BLUES MASTER CLASS

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We’re going to change our fingering so we can
hammer-on from the 2nd to the 3rd. And we don’t
even have to have the root on top here.

We can just have the 5th and it will still sound
like an E. So it’s first finger, 11th fret, G string;
second finger, 12th fret; B string.

You’re hammering-on with your third finger. We’re
going to hammer this and we’re going to land on our
root on the 14th fret on the D string. Full sequence.

You got that down? Now we’re going to move onto the B chord.
B. You see what’s going on here? We’ve actually got a
different fingering.

Now, I want you to envision that this is a C-shape
barre chord, not a commonly used barre chord.

Do you see what that is? What we’re using here is a
C-shape barre chord and it’s based around with the
root on the 14th fret. There’s our B note.

And if you look at the shape of it, it’s actually a
C-open chord, which has just been moved so it can be barred.
I’ll move this all the way down, it forms a barre chord.
That’s where we want to be; up by the B.

Now, look at how if I hammer-on with my third finger
from the 11th fret barred note on the D string, I can
actually do exactly the same as what I did with the
E where I’m hammering-on from the 2nd to the 4th and
I’m creating that little inversion.

And it’s not as hard as this because you don’t have
to play anything with your pinkie because the actual
B root won’t be played until after you’ve done that
hammer-on.

So we’ve got this.

Just because we’re using the octaves, we’re making
the most of our fret board, we can play it in a
pentatonic position.

BLUES MASTER CLASS

Okay, before we move on to working on
our majors and taking this a little bit
further, I’m going to show you one more thing.

We have this — we’re going to be sticking within
this 12 barre sequence with our minor chords as
our 12 barre. And we’re going to be focusing on
making things a little bit more different when we
change to our 4-chord, which is going to be the
2nd chord in our minor sequence or barre-5.

It’s going to be our F-sharp right there. Minor.

Now, if you notice, look at the top three notes
of this chord. Let’s break it down. Let’s get rid
of this one, this one. Okay, so we’ve just got these.

Now, look at these notes. Look at what they are in
relation to the C-sharp minor scale. This is the
C-sharp minor scale, not the F-sharp minor scale,
because we still end in the key of C-sharp.

Look. There’s our root, C-sharp. Then we have our 6th,
like we just did. And our 4th. These are all in that scale.

Let’s make a lick out of that. I mean, it makes
sense and you know it’s going to sound great
because it’s pretty much made-up of that F-sharp
minor chord.

So let’s like make a little rake out of it.
You don’t have to sweep this; you could just
alternate pick it and play it slower.
But I’m actually raking down.
I’m going… Like that. You see?

Now, let’s make a lick out of it. Yeah, that’s
great like right there. We’re also incorporating
that second note into it. So it’s just an all around,
a great lick and it works perfectly with that minor chord.

Okay, so our pattern is just simply…

So now that we’ve got that little fill,
we can start adding extras.

And it’s really down to you to figure out
good licks to play in between. I’m just
going to play a couple, again, so you can maybe —
maybe it will inspire you to get some ideas.

So we’ve got this…

BLUES MASTER CLASS

Here’s the next sample clip from “Ultimate Blues Master Class with Sol Philcox”.
There are a TON of amazing blues tricks, licks, and secrets that will be revealed to you, along with TABS… Stay tuned for the upcoming release of this course!

Now chords is just one part of the whole
concept of rhythm playing.

If you listen to a lot of blues rock, in particular,
more like Jimi Hendrix or Stevie Ray Vaughan or
Audley Freed with “Cry of Love”, Black Crowes,
Led Zeppelin, anything like that, you’ll notice
that there’s a lot of signature sounding of riffs.

It isn’t just lead playing and chordal playing;
you’ll often notice a lot of single note riffs.
And especially with like a Jimi Hendrix-type style.
You get lots of like funky kind of riffs.

I mean, everyone knows like “Voodoo Child”. Like…

I mean, that’s just a very, very typical, famous
blues-rock type riff. And Stevie Ray Vaughan has…
Like the “Testify” riff. Let’s just explore the
idea of making-up some of these.

Now, let’s just keep in our C position for now.
We’re going to work in a few in E as well, because
we’re going to work in a shuffle group later, too.

But let’s just look at the C position, and we’re going
to stick within our pentatonic and we’re going to add
a few extra notes in.

Now, the best thing if you’re making up a riff or
if you’re even playing one that’s already been
written is you’ve got to feel the groove.

That’s why so many Led Zeppelin riffs and
Stevie Ray Vaughan riffs are just so memorable,
because there’s such a strong groove and the guitar
is really locking-in as a rhythm instrument.

To me, that’s the perfect middle ground, getting a
really good, solid rhythmic feel, but also using
lead guitar as well.

I’ll show you an example of a blues-rock riff.
One, two, three, four.

That will be where we’ll be going to the
4-chord or the F.

Let’s just have a look at what we’ve got so far.

BLUES MASTER CLASS