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Beyond Classic Blues
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Blues Guitar Lessons: Intro To Intermediate

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welcome back.
We're starting a whole new
series of lessons here,
the intermediate lessons and
you've covered a lot of ground already.
And you've got some ideas about
how to play rhythm patterns,
layering your patterns, and
how to phrase and so forth.
And we're just gonna take those ideas and
explode them over the next
series of lessons.
We're gonna surround a whole different
set of ideas based on that same core.
You keep widening your skills and your
understanding of how blues fits together.
Now we're gonna look beyond the 12-bar.
We've been playing 12-bar
blues as our basic form, and
we're gonna keep playing 12-bar blues,
that doesn't go away, but we're gonna also
add to it a couple of other song forms.
8-bar blues, 16-bar blues.
These are standard ways of arranging
the three chords in the blues progression
to come up with different results.
As far as rhythm patterns,
we've got our fundamental
three layer approach to rhythm and we're
going to continue working with that idea.
But in addition to the boogie shuffle,
we're going to talk about walking lines,
you know very common old-school bass
pattern that bass players play but
also guitar players, and
it's essential knowledge.
Bass riffs, what happened when
they introduced the electric bass?
It changed the sound of
music all together, and
it changed the sound of blues arranging.
So we'll learn some bass riffs, and how
to double what the bass player's doing.
Riff chords, what's a riff chord?
They're these cool little tiny chords,
two notes,
three notes they kind of create a vibe
in the middle of a rhythm section.
And you hear them all over the place,
not just guitar.
Piano and horn sections,
there's sort of a basic
concept of how to create a melodic
rhythm idea within the 12-bar.
Chord section,
how do we expand on that idea?
We'll learn some crazy new chords like,
my goodness
Yeah we'll put those to work.
I'm going to add dynamic range,
different ways of attacking
the strings and I do mean attack.
When you hear great blues guitar
players they do not hold back.
And so you gotta
gotta hit that note and
make it stick right?
So we'll talk about different
picking techniques.
Bare fingers, hybrid technique.
Different phrasing concepts,
how to organize your notes into phrases.
Pickup up phrases
Right, that's the kind of phrase
you've hear a thousand times.
Well there's a certain technique to that.
Once you become aware of it,
it improves you phrasing immensely.
Harmonic awareness, what happens
when it goes to the four court?
How does that affect my melody?
How to build phrases around chord tones,
how to listen to a blues, and hear what
the vocal melody is and use that as
a concept that will influence your solo.
We're playing songs after all.
They're blues, but they're songs, right.
So if you know the songs and you know
the melodies, you sound much stronger and
more musical.
We'll expand our melodic
vocabulary to include
not only the core phrases that are part of
the Downhome blues style and
the universal language of blues, but also
The sixth and the ninth, a new set of
colors that we can incorporate into our
melodies and make them sound kind
of smooth and sophisticated.
We'll organize the neck and finally,
finally, get out of that
one fingering pattern.
That one octave of one fingering pattern
and learn to play anything anywhere.
You want to play in the key
of A anywhere on the neck.
I'll show you how to do that.
You want to play in any key in
the fifth position, not just A,
but play in the key of F
in that same neighborhood.
I'll show you how to do that.
And we'll also talk about how
to link the patterns together so
that you got command
of the entire neck and
you can be fluid in just sort of let
the melody take you where it wants to go.
That's the goal of all of this stuff.
It's not technical, it's musical.
We want to hear the melody and
let the melody go where it wants to go and
be quick to follow it and
never fall off the track, okay.
It's going to be a lot of fun so get your
guitar out, tune up and let's get going.