| Introduction |
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1 | (6) |
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1 | (1) |
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Conventions Used in This Book |
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2 | (1) |
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3 | (1) |
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3 | (1) |
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How This Book Is Organized |
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4 | (1) |
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Part 1 You Got a Right to Play the Blues |
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4 | (1) |
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Part 2 Setting Up to Play the Blues |
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4 | (1) |
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Part 3 Beyond the Basics: Playing Like a Pro |
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4 | (1) |
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Part 4 Sounding Like the Masters: Blues Styles through the Ages |
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4 | (1) |
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Part 5 Gearing Up: Outfitting Your Arsenal |
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5 | (1) |
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5 | (1) |
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5 | (1) |
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5 | (1) |
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6 | (1) |
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PART 1 YOU GOT A RIGHT TO PLAY THE BLUES |
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7 | (48) |
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Chapter 1 Every Day I Have The Blues ... Hallelujah! |
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9 | (14) |
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Capturing the Blues Train from Its Departure Then to Its Arrival Now |
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10 | (3) |
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The pieces of blues that made the genre |
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10 | (1) |
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The place of the blues' conception |
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11 | (1) |
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Rejoicing over 100 years of blues: The shifting shape of the genre |
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11 | (1) |
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The qualities that made blues cats hit the big-time |
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12 | (1) |
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It's Not All Pain and Suffering --- The Lighter Side of Blues |
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13 | (1) |
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Surveying the Means to Make the Music: The Guitar in All Its Glory |
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14 | (2) |
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The low-fi acoustic guitar |
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14 | (1) |
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The semi-hollowbody electric guitar |
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15 | (1) |
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Solidbody electric guitars |
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15 | (1) |
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The Collision of Two Worlds: Acoustic versus Electric |
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16 | (1) |
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Getting a Grip on How Guitars Work |
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17 | (2) |
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You've gotta use your hands --- both of them |
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17 | (1) |
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Producing the tones: String vibration and pitch |
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18 | (1) |
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Electric guitars only: Pickups and amplification |
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18 | (1) |
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Performing and Looking Like a Blues Player |
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19 | (2) |
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Expanding and filling your brain with know-how |
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19 | (1) |
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20 | (1) |
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21 | (2) |
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21 | (1) |
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22 | (1) |
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Chapter 2 Blues Meets Guitar: A Match Made In Musical Heaven |
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23 | (16) |
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Beyond the Delta: Defining the Blues Guitar Sound |
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24 | (3) |
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The method to the music: Chord progressions |
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25 | (1) |
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The guitarist's language of melody |
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25 | (1) |
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The expression that invokes your senses |
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26 | (1) |
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The groove that sets the pace |
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27 | (1) |
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Dissecting an Acoustic and an Electric |
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27 | (4) |
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Getting Down with the Blues: A Quick How-To |
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31 | (4) |
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The foundation for all guitar playing: Acoustic guitars |
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31 | (1) |
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Shifting acoustic to overdrive: Electric guitars |
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32 | (3) |
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What You Need to Get Your Groove On |
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35 | (4) |
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Chapter 3 Grab Hold, Tune Up, Play On! |
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39 | (16) |
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Holding Your Axe (That Is, Your Guitar) |
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39 | (5) |
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Grabbing your guitar's neck |
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40 | (1) |
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Pushing down on the strings |
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41 | (1) |
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Getting sound to come out |
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42 | (2) |
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Holding the Pick, Attacking the Problem |
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44 | (1) |
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45 | (2) |
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46 | (1) |
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46 | (1) |
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47 | (3) |
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Helping your guitar get in tune with itself |
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48 | (1) |
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Holding your guitar to an electronic standard |
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49 | (1) |
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50 | (1) |
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Music Notation: Not Just for Geeks |
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51 | (4) |
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Guidance for your aimless fingers: A chord diagram |
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52 | (1) |
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Mapping out your short-term path: Rhythm notation |
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53 | (1) |
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Guiding you all the way through a song: Tablature |
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54 | (1) |
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PART 2 SETTING UP TO PLAY THE BLUES |
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55 | (80) |
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Chapter 4 Getting A Grip On Left-Hand Chords |
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57 | (14) |
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Starting Out Simple: Blues Chords Even Your Mom Could Play |
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58 | (1) |
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Going to the Next Level: Barre Chords |
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59 | (9) |
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61 | (1) |
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62 | (1) |
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Playing E-based barre chords |
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63 | (2) |
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Playing A-form barre chords |
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65 | (2) |
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67 | (1) |
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Taking Advantage of Versatile Power Chords |
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68 | (3) |
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Chapter 5 Positioning The Right Hand For Rhythm And Lead |
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71 | (24) |
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71 | (4) |
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72 | (1) |
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72 | (1) |
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73 | (1) |
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73 | (1) |
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Eighth-note striking, twice per beat |
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74 | (1) |
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Mixing Single Notes and Strumming |
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75 | (3) |
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Separating bass and treble: The pick-strum |
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75 | (1) |
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Playing common pick-strum patterns |
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76 | (2) |
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Shuffling the Beats with Syncopated Strumming |
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78 | (3) |
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A bit of notation: Dots that extend and ties that bind |
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79 | (1) |
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Syncopation: Playing with dots and ties |
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80 | (1) |
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Stopping the String Ringing (Just for a Sec) |
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81 | (2) |
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Muting the sound between two chords (left hand) |
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81 | (1) |
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Simulating syncopation with left-hand muting |
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81 | (1) |
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Muting the sound of a note (right hand) |
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82 | (1) |
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Copying the Classics: Plucking Fingerstyle Blues |
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83 | (1) |
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The Right Hand's Bliss: Different Rhythm Styles to Play |
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84 | (11) |
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85 | (2) |
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The driving straight-four |
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87 | (2) |
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The slow 12/8, with groups of three |
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89 | (2) |
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91 | (1) |
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The slow and funky 16 feel |
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92 | (3) |
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Chapter 6 Blues Progressions, Song Forms, And Moves |
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95 | (24) |
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95 | (1) |
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Recognizing the Big Dogs: Primary Key Families and Their Chords |
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96 | (1) |
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The Structure of a Blues Song, Baby |
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97 | (9) |
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98 | (3) |
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101 | (3) |
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104 | (1) |
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Straight-four (or rock blues) |
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104 | (2) |
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Applying Structures to Keys |
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106 | (6) |
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A move with many chords: The Jimmy Reed move |
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106 | (3) |
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The sound of sadness: Minor blues |
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109 | (3) |
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Accessorizing the 12-Bar Blues: Intros, Turnarounds, and Endings |
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112 | (3) |
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112 | (1) |
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113 | (1) |
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114 | (1) |
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115 | (4) |
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Chapter 7 Musical Riffs: Bedrock Of The Blues |
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119 | (16) |
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120 | (3) |
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For the low-down bass notes: Quarter-note riffs |
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120 | (1) |
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The big daddy of riffs: Eighth-note riffs |
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121 | (1) |
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Adding a little funk: 16th-note riffs |
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122 | (1) |
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Throwing rhythm for a loop: Syncopated eighth-note riffs |
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123 | (1) |
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Double the Strings, Double the Fun: Two-Note Riffs (or Double-Stops) |
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123 | (3) |
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124 | (1) |
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Shuffle, or swing, eighths |
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125 | (1) |
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High-Note Riffs, the Bridge to Lead Guitar |
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126 | (7) |
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Keith Richards's borrowed trademark: Quick-four riffs |
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127 | (1) |
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Intro, turnaround, and ending riffs |
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127 | (6) |
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Mastering the Rhythm Figure |
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133 | (2) |
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PART 3 BEYOND THE BASICS: PLAYING LIKE A PRO |
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135 | (56) |
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Chapter 8 Playing Lead: Soaring Melodies And Searing Solos |
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137 | (16) |
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Mastering Your Picking Technique |
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138 | (3) |
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Becoming smooth with your simple downs and ups |
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138 | (2) |
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Tackling tricky alternate-picking situations |
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140 | (1) |
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The Universal Lead Language: The Pentatonic Scale |
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141 | (6) |
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Why the pentatonic is the perfect scale |
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142 | (1) |
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The two sides of the pentatonic scale |
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142 | (2) |
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A common scale for practice: E minor pentatonic |
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144 | (3) |
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Pentatonic Plus One: The Six-Note Blues Scale |
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147 | (1) |
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Adding Some Extra Flava to the Blues Scale |
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148 | (5) |
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149 | (1) |
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149 | (4) |
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Chapter 9 Playing Up The Neck |
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153 | (18) |
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For Inquiring Minds: Why Up the Neck You Should Go |
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153 | (1) |
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Positioning Your Digits for an Easy Key Change |
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154 | (3) |
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The pros of closed positions |
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155 | (1) |
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The details of closed, numbered positions |
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155 | (2) |
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Easing Into Position: Moving the Pentatonic Up and Down |
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157 | (2) |
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159 | (2) |
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A natural first: Moving from fifth position to eighth |
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159 | (1) |
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The eighth-position blues bonus |
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160 | (1) |
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How low can you go? Moving from fifth position to third |
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160 | (1) |
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The Technical Side of Moving |
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161 | (2) |
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Like taking candy from a baby: The subtle shift |
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161 | (1) |
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Seeking a bit of attention: The noticeable slide |
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162 | (1) |
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When you don't want to move, just reach or jump |
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163 | (1) |
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Five Positions You Should Know: Meanderings of the Pentatonic Scale |
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163 | (3) |
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Relating the positions to each other |
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164 | (2) |
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Connecting the positions: Licks that take you up and down |
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166 | (1) |
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Understanding the Logic behind the Corresponding Shift of Position and Key |
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166 | (5) |
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Recognizing common keys and their comfortable positions |
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167 | (1) |
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Mapping keys to positions |
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167 | (4) |
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Chapter 10 Express Yourself: Making The Guitar Sing, Cry, And Wail |
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171 | (20) |
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Appreciating the Art of Articulation |
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172 | (1) |
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172 | (4) |
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A little bit louder now ... a little bit softer now: Dynamics |
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173 | (1) |
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Hitting hard and backing off |
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174 | (2) |
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Breaking Down the Music: Phrasing |
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176 | (6) |
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Connecting notes the slippery way: Slides |
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176 | (3) |
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It's hammer time --- get ready to strike a string! |
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179 | (2) |
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Exposing a note by lifting a digit: Pull-offs |
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181 | (1) |
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Giving Your Sound a Bit of Flair |
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182 | (5) |
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Shake that string: Adding vibrato |
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182 | (1) |
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The rubber-band blues: Bends that stretch a string |
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183 | (4) |
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Playing a Song with Various Articulations |
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187 | (4) |
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PART 4 SOUNDING LIKE THE MASTERS: BLUES STYLES THROUGH THE AGES |
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191 | (62) |
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Chapter 11 Acoustic Roots: Delta Blues And Its Country Cousins |
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193 | (20) |
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Delta Blues: Where It All Began |
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194 | (7) |
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Understanding the Delta technique |
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194 | (1) |
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Ladies and gentlemen, king of the Delta blues: Robert Johnson |
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194 | (7) |
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Country Ragtime: The Piedmont Blues |
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201 | (2) |
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Everything In-Between: Country and Folk Blues |
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203 | (3) |
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A quick profile of country and folk blues |
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203 | (1) |
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Giving these "in-between blues" a listen |
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204 | (1) |
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Closing with a lick and some style: Ragtime tags |
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204 | (2) |
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Country and Folk Blues Had a Baby; Its Name was Rockabilly |
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206 | (2) |
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Quintessential Blues: Slide Guitar |
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208 | (5) |
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The tools that let you slide |
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208 | (1) |
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208 | (1) |
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Tuning your guitar for slide, a technique all its own |
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209 | (4) |
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Chapter 12 The Birth And Growth Of Classic Electric Blues |
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213 | (20) |
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The Rise of the Electric Guitar in Blues |
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214 | (1) |
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Giving Props to the Earliest Electric Pioneer |
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215 | (3) |
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Sweet Home Chicago, Seat of the Electric Blues |
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218 | (4) |
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Muddy Waters, leader of the pack |
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218 | (1) |
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Elmore James, slide guitarist extraordinaire |
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219 | (1) |
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Otis Rush: Soulful player with a flair for vibrato |
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220 | (1) |
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Buddy Guy, the father of blues rock |
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221 | (1) |
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Modern-Day Blues Styles: The Sounds of Texas |
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222 | (2) |
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Four Blues Giants: Three Kings and a Collins |
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224 | (5) |
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Albert King, the upside-down string bender |
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224 | (1) |
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B.B. King, the blues' king of kings |
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225 | (2) |
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Freddie King, a two-pick man |
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227 | (1) |
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Albert Collins, master of the Telecaster |
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228 | (1) |
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Children of the Post-War Blues Revival |
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229 | (4) |
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Son Seals, Chicago's favorite son |
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230 | (1) |
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Robert Cray, smooth persuader |
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230 | (1) |
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Bonnie Raitt, stellar lyrical slides artiste |
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231 | (2) |
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Chapter 13 Blues Rock: The Infusion Of Ol' Rock `N' Roll |
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233 | (20) |
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The Blues Had a Baby, and They Called It Rock `n' Roll |
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234 | (2) |
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Chuck Berry, blues rock's first superstar |
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234 | (2) |
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Bo Diddley, king of the jungle beat |
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236 | (1) |
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The Brits Invade the Blues |
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236 | (2) |
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Clapton and Green, early blues icons |
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236 | (1) |
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Jeff Beck, blues-rock's mad scientist |
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237 | (1) |
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238 | (3) |
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Eric Clapton, the original guitar god |
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238 | (2) |
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Jimi Hendrix takes the blues psychedelic |
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240 | (1) |
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Heavy "Blooze": The Infusion of Hard Rock |
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241 | (2) |
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Jimmy Page, frontrunner of the metal blues |
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241 | (1) |
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Leslie West, big man with a big sound |
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241 | (1) |
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Blackmore and beyond, where blues gets scary |
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242 | (1) |
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243 | (1) |
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The Allmans, especially brother Duane |
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243 | (1) |
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243 | (1) |
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Hot Barbecue Blues, Texas Style |
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244 | (5) |
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Johnny Winter, Texas blues-rock titan |
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245 | (1) |
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Billy Gibbons and ZZ Top, giving rock some soul |
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246 | (1) |
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Stevie Ray Vaughan, the greatest modern bluesman of them all |
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246 | (3) |
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249 | (1) |
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Eddie Van Halen takes the blues to '80s metal |
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249 | (1) |
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Euro-Metal brings virtuosity and precision to the blues |
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249 | (1) |
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250 | (3) |
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John Mayer, new kid on the blues block |
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250 | (1) |
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Allmans Redux: Warren Haynes and Derek Trucks, keepers of the flame |
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250 | (3) |
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PART 5 GEARING UP: OUTFITTING YOUR ARSENAL |
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253 | (66) |
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Chapter 14 Shop Till You Drop: Buying The Right Guitar For You |
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255 | (14) |
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Before You Begin Shopping |
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256 | (1) |
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Deciding On a Make and Model |
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257 | (1) |
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257 | (6) |
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258 | (1) |
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259 | (3) |
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262 | (1) |
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Appointments (aesthetic options) |
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263 | (1) |
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Welcome to the Jungle: Shopping |
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263 | (3) |
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264 | (1) |
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Money matters: Deal ... or no deal |
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264 | (2) |
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266 | (3) |
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266 | (1) |
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267 | (1) |
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267 | (2) |
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Chapter 15 Choosing Your Amp And Effects |
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269 | (34) |
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Getting Started with a Practice Amp |
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270 | (3) |
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Shopping for a practice amp |
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270 | (2) |
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Playing with a practice amp |
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272 | (1) |
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Powering Up to a Larger Amp |
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273 | (4) |
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Choosing among different amp formats |
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274 | (2) |
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276 | (1) |
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277 | (4) |
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277 | (1) |
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278 | (1) |
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278 | (1) |
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279 | (1) |
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280 | (1) |
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280 | (1) |
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The flexibility of having separate channels |
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280 | (1) |
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What's That Sound? Checking Out Your Amp Choices |
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281 | (3) |
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281 | (2) |
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283 | (1) |
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283 | (1) |
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284 | (1) |
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Remembering the Good Old Days |
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284 | (1) |
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285 | (1) |
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285 | (1) |
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285 | (2) |
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Chronicling Classic Amps for Blues |
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287 | (4) |
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287 | (1) |
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287 | (1) |
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288 | (1) |
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288 | (1) |
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Marshall Plexi Super Lead 100 |
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289 | (1) |
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289 | (1) |
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290 | (1) |
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Messing Around with Your Sound: Effects |
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291 | (1) |
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292 | (1) |
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When your sound is too hot to handle: Distortion |
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292 | (1) |
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293 | (1) |
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EQ: The great tonal equalizer |
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294 | (1) |
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Wah-wah, the effect that is as it sounds |
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294 | (1) |
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Modulation Effects, from Swooshy to Swirly |
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294 | (2) |
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Stacking sounds for a fuller effect: Chorus |
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294 | (1) |
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Swooshing, like a jet plane: Flangers and phase shifters |
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295 | (1) |
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Like a visit to the opera house: Vibrato and tremolo |
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295 | (1) |
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Pretending (and Sounding Like) You're Somewhere You're Not |
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296 | (2) |
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Delaying sound in a cave-like way |
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297 | (1) |
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Adding reverb to make your sound slicker |
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297 | (1) |
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Choosing an Effects Format |
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298 | (5) |
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A string of effects: Pedals on parade |
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298 | (1) |
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A box to house them all at your feet |
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299 | (1) |
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A box to house them all at hand level |
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299 | (4) |
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Chapter 16 Changing Strings |
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303 | (16) |
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Change Is Good, But When? |
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303 | (1) |
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Choosing the Right Strings |
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304 | (3) |
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305 | (1) |
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305 | (2) |
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Outfitting Your String-Changing Toolkit |
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307 | (1) |
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308 | (1) |
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Stringing a Steel-String Acoustic |
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309 | (4) |
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Stringing an Electric Guitar |
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313 | (6) |
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319 | (14) |
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Chapter 17 Ten Blues Guitar Giants |
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321 | (4) |
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Robert Johnson (1911--38) |
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321 | (1) |
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322 | (1) |
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322 | (1) |
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322 | (1) |
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323 | (1) |
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323 | (1) |
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Albert Collins (1932--93) |
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323 | (1) |
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324 | (1) |
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324 | (1) |
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Stevie Ray Vaughan (1954--90) |
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324 | (1) |
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Chapter 18 Ten Great Blues Guitars |
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325 | (4) |
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325 | (1) |
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326 | (1) |
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326 | (1) |
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326 | (1) |
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327 | (1) |
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327 | (1) |
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327 | (1) |
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328 | (1) |
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328 | (1) |
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328 | (1) |
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Chapter 19 Ten (Plus One) Must-Have Blues Guitar Albums |
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329 | (4) |
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Robert Johnson: The Complete Recordings |
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329 | (1) |
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Blues Masters: The Very Best of Lightnin' Hopkins |
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330 | (1) |
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T-Bone Walker: Complete Capitol Black & White Recordings |
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330 | (1) |
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T-Bone Walker: Complete Imperial Recordings |
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330 | (1) |
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331 | (1) |
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B.B. King: Live at the Regal |
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331 | (1) |
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The Very Best of Buddy Guy |
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331 | (1) |
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Robert Cray: Bad Influence |
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331 | (1) |
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Masters of the Delta Blues: Friends of Charlie Patton |
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332 | (1) |
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Mean Old World: The Blues from 1940 to 1994 |
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332 | (1) |
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332 | (1) |
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333 | (2) |
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APPENDIX A How to Read Music |
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335 | (8) |
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The Elements of Music Notation |
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336 | (7) |
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337 | (1) |
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338 | (2) |
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Expression, articulation, and miscellaneous terms and symbols |
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340 | (3) |
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APPENDIX B How to Use the Website |
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343 | (8) |
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Relating the Text to the Website |
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343 | (1) |
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344 | (1) |
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344 | (1) |
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344 | (1) |
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What You'll Find on the Website |
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345 | (5) |
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345 | (5) |
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350 | (1) |
| Index |
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351 | |
Lisainfo e-raamatute kohta