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Blues Guitar For Dummies. Jon Chappell
Читать онлайн.Название Blues Guitar For Dummies
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isbn 9781119748960
Автор произведения Jon Chappell
Жанр Музыка, балет
Издательство John Wiley & Sons Limited
4 Chapter 4FIGURE 4-1: Twenty open-position chords for playing most blues songs.FIGURE 4-2: Forming an F barre chord.FIGURE 4-3: Five common major barre chords are found in the blues.FIGURE 4-4: The C7 moveable form at the fifth fret creates an E7 chord.FIGURE 4-5: Four qualities of E-based forms.FIGURE 4-6: A progression using the minor, dominant 7, minor 7, and 7 suspended...FIGURE 4-7: A B♭ chord at the first fret uses the A form.FIGURE 4-8: The alternate, double-barre fingering for the A-form barre chord.FIGURE 4-9: A progression that uses only A-form barre chords.FIGURE 4-10: A progression using the A-form minor 7, dominant 7, and 7 suspende...FIGURE 4-11: Combining A- and E-form barre chords in a progression.FIGURE 4-12: The E- and A-form power chords.
5 Chapter 5FIGURE 5-1: Strumming an E chord in quarter notes for two bars.FIGURE 5-2: Playing eighth-note and quarter-note strums in downstrokes.FIGURE 5-3: A strumming passage in quarter and eighth notes, using downstrokes ...FIGURE 5-4: A bass-and-chord pick-strum pattern for country blues.FIGURE 5-5: A two-beat, or cut shuffle, feel alternates bass notes with the cho...FIGURE 5-6: A pick-strum pattern in a slow 12/8 feel.FIGURE 5-7: A chart of dots, ties, rests and common syncopation figures.FIGURE 5-8: A straight-eighth progression in A that uses common syncopation fig...FIGURE 5-9: A shuffle in A that uses common syncopation figures.FIGURE 5-10: A strumming pattern that employs left-hand muting to simulate sync...FIGURE 5-11: A rhythm figure with palm mutes and accents.FIGURE 5-12: Fingerstyle blues with a quarter-note bass.FIGURE 5-13: The shuffle feel is the most common groove in the blues.FIGURE 5-14: The straight-four feel is used for a more-driving, rock-based soun...FIGURE 5-15: The 12/8 feel is used for slow-tempo blues.FIGURE 5-16: The two-beat feel is for more lively blues.FIGURE 5-17: The 16 feel is used for funky-sounding blues grooves.
6 Chapter 6FIGURE 6-1: The 12-bar blues using Roman numerals to represent chords in a key.FIGURE 6-2: The 12-bar blues in E.FIGURE 6-3: The quick-four change in bar two, in E blues.FIGURE 6-4: The turnaround can be a V chord substituting for I in the last bar.FIGURE 6-5: A slow blues in 12/8 with added chords.FIGURE 6-6: An 8-bar blues that uses various chords.FIGURE 6-7: A straight-four progression with a variation.FIGURE 6-8: The Jimmy Reed move in E.FIGURE 6-9: The Jimmy Reed move in G.FIGURE 6-10: The Jimmy Reed move in A.FIGURE 6-11: A minor blues progression that uses minor-seventh chords.FIGURE 6-12: A simple two-bar intro.FIGURE 6-13: A four-bar intro.FIGURE 6-14: A two-bar turnaround.FIGURE 6-15: A two-bar turnaround with chord changes every two beats.FIGURE 6-16: A two-bar turnaround with chromatic movement.FIGURE 6-17: A typical ending for a slow blues.FIGURE 6-18: A two-bar turnaround in a shuffle feel.FIGURE 6-19: Two added chords in E7.FIGURE 6-20: Two added chords in A7.FIGURE 6-21: The B7 move.FIGURE 6-22: High moves in a 12-bar blues in E.
7 Chapter 7FIGURE 7-1: A boogie bassline in quarter notes.FIGURE 7-2: A boogie bassline with double-struck eighth notes.FIGURE 7-3: A stop-time riff in eighth notes.FIGURE 7-4: An eighth-note riff in the style of Freddie King’s “Hide Away.”FIGURE 7-5: A 16th-note riff, using alternate picking.FIGURE 7-6: An eighth-note riff featuring common syncopation figures.FIGURE 7-7: An expanded version of the classic 5-6 move in straight eighths.FIGURE 7-8: A variation of the 5-6 move in swing eighths.FIGURE 7-9: An expanded version of the classic 5-6 move.FIGURE 7-10: A progression fusing chords, single notes, and doublestops.FIGURE 7-11: The quick-four move over open-position E and A chords.FIGURE 7-12: A triplet-based intro riff in E.FIGURE 7-13: A double-stop intro riff in E.FIGURE 7-14: A melodic intro riff based in all triplet eighth-notes.FIGURE 7-15: A descending double-stop turnaround riff in A in the style of Robe...FIGURE 7-16: A turnaround riff in E featuring contrary motion.FIGURE 7-17: A turnaround riff in C with gospel flavor.FIGURE 7-18: A triplet-based ending riff.FIGURE 7-19: A low-note ending riff in E, using triplets and double-stops.FIGURE 7-20: A triplet-based riff featuring sixths.FIGURE 7-21: A rhythm groove over a 12-bar blues in E.
8 Chapter 8FIGURE 8-1: Alternate picking on the open high-E string in straight eighth-note...FIGURE 8-2: Alternate picking on the second string in swing eighths.FIGURE 8-3: Alternate picking on the third string with left-hand fretting.FIGURE 8-4: Alternate picking with notes on all six strings.FIGURE 8-5: The notes of the E minor pentatonic scale on the guitar neck.FIGURE 8-6: The ascending E minor pentatonic scale.FIGURE 8-7: A 12-bar blues with an E minor pentatonic lead over it.FIGURE 8-8: The E blues scale.FIGURE 8-9: The E blues scale used to solo over a 12-bar blues.FIGURE 8-10: The major third added to the blues scale.FIGURE 8-11: The major sixth sweet note added to the blues scale.
9 Chapter 9FIGURE 9-1: The left hand is ready to play in fifth position.FIGURE 9-2: The A minor pentatonic scale at the fifth fret.FIGURE 9-3: A passage that uses the descending fifth-position A minor pentatoni...FIGURE 9-4: A passage in fifth-position A blues.FIGURE 9-5: Four notes in the eighth position A minor pentatonic.FIGURE 9-6: A lick in eighth position using the high blue note on the 11th fret...FIGURE 9-7: Four notes in thirdposition A minor pentatonic.FIGURE 9-8: Shifting from fifth to eighth position and from third to fifth posi...FIGURE 9-9: A slide that facilitates a shift from fifth to eighth position.FIGURE 9-10: The seventh and second positions of the A minor pentatonic scale.FIGURE 9-11: The two positions above the home and upper extension.FIGURE 9-12: The five positions of the pentatonic scale.FIGURE 9-13: A passage with shifts that take you in and out of multiple positio...FIGURE 9-14: A sweet-note pattern with a familiar fingering pattern.FIGURE 9-15: A table showing the 12 keys and their pentatonic scale patterns.
10 Chapter 10FIGURE 10-1: A call-and-response exchange can benefit from a contrast in dynami...FIGURE 10-2: Accented notes are struck harder than the surrounding notes.FIGURE 10-3: Muted notes interrupted by occasional accented notes.FIGURE 10-4: Slides into and out of individual notes.FIGURE 10-5: A passage with rhythmic slides between notes.FIGURE 10-6: Three types of hammer-ons.FIGURE 10-7: A lick using various hammer-ons.FIGURE 10-8: Three types of pull-offs.FIGURE 10-9: Pull-off licks — in isolation and with hammer-ons.FIGURE 10-10: A whole note with vibrato.FIGURE 10-11: Two types of bends on the third string.FIGURE 10-12: Bending in rhythm.FIGURE 10-13: Two bend and releases.FIGURE 10-14: Two pre-bend and release phrases.FIGURE 10-15: “Express Yourself Blues” uses a variety of expressive techniques.
11 Chapter 11FIGURE 11-1: A 12-bar blues in the Delta blues style.FIGURE 11-2: A 12-bar blues in E with variations.FIGURE 11-3: A lick in the key of A in the style of Robert Johnson.FIGURE 11-4: A 12-bar blues in the style of Robert Johnson.FIGURE 11-5: A bouncy Piedmont passage.FIGURE 11-6: A ragtime chord progression with bass runs.FIGURE 11-7: Country blues with a melody on top of an alternating bass.FIGURE 11-8: A single-note ragtime tag in C.FIGURE 11-9: A deluxe ragtime tag that uses chords, an arpeggio, and single not...FIGURE 11-10: A rockabilly progression with a hard-driving alternating bass.FIGURE 11-11: A slide lick in standard tuning.FIGURE 11-12: A standard-tuning slide lick in the style of “Dust My Broom.”FIGURE 11-13: A slide lick in open E.FIGURE 11-14: A slide lick in open G.
12 Chapter 12FIGURE 12-1: A slow blues in the style of T-Bone Walker.FIGURE 12-2: A passage in the style of Muddy Waters.FIGURE 12-3: A lick in the style of Elmore James’s “Dust My Broom.”FIGURE 12-4: A single-note lick in the style of Otis Rush.FIGURE 12-5: A passage in the style of guitar great Buddy Guy.FIGURE 12-6: A classic Texas shuffle.FIGURE 12-7: A string-bending passage in the style of Albert King.FIGURE 12-8: The blues lead style and hallmark vibrato of B.B. King.FIGURE 12-9: A lick in the infectious, melodic style of Freddie King.FIGURE 12-10: Robert Cray’s tasteful and economical lead approach.FIGURE 12-11: An open-A slide solo in the style of Bonnie Raitt.
13 Chapter 13FIGURE 13-1: A I-IV-V progression in the Chuck Berry style.FIGURE 13-2: Fiery string bends and flawless technique are hallmarks of Eric Cl...FIGURE 13-3: Hendrix’s brand of “psychedelic blues.”FIGURE 13-4: A solo in the style of Jimmy Page.FIGURE 13-5: A slide riff in the style of the great Duane Allman.FIGURE 13-6: A line similar to Johnny Winter’s classic approach to a blues solo...FIGURE 13-7: Smoldering riffs and edge-of-the-pick harmonics equal a classic Gi...FIGURE 13-8: Stevie Ray Vaughan often combined chord vamps with his leads.
14 Chapter 14FIGURE 14-1: Sperzel’s high-quality tuning machines.FIGURE 14-2: The Wilkinson bridge.FIGURE 14-3: Seymour Duncan’s high-quality third-party pickups.FIGURE