Discover How To Learn And Master Blues Chords, Scales, Rhythms, And Solos… In The Comfort Of Your Own Home

But, let’s get one thing perfectly clear…

Exactly What You’re Getting

It’s About More Than Just Playing Blues

• Say goodbye to your old chord book… you’ll have the 4 main chord shapes you’ll use for 95% of your blues playing within the first 3 lessons (and the rest before lesson 15.) That’s a lot less memorizing and a lot more playing.
• How to know the 3 chords, instantly, in ANY 12 bar blues song… even if you’ve never heard it before (and you’ll be able to find them on your guitar neck even if you don’t know the note names.) It’s all in Lesson 2.
• Why smaller chords work better and those barre chords that are hard to play should be left behind. Yes, you heard that right, chords with less notes that are easier to play are better when you play with a band. (See Lesson 4 for more.)
• How to play any 7th chord (the blues chord type) in at least 3 different places on your guitar neck so that no matter where you are, you can get to the next chord fast without getting lost. (Lessons 1 and 2.)
• 2 most common ways to vary the 12 bar blues. You’ll learn both the “quick change,” and the most common turnaround variation so that even if you’ve never heard a song before, the first time through your ear will pick up on how it goes. (Lesson 2.)
• When it’s ok to substitute more colorful chords like the 9th chord for a 7th chord so you can make your blues rhythm playing more colorful and keep from sounding boring or stiff. (Lesson 3.)
• How to play all 3 chords in a 12 bar blues with 2 fingers, moving no more than 2 frets (and usually 1) the whole time. Forget the days of missing chords because you couldn’t make the changes fast enough. (Lesson 4.)
• How to multiply your blues rhythm options with simple little “half-step” slides. You can use these at any time so your rhythms never sound stale or boring… and you’ll never just keep repeating yourself again. (Lesson 5.)
• When it’s OK to just… not play! You don’t have to be afraid of space in your rhythm or your lead playing, but over playing is one of the most common things I see in less experienced blues guitar players. This comes up in several lessons throughout the course.
• How to eliminate string noise and extra ‘clunks’ and ‘squeaks’ when you do your bends so they sound clean and precise. (Lesson 16.)
• How to use “bouncing” rhythms like in the song, “I’m Tore Down,” by Freddie King (also done by Eric Clapton.) This same rhythm is used by Albert King when he played, “The Sky Is Crying,” and variations come up in songs like “Damn Right, I Got The Blues,” by Buddy Guy and blues/rock songs like “All You Need,” by Joe Bonamassa. Once you learn the structure behind these types of riffs, you’ll be able to make up your own or copy those that you hear in other songs easily because you’ll know exactly which notes to choose from. (Lesson 6.)
• How to play “double stop” slides in both your slow blues rhythm playing like in the “Stormy Monday” recording by the Allman Brothers, or in a faster shuffle song like, “Empty Arms,” by Stevie Ray Vaughan. You can even combine this move with bouncing rhythm like in Lesson 6 for even more variety in your rhythm playing. (Lesson 7.)
• The truth about blues rhythm and why it’s just not like other styles of music (I’ll give you a hint, it’s how we subdivide the beats into 3 pieces and not 2.) In Lesson 8 you’ll finally really wrap your head and hands around the classic “Blues In E” rhythm so you’ll truly be able to feel the pulse of the blues, and your playing can flow right along with it. (Lesson 8.)
• What to do if you can’t find any rhythm figure that fits the tune you want to play – there is always one rhythm figure that never fails, and it’s dead simple to play. (Lesson 11.)
• How “The 3 Feels” of blues work and how to move that standard “Blues In E” pattern to any key – whether there are open strings or not. You can also play it in any of the 3 feels so it won’t matter what song someone wants to play, you’ll probably have it covered. These rhythms work best when it’s just you and a buddy or 2, but they might also work in a band context. (Lesson 8.)
• Discover the most common and important Robert Johnson style turnaround lick in blues history (this is simply a “must know” for any blues guitarist.) (Lesson 8.)
• How to get your John Lee Hooker on (or Billy Gibbons, depending on your era) with the classic riff in Lesson 9.
• When you should use power chords instead of “full” chords for riffs in a blues/rock style such as “La Grange” by ZZ Top… and how to do it so you can use them any time you need them. (Lesson 9.)
• How to play the “Texas Shuffle” made famous by Stevie Ray Vaughan. This rhythm figure, however, isn’t just for “Pride & Joy,” and can be used in dozens of blues classics including, “Sweet Home Chicago,” for one. (Lesson 10.)
• Why “butchering it loud and proud” can work better when you play the Texas Shuffle. I know you were probably taught to go slow and steady and build the speed gradually, but this is one particular time when you need to throw that out the window so that your muting hand can do what it needs to do. Don’t worry, I’ll show you how. (Lesson 10.)
• How to add in those cool walking bass notes to the Texas Shuffle which, turns it almost instantly into “Pride & Joy,” or “I’m Crying,” by Stevie Ray Vaughan… but what’s wrong with that? (Lesson 10.)
• How to play a minor blues in the style of, “The Thrill Is Gone,” by BB King. You’ll need a few extra chords for this, which we’ll cover in detail, and you’ll need to understand the “flat six turnaround” that is used for songs such as this. (Lesson 11.)
• How to play the “Hendrix Chord,” the 7#9 like you see in his famous song, “Purple Haze.” Turns out, it’s useful for a lot of things, including a minor blues. (Lesson 11.)
• What to do if you are playing rhythm, but you want to add a couple of single notes to your rhythm. I’ll show you how to lay “box 1” of the blues scale over top of your minor and minor 7th chord and do just that. (Lesson 11.)
• How to play a shuffle rhythm in the style of “Cold Shot,” by Stevie Ray Vaughan. It’s a unique sound to mix little chords, blues scale notes, and that heavy picking hand all together, so I’ll walk you through it carefully and step-by-step in Lesson 11.
• When is a blues not a blues? Walk into a jazz club and “a blues” becomes a very different thing. I’ll show you the differences and how to play some of those hipper chords and ii-V turnarounds in Lesson 12. These are also great for some traditional blues tunes, especially if you’re into the Robben Ford or Larry Carlton type of blues sounds.
• If you like the jazz sprinkled in with your blues, then you’ll also need to know about the I-VI-ii-V turnaround and how to use altered dominant chords in your blues. We’ll talk about both with a jazzy blues example in Lesson 12.
• Man cannot live on slow blues and shuffle blues alone, and Albert Collins proved it by injecting the blues with some solid funk grooves. In Lesson 13 you’ll see how the funk breaks down and how you can get your right hand moving and grooving with the best of them.
• How to play what I call, “The four to one move,” which comes up in so many songs I can’t even count them all. It’s difficult to pinpoint in words, but when you hear it, you’ll know it right away from thousands of rhythm guitar players throughout history (in blues and rock music.) (Lesson 6, Lesson 13)
• How those crazy “Stormy Monday,” T-Bone Walker style chord changes work, and how to play them. In this example we’ll use them in a beautiful Gospel Style blues that is meant to be played by yourself so that the next time someone asks you to play something, you’ll actually have something to play that sounds really impressive. (Lesson 14.)
• You need to learn all the scales before you can solo, right? Wrong! There is only 1 primary scale you need, and you can play an enormous amount of music on just 1 pattern. 95% of everything you’ve ever heard Albert King or Stevie Ray Vaughan play falls within 2 patterns on your guitar. I’ll show you those patterns first in Lessons 15 and 19, and you’ll actually use them in Lessons 18 and 20.
• Where you can bend in a blues scale, and where you can’t bend in a blues scale, and why. If you’ve ever heard someone bend a note but it just didn’t sound right… this is probably why. (Lesson 16.)
• How to not only keep your volume consistent when you do hammer-ons and pull-offs, but how to dynamically decrease OR increase the volume of your notes… even though you aren’t picking a single one. (Lesson 17.)
• The secret to those “flurries” of notes that guys like Eric Clapton do so effortlessly. I call them “Tweedlies,” and you’ll see how the “magic” happens so you can use them for yourself to add excitement and little bursts of speed to your own solos. (Lesson 17.)
• Think the most important of your solo is the notes and licks you choose? Think again… and you might not believe that the rhythm of your playing is that important, but it is. You’ll see how to really break down the blues rhythm so that you can know not only what notes to play, but more importantly, when to play those notes. (Lesson 21.)
• How to play your blues scale in any key, minor or major, without learning any new patterns of scales. (Lessons 23 and 24.)
• How all 5 boxes of the blues scale fit together, no matter whether you are playing a minor or major key, and why you’ll really never need any other scale to play the blues. So you can spend more time finding cool stuff to play, and less time “studying” scales.
• The one time it’s okay to use the Major and Minor blues sounds together… and it’s better than ok, It’s perfect! The Masters like BB King and Eric Clapton knew just how to weave touches of the major blues sound in with their minor blues sound – but it only works in one place within the 12 bar blues chord progression. I’ll show you how, and give you a whole mess of licks starting in Lesson 24.
• What beat you should never start your solos on… and unfortunately for most people it’s the one they naturally use. But you’ll see how to break that habit and what to do instead.
• Say goodbye to spending hours running scales… when you only learn one pattern at a time, you’ll find it’s easy to remember them and since you will have used them so much before you need another pattern, you won’t have any trouble keeping them under your fingers as you add the remaining few patterns.
• How to create moving, harmonized double-stop lines like Freddie King uses in the middle of “Hideaway,” or perhaps even more notably as the introduction to “Brown Eyed Girl,” by Van Morrison (it ain’t blues, but who doesn’t know that song?) (Lesson 29.)
• My simple, “Playing On The Porch,” method for playing solo (as in, by yourself with no accompaniment.) There are a lot of times when you’ll want to play the blues and don’t have a band or a jam track handy… so using this method of playing the chord on beat 1 and filling in the rest of the bar from the blues scale, you’ll be able to entertain yourself and others who might be listening for hours without sounding stale or getting boring. (Lessons 30 and 31.)
• How to approach your soloing in “Levels” of sophistication. As with most things, there is more than one way to approach your blues soloing based on what you want to hear. You’ll get to make that decision for yourself but I’ll guide you through the options so you can choose the sounds you want to hear. No matter what you decide, you’ll have all the tools to make that sound come to life.

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