It begins with a normal, two-finger A7, but the notes on the 2nd fret of the 1st and 3rd strings require an index-finger half-bar so we can get the subsequent notes with the middle and ring fingers. Once you get used to things like this, it's not really that bad. The notes in the major chord are the first, third, and fifth in the scale. Next move your right-hand fingers over and make the same roll on the three high strings. I strongly suggest spending a lot of time with this intro before moving on. The point remains, however, that in terms of traditional music, a centuryorsoisashorttime. Note that the scale implied by this does not have the flatted 6th of the A minor scale we looked at earlier.
Chords, scales, keys and turnarounds for the blues are taught in this method. A notable exception is John Miller, whose very evolved slapping style inspired me to try it. In the next measure we grab the bass string on the 6th fret while still holding the rest of the shape. How far back into the 19th century the origins of this musical strain as separate from ragtime, spirituals, and other early black music can be traced is an area for scholars to fill in as best they can. Seriously, this will keep even an advanced guitarist busy for some time. Good music is good music, and the tunes chosen for this quality booklet all have a special sound.
Ragtime-type progressions depend on it still more. In the C scale, G is the 5th note, and we can call the corresponding chord a V chord or dominant chord. These slides are much easier on electric guitars, but with practice sound good on acoustic. These same two fingers then move down to the 2nd fret, where in bar 9 we get ourselves into a recognizable B7 shape. The last new technique is the strum inbar8. Baker really tries to break these lessons down and make them really easy to understand. Luckily, neither F or G is used very often.
The rest of the first variation is straightforward enough, even if the slidingA7andAareanewidea. For our purposes, the only names we use very much are the tonic and the dominant. I do hope that all of this analysis will prepare you for the relatively simple practical applications that follow, starting with a look at how to find some new turnarounds. C 6th, for instance, consists of the 1 - 3 - 5 C root plus the 6th note of the C scale, which is A added to C - E - G. Now slap down and hit the strings hard enough to get a sound but no harder than necessary. Right now, we will examine what must be the absolutely most commonly used blues turnaround with two aims in mind. Stock varies by site and location.
Attheendofbar7,afterhammering on from the 1st to the 2nd fret with the index and middle fingers, leave your middle finger down and get the next two hammer-ons with the index and ring. What this means is that we have altered our scale; the distance between the 6th and the 7th is now a half step, while the distance from the 7th up to the octave becomes a whole step. Here we have to make a half-baronthetop4stringswiththeindexfingerwhileholdingthebasswiththethumb. Finally watch how, in bars 15—16, the index and middle fingers move up and down the fretboard together while the thumb holds the secret chord. These solos are intermediate to advanced in difficulty and successfully capture the myriad influences that contribute to American blues Guitar styles. There are any number of ragtime-blues tunes that have progressions like A7 - D7 - G7 - C starting with A7 but resolving to C or E7 - A7 - D7 - G. Downloading these free of charge Complete Blues Guitar Method Beginning Blues Guitar ebooks may make book publishers sad more than their lost profits however they will not send an armada of lawyers following you.
The statement made earlier about the order in which we considered the major scales being according to their distance from C is clearly illustrated here. In a minor scale, the third note is flatted, so that between the second and third notes there is now a half step instead of a whole step, while the interval between the third and fourth becomes a whole step. Then go three steps clockwise and play the dominant 7th chord of that note, followed by the 7th of the next note moving counterclockwise, the 7th of the noteafterthatmovingcounterclockwise,andfinallythemajorrootchordofthenoteyoustartedwith. We move the thumb from the 1st to the 2nd fret of the bass string and lift the ring finger to leave the 4th string open, but the index and middle fingers stay anchored where they are. Dance tunes are usually constructed of 8-bar sections and the standard 32-bar popular song also of 8-bar sections is a far longer structure than most folk songs. As far as blues goes, I get the sense that a lot of young players who are taken with the music wind up in the hands of teachers who consider themselves experts because they try to imitate old recordings without getting the feeling.
C 7th is C - E - G - B , which logically we would expect to be called a flatted 7th, since that interval has been altered from our major scale configuration. Visit us on the Web at www. We can also move the ascending line down and the descending line up. Just remember if you encounter a technique that seems hard in the middle of the book that it may have been covered in detail earlier. Of course, black musicians in the South always learned from whites as well. On the guitar, the frets do the same thing.
So what we have is an E7, with a 1 - 5 - 7 - 3 configuration, followed by a chord that flats everything but the I, which would be 1 - 5 - 6 - 3. Baby let me follow you down -- 4. Instead of playing the top 3 strings together with the 5th-string bass note, the index and middle fingers precede the ring, which goes with the thumb. Except for a couple of oldies with variations, most of the compositions are by Baker. Notice how the right-hand index finger picks the 4th string in the bass riff after the slide in bars 1—2. Bachbeingsuchadeepsleeperthatnothing, including slaps and screams, could rouse him.
Proceeding along by whole steps, we add G, A, and B, and our major scale C - D - E - F - G - A - B is complete. By the way, the improvised parts referred to were originally done for my Folk Blues Themes video, in case anyone is wondering how improvised choruses are being written down. You can do this with any simple familiar tune. Now look again at our formula for deriving a major scale: whole step, whole step, half step, whole step, whole step, whole step. The key is determined by the note you start with.
A lot of work went into this book. While the middle finger stays anchored on the 2nd fret of the 4th string, the ring finger moves to the 3rd fret of the bass, and the pinkie is getting ready to gotothe4thfretofthe2ndstring. E Blues 1 The tune starts with a hammer-on that comes at the same time as a bass note. The next few bars are familiar shapes. The 7 and 5 in the last phrase are in the octave below where we started. What we did was move around the sharp side clockwise G - D - A - E - B and then down the flat side counterclockwise F - B - E - A - D - G or F. Moderncomposerscan,ofcourse,stretchthelimitsoftheirconstructions untiltheyliterallydonotexist;theirpredecessorsindulgedinevermore-extendedformsculminating in Wagnerian cycles which take days to perform.