Hi people,
Today a little look at what the Left hand is doing!
Today a little look at what the Left hand is doing!
As we saw in the last post, the Right hand is playing in a circular movement, once you can do this automatically without thinking about it, you can concentrate on the Left hand.
With the Left hand I am playing single notes, with my first three fingers and the Slide is on my little finger.
BAR CHORDS
I do not personally really know or play any chord shapes, I use the Slide or a Bared finger to make any chord changes and not Chord shapes.
I do not personally really know or play any chord shapes, I use the Slide or a Bared finger to make any chord changes and not Chord shapes.
The Smutbot Special Edition-CSI High Velocity Blood Splatter-3 String Cigar Box Guitar
If you want to find out about chord shapes, you go and check out: www.cigarboxnation.com
There is wealth of information available on there and if you cannot find what you are looking for post your question in one of the groups and see the helpful answers come back at ya!
Anyway, you can get a new chord by Baring the whole Fret Board!
How do you know what chord to play where?
Well, you will always have a Root Note to each chord, this will determine which chord is played where.
If we start to get into Root Notes at this stage, it will only get confusing, especially as we are looking at a three stringed instrument.
The StumbleCol Special Edition-CSI High Velocity Blood Splatter-3 String Cigar Box Guitar
Here it is though as easily explained as I can!
ROOT NOTES
The Root note is the keynote, around which the chord is formed, the chord is made up of three notes: Root, Major 3rd and Perfect 5th.
The Root note is the keynote, around which the chord is formed, the chord is made up of three notes: Root, Major 3rd and Perfect 5th.
My three string Cigar Box Guitar is Tuned G-D-G, so is tuned to Open G, there are other tunings that start with a G on the bottom and a D in the middle, you could in fact play along to a song in the keys of D, but you would need to de-tune the Top G, the thinnest string to an F#, and if you wanted it to be tuned to C, you would need to de-tune the D string to a C and leave the Top G at G.
The HB special Edition-CSI High Velocity Blood Splatter-3 String Cigar Box Guitar
Anyway ignore all of that for now, to work through these “Learn To” posts you should be tuned to G-D-G and then the chord positions on the neck will look like this:
Open = G, 2nd = A, 3RD = A#, 5TH = C, 7TH = D, 9TH = E, 10TH = F and 12TH = G.
You can play these chords with a Bared finger in the space behind the fret or with the Slide directly over the fret.
THE THREE FINGERS
With my three fingers, I play little runs and riffs, you can do this on a single string, on two strings or across all three by tightening the circular rhythm of the Right hand and moving it up and down a bit depending on which string you are playing on with the Right.
With my three fingers, I play little runs and riffs, you can do this on a single string, on two strings or across all three by tightening the circular rhythm of the Right hand and moving it up and down a bit depending on which string you are playing on with the Right.
Return to a larger playing circle to play all three strings, this gives you the drone strings.
The JW special Edition-CSI High Velocity Blood Splatter-3 String Cigar Box Guitar
Remember that the Right hand plays a circular pattern constantly like this, Down stroke on the Bass string, Up stroke on the Treble string and then down on the middle string.
Check out Part 5 for more about the Right hand: http://www.stumblecol.com/learn-to-play-3-string-cigar-box-guitar-part-5-the-right-hand/
Where possible use the first finger for the 2nd fret, second finger for the 3rd fret and the Ring finger for the 5th fret, or in that order anyway, so if your run starts on fret 7, just move it all up.
That said, I sometimes start up the Neck, but with the second finger, but what I have suggested above would be good practise!
WALKING OR STROLLING
Most of the work that I am doing with my Left hand takes the form of what is commonly called Waking or Strolling.
Most of the work that I am doing with my Left hand takes the form of what is commonly called Waking or Strolling.
Bad To The Bone 3 String Guitar
This is simply running up and down parts of the scale in a walking/stepping style of movement, it gives you a particular style to the playing and is, at least in some part, what gives a StumbleCol song its sound and feel, the rest is Mojo from me and Tom and many years of commitment to playing music!
So what are the notes in the Scale?
I really am not going to get into Scales here and now it will bore you into giving up playing, you just wanna get started right!
A lot of people getting into the Cigar Box Revolution are those people who were put off music as a child by ridged teachers and ridged rules, “no rules here guy”, just one, “If it sounds right just do it”
I do not want to scare you away technical shite!
There are plenty of places that you can find out about Scales on the net, and for different skills leaves, so if you wanna know more Google it!
All I will say is experiment use frets 2, 3 and 5 and step up or down from one string to another and from fret to fret, this will work in all of these places for a Cigar Box Guitar tuned G-D-G.
So, Top string(thinniest) = Open, 2nd, 3rd – Middle string Open, 2nd, 3rd – Bottom string Open, 2nd, 3rd you can also reverse this or use 3rd – 5th fret and Open.
If you are using this principle, but in a different key or if one of the notes sounds wrong, move the finger up or down one fret, see if that sounds any better.
There are no rules, do what sounds right to your ear, that is enough, that is all you need for now!
Here is a little video looking at the basics of my Left hand style.
If you have been watching closely will realise that I have a few more thing to show you, these are the Finger Sides, Hammer On/Off and Finger Patterns, so please look out for Part 7 covering all of these and coming soon!
If you have been watching closely will realise that I have a few more thing to show you, these are the Finger Sides, Hammer On/Off and Finger Patterns, so please look out for Part 7 covering all of these and coming soon!
Please do not forget people, only just over a week until our biggest event of the year, “The 2nd Cambridge Cigar Box Guitar Festival”, the second biggest Uk Cigar Box Festival and once again promising the best Line-Up of UK Cigar Box Guitar Acts anywhere in the world this year!
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Be there or be square, like my Box!
If you enjoyed this post, please share on the Net, if not my name is Chicken Bone Jon!
Many Thanks,
Stumble On,
Col
Stumble On,
Col
Sims 2 naked mod. These basic tips are for out and out beginners and relate to my own three-string fretless CBGs but equally relate to more conventional guitars that you intend to play slide on where you would normally tune to an open chord.
- Tuning the guitar - Decide what tuning you are going to use. My preference for blues on CBGs is an open 'A' tuned either A-E-A or A-D-A the two A's being an octave apart. It depends what guage strings have been supplied too as to whether an open 'A' will result in a suitable tension for the guitars. CBG's supplied by me will have a help sheet telling you what has been fitted. A-E-A is a good starting point - try it and get familiar with it before experimenting with others. Make life easier when tuning by getting a decent electronic tuner like the Korg CA-30 which will show you exactly what note you are playing rather than the basic ones with just standard EADGBE tuning. It will be really handy when trying alternate tunings later.
- Type of slide - There are many things you could use as a slide. Some prefer metal, some glass, some bone! I find metal gives a bit more volume with CBG's than glass and it doesn't break. Get a decent heavy one too - it helps when applying vibrato. I use a bought brass tube slide. Again you can experiment later with different types once you've got the basic techniques off.
- Using/holding the slide - Again there are diferences of opinion and what suits one doesn't suit another. You can play the guitar on your lap and hold the slide in your left hand (if you're right handed) but most will hold the guitar in the conventional way across the chest. Which finger? I recommend the little 'pinkie' finger. The reason being it leaves three of your best fingers free. Not important here but if you eventually apply your slide skills to a conventional fretted guitar, you might want to form some fretted notes or chords as well in which case you can leave the slide on the pinkie and still get by with three good fingers.
- Applying the slide to the string - The slide acts as a 'movable' fret, that's why there is no need for actual metal fret wires on the neck. The fret positions on mine are marked on purely for a visual guide as to where to place the slide for a given note. The first important rule is to place the middle of the slide right bang over the fret mark where the wire should have been - not over the dots. The second important thing is to just apply enough pressure to make a clear note without the string rattling against the slide. A common mistake is thinking you need to press down hard enough for the string to touch the neck. You definitely don't want that. Pluck an 'open' string first without using the slide anywhere, then try the slide at the 5th fret, you should be able to hear when you have it in the right place unless you are tone deaf in which case take up golf instead!!
- Plucking hand technique - once again there are preferences, plectrum (pick) or fingers. I used to be mainly a plectrum man till I started with CBG's. I find there is much more scope with fingers. You can use them to 'dampen' strings you don't want to ring out and finger picking styles sound great on these guitars. I let the nails grow a little bit long on my right hand for this. If you are worried about looking a little bit 'girlie' with them you can soon restore you're macho cred by giving a demo on your CBG. They are incredibly cool instruments.
So that's the rudiments for a complete novice. Watch this blog for some more tips that will soon have you playing and grinning all over your self satisfied mug. Enjoy!
Check out my other website too at www.smojomusic.co.uk
Schmeid is amped about his boxy creation. Photography by Vinnie Zullo
Like the smoke of a fine tobacco, the melodies that hang in the air of Luis Schmied’s garage-turned-workshop in Weston are sweet, rich and smooth. Echoing elements of folk and blues, the soothing sounds come not from a stereo, but from his own fingers, working in harmony with his latest customized creation.
A money maestro specializing in equipment financing, Schmied channels the precision required by his day job into an unexpected after-hours pursuit: building one-of-a-kind stringed instruments using repurposed objects—like cigar boxes—as the base.
Born in Argentina, Schmied, 44, says his first musical love was the drums, and he played with amateur bands in Buenos Aires before moving to South Florida in 2002.
“I love the mixture of Latin, European and American cultures here. I also love the weather—even the summers,” he says.
In 2006, Schmied began teaching himself to play the guitar and stumbled upon open tuning, which he calls a simpler way to learn the instrument.
“You tweak the strings a bit, and when you strum the guitar, you are already playing a chord, which is not the case with standard tuning,” he says.
Open tuning has its origins in folk instruments like the banjo, although big-time musicians, such as the Rolling Stone’s Keith Richards, often play open-tuned guitars. Once Schmied discovered open tuning, he researched 19th-century guitar makers who built instruments from recycled materials, like cigar boxes, out of necessity. Curious, he bought a cigar-box guitar from an artist in Virginia, and a fascination was born.
A more ornate cigar box with four strings. Photography by Vinnie Zullo
“The sound was sweet and a little weird,” Schmied says. “But I was hooked.”
Captivated as much by the instrument’s construction as its sound, Schmied, who had a basic knowledge of woodworking, tried making his own cigar-box guitar. After building his first piece, guided by a combo of online research and intuition, he wondered how different construction techniques would affect the sound, and so he began working on second and third iterations.
A year after Schmied built his first guitar, his wife, Silvia, suggested he put a few of his prototypes on eBay; he was surprised when they all sold. Six years and 100 instruments later, the accidental entrepreneur takes a week to several months to build a guitar, depending on the complexity of inlaid and laminated woods and the number of frets and scarf joints. Schmied’s favorite cigar boxes have beautiful artwork that also create a pleasing tone, like the Arturo Fuente brand, which was founded in West Tampa.
Schmied spends a lot of time with each finished instrument, extensively chronicling its personality through beautiful photographs that feel more like portraits than product shots. He also records demos that he posts online, giving prospective buyers a detailed account of how each instrument will appear and play when it arrives.
Smchied’s work is therapy. Photography by Vinnie Zullo
“For me, each guitar is like a different person,” he says. And because the instruments are all handcrafted using materials and techniques that are difficult to replicate exactly, each has its own unique feel, look and sound.
Most of Schmied’s customers are from the United States and Europe, and though they include a mix of ages and genders, they skew a bit more toward middle-aged men. Although there are a few new players among them, attracted to the ease of learning that an open-tuned instrument provides, for most buyers, this is not their first stringed instrument.
While Schmied Handcrafted Instruments has gained a loyal following, its founder is hesitant to take on the business full-time. “It continues to be my therapy, releasing my mind for a couple of hours at the end of the day,” he says.
Schmied has branched into other types of instruments and accessories, ranging from wooden wall guitar hangers to guitar slides made from wine-bottle necks. One of Schmied’s popular models is a banjo that uses a vintage-film-reel canister as a base. “Getting the canisters is the tough part,” he says.
Although these Hollywood relics may be elusive, luckily, his main staple—cigar boxes—remains prolific in South Florida. Whenever he stumbles upon a new tobacco shop, Schmied—who does not smoke cigars himself—makes sure to stop in and introduce himself to the owners. The shopkeepers often happily part with their extra cigar boxes because Schmied gives the containers a second life.
Like the tobacco shop crowd, he has a play-it-forward attitude about his pieces.
“I am making a tool for another musician, and that guitar could help someone find a new sound or write a new song,” Schmied says. “To me that is the most rewarding part.”
“I am making a tool for another musician, and that guitar could help someone find a new sound or write a new song,” Schmied says. “To me that is the most rewarding part.”
Sold at
etsy.com, reverb.com
& Penny Lane Music Emporium
3038 N Federal Hwy
Ft. Lauderdale
& Penny Lane Music Emporium
3038 N Federal Hwy
Ft. Lauderdale
pricing from $120 – $400
How To Play The 3-String Cigar Box Guitar With Rick McKeon
Right and Left Hand Techniques The Steady Bass Using The Slide The Ten Mile Stomp Playing Blues Licks And Creating A 12-Bar Solo Applying All This In A 12-Bar Jam Session
© Rick McKeon 2014
Table of Contents Welcome Lesson 1: Tuning The 3-String CBG Figure 1: Tuning The 3-String Guitar . . . . . . . . . . page 3 Lesson 2: How To Read The Tab Figure 2: Steady Bass . . . . . . . . . . . . . . . . . . . . . . page 5 Lesson 3: Steady Bass Figure 2: Steady Bass . . . . . . . . . . . . . . . . . . . . . . page 5 Lesson 4: Licks For The 3-String Figure 3: Licks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 7 Lesson 5: Ten Mile Stomp Tab: Ten Mile Stomp . . . . . . . . . . . . . . . . . . . . . . . . page 9 Lesson 6: 12-Bar Blues Introduction 12-Bar Blues Chord Progression . . . . . . . . . . . . . . page 11 Stranger Blues Lyrics . . . . . . . . . . . . . . . . . . . . . . page 12 Figure 4: I IV and V Chords . . . . . . . . . . . . . . . . . . . page 13 Figure 5: 12-Bar Licks . . . . . . . . . . . . . . . . . . . . . . . page 14 Lesson 7: Blues Licks Figure 6: The Major Scale . . . . . . . . . . . . . . . . . . . page 15 Figure 7: The Blues Scale . . . . . . . . . . . . . . . . . . . . page 16 Figure 8: Blues Licks . . . . . . . . . . . . . . . . . . . . . . . page 17 Lesson 8: 12-Bar Solo Figure 9: 12-Bar Solo . . . . . . . . . . . . . . . . . . . . . . . page 18 Lesson 9: 12-Bar Jam Closing Comments
2
Figure 1: Tuning The 3-String Guitar (1 5 1)
Standard Tuning For The 6-String Guitar
6 5 4 3 2 1 E A D G B E 1 5 1 Tunings for the 3-String CBG Using Different Strings From a Standard Set E Tuning Using Strings 654
G Tuning Using Strings 543
3 2 1 E B E
3 2 1 G D G
E Major Scale
G Major Scale
E
F# G#
A
B
C#
D#
E
G
A
B
C
D
E
F#
G
1
2
4
5
6
7
1
1
2
3
4
5
6
7
1
3
Notes: 1. Guitar strings are designed to have a certain amount of tension in standard tuning. 2. Too loose and they will be sloppy. They will buzz and not project well. 3. Too tight and they will break or put too much tension on the neck. 4. Therefore, we choose the strings and tuning somewhere near standard tuning. You can tune them up or down a whole step without problems.
3
This page left blank to avoid page turning on the Figures
4
Figure 2: Steady Bass
Lick #1 Steady Bass E B E
4 4
0 1
0 2
0 3
0 4
0 1
0 2
0 3
0 4
Lick #2 Pinch On One 3
0
0
0 1
0 2
0 3
0 4
0 1
0 2
0 3
0 4
0 3
0 4
Lick #3 Add A Syncopated Note 5
0
0
0 1
0 2
&
0 0 3
0 4
0
0 1
0 2
&
Lick #4 Rag Lick 7
0
0
0
0 0 1
&
0
0 0 2
&
0 3
0 4
0 1
&
0 2
&
0 3
0 4
Lick #5 Hammer On Lick 9
0 0 2 0 [H] 1 &
0
0
0 0 2
&
0 3
&
0 2 0 [H] 1 &
0 4
5
0 0
0 2
&
0 3
&
0 4
Figure 2: Steady Bass (cont.) Lick #6 Banjo Roll 11
0
0 0
0 1
&
2
0 0
0 &
3
&
0 0
0 4
0 1
&
5 4
5 5 5 1
7 [S] 7 7 2
2
0 0 &
3
&
0 4
Lick 7: Ten Mile Stomp Lick 13
4 4 4 1
5 [S] 5 5 2
15
5 5 &
5 3
0
&
0
0 0 1
&
7 7 &
7 3
&
0
0
0 2
0 3 (4)
0 0 2
&
0 3
0 4
0 1
6
&
7 4
Figure 3: Licks
Lick #1 E B E
4 0 2 4 [H] 1 &
0
2 [S]
2
3
0
0 2
3 (4)
1
2
3 (4)
Lick #2 3
0 0 2 [H] 1 &
5
Lick #3
2
2 [S]
2
3 (4)
2
2
7
0
3
0 1
&
0 2
&
0 3
0
2
3 (4)
0
0
0 2 4
0 2 1
&
0
0
0 4
0 1
0 0 1
2
7
&
2 2
&
0 3
0 4
Figure 3: Licks (cont.)
9
0
11
0
0
0
[H] 0 2 0
0
0
[H] 0 2 0
0
0
[H] 0 2 0
0 2 0
0
2 0
0 0
2 0
0 0
0 0
15
0
0 0
13
-
Lick #4
0
0
2 [S] 0
0
2 [S] 0
0
0
0
17
0 0
0
3 0
3 0
3 0
0
0
0
2
2
0
0
0
0
0 0
2 [S] 0
8
2
0
0
Ten Mile Stomp
Part 1 E B E
2
4 4
0
0
0
0
2 0
0
2 0
0 0
2 0
0 0
0
0
0
0
[H] 0 2 0
0
0
[H] 0 2 0
0
0 0
6
0
0 0
4
0
[H] 0 0 2 0 0
2 4 [S] 0 0
2 [S] 0
0
4 0
2 [S] 0
0
4 0
0
0
0
2
2
2
0
0
Part 2 8
1 0
0
0
4 4 4
0 0
0
0
9
5 [S] 5 5
5 5 5
5
Ten Mile Stomp (cont.)
10
5 5 5
7 [S] 7 7
12
7
0 7 7
0
0
0
0
7
0 0
0
0 0
0
4 4 4
5 [S] 5 5
0
0
5 5 5
5
1. 14
5 5 5
7 [S] 7 7
7
0 7 7
0
0 7
0
0
0
2
0
0
2. 16
0
0
0
0
0 0
18
0
0
12 12 12
10
2
12-Bar Blues Chord Progression The 12-bar blues is 12 measures arranged in three sets of four measures each. The following is a typical 12-bar progression (keep in mind there are plenty of variations on this theme): I IV V
IV IV IV
I I I
I I V
E A B
A A A
E E E
E E B
E major scale = E F# G# A B C# D# E 1 2 3 4 56 7 1 The following example is in the “call-response” format where the lyrics call out in the first two measures and the guitar responds in the next two measures. The second line is a repeat of the first. The first two bars of the third line are the conclusion, and the last two bars are the turnaround.
Stranger Blues (Elmore James) E A I’m a stranger here, just blowed into your . . . . . . . . . . Verse = “call” . . . . . . . . . . .
E E town. Response = fill
A A I’m a stranger here, just blowed into your . . . . . . Repeat verse = “call” . . . . . . . . .
E E town. Response = fill
B A If I ask you for a favor, please don’t turn me . . . . . . . . . . . Conclusion . . . . . . . . . . . . . .
E B down. Turnaround
11
Stranger Blues (Elmore James)
E A E 1. I’m a stranger here, I just blowed into your town. 2. Well, I wrote to my mama, send me some railroad fare. 3. Does my good gal know, does she know I'm here? 4. Well I wonder, why people treat a stranger so. A E 1. I’m a stranger here, I just blowed into your town. 2. I wrote to my mama, send me some railroad fare. 3. Does my good gal know, does she know I'm here? 4. Yes I wonder, why people treat a stranger so. B A E B 1. If I ask you for a favor, please don’t turn me down. 2. But if my mama don’t send it, I don’t mind walking there. 3. Well, if she does, She sure don't seem to care. 4. They’re gonna’ find out, You reap just what you sew.
12
Figure 4: I IV and V Chords
I = Open Guitar
3
5
IV = Bar at 5th Fret
7
V = Bar at 7th Fret
9
I = Bar at 12th Fret
12
15
17
19
21
13
Figure 5: 12-Bar Licks
Lick #1 E B E
¼
4 4 1
2
3
0
0
2 [B] 4
0 1
2
3
4
Lick #2 3
0 1
4 2
&
3 3
&
0
0 2 4
0 0 1
&
&
0 2
0 3
4
2
3
4
2
3
4
&
Lick #3 5
7 9 1
6 8
5
4 5
7
2
&
3
&
4
&
1
12 12
12
12 11
12
12 10
12
12 9
2
&
3
&
4
&
1
Lick #4 7
1
14
Figure 6: The Major Scale 12345671 Tuning = E B E (1 5 1)
5
= Root
2
6
2
3
7
3
3
4
5
4
7
5
2
5
9
6
3
6
4 7
7 5
12
2
6
2
3
7
3
15
17 4
4
19 5
2
5
21 6
3
6
15
Figure 7: The Blues Scale 1 b3 4 (b5) 5 b7 1 Tuning = E B E (1 5 1)
5
= Root b5
3 b3
5
7
b7
b3
4
4
b5
b5
5
5 b3
9 b7
4
b7
b5
12
5
15 b3
b7
b3
4
17 4 b5
b5
19 5
5 b3
21 16
= Blue Note
Figure 8: Blues Licks
Lick #1 Major Sound E B E
4 4
0
0 2 0 2
1
2
6 5 6 1
0
0
5
5
4 3
2 2
0 1
Lick #2 Minor Sound 4
0
0 3 0 3
1
2
b7 5 b7 1
0
0
5
5
3 b3
0 1
0 1
15 b3
12 1
12 1
Lick #3 (Lick # 2 an octave higher) 7
12
12 15 12 15
1
b7 5 b7 1
1
11 12 [S] 5
12 5
Lick #4 10
14
14
11
12 12
2
2
7
5
12 14 [S] 6
14 12 15 6 5 b3
1
17
12 1
Figure 9: 12-Bar Solo
E (I) E B E
4 4
A (IV)
12
12 15 12 [P]
15
1
11 [S]
E (I)
12
12 15
12
E (I)
3 ¼
12.
2
0
[B]
A (IV) 5
A (IV)
12
12 15 12 [P]
15
1
11 [S]
12
E (I)
12 15
12
14 12 [P]
15
E (I)
7 ¼
12.
2
0
B (V) 9
14
A (IV) 14
11
12 12
12 [S]
14
E (I) 11
E (I) 7 9
6 8
5 7
4 5
12
18
Right and Left Hand Techniques The Steady Bass Using The Slide The Ten Mile Stomp Playing Blues Licks And Creating A 12-Bar Solo Applying All This In A 12-Bar Jam Session
© Rick McKeon 2014
Table of Contents Welcome Lesson 1: Tuning The 3-String CBG Figure 1: Tuning The 3-String Guitar . . . . . . . . . . page 3 Lesson 2: How To Read The Tab Figure 2: Steady Bass . . . . . . . . . . . . . . . . . . . . . . page 5 Lesson 3: Steady Bass Figure 2: Steady Bass . . . . . . . . . . . . . . . . . . . . . . page 5 Lesson 4: Licks For The 3-String Figure 3: Licks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 7 Lesson 5: Ten Mile Stomp Tab: Ten Mile Stomp . . . . . . . . . . . . . . . . . . . . . . . . page 9 Lesson 6: 12-Bar Blues Introduction 12-Bar Blues Chord Progression . . . . . . . . . . . . . . page 11 Stranger Blues Lyrics . . . . . . . . . . . . . . . . . . . . . . page 12 Figure 4: I IV and V Chords . . . . . . . . . . . . . . . . . . . page 13 Figure 5: 12-Bar Licks . . . . . . . . . . . . . . . . . . . . . . . page 14 Lesson 7: Blues Licks Figure 6: The Major Scale . . . . . . . . . . . . . . . . . . . page 15 Figure 7: The Blues Scale . . . . . . . . . . . . . . . . . . . . page 16 Figure 8: Blues Licks . . . . . . . . . . . . . . . . . . . . . . . page 17 Lesson 8: 12-Bar Solo Figure 9: 12-Bar Solo . . . . . . . . . . . . . . . . . . . . . . . page 18 Lesson 9: 12-Bar Jam Closing Comments
2
Figure 1: Tuning The 3-String Guitar (1 5 1)
Standard Tuning For The 6-String Guitar
6 5 4 3 2 1 E A D G B E 1 5 1 Tunings for the 3-String CBG Using Different Strings From a Standard Set E Tuning Using Strings 654
G Tuning Using Strings 543
3 2 1 E B E
3 2 1 G D G
E Major Scale
G Major Scale
E
F# G#
A
B
C#
D#
E
G
A
B
C
D
E
F#
G
1
2
4
5
6
7
1
1
2
3
4
5
6
7
1
3
Notes: 1. Guitar strings are designed to have a certain amount of tension in standard tuning. 2. Too loose and they will be sloppy. They will buzz and not project well. 3. Too tight and they will break or put too much tension on the neck. 4. Therefore, we choose the strings and tuning somewhere near standard tuning. You can tune them up or down a whole step without problems.
3
This page left blank to avoid page turning on the Figures
4
Figure 2: Steady Bass
Lick #1 Steady Bass E B E
4 4
0 1
0 2
0 3
0 4
0 1
0 2
0 3
0 4
Lick #2 Pinch On One 3
0
0
0 1
0 2
0 3
0 4
0 1
0 2
0 3
0 4
0 3
0 4
Lick #3 Add A Syncopated Note 5
0
0
0 1
0 2
&
0 0 3
0 4
0
0 1
0 2
&
Lick #4 Rag Lick 7
0
0
0
0 0 1
&
0
0 0 2
&
0 3
0 4
0 1
&
0 2
&
0 3
0 4
Lick #5 Hammer On Lick 9
0 0 2 0 [H] 1 &
0
0
0 0 2
&
0 3
&
0 2 0 [H] 1 &
0 4
5
0 0
0 2
&
0 3
&
0 4
Figure 2: Steady Bass (cont.) Lick #6 Banjo Roll 11
0
0 0
0 1
&
2
0 0
0 &
3
&
0 0
0 4
0 1
&
5 4
5 5 5 1
7 [S] 7 7 2
2
0 0 &
3
&
0 4
Lick 7: Ten Mile Stomp Lick 13
4 4 4 1
5 [S] 5 5 2
15
5 5 &
5 3
0
&
0
0 0 1
&
7 7 &
7 3
&
0
0
0 2
0 3 (4)
0 0 2
&
0 3
0 4
0 1
6
&
7 4
Figure 3: Licks
Lick #1 E B E
4 0 2 4 [H] 1 &
0
2 [S]
2
3
0
0 2
3 (4)
1
2
3 (4)
Lick #2 3
0 0 2 [H] 1 &
5
Lick #3
2
2 [S]
2
3 (4)
2
2
7
0
3
0 1
&
0 2
&
0 3
0
2
3 (4)
0
0
0 2 4
0 2 1
&
0
0
0 4
0 1
0 0 1
2
7
&
2 2
&
0 3
0 4
Figure 3: Licks (cont.)
9
0
11
0
0
0
[H] 0 2 0
0
0
[H] 0 2 0
0
0
[H] 0 2 0
0 2 0
0
2 0
0 0
2 0
0 0
0 0
15
0
0 0
13
-
Lick #4
0
0
2 [S] 0
0
2 [S] 0
0
0
0
17
0 0
0
3 0
3 0
3 0
0
0
0
2
2
0
0
0
0
0 0
2 [S] 0
8
2
0
0
Ten Mile Stomp
Part 1 E B E
2
4 4
0
0
0
0
2 0
0
2 0
0 0
2 0
0 0
0
0
0
0
[H] 0 2 0
0
0
[H] 0 2 0
0
0 0
6
0
0 0
4
0
[H] 0 0 2 0 0
2 4 [S] 0 0
2 [S] 0
0
4 0
2 [S] 0
0
4 0
0
0
0
2
2
2
0
0
Part 2 8
1 0
0
0
4 4 4
0 0
0
0
9
5 [S] 5 5
5 5 5
5
Ten Mile Stomp (cont.)
10
5 5 5
7 [S] 7 7
12
7
0 7 7
0
0
0
0
7
0 0
0
0 0
0
4 4 4
5 [S] 5 5
0
0
5 5 5
5
1. 14
5 5 5
7 [S] 7 7
7
0 7 7
0
0 7
0
0
0
2
0
0
2. 16
0
0
0
0
0 0
18
0
0
12 12 12
10
2
12-Bar Blues Chord Progression The 12-bar blues is 12 measures arranged in three sets of four measures each. The following is a typical 12-bar progression (keep in mind there are plenty of variations on this theme): I IV V
IV IV IV
I I I
I I V
E A B
A A A
E E E
E E B
E major scale = E F# G# A B C# D# E 1 2 3 4 56 7 1 The following example is in the “call-response” format where the lyrics call out in the first two measures and the guitar responds in the next two measures. The second line is a repeat of the first. The first two bars of the third line are the conclusion, and the last two bars are the turnaround.
Stranger Blues (Elmore James) E A I’m a stranger here, just blowed into your . . . . . . . . . . Verse = “call” . . . . . . . . . . .
E E town. Response = fill
A A I’m a stranger here, just blowed into your . . . . . . Repeat verse = “call” . . . . . . . . .
E E town. Response = fill
B A If I ask you for a favor, please don’t turn me . . . . . . . . . . . Conclusion . . . . . . . . . . . . . .
E B down. Turnaround
11
Stranger Blues (Elmore James)
E A E 1. I’m a stranger here, I just blowed into your town. 2. Well, I wrote to my mama, send me some railroad fare. 3. Does my good gal know, does she know I'm here? 4. Well I wonder, why people treat a stranger so. A E 1. I’m a stranger here, I just blowed into your town. 2. I wrote to my mama, send me some railroad fare. 3. Does my good gal know, does she know I'm here? 4. Yes I wonder, why people treat a stranger so. B A E B 1. If I ask you for a favor, please don’t turn me down. 2. But if my mama don’t send it, I don’t mind walking there. 3. Well, if she does, She sure don't seem to care. 4. They’re gonna’ find out, You reap just what you sew.
12
Figure 4: I IV and V Chords
I = Open Guitar
3
5
IV = Bar at 5th Fret
7
V = Bar at 7th Fret
9
I = Bar at 12th Fret
12
15
17
19
21
13
Figure 5: 12-Bar Licks
Lick #1 E B E
¼
4 4 1
2
3
0
0
2 [B] 4
0 1
2
3
4
Lick #2 3
0 1
4 2
&
3 3
&
0
0 2 4
0 0 1
&
&
0 2
0 3
4
2
3
4
2
3
4
&
Lick #3 5
7 9 1
6 8
5
4 5
7
2
&
3
&
4
&
1
12 12
12
12 11
12
12 10
12
12 9
2
&
3
&
4
&
1
Lick #4 7
1
14
Figure 6: The Major Scale 12345671 Tuning = E B E (1 5 1)
5
= Root
2
6
2
3
7
3
3
4
5
4
7
5
2
5
9
6
3
6
4 7
7 5
12
2
6
2
3
7
3
15
17 4
4
19 5
2
5
21 6
3
6
15
Figure 7: The Blues Scale 1 b3 4 (b5) 5 b7 1 Tuning = E B E (1 5 1)
5
= Root b5
3 b3
5
7
b7
b3
4
4
b5
b5
5
5 b3
9 b7
4
b7
b5
12
5
15 b3
b7
b3
4
17 4 b5
b5
19 5
5 b3
21 16
= Blue Note
Figure 8: Blues Licks
Lick #1 Major Sound E B E
4 4
0
0 2 0 2
1
2
6 5 6 1
0
0
5
5
4 3
2 2
0 1
Lick #2 Minor Sound 4
0
0 3 0 3
1
2
b7 5 b7 1
0
0
5
5
3 b3
0 1
0 1
15 b3
12 1
12 1
Lick #3 (Lick # 2 an octave higher) 7
12
12 15 12 15
1
b7 5 b7 1
1
11 12 [S] 5
12 5
Lick #4 10
14
14
11
12 12
2
2
7
5
12 14 [S] 6
14 12 15 6 5 b3
1
17
12 1
Figure 9: 12-Bar Solo
E (I) E B E
4 4
A (IV)
12
12 15 12 [P]
15
1
11 [S]
E (I)
12
12 15
12
E (I)
3 ¼
12.
2
0
[B]
A (IV) 5
A (IV)
12
12 15 12 [P]
15
1
11 [S]
12
E (I)
12 15
12
14 12 [P]
15
E (I)
7 ¼
12.
2
0
B (V) 9
14
A (IV) 14
11
12 12
12 [S]
14
E (I) 11
E (I) 7 9
6 8
5 7
4 5
12
18
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