Better Blues Licks: Question…Repeat…Answer

The tombstone of Robert Johnson
Image via Wikipedia

“I went to the crossroads, fell down on my knees
I went to the crossroads, fell down on my knees
Asked the Lord above, have mercy now, save poor Bob if you please”
-Robert Johnson

What Makes A Great Blues Guitar Solo?

The blues is about telling your stories. It’s about baring your soul, expressing who you are and where you’ve been.

Robert Johnson was sharing a very personal thing, he went to mouth of Hell, prayed for salvation, then gave up everything to play the blues.

But the best music is about tension and release. You have to bring the listener to that point of tension where they are glued to everything you do, and you have to reward them in the end. If you can do that, they will love you.

If you can’t bring them to that place in the first place you’ll lose them fast. They won’t pay attention.

If you can get them there, but not get them off, you’re just a tease. And they will hate you for it!

The great thing is that this tension and release is built into the 12 bar blues form. To play the blues well you need to understand the form of the blues. And there is no better way to understand the form of the blues than to study the masters.

So for this lesson I want to look at the classic “Cross Road Blues” by Robert Johnson.

12 Bar Blues

“Cross  Road Blues” is a standard 12 bar blues.

Of course that means that it consists of 12 measures.  But if you look closer, you will see that those 12 bars are divided into 4 bar phrases.  This is very important.

Let’s listen to the song.

The first 4 bar phrase contains the lyric

“I went to the crossroads, fell down on my knees”

The melody of this lyric poses a musical question that is placed in that first 4 bar area. It is the 1st 4 bar phrase, and it is left open. If he stopped there it would feel incomplete.

The question is repeated in the 2nd 4 bar phrase. This builds tension, you can hardly wait to hear how it’s going to turn out.

“I went to the crossroads, fell down on my knees”

Then, the 3rd 4 bar phrase finally has the answer:

“Asked the Lord above, have mercy now, save poor Bob if you please”

The musical question is answered, the tension is resolved. Now we can start the 12 bar cycle over and do it again.

Apply This Principal To Your Blues Licks

Get out some staff paper, or tab paper, and write some 12 bar blues licks that follow the form question…repeat question..answer. Yes, write them down…it will help you to really learn the principle and to remember what you came up with.

Then put on a play along, and play those suckers. How many can you come up with?

When you have a few you really like, practice developing them. Start with your original idea, change it a bit in the next chorus and so on. This is a great way to build a blues guitar solo!

Keep this idea in your head when you play the blues…it will help you to play musically, not just rip out a bunch of notes that don’t really speak to anyone.

Some Final Thoughts

Breathe. Put space in your solos. Too many guitarists never stop to take a breathe. It’s like a screaming child on an airplane. Don’t be one of those!

Listen to singers and other instruments. Miles Davis said that he learned more about soloing by listening to singers than anything else. Singing is all about phrasing…play like a singer and you will connect with your audience.

Guitarists have a tendency to put notes together in a way that lays out well on the guitar. Studying the lines of other instrumentalists helps you to think outside the box.

If you apply this idea to your blues, your licks will speak to your audience, guaranteed! Now, go PLAY THE BLUES!

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CAGED Guitar – Understanding The Guitar Fretboard

This article is not specifically about the blues guitar or blues licks, but if you want to be any kind of accomplished guitarist you need to know this! So pay attention, folks, and learn this well.  Print it out, hang it on the wall and do the practice exercises everyday until you see the thing in your dreams. If you do you will find yourself getting around on the guitar like never before. If you don’t, well you just won’t.

We take a long flat hunk of wood, hammer some pieces of metal into it, stretch 6 wires across it, and spend the rest of our lives trying to figure the darn thing out. How can something so simple be so complicated?

The guitar is a complicated instrument, and it’s very difficult to master. It’s hard to see all the notes, and most things can be played on the guitar in many ways. And I don’t mean different chord voicings or melodic ideas, I mean the exact same notes.

But if you look closer there is a way to simplify things. All you need to know are these basic chord shapes:

CAGED Guitar Theory

Each of these chord shapes is the basis for a basic chord form (or shape), and each of these basic chord forms can be moved up the fingerboard to play any major chord. For example, when you play the E shape on the 3rd fret (your basic barre chord) you are playing a G major chord. It can be thought of as the E form of the G major chord. In other words, it is shaped like an open E chord.

Each of these chord forms can be found somewhere on the fingerboard with any of the 12 notes as the root. And if you look closely you will notice a few things:

  • When the root note is the same (for example, all C chords) for all the chord forms, the shapes lay out on the fretboard in this order: C-A-G-E-D. Of course, the lowest (closest to the nut) form varies. For example, the lowest form of the F major chord is the E form, and the lowest form of the G major chord is the G Form. The shapes then continue up the fretboard from there in the CAGED order. Note that the D form is followed by, and connected to, the C form.
  • There are notes common to consecutive chord forms.
  • The full pattern (all 5 forms) covers an entire octave and then starts over. (Notice in the chart below that the D form connects to the C form).

C A G E D Guitar Patterns in C Major

CAGED Guitar Theory In C

C A G E D Guitar Patterns in G Major

CAGED Guitar Theoy In G

Notice that the G form in the chart above can also be played at the 1st position. It’s the basic open G chord.

This way of understanding the fingerboard has come to be known as CAGED theory. The great thing about CAGED theory is that everything we do as guitarists can be seen in the CAGED framework. After you can see the big shapes it is easier to understand how the scales are arranged in all the patterns. And chords are specific notes that we pick out of the scales.

CAGED theory is the framework upon which all of the scale patterns, arpeggios, and positions on this website are based. It is very important that you see the guitar fingerboard in this way.

Video Guitar Lesson

How To Master CAGED Guitar

Step 1

Play all the chord forms of the C major chord up the fingerboard. Some of them aren’t the most practical way to play a chord, but remember that the purpose of this exercise is to see the shapes and how they lay out on the fingerboard. Be sure to pay attention to how the patterns are connected, and that you know the location of the root notes in each pattern.

In order to do this you will need to know the notes on the E and A strings pretty well. If you need help with that take a look at this: Learn The Guitar Notes.

Step 2

Once you can do step 1 easily, play each of the forms in order (C-A-G-E-D) in every key (around the circle of 4ths) beginning with the C form. You will have to shift down the fingerboard for most keys.

Step 3

Play the pattern around the circle of 4ths beginning with the lowest chord form available on the fingerboard. All 12 major chords can be played in the 1st or 2nd position in one of the chord forms.

Step 4

Choose a 5 fret area anywhere on the fingerboard. Limiting yourself to that area, play all 12 major chords around the circle of 4ths.

Eventually you will be able to see how everything you play fits into the CAGED guitar system, and you will be able to navigate all areas of the fretboard easier than ever before.

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The Minor Pentatonic Scale – Part 5

The 5th pattern of the Minor Pentatonic Scale is the G form (from the perspective of CAGED guitar).

The Minor Pentatonic Scale Position 5

The Minor Pentatonic Scale Position 5

It fits over the open G7 chord shape:

G7 Blues Chord

Once you get a grip on pattern be sure to follow these steps:

  • Play it all 12 keys, ascending and descending
  • Practice connecting all 5 patterns up and down
  • Experiment! Make some music

Be sure to subscribe to this blog and get your free copy of Blues Rules for a more details and techniques to get the Minor Pentatonic scale burned into your brain, so that you can make music with it. It is the fundamental sound of the blues!

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The Minor Pentatonic Scale – Part 4

So now that you know the first 3 patterns of the Minor Pentatonic Scale it’s time to get your fingers on the 4th pattern.

This pattern is really useful because it fits in the area where you would play a chord with the root note on the 5th string. Notice the root note on the 5th string in the chart below:

The Minor Pentatonic Scale Pattern 4

The Minor Pentatonic Scale Pattern 4

In the CAGED Theory framework this pattern is the A form because it fits over the open A shaped dominant 7 chord:

Of course that shows the chord in the open position, but if you move it up to the 10th fret you will have a G7 chord. And once again the root note is on the 5th string.

When practicing this pentatonic scale shape be sure to stick to a one finger per fret approach. Take a look at the video to see what I mean:

I tried to put a tab of the scale in this post, but the picture is too big. When I reduce the size it doesn’t look good at all. So if you want a tab, be sure to grab your free copy of Blues Rules. There’s full tabs, licks and charts, as well as a lot more information.

Be sure that you are working through the practice techniques outlined in part 3 of this series. Stay tuned for the next part where I will not only show you the 5th pattern of the minor pentatonic scale, but I’ll post a video lesson demonstrating practice techniques to get the scale under your fingers and in your ears so you can get on with the the business of playing the blues guitar.

So grab your guitar and get at it!

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The Minor Pentatonic Scale – Part 3

So now that you know the first 2 patterns of the Minor Pentatonic Scale it’s time to get your fingers on the 3rd pattern.
Many blues guitarists focus primarily on the first 2 patterns of the scale, but if you want to be really good you need to learn to play all over the fingerboard. The 3rd pattern of the scale is the trickiest because it involves shifting positions to play the 7th fret on the 3rd string and the 11th fret on the 2nd string.

Here it is in the key of G:

The Minor Pentatonic Scale Pattern 3

The Minor Pentatonic Scale Pattern 3

Notice that I start with my 2nd finger so that I can get that 7th fret note on the 3rd string, and then I shift up a fret on the 2nd string so that I can get the 11th fret note on the 2nd string. The truth is that it’s more difficult to go from the 2nd finger to the 4th finger than it is is to go from the 1st finger to the 3rd finger. But it’s more economical to do it this way, and practicing like this helps to strengthen the 4th finger.

In actual playing I may play those lower sting notes with my 1st and 3rd finger, depending on the lick and whats going on around it. Stay tuned, I’ll be posting some licks soon that illustrate what I am talking about.

Minor Pentatonic Guitar Scale - C From

In actual playing I may play those lower string notes with my 1st and 3rd finger, depending on the lick and what’s going on around it. Stay tuned, I’ll be posting some licks soon that illustrate what I am talking about.

Also, notice that this pattern fits over this Dominant 7 chord shape:

g7-cform-chord

At this point you should be able to play the first 2 patterns easily. So here are some practice suggestions:

  1. Once you get this pattern under your fingers play it all 12 keys around the circle of 4ths. For more information about his practice technique be sure to subscribe to this blog and get the free Blues Rules course.
  2. Practice playing all three patterns of the scale that you know so far, up and down, starting from the first pattern. Pay close attention to how they are connected. Once you get that down do it around the circle of 4ths.
  3. Practice going back and forth between the Dominant 7 chord form shown above and the scale. And once again, do it aound the circle of 4ths.
  4. Have some fun with it! Put on a blues play-long and make some music.

So get to work. I will be posting the 4th pattern very soon!

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The Minor Pentatonic Scale – Part 2

Now that you’ve got the first position of the scale under your fingers it’s time to to get to work on the second position.

If you haven’t yet, be sure to read the part 1 of this series on the Minor Pentatonic Scale.

The Second Pattern Of The Minor Pentatonic Scale

When you move up a pattern in the scale, you lose the lowest note on the 6th string but you gain a higher note on the 1st string. Here is what it looks like:

The Minor Pentatonic Scale Pattern 2

The Minor Pentatonic Scale Pattern 2

minor_pentatonic_scale_eform_tab_1

When you practice the scale it’s a good idea to start with your second finger. Keep your hand in the 5th position (your first finger should be at the 5th fret of the guitar) play each note with the appropriate finger. Check out the video to see what I mean.

Of course in a real playing situation you may use various fingerings depending on the licks you are executing.  It is common to play the top 3 strings of the D form Minor Pentatonic Scale with the first finger on the 6th fret, the 2nd finger on the 7th fret and the 3rd finger on the 8th fret.  This makes it easier to bend the notes on the first 2 strings.

Once you get familiar with the D form practice switching from the E form of the scale to the D form and back.  Try to use logical fingerings.  You can do a lot with just these 2 scale forms.  Stevie Ray Vaughan and a lot of other great blues guitarists rely heavily on them.

The Blues Rules course contains some guitar tabs to help you get a handle on switching back and forth between these 2 forms, and it’s free when you subscribe to 100 Blues Licks. Just fill in your name and email address at the top of this page.

Here are just a couple of licks to get you started.  There are more to come!

minor_pentatonic_dform_lick

minor_pentatonic_scale_lick2_dform

Next: The C form of the Minor Pentatonic Scale.  Also, some video lessons of cool blues licks using the 2 forms covered so far.

And if you really want to take your playing up a notch check out Pentatonic Power, a 150 day road map to mastering the pentatonic scales. Highly reccomended!

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Posted in Blues Guitar Lessons | Tagged , , | 1 Comment

The Minor Pentatonic Scale – Part 1

Every blues guitarist must have a firm grasp on the minor pentatonic scale so I thought it would be a good idea to do an in-depth series covering the scale and each of the 5 pentatonic scale patterns. In the first part of the series I will explain exactly what the minor pentatonic scale is and show you the first pattern.
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Stevie Ray Vaughan Remembered

Stevie Ray Vaughan

Stevie Ray Vaughan

Certainly one of the most inspirational blues guitarists to ever have picked up a guitar is Stevie Ray Vaughan. A true blues guitar icon, Stevie not only brought the old school blues to some of us younger players, but he managed to leave a mark that forever changed the blues guitar.

I just ran across this great blog post: Life By The Drop

Enjoy!

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Take My Advice: You Can Play Guitar But You Suck!

Sometimes the truth hurts.  But if you can get over yourself for a minute, facing the truth can set you free. Or at least make you a better blues guitar player.

jam_night

Blues Jam Night

This is a true story. Some years ago when I was working hard at getting my chops together I was a regular at a local blues jam night.  I was at a point where I was learning lots of technical stuff. My fingers were flying pretty fast and I felt pretty damn good about it.  I couldn’t wait to get up there and show the world what I could do.
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Posted in Blues Guitar Lessons | Tagged | 2 Comments

Get The Blues Right: Taj Mahal And The Diminished 7 Chord

bbros

Elwood And Jake

Ever since Jake and Elwood did it in The Blues Brothers, “She Caught The Katie” by blues great Taj Mahal has been a jam night standard.  But this great song has one little twist that often trips up less experienced players:  the Diminished 7 chord.

It’s not that the Diminished 7 chord is difficult to play on the guitar, on the contrary, it’s very easy.   The problem is that many budding blues guitarists have never even heard of such a thing, let alone try to play it.

So, first of all, here are 3 standard ways to play it:
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