1. Shuffle Will do to an old tune Linda Lou – but much more than originally meets the eye.

2. Start with Linda Lou We will do it in A but you should learn it in every key. Very much a shuffle feel! Steps in this song. –Learn chords. –Learn theory of progressions. –Learn the repeating background hook. –Learn the Charleston Rhythm background (2 ways). –Learn the Arpeggios for the chords. Guide tone solo Guide tone backup –Do the Scales for this on improvising. Minor Pentatonic Blues Scale Mixolydian Mode Dorian Mode –Do parts of chord – Make an arrangement. –Add in shout parts and hooks. –Misc. to finish this off. Will take a few of weeks to go through this.

4. Form This form is blues for the first couple of times then the bridge goes away from a traditional blues. The feel also changes from a shuffle to a swing. Very cool overall. Key of A: I = A, II = B, III = C#, IV = D, V = E, VI = F#, VII = G# 4/4 ||: I | IV | I | | IV | | I | | V | IV | I | (V) : || Bridge is: 4/4 || IV | I | IV | I | IV | I | II7 | V7 || The II7 is called a secondary dominant. This is a B7 in the key of A. B is the II in the key of A and it is very common for the II chord to be a 7 th chord. So the II is the V chord of E7 which is the V chord of A – Secondary dominant. This is extremely common in country music. In fact, in traditional country music the II chord is almost always a secondary dominant. Look at Hank Williams “Hey Good Lookin’” as a perfect example In that it is key of C: I = C, II = D, III = E, IV = F, V = G, VI = A, VII = B

5. The D7 is a secondary dominant chord.

6. Back to Linda Lou

7. Do in 5 th position. Index at the 5 th fret, middle finger 2 nd fret, ring finger 3 rd fret, pinky 4 th fret. This is based off of a number of scales: Mixolydian Mode, blues scale, minor pentatonic or even the Dorian Mode. In reality, it is also the 1, 5 and b7 of the A7 chord. Again the “Chord Rules”.

8. See for D it is the same thing moved up one string. Still in 5 th position.

9. E is the same as D only up 2 frets to the 7 th position.

10. Practice the preceding Play it until it is perfect. Try to play very staccato. Very important that there is a space between the note on the beat and the note off the beat!

11. Put it all together!

12. 2 nd Guitar Part. This is the Charleston Rhythm. Watch timing.

13. 5 th position E form (7 th ), becomes A7

14. D7 is the A7 CAGED form at the 5 th fret.

15. E7 is the A7 CAGED form at the 7th fret.

16. The whole backup.

17. Variation to chords Do the same but only play the 1 st 4 strings. This will work well and sound more like 2 parts. With a bass player or a piano player this is key.

22. Another Way for D7 and E7 This is a slightly more dissonant version. Very good if you want to add an edge. For electric, use bridge pickup and play close to the bridge.

25. Try the new voicings!

26. Arpeggios These will be based off of the 3 chords. For A7 the notes are: A, C#, E and G. For D7 the notes are: D, F#, A and C For E7 the notes are: E, G#, B and D. Memorize that. For starters find each chord arpeggio in the 4 th position. (from 4 th fret to the 7 th fret. Write this out for homework next week!

27. A7 Arpeggio in 4 th position.

28. D7 Arpeggio in 4h position

29. E7 Arpeggio in 4 th position.

30. Try to Solo For this 1 st step just use notes in the chord. Note that you must change every time the chord changes. Note how different notes sound against the chord. The 2 key notes are the 3 rd and the 7 th of the chord.1 3 5 7 –For A7 the notes are: A, C#, E and G –For D7 the notes are: D, F#, A and C –For E7 the notes are: E, G#, B and D –Above shows those for A7 it is C# and G, for D7 it is F# and C and for E7 it is G# and D. –Attempt a solo only using the 3 rd and 7 th of each chord. These are the key notes, can be called the “Guide Tones”

34. Apply Guide Tones To Accompanist The following page shows one way to apply this when playing with others. This is great when doing jazz or blues. Good when working with an organ or keyboard player – even a 2 nd guitar. Try it with the Charleston rhythm. I do that many times. If you add in the root of the chord it would be much like Freddie Green from Count Basie’s band.

36. Play in 5 th position!

37. Shout Line for D

38. Shout Line in E

39. Here is a whole shout chorus for Linda Lou. The slurs can either be played as slides or hammers. Either works fine. You should try it both ways and see what you prefer. You can also play the repeated notes staccato for a slightly different feel. Note you must still have the shuffle feel to this!

40. Learn it down one octave First take it down an octave – on next page. Then try it in all of the keys! As an example to play it in the key of G just move everything closer to the nut 2 frets. To play in C move it closer to the bridge by 3 frets.

42. While soloing think of the chord Always have the chord under your fingers. Learn the various ways to play each chord. Following slide is an example.

43. 1 3 2 1 5 th fret A Chord Think of this chord while playing the song. 1 3 4 2 1 5 th fret A Chord 1 Either version is good to think of but the first one really fits the idea better. The root will be on the 1 st string.

44. Pentatonic Scales 5 basic forms for these. By: F. Markovich

45. Uses Pentatonic scales are used in all forms of music. Even complex music such as jazz will use pentatonic scales. Blues uses mainly the minor pentatonic but depending upon the player and tune major pentatonic scales are also used. Major pentatonic scales are used extensively in country music. Just listen to the sound and identify the scale in songs that you like. There are really 5 pentatonic scale forms. This makes it easy to use. They are even used in classical music by composers such as Ravel and Debussy

46. Minor Pentatonic Scales The formula for these is: 1 b3, 4, 5, b7. Key is to see these as related to the major pentatonic scale. With the addition on one note they become Blues Scales.

47. F# Minor pentatonic related to the A Major (G Form).

48. Now for the A Minor Pentatonic. It is at the 5 th fret.

49. Blues Scales From Minor Pentatonic Scales All that is added is the b5 of the scale. When playing solos this note most often resolves to the 5 th or downward to the 4 th. While it can do a skip that is less likely.

52. Mixolydian Modes These must change as the chord changes. You will need 2 forms for this the E form starting on the 6 th string 5 th fret (for A7) The A form for D7 and E7, with D7 starting on the 5 th string 5 th fret and E7 the same pattern but starting on the 5 th string 7 th fret.

53. 2 2 2 1 1 1 1 4 4 3 1 3 4 5 th fret 4 th fret A Mixolydian 2 2 1 1 1 4 4 4 1 3 4 5 th fret 4 th fret 2 D Mixolydian at the 4 th fret and E Mixolydian at the 6 th fret. Start here, for D mixolydian it is the 5 th fret for E mixolydian it is the 7 th fret Start here at the 5 th fret of the 6 th string!

54. Interesting Combinations You can play the scales individually but you can also play the blues scale of the key along with the scale that goes with the chord. For example, the A Mixolydian along with the A blues when you are playing A7. See the next slide.

55. 2 2 2 1 1 1 1 4 4 3 1 3 4 5 th fret 4 th fret 1 1 1 3 3 3 4 4 2 5 th fret 1 1 2 3 3 4 4 4 A Mixolydian A Blues Double Stop notes These are notes that you can use For the blues in Chuck Berry style. Note that any pair on 2 consecutive strings can work as Long as they are within 1 fret of each other. 5 th fret Here are some common patterns to try. 5 th fret 1 st and 2 nd Strings. Go from 5 th fret 2 nd and 3 rd strings to hamminging Onto the 6 th fret of the 3 rd string. Here are the scales used.

56. 11 5 th fret 3 4 7 th fret 1 3 5 th fret 1 1 5 th to 1 1 Fret 2 5 th fret 44 8 th fret Some examples. Listen to the recording for these.

57. Try to solo using the Mixolydian Mode The Shout Line is from that scale. Note how the arpeggios are from that mode. It is sometime called a dominant 7 th scale. That is because that is the scale that it is built from and that most closely matches the chord.

58. Try double stops Using the blues scale and the mixolydian mode work on double stops. Try not only the example that I have cited but ones of your own.

59. Last scale is Dorian Mode.

60. There are 2 versions of this learn both of them! Riffs are based upon this one.

61. Note to start on!

62. Dorian Mode Idea #1

63. Ideas can be as simple as playing down the scale. But starting and ending on chord tones.

64. Example of an idea doing ascending 3rds. Also do backwards!

65. Idea #4 – Look at the shape.

66. Idea #5 – same shape as #4 but starting and ending on a different note.

67. Here they are all together.

68. Now For Some Harmony Harmonizing the backup. Could also harmonize the riff. Could further do counter-point. The idea is to make some extra parts. Over the next 3 slides.

72. Work in Groups of 3 Start by doing the 3 parts. Each person pick a part. Then switch off. Make sure that the parts blend well. Bass part may want to be slightly louder than the other parts as it is the melody.

73. Now in groups of 5 Here 3 of you will each do 1 of the previous parts. One other will do the Charleston Chords (only 4 notes). Last one will do the Shout hook. Again the key of this is to blend.

74. Assignment for next week Make up your own parts. Use ideas covered so far. Create a shout idea and build upon it.

75. BB King Intros and Other Ideas Frank Markovich

76. Start With Reviewing The Form Following page explains this. From there you should fill this out. While I could do it for you, it is best if you do it yourself and understand what you are doing. We will be working mainly in the keys of A and D so make sure you know the blues in those keys!

80. BB King Scales The scale that B.B. King uses is not the typical blues scale. It is composed of the 1, 3, 5 and 6 with added 9 (2) sometimes. It isn’t that BB doesn’t use the blues scale ever but he really uses the 6 th degree and the 9 th many time. He also uses the b3rd in many instances. For these first introductions notice the use of the chord and the emphasis on the 6 th. Much of this is influences by Charlie Christian. He uses the Mixolydian Mode – The Charlie Christian influence. Lots of arpeggios – you will see this as we go through the material.

81. The Mixolydian Mode Another mode that is used quite a bit is the Mixolydian mode. It is built off of the 5 th degree of the major scale. When you are playing a dominant chord for a long period of time this is the mode that is most used in traditional music. Even when playing a blues this is a mode that needs to be emphasized along with the blues scale. Notes are 1, 2, 3, 4, 5, 6, and b7 as related to the major scale.

83. Application Play a D7 chord and solo using the Mixolydian mode. Develop a vamp using this mode also. For example playing Am7 to D7 will also work very well with this mode. Try adding in harmony similar to what you did in the Dorian Mode.

84. This is in 4 th position to start and when the chord is played you will switch to 5 th position. Be sure to do vibrato on the last note. Try to play with a bluesy tone. Very easy to feel. Count to 3 and come in on the & after 3. The scale notes used are 5, 6, 1 chord, to 1. The 6 th really can be considered a chord tone. This would mean that the whole intro is chord tones.

85. Almost the same as the last intro but a slide up to the A7 chord on the 1 st beat of the 2 nd measure. Also only using 2 of the notes in the chord. This is a grace note so it happens quickly. Again be sure to play with vibrato on the last note. Counting is the same as are the fingering and position.

86. #3 Very similar to the last 2 but only the 3 rd on beat 1 of measure 2 and instead of going to the root it goes to the 5 th of the chord. Notice how much different going to the E (5 th of A7) sounds. The skip of an interval of a 6 th really brings this line out. Again it isn’t much different than the previous examples but it is enough different to give the intro a different feel. You should try this one up an octave. In fact, all of them in various keys and octaves.

87. This is in 5 th position. Again try this example in other positions and other keys.

88. Intro comments Notice the notes are all either in the chord or the 6 th. Notice how relaxed these intro’s feel. They set the tone for the rest of the solo. Very important to start correctly. Also they all start on the & after 3 of the previous measure. Chuck Berry also did this on most of his introductions.

89. Thrill Is Gone This is a standard minor blues: Form is: –||: Im | | | | IVm | | Im | | bVI|V7| Im | : || Song is in the key of Bm: –||: Bm | | | | Em | | Bm | | G|F#7| Bm | : || We will start with an outline of the beginning solo which is also the introduction to the song.

90. Start by listening to the record

92. The first 4 measures are all in Bm. If you look closely you will see that most of the notes are chord tones. If you think of the chord as a Bm7 then all but the 3 E’s are chord tones. This entire section is played in 7 th position. Not even one note is out of that position. The scale used for this is the B minor pentatonic scale in the E from. Make sure that you learn that scale. (e)

95. Start at 10th position At this point play in 7 th position. The melody on the G to F#7 is really exciting. But for the G it is the 5 th of the chord to the 6 th to the 5 th back to the 3 rd of the chord. F#7 is the 7 th to the 6 th back to the 7 th. Again chord tones. Then the Bm Uses the 3 rd and the root. The double stop at the end is the root and 5 th. Chord tones all the way. While not adventuresome it is very melodic this way and works well in this song. Lot’s to think about with this.

98. Now work on hammering and pulling Do the exercises listed before. Apply to the blues scale and the mixolydian mode.

99. Bending Notes This could be a whole course but we will start with the basics. On the first 2 strings you always bend the strings upward towards the sky. On the bottom 2 strings you must bend them downward. Typically the middle 2 strings are also bent up but could be bent either way if you are only bending one note and not holding another note. Use the side of your fretting hand index finger to give you leverage! There are a variety of bends that need to be accomplished.

100. Pride and Joy Power Trio Blues and Rock Start by learning the chords. Do these in 1 st position.

102. Majority of solo built off of these positions and scale. Also move them up one octave to the 12 fret.

103. Introduction is above. We will take it one measure at a time to ensure that you get it.

104. Start with a ¼ note rest. Yes it comes in on beat 2. This creates tension. You slide on the first note from the 3 rd fret to the 5 th fret of the 2 nd string. By playing the 2 E notes together it really fills up the overall sound. Make sure both notes sound together. The rhythm is really a shuffle.

105. The next measure is also cool. Slightly bend the 8 th fret of the 2 nd string as you play this. This is the 5 th of the E chord with the b3 of the chord. Play 8 times in a shuffle feel. 7 th fret

106. Now back to the 5 th fret 2 nd string with the 1 st string open. See how easy this part is.

107. Here is the first 3 measures as a whole.

108. Last measure of the introduction is just a skip from the 1 st string open to the 3 rd string open then up and down the scale.

109. Now the whole thing to the vamp section.

111. Get this first as it is the feel. It is in a shuffle. It does not have to be exact. The feel is the important part not the exact notes. For the 3 rd fret of the 6 th String you bend the note up to the pitch of the 4 th fret 6 th string.

112. For the A chord. Note in the last measure the triplets.

113. This part will take some work. The B7 is all triplets and for the 1 st half of the A is triplets then a flurry of 1/16 th notes. You should hammer and pull on these notes. Then back to a triplet. To do this properly you must listen to the recording!! I can’t stress that enough. The E7 is just a turnaround.

114. One part at a time. 1 st measure start with a slide from the 2 nd to the 4 th fret of the 3 rd string to the 2 nd string 3 rd fret. Repeat that one time. Then pull off the 3r string 2 nd fret to open 3 rd string to 4 th string 2 nd fret. Last part is open 5 th string, Hammer on the 2 nd finger to 2 nd fret and then pick that same note.

115. The first part is triplets. Best to hammer on after the open 5 th string during the 1 st 3 notes. 2 nd 3 notes, 2 nd group pick each note. Then it goes to 1/16 th notes. Do open hammer pull and pick the last note. Last triplet, pick all 3 notes. This measure is a bit tough to get at first look but in actuality it isn’t too bad.

116. Start with an E chord, hit the 6 th string open then the 1 st 3 string. Go to the 3rds idea but play the notes as double stops for 2 triplet sets. Last figure do a pull off on the 2 nd fret 3 rd string to open 3 rd string and then play the 4 th string 2 nd fret.

117. This measure is very easy. Playing up the blues scale for the first 6 notes. Hammer on the 2 nd group open, 1 st fret, 2 nd fret on the 5 th string. Lastly is just an E chord.

118. Now put it all together. You can see that it isn’t all that bad. This happens at the end of each verse. Hard part is just doing it fast enough. Just go over it and memorize it. Start slowly and it will increase in speed over time. Get it clean and smooth before trying to speed it up.

119. Lick during tacits. Following page has the lick done during the tacits. Pulling off required but bending could also work. If you bend you must do a pre-bend, release to a pull off.

120. The tacit figure. 1 & 2 3 & 4 e & a Strum the E chord then 2 nd fret 4 th string to 3 rd fret 4 th string with a pull off to the 2 nd fret then open and lastly play the 4 th string 2 nd fret.

121. I have included the solo section While the solo section is difficult it is not impossible to learn. Note that for me it would be better to take some of the ideas you like and use them. That would be better than just doing the solo note for note. When performing, if you are doing it note for note and you make a mistake you can get yourself into trouble and not find your way back. Be sure you can solo without the crutch of doing SRV’s solo note for note. We will break some of this down lick by lick. Notice how SRV takes an idea and moves it around! Very cool.

123. First measure – this uses a very interesting idea. You will play the open E string while playing up one octave first of an E chord and then the next measure as an E7 by just sliding your fingers up. Then go back to the E chord. Below shows the forms for each of the measures. The interesting part is that the pedal of high E is lower than the notes played up the neck on the 2 nd and 3 rd strings. 12 th fret 15th fret EE7E

124. Start this by bending the 14 th fret up to the pitch of the 16 th fret. Note that this whole measure is triplets. Then play the 12 frets of the 2 nd and 1 st string respectively. Before going on do this lick for a whole measure. The next part bends the 15 th fret of the 2 nd string up to the pitch of the 17 th fret then play the 12 th fret of the 1 st to the 12 th fret of the 2 nd string. This is repeated 3 times. The 17 th fret of the 2 nd string is the same pitch as the 12 th fret of the 1 st string. Imitation of what horns did in big band.

125. Again this measure is all triplets. Starts with a ½ pitch bend on the 15 th fret of the 1 st string. Then a double stop on the 12 th fret of the 1 st and 2 nd string to the 12 th fret of the 2 nd string only. Again try this repeated for a whole measure to get the technique down perfect. Then bend the 14 th fret of the 2 nd string up to the pitch of the 16 th fret (like the 1 st measure) to the 12 th fret of the 2 nd then 1 st string.

127. Start at the 17 th fret slide downward. Beat 2 is very cool – Danny Gatton did this often. Double stops 1 st and 2 nd strings, first open then 3 rd fret (sometimes hammer and pull), then open again. Next is a double stop 3 rd fret 2 nd and 3 rd strings. To the 2 nd fret bent up to the 3 rd fret pitch. Lastly down the scale open 3 rd to 2 nd fret 4 th strings.

128. Another very cool measure. See how SRV pulls from things before. Starts with open 1 st to open 6 th string. Then 2 nd open with 3 rd string 4 th fret, gives that same note sound again to putting the index on the 2 nd string 3 rd fret for the 3 rd ’s 2 times to the same thing with the open 1 st string. Last triplet figure is playing down 3 notes in the blues scale from the 3 rd string 2 nd fret A to the 4 th string 2 nd fret E. This whole measure outlines the E7 Chord.

129. The end of this line is holding an E chord 1 st position, play the 3 rd string to the 6 th string. Then triple stops on the 1 st 3 strings first at the 3 rd fret to the 2 nd fret, to open on 1 st 3 strings. Then sliding up to the 5 th fret (I go from 3 rd ) of the 2 nd string to again open 1 st string and 5 th fret 2 nd string.

130. This just continues the triplets of doubling the E. See how many times he uses the idea over and over. This builds tension and also helps hold everything together.

131. Triplets rule here. First open strings 5 & 6 then the 7 th fret 1 st and 8 th fret 2 nd string bending up the 8 th fret but not quite to the 9 th fret pitch. Then broad triplets of the same thing. Lastly 3 rd string 2 nd fret pull off to open to 4 th string 2 nd fret.

132. The same 1 st event with open strings but now back to the opening lick. Last beat is just muting the 4 th and 5 th strings at the end. That is what the X stands for.

133. Back to the 3rds’ thing but now in broad triplets. Again the ¼ bend. 8 th fret. Bend this note slightly up!

134. Slide up from the 7 th to 8 th fret then after the 1 st time, play that along with the 1 st string open. See figure to the right. 8 th fret

135. See same as last measure until the end then the same last beat as done 4 slides ago. Notice though the broad triplets to start this measure off! (1&) (a 2) (& a) 3 & 4 & a

136. This one is a killer timing wise but if you learn it slowly you can do it. Starts triplets 3 rd string open, hammer to 2 nd fret then double stop 1 st 2 strings. Next 2 nd string 3 rd fret (slightly bend up) to double stop 1 st 2 stings back to 2 nd string 3 rd fret. Then do a quick 2 nd to 4 th fret on the 3 rd string slide to open 1 st, 3 rd fret 2 nd and 4 th fret 3 rd string hold all of those notes down. See next slide for fingering. This is a very common blues technique (also used in rock and country music). Last beat is like ones earlier.

139. Now Put it all together. Divide up the parts. With a power trio you will have bass and guitar. But it can work to have a lead in there also. Towards the later part of SRV’s playing he added in a keyboard player. That was to fill the sound. A rhythm guitar could accomplish the same thing. If your group wants to do a different song let me know, I may be able to help with the music. But it won’t be as detailed as the Pride and Joy. Note that SRV used a little distortion not a significant amount.

141. 1/8 th notes with a swing. If electric use delay for slap-back. Fingering 2 2 1 1 2 2 3 3 4 4 3 3 2 2 1 1 Same pattern for all of this.