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- Herausgeber: John Wiley & Sons
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
Want to become the coolest possible version of yourself? Time to jump into learning the blues guitar. Even if you don't read music, Blues Guitar For Dummies lets you pick up the fundamentals and start jamming like your favorite blues artists. Blues Guitar for Dummies covers the key aspects of blues guitar, showing you how to play scales, chords, progressions, riffs, solos, and more. This hands-on guide is packed with musical examples, chords charts, and photos that let you explore the genre and play the songs of all the great blues musicians. This accessible how-to book will give you the skills you need to: * Choose the right guitar, equipment, and strings * Hold, tune, and get situated with your guitar * Play barre chords and strum to the rhythm * Recognize the structure of a blues song * Tackle musical riffs * Master melodies and solos * Make your guitar sing, cry, and wail * Jam to any type of blues Additionally, the book comes with a website that shares audio samples of all the examples covered in the lessons. Go online to practice your riffs and chords and develop your style as a blues musician. Order your copy of Blues Guitar For Dummies today and get ready to start shredding! P.S. If you think this book seems familiar, you're probably right. The Dummies team updated the cover and design to give the book a fresh feel, but the content is the same as the previous release of Blues Guitar For Dummies (9780470049204). The book you see here shouldn't be considered a new or updated product. But if you're in the mood to learn something new, check out some of our other books. We're always writing about new topics!
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Blues Guitar For Dummies®
Published by: John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030-5774, www.wiley.com
Copyright © 2020 by John Wiley & Sons, Inc., Hoboken, New Jersey
Published simultaneously in Canada
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Library of Congress Control Number: 2020931515
ISBN 978-1-119-69563-9 (pbk); ISBN 978-1-119-74895-3 (ebk); ISBN 978-1-119-74896-0 (ebk)
Blues Guitar For Dummies®
To view this book's Cheat Sheet, simply go to www.dummies.com and search for “Blues Guitar For Dummies Cheat Sheet” in the Search box.
Table of Contents
Cover
Introduction
About This Book
Conventions Used in This Book
What You’re Not to Read
Foolish Assumptions
How This Book Is Organized
Icons Used in This Book
Where to Go from Here
Part 1: You Got a Right to Play the Blues
Chapter 1: Every Day I Have the Blues … Hallelujah!
Capturing the Blues Train from Its Departure Then to Its Arrival Now
It’s Not All Pain and Suffering — The Lighter Side of Blues
Surveying the Means to Make the Music: The Guitar in All Its Glory
The Collision of Two Worlds: Acoustic versus Electric
Getting a Grip on How Guitars Work
Performing and Looking Like a Blues Player
Blues Trivia For Dummies
Chapter 2: Blues Meets Guitar: A Match Made in Musical Heaven
Beyond the Delta: Defining the Blues Guitar Sound
Dissecting an Acoustic and an Electric
Getting Down with the Blues: A Quick How-To
What You Need to Get Your Groove On
Chapter 3: Grab Hold, Tune Up, Play On!
Holding Your Axe (That Is, Your Guitar)
Holding the Pick, Attacking the Problem
Getting Situated
Tuning Up
Playing a Chord
Music Notation: Not Just for Geeks
Part 2: Setting Up to Play the Blues
Chapter 4: Getting a Grip on Left-Hand Chords
Starting Out Simple: Blues Chords Even Your Mom Could Play
Going to the Next Level: Barre Chords
Taking Advantage of Versatile Power Chords
Chapter 5: Positioning the Right Hand for Rhythm and Lead
Strumming Along
Mixing Single Notes and Strumming
Shuffling the Beats with Syncopated Strumming
Stopping the String Ringing (Just for a Sec)
Copying the Classics: Plucking Fingerstyle Blues
The Right Hand’s Bliss: Different Rhythm Styles to Play
Chapter 6: Blues Progressions, Song Forms, and Moves
Blues by the Numbers
Recognizing the Big Dogs: Primary Key Families and Their Chords
The Structure of a Blues Song, Baby
Applying Structures to Keys
Accessorizing the 12-Bar Blues: Intros, Turnarounds, and Endings
High Moves
Chapter 7: Musical Riffs: Bedrock of the Blues
Basic Single-Note Riffs
Double the Strings, Double the Fun: Two-Note Riffs (or Double-Stops)
High-Note Riffs, the Bridge to Lead Guitar
Mastering the Rhythm Figure
Part 3: Beyond the Basics: Playing Like a Pro
Chapter 8: Playing Lead: Soaring Melodies and Searing Solos
Mastering Your Picking Technique
The Universal Lead Language: The Pentatonic Scale
Pentatonic Plus One: The Six-Note Blues Scale
Adding Some Extra Flava to the Blues Scale
Chapter 9: Playing Up the Neck
For Inquiring Minds: Why Up the Neck You Should Go
Positioning Your Digits for an Easy Key Change
Easing Into Position: Moving the Pentatonic Up and Down
Changing Your Position
The Technical Side of Moving
Five Positions You Should Know: Meanderings of the Pentatonic Scale
Understanding the Logic behind the Corresponding Shift of Position and Key
Chapter 10: Express Yourself: Making the Guitar Sing, Cry, and Wail
Appreciating the Art of Articulation
Going In for the Attack
Breaking Down the Music: Phrasing
Giving Your Sound a Bit of Flair
Playing a Song with Various Articulations
Part 4: Sounding Like the Masters: Blues Styles through the Ages
Chapter 11: Acoustic Roots: Delta Blues and Its Country Cousins
Delta Blues: Where It All Began
Country Ragtime: The Piedmont Blues
Everything In-Between: Country and Folk Blues
Country and Folk Blues Had a Baby; Its Name was Rockabilly
Quintessential Blues: Slide Guitar
Chapter 12: The Birth and Growth of Classic Electric Blues
The Rise of the Electric Guitar in Blues
Giving Props to the Earliest Electric Pioneer
Sweet Home Chicago, Seat of the Electric Blues
Modern-Day Blues Styles: The Sounds of Texas
Four Blues Giants: Three Kings and a Collins
Children of the Post-War Blues Revival
Chapter 13: Blues Rock: The Infusion of Ol’ Rock ’n’ Roll
The Blues Had a Baby, and They Called It Rock ’n’ Roll
Chuck Berry, blues rock’s first superstar
The Brits Invade the Blues
Trippin’ the Blues
Heavy “Blooze”: The Infusion of Hard Rock
Hot Barbecue Blues, Texas Style
Blues on Steroids
21st-Century Soul
Part 5: Gearing Up: Outfitting Your Arsenal
Chapter 14: Shop Till You Drop: Buying the Right Guitar for You
Before You Begin Shopping
Deciding On a Make and Model
Evaluating a Guitar
Welcome to the Jungle: Shopping
Protecting Your Guitar
Chapter 15: Choosing Your Amp and Effects
Getting Started with a Practice Amp
Powering Up to a Larger Amp
Dissecting the Amplifier
What’s That Sound? Checking Out Your Amp Choices
Remembering the Good Old Days
Dialing in an Amp Sound
Chronicling Classic Amps for Blues
Messing Around with Your Sound: Effects
Juicing Up Your Sound
Toying with Tone Quality
Modulation Effects, from Swooshy to Swirly
Pretending (and Sounding Like) You’re Somewhere You’re Not
Choosing an Effects Format
Chapter 16: Changing Strings
Change Is Good, But When?
Choosing the Right Strings
Outfitting Your String-Changing Toolkit
Removing Old Strings
Stringing a Steel-String Acoustic
Stringing an Electric Guitar
Part 6: The Part of Tens
Chapter 17: Ten Blues Guitar Giants
Robert Johnson (1911–38)
Elmore James (1918–63)
T-Bone Walker (1910–75)
Muddy Waters (1915–83)
Albert King (1923–92)
B.B. King (b. 1925)
Albert Collins (1932–93)
Otis Rush (b. 1934)
Eric Clapton (b. 1945)
Stevie Ray Vaughan (1954–90)
Chapter 18: Ten Great Blues Guitars
Gibson L-1 Flattop
Gibson ES-175 Archtop
National Steel
Gibson J-200
Fender Telecaster
Gibson Les Paul
Fender Stratocaster
Gibson ES-335
Gibson ES-355
Gibson SG
Chapter 19: Ten (Plus One) Must-Have Blues Guitar Albums
Robert Johnson: The Complete Recordings
Blues Masters: The Very Best of Lightnin’ Hopkins
T-Bone Walker: Complete Capitol Black & White Recordings
T-Bone Walker: Complete Imperial Recordings
The Best of Muddy Waters
B.B. King: Live at the Regal
The Very Best of Buddy Guy
Robert Cray: Bad Influence
Masters of the Delta Blues: Friends of Charlie Patton
Mean Old World: The Blues from 1940 to 1994
Chicago: The Blues Today
Part 7: Appendixes
Appendix A: How to Read Music
The Elements of Music Notation
Appendix B: How to Use the Website
Relating the Text to the Website
System Requirements
What You’ll Find on the Website
Troubleshooting
Index
About the Author
Connect with Dummies
End User License Agreement
List of Tables
Chapter 5
TABLE 5-1 Blues Songs by Groove
Chapter 6
TABLE 6-1 The I, IV, and V Chords in Common Blues Keys
Chapter 8
TABLE 8-1 Comparing the Major and Minor Pentatonic Scales
Chapter 10
TABLE 10-1 Dynamics Symbols and Their Meanings
Chapter 11
TABLE 11-1 The Songs of Robert Johnson
Chapter 16
TABLE 16-1 Common Acoustic-Guitar String Sets by Gauge
TABLE 16-2 Common Electric-Guitar String Sets by Gauge
Chapter 20
TABLE A-1 Pitch Symbols and Their Meanings
TABLE A-2 Duration Symbols and Their Meanings
TABLE A-3 Expression, Articulation, and Miscellaneous Symbols
List of Illustrations
Chapter 1
FIGURE 1-1: The Fender Stratocaster and the Gibson Les Paul.
Chapter 2
FIGURE 2-1: The C major scale with blue notes.
FIGURE 2-2: The 6-note blues scale and 5-note minor pentatonic scale.
FIGURE 2-3: A typical acoustic guitar with its major parts labeled.
FIGURE 2-4: A typical electric guitar with its major parts labeled.
FIGURE 2-5: The makers of electric sound, reporting for duty.
FIGURE 2-6: A left-hand string bend stretches the string, causing it to rise in...
Chapter 3
FIGURE 3-1: The correct position for creating notes and chords.
FIGURE 3-2: The right hand crosses the strings for picking, strumming, and fing...
FIGURE 3-3: Using a thumbpick increases the power from the right-hand thumb.
FIGURE 3-4: The correct way to hold a pick.
FIGURE 3-5: With fingers curved and knuckles bent, the left hand fingers the E ...
FIGURE 3-6: A chord diagram with its parts labeled.
FIGURE 3-7: One bar of an E chord with rhythm slashes.
FIGURE 3-8: Three examples of guitar tablature, with the parts labeled.
Chapter 4
FIGURE 4-1: Twenty open-position chords for playing most blues songs.
FIGURE 4-2: Forming an F barre chord.
FIGURE 4-3: Five common major barre chords are found in the blues.
FIGURE 4-4: The C7 moveable form at the fifth fret creates an E7 chord.
FIGURE 4-5: Four qualities of E-based forms.
FIGURE 4-6: A progression using the minor, dominant 7, minor 7, and 7 suspended...
FIGURE 4-7: A B♭ chord at the first fret uses the A form.
FIGURE 4-8: The alternate, double-barre fingering for the A-form barre chord.
FIGURE 4-9: A progression that uses only A-form barre chords.
FIGURE 4-10: A progression using the A-form minor 7, dominant 7, and 7 suspende...
FIGURE 4-11: Combining A- and E-form barre chords in a progression.
FIGURE 4-12: The E- and A-form power chords.
Chapter 5
FIGURE 5-1: Strumming an E chord in quarter notes for two bars.
FIGURE 5-2: Playing eighth-note and quarter-note strums in downstrokes.
FIGURE 5-3: A strumming passage in quarter and eighth notes, using downstrokes ...
FIGURE 5-4: A bass-and-chord pick-strum pattern for country blues.
FIGURE 5-5: A two-beat, or cut shuffle, feel alternates bass notes with the cho...
FIGURE 5-6: A pick-strum pattern in a slow 12/8 feel.
FIGURE 5-7: A chart of dots, ties, rests and common syncopation figures.
FIGURE 5-8: A straight-eighth progression in A that uses common syncopation fig...
FIGURE 5-9: A shuffle in A that uses common syncopation figures.
FIGURE 5-10: A strumming pattern that employs left-hand muting to simulate sync...
FIGURE 5-11: A rhythm figure with palm mutes and accents.
FIGURE 5-12: Fingerstyle blues with a quarter-note bass.
FIGURE 5-13: The shuffle feel is the most common groove in the blues.
FIGURE 5-14: The straight-four feel is used for a more-driving, rock-based soun...
FIGURE 5-15: The 12/8 feel is used for slow-tempo blues.
FIGURE 5-16: The two-beat feel is for more lively blues.
FIGURE 5-17: The 16 feel is used for funky-sounding blues grooves.
Chapter 6
FIGURE 6-1: The 12-bar blues using Roman numerals to represent chords in a key.
FIGURE 6-2: The 12-bar blues in E.
FIGURE 6-3: The quick-four change in bar two, in E blues.
FIGURE 6-4: The turnaround can be a V chord substituting for I in the last bar.
FIGURE 6-5: A slow blues in 12/8 with added chords.
FIGURE 6-6: An 8-bar blues that uses various chords.
FIGURE 6-7: A straight-four progression with a variation.
FIGURE 6-8: The Jimmy Reed move in E.
FIGURE 6-9: The Jimmy Reed move in G.
FIGURE 6-10: The Jimmy Reed move in A.
FIGURE 6-11: A minor blues progression that uses minor-seventh chords.
FIGURE 6-12: A simple two-bar intro.
FIGURE 6-13: A four-bar intro.
FIGURE 6-14: A two-bar turnaround.
FIGURE 6-15: A two-bar turnaround with chord changes every two beats.
FIGURE 6-16: A two-bar turnaround with chromatic movement.
FIGURE 6-17: A typical ending for a slow blues.
FIGURE 6-18: A two-bar turnaround in a shuffle feel.
FIGURE 6-19: Two added chords in E7.
FIGURE 6-20: Two added chords in A7.
FIGURE 6-21: The B7 move.
FIGURE 6-22: High moves in a 12-bar blues in E.
Chapter 7
FIGURE 7-1: A boogie bassline in quarter notes.
FIGURE 7-2: A boogie bassline with double-struck eighth notes.
FIGURE 7-3: A stop-time riff in eighth notes.
FIGURE 7-4: An eighth-note riff in the style of Freddie King’s “Hide Away.”
FIGURE 7-5: A 16th-note riff, using alternate picking.
FIGURE 7-6: An eighth-note riff featuring common syncopation figures.
FIGURE 7-7: An expanded version of the classic 5-6 move in straight eighths.
FIGURE 7-8: A variation of the 5-6 move in swing eighths.
FIGURE 7-9: An expanded version of the classic 5-6 move.
FIGURE 7-10: A progression fusing chords, single notes, and doublestops.
FIGURE 7-11: The quick-four move over open-position E and A chords.
FIGURE 7-12: A triplet-based intro riff in E.
FIGURE 7-13: A double-stop intro riff in E.
FIGURE 7-14: A melodic intro riff based in all triplet eighth-notes.
FIGURE 7-15: A descending double-stop turnaround riff in A in the style of Robe...
FIGURE 7-16: A turnaround riff in E featuring contrary motion.
FIGURE 7-17: A turnaround riff in C with gospel flavor.
FIGURE 7-18: A triplet-based ending riff.
FIGURE 7-19: A low-note ending riff in E, using triplets and double-stops.
FIGURE 7-20: A triplet-based riff featuring sixths.
FIGURE 7-21: A rhythm groove over a 12-bar blues in E.
Chapter 8
FIGURE 8-1: Alternate picking on the open high-E string in straight eighth-note...
FIGURE 8-2: Alternate picking on the second string in swing eighths.
FIGURE 8-3: Alternate picking on the third string with left-hand fretting.
FIGURE 8-4: Alternate picking with notes on all six strings.
FIGURE 8-5: The notes of the E minor pentatonic scale on the guitar neck.
FIGURE 8-6: The ascending E minor pentatonic scale.
FIGURE 8-7: A 12-bar blues with an E minor pentatonic lead over it.
FIGURE 8-8: The E blues scale.
FIGURE 8-9: The E blues scale used to solo over a 12-bar blues.
FIGURE 8-10: The major third added to the blues scale.
FIGURE 8-11: The major sixth sweet note added to the blues scale.
Chapter 9
FIGURE 9-1: The left hand is ready to play in fifth position.
FIGURE 9-2: The A minor pentatonic scale at the fifth fret.
FIGURE 9-3: A passage that uses the descending fifth-position A minor pentatoni...
FIGURE 9-4: A passage in fifth-position A blues.
FIGURE 9-5: Four notes in the eighth position A minor pentatonic.
FIGURE 9-6: A lick in eighth position using the high blue note on the 11th fret...
FIGURE 9-7: Four notes in thirdposition A minor pentatonic.
FIGURE 9-8: Shifting from fifth to eighth position and from third to fifth posi...
FIGURE 9-9: A slide that facilitates a shift from fifth to eighth position.
FIGURE 9-10: The seventh and second positions of the A minor pentatonic scale.
FIGURE 9-11: The two positions above the home and upper extension.
FIGURE 9-12: The five positions of the pentatonic scale.
FIGURE 9-13: A passage with shifts that take you in and out of multiple positio...
FIGURE 9-14: A sweet-note pattern with a familiar fingering pattern.
FIGURE 9-15: A table showing the 12 keys and their pentatonic scale patterns.
Chapter 10
FIGURE 10-1: A call-and-response exchange can benefit from a contrast in dynami...
FIGURE 10-2: Accented notes are struck harder than the surrounding notes.
FIGURE 10-3: Muted notes interrupted by occasional accented notes.
FIGURE 10-4: Slides into and out of individual notes.
FIGURE 10-5: A passage with rhythmic slides between notes.
FIGURE 10-6: Three types of hammer-ons.
FIGURE 10-7: A lick using various hammer-ons.
FIGURE 10-8: Three types of pull-offs.
FIGURE 10-9: Pull-off licks — in isolation and with hammer-ons.
FIGURE 10-10: A whole note with vibrato.
FIGURE 10-11: Two types of bends on the third string.
FIGURE 10-12: Bending in rhythm.
FIGURE 10-13: Two bend and releases.
FIGURE 10-14: Two pre-bend and release phrases.
FIGURE 10-15: “Express Yourself Blues” uses a variety of expressive techniques.
Chapter 11
FIGURE 11-1: A 12-bar blues in the Delta blues style.
FIGURE 11-2: A 12-bar blues in E with variations.
FIGURE 11-3: A lick in the key of A in the style of Robert Johnson.
FIGURE 11-4: A 12-bar blues in the style of Robert Johnson.
FIGURE 11-5: A bouncy Piedmont passage.
FIGURE 11-6: A ragtime chord progression with bass runs.
FIGURE 11-7: Country blues with a melody on top of an alternating bass.
FIGURE 11-8: A single-note ragtime tag in C.
FIGURE 11-9: A deluxe ragtime tag that uses chords, an arpeggio, and single not...
FIGURE 11-10: A rockabilly progression with a hard-driving alternating bass.
FIGURE 11-11: A slide lick in standard tuning.
FIGURE 11-12: A standard-tuning slide lick in the style of “Dust My Broom.”
FIGURE 11-13: A slide lick in open E.
FIGURE 11-14: A slide lick in open G.
Chapter 12
FIGURE 12-1: A slow blues in the style of T-Bone Walker.
FIGURE 12-2: A passage in the style of Muddy Waters.
FIGURE 12-3: A lick in the style of Elmore James’s “Dust My Broom.”
FIGURE 12-4: A single-note lick in the style of Otis Rush.
FIGURE 12-5: A passage in the style of guitar great Buddy Guy.
FIGURE 12-6: A classic Texas shuffle.
FIGURE 12-7: A string-bending passage in the style of Albert King.
FIGURE 12-8: The blues lead style and hallmark vibrato of B.B. King.
FIGURE 12-9: A lick in the infectious, melodic style of Freddie King.
FIGURE 12-10: Robert Cray’s tasteful and economical lead approach.
FIGURE 12-11: An open-A slide solo in the style of Bonnie Raitt.
Chapter 13
FIGURE 13-1: A I-IV-V progression in the Chuck Berry style.
FIGURE 13-2: Fiery string bends and flawless technique are hallmarks of Eric Cl...
FIGURE 13-3: Hendrix’s brand of “psychedelic blues.”
FIGURE 13-4: A solo in the style of Jimmy Page.
FIGURE 13-5: A slide riff in the style of the great Duane Allman.
FIGURE 13-6: A line similar to Johnny Winter’s classic approach to a blues solo...
FIGURE 13-7: Smoldering riffs and edge-of-the-pick harmonics equal a classic Gi...
FIGURE 13-8: Stevie Ray Vaughan often combined chord vamps with his leads.
Chapter 14
FIGURE 14-1: Sperzel’s high-quality tuning machines.
FIGURE 14-2: The Wilkinson bridge.
FIGURE 14-3: Seymour Duncan’s high-quality third-party pickups.
FIGURE 14-4: The Gibson Les Paul (left) and Fender Stratocaster (right).
Chapter 15
FIGURE 15-1: A typical practice amp.
FIGURE 15-2: The Fender Twin amp.
FIGURE 15-3: The Marshall Super Lead 100 amp.
FIGURE 15-4: Studio players sometimes use a rack system like this one.
FIGURE 15-5: The preamp section of an amp.
FIGURE 15-6: The tone section of an amp.
FIGURE 15-7: An amp’s effects section.
FIGURE 15-8: An amp with a footswitch-activated boost.
FIGURE 15-9: A tube amp.
FIGURE 15-10: A hybrid amp.
FIGURE 15-11: The Line 6 Flextone series of amps uses digital-modeling technolo...
FIGURE 15-12: The Fender Bassman amp.
FIGURE 15-13: The Marshall JTM 45.
FIGURE 15-14: The Vox AC30.
FIGURE 15-15: The Mesa/ Boogie Mark IIc+.
FIGURE 15-16: A collection of distortion devices.
FIGURE 15-17: An outboard effect offers more variety and control.
FIGURE 15-18: The stomp box solution.
FIGURE 15-19: The Digi-Tech GNX1.
FIGURE 15-20: The Line 6 Pod XT.
FIGURE 15-21: The Line 6 Pod Pro.
Chapter 16
FIGURE 16-1: Three tools that make string-changing and adjustments a cinch.
FIGURE 16-2: Kinking the string in the proper direction.
FIGURE 16-3: Wrapping the strings in the proper direction.
FIGURE 16-4: Coiling the string on the post.
FIGURE 16-5: Clipping the string end close to the post.
FIGURE 16-6: Pulling on the string to stretch it out after it’s tuned up.
FIGURE 16-7: Kinking the string in the proper direction for inline and split tu...
FIGURE 16-8: Wrapping the strings in the proper direction.
FIGURE 16-9: Coiling the string on the post.
FIGURE 16-10: Pulling on the string after it’s tuned up to get the “stretch” ou...
Appendix A
FIGURE A-1: Music for “Shine On Harvest Moon.”
Guide
Cover
Table of Contents
Begin Reading
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Introduction
As B.B. King might say, “You’ve got a right to play the blues!” And you’ve taken the first step in exercising your blues rights by getting a copy of Blues Guitar For Dummies. Your blues rights are inalienable — like life, liberty, and the pursuit of mojo. The blues is a form of music and a proclamation on the human condition, delivered proudly and loudly in song. The great thing about the blues is that it’s universal because everyone at one time or another gets the blues.
To help you sort out the many aspects of playing blues guitar, I organized this book to help you in your blues pursuits. The following sections give you an idea of what you’re getting into as you delve into the pages of this book and into the world of the blues!
About This Book
Blues Guitar For Dummies covers all aspects of blues guitar, from playing the instrument to understanding the legends and lore associated with it. This book is for the beginning to intermediate blues guitarist. If you don’t know much about the guitar as an instrument, just hang out with me as I take you through the world of blues guitar. And even if you already own or know something about guitars, you can use the info in this book before you go out and make your next guitar purchase.
To get a meaningful experience from this book, you don’t have to play or own a guitar. You don’t even have to know what kind of guitar you want or what style of playing you want to pursue. This book is designed to help you figure that out. But this book is a guitar book, after all, so I focus on just guitars, guitar playing, and guitarists themselves.
Blues Guitar For Dummies also shows you how to play without requiring that you know how to read music first. Sure, I give you shortcuts in the form of written notation, diagrams, and symbols, but use these written figures as a reference as your specific needs demand.
You should find your own way to absorb the music in this book so you can play it back as your own. Do that through a combination of the elements below:
Chord diagrams:
You form the left-hand chords you need by looking at the diagrams and matching your fingers to the symbols on the guitar’s neck.
Guitar tablature:
Tablature
is a type of notation that tells you to finger certain frets on specific strings. No “notes” are involved, just locations on which frets and strings to play. The tab staff appears just below the standard music notation staff. If you can already read music — even just a little — you can always see what note you’re fingering by looking at the staff immediately above the tab.
The Website (
www.dummies.com/go/bluesguitarfd
):
Playing by ear is important because after you get a good idea of where to place your fingers, you want to let your ears take over. Listening to the audio tracks is important because it shows you how the music sounds, so you can figure out the rhythm of the song and how long to hold notes by listening, not reading. The audio tracks also has some cool features:
Provides accompaniment, so you can hear how the examples sound in a band setting — with drums, bass, and rhythm guitar.
Enables you to always find the track that corresponds to the printed music example in the chapters
Gives you a count-off so that you can play along in time
The tab staff and music staff:
To those of you who do like to read music (you two know who you are), this book delivers in that department, too. The music for many exercises and songs appears in standard music notation, just above the tab staff. You get the best of both worlds: tab showing you where to put your fingers and the corresponding music notation to satisfy all those schooled musicians out there.
Grab a copy of Blues For Dummies (no, I didn’t write it; it was written by Lonnie Brooks, Cub Koda, and Wayne Baker Brooks) for general blues info. Blues GuitarFor Dummies is about playing blues guitar, and I devote more pages to playing than I do historical stuff.
Conventions Used in This Book
This book has a number of conventions that I use to make things consistent and easy to understand. Here’s a list of those conventions:
Right hand and left hand:
If you play the guitar as a right-handed person, the right hand strums and picks and the left hand frets. If you’re left-handed, you can either play as a right-handed person, or you can reverse the process. If you choose the second method, remember to convert the terms and that I refer to the right hand and right-hand fingers as the strumming and picking hand and the left hand as the fretting hand. Nothing against lefties, mind you, but it’s easier and shorter to say “right hand” instead of “strumming or picking hand.”
High and low, up and down:
When I say “higher on the neck” or “up the neck,” I refer to the higher-numbered frets, or the region closer to the body of the guitar than the headstock. “Going up” always refers to going up in pitch, which means toward the higher frets or skinnier strings — which happen to be closer to the floor than the ceiling.
One staff at a time, please:
Many of the exercises contain both music notation and tablature. The tab tells you what frets and strings to play; the music tells you the pitches and the rhythms. These ways present the same information in different ways, so you need to look at only one at a time. Pick the one that works best for you.
What You’re Not to Read
Occasionally, you will come across some boxes of text that are shaded gray (also called sidebars). You have my permission to skip over this info. Don’t get me wrong; the info is fun and interesting, but it’s not the most crucial points of blues guitar.
Foolish Assumptions
In this book I make the following assumptions about you:
You’re an average reader who knows a little something about the guitar or the blues.
You want to sound like a blues player and take the path that allows you to discover many things about the guitar and music.
You want to play quickly without a lot of messing around with music theory and all that stuff. You want exactly what you need to know at that moment in time without all the lectures and teacherly instincts.
How This Book Is Organized
I’ve organized the book into seven sections that deal with holding, setting up, and playing the guitar, and then I tackle how to buy a guitar, what to look for in an amp, how effects work, and the major contributors to the blues.
Part 1: You Got a Right to Play the Blues
Part 1 devotes three chapters to the guitar basics that you need to know before you can start playing the blues. Chapter 1 helps you understand blues guitar, the kinds of guitars available, the gear you may need, and the parts of the guitar. In Chapter 2, you discover how the guitar works and the art of fretting. Chapter 3 explains how to hold your guitar, position your right and left hands, how to tune up (which is oh, so important), and how to interpret the written notation throughout the book.
Part 2: Setting Up to Play the Blues
The chapters in Part 2 all deal with playing the guitar (hooray!) and creating music. Chapter 4 presents chords — the easiest way to start playing real music. In Chapter 5, you strike the strings through different strumming patterns, rhythms, and fingerpicking techniques. The overview in Chapter 6 shows how blues songs are structured, and Chapter 7 has you playing real blues music!
Part 3: Beyond the Basics: Playing Like a Pro
Part 3 takes you into the world of the committed guitar student. In Chapter 8, you explore lead guitar, and Chapter 9 takes you into the expressive world of melodic playing. Chapter 10 puts the finishing touches on your lead playing with certain expressive guitar techniques.
Part 4: Sounding Like the Masters: Blues Styles through the Ages
In Part 4 of this book, you find the style chapters, where you get to play blues in all the different styles throughout the blues’ colorful history. You discover the acoustic-based blues from the Mississippi Delta (Chapter 11), history of traditional electric blues (Chapter 12), and the electric blues’ rowdy alter ego, blues rock (Chapter 13).
Part 5: Gearing Up: Outfitting Your Arsenal
In Part 5, you scope out the gear you need to complete your blues rig. Chapter 14 is a handy guitar buyer’s guide that covers everything from evaluating a guitar to shopping strategies to dealing with the music store salespeople. Chapter 15, on amps and their effects, gives you a primer on guitar amps and those little magic boxes (effects) that give your guitar some superhip sounds. In Chapter 16, you find out how to change strings on both acoustic and electric guitars.
Part 6: The Part of Tens
The Part of Tens provides fun and interesting information in a top-ten-style format that rivals those late night talk show hosts’. The chapters in this part prioritize important information by the many blues guitarists and recordings.
Part 7: Appendixes
The appendixes cover important info not contained in the chapters. Appendix A explains reading music, and Appendix B provides an overview of the audio tracks you’ll find on the website at www.dummies.com/go/bluesguitarfd.
Icons Used in This Book
In the margins of this book, you find several helpful little icons that make your journey a little easier:
The remember icon signifies a piece or pieces of information worth remembering. Sounds simple, huh? Some of the info comes up repeatedly.
In the instances that I get all techy on you, I use this icon to mark the explanations that you can skip and come back to later if you want.
This icon highlights info for die-hard blues guitarists (and those in the making). To step up your blues abilities, take the advice in these icons.
This icon is a hands-on, explicit directive that can change your playing from merely extraordinary to really extraordinary.
Pay heed to this one, or you could do damage to something — your ears, your guitar, your audience’s ears, and so on.
Where to Go from Here
Blues Guitar For Dummies can be read straight through like a novel or by individual chapter. Even though each chapter is self-contained, music instruction dictates that certain steps be mastered before others, so Parts 2 and 3 are best experienced in order.
If you’re a beginner, a musical klutz, or someone who really wants to follow the steps, start with Chapter 1 and read the book in sequence. If you already play a little bit, skip to Chapter 3, where I decipher the notation used in the music figures in the book. Then you’re ready for the playing chapters — Chapters 4 through 13. You don’t need to master the E chord in Chapter 3 to appreciate the advice on buying a guitar in Chapter 14. But at some point, I hope you read all the material in this book, even the most obscure trivia.
Part 1
You Got a Right to Play the Blues
IN THIS PART …
“Woke up this mornin’ and I feel like playin’ the blues.” Well, you don’t have to just sing about it; you can dig right in and start doing something about it! The information in this part gets you thinking like a blues guitar player. Chapter 1 outlines what’s contained in the book and spells out what you need to do from buying a guitar to playing it to maintaining it. In Chapter 2, you jump into the mechanics of what makes guitars tick — their method of sound production and how the various gizmos and other hardware operate. Get ready to assume the position in Chapter 3 — the playing position, that is. You hold the guitar in a sitting and standing position, place your hands correctly, and figure out how to tune up. You see how the notation for the music figures works, and hey, you even get to strum a chord!
Chapter 1
Every Day I Have the Blues … Hallelujah!
IN THIS CHAPTER
Discovering the roots of blues
Identifying the different parts of the guitar and how they work
Differentiating between acoustic and electric guitars
Looking like a blues player
Testing your blues guitar knowledge
Playing the blues is a healthy way of expressing emotion — therapeutic even. The great irony about the blues is that it’s fun — don’t let those gloomy lyrics fool you for one second. Experiencing the blues is entertainment for both the listener and the player. Because the blues is fun and healthy, it draws people into jam sessions, crowded clubs, and grand concert halls.
To listen to the blues is to be healed. To play the blues is to be a healer. Want to help people? Forget about being a doctor; you’re only allowed to see one patient at a time. And there’s no pill you can prescribe for an ailing mojo. Be a blues player instead and help thousands at a time just by playing a smokin’ blues riff on overdrive. Now, that’s what I call medicinal!
The blues has a wide range of sounds, feels, emotions, and passions, and people have many different associations when you say the word blues. To some, the blues is the sparse-sounding acoustic fingerpicking of Robert Johnson. To others, it’s the gritty sound of Muddy Waters in a crowded club on Chicago’s South Side or the hard-rock wall of sound coming from a stadium playing host to Led Zeppelin, Jimi Hendrix, or Johnny Winter. It doesn’t matter which particular image is conjured, because it’s all the blues. After reading this book, playing through the examples, and listening to the audio tracks, you may have a more complete and expanded picture of all that the blues can be.
Capturing the Blues Train from Its Departure Then to Its Arrival Now
As perfect as the blues is for the guitar, it didn’t come from the guitar. The blues sprang from the unaccompanied human voice. There have been sad songs since the dawn of music, but the blues is a special kind of sadness that was born out of the African American experience at the end of the 19th century and the beginning of the 20th. When the African-influenced field hollers and work songs met European folk songs, spirituals, and ballads (supported by harmonicas, banjos, guitars, washtub basses, fiddles, drums, spoons, and other instruments of the time) a unique form of music emerged that was neither wholly African nor European, but totally American.
Today, the blues can be anything from a solo acoustic guitarist strumming simple chords to a big band with a horn section, a lead singer, and background vocalists. Artists as diverse as blues diva Bonnie Raitt, rockabilly giant Brian Setzer (and his band), rock god Eric Clapton, and the great traditionalists B.B. King and Buddy Guy all play the blues. That sort of diversity proves how flexible, adaptable, and universal the blues is. It doesn’t matter if you feel like crying in your beverage, listening thoughtfully, singing along, or dancing the jitterbug, you can find a blues format for any mood and occasion.
When Muddy Waters famously said, “The blues had a baby and they called it rock ’n’ roll,” he was both chronologically as well as metaphorically correct: Of all the popular forms of American music, blues was the first.
The pieces of blues that made the genre
The music that draws on the subjects of misfortune, infidelity, and bad karma for its inspiration pretty much sums up the blues. The great W.C. Handy, known as the father of the blues, once said that the blues were conceived in an aching heart, but it’s pretty hard to tell what kind of guitar playing is appropriate for an ailing ventricle. However, you can identify certain common characteristics that help define blues guitar — including song structure, harmony, scales, and phrasing techniques. You can study and master these elements to create this special form of music that expresses a special kind of sorrow in song — special because it’s not completely without hope, humor, irony, useful life philosophies, and, dare I say it, some joy. That’s the blues for you.
I get into forms and progressions in Chapter 6, but you should know the song structure that makes the blues the blues. Besides the subject matter, blues uses a simple form that people can immediately understand. Classic blues consists of two lines that are the same in length and verbiage, followed by a third line that’s different. Here’s a quick example of the blues scheme:
Woke up this mornin’ and I’m feelin’ so blue.
Woke up this mornin’ and I’m feelin’ so blue.
My baby left me and I don’t know what to do.
Believe it or not, that’s the format that started it all. If you can think of a blues song — such as “Kansas City” or “Hound Dog” or “Whole Lotta Shakin’ Goin’ On” — you see that the formula applies.
The place of the blues’ conception
The blues was born in the southern United States out of the African American experience in the fields and work camps that sprung up in the late 19th and early 20th century. Though many parallel developments took place, the most important growth occurred in a very specific part of the southern United States — the region in the state of Mississippi known as the Delta.
The “Delta” in Delta blues describes not the Mississippi River Delta, which is in southern Louisiana, but a vast alluvial plain a couple hundred miles to the north in northwest Mississippi. Many of the great early blues players were born and lived in this cotton-growing region, loosely outlined by the Mississippi River to the west, the Yazoo River to the east, Memphis to the north, and Vicksburg to the south.
The Delta isn’t really a delta in the geological sense, nor is it limited to the state of Mississippi, because there were important developments and contributions from artists that came from Arkansas, Texas, and Louisiana, too. In most uses, Delta blues denotes more of a style instead of a narrow geographic perimeter.
Rejoicing over 100 years of blues: The shifting shape of the genre
Now roughly 100 years old, American blues has become timeless music, and its success over the past half century can be attributed in part to those blues-rock musicians who’ve kept the blues’ torch burning and brought successive generations into clubs, concert halls, and record stores.
The blues remains so relevant and compelling because its songs are about honest, human feelings. Or maybe it’s because the blues captures the human condition in a way that slick pop music or digital electronica can’t. Blues is the music of real people, real lives, and real life lessons.
As to why the blues-rock age saw the worshipping of so many rock gods, it seems that the blues was custom-made for six strings, so any development in guitar technology, guitar styles, and creative guitarists themselves naturally include the blues. While bawdy singers front many a blues band, you’d be hard pressed to find a blues group without a guitar player to lend the sense of credibility, history, and heart that the blues demands. The guitar captures the nuances of blues soul in a way no other instrument can. Blues is simply the perfect guitar music.
The newer generation (born after 1970) is out there and coming into its own, too. I cover many of the most recognizable names in Chapters 12 and 13. To see such young players working so hard at mastering the craft, studying the history, and paying homage and respect to their blues elders encourages me that the blues is flourishing safely in the hands of the next generation.
The qualities that made blues cats hit the big-time
In addition to all the great chords, riffs, and solos you get in Blues Guitar For Dummies, you can also read about many of the most important blues guitarists who helped shaped the history of the blues and why you should care about them. A blues guitarist can be significant for many reasons, but the criteria I use for including the artists that I do in this book is that he or she must meet at least one of the following requirements:
He or she had great influence and a historical impact.
Muddy Waters, for example, merits inclusion not because of superior technique (although his playing was certainly formidable), but because he transplanted the blues from its acoustic, rural Mississippi roots to post-War Chicago, where it exploded into an entire movement that would define “Chicago blues” and influence everyone who played electric blues after that, including Eric Clapton and Stevie Ray Vaughan. No Muddy, no Stevie.
The guitarist has technique that is innovative or unsurpassed in virtuosity.
Robert Johnson, for example, was at the tail end of the Delta blues movement and learned many of his licks from other players. But he was an extraordinary player and provided the best examples we have on record for Delta blues playing.
A lot of people tried to meld electric blues with the emerging heavy rock sound in the mid-1960s, but none quite as masterfully as Eric Clapton did. He was the best of a generation.
In the 1980s, Stevie Ray Vaughan was so good that you’d be hard pressed to find anyone who even got close to him in terms of raw talent.
The guitarist’s style is unique or so highly evolved that it’s responsible for his or her widespread success.
Sometimes you don’t have to be the greatest player to achieve greatness. With many blues guitarists, it’s not all about the technique, but the artistic work created with modest technique. Bonnie Raitt may not have the blistering chops of a Duane Allman or Stevie Ray Vaughan, but her beautiful tone, impeccable taste, and unmatched lyricism in world-class songs have advanced the blues into the mainstream like no other blues player has before.
Often a guitarist featured in this book has more than one of the three qualities in the preceding list. Take a couple of examples:
T-Bone Walker, the great early pioneer of electric blues, was not only technically dazzling and innovative, but also historically significant as the first electric blues player to establish the guitar as a lead instrument, thereby influencing every great player in the succeeding generation.
Jimi Hendrix is the best at everything as far as the guitar, the blues being no exception. He scores top marks in all three categories, so that’s why he’s in the book. Also, if you leave Jimi Hendrix out of any discussion about guitars and guitarists, people get really, really mad at you and make your life miserable.
You may or may not see your particular favorite blues guitarist in the pages of this book, which is understandable, as there are too many great blues guitarists for any book to list them all. But every guitarist you do read about here in some way changed the world of blues for the better — for listeners as well as other blues guitarists who heard them.
It’s Not All Pain and Suffering — The Lighter Side of Blues
Built into the blues is its own sense of irony and even humor. How else could you sing of such misfortune if you didn’t retain a sense of humor about the whole thing? It’s not uncommon to see performers smiling while singing about loss and heartache, yet they’re still totally sincere and convincing. It’s maintaining that objective perspective — along with the hope of retribution and revenge — that keeps the blues performer going while airing his life’s disappointments.
The blues isn’t above parody, either, and this often includes the blues’ strict sense of who’s “allowed to have the blues” and who isn’t. For example, you do not have a “right to sing the blues” if you live in Beverly Hills, make a killing in the futures market, or think that “my baby done me wrong” means losing your villa in Tuscany to your spouse in negotiation.
Among the early African American blues artists, the word baby was sometimes used as code for the boss man. This way the performer could complain or take a shot at the overseer on the farm or plantation without him being any the wiser. Of course, the African American audience understood.
Surveying the Means to Make the Music: The Guitar in All Its Glory
Just as soon as people could utter the primitive strains of proto-blues music, they sought to reinforce their vocal efforts through instruments. Unfortunately, the Fender Stratocaster and the Marshall stack weren’t invented yet, so people did what blues players always did in the early part of the blues’ history: They made do with what was available. And in the rural South at the turn of the 20th century, that wasn’t much.
Some of the first blues instruments included a one-string diddley bow (a wire stretched between two points and plucked with one hand while the other changed pitches with a bottleneck or knife dragged up and down the string) and a banjo, descendant of the African banjar that was constructed from a hide-covered gourd and a stick. The harmonica followed close behind. Guitars didn’t arrive on the scene until after the Civil War when they were left behind in the South by Union soldiers.
All guitars have six strings (except for 12-string guitars, of course) and frets, whether they’re electric or acoustic. You can play chords, riffs, and singlenote melodies on virtually any guitar. When the first mass-produced electric guitars were publicly available, in the mid- to late ’30s, blues and jazz players similarly flocked to them, and not too much attention was given to what kind of guitar was best for what style of music.
The low-fi acoustic guitar
Early blues musicians weren’t professional musicians. They were ordinary working people who created their instruments out of household items: washboards, spoons, pails, and so on. If you were a little more industrious, you could fashion a homemade guitar out of bailing wire, a broom handle, and a cigar box. Those fortunate enough to acquire an actual guitar would probably have an inexpensive acoustic guitar, perhaps picked up secondhand. As the blues became more popular, many musicians could make a living by traveling around to work camps and juke joints (which were roadside places without electricity that offered liquor, dancing, gambling, and sometimes prostitution) playing acoustic guitars and singing the blues for the weary working folk.
The semi-hollowbody electric guitar
Gradually, the different preferences of electric jazz and blues players started to diverge, with jazz players preferring the deeper hollowbody guitars and blues players choosing the thinner-bodied hollow guitars and the semi-hollowbody guitars. (The all-solid-wood guitar, or solidbody, hadn’t been invented yet.) Many people consider the semi-hollowbody guitar, such as the Gibson ES-335, to be the ideal type of blues guitar. Driving this choice was the fact that the thinner guitars didn’t feed back (produce unwanted, ringing tones through the amp) as much as the deeper-bodied guitars, and because blues players generally like to play louder than jazz players, feedback was more of a concern.
The Gibson ES-335 makes my list of one of the greatest guitars for playing the blues. See Chapter 18 for more of the best guitars on the market.
Solidbody electric guitars
Though pioneering rock guitarists like Scotty Moore with Elvis and Danny Cedrone with Bill Haley and the Comets were still playing hollowbody guitars, when rock ’n’ roll hit town in the mid-1950s, some people were playing solidbody guitars, blues players included. Two of the most popular solidbody models, the Fender Stratocaster (Figure 1-1a) and the Gibson Les Paul (Figure 1-1b), were both released in the mid-’50s and are still as popular as ever and represent two different approaches to the solidbody guitar. Figure 1-1 shows these two guitars side by side.
In the early 1950s, B.B. King tried his hand with a Fender Esquire (similar to a Telecaster) and a Strat, but after he grabbed the thin hollow and semi-hollow Gibson that he named “Lucille,” he never switched back. And Muddy Waters, who played an older, more traditional form of blues, was right in fashion with an early model goldtop Les Paul in the mid-1950s. He eventually settled on his iconic red Telecaster.
FIGURE 1-1: The Fender Stratocaster and the Gibson Les Paul.
The Collision of Two Worlds: Acoustic versus Electric
Electric guitars came on the scene only in the late 1930s, and then only to those who could afford them. Thus, the acoustic guitar in blues had a long run, and the style continued even after the advent of the more-popular electric guitar. The acoustic guitar remained popular for other types of music (mainly folk and country), but for blues, the electric was the instrument of choice from about 1940 on.
Today, both acoustic and electric guitar blues exist. In fact, there are several sub-genres in each. Acoustic guitar includes
Bottleneck
or slide guitar
Instrumental blues
Singer-songwriter blues
Electric blues has two huge offshoots:
Traditional electric blues,
as practiced today by Robert Cray, Buddy Guy, and B.B. King
Blues rock,
which was started in the 1960s by British electric guitarists and continues on through Eric Clapton and John Mayer
