Blues Guitar Lessons - Juiced Blues - Super Dom 2 - Soloing Breakdown

FULL COURSE, TAB, JAM TRACKS: http://truefire.at/fADiR3

More free guitar lessons: http://bit.ly/TrueFire

** Take note: Overall Super Dom Blues is based on a simple I-IV-V in G consisting of dominant 7th leanings for each of the three chords. I say "leanings" because as you'll see in the comping lesson that follows (Super Dom 3) there's going to not only be dom7 chords coming at you, but also extended dominant chords and stacked fourth voicings as well. It's all part of the juicing process, my friends. This freedom of interpretation is something you should be aware of and should begin to feel free to use. With that cleared up, let's get into the secret behind the sauce, shall we?

As said in the previous segment, superimposing consists of playing a secondary element over a primary element. In this instance, secondary melodic ideas in the form of superimposed m7b5 arpeggios and a single pentatonic scale are played over the primary harmonic movement as dictated by the bass line (speaking of, going right along with the idea of freely interpreting the vibe as dominant; in regards to what's going on in the background--i.e., the practice rhythm track--that concept applies here as well). Now, a m7b5 arpeggio is made up of the following formula: 1, b3, b5, b7. But when played over the I and IV chords, the notes within the arps change to this formula: 3, 5, b7, 9. So the superimposition is derived from playing a m7b5 arpeggio a major 3rd above the chord's root, or put simply, from the 3rd. Let's examine one instance closely to make sure you got the gist. Over G7 whose 3rd is B, a Bm7b5 would be employed, which is made up of B, D, F, and A. Considering G as the root, the notes in that Bm7b5 arpeggio are as follows: B is the 3rd, D is the 5th, F is the b7, and A is the 9th. That, ladies and gents is the gig.

While the same concept is used over the C7 (IV) with the Em7b5 serving as the arpeggio built on the 3rd of the chord, the A minor pentatonic scale played over the D7 (V) superimposition works out as follows. Against the D root the notes are: A (5th), C (b7), D (root), E (9th), and G (11th). Keep in mind that 11th shouldn't be a note you resolve on as that will directly clash with the powerfully present tritone interval between the 3rd and b7th. It works within a line for sure, but just make sure you fly on by and land on anything but.

Category:

Music

Tags:

• how
• to
• play
• blues
• guitar
• lessons
• lesson
• beginner
• intermediate
• advanced
• easy
• major
• minor
• pentatonic
• scale
• scales
• solo
• soloing
• licks
• dominant
• chords
• chord
• harmonic
• comping
• arpeggio
• truefire
• chris
• buono

[berherbi]

do you think the average git player can understand this in , let s say , 136 years,?

[VinniePaah]

Oh, my, his pinky is the size of my middle finger. I should probably play uke instead of guitar...

[MrDarinWarren]

My brain is about to explode.

[O0Salmon0O]

Really appreciate how this has been thoroughly dissected and explained. This is a video to view multiple times. There is so much to gain here.

[qwert11]

@margovallen bottom line: go fuck yourself

[qwert11]

@margovallen i think i got my point across there inbetween all the "fucks", but who cares. you're not going to read that. you're not going to take anything i wrote into consideration. you're going to say "Ha, it's pathetic when 12-year old trolls who don't know anything about the blues try to tell me about the blues. I've probably been playing since before you were born. ;-)" then you'll flag all my comments for spam or something. you'll keep being willfully ignorant until the day you die

[qwert11]

@margovallen and who the fuck says blues shouldn't be complicated? who are you? what's your operating number? we're sending a squad up because we detect you're FULL OF SHIT. i find it pretty fucking stupid that people like you would try to impose restrictions on a genre that's all about playing what you want. why would you disrespect a guy who knows more than the 5 minor pentatonic positions? it's ridiculous, ri-goddamn-diculous. this guy is a good player, he knows his shit and deserves respect

[qwert11]

@margovallen it's possible to indoctrinate certain rules of theory into your head through listening and playing, but when you go to play, you're applying it whether you know it or not. so ultimately it doesn't matter if you know the rules or not. if you know theory, then you know what you're doing and you know exactly what kind of sound you want and how to make it. i'd assume that would help with playing from "your heart" but i guess you think otherwise.

[qwert11]

@margovallen that's not to say emotion can't exist in music, because it certainly can and does. but it's not because of some magical spirit located deep within your heart waiting to be unlocked by the passionate twang of a telecaster deep within in a smoky bar in memphis, it's because of how you apply the theory. things such as chord progressions, harmonies, cadences, these are all tools at the musician's disposal. much like different brushes and colors are available to a painter.

[qwert11]

@margovallen don't even try to give me that shit about playing from "the heart" because it's all a bunch of fucking shit and everyone with half an ounce of sense in their brains knows it. emotional impact in music is all about the chord progression and the way it acts with the melody. don't believe me? take your favorite "emotional" solo and superimpose it onto an entirely different chord progression. suddenly it doesn't sound so fucking emotional does it?