Let’s say you want to improve your blues soloing and you’re a little tired of just playing the pentatonic/blues scale over the entire 12 bar blues the whole time…
You want to “open things up a little” but it seems daunting to go from what I call level 1 soloing (playing minor pentatonic/blues the whole time) to what I commonly call level 2 soloing where you start to invite in some other sounds that cater to the 3 blues chords – the I, IV, and the V.
Now in case you’re not totally down with the I, IV, and V, a 12 bar blues in its simplest form goes something like this:
The I chord is the key you’re in… so if it’s “Blues in A” then the key is A. The IV chord is always built off the 4th tone of the scale, or it’s just 1 string up from the I (D, in the case of blues in A.)
The V is 2 frets up from the IV – E in the key of A.
Notice that if you want to start to draw attention to the chord changes, there are a couple of good places to do it:
- Going from bars 4 to 5 where it goes from the I to the IV chord.
- Going from bars 6 to 7 where the progression goes from the IV back to the I.
- Going from the I to V chord in bars 8 to 9
- Going from the IV to I in bars 10 and 11.
And, truth be told, there are probably some other good places but, let’s face it, if you just hit the ones I mentioned you’d be in great shape!
So which one are you gonna hit first?
It doesn’t matter… what matters is that you pick one and only one!
Make sure you have a lick that will do what you want, first. In other words, if you’re going to accentuate the move from the I to the IV in bars 4 and 5, you’ll need to either find or construct a lick that will perform that task the way you want it done.
(I have one of those here, or you might want to check out something my Blues Soloing Construction Kit in the Course Catalog for more licks…)
When you have that lick, it’s time to turn on a jam track and work that section to death. Over the rest of the chord changes, stick to what you know (level 1 playing.)
But as that one change comes up in bars 4 and 5, try to put in your new lick.
It won’t work too good the first time (or maybe the first 10 times… who knows?) But soon, you’ll start hitting it. It might take a day and it might take a week.
But keep at it and you’ll start nailing it.
Once you’ve done it with 1 lick, adding another lick or 2 or 3 won’t seem nearly so daunting and before you know it you’re nailing that one particular change every time.
Remember, slow and steady wins the race. It’s better to learn 1 lick in 10 days then to try and learn 10 licks in 10 days because on day 11 you won’t remember but 1 of the 10 licks anyway!
So grab a jam track and grab some of your favorite licks and get to playing.
39 replies to "Pick A Spot…"
In the comments above someone mentioned that Louie Louie is a good song when referring to the I IV V and I agree but to really get the sound of the Kingsmen make the V chord a minor. So if playing in A it would be A-D-Em. Keep on picking. Griff I really enjoy your method of teaching for me your ability to make the student (me) feel relaxed is your biggest asset. Thanks.
You know UP IS DOWN AND DOWN IS UP on the guitar neck….or at least that is the way I see the neck…
This blog seems to have answered questions as well as raised new ones.
For me I’m not sure what makes a good lick to move from one chord to the next. The obvious thought is to catch the root note of the new chord on the downbeat (the 1st beat of the new bar with the new chord). So if the I chord is A and the IV chord is D, I would want the first note of the bar with the D chord (lest say the 5th measure) to be a D note???
I’m sure that would sound great, but I suppose there is a lot more to it than that. Need an explanation of what note(s) would make good approach note(s), what note(s) would make a good “landing” note(s), and what notes would follow when it come from moving from one chord to the next.
Hi Griff,….I have purchased some of your courses and am benefiting greatly from them. But in this instance, I wish you would have given us a 12 Bar blues example of HOW to accentuate the chord going from the I to iv, say in bars 4 and 5 or bars 6 to 7 going back to the 1 chord etc. in the 12 bar blues progression. Another words, do we just play a different chord in each instance or manipulate the chord right before the change. Thx, Griff
Really enjoy the lessons, tips and comments. Another great one – and the discussion – nothing but HELPFUL advice from all. Makes me proud. Ever read a troll here? I didn’t think so.
You have done it again Griff. The meaning of chord changes and when they arise is clearer from your description than ever from a local guitar tutor. I att Ned a local secondary school night class to learn. The teacher splint the class in two those that had attended previously and those that were inexperienced in playing. Those of us new to the process were invited to tune our guitars. Some took about half the class time to remotely get near in tune. The ‘others’ he treated like Pavlov’ dogs. They responded, they understood, they learned at a totally different pace to the less fortunate. Needless to say the class eventually folded several weeks after I left. Hopeless and disheartening. Thankfully I came across both your good self and a tutor, I have mention before – Mike Herbert’s whole hails from York /midlands of England. Thank you once again Griff.
Every time I get your email you start me thinking. I’ve been practicing turnarounds by comping bars. 9 and 10 followed by the turnaround in keys E and A. I have a bunch of them. Why not pick a spot in the progression and do the same thing, starting with comping two bars in one chord followed by the lick in the next chord. Then, changing the comping pattern to a short phrase, again followed by the lick I’m working on. The whole idea is to break the progression down to manageable parts, much like you did in your speed building lesson.
It would be nice to be able to get every blues lesson available in one package at a lower price if you buy it at one time. Then maybe buy the classic rock and get country lessons with it. If I could get everything at a decent price I’d buy it all because I’m already jammimg
Deborah – Check out the Blues Guitar Unleashed All-Access Pass. For $20 per month or a flat $200 per year you get access to all of Griff’s lessons and courses PLUS about 6 on-line lessons/seminars you can participate in every month. It’s one heck of a bargain. I’ve been doing Griff’s courses for about 5 years now and I’ll attest to the quality of the offerings.
Peace,
Alan B.
In addition to what Alan B described, you also get a free purchase of a course (which allows you to download all the materials) once every 60 days.
I really believe once I’m done with my intermediate BGU lesson I’m gonna be rocking. Then I want CGU and 4 note solos and all of it. Too bad you couldn’t get the entire blues package for one major low price.I mean all of the BGU stuff in one deal. Maybe call it the blues guitar system. Get the lesson you need to start and then all the side lessons and 4 note solos etc. I’d love to learn some country since I live near Nashville and I need to put some lead stuff in my country music I’m writing. Just suggestions.
Hey Deborah Griff offers an everything deal. You can buy it yearly or monthly and then every couple of months you get a gold ticket that you can redeem for permanent ownership of a specific course. It’s called the all access pass.
Try a google search on “blues guitar unleashed all access pass”.
Playing a jam track is really a great way to learn. It gives you the opportunity to make mistakes but also go back and fix them. I record rhythm tracks all the time and just jam to them. For me, it’s the best way to learn. Keep it simple and you will move forward much faster! Rock on!!!
Griff is doing here what he does so well – that is teach a man to fish not just give him a fish ! So many different ways to solo over chords and chord changes, so by experimenting you find the notes that work with or against the chords to your taste. root notes being stable, 5th of the chord being fiery, Major sounds being happy and minor melancholy etc etc..
you confused me. i’m old school. never learned to read, or write music. been in it for 40 years and the 12 bar s i get. but when you start talking about 1 cord to IV chord , just makes me scratch my head i learn by ear and need to know the chords and the beat. that is how i learned to play the song you wrote, i learned it by watching you and stuck the meledoy in my head . so if i know the chords, 12, 8 bars, then i’m fine.if i hear a major sound, i’ll comp it thank you griff.
Paul, it sounds like you are probably around my age.. I started playing in the 60’s in a garage band. When Griff is talking about the I IV and V chords..These are the progressions you use.. So the way you might think about it is that the I chord could be any chord Such as the A chord then the IV chord would be the D chord and the V chord would would be the E chord.
This is the chords of the song Louie Louie… They just keep playing them over and over I I I IV IV V V V IV IV,,,, Kurt Cobain talked about learning to play guitar by using those 3 notes over and over again..You can start on any note and just follow that progression.. Any body remember Paul Revere and the Raiders… Thats where the action is
Paul Revere and the Raiders rock. Stepping’ Out and Just Like Me are top notch garage rockers. My kind of music.
Paul, try this:
Key of A
A-1
B-2
C-3
D-4
E-5
F-6
G-7
So, I chord is A, IV is D and V is E
Now, let’s do G:
G-1
A-2
B-3
C-4
D-5
E-6
F-7
So, I chord is G, IV chord C, and V chord is D
You can do this starting with any chord! And don’t let the Roman numerals get in your way!
Keep in mind that the key of C is the only one with no sharps and flats. The Key of A has three, C#, F# and G#. The key of G has one, F# so the 7 chord is is an F#.
The seventh chord is F#dim.
GRIFF EXPLAINS SO WELL. I HAVE NEVER VENTURED INTO THIS AREA. NOW I HAVE A FEELING I WILL GET HOOKED.
YOUR COMMENT IS GREAT BERNIE.
Griff, great advice (as usual)!
Always look forward to getting an email from you Griff
it seems you pik up on my brain waves a lot
Thanks
Rohn
Cheers Griff
For the advice 😎🎶
Hi Griff,
Always great tips…
Michael-Sydney-Australia- Aug 2016.
I too would love to see a written/tab example
Of going from one chord to another.
I.e. I to. IV. As well as. V to I.
Would also love an easy “turn around” example.
Thx
Tom
Griff has a couple of courses that cover this.
52 Rhythm Fills and Variations &
20 Turnaround and Ending Licks
But, I think Griff’s motivation here is for you to figure out a lick on your own. That is the best teacher.
Hey Griff. How about an example for us to follow. I know for myself that this would be the best way to get started. Thanks
I referred to the construction kit and all I got was more confused. I couldn’t pick up any sort of common pattern at the chord change at bars 4/5. Help please.
Griff, demystifies the blues yet again!
For a better understanding of this written example, I think a Video blog would make it a bit easier.
Okay. I’m trying to get this so I’m going to keep it simple. I’m using your Key of A example. So, I’m in the I chord, soloing in the house pattern around the 2nd string 10th fret (ring finger). Box 2 around said A. At the change from the 4th bar to the 5th bar, I just move my index finger to the 1st string 10th fret (D) and I’m now in box 1 centering around this position? Is this how it works?
Great article. I am still a little fuzzy on what lick to play when. I extend. What to play over the 1 chord, what to play on the 4 and so on.
I have your blues construction kit – so I can easily retrieve the necessary licks. However, it isn’t obvious to me how someone finds the lick. I am unsure of the meaning of accentuating the 4th tone in the I to IV chord transition. I can land on the 4th tone just before beginning of the IV chord or I can start with a box pattern that is in the 4th tones’ key, or both. Is that the idea?
Scott,
What he is saying is that you should treat each chord as if it was the root, so in “A” at bar 5, when you change to the D (which is the IV chord in A), you would create a solo using the D Pentatonic scale.
The D note is the 4th tone in the A scale AND the root tone in the D scale.
That’s a great explanation Mike..made it much clearer for me…
Hey Griff, I have three of your BGU dvd lesson packages and they have helped me immensely with my open jam abilities to the point where my playing buddy’s told me a couple weeks ago that I was becoming a better musician and not just a better guitar player!! So, thank you very much. I read/watch every e-mail I get from your site and bookmark many of them as study material and reminder lessons. BGU is by far the best learning tool that I have come across on the Internet, and I have looked at pretty much every one out there. This article is exactly what I was needing at this point in my progression from guitar player to musician. So, once again, thank you very much!
PS: I am very seriously looking at getting a SUHR guitar for my growing collection, I have a Dean Zalinsky Tagliere that I play all my electric blues on now but I have always admired the SUHR you use in a lot of your lesson videos.
Your friend in the blues, Allan.
Mike S/Scott, I think what Griff is saying is there are a number of ways to accomplish what he is talking about, not just treat each chord as it’s own key. You could also (if on the I chord) be playing a major sound but near the end of the measure play a minor note or two in anticipation of going to the IV chord. In many of Griff’s course (like the 5 Easy Blues solos etc.) when he describes a phrase he often times will tell you what he was thinking as far as note selection. In any event have fun with it as it’s about the journey.
What great advice