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Discussion in 'Music to Your Ears' started by castpolymer, Sep 5, 2012.
ZZ Top's Fool For Your Stockings ... ?
Allman Bros - One Way Out
Howlin Wolf - Built For Comfort
BB Kings - Its my own fault. Also check youtube for a great Sean Costello version
BB King - Thrill is gone to practice minor blues
Magic Sam - All of your Love, a blues progression that does not sound quite like one
Claptons Version of It Hurts me Too - 8 Bar blues
Claptons Someday after awhile - has some jazzy chords and a bridge, great leads
Tenor Madness Bb Blues
I've abandoned tab in favor of training my ears to tell my fingers where to go, and this is what I've been playing along with:
Paul Butterfield Blues Band - First two albums
Howlin Wolf - All of him
Nick Gravinites - My Labors
Muddy Waters - Any
And lately, Kenny Wayne Shepard - Trouble Is...
Love this one, notice he plays lead on the root (1) C then plays the chord on the 4 and 5 chords. I love playing to this.
and another of my favorites
I think that the Guitar Center King of the Blues backing tracks are cool and a good way to practice playing over a variety of different styles of blues.
Red House.. play along with Jimi..... let him do the lead of course.....
Just depends what you dig...
Have You Ever Loved a Woman
Love Her With a Feeling
Don't Throw Your Love on Me So Strong
Pride and Joy
Black Cat Bone
T Bone Shuffle
If You Love Me Like You Say
Down Home Blues
Someone Else is Steppin In
I Smell Trouble
Further On Up the Road
You've Got Me Where You Want Me
Let the Good Times Roll
How Blue Can You Get
The Thrill is Gone
Everyday I Have the Blues
Johnny Guitar Watson
I've Got Eyes
Gangsta of Love
Mother in Law Blues
I Feel So Good
I've Got My Mojo Workin
She's 19 Years Old
That's just off the top of my head, I mean there are millions!
Once you're comfortable playing 12 bar blues chord changes in one key, make sure you can do it in all keys. Soloing over a blues form in all keys is a must as well.
Try learning songs that have a specific hook of their own, so that your blues tunes don't end up all sounding the same. This could be a riff or a melody, as in tunes like:
'Folsom Prison Blues' - Johnny Cash
'Boom Boom' - John Lee Hooker
'Johnny B. Goode' - Chuck Berry
Or it could be a useful set of chord changes that is a bit out of the ordinary, such as:
'Need Your Love So Bad' - Fleetwood Mac
'The Thrill Is Gone' - B. B. King
'Blues For Alice' - Charlie Parker
'Smokestack Lightning' by Howlin' Wolf is a good one to spend time with too: it has a riff, and it stays on the same chord the whole way through. If you can make that sound interesting, magic will happen.
Learn some "box shuffles". Songs like "Tore Down", "Snatch it Back and Hold It", "Look Over Yonders Wall". "Checkin Up On My Baby", "Good Morning Little Schoolgirl". Very simple, but many variations..........
Killing Floor doesn't seem to have been mentioned yet. It is one of the best 12-bar types out there.
Professor? (raising hand respectfully!)...
Could it also be said that one commonly used melodic characteristic of the 12 bar blues is modulating to the minor 3rd on the IV chord? Like the sax riff at the beginning of Honky Tonk? (guitar solo does it too at 1:24).
CP, this is an iconic 12 bar blues that hasn't been mentioned yet-but it's one well worth learning.
I have had good practice results with "Tea for One", Led Zeppelin and with "Slow Blues in C", 10 Years After.
Absolutely. This fits into the chord-tone model, as the minor third of the key or scale is the flat seventh of the IV7 chord.
The minor third trick is cool. Something a lot of modern blues guys (Robben Ford, Scott Henderson, et al) do is superimpose melodic minor over chords to hit some alter notes and extensions. This work a lot of different ways.
So for E blues you would Get GMM over A7
G A Bb C D E F#
b7 R b9 #9 11 5 6
Very neat way to hit all the extensions. The #9 is what blues power is all about after all! You could also do the same thing on the turnaround by playing eith A MM, or CMM over B7.
CMM would hit all of the altered notes for you...
C D Eb F G A B
#9 3 b5 #5 b7 b9
AMM would hit a few and leave some alone which is coll for a different sound.
A B C D E F G#
b7 R b9 3 4 b5 b6
I like to use MM down a whole step on the turnaround and then go from A Melodic Minor to E Major Pentatonic or E Mixolydian on the I. I like that minor to major cadence. I call it the "I'll Follow the Sun," Cadence. Just like on the Beatles tune.
Sorry for rambling. I just like this approach a lot more than learning 50 different altered arpeggios.
I like the altered chord idea better than a scale. With altered chords, you know how every note that you play will sound against the chord. You can get more specific emotional content that way. My aversion to the scale approach is that it can sound like running notes up and down, without pausing to emphasize certain ones. I did my share of scales when I was younger, so I can understand the attraction. But if you know your chord spellings and notes on the fingerboard, you can zero in on specific emotional inflections.
Of course, this is all personal preference. But once you start teaching, the responsibility for your decisions becomes greater.
Here's a great assortment to listen to and absorb: Willie Dixon - Chess Box
Disc 2 has the better known songs.
If you want to add some flavor with a few subtle key changes:
Steely Dan - Chain Lightning
Your mom was definitely hip to have done that for you.