Download Swing and Jump-Blues Guitar PDF

TitleSwing and Jump-Blues Guitar
TagsScale (Music) Chord (Music) Bass Guitar Interval (Music)
File Size1.6 MB
Total Pages69
Table of Contents
                            Introduction
Swing Blues
Scales / Chords
	Blues in G
	Major Scale
	Blues Scale
	Mixolydian Scale
	PositionsA variation of the R.J. Lockwood groove. Wrap your hand around the neck and use your thumb to play the tonic. Beat 1 in
	Chords
The Essence of Blues
	Conclusion Scales and Chords
Move with the Chords
Swing Timing
Bass Lines
	Bass Line Ex 1 - CD1
	Bass Line Ex 2 - CD2
	Bass Line Ex 3 - CD3
	Bass Line Ex4 - CD4
Intervals
	Tritone
		Intervals Tritone Ex 1 - CD5
		Intervals Tritone Ex 2 - CD6
	Thirds
		Intervals Thirds Ex 1 - CD7
		Intervals Thirds Ex 5 - CD11
	Sixths
		Intervals Sixths Ex 1 - CD12
		Intervals Sixths Ex 2 - CD13
		Intervals Sixths Ex 3 - CD14
		Intervals Sixths Ex 4 - CD15
		Intervals Sixths Ex 5 - CD16
		Overview of Usable Sixths
	Intervals Based on 1st Blues Position
		Intervals 1st Blues Position Ex 1 - CD17
		Intervals 1st Blues Position Ex 2 - CD18
		Intervals 1st Blues Position Ex 3 - CD19
Accompaniment Riffs
	Accompaniment Riff 1 - CD20
	Accompaniment Riff 2 - CD21
	Accompaniment Riff 3 - CD22
	Inner Logic with Chord Riffs
	Chord Riff Ex 4 - CD27
	Chord Riff Ex 5 - CD28
	Chord Riff Ex 6 - CD29
	Chord Riff Ex 7 - CD29
	Full Chords
	Full Chord Ex 1 - CD30
	Full Chord Ex 2 - CD31
	Full Chord Ex 3 - CD32
	Full Chord Ex 4 - CD33
	Full Chord Ex 5 - CD34
	Full Chord Ex 6 - CD35
	Full Chord Ex 7 - CD35
	Full Chord Ex 8 - CD8
	Add a Base Line
	Full Chord Ex 9 - CD9
	Full Chord Ex 10 - CD37
	Full Chord Ex 11 - CD38
	Full Chord Ex 12 - CD39
Accompaniment or Solo
	Solo Ex 1 - CD40
	Solo Ex 2 - CD41
	Solo Ex 3 - CD42
	Solo Ex 4 - CD43
	Solo Ex 5 - CD44
Moving From Chord to Chord
	Chord to Chord Ex 1 - CD45
	Chord to Chord Ex 2 - CD46
	Chord to Chord Ex 3 - CD47
	Chord to Chord Ex 4 - CD48
	Chord to Chord Ex 5 - CD49
	Chord to Chord Ex 6 - CD50
Special Chorus
	Special Chorus Ex 1 - CD51
	Special Chorus Ex 2 - CD52
	Special Chorus Ex 3 - CD53
Solos
	S.R. in 1st Blues Position - CD54
	Solo Standard Riff Ex 1 - CD55
	S.R. in the 3rd Blues Position - CD56
	3rd Blues position (key of A)
	Solo Stanard Riff Ex 2 - CD57
	Solo 1 - CD58
	4th Blues Position (key of G)
	Solo 2 - CD60
	Solo 3 - CD61
	Solo 4 - CD62
	Solo 5 - CD63
	Sliding Std Riffs in 1st, 2nd & 3rd Pos - CD64
	Sliding Std Riffs in 4th, 5th and 1st Pos - CD65
	Solo 6 - CD66
	Solo 7 - CD67
	Solo 8 - CD68
	Standard Riff in 5th Pos - CD69
	Standard Riff in 5th to 1st Blues Pos - CD70
	Standard Riff in 5th Pos - CD71
	Solo 10 - CD73
	S.R. on I in 2nd Pos - CD74
	S.R on IV in 2nd Pos - CD74
	S.R on V in 2nd Pos - CD74
	Accompaniment Freddie Green Style - CD76
	Solo 12 - CD76
Turnarounds
	Turnaround 1 - CD77
	Turnaround 2 - CD78
	Turnaround 3 - CD79
	Turnaround 4 - CD80
	Turnaround 5 - CD81
	Turnaround 6 - CD82
Tips on Soloing
Suggested Listening
Overview Chords
Overview Blues Positions
                        
Document Text Contents
Page 1

Swing & Jump
Blues Guitar

By
Matthieu Brandt

www.swingblues.com

2000 Matthieu Brandt

Page 34

34

Experiment with hammering on the added "chords". Try, for instance, to hammer on that V minor 7;
your grip on the neck is pretty tight and you only have to add your middle and ring fingers. Also play
around with "scratching" the up strokes, meaning keep your left hand on the strings and damp them
while you play an up stroke.
Have fun and keep the groove goin'.
Full Chords Ex 5 – CD 34

A beauty, isn't she? Very light and open. The
Bb11 holds a "sus 4" like tension, which is
resolved in the next bar. It's basically the same
tension and resolution you create by playing a
campfire D chord and adding your pinkie on the
3rd fret of the high E string.
The sophisticated 11 sound is achieved by
keeping the tonic on top and hiding the sus4-to-
major-3rd-movement (D# to D) in the insides of the chord.
Dazzle your competitors when you play this one!

Full Chords Ex 6 – CD 35

One of the very few "minor" grooves we find in the
Chicago blues style. Magic Sam was the one who
played these types of grooves. The groove on the I
chord is minor, but what's happening with the IV
and V?

Full Chords Ex 7 - CD 35

Magic Sam would use a very open sounding
voicing for these chords. They don't have a
third!
Approach them as major chords and, although
officially you can't call them major or minor,
they are written as major chords.

The next type of chord is called an organ chord because Hammond organ players love this voicing.
Stay away from it in the lighter grooves, this one's pretty intense. It's actually a stack of tritone
intervals. Mark your tonic accurately, it'll sound spooky if you're off.

Full Chords Ex 8 – CD 8

Leave the tonic to the bass. Move this chord back
1 fret to get the corresponding IV chord and move it
up 1 fret to get the V.

Page 35

35

Add a bass line

No bass player around to jam? No problem! Look at these next full-chord accompaniments with an
added bass line.
Experiment with different bass Lines and see what works for you. Moving from a chord to a single
note bass can be challenging, but think about the advantages: one less musician to pay, one less
opinion...

Full Chords Ex 9 – CD 9 Full Chords Ex 10 – CD 37

The rhythm in Example 11 is a great one for playing way in the background. If you're playing with a
second guitar player, try to pull this one off.

Full Chords Ex 11 – CD 38

It's hard to play 'cause you tend to speed up. And it's a
good idea to play the "one" now and then to give your
rhythm some basis. Then again, you could start growing
dreadlocks.
Dampen the strings with your right hand right after you
hit them.

And to make it really fancy, add a few chords, intervals and stir.
Don't try this at home without parental guidance, kids.

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