http://www.thedelta88s.com/index.htm

The Delta 88′s are a five piece blues band featuring the powerhouse blues voice of Tery Bishop. They have performed at the House of Blues in Anaheim, The Galaxy Theatre, The Coach House, Martini Blues and other great Southern California blues venues.

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Tery Bishop: Vocals
Steve Johnson: Guitars
Jeff Gaul: Guitars and Vocals
Greg Bishop: Bass
Don Dutton: Drums

Duration : 0:4:26

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Duration : 0:2:31

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1959-
The Sky Is Crying (Elmore James)
How Many More Years (Howlin Wolf)
I’m Coming Home (The Staple Singers)
Baby What You Want Me To Do (Jimmy Reed)
1960-
Spoonful (Howlin’ Wolf)
Mojo Hand (Lightnin’ Hopkins)
1961-
It’s My Own Fault (BB King)
Hard Times (Ray Charles)
I Pity the Fool (Bobby Blue Bland)
Ball and Chain (Big Mama Thornton)
Down Child (Sonny Boy Williamson II)
The Little Red Rooster (Howlin’ Wolf)
Hideaway (Freddie King)
Driving Wheel (Little Junior Parker)
Boom Boom (John Lee Hooker)
1962-
You Shook Me (Muddy Waters)
The Blues Ain’t Nothin But a Woman (Helen Humes)?
1963-Memphis (Lonnie Mack)
1964-
You Can’t Lose What You Ain’t Never Had (Muddy Waters)
How Blue Can You Get (BB King)
1965-Alabama Blues (JB Lenoir)
Going Down to the River
Bring It On Home (Sonny Boy Williamson II)
Hoodoo Man Blues (Junior Wells)
1966-
Tin Pan Alley (Sunnyland Slim)
T’Ain’t Nobody’s Business If I Do (Otis Spann)

Duration : 0:10:29

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Andrew Wasson of Creative Guitar Studio answers a viewers question:

Q: Can you explain how to use different scales in Blues progressions. I was on a guitar discussion forum where they were posting about playing major and minor pentatonic and even modes on blues progressions. But, I dont quite understand is how this works. I was taught that on blues progressions you are supposed to use the blues scale. I dont really grasp the modes yet, but my pentatonics are pretty good. Im curious about what other blues sounds I might be missing! I love blues guitar.
- Charlotte, Wales UK.

The Major and Minor pentatonic scales can be interchanged to offer a fantastic blend of major and minor thirds as well as color from the major 6th and minor 7th. In the video lesson we will examine how to do this and learn a series of guitar licks that demonstrate the ideas.

The complete lesson article for this video, is available on the Creative Guitar Studio website. Follow the link below to read the full article and get the tab for the licks covered in the video lesson:

http://www.creativeguitarstudio.com/lessons/guitar_styles/ma_mi_blues.php

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Read the “Worst Guitar Teacher” stories (and post your own) at the “Giveaway 5000″ page on the Creative Guitar Website… follow the link below:

http://www.creativeguitarstudio.com/giveaway.php

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Andrew’s Official Q & A Guitar Blog Website:

http://www.andrewwasson.com

Andrew’s “Video GuitarBlog” YouTube Channel:

http://www.youtube.com/guitarblogupdate

The Creative Guitar Studio Website:

http://www.creativeguitarstudio.com/

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Duration : 0:10:47

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Duration : 0:5:23

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Duration : 0:8:43

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By Joe Smith

Duration : 0:0:42

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One of the great things about soloing over dominant seventh chords—and something that is certainly an essential technique when improvising on a slow blues—is that players are free to exploit the difference in quality between the minor third and the major third. The scale most closely associated with dominant seventh chords is Mixolydian; in G, G Mixolydian is spelled G A B C D E F, with B as the major third. The minor third is one half step lower, Bb; this pitch can also be thought of as the b9 (flatted ninth).

In bar 1 of the solo, I begin on beat one by hammering on from the minor to the major third, and, on beat two, incorporate both the minor and the major third. Be aware of the difference in quality between these intervals and try to take advantage of that difference while crafting your solos.

Duration : 0:5:59

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Face it–we love to play in E minor and so does your guitar. With a 22 fret neck there’s E’s abound ranging from the open low E string for raucous riffing all the way up to the screaming whole step bend from D to E on the first string at the neck’s highest fret. This lick ends end with that climatic string stretcher, but not before it scrambles through some single string ascending three-note patterns at blazing speed.

Duration : 0:2:10

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Duration : 0:3:0

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