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Happy New year and thanks for your support.I'm adding two new Blues lessons this year..hope you like them as much as the country lessons.Check us out at www.roaddogz.com/robertdeanblues or call me at 1 800-798-8070 Thanks Robert

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Blues Guitar Lessons Review www.play-blues-guitar.eu If you're goin' to do it, do it right ... Free Lesson Download http Sign Up To My Newsletter To Receive The Following FREE Stuff ... 1. Complete Robert Johnson Blues Guitar Lesson Download 2. Seven Part Mini-Course - Finger Picking Basics 3. Classic Blues MP3 Album - Jim Bruce & Ken Mayall 4. Blind Blake MP3 Album - 20 Original Tracks Another interpretation of a great classic from Brownie McGhee - So Much Trouble. This is another example of how to play the blues with a subtle twist and yet retain the authentic feel of the music. The full range of lessons available cover all major acoustic blues guitar styles, such as delta blues(Robert Johnson), Texas Blues (Lightnin' Hopkins), Chicago swing (Big Bill Broonzy), ragtime blues(Blind Blake, Blind Boy Fuller, Willie Walker) , Carolina blues (Floyd Council, Pink Anderson, Scrapper Blackwell), bottleneck and open tunings. Let Jim take you to the next level - all the acoustic blues lessons you need in one place! (Suitable for intermediate to advanced finger pickers.)

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FULL COURSE, TAB, JAM TRACKS: truefire.at More free guitar lessons: bit.ly ** 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--ie, 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 <b>...</b>

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FULL POST w/ tab: su.pr David Hamburger - truefire.at Over the years I've had the pleasure of teaching at various workshops in the company of some fabulous blues guitarists, including Paul Rishell, Steve James and Duke Robillard, among others. I've always soaked up as much as I could from these experiences, realizing early on that as long as no one who was paying me to teach realized just how much I was actually learning myself, I was pretty much sitting on so much velvet. The thing I've always envied about these guys is their hands-on connection to the past. Steve's got stories about backing up Furry Lewis onstage in Memphis in the early '70s. Duke told me once how he got called up to sit in with Muddy Waters, while Freddie King was already onstage too, and Freddie proceeded to glower at Duke the entire time for messing with his own Muddy moment. "And Freddie was a big guy!" laughed Duke. But the best of all are Paul Rishell's stories about backing up Howlin' Wolf in Boston, also in the early '70s. After one session, one of the other musicians asked Wolf if he had any words of wisdom for a young, up and coming bluesman. Wolf looked the afro'd and dashiki'd guitarist up and down and growled, "Yeah! Throw them pedals in the river on the way to the barber shop!" So I wish the things I am about to tell you, I learned from hanging with Robert Lockwood Jr., sitting in with Roosevelt Sykes, and catching Magic Sam at his incendiary Ann Arbor Blues Festival appearance in the <b>...</b>

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FULL COURSE, TAB, JAM TRACKS: truefire.at More Free Guitar Lessons: bit.ly On Twitter - www.twitter.com On Facebook - www.truefire.com 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 GABCDEF, 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.

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