For this article 5 moveable chord shapes you can use for your own guitar playing. To move these shapes up and down the fretboard you will need to barre the shapes. For beginners they may be akward. Simply using the chordshapes as indicated will work as well, remember you cannot change key. If you want to adjust the key you will need to barre the shapes.
Good luck and hope to see you soon again,
D7 B7 E7 E7 G7
Gary Moore was more that just a guitar player, he was also an amazing singer who could sing at times like Phil Lynott, Peter Green or any other artist who he may have covered. Gary Moore was not only good at mimicking other artists, he also had a style of his own which was based on many, different musical styles.
Some people may know Gary Moore for the album “Still Got the Blues” which is probably his most, well-known work. Check out some of the earlier Rock Songs Gary wrote such as “Out in the Fields”
Among the characteristics of Gary’s guitar playing is: Melodic riffs, sustaining notes, fast runs, very big Marshall tone, melodic solos using Blues based ideas and European style Metal.
For this post three different versions of “Walking by Myself” by Jimmy Rogers. Gary Moore’s version is probably the most well-known one.
Listen closely to all three different versions to hear how they differ. Find yourself a song and try a similar thing where you adapt the song to your playing style so the song works for you.
Good luck and hope to catch you soon again,
For this article a short brief about improvising over an E major Blues.
Most guitar players may start improvising over an E major blues by using the E major Pentatonic Scale.
Why not try using the A major Pentatonic? The scale will give you the same A, B, C#, E, and F# notes but for some reason you may feel you do get a different sound. The E major Pentatonic does have a G#, which is the third in the scale, the A major Penta does not have this note.
As far as the sequence goes you may play: E7 A7 and B7 in any order to create a 12 bar sequence.
When you play E7 the D (7th) resolves to the 3rd of the A7 chord. Try using those notes to see what effect they will give you.
When it comes to the A7 chord you may like the sound of the G resolving to the F# which is the second of the E major Pentatonic scale.
Play around with the notes to see what they can do for your phrasing.
Enjoy and hope to see you again soon,
For this lesson I will introduce you to a 12 bar bassline groove in the key of C. When you play the idea you will recognise it as it does have that typical blues sound you will hear often on any electric blues songs. The Ukulele is a C friendly instrument, which means we can play the basslines in position instead of having to play them over on one or two strings and having to move up and down along the fretboard. Here are the basslines, played for one bar per chord.
C7 F7 G7
A ——————–0-0- ——-0-0—-3-3—–5-5—– ——0-0—3-3—5-5—
E ——–0-0–3-3——— -1-1——————————- –3-3———————-
C 0-0———————- ———————————— —————————-
G ————————– ———————————— —————————–
Here are the chord shapes:
C7 F7 G7
Play the progression in the following manner:
C7 F7 C7 C7
F7 F7 C7 C7
G7 F7 C7 F7
The chords work well with the basslines. The basslines should be played with shuffle feel. Count them like 1 e 2 e 3e 4e. The chords can be strummed with a shuffle feel as well. Ask a friend to play the chords for you while one of you plays the basslines, in this manner you get to hear how the song idea works.
Enjoy and hope to see you soon again,
For this article a short checklist to improve your improvising over Blues songs. The checklist can be used as a guide to improve your own guitar solos.
Learn both the minor and the major Pentatonic Scale in various places on the fretboard. Play them in position as in the usual block form. Once you know them play them as an arpeggio over two or three strings. The arpeggio idea is good for breaking out of the box, it will also make you think more about the notes.
Listen to your favourite players to hear how they put their phrases together. Playing Blues is more than just running your fingers across a Pentatonic scale. It is the phrasing which gives players like B.B King their particular sound. When you listen to any of your favourite guitar players try to understand how they get their sound: Do they use any blue notes? Do they mix major and minor scales or do they use any chromatic notes? Phrasing can give you a characteristic sound to your solos and it is this you want to understand to improve your own playing.
Structure and Arrangement:
Not all Blues songs are simply written in twelve bars, listen to your favourite blues songs to hear what their structure is based on. Some songs just use a two bar phrase and the whole song is based on this idea. A lot of Howlin’ Wolf’s music works like that.
Listen out for also any unusual turn arounds. Turn arounds can give a song with a traditional twelve bar blues feel a different twist.
Have a listen to B.B King’s Album “In London” to hear many songs which break away from the traditional 12 bar sound. Most songs are played with a full horn section and harmonica which play behind the regular band of drums, bass, organ and guitar. Listen to B.B’s phrasing, he does not use many notes, repeats many. Can you make it sound like that?
Michael Bloomfield’s first Solo album is a mix of Soul, Gospel and Blues. It is fascinating to see that even today the critics are not positive about this album. Personally I think it is a fantastic album which shows more about Bloomfield than just blazing guitar solos. The guitar solos are there but they are immersed into songs which give the song a lift and add some drama.
People who may know Michael Bloomfield from Bob Dylan’s Highway 61 Revisited may like the album. Dylan’s album does not contain any straight Blues songs whereas “It’s Not Killing Me” does actually have a few blues songs.
Listening to the guitar, you can hear clearly the B.B King influence on Michael’s playing, there are also traces of T. Bone Walker, who is not often mentioned as a influence on Michael Bloomfield’s playing.
The guitar sound is fairly clean with a healthy dose of reverb from time to time.
The songs sit in a mix of Gospel, Country and Blues. The album does also sound a bit like some of the Flying Burrito Brothers in some places: Michael’s singing is not the strongest but it is honest and you can hear what he is going for which gives it that authentic sound. When he plays a blues he also adds some different ideas to give it his own sound.
Give it a try to hear something different from a guitar player we should not forget.
Hope to see you soon again,
As far as blues playing goes, most beginning guitar players seem to be happy with playing Minor Pentatonic Solos or Riffs.
Once you get more experience with your Blues playing you may want to try some different ideas.
Have a look at the following Chord Sequence:
A D A A
D D A A
E D A E
This is a typical major Blues sequence.
To play solos and melodies over this sequence you can use Major arpeggios for the A, D and E chord.
You can also use the A major scale. You can play the A major Pentatonic, but it is also possible to play the A minor Pentatonic is some places. The A minor Pentatonic does have a grittier sound compared to the Major Pentatonic Scale.
the notes for the A minor Pentatonic are: A C D E and G
the C and the G are the crucial notes in the scale: the C is the minor 3rd and the G is the dominant 7, both notes will give the scale that particular gritty sound.
The notes for the A major Pentatonic are: A B C# E and F#
The C# and the F# are the crucial notes in this scale: the C# is the major 3rd, which creates a somewhat sweeter sound compared to the minor third in the A minor Pentatonic Scale. The F# is the major 6th which is responsible for the less gritty sound compared to the G —dom 7th—- of the A minor Pentatonic Scale.
Experiment with both scales.
A way to remember both scales is: Treat the A minor Pentatonic as the first three notes of the riff of “Smoke on the Water”. Those three notes are the start of the minor Pentatonic Scale.
The A major Pentatonic can be remembered by the first three notes of the song “My Girl” by the Temptations. Those first three notes form the beginning of the Major Pentatonic Scale.
Try playing those first three notes of both those songs in any place on the fretboard to see where your positions are.
Good luck and hope to see you soon again,
The Fender Twin Reverb is mainly known for its clean sound. Some of the Silver Face Twins came with a push/pull knob for the Master Volume section. This control can provide you with a bright distorted sound. You can hear this sound being used by 60s bands such as the Byrds, Creedance Clearwater Revival and you sometimes also hear it on some Stevie Ray Vaughan songs.
The distorted sound produced by the Push/Pull Master Control knob is very similar to the sound a TS 808 Tubescreamer produces when you use this pedal in combination with a Twin Reverb amp. The nature of the TS808 is that it reacts with your amp, and each amp will respond differently to the pedal.
Enjoy and hope to catch you soon again for more,
For this article a short brief about what kind of books you can use for learning to play the guitar. Let us have a look at the kind of books you may find:
These are the kind of books which teach you how to read music. They will teach you how to use the open strings and they will get you to play in the first position. There are often sections about basic music theory such as simple rhythms and rests and names of various notes.
The song material found in these books often contain traditional songs and well-known classics. Often songs are given different titles for copyright reasons.
Most tutor books are aimed at the complete beginner and anyone who wants to brush up on their reading skills and music theory.
These books come in a variety of forms: Some of them may just contain chords in many different shapes, some of them may just contain scale patterns, some of them may have titles like “fretboard basics”. All of these books are resource books, they can be seen as additional material you can dip into when you need some extra help with regards to a type of chord or a different kind of scale. Most of these books assume that you do have some guitar playing skills.
Books which want to teach you a particular guitar style such as blues, country folk or finger style guitar or classical guitar. Some of these books are aimed for beginners, most of them are for intermediate players and more experienced players. These kind of books are often good to get a head start into a new style of music you have never played before. Often these books will start from zero with regards to the particular style they want to teach. To get the most out of these books, it does help if you do have some understanding of basic music theory and also have some reading skills as well. Most books will come with a CD, but still being able to read does help as well as you can both see and hear how a particular musical example sounds like.
These come in a variety of styles, some of them may contain a whole album of a particular band, others may be just a collection of songs by different artists. Some of these books are aimed at the beginner to guide them with their playing repertoire.
Song books may come with just chords and lyrics, others also show the musical notation alongside the lyrics and chords. If you want to learn how to play songs from your favourite artist I would suggest you using tabs, Youtube and maybe some of the songbooks. Try to learn songs by ear as much as you can.
Songbooks may be good as additional material but they are not good as a starting point, use them alongside other material as an extra. Some of the music notation may also put the beginner off, as these books may not be graded.
Experienced players will find use in any kind of book. Some of them may be good for additional sight reading material. Sight reading can be improved by reading any material which contains G-clef, and you can use any material for any instrument, as long as it is written for G-Clef.
Enjoy and hope to see you soon again,