This lesson is for all level of players, beginner, intermediate, and even advanced. In it we’ll take a deep look at some very commonly played B.B. King style licks. I’ll walk you step by step through each note and try to break things down to a granular level, making them easy to understand. If you have any questions or need things explained further please don’t hesitate to ask!

Duration : 0:10:0

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For years I wondered what that chord at the end of blues songs was, and played it wrong. In this lesson I show you how to find that 9th chord at the end of the song, and 2 licks that you can play right at the end to add a little sugar to the ending.

Duration : 0:9:56

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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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Duration : 0:7:15

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Duration : 0:5:23

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Duration : 0:7:3

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Duration : 0:6:23

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Duration : 0:8:47

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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 : 0:8:43

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