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Play Like Your Heroes: Blues Volume TwoPlay Like Your Heroes: Blues Volume Two

Play Like Your Heroes: Blues Volume Two

Play Like Your Heroes: Blues Volume 2

Play Like Your Blues Heroes, Volume 2. Some of the finest blues features from Guitar Techniques magazine, all packed into a fantastic walleted issue. You get all this and more: play the Blues Shuffle feel (made famous by T-Bone Walker, Freddie King and Clapton); Power Trio ideas - Hendrix, Stevie Ray Vaughan, etc; Acoustic blues and Electric blues (four ability levels each); and seven individual style studies (Clapton, Peter Green, Michael Bloomfield, Otis Rush, Buddy Guy, Hubert Sumlin, Gary Moore); rounding off with 25 amazing licks that every blues-rock player needs to know!

Country:
United Kingdom
Language:
English
Publisher:
Future Publishing Ltd
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IN THIS ISSUE

3 min.
welcome

Thanks for picking up a copy of our second Play Like Your Blues Heroes from the team at Guitar Techniques. As with Blues Heroes 1, we’ve trawled the GT archives for some of the best blues-based lessons from our exceptional roster of tutors and players. There’s so much great stuff here that it could literally keep you busy for months. We’ve tried to ensure a perfect balance of lessons, so you’ll find all this in the ensuing pages: a full feature on the shuffle rhythm beloved of bluesmen like T-Bone Walker, SR V, Freddie King and Clapton; a mega article showing how to sound big in a power-trio context; a pair of four-level lessons on acoustic and electric blues; seven in-depth style studies, and 25 classic blues licks everyone should know. Add…

3 min.
tab user guide

Relating tab to your fretboard HAND LABELLING Here are the abbreviations used for each finger: Fretting hand: 1, 2, 3, 4, (T) Picking hand: p (thumb), i (first finger), m (second), a (third), c (fourth). A Major scale SCALE EXAMPLE The diagram shows the fretting-hand fingering for the A Major scale (root notes in black). The photo shows part of the scale being played on the fourth string with first, third and fourth fingers. NUT & FRETBOARD The fretbox diagram above represents the fretboard exactly, as seen in the accompanying photo. This is for ease of visualising a fretboard scale or chord quickly. READ THE MUSIC Each tutorial features music notation and guitar tablature (Tab). MUSIC NOTATION The five horizontal lines show note pitches and rhythms and are divided by vertical bar lines. CHORD EXAMPLE The diagram represents the G chord in…

3 min.
9 bluesy scales... ...you’ll want to know!

Make sure you learn all five shapes of each scale. This unlocks the neck and lets you see it as a single entity, allowing you to connect notes and phrases at will. This makes you sound fluent, leading to longer, flowing solos; it also stops you getting stuck in ruts. A good idea is to practise up one shape then down another. 1 MINOR PENTATONIC SCALE The Minor Pentatonic scale’s five notes have shaped blues, rock and beyond. It sounds great and is easy to use, but many players curse the fact that their fingers fall into the same place every time they play. So learn all the shapes and aim to come up with a new lick each time you play them. This scale is perfect for soloing over a Minor…

3 min.
35 blues chords... ...you’ll want to know!

Rhythm is what guitarists spend much more time doing than wigging out on solos. So being a decent chord player is vital. Get familiar with the five ‘essential’ shapes for Major 7th, Minor 7th and Dominant 7th chords, and then try some of the ‘useful’ shapes to get a bit more colour into your rhythm work. Roman numerals are often used to describe chords. This is because you can build a chord from each note in a scale, and the numerals refer to the interval from which the chord is built. In a blues in the key of A, the ‘home’ chord of A is the 1 chord (I in Roman numerals); the chord of D is the 4 chord (IV) as it’s built on the fourth note in the A…

8 min.
the blues shuffle

T he ‘shuffle’ or ‘swing’ beat is a fascinating musical device that completely transforms the feel of a piece of music. Instead of a regular, even 1-2-3-4, the shuffle has an asymmetric pulse, alternating longer and shorter notes. Try playing only the first and third notes of a triplet (1-2-3) pattern, and you’re playing a shuffle or ‘swing’ rhythm, as heard in many a 12-bar blues jam – but there’s much more to the shuffle than that. “In the beginning, there was noise. Noise begat rhythm and rhythm begat everything else” Mickey Hart (Grateful Dead) Some of the earliest recorded examples of shuffle can be heard in the ragtime piano music of the very late 19th and early 20th century, in which the left hand plays a ‘straight’ bass pattern against a…

8 min.
blues-rock power!

In this feature we aim to showcase a variety of techniques and concepts to help the guitar to fill out the sound and function with just the bass and drums as a backing. The blues-rock power trio format really took shape in the late 1960s with three-piece bands like Cream and The Jimi Hendrix Experience fusing blues and rock with loud amplification. Many other notable guitar players have been inspired by these late-60s innovations, and our 10 notated examples showcase a raft of them with a view to you incorporating them into your own trick bag. “Major and Minor Pentatonic scales can be mixed and matched and seasoned blues-rock improvisers like Eric Clapton have mastered the knack of changing between the two at the right time” To give you a chance to…