Worrying You Off My Mind is a solo acoustic blues tune by Big Bill Broonzy. It is played fingerstyle as most of the old blues were and uses an Eb tuning. It does not follow a typical 12 Bar Blues pattern but rather an 8 bar progression with the occasional extra bar added in. While solo acoustic blues is not easy, this is a relatively simple arrangement for the genre.
In this lesson we will be reviewing different options that are available to you when playing a 12 bar blues. We will be covering all the different bluesy chord options we have covered thus far.
In this lesson we will cover several ways to play Dominant 7 chords as barre chords and movable chords
In this lesson you will learn ways to embellish the 12 bar blues and powers chords using your pinky finger. Several examples are demonstrated
In this lesson we will study ways to apply the Blues scale in your lead playing.
In this lesson we will learn and study the Blues scale.
In this lesson we will learn some ways to stylize your blues shuffle.
In this lesson we will stylize our chord with a blues favored riff.
In this lesson we will study blues improv in the style of Chuck Berry combining Mixolydian and Blues scale
In this lesson we will study Mixolydian blues licks in the style of B.B. King.
In this lesson we will learn the Quick Change 12 Bar Blues Progression. In this progression we switch to the IV chord after the first bar.
In this lesson we study some blues lick in the style of Dickey Betts from the Allman Brothers Band.
In this lesson we will study some blues licks in the style of Stevie Ray Vaughan.
In this lesson we will study a couple of common ways to embellish the 12 bar blues changes.
In this lesson we will study the basic 3 chord 12 bar blues changes using the I, IV, and V chords of a key.
In this lesson we study some ways to use Augmented and Diminished chords in Blues progressions.
In this lesson we will study chicken pickin licks in the style of Stevie Ray Vaughan.
This lesson is a basic introduction to improvising over a 12 bar blues pattern. Use of pentatonic major and minor are discussed.
in this we will continue with concepts on soloing over blues changes.
In this lesson we will go over 2 useful Dominant 7 arpeggios that you can incorporate into your blues improvisation. Applying arpeggios and targeting notes of the chords in the progression will make your sound more melodic and sophisticated.
In this lesson we will apply 2 Dominant 7 arpeggios to Ragtime chord changes.
In this lesson we will examine some common blues intros using a new voicing for a dominant 7 chord. You can use these intros to spice up your 12 bar blues. On many classic blues recording there is a tasty intro that kicks the song off. They can be based on the root chord of the song or even start on the V chord. Sometimes blues intros take the place of the first 4 bars of the 12 bar form as you will see in our first example. There are many options and ways to showcase your own personal style in a blues intro.
In this lesson we will study 4 examples of blues turnarounds you can use for your blues.
In this lesson we will take a look at a different voicing for a dominant 9 chord that you can use to jazz up your blues.
This is a technique commonly used in Texas style blues ala Stevie Ray Vaughan. It is in the key of E and involves playing a walking bass line while adding rhythm with an upstroke of the upper notes of an E chord.
In this lesson we will study a 12 bar blues acoustic arrangement that applies rhythm and lead techniques. This piece is in the style of Delta blues solo acoustic. The great originators of Delta blues used a call and answer technique to establish both rhythm and lead parts with just one musician.
Apply the blues shuffle technique to full chords to give your blues new life. Previously, we have studied the shuffle from a power chord position. Now we can extend that idea into full open chords and barre chords filling out your sound. Lesson applies to both acoustic and electric players
West Coast Blues is a style of the blues combining swing and jazz elements with Texas blues. In this lesson we will be studying some common west coast blues style chord progressions.
In this lesson we discuss the concept of phrasing as applied to soloing over chord changes. We will study some possibilities and things to focus on to develop this skill.
In this lesson we will study some unique bends in the style of SRV. This technique can be great for adding to your vocab of licks
In this lesson we will study a specific lick in the style of Joe Bonamassa using the 3rd position of pentatonic minor.
In this lesson we will study a descending pentatonic run in the style of Blues master Joe Bonamassa.
In this lesson we will study a specific lick in the style of Joe Bonamassa using his signature descending lick plus some
In this lesson we will study 5 specific licks that serve as a way to end a 12 bar blues chord progression. We will cover a few in key of E, A, and G. All the licks are easily played in any key.
In this lesson we will be studying a fingerstyle ragtime blues. Ragtime Blues is made up of a different chord progression than the typical I-IV-V 12 Bar blues. It follows a I-III- VI-II-V-I with a bVI turnaround. One of the key defining elements of acoustic blues is the use of the alternating bassline with the thumb. While this style can be tricky to get down, it is well worth the effort.
In this lesson we will study a beginner level minor blues solo. This lesson is specifically designed for those just beginning their exploration of blues improvisation and soloing with the pentatonic minor scale. We will go through one pass of a minor blues chord progression note by note. You are encouraged to expand upon the specific solo taught and come up with your own style.
In this lesson we will study a beginner level major blues solo. This lesson is specifically designed for those just beginning their exploration of blues improvisation and soloing with the pentatonic major scale. We will go through one pass of a major blues chord progression note by note. You are encouraged to expand upon the specific solo taught and come up with your own style.
In this lesson we will study some Boogie Woogie Blues riffs in the key of E. The riffs try to emulate the style of the boogie woogie piano players with the emphasis on the bassline. Great for use in coming up with your own style of boogie woogie blues.
In this lesson we will be expanding on the previous Boogie Woogie Blues lesson and adding some solo licks and different riffs to make it a little more interesting. This is a piece you could play as a solo guitar composition.