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1. #101 BLUES GUITAR TURNAROUND LICKS PDF TO JPG PROFESSIONAL#
2. #101 BLUES GUITAR TURNAROUND LICKS PDF TO JPG DOWNLOAD#

#101 BLUES GUITAR TURNAROUND LICKS PDF TO JPG DOWNLOAD#

101 rhythm patterns for blues guitar Download 101 rhythm patterns for blues guitar or read online here in PDF or EPUB. Primarily for the electric guitar, the music can also be played on an acousti. This book contains a collection of 101 blues turnaround licks for the guitar. He has over 10 years’ experience working in the industry as a touring musician, session guitarist and teacher.Bad to the Bone Blues Guitar Rhythm Patterns. He has taught hundreds of students face to face and via the MGR Music platform.

#101 BLUES GUITAR TURNAROUND LICKS PDF TO JPG PROFESSIONAL#

Leigh Fuge is a guitar teacher and professional musician from Swansea in the UK. If you are based in the Leeds area check out our Guitar Lessons Leeds page. If you have enjoyed this lesson and you’re looking for a guitar teacher in your local area check out our guitar lessons page and speak to one of our highly recommended teachers in your local area. In the next lesson we will take a look at some slow blues progressions using these chords and explore various rhythms and techniques we can apply to make our 12 bar really capture the mood we want. All these turnarounds can be used to simply “turn around” the progression back to the I chord or end a piece.įor using turnarounds to end a piece, slowing down over the course of the turnaround is one great way to finish or, if the turnaround resolves at the root chord, allow a pause before hitting the root chord one final time. When playing through your 12-bar patterns in various keys, try to integrate some of these turnaround ideas over the last 2 bars or at the end of an entire song worth. When you play this in a higher register you can stick to the shapes here. This is due to the low note in the second chord, in an open position this note would fall lower than the open string. The only noticeable difference is the shape of the second chord. This turnaround is the same as Ex5 but due to the nature of the shape of this turnaround, it is an easy one to transpose into different keys. Start off slow to get the finger patterns and the flow tight. To make this flow, visualise each two-note group as a separate chord shape so your hand will re-form for each note. This style of turnaround is great to add a melodic complexity to the end of your blues progressions. If you look at the low and high notes in this example, the notes on the wound strings are ascending and the notes on the unwound strings are descending. Contrapuntal motion is two separate melodic lines moving in opposite directions at the same time. This turnaround is using a concept called contrapuntal motion. The E7 chord takes up two thirds of the triplet and the B7 takes up the final triplet beat. The first bar is made up entirely of 8th note triplets, but the fourth beat is made of chords. We have also integrated some chords into this turnaround in the form of an E7 and B7.

Here is another chromatic descending turnaround, the chromatic notes are on the G string starting from the 4th fret and alternate between the open E string. The final bar ends with a jump from the open Low E string to the 2nd fret of the D string, which is an octave of the E string. The lick then runs through the scale backwards, except when you reach the A string, you reverse the flow and play the notes ascending. This run starts with a hammer on followed by two open strings. The 1st fret on the A string (The b5 interval) and the 1st fret on the G string (The b4 interval) are both outside notes that can add a bluesy flavour to a scale. There are 2 notes here which are outside of the scale (We will cover this in more depth in a future lesson). Here is a simple pentatonic run using the E minor pentatonic scale in the open position. Blues turnarounds can also take the form of a lead guitar run.