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Besides the requisite 12- and 8-bar I IV V blues progressions, do you know at least 12 other distinct forms and progressions? Do you know at least six ways to voice, alter and extend all of the dominant and minor chords in those progressions? When comping the blues, are you adept at voice leading when making chord and voicing selections?

If you answered “no” to any of the above three questions, then three things are likely true; 1) you’re not bringing anything fresh to the jam or rehearsal; 2) you’re bored stiff with your own blues comping; and 3) you need this edition of Guitar Lab: Blues Progressions yesterday.

True to form in these Guitar Lab intensives, Chris Buono digs deep into the what, how, whys and wherefores of blues progressions. Buono presents 23 progressions in various keys and forms including a few eclectic 6-, 14- and 16-bar forms. So, just in terms of expanding your bag of progressions you’ll be way ahead of the game, but that’s just the start.

The truly juicy quality of this course is the six-string rocket science revealed within those 23 progressions. Buono steps you through three choruses for each of the 23 progressions. The first chorus utilizes familiar 7th chords and “stock changes.” Chris then spices up the second chorus with tasty chord extensions and voicings to demonstrate how to expand the palette of colors you can draw on when comping the blues. In the third chorus, Buono takes you to graduate school with next-level voicings, voice leading, riff-based approaches and a variety of other advanced concepts for freshening up your blues comps.

All of the progressions have accompanying lead sheet charts with pint-sized chord grids beneath the chord symbols for quick reference and fingerings. Below each one-chorus lead sheet, Buono charts out all of the chords, including any passing chords, in larger grids that display the chord tone designations so you’re on top of every last detail. All of the progressions are demonstrated with simple rhythmic figures, which are also notated in the accompanying charts, and all examples are played over killer practice rhythm tracks powered by live recordings with bassist extraordinaire Steve Jenkins.

Put your time in with Guitar Lab: Blues Progressions and you’ll hear dramatic sonic changes busting out of your new bag of progressions, forms and voicings. Pull a few of these treats out at the next jam to freshen things up and you’ll see heads turning and players rushing the stage to jump in.

Duration : 0:2:41

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Duration : 0:4:13

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True to form in these Guitar Lab intensives, Chris Buono digs deep into the what, how, whys and wherefores of blues progressions. You will learn how to play 23 progressions in various keys and forms including a few eclectic 6-, 14- and 16-bar forms. So, just in terms of expanding your bag of progressions you’ll be way ahead of the game, but that’s just the start.

All of the progressions are demonstrated with simple rhythmic figures, which are also notated in the accompanying charts, and all examples are played over killer practice rhythm tracks powered by live recordings with bassist extraordinaire Steve Jenkins.

Put your time in with Guitar Lab: Blues Progressions and you’ll hear dramatic sonic changes busting out of your new bag of progressions, forms and voicings. Pull a few of these treats out at the next jam to freshen things up and you’ll see heads turning and players rushing the stage to jump in.

Duration : 0:14:25

Technorati Tags: Acoustic, Beginner, blues, buono, chords, Chris, Electric, guitar, How, intermediate, jazz, lesson, lessons, play, progressions, rhythm, solo, to, truefire, voicings

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** Take note: Overall Super Dom Blues is based on a simple I-IV-V in G consisting of dominant 7th leanings for each of the three chords. I say “leanings” because as you’ll see in the comping lesson that follows (Super Dom 3) there’s going to not only be dom7 chords coming at you, but also extended dominant chords and stacked fourth voicings as well. It’s all part of the juicing process, my friends. This freedom of interpretation is something you should be aware of and should begin to feel free to use. With that cleared up, let’s get into the secret behind the sauce, shall we?

As said in the previous segment, superimposing consists of playing a secondary element over a primary element. In this instance, secondary melodic ideas in the form of superimposed m7b5 arpeggios and a single pentatonic scale are played over the primary harmonic movement as dictated by the bass line (speaking of, going right along with the idea of freely interpreting the vibe as dominant; in regards to what’s going on in the background–i.e., the practice rhythm track–that concept applies here as well). Now, a m7b5 arpeggio is made up of the following formula: 1, b3, b5, b7. But when played over the I and IV chords, the notes within the arps change to this formula: 3, 5, b7, 9. So the superimposition is derived from playing a m7b5 arpeggio a major 3rd above the chord’s root, or put simply, from the 3rd. Let’s examine one instance closely to make sure you got the gist. Over G7 whose 3rd is B, a Bm7b5 would be employed, which is made up of B, D, F, and A. Considering G as the root, the notes in that Bm7b5 arpeggio are as follows: B is the 3rd, D is the 5th, F is the b7, and A is the 9th. That, ladies and gents is the gig.

While the same concept is used over the C7 (IV) with the Em7b5 serving as the arpeggio built on the 3rd of the chord, the A minor pentatonic scale played over the D7 (V) superimposition works out as follows. Against the D root the notes are: A (5th), C (b7), D (root), E (9th), and G (11th). Keep in mind that 11th shouldn’t be a note you resolve on as that will directly clash with the powerfully present tritone interval between the 3rd and b7th. It works within a line for sure, but just make sure you fly on by and land on anything but.

Duration : 0:25:0

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Duration : 0:5:1

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