Mastering The Blues Rhythm Guitar (Lite Version)

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Language
Английский
Duration
1 час курса
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Чему вы научились?
Comping in different styles of the Blues
О курсе
Want to learn some new cool chord progressions?
Want to understand how to create amazing comping lines using tools like double stops, quartal voicings & inversions?

Through 5 lessons you will be guided on a teaching path designed to show you how to comp in different Blues contexts. We'll talk about Slow Blues, Shuffle Blues, New Orleans Funk, Rumba Blues, Funk Blues!
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Программа
Slow Blues
Be able to comping over Slow Blues with Dominant 9th and Dominant 13th chords.
Slow Blues
In this lesson, we will discuss theSlow Blues, one of the cornerstones of the genre. It is a ternary tempo in 12/8. The basic idea of this chapter moves from the succession ofDominant 9andDominant 13chords that you will find on the top of the first and second progression.The Dominant 9 chord is created by using the form ofmin75bchord up a major third from the tonic. We are in A7, so we will useC#min75b, which is moving up a major second to D#min75b (omitting the tonic) and creating the movement that you'll see on the score. The same idea, just varied in the second harmonic progression, will still create more movement.
Funk Blues
Be able to play over Funk Blues with Dominant 9th and 13th chords.
Funk Blues
The comping you'll find in this chapter is based on the classic change I-IV-V; which is why it can be used in different contexts on the blues and beyond.Note the movement in the transition from I to IV grade: the half bar is covered by the A7, while the second half is covered for by the A7 (# 5)(# 9), which heralds the D9 chord.The same thing happens in the bar 16, in which the same chord altered before it becomes a D#9 - basically a tritone substitution of the A7 (#5)(# 9) - which resolves on D9.
New Orleans Funk
Be able to comping the Funk in the New Orleans style.
New Orleans Funk
A truly unique and unmistakable style, the one created by the bandThe Meters! Originally from New Orleans, they are considered the "godfathers" of the Funk and were cited byJames BrownandDr. Johnthemselves as their reference points.I wrote this chapter thinking to their way of conceiving the funk, with powerful guitar riffs ofLeo Nocentelli, often doubled on the bass, and with a drum which has become legendary.
Rumba Blues
Be able to play the Rumba Blues.
Rumba Blues
The time ofRumbais not much used in the blues but has featured some very famous songs in the history of the genre, and it is a danceable time. In the first part, there is the basic idea of the comping of the famous Crosscut Saw of Albert King.It is characterized by a major triad whole tone back from the Root and the major triad on the root chord with a rhythmic movement that supports the design of bass and drums. The same idea is also maintained on the fourth and fifth degree. In the second part of the chapter, there is instead a typical riff of many blues standards with the same groove.
Shuffle Blues
Comping the Shuffle Blues in the style of Stevie Ray Vaughan
Shuffle Blues
Here’s theShuffle, an essential rhythm in the Blues. This chapter will remind you much the way of comping ofStevie Ray Vaughan, one of the greats of the modern blues. In the second progression, from bar 13, you'll find the same idea of the chapter “Slow Blues”: the power of the ideas that you will study in this book lies in their interchangeability and usability in different contexts. In bar 24, you will recognize a very common final riff in the Texas Blues. You can listen to that in the songHide AwayorHideawayofFreddy King, a classic remade by several blues artists.Hey, a little secret for playing theShuffle: you have to play it laid back as if the snare was just a little bit late on the beat. Try to listen to the most famous drummers of the genre, and in many of them, you will rediscover this truly wonderful punctuation feature of theTexas BluesandChicago Blues.
BONUS: how to improvise over a dominant seventh chord
Using different tools to play over dominant seventh chords.
Требования
  • Be able to read tabs and to have basic knowledge of chords
Лекторы
Davide Pannozzo
Davide Pannozzo
Modern Blues Artist
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