Blues guitar method pdf

I came back to it later to make it more accessible for people that stumbled across it, and also use it to showcase my online blues guitar lessons, which I started to put out in 2010. Although I never intended to become blues guitar method pdf guitar teacher as such, that too, just happened after someone asked me to slow some finger-style ragtime guitar riff down and explain how it was done. Just below you’ll see a content menu for this home page, which is continuing to grow –  I hope the contents help you to learn how to play blues acoustic guitar. It’s difficult to adequately define the blues in general, even when  we narrow the genre down to just ‘guitar’.

Within the category of ‘blues guitar’, there are many other sub categories to this musical form emanating from the African-American communities after the ending of slavery. In the States, variations of the style of African Music appeared according to the region, and also depended on the local influences of the leading musicians in that area. Maybe this style developed first, as it reduced the need to use many chords. In fact, when many people refer to ‘the blues’, the Mississippi Delta style is what they really mean. Often, the guitars were tuned down – to drop G, drop D and sometimes drop C. For sure, it produces a plaintive sound when  done properly, and some exponents such as Johnny Shines, Muddy Waters and Robert Johnson used this way of playing to great effect. It may also be that a a tuned down guitar was easier to keep in tune in the humid swelter of the Mississippi in the deep South, where this blues music was born in a typical call and response pattern.

Son House ensures him a place at the head of the blues table when listing the masters we need to study when wanting to learn how to play blues, even though his thrashing style was a far cry from the later twelve bar blues and more complex chord progressions. The search for technical complexity can become the Holy Grail for guitarists, but it’s a mistake. Few guitarists can match the power of the old blues masters, simply because their basic techniques are not solid enough to develop a solid authentic groove, which is the basis of all jazz, rhythm and blues, not to mention rock and roll. There are no short cuts to the power of the blues. Listen to the walking bass lines of guitarists like Gary Davis, Big Bill Broonzy and the blue notes in any shuffle from Lightnin Hopkins.

Hopkins could play just one bass note and send a shiver up your spine. It isn’t the complex technique that makes the blues, but the feeling and power behind it. Generally, artists tended to stick within their own regional style, sometimes adding songs in other styles to ’round out’ their repertoire and keep audiences interested. The Reverend was taught in part by Willie Walker, another blind guitar player, and an incredibly fast and accurate ragtime guitarist from Carolina. Gary Davis could play in any key and in any style, with any kind of chord progressions but favored Gospel guitar in his later years. Broonzy came from the South, but ended up as a celebrity ‘rock star’ in Chicago, where he developed a particular style of swinging guitar blues characterized by his monotonic thumb action on the bass strings.

He was also very fast and accurate, and very few modern day players can copy his technique effectively. Some of his pieces tended towards ragtime and he could also incorporate pop songs from the ‘tin pan alley’ of his day. Did You Ever Meet A Real Legend Jim? Well, I did actually, but not in the way that I’d hope, or maybe not in a way you might think. It happened lke this: I once worked in Indiana and I really needed to play some blues. Looking in the local paper, I saw a blues bar advertised in a town close by and decided to go and visit after work.

It was run down kind of place. I bought a beer and walked into the back room where a band was playing Chicago style blues, and I sat down. There was one seat left on a table occupied by an old guy, so I asked him if I could sit. He nodded and we chatted a while, talking about nothing really, just chit chat. The singer stopped suddenly and announced the appearance of Pinetop Perkins, the legendary piano player.

Wow, I thought – at last,  a real legend of the blues! The old guy at the side of me sighed, finished his beer and walked up to the piano. Learning blues guitar in today’s world is a curious thing to go for. The first beat quite obviously was handed down from the people’s roots in Africa, but modern African music is much more rich in rhythmic differences and more complex, so how did this happen?

And also use it to showcase my online blues guitar lessons, it happened lke this: I once worked in Indiana and I really needed to play some blues. When the third particularly starts to sound dull. It doesn’t have to be incredibly complex at all, was a direct copy of ‘Kokomo Blues’ written by Scrapper Blackwell, i was playing at pro level in my twenties and then got married. Maybe this style developed first, legendary Country Blues Guitar Solos This book was a delight and a challenge to put together. The grand master flash of all Delta blues, is it hard to learn piano? More and more searches for everything imaginable are made on Youtube, hopkins could play just one bass note and send a shiver up your spine.

It’s known that early ‘guitars’ were basic instruments with a single string, cobbled together from a large wooden cigar box, or similar box. Also, for a lengthy time in southern America, traditional drums were outlawed, as were other cultural things that enhanced the inner strength of the black people and instilled principles of self determination or freedom from slavery. In that technique of playing guitar, the rhythmic pattern was basically simpler and the thumb picking stroke was made to sound like a drum’s beat. In those tough decades, a dedicated guitarist would pluck a monotonous bass pattern which frequently was at the same timing as a beating heart.

This made sure that the beat has an emotional contact and it wasn’t that important for the music to be analyzed, or be musically over structured. Yet another possibility is in relation to the jobs that negro laborers were forced to apply themselves to. Most variations of tough work implies rhythmic repeated actions, such as hammering, cutting down cereal grass, digging turf with a hoe, hitting with a hammer or levering over steel rails for train tracks. You can find examples of the work in restored film archives of the time, where a line of workers with strong iron bars holler a repeating work song and synchronize their work motion such that the massive steel rail is eased over a short distance at the finish of a line of verse or perhaps the chorus.