDs contain three full hours of instruction
featuring note-by-note, phrase-by-phrase instruction. Selections include:
House Rent Stomp; Brownskin Shuffle; Moppin' Blues; Hey, Hey; Worryin' You
Off My Mind; Stove Pipe Stomp; and Saturday Night Rub. Written in standard
notation and tablature. Includes 3 CD's. SG98508BCD
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Blues Guitar – Turnaround - Lesson 2, part 2
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Grossman Audio. Blues. Level: Intermediate. Book/CD package. Licks and SheetmusicPlus
phrases. Size 8.75x11.75. 26 pages. Published by Grossman's Gtr
Workshop. (SG98507BCD)
See more info...
More on Blues Turnarounds
●
●
●
●
Blues Guitar - Lesson 3: An
introduction to turnarounds - the
turnaround chord
Blues Guitar - Lesson 8: A
Turnaround Chord Sequence
Blues Guitar - Lesson 9:
Turnaround licks in E
Turnaround_Lesson 1-1
●
●
●
Turnaround_Lesson 1-2
Turnaround_Lesson 1-3
Turnaround_Lesson 2-1
Turnaround - Lesson 2
Part 1
●
●
●
Turnaround_Lesson 2-2
Turnaround_Lesson 3-1
Turnaround_Lesson 3-2
Turnaround - Lesson 3
Part 1
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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University of Oslo
NRCCL
olav@torvund.net
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Blues Guitar – Turnaround - Lesson 3, part 2
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar – Turnaround - Lesson 3, part 2 - Turnaround
Licks
Turnaround - Lesson 3
Part 1
One way to make variations, is to combine elements from various turnarounds. One example is this:
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Or the other way:
Retailers:
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site, give me
your vote:
But from here it is better to think of turaround licks based on the blues scale, rater than on chord sequences.
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There are many ways you can vary these small scale based run. But the next one is not right on the point,
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Blues Guitar – Turnaround - Lesson 3, part 2
and I will explain why.
In the example above, we simply came home a little bit too early. We should not end on the E before the first
beat in the last bar. We have to add something, to get home on time. One simple way is to slow the lick down
by making one note longer. It could be the first note on the third beat, like this:
Or it can be the first note on the last beat:
I am not saying that it is wrong if you make one of the other notes longer. In my opinion, they will usually not
work as well. But usually is not always. And you decide what is right for you.
Another approach is to break the sequence by adding an extra note. You can go to the 7th below the root, in
this case a D, like this:
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Blues Guitar – Turnaround - Lesson 3, part 2
Another possibility is to add the flat five - the note that distinguish the blues scale from the minor pentatonic
scale:
This concludes the mini-series on blues turnarounds. There are of course many other turnarounds, both in the
key of E and in other keys. But this should give you something to work from.
I will from time to time upload more turnarounds in various keys. If you subscribe to my newsletter, you will
be among the first to know when there are new turnarounds around.
Order from:
Blues Turnarounds
SheetmusicPlus
A Compendium of Patterns & Phrases for Guitar. By Dave Rubin and
MusicRoom
Rusty Zinn. Guitar Educational. Book and CD package. With notes and
tablature. Size 9x12 inches. 40 pages. Published by Hal Leonard.
See more info...
ToC
No HL695602
Review:
Order from:
Larry McCabe - 101 Blues Guitar Turnaround Licks
SheetmusicPlus
For electric guitar. McCabe's 101 Series. Blues. Level: Multiple Levels.
Book/CD package. Licks and phrases. Size 8.75x11.75. 48 pages.
Published by Mel Bay Pub., Inc.
See more info...
ToC
No MB95360BCD
Review:
More on Blues Turnarounds
●
●
●
●
Blues Guitar - Lesson 3: An
introduction to turnarounds - the
turnaround chord
Blues Guitar - Lesson 8: A
Turnaround Chord Sequence
Blues Guitar - Lesson 9:
Turnaround licks in E
Turnaround_Lesson 1-1
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●
●
●
Turnaround_Lesson 1-2
Turnaround_Lesson 1-3
Turnaround_Lesson 2-1
●
●
●
Turnaround_Lesson 2-2
Turnaround_Lesson 3-1
Turnaround_Lesson 3-2
Blues Guitar – Turnaround - Lesson 3, part 2
Turnaround - Lesson 3
Part 1
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
Home
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar – Roll and Tumble Blues, Open G
This is one of the classic slide themes, this time played in Open G tuning. All the fretted notes are played with
the slide. You can get some clues from the MIDI file. But a MIDI file like this can never give you the subtleties
of slide guitar playing. So you should listen to the MP3 file as well.
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New: Blues
Guitar lessons
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Retailers:
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site, give me
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Go here for
books and
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links to other
Blues Sites
PDF-File
Bottleneck/Slide Guitar
●
Dust My Blues, Open D
●
●
Open G/A tuning - "Spanish"
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Roll and Tumble Blues,
Open G
Walking Black Mama, Open
G
●
Books and videos on bottleneck/
slide guitar
Blues Guitar
●
●
Main
Chords in Open G / A tuning
●
●
The Minor Pentatonic Scale
Blues Guitar/Slide – Roll and Tumble
Blues
●
●
Songs in Open-G
Songs in Open-A
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
Home
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Blues Guitar - Walking Black Mama
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Guitar Lessons
Blues Guitar - Walking Black Mama
This is one of the classic blues slide themes in Open-G tuning. Son House's used it in My Black Mama and Preachin'
the Blues. But the most famous version is probably Robert Johnson'sWalkin' Blues. Robert Johnson's learned this
theme from Son House.
I have made a simplified version of the theme. It is built from three basic licks. If I write the whole verse so that you
can view it on screen, it might be reduced to a size that is a bit hard to read. So I have written the basic licks, and then
the whole verse. I hope this will make it a bit easier.
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Guitar lessons
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The first
lick is
played
through the
first four
bars. The
main point
is to get a
driving
rhythm.
The next
lick is
played in
bars 5, 6
and 10.
Retailers:
I have written two bars with two
variations of the third lick. These two
bars are played in bars 7 and 8, and
the first of the two bars is also played
in bars 11 and 12.
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I said three licks, so you might wonder why i write out a fourth one. But this is
really the same as the second, only moved two frets up. It is played in bar 9.
Here is the complete 12-bar version
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Blues Guitar - Walking Black Mama
I am sure it is possible to get something that at least resembles slides in a MIDI file. But you have to know MIDI better
than I do if you want to do that. So the MIDI file does not sound right - it is actually far from right.
PDF-File
Bottleneck/Slide Guitar
●
Dust My Blues, Open D
●
●
Roll and Tumble Blues, Open G
Walking Black Mama, Open G
●
Books and videos on bottleneck/slide
guitar
Open G/A tuning - "Spanish"
●
●
Main
Chords in Open G / A tuning
●
●
The Minor Pentatonic Scale
Blues Guitar/Slide – Roll and Tumble Blues
●
●
Songs in Open-G
Songs in Open-A
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne *
GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
http://www.torvund.net/guitar/BluesGuitar/WalkingBlackMama.asp (2 of 3)07.01.2005 04:06:12
Blues Guitar - Walking Black Mama
Home
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments