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| GUITAR: INTERMEDIATE BLUES GUITAR LESSONS | |||
| WorkshopLive's Intermediate Blues Guitar Lessons are designed for the guitarist who has a firm grasp on the basic concepts of playing Blues guitar, but wants to add some spice to their solos and their rhythm playing. These lessons will teach you about the 112/8 Blues, the minor Blues, how to apply scales all over the fretboard, rhythm variations, chord construction, the 8 bar Blues, as well as swing and jump Blues. And as always, you'll walk away from several lessons with new licks and riffs for you to use to build your own ideas. |
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| COURSE | LESSON | TEACHER | DESCRIPTION |
| Introduction to 12/8 Blues | 12-Bar Blues in C (6th-String Root) | Dennis McCumber & Scott A. Smith | In this lesson, we're going to be moving our blues to new heights. We're movin' on up to the blues in C. This is going to be a 6th-string root. We'll also be movin' on down to the IV and the V chords, where we'll explore some lower voicings. Finally, we'll try a different strum pattern for this blues. Let's get started. |
| Introduction to 12/8 Blues | 12-Bar Blues in C (5th-String Root) | David Boye & Scott A. Smith | In this lesson we'll play the C Dominant Blues using the 5th-string root barre chords. This will help you get more comfortable with the dominant 7 chord forms with a 5th-string root note, and jump to the upper reaches of the fingerboard. We'll put this together in the very common 12/8 time signature that is heard everywhere in the blues. Our I chord for this lesson is C7, so if you see five (fingers, that is), we can get to it! |
| Introduction to 12/8 Blues | 12-Bar Blues in C Minor (6th-String Root) | Dennis McCumber & Scott A. Smith | This lesson is going to take the minor blues that we learned in 'A' and move it to a new key just a little higher, to the key of C. We'll get a chance to move the minor chord around some. We'll learn to arpeggiate the chords in this lesson. This will be an alternative to strumming. I like to change things up once in a while. So, let's get started and, remember, have fun... |
| Introduction to 12/8 Blues | 12-Bar Blues in C Minor (5th-String Root) | David Boye & Scott A. Smith | We're going to switch to a minor mode today. In the major keys, we've worked on the dominant 7th barre chord forms with both the 5th- and 6th-string roots. In this lesson, we'll take the Cmin7 barre chord, with a 5th-string root, and find our way around a slow 12-bar form in the key of C Minor. The tempo isn't set in stone, but when you hear the quality of these chords it seems the like the only right speed to go. A slow minor blues in 12/8 time is just what seems right on a dreary day back in my home state of Nebraska. |
| Expanding the Fingerboard | Major Pentatonic: Boxes 3, 4 and 5 | Dennis McCumber & Scott A. Smith | In this lesson, we are going to learn the third, fourth and fifth positions of the major pentatonic scale. We'll look at ways to learn new scale patterns. We'll learn a new way to build up our scale speed. We are also going to talk about the scale's relationship to the minor pentatonic scale. Let's not waste any more time. Let's get to work! |
| Expanding the Fingerboard | Position Switching Through All Five Boxes | Dennis McCumber & Scott A. Smith | In this lesson, we'll cover one way to play through all the five minor pentatonic box patterns. This will simplify the scale for you. We'll take a look at some cool new ways to use the minor pentatonic scale to create interesting phrases in your solos. We'll also talk a little bit more about root targeting. This will enable you to find the roots quicker. Let's get started. |
| Expanding the Fingerboard | Developing Bending Feel and Ear | David Boye & Scott A. Smith | There is probably nothing that shouts out the word blues more than bending. Great sounding string bending can mimic the sound of a human cry, sound like a sexy, throaty moan, chirp like a bird, or scream in 50 different ways. It can even give you a sense of what it sounds like driving past the cows down the county roads of Nebraska on a hot, dusty August afternoon. In this lesson, I'm going to discuss some of the ways to develop your ear and your feel when bending notes, and we'll work on some exercises that will help build your strength and control. |
| Two-Note Boogie Pattern Variations | Two-String Chords | Dennis McCumber & Scott A. Smith | In this lesson, we will continue our two-note boogie patterns. The knowledge of the boogie patterns and the different ways of playing them will be invaluable. Boogie patterns are probably what helped draw rock and roll out of the blues. We'll check out different ways of strumming them to bring out the soul in our boogie patterns. The more ways you can play something, the better off you are in any situation. This lesson is video only. Animations will be coming soon. |
| Two-Note Boogie Pattern Variations | Closed Position in C - Root on 6th String | Dennis McCumber & Scott A. Smith | In this lesson, we will be taking our two-note-chord boogie patterns, and we will learn to keep them in one position. We will learn to stop chasing the chords around, an age-long problem for guitar players. We will combine the roots of two different strings. This will limit our travel time around the guitar. This will give us the ability to play our boogie patterns in many more keys without too much thought. |
| Two-Note Boogie Pattern Variations | Combine Open & Closed Position Boogie Patterns | Dennis McCumber & Scott A. Smith | This lesson is going to take a boogie pattern we've already learned and use it in E blues. We'll also learn an intro. We'll combine both open and closed-voiced boogie patterns to create our E-blues rhythm. We'll learn the advantages of using the open strings. And remember, we have that cool intro to learn. This is a real common intro for any blues style. |
| Chord Construction: Introduction to 5th-String Root 9th Chords | Introducing the B9 Chord in an Open Position I-IV-V in E | Dennis McCumber & Scott A. Smith | This lesson is going to focus on a new chord, the 9th chord. The 9th chord is an upper structure of the 7th chord. These chords are interchangeable. We are going to use it in place of the V chord. When we play blues in E, our V chord is usually B7. Today it's going to be B9. This a very cool chord. It has a lot of uses in the blues, so you'll really want to master this chord voicing. So, let's get to work. |
| Chord Construction: Introduction to 5th-String Root 9th Chords | A Shuffle and 9 Chords | David Boye & Scott A. Smith | We will work on 9th chords for this lesson. 9th chords are the perfect embellishment to a blues progression and can take the sound of a typical blues out of the ordinary into another level. They can be a little tough to tackle at first, but once you get them, they can be used whenever the mood strikes, in small doses or big chunks. This lesson will give you a chance to work with them in a 12-bar blues progression, and with some interesting rhythmic ideas. |
| Chord Construction: Introduction to 5th-String Root 9th Chords | Riff-Based Blues with 9-Chord Turnarounds | David Boye & Scott A. Smith | In this lesson, we'll use 9th chord turnarounds with a riff-based blues progression in A. 12-bar blues progressions come in all shapes, sizes and colors. The 12-bar sequence is sometimes the only connection between the sounds of one song to another. When you're playing a riff-based blues, you follow the 12-bar sequence, but instead of playing chords, you create riffs from the chords. By tacking on a cool 9th chord turnaround at the end, it can really make for an interesting progression. Let's check it out! |
| The 12/8 Feel | 12/8 Blues in A | Dennis McCumber & Scott A. Smith | In this lesson, we are going to learn a blues in 12/8 time. This is most often heard in slow blues progressions. The order of the chords does not change, but the way you strum them will. We will also take a look at some new ways to embellish the chords to create more interesting progressions. After you master this lesson, you'll have several new songs you'll be able to add to your repertoire. This lesson is video only. Animations will be coming soon. |
| The 12/8 Feel | 12/8 Blues in A Minor | Dennis McCumber & Scott A. Smith | In this lesson, we'll take the same 12/8 feel that we've been working with and use the minor 7th chords instead of the dominant 7th chords. The minor blues is a slow blues form, as well. We'll also review the minor 7th chords. In this lesson, we will also learn to slide the minor voicings to create interest and to help us keep track of the time. So let's get to work. This lesson is video only. Animations will be coming soon. |
| The 12/8 Feel | Standard Turnaround (I-IV-I-V) | Scott A. Smith | The 12/8 form is pretty awesome to solo over. It's slow enough that we can get away with all sorts of guitar craziness. But at a point, we have to reel it all in and bring it in for a landing. In this lesson, we'll learn all about the common 12/8 blues turnaround and how to make it sound awesome. So come on in and let's do some playing. |
| The 12/8 Feel | Augmented Chord Replaces Last V Chord | Scott A. Smith | In the world of blues, there lives this strange and wonderful sound that automatically gets in people's ears. It's an elusive sound, but easy to tame if you know the secrets. I'm talking about the sound of the augmented chord. In this lesson, we'll learn all about how to make the sound and how to use it in the blues. This should be a whole lot of fun, so come on in. |
| The 12/8 Feel | The Heart of the Shuffle | Mark Dziuba & Matt Smith | The 12/8 feel in the blues is one of the most important grooves to understand and develop. The 12/8 feel is utilized in 1000's of blues tunes and is at the heart of one of the most popular grooves in music: the shuffle. It's also a great feel that can help you keep a very slow tempo moving along without speeding up or slowing down. In this lesson, I'll get at the heart of the feel, the eighth-note triplet and show how to subdivide, accent, mute and come up with 12/8 patterns. Getting a grip on this feel will enhance your accompaniment and soloing chops. Let's get down. |
| The 12/8 Feel | Minor-Key Shuffle | Mark Dziuba | In this lesson, I'll continue to explore the 12/8 feel within a minor blues context. You hear this feel in a lot of slow to medium-tempo minor blues tunes. Subdividing the beat into eighth-note triplets helps to propel the music forward and keeps a slow tempo from dragging or rushing. I'll talk about sliding into the chord change from below, the essence of the shuffle, fingerstyle 12/8 feel and 12/8 strumming patterns with chord fills. Finally, I'll put it all together for you with a 12-bar A Minor blues progression. I can't wait any longer. |
| Other Blues Forms | The Eight-Bar Form | Mark Dziuba & Matt Smith | This is one of my all time favorite blues form variations, the 8-bar blues. Probably the most famous example of this form is the Skip James tune, 'Key to the Highway'. I consider the standard 12-bar blues progression the best compositional and improvisational vehicle ever invented. The 8-bar form condenses all the 12-bar form's innovations into a compact version. It's a total gas to play over. In this lesson, I'll turn you on to some examples of the 8-bar blues form while incorporating some of the great blues feels explored in other lessons. So let's get started. |
| Chord Repertoire | In the Style of [The Thrill is Gone] | Mark Dziuba & Matt Smith | The B.B. King tune, 'Thrill is Gone' is the quintessential minor blues. Thousands of minor blues have been written on these changes, with tons of innovative variations ranging from subtle to profound. A deep understanding of the chord changes in the style of 'The Thrill is Gone' is essential. This lesson will explore these classic changes, which I'm sure you'll encounter in many a gig or jam session. I'll also talk about some interesting drone, extension-rich chord voicing options that are available, as well as the feel of the tune. You dig? |
| Chord Repertoire | In the Style of [They Call It Stormy Monday] | Mark Dziuba & Matt Smith | The chord changes in the style of the great T. Bone Walker tune, 'They Call it Stormy Monday' have played an incredibly important role in the development and history of the blues repertoire. These changes are dear to me as they're probably the first blues changes I ever learned. In this lesson, I'll outline two versions of the changes and talk about some specific guitar traditions associated them. These changes are traditionally done in a slow tempo but medium tempo versions are also quite common. So, Let's check out those changes... |
| Additional 9th Chords | 4th-String Root 9th Chords | Mark Dziuba & Matt Smith | Adding the 9th to a 7th chord really enhances the chord's quality. The 9th is considered an extension of the chord and can be used with all qualities of 7th chords. That's what this lesson is all about. All the voicings discussed will utilize the top four strings of the guitar with the root located on the 4th string. I'll show you a cool way of finding these 4-3-2-1 string combination voicings by using what you may already know. I'll explore many different flavors of 9th chords and show how to apply them within a variety of blues contexts. Here we go... |
| Minor Blues Chord Forms | Minor Line Cliche | Mark Dziuba & Matt Smith | I always remember hearing the coolest thing in a minor blues in bar five. This is where the IV chord hangs out for two bars traditionally. I eventually learned that it was a graceful but very profound chord quality change from minor to minor/major 7th to minor 7th to minor 6th. That nifty little device is what this lesson is all about. I'll show you a variety of chord forms to get the movement happening, how to apply this movement and a linear expression. You'll be able to apply this device to any minor blues real soon. |
| Rhythm Variations | The Charleston Rhythm | Mark Dziuba & Matt Smith | One of the most popular and useful accompaniment rhythms in blues, jazz and pop music is what we call the Charleston rhythm. It's the opening rhythm of the famous composition, "The Charleston," a tune and dance that swept the nation in the roaring 1920s. In this lesson, I'll show you this catchy rhythm by getting warmed up first, variations on its note lengths and how to apply it within a blues progression. I'll also show you some mini chord voicings that go well with the Charleston rhythm. So grab your partner and let's get swingin'. Please Wait for the video to fully download |
| Rhythm Variations | Upbeat-Shuffle Rhythm | Mark Dziuba & Matt Smith | The shuffle rhythm is an essential part of the traditional blues vocabulary. Its a deceptively simple rhythm that needs to be developed with consistent practice and, more importantly, with a shuffle repertoire. This lesson takes apart the rhythm and shows you how to emphasis the upbeat. Once the shuffled effect is happening, I'll show you how to apply the rhythm to a blues progression and how to incorporate chord voicings within the pattern. Let's get shuffling. |
| Blues Variations | Advanced Boogie Patterns | Matt Smith | Let's Boogie! A long time ago, guitarists decided not to let piano players have all the fun and wanted to get in on the boogie. There are several different kinds of boogie, from the i-chord boogies of John Lee Hooker and ZZ-top to 12-bar boogies performed by virtually every Blues band from Portland, Oregon to Portland, Maine. In this lesson, we'll explore several styles every guitarist needs to know. You ready to boogie? Let's go! |
| Swing and Jump Blues Styles | 6th-String-Root 6 Chords | Mark Dziuba & Matt Smith | Swing and jump style blues is full of 6th chords. These voicings are less dissonant than the dominant 7th or min7th and lend an old-timey sound to the blues. In this lesson I'll show you some voicings of the 6th chord with the root based on the 6th string and how 6th chords can be seen as other flavors. I'll also show you how to apply these chords within some typical blues progressions. Finally, I'll show you a great improvisation exercise aided by the simplicity of these 6th chord fingerings. Let's jump in. |
| Swing and Jump Blues Styles | Three-String 6th and 9th Chords | Mark Dziuba & Matt Smith | 6th and 9th chords lend a spicier or jazzier sound to blues progressions. They are basically considered substitutes for regular dominant 7ths and can be placed anywhere within the blues progression. With some styles of blues, they sound great. With more traditional or rural sounding blues, these voicings may sound a little inappropriate. In this lesson, I'll show you a very cool way of finding and using these hip sounds. We'll apply them within a blues progression and also utilize them within short harmonic blues/funk riffs. Let's get funky. |
| Blues Forms and Variations | Single-Chord Boogie: Style of John Lee Hooker | Eric Slone | When I think of a single-chord boogie, I think of Delta blues legend John Lee Hooker. Known as the "King" of the boogie, John Lee Hooker has proved how just one chord can dominate the blues. But now it's your turn to take charge. We'll start by pounding out single chords that will get your boogie going in no time. John Lee Hooker loved these chords and they sure sounded good, especially with his low voice and fancy footwork. Then, we blast this lesson out to the next level with ways to enhance the single-chord boogie, as well as riffs in the style of John Lee Hooker. So, are you ready to boogie? Then come on in! : |
| Blues Forms and Variations | Eight-Bar Blues | Eric Slone | Did you know that some of the greatest blues songs use the 8-bar blues? "Key to the Highway," "Walking By Myself," and "How Long Blues" just to think of a few. You know, I've seen so many guitar players just play the 12-bar blues. Learning the 8-bar blues is a terrific way to add new structure to your playing. We'll begin by looking at a fundamental 8-bar blues structure. Then we'll shift gears and ultimately jam on an 8-bar boogie in E. We'll really get down to business on that jam. After this, get ready to learn some hybrid picking in a refreshing 8-bar blues in A. Let's get started. |
| Blues Forms and Variations | 16-Bar Blues | Eric Slone | A 16-bar blues form is a great way to extend the blues. Just think...imagine yourself at that next jam session or performance. You'll have more time for deep vocals, improvised licks, or maybe a call-and-response with your harmonica player. We'll tackle a 16-bar progression in C using a Chicago blues pattern. I'll then teach you how to enhance this 16-bar progression with a crowd of chromatic notes and a catchy chord turnaround. Then, get your fingers ready, cause we'll grab the spotlight with an exciting solo over this solid progression. Move over 12-bar blues, here comes our 16-bar blues. |
| Blues Forms and Variations | Gospel | Eric Slone | Gospel is truly an enlightening form of worship music. It was founded largely in part by Reverend Thomas Dorsey, who many refer to as the father of gospel. Gospel combines religious praise with an eclectic mix of blues, jazz, and funk. It almost always features strong rhythms, powerful vocals, and an uplifting tempo. It's inspiring, lively, and from the heart. In this lesson, we'll examine contemporary gospel-style guitar playing. We'll work with dominant chords, double stops, grace notes, octaves, and more. Get yourself inspired - the gospel we're about to play will make you feel complete. Let's make it happen! |
| Blues Forms and Variations | Blues with a B Section | Eric Slone | In musical forms, many songs have more than one section. Each section is represented by letters such as A, B or C. I've prepared a catchy and jazzy blues tune in B-Flat with a B section. The A section will use a 12-bar blues section or sequence using dominant 9th and 13th chords. I'll then show you how to put a twist on this A section by changing the feel and adding fills. This will then be our finished product for the A section. For our change-of-pace B section, we'll use some sparkling jazz chords with walking bass notes based on a I-vi-ii-V progression. We'll then return to our A section. So our song really demonstrates an A B A structure. Let's prepare to show the world what we've got in store for them. You ready? |
| Blues Forms and Variations | Rhythm Changes | Eric Slone | Rhythm changes are chord changes based on George Gerswhin's jazz standard "I Got Rhythm." Since this song was written in 1930, many famous jazz and blues tunes have been modeled after it. The rhythm changes we'll study include a 32-bar sequence using an AABA form. We'll perform these challenging rhythm changes in the key of B-Flat. Our goal tempo is going to be fast, clocking in at 176 bpm, so get ready to have some fun. Now, come on in. |
| Grooves and Rhythms | Eighth-Note Shuffle | Eric Slone | In this lesson, we'll distinguish a regular eighth-note shuffle from an upbeat eighth-note shuffle. As you probably know, a regular eighth-note shuffle is where the emphasis occurs on the beats: the 1, the 2, the 3, and the 4, for example. An upbeat eighth-note shuffle, however, is where the emphasis occurs on the upbeats or "ands" of the beats. All right, that's cool to know, but how can we apply these ideas to newer-sounding shuffles? You'll soon find out, so kick back, relax, and come join me for a rhythmic workout you won't want to miss! |
| Grooves and Rhythms | Clave Beat: The Bo Diddley Rhythm | Eric Slone | Today we're spice up your usual blues, using the legendary Bo Diddley style rhythm. Inspired by the afro-cuban clave, Bo Diddley's work has generated numerous hit songs over the past half century, from Buddy Holly's "Not Fade Away" to U2's "Desire." Bo Diddley's extensive contribution to popular music is quite evident. First, we'll learn how to play a forward and reverse clave. Then, we rhythmically challenge our typical blues in E. At the end, you and I will jam together by switching off improvised leads over the famous Bo Diddley rhythm, or clave. You're going to have a blast, I promise, so make sure you stick around for the entire lesson. Prepare to get some Bo Diddley style guitar work under your fingers. |
| Grooves and Rhythms | Major-Style Blues | Eric Slone | As you know, the blues style is generally based on the hard times or feelings of sorrow. But what about a happy or more uplifting style of blues? I present to you what we're gonna call the major-style blues. This style is often boogie-woogie piano, major chords, just good ole nice feel. Try to team up with some horn players and create some good music and have a good time. Before that, we'll get this party started by learning to play some major-style blues! |
| Soloing Ideas | Speed Riffs and Repeating Licks | Eric Slone | What do the solos in "Stairway to Heaven," "Hotel California," and "Sultans of Swing" have in common? Besides showcasing expert lead work, these solos incorporate some of the most memorable speed and repeating licks ever fretted. But now it's your turn to shine. In this lesson, you'll learn to play a variety of speed riffs and repeating licks based around a blues-rock feel. I'll also explain how you can transpose these ideas to any key, along with beneficial practice suggestions. Get your fingers ready for a workout they won't forget. |
| Soloing Ideas | Targeting Chord Tones | Eric Slone | Over the years, many musicians have become accustomed to the key-center and chord-scale methods of soloing. Though these methods can be effective, it's also beneficial to know how to target the chord tones directly. We'll achieve this by mainly using arpeggios. We'll add some tensions, or outside notes, to add a variety of musical flavors. If you're using an electric for this lesson, make sure you have a clean setting on your amp. By the end of this lesson, we will have obtained new ideas for soloing, as well as a greater appreciation for making melodies based on chords. |
| Soloing Ideas | Call and Response | Eric Slone | Call and response is where one musician makes a musical statement. Another musician then repeats this statement or adds to it. Call and response is an important aspect of blues soloing and improvisation, and can help sharpen your phrasing skills as a musician. Check this out. Let's illustrate a call and response example, but through speaking. I say, 'WorkshopLive rocks.' This is the call. When you say, 'Yeah, WorkshopLive rocks. I love their lessons!' This is the response. So, in basic terms, call and response is structured as a musical conversation between two or more musicians or really, you and me. This lesson is unique since it will also enable you to create your own call and response examples. |
| Soloing Ideas | Fills Between Vocals | Eric Slone | It's cold in New York City, my woman's not with me, I got my old guitar, I'm gonna be a star.
That's a little blues I just wrote using fills between vocals. Notice how my fills were short and sweet. Notice how they also enhanced the vocal line. Many blues musicians use instrumental fills between their vocals to further express emotion. In fact, you've probably heard this from many great blues guitarists, but let's check out several expressive examples in the styles of Chuck Berry, Stevie Ray Vaughan and, of course, Mr. B.B. King. |
| Performance Techniques | Pinch (Artificial) Harmonics | Eric Slone | In this lesson, we'll examine pinch harmonics on the guitar. Pinch harmonics, or what some players call squeals, are very distinct-sounding pitches. If you've ever listened to guys like Billy Gibbons, Zakk Wylde, or Eddie Van Halen, then you've probably heard this technique at some point. Pinch harmonics are also commonplace for a host of other guitarists, many of whom are heavy metal players. Today, you'll discover how to perform this technique and implement it into your playing. We'll blend this technique into the blues for a really cool sound and perhaps one that'll set you apart from the rest. Get out the distortion pedal for this one! |
| Performance Techniques | Rakes | Eric Slone | Rakes establish a new path to enhancing your lead playing. Rakes will deliver a new dimension to your sound and they sound great in a solo. I'll teach you how to do a forward and reverse rake, how to apply these rakes to notes and bends, as well as some licks to get you going. Many famous songs use rakes, from Led Zeppelin's "Since I've Been Loving You" to B.B. King's blues "Boy's Tune." So stick around, it's time to bring those everyday notes to a new level! |
| Performance Techniques | Texas Power Rhythm | Eric Slone | The focus of this lesson is the rhythmic shuffle work of Texas blues master, Stevie Ray Vaughan. If you're looking to beef up your rhythm, or would like to improve your rhythm chops, then you owe it to yourself to experience this entire lesson. Stevie had a style that was both innovative and influential. I'll walk you step by step through the process of learning how to play a Stevie Ray-type of shuffle in the style of "Pride and Joy." Enough chit chat, let's get this lesson started. |
| Altered and Extended Chords | Dominant 7 Sharp-9 | Eric Slone | Get ready to add some serious attitude to your blues playing. If you're tired of playing regular dominant 7th chords, or can't wait to get some new sounds under your fingers, then this is one lesson you can't afford to miss. We'll travel down a new road by taking a deeper look at the dominant 7 sharp-9 chord, one of the coolest altered dominant chords on the planet. We'll discuss various voicings, ideas for creating riffs or fills, and its role as a tension chord. Many guitar players know the dominant 7 sharp-9 chord as the "Hendrix" chord. Take a listen to the verses in Purple Haze and hear how Hendrix really fires up this steamy chord. Let's get to work. |
| Altered and Extended Chords | Altered Dominant Chords: 7 Flat-9 and 7 Sharp-5 | Eric Slone | In this lesson, we'll explore two important altered dominant chords, the 7 flat-9 and 7 sharp-5. These altered chords are often found in jazz, but also have a home in the blues. Altered dominant chords are often notated using the simple abbreviation "alt." This allows you to decide which altered dominant should be played. There are many possibilities, but it's important to use your ear and really listen to what you think fits best. Today, we'll focus on playing the 7 flat-9 and 7 sharp-5 chords, ways to practice these chords, and an eight-bar jazz-blues progression that incorporates these new sounds. You're about to discover how changing just one note in a chord can make a big difference. |
| Altered and Extended Chords | Diminished 7th Chords | Eric Slone | Is the diminished 7th chord or even the word "diminished" giving you the blues? Or, maybe you know some of this, but you're looking for some fresh playing ideas? In a few moments, we're going to unlock the secrets of playing diminished 7th chords on the guitar. We'll take an in-depth look at constructing and playing diminished 7th chords all over the neck. Then, we take it one step closer, detailing four clever ways of converting diminished 7th to dominant 7th chords. After this, we'll jam on these chords on essential turnaround licks. You'll leave this lesson feeling proud. |
| Altered and Extended Chords | Dominant 9th Chords | Eric Slone | One of the most famous examples of the dominant 9th chord can be heard in James Brown's "Papa's Got a Brand New Bag." Man, those powerful sixteenth-note strums on that dominant 9th are so groovin'. But hey, did you know that this song was based on the essential 12-bar blues structure? In this lesson, we'll take a deeper look at the dominant 9th chord, examining its construction and movable forms. We'll hear and experience how the dominant 9th and 7th chords work wonders in the blues. After this, we'll learn how to convert this blues into some funky blues that will be prime for jamming. Get your eyes and ears ready for ideas that will push this funky blues to the max! |
| Altered and Extended Chords | Adding 11 and 13 | Eric Slone | Besides playing 7th- or 9th-type chords, there's still more room for expansion. As guitar players, we have the discretion of adding the 11th or 13th to any growing tower of notes. Keyword: discretion. Technically, chords that tack on the 11th or 13th usually have more notes than our fretting hand can tolerate. But here's a sigh of relief - we mainly play the notes that are necessary for defining the chord. By taking this lesson, you'll learn the importance of adding the 11th or 13th to chords. We'll use this knowledge to fret various dominant 11th and 13th chords along with exciting playing examples. Then, we'll blow those horns out of the band with some classy jump blues. |
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