Posts Tagged ‘rhythm’
July 22nd, 2010 | 
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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
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Jimmy Page is the third essential British blues guitarist, following in the footsteps of Eric Clapton and Jeff Beck, to have emerged from the seminal blues/rock/proto-metal aggregation known as the Yardbirds. After the original Yardbirds fell apart, Jimmy gigged with a band he called the New Yardbirds, who soon changed their name to Led Zeppelin.
Like Clapton and Beck, Page was deeply influenced by the American blues guitar masters B.B. king, Albert King, Buddy Guy and Otis Rush, but Jimmy spun these influences into a style much less polished and much more raw; in the early days, what he lacked in technical brilliance he more than made up for in spirit and intensity (by Zeppelin III, however, Page’s facility rivaled that of Clapton and Beck). Like his compatriots, he favors minor pentatonic and blues scales when soloing, which is the case with this excerpt played in his style. The riffs here are primarily based on E minor pentatonic (E G A B D) and the E Blues scale (E G A Bb B D).
Duration : 0:6:41
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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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In this video we teach a very cool renegade biker rockabilly blues rhythm – with all chords and patterns texted out – easy and fun!
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Duration : 0:6:39
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In this lesson we teach a standard minor 2-5-1 jazzy rhythm and also how to play lead guitar using the Harmonic Minor Scale over the rhythm to create a more exotic sound.
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Duration : 0:10:47
