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Blues Guitar Unleashed

TM

The Most Complete, Step-By-Step Way To
Learn Blues Guitar
Version 2.0
By
Griff Hamlin

Thank you to my wife, Laura, and my family for your continued support and patience.
Also, a special thanks to all of my students, past and present, who continue to push me in
discovering new and better ways to teach. Thank you to all of my customers and fans of my
music, without you, none of this would be possible.

Griff Hamlin’s Guitar Unleashed, Inc.
387 Magnolia Ave., Ste. 103-412
Corona, CA 92879

Copyright © 2015 by Griff Hamlin
International Copyright Secured. All Rights Reserved

No part of this publication (music, video, audio, or written) may be reproduced in any form
or by any means without express written consent of the publisher.

TABLE OF CONTENTS
About The Author.............................................................................................................. 5
Introduction....................................................................................................................... 6
How To Use This Course.................................................................................................. 8
Lesson 1 – 7th Chords................................................................................................ 9
Example 1-1, CD 1 Tracks 1-2, and 5.................................................................... 10
Example 1-2, CD 1 Tracks 3-5 .............................................................................. 11
Lesson 2 – The 12 Bar Blues Format ������������������������������������������������������������������ 12
Example 2-1, CD 1 Tracks 6-8............................................................................... 14
Lesson 3 – 9th Chord Substitutions....................................................................... 15
Example 3-1, CD 1 Tracks 9-11.............................................................................. 17
Lesson 4 – Little Chords.......................................................................................... 18
Example 4-1, CD 1 Tracks 12-14........................................................................... 20
Lesson 5 – The Blues Half Step............................................................................ 21
Example 5-1, CD 1 Tracks 15-17........................................................................... 22
Lesson 6 – The Tore Down Rhythm...................................................................... 23
Example 6-1, CD 1 Tracks 18-20........................................................................... 24
Example 6-2, CD 1 Tracks 21-23........................................................................... 26
Example 6-3, CD 1 Tracks 24-26........................................................................... 28
Lesson 7 – The Stormy Slide.................................................................................. 29
Example 7-1, CD 1 Tracks 27-28........................................................................... 29
Example 7-2, CD 1 Tracks 29-30........................................................................... 30
Lesson 8 – Blues In E................................................................................................ 31
Example 8-1, CD 1 Tracks 31-32........................................................................... 31
Example 8-2, CD 1 Tracks 33-34........................................................................... 32
Example 8-3, CD 1 Tracks 35-36........................................................................... 33
Example 8-4, CD 1 Tracks 37-38........................................................................... 34
Example 8-5, CD 1 Tracks 39-40........................................................................... 35
Lesson 9 – “A How – How – How”.......................................................................... 36
Example 9-1, CD 1 Tracks 41-43........................................................................... 36
Example 9-2, CD 1 Tracks 44-46........................................................................... 37
Example 9-3, CD 1 Tracks 47-49........................................................................... 38
Lesson 10 – The Texas Shuffle.............................................................................. 39
Example 10-1, CD 2 Tracks 1-2, and 5.................................................................. 40
Example 10-2, CD 2 Tracks 3-5............................................................................. 41
Lesson 11 – Minor Blues.......................................................................................... 42
Example 11-1, CD 2 Tracks 6, and 11.................................................................... 43
Example 11-2, CD 2 Tracks 7, and 11.................................................................... 44
Example 11-3, CD 2 Tracks 8, and 11.................................................................... 45
Example 11-4, CD 2 Tracks 9, and 12.................................................................... 46
Example 11-5, CD 2 Tracks 10, and 12.................................................................. 47
Lesson 12 – Jazzy Shuffle Blues........................................................................... 48
Example 12-1, CD 2 Tracks 13-15......................................................................... 49
Lesson 13 – Funky Blues......................................................................................... 50
Example 13-1, CD 2 Tracks 16-17, and 20............................................................ 51
Example 13-2, CD 2 Tracks 18-20......................................................................... 52

TABLE OF CONTENTS
Lesson 14 – Gospel Slow Blues............................................................................. 53
Example 14-1, CD 2 Tracks 21-22......................................................................... 54
Lesson 15 – The Blues Scale �������������������������������������������������������������������������������� 56
Example 15-1, CD 2 Track 23 ������������������������������������������������������������������������������� 56
Example 15-2, CD 2 Track 24................................................................................ 57
Lesson 16 – Blues Bends ���������������������������������������������������������������������������������������� 58
Example 16-1 �������������������������������������������������������������������������������������������������������� 58
Example 16-2 �������������������������������������������������������������������������������������������������������� 58
Example 16-3 �������������������������������������������������������������������������������������������������������� 59
Example 16-4, CD 2 Tracks 25-26 ������������������������������������������������������������������������ 59
Example 16-5, CD 2 Tracks 27-28......................................................................... 59
Lesson 17 – Hammer-Ons, Pull-Offs, And “Tweedlies” ��������������������������������� 60
Example 17-1 �������������������������������������������������������������������������������������������������������� 60
Example 17-2 �������������������������������������������������������������������������������������������������������� 60
Example 17-3 �������������������������������������������������������������������������������������������������������� 60
Example 17-4, CD 2 Tracks 29-30 ������������������������������������������������������������������������ 61
Example 17-5, CD 2 Tracks 31-32 ������������������������������������������������������������������������ 61
Example 17-6, CD 2 Tracks 33-34 ������������������������������������������������������������������������ 61
Example 17-7, CD 2 Tracks 35-36 ������������������������������������������������������������������������ 61
Example 17-8, CD 2 Tracks 37-38......................................................................... 62
Lesson 18 – Example Solo #1 �������������������������������������������������������������������������������� 63
Example 18-1, CD 2 Tracks 39-41......................................................................... 63
Lesson 19 – Moving On Up (Box 2) ���������������������������������������������������������������������� 64
Example 19-1, CD 2 Track 42 ������������������������������������������������������������������������������� 64
Example 19-2, CD 2 Track 43................................................................................ 65
Lesson 20 – Solo Example #2 In B Minor ���������������������������������������������������������� 66
Example 20-1 Solo Example 2, CD 2 Tracks 44-46............................................... 66
Lesson 21 – The Swing Of The Blues ����������������������������������������������������������������� 68
Example 21-1 �������������������������������������������������������������������������������������������������������� 68
Example 21-2 �������������������������������������������������������������������������������������������������������� 68
Example 21-3......................................................................................................... 69
Lesson 22 – Example Solo #3 �������������������������������������������������������������������������������� 70
Example 22-1 Solo Example 3, Rhythm Only – CD 2 Tracks 47-48 ��������������������� 70
Example 22-2 Solo Example 3, CD 2 Tracks 49-50............................................... 72
Lesson 23 – Other Keys ������������������������������������������������������������������������������������������ 75
Example 23-1, CD 3 Track 1 ��������������������������������������������������������������������������������� 76
Example 23-2, CD 3 Track 2.................................................................................. 76
Lesson 24 – The Secret To Playing Like The Masters ���������������������������������� 77

Lesson 25 – Slow Blues In G, Solo #4 ���������������������������������������������������������������� 79
Example 25-1 Solo Example 4, CD 3 Tracks 3-5................................................... 80
Lesson 26 – Uptempo Blues In G, Solo #5 �������������������������������������������������������� 84
Example 26-1 Solo Example 5 Rhythm Only, CD 3 Track 6 ���������������������������������� 84
Example 26-2 Solo Example 5, CD 3 Tracks 7-8 �������������������������������������������������� 86

................ TABLE OF CONTENTS Lesson 27 – Finishing Up The Neck............. 105 Example 30-3........................................... 101 Example 29-3........................................... CD 3 Track 23...................................................................................................................................................................................... CD 3 Track 14................................. 109 Example 31-5... 96 Example 28-2 Solo Example 6...................... CD 3 Track 10........................................ 111 Appendix – Scale & Chord Diagrams..................................... 104 Example 30-1............................................................ 93 Example 27-9........................... 101 Example 29-4........................................................... 108 Example 31-2........................................................ 106 Example 30-6.......... CD 3 Tracks 18-20........................................................................ CD 3 Track 24.... 92 Example 27-8........................................................... CD 3 Track 11.......................... 92 Example 27-6...... 94 Example 28-1 Solo Example 6 Rhythm Only.......................................................................................................................................................................................................................................... CD 3 Track 17.......................................... 118 ................................................................................................................................................................ 106 Example 30-7....... 105 Example 30-4................. CD 3 Track 13...................................................... 100 Example 29-1................................................... 90 Example 27-2...................... 101 Example 29-5.......................................................................................... 92 Example 27-7........................................................................ 103 Lesson 30 – “Playing On The Porch” – Part I..................................................................... 91 Example 27-5...................................................... 109 Example 31-6.......... 88 Example 27-1.............................................. 100 Example 29-2........... 108 Example 31-1............ 91 Example 27-3....................................................................................... 104 Example 30-2............................................................................... 105 Example 30-5................................................................................................................................................... 110 Conclusion & A Note About “The Modes…”................................................................................................... 102 Example 29-6.............................................. 108 Example 31-4................................................................... CD 3 Track 12........................................................................................................................... CD 3 Track 9............................... 91 Example 27-4................................................................................................................................................................................................................................. 98 Lesson 29 – “Chord Soloing”............................................................................................................................................................................................. CD 3 Track 16...................................................................................................... CD 3 Tracks 21-22....... 93 Lesson 28 – Texas Shuffle Solo #6................................. CD 3 Track 15.......................................................................................... 107 Lesson 31 – “Playing On The Porch” – Part II................................................................................................................ 108 Example 31-3....................... 113 CD Track Listing....................................................................................................................

I started Blues Guitar Unleashed actually with a course called Playing Through The Blues in 2006. A lot has changed since 2008 and with “BGU 2. I reside in Southern California with my wife and my boys. After 2 years I decided to re-vamp that course and Blues Guitar Unleashed was born. Most of those students had never picked up the instrument even once before starting lessons. and of course all over the United States. You can find out more about me. I added a few little extra things that should make it even better. by visiting my website at http://www. In addition.com. and Los Angeles counties. Turkey. I have been a performing musician since the age of 15. I get enormous joy from playing the guitar and making music. and have performed as many as 200 concerts per year at some points of my career.0” I get to use this great material and combine it with modern video and editing techniques so the total package and experience is truly one of a kind. Korea. As for my academic background. and I hope you will too. if not over a thousand students how to play the guitar. and played on releases by several other artists. I’ve been fortunate enough to tour all over the world including Poland and Eastern Europe. Italy. and I have taken private lessons from some of the best guitarists in the world. Riverside. And of course. I studied music at the prestigious USC Thornton School of Music. my name is Griff Hamlin. and I teach and perform regularly all around Orange. 5 . About the Author Hello. and what’s going on with me currently. I continue to try and improve and practice every day. I have taught hundreds. Blues Guitar Unleashed has gone on to be one of the most popular (if not the most popular) blues guitar learning systems available. Since 2008.griffhamlin. I have been a professional guitarist and guitar teacher for over 25 years. I have released 2 albums so far.

straightforward approach to blues soloing that has worked for me. but then was faced with the realization that I was going to have to learn about 50 songs in about 2 weeks time. During my first summer there I went to a weekend long guitar seminar. Eric Clapton. Introduction This book is the culmination of many years of teaching private students how to play blues guitar. In the process of writing this book. they didn’t need me to memorize the solos. This was the late 1980’s and early 1990’s when shred guitar was king and I was always looking for ways to play faster and more technical stuff. The story is actually kind of funny… I actually started teaching guitar as an after school job when I was in my junior year of high school. I. but they had some credential that I thought was important and so I went. It wasn’t until a few years later that I would discover the blues and where my true passions were. during that seminar the instructor talked briefly about a cool “trick” that he used for blues and jazz soloing. but one of the other teachers at the same store offered me a gig with a blues and classic rock band that he had been playing with for the past year. They were nothing like what I was hearing on the recordings. of course. He said that he was leaving. About 3 years later I was rapidly learning that paying the bills was an important part of being an adult. I was able to rediscover the simple. I don’t even remember who was teaching it. I did get the gig. but then noticed that my solos were horrible sounding. BB King. I had forgotten many of the ways I got to where I am today. It was always a challenge for me to figure out the best way to get the secrets and the tricks into a manageable form. Anyway. but figured it couldn’t be that hard. I can barely remember my name some days. and many other blues and classic rock artists. dismissed it immediately because I couldn’t be bothered with such things. After 25 years of playing the guitar. and that if I wanted he would arrange an audition and that I would likely get the gig since they had shows coming up soon and needed someone soon. I always thought blues was so easy… just play the blues scale and move on. So about 4 days into my 3-hour-per-day “cram fest” I remembered the “trick” that I had heard about a few years earlier at a guitar seminar. I had never done a gig like that before. enough to get by. I couldn’t have been more wrong about that. So I went home and started learning the songs. Luckily. and they just didn’t really “fit” with what was going on with the band as a whole. just the main part of the songs. These were all classic cover songs by the Beatles. I was still teaching some. so don’t ask me where that came from! 6 . I’m pretty sure I learned more than my students for the first couple of years! After high school I moved out to California to make it big. SRV.

Admittedly I don’t teach privately nearly as much as I used to (and at times I really miss it. It was originally designed for them. I know it can help you become the blues player you want to be. since this is version 2. In addition. The gig went famously. Don’t worry if that makes no sense. But I do still have a few private lessons each week that I squeeze in between making new online lessons. I’ve gone from teaching a few neighborhood kids each week to being an in-demand teacher with as many as 75 private students every week at times. but I found myself. without even trying. and began for me a career that has now taken me around the world and into numerous recording studios over the last 25 years or so. I’ve refined some elements even more and added a few additional lessons and examples since the original version came out in 2008. and working with students remotely via the Blues Guitar Unleashed member forum. Most of my students over the years have been through exactly what you have in front of you. I soon found that I could just listen to the solo on the tape. and pick out most of it within just a few minutes because I could “get inside their head” and know what they were likely doing. we’ll discuss it in great detail later. and read over what the guy had said about playing blues.0 of an already proven system. new courses. Not only was I playing my own solos that sounded good and fit with the songs. 7 . and it has worked time and time again.I went digging through my bookcases and actually found the notes from that weekend. So I played around with it for about an hour and was instantly amazed at the result.) Many of my former private students bought one of my courses and went off to learn on their own and now only come back occasionally. It was an approach that utilizes the major blues sound over the I chord in the blues and the minor blues scale over the IV and V chords in the blues. picking out licks that were actually on the recordings.

Your technique will improve on other things and you’ll come back later and the barre chords will be fine. For that reason please always start by watching the video. are you ready? Let’s get started! 8 . reversing it is all on you and it can be very frustrating. All of the little subtle things that happen when you play blues happen by playing along with me. Playing along is. In a private lesson if your ear hears something different than I intend (which happens about 80% of the time) it can take the whole lesson to reverse it. Most sections will warn you not to move on until you have “mastered” the lesson. not by playing on your own. Play with me on the CDs or the jam tracks often and don’t put it off because you think you aren’t ready… get going on it as soon as possible. I’ve tried to name things so that you should have an idea before anything gets going. In particular at the beginning with the barre chords and such. if you have the example memorized but it just doesn’t get all the notes sounding call it good enough and move on. Use the book to help you find the notes if you were unable to get them from the DVD. audio. mastered means you’ve memorized it and you can play it along with the full speed example with some minor mistakes. And there are many times where I will demonstrate something at the beginning. and then show the result so that your ear doesn’t play a trick on you and make it difficult to overcome later. but not always. the most important thing. and written materials is because A) everyone learns a little differently. After going through the video once or twice (or even 3 times) it’s time to break out the book and the CD. OK. Via the Internet or a DVD. hands down. and then play along with the CD. At this stage of the game. I don’t always start a video segment with a demonstration of what we’re going to do – that’s not an accident! I’ve learned over the years that sometimes I have to walk through the process first. So please don’t shortcut to the end of a video just because you want to know what it’s going to sound like. That will get you the “bird’s eye view” of what is going on. and B) it’s better to see and hear things in different ways so they really sink in. How To Use This Course The reason that there is video.

0 Griff Hamlin Lesson 1 – 7th Chords In this Lesson: By the end of this lesson you will be able to play 2 different 7th chord shapes using a common swing blues rhythm. Let’s look at moving the E7 up to a G7. diminished. but unless you are playing in the key of E (which is only 1 of 12 possible keys) you are going to have to move these chord shapes into their barre chord equivalents to have them available in other keys. Second. 9th. When we have a chord like E7. minor. the chord name tells us two things. First. G7 and C7 are not the same chord. the chord starts on E. dominant 7th. and the A7 up to a C7 and then a D7 G7 C7 D7 E7 5fr 131211 13141 13141 Copyright © 2015 Griff Hamlin's Guitar Unleashed 9 . Most blues revolves around a type of chord called a 7th chord.Blues Guitar Unleashed 2. major 7th. Also keep in mind that E7 is a shorthand notation for E dominant 7. the quality of the chord is dominant 7th. and is different from an E major 7 or an E minor 7. E7 and A7 are open position chords meaning they utilize some open strings: E7 A7 Those are great. but they have the same chord quality. minor 7th. Chord qualities are things like major. and many others. All chords have a quality. augmented.

First try playing along with me on the slow version. lay the heel and palm of your right hand across the strings. the lowest note (in pitch) is the root note.a chug” that the old locomotives made. then play with me on the full speed version. Rhythmically. EXAMPLE 1-1. Now. but I don’t really hit the strings with my pick. Let’s put these three chords together into a simple blues shuffle pattern. I also tend to do a down strum. the lowest note is C. CD 1 TRACKS 1-2 (TRACK 5 IS JAM TRACK) G7 C7 4 ≥≤‰ ≤Ó ≥≤ ≤ ≥≤ ≤ ≥≤ ≤ ≥≤ ≤ & 4 V V VJ V V ‰ VJ Ó V V ‰ VJ Ó V V ‰ VJ Ó V V ‰ VJ Ó G7 D7 ≥ ≤ ≤ ≥ ≤ ≤ ≥ ≤ ≤ ≥ ≤ ≤ & V V VJ Ó ‰ V V VJ Ó ‰ V V VJ Ó ‰ V V VJ Ó ‰ C7 G7 ≥ ≤ ≤ ≥ ≤ ≤ ≥ ≤ ≤ G7 & V V VJ Ó ‰ V V VJ Ó ‰ V V VJ Ó ‰ ™™ V Œ Ó 10 Copyright © 2015 Griff Hamlin's Guitar Unleashed . For C7. That means that for G7. or so the legend goes. You know what they say. That way I’m ready for the following up strum which almost always happens after a rest. it ain’t got a thing… The swing feel comes from the fact that when you play in a swing feel you actually subdivide the beat into 3 pieces instead of 2 pieces like you do with standard 1/8th notes. here’s the whole tune. Finally. The swing feel is also really important in the blues.0 Griff Hamlin Keep in mind that for all of these chord shapes. So keep that in mind. the lowest note is D. we’re going to do this strum pattern: G7 ≥ ≤ ≤ & V V ‰ VJ Ó To execute the rest and get the best sound. It comes from the sound the old steam engines used to make. play along with the jam track and you will be the only guitar.Blues Guitar Unleashed 2. You’re going for the “chug --. the lowest note is G.a chug ---. and for D7.

CD 1 TRACKS 3-5 ≥≤ ≤ ≥≤ ≤ ≥≤ ≤ ≥≤ ≤ C7 ≥≤ ≤ Œ & V V ‰ VJ Œ Œ VV‰ VŒ J Œ VV‰ VŒ J Œ VV‰ VŒ J Œ VV‰ VŒ J G7 ≥ ≤ ≤ ≥ ≤ ≤ ≥ ≤ ≤ D7 ≥ ≤ ≤ & Œ V V VJ Œ ‰ Œ V V ‰ V Œ Œ V V ‰ V Œ Œ V V ‰ V Œ J J J G7 ≥ ≤ C7 ≤ ≥ ≤ ≤ ≥ ≤ ≤ G7 & Œ V V ‰ VJ Œ Œ V V ‰ V Œ J Œ V V ‰ V Œ J ™™ V Œ Ó But don’t forget… you can mix and match these however you want.0 Griff Hamlin If we slightly shift the rhythm by a beat we get off of beat 1 which is a common thing to do both in blues rhythm and lead playing. & V V ‰ VJ Ó Blues Guitar Unleashed 2. Let’s check out the new rhythm: G7 ≥ ≤ ≤ & Œ V V ‰ VJ Œ And if we use that rhythm along with the 12 bar blues form we played earlier it looks like this: G7 EXAMPLE 1-2. I’ll demonstrate some options on the video but be creative and use your ears! Copyright © 2015 Griff Hamlin's Guitar Unleashed 11 .

Blues Guitar Unleashed 2.0 Griff Hamlin

Lesson 2 – The 12 Bar Blues Format
In this Lesson: By the end of this lesson, you should be able to identify the 3
chords that make up a 12 bar blues in any key. You will also learn 1 new 7th
chord shape.

A 12 bar blues consists of 3 chords called the I chord, IV chord, and V chord. To explain
this concept further, we have to step away from the blues for a minute. The concept of a I
chord, IV chord, and V chord is simple, but it comes from a major scale, not a blues scale.

Simply put, if you build a chord off of the first note in the major scale, it’s called a I chord.
Similarly, if you build a chord off of the 4th note in the major scale, it’s called the IV chord,
and if you build a chord off of the 5th note in the major scale, it’s called the V chord.

To find the I, IV, and V chords in any key on your guitar:

I chord: Find the note on the 6th string that matches the key you’re in. In the key of A, you
would find the A on the 5th fret of the 6th string.

IV chord: Use the same fret as the I chord, but on the 5th string. In the key of A, the IV
chord would be D on the 5th fret of the 5th string.

V chord: Go up 2 frets from the IV chord. In the key of A, the V chord is E on the 7th fret of
the 5th string.

This trick will work for any key, but I’ll make it even easier. Here’s a chart of every key with
it’s corresponding IV and V chords

KEY A Bb B C C# D Eb E F F# G Ab
I Chord A Bb B C C# D Eb E F F# G Ab
IV Chord D Eb E F F# G Ab A Bb B C Db
V Chord E F F# G G# A Bb B C C# D Eb

Check out the music below for a 12 bar blues in the key of A. Here’s what to remember:

Bars 1 – 4 use the I chord.
Bars 5 and 6 use the IV chord.
Bars 7 and 8 return to the I chord.
Bars 9 and 10 are the V chord, and IV chord.
Bars 11 and 12 are called the turnaround. The simplest turnaround is to use the I chord
for both bars 11 and 12.

12 Copyright © 2015 Griff Hamlin's Guitar Unleashed

Blues Guitar Unleashed 2.0 Griff Hamlin

& V V V V V V V V V V V V V V V V
A7 (I)

& V V V V V V V V V V V V V V V V
D7 (IV) A7 (I)

& V V V V V V V V V V V V V V V V
E7 (V) D7 (IV) A7 (I)

The most common variation of this pattern is called a Quick Change Blues, where bar 2
uses the IV chord and all other bars are the same. It is also common to go to the V chord
on bar 12.

Let’s work on a new tune with a new voicing of the 5th string root 7th chords. The 3 chords
in this tune will be:

A7 D7 E7
5fr 5fr

1 3 1 2 1 1 3 2 4 1 3 2 4 1

Copyright © 2015 Griff Hamlin's Guitar Unleashed 13

Blues Guitar Unleashed 2.0 Griff Hamlin

Now here’s the tune. This one uses the quick change in bar 2 and goes to the V at the end
– the most common variations.

EXAMPLE 2-1, CD 1 TRACKS 6-8

A7 D7 A7
& ™™ Œ V V Œ V V Œ V V Œ V V Œ V V Œ V V Œ V V Œ V V
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤
D7 A7
& ΠV V ΠV V ΠV V ΠV V ΠV V ΠV V ΠV V ΠV V
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤

E7 D7 A7 E7 A7
& Œ V V Œ V V Œ V V Œ V V Œ V V Œ V V Œ V V Œ V V ™™ V Œ Ó
≥≤ ≥ ≤ ≥≤ ≥ ≤ ≥≤ ≥ ≤ ≥≤ ≥ ≤
You should at least be moderately comfortable with the full speed versions of the first 2
lessons before you move on. That doesn’t mean they have to sound perfect… they just
need to be memorized and you need to be able to play them with minimal mistakes.

As I mentioned before, if the barre chords are tough for you right now don’t worry about it.
As you work on other things you can continue to revisit these first 2 lessons and improve
your technique all around.

14 Copyright © 2015 Griff Hamlin's Guitar Unleashed

isn’t that what they mean for you to play? Well … yes and no. After all.) So. but you can substitute with any chord of the same family (at least as long as you like the sound of it. if the paper says to play a 7th chord. The plain and simple truth is that the chords shown the page are suggested. 9th chords (a little more interesting sound. and common) 11th chords (unusual except for the V chord) 13th chords (great for slow blues or a little melody) Anything altered that has a 7th in it like 7#9. however. C9 C9 7fr 7fr 7fr Now before you go getting crazy trying to play this – you can’t. This is where blues and jazz leave the traditional classical. What makes things sound exceptionally cool. They mean for you to play something from the 7th chord family actually. Remember. probably you don’t yet. but you will. not enough to easily play it. Copyright © 2015 Griff Hamlin's Guitar Unleashed 15 . is to substitute other colorful chords in place of the 7th chord. pop. At this point you have most of the 7th chord shapes you’ll need for a while. and country worlds far behind …. 7b9. what are the chords in the dominant 7th family? 7th chords (duh) – not major 7th or minor 7th. “How can I do that?” You might ask. rock.Blues Guitar Unleashed 2. those are different families altogether. At least. You don’t have enough fingers.0 Griff Hamlin Lesson 3 – 9th Chord Substitutions In This Lesson: By the end of this lesson you will be able to play 9th chord substitutions instead of 7th chords. Well. Altered chords are down the road. Let’s look at a C9 chord with the root note (the C) on the 6th string. and that’s a great question. 7#9#5 (huh?) you get the idea.

let’s put them altogether into a cool quick change blues. ∑ F9 G9 7fr 9fr 2 1 3 3 3 2 1 3 3 3 All right now. it’s on the 1st. You should know what they are before I show them to you if you finished lesson 2 …. 16 Copyright © 2015 Griff Hamlin's Guitar Unleashed . &4 ∑ Now let’s add our IV and V chords. C9 F9 7fr 7fr C9 C9 7fr 7fr 2 1 3 3 2 1 3 3 3 Now . we’re going to get rid of the bottom 2 strings of the chord (the low E and A) and turn it into something IMMENSELY more useful.Blues Guitar Unleashed 2.0 Griff Hamlin So. and the notes on the 6th and 1st strings are the 2 1 3 4 same.that’s easy to play. and totally useful. It’s also easy to find because instead of the root note on the 6th string.

Don’t feel like you have to play all the time.Blues Guitar Unleashed 2. I did that simply to show you the use of space in your rhythm playing. EXAMPLE 3-1. It’s one of the biggest mistakes many guitar players make. CD 1 TRACKS 9-11 C9 F9 C9 4 &4 Œ V V V V Œ ∑ Œ V V V V Œ ∑ ≥ ≤ ≥ ≤ F9 C9 & Œ V V V V Œ ∑ Œ V V V V Œ ∑ G9 F9 C9 G9 C9 & Œ VVVVŒ Œ VVVVŒ Œ VVVVŒ Œ VVVVŒ + Copyright © 2015 Griff Hamlin's Guitar Unleashed 17 .0 Griff Hamlin Notice on this one that I didn’t even play over the quick change.

4 ∑ D7 &4 E7 E7 Blues Guitar Unleashed 2. 3 2 4 1 3 2 4 13 2 4 1 In all likelihood there will be a bass player. With that. and possibly another ∑ guitar player in the band with you. smaller versions of the common 7th and 9th chords we’ve looked at so far. The simple solution is to just stop playing the bottom couple of strings. 18 Copyright © 2015 Griff Hamlin's Guitar Unleashed .0 Griff Hamlin 5fr 5fr Chords Lesson 4 – Little In This Lesson: By the end of this lesson you will be able to play more useful. an A7 chord that looks like: A7 D7 A7 E7 D9 5fr 5fr 5fr 4fr turns into this: 1 3 1 2 1 1 3 2 4 1 1 2 13 12 4 1 1 3 and the D9 and E9 chords turn into D9 E9 E9 4fr 6fr 6fr 1 3 3 3 1 3 3 31 3 3 3 Now what’s really cool is when you see how these fit together. possibly a keyboard player. the reality is that when you play with a band they’re just 1 too big. ∑ ∑ That means that if you play a chord with a bunch of low end “noise” it’s probably going to interfere with the other instruments. While it’s great to know all of these chords.

You don’t even have to fill the rest in. Copyright © 2015 Griff Hamlin's Guitar Unleashed 19 . I end up in my D9 chord. Likewise. but I’ve done it here just to be complete. let’s take a look at our next tune. I’ve circled the notes I want you to pay attention to: A7 D9 5fr 4fr 6f 3 2 4 1 ∑ 1 2 1 1 1 3 3 3 If I simply slide those 2 notes down 1 fret.0 Griff Hamlin 5fr Look again at the A7. E7 Blues Guitar Unleashed 2. D9 E9 4fr 6fr 1 3 3 3 1 3 3 3 and if I move my A7 up 1 fret (and fill in the rest) you’ll see that I have E9. I can just move my D9 up 2 frets … E9 6fr 1 3 3 3 So with that in mind.

CD 1 TRACKS 12-14 Bb7 Eb9 Bb7 6fr 5fr 6fr b4 1211 1333 1211 & b 4 V V ‰ VJ Ó V V ‰ VJ Ó V V ‰ VJ Ó ‘ ≥ ≤ ≤ Eb9 Bb7 5fr 6fr b 1333 1211 & b V V ‰ VJ Ó ‘ V V ‰ VJ Ó ‘ F9 Eb9 Bb7 F9 Bb7 7fr 5fr 6fr 7fr 6fr b ™™ + 1333 1333 1211 1333 1211 & b V V ‰ VJ Ó V V ‰ VJ Ó V V ‰ VJ Ó V V ‰ VJ Ó Just like the rest. 20 Copyright © 2015 Griff Hamlin's Guitar Unleashed . play it with the recording as much as you can and get it down before you move on.Blues Guitar Unleashed 2.0 Griff Hamlin EXAMPLE 4-1.

Copyright © 2015 Griff Hamlin's Guitar Unleashed 21 . probably not. you play the chord one-half step above where you’re going to land on beat one. then you play E9 (1/2 step above Eb9) on beat 4 of the previous measure. on the preceding beat. Got it? Well. you will see it is easy and cool. So if the first beat of bar 2 is Eb9. but once you play it.Blues Guitar Unleashed 2.0 Griff Hamlin Lesson 5 – The Blues Half Step In This Lesson: By the end of this lesson you will have a great trick under your belt that I call the blues half step. “hipness” is now a word. Here’s a great way to add some hipness to your playing (yes.) Right before each chord change.

The next 9 lessons are all based around more specific riffs and ideas that come up often.Blues Guitar Unleashed 2. not much will be able to stump you! 22 Copyright © 2015 Griff Hamlin's Guitar Unleashed .0 Griff Hamlin EXAMPLE 5-1. At this point you have a lot of the basics of blues rhythm playing. CD 1 TRACKS 15-17 Bb9 E9 Eb9 B9 Bb9 E9 Eb9 E9 5fr 6fr 5fr 6fr 5fr 6fr 5fr 6fr qaa z=[qp ]e ° bb 4 œœœ œœœ ‰ œœœ Œ n#œœœ bbnœœœ œœœ ‰ œœœ Œ#n#œœœ bœœ œ nbnœœœ œœœ ‰ œœœ Œ œœ œœ œœ œœ n#œœ b nœœ œœ œœ n#œœ & 4 bœ œ œJ œ œ œ œ n œ œœ bœœ œœ ‰ œœ Œ œœ b œœ œœ ‰ œœ Œ #œœ J J J J ≥≤ ≤ ≥ 6 6 6 7 6 6 6 7 6 6 6 6 6 6 6 7 6 6 6 7 6 6 6 7 6 6 6 7 6 6 6 6 6 6 6 7 6 6 6 7 5 5 5 7 6 6 6 6 5 5 5 5 5 5 5 7 6 6 6 7 6 6 6 6 5 5 5 7 6 6 6 6 6 6 6 6 5 5 5 6 ¢⁄ Eb9 B9 Bb9 Bb9 F#9 F9 E9 5fr 6fr 5fr 5fr 8fr 7fr 6fr ° bb bbnœœœ œœ œœ n#œœ bnœœ œœ œœ œœ œœ œœ œœ ##nœœœ nnbœœœ œœ œœ ‰ œœ n œ œœ Œ #œœ œ ‰ œ Œ # œœ nb œœ œœ ‰ œœ Œ œœ bœœ œœ ‰ œœ Œ # œ n œ bœ & nœ œ œJ J J J 6 6 6 7 6 6 6 6 6 6 6 9 8 8 8 7 6 6 6 7 6 6 6 6 6 6 6 9 8 8 8 7 6 6 6 6 5 5 5 5 5 5 5 9 8 8 8 7 5 5 5 7 6 6 6 6 6 6 6 8 7 7 7 6 ¢⁄ Eb9 B9 Bb9 F#9 F9 B9 Bb9 5fr 6fr 5fr 8fr 7fr 6fr 5fr ° bb bbnœœœ œœ œœ n#œœ bnœœ œœ œœ ##nœœœ nnbœœœ œœ œœ n œ œœ ‰ œœ Œ ##œœ ™ nbnw w œœ ‰ œœ Œ #n œœ nb œœ œœ ‰ œœ Œ # œ n œ œ ™ bw w & œ J J J 6 6 6 7 6 6 6 9 8 8 8 7 6 6 6 6 7 6 6 6 9 8 8 8 7 6 ™ 6 6 5 6 5 6 5 6 7 5 6 5 6 5 6 9 8 8 7 8 7 8 7 7 ™ 56 ¢⁄ Make sure you can play this example along with the recordings. By the time you get through them all.

the rhythm part plays the individual notes of the chord. I’ve also added a break section similar to many recordings of the song. Musically speaking this would be called an arpeggio. and 5th of the chord. It’s a standard pattern but I know it from the tune “I’m Tore Down” as recorded by Freddie King and later by Eric Clapton. Copyright © 2015 Griff Hamlin's Guitar Unleashed 23 . but I’ve only seen this done over a 7th chord. but obviously could be done in any key easily. flatted 7th.0 Griff Hamlin Lesson 6 – The Tore Down Rhythm In This Lesson: By the end of this lesson you will be able to play a common blues rhythm that is commonly known from the song I’m Tore Down as recorded by Freddie King and Eric Clapton I don’t really know what else to call this rhythm. This riff plays the root. without the 3rd it’s not major or minor. which is simply playing the notes of a chord one at a time instead of all together. Technically.Blues Guitar Unleashed 2. which has a major 3rd. Instead of actually playing a C7 chord. It’s based around a blues in C. Here’s the rhythm written out.

CD 1 TRACKS 18-20 qaa z=[qp ]e C7 F7 ° 4 œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ &4 œ œ bœ œ œ œ œœ œœ œœ œœ œœ 10 10 8 8 10 10 8 8 10 10 8 8 10 10 8 8 3 3 1 1 ¢⁄ 8 8 10 10 8 8 10 10 8 8 10 10 8 8 10 10 1 1 3 3 C7 G7 ° & œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ 3 3 1 1 10 10 8 8 10 10 8 8 5 5 3 3 ¢⁄ 1 1 3 3 8 8 10 10 8 8 10 10 3 3 5 5 F7 C7 ° & œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ 3 3 1 1 10 10 8 8 10 10 8 8 ¢⁄ 1 1 3 3 8 8 10 10 8 8 10 10 C7 F 8fr 10fr ° bœœœ Œ Œ œœœ bœœœ Œ Ó œ C7 F7 bœœ Œ Ó 121 333 & ∑ œ œ bœ œ œ œ œ œ bœ œ œ œ œœ œœ 8 10 8 8 9 10 9 9 8 10 8 8 3 3 1 1 3 3 1 1 ¢⁄ 1 1 3 3 1 1 3 3 24 Copyright © 2015 Griff Hamlin's Guitar Unleashed .Blues Guitar Unleashed 2.0 Griff Hamlin EXAMPLE 6-1.

Blues Guitar Unleashed 2.0 Griff Hamlin C7 G7 F7 C7 ° & œ œ bœ œ œ œ œ œ bœ œ œ œ œœœœœœ œ œbœ œ œ œ œ œ œ œbœ œ œ œ œœ œœ œœ œœ 10 10 8 8 10 10 8 8 5 5 3 3 3 3 1 1 10 10 8 8 ¢⁄ 8 8 10 10 8 8 10 10 3 3 5 5 1 1 3 3 8 8 10 10 C7 Db7 C7 3241 3241 3241 Db7 C7 & œ œ œ œbœ œ œ œ bœœœ Œ Ó bœœ Œ Œ nœœ bœœ Œ Ó bœœ Œ Œ nœœ bœœ Œ Ó ° œ #œ nœ œ #œ nœ 3 3 4 3 3 4 3 10 10 8 8 2 2 3 2 2 3 2 ¢⁄ 8 8 10 10 3 3 4 3 3 4 3 Db7 C7 F7 ° bœ Œ Œ nœ bœ Œ Ó ∑ & œœ # œœ n œœ œ œ bœ œ œ œ œ œ 3 4 3 2 3 2 3 3 1 1 ¢⁄ 3 4 3 1 1 3 3 C7 ° & œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ 3 3 1 1 10 10 8 8 10 10 8 8 ¢⁄ 1 1 3 3 8 8 10 10 8 8 10 10 C7 G7 F7 C7 3241 Œ Ó ‰ œ™ œ œ œ œ Œ bœœœ ° & œ œ œ œ œ œ œ #œ œ œ œ 3 5 5 3 3 7 9 10 2 ¢⁄ 3 3 5 5 1 7 8 9 10 3 Copyright © 2015 Griff Hamlin's Guitar Unleashed 25 .

0 Griff Hamlin EXAMPLE 6-2. CD 1 TRACKS 21-23 qaa z=[qp ]e ° #4 G7 C7 & 4 œ œnœ œ œ œ œ œnœ œ œ œ œ œnœ œ œ œ œ œnœ œ œ œ œ œ œ œbœ œ œ œ œœ œœ œœ œœ 3 3 5 5 3 3 5 5 3 3 5 5 3 3 5 5 3 3 5 5 5 5 ¢⁄ 3 3 5 5 3 3 5 5 3 3 5 5 3 3 5 5 3 3 ° # G7 D7 C7 œœ & œ œ œ œbœ œ œ œ œ œnœ œ œ œ œ œnœ œ œ œ œ œ œ œ œ œ œœ œ œbœ œ œ œ œœ œœ 3 3 5 5 5 5 7 7 3 3 5 5 5 5 3 3 5 5 3 3 5 5 7 7 5 5 ¢⁄ 3 3 3 3 5 5 3 3 5 5 5 5 3 3 ° # G7 ‰ jnœ œ ˙ ‰ jnœ œ ˙ ‰ jnœ œ 3 3 3 3 & œ œ nœ œ œ œ œ œ nœ œ œ œ œ ˙ œ œ œ œ œ œ œœ œœ 3 3 5 5 3 3 3 5 3 3 5 3 3 5 3 3 ¢⁄ 3 3 5 5 3 3 5 5 5 5 5 5 5 5 5 5 ° # nœœ œœ œbœ C7 G7 & œ œ œ œ œ œbœ œ œ œ œ œ œ œbœ œ œ œ œ œnœ œ œ œ œ œnœ œ œ œ œœ œœ 6 6 7 7 5 3 3 3 5 5 3 3 5 5 5 5 5 5 5 5 3 3 5 5 3 3 5 5 ¢⁄ 3 3 3 3 3 3 5 5 3 3 5 5 26 Copyright © 2015 Griff Hamlin's Guitar Unleashed .Blues Guitar Unleashed 2.

0 Griff Hamlin ° # D7 C7 G7 & œœœœ œ œ œ œ œœb œ œ œ œ 3 ‰ jnœ œ 3 œœ œ œnœ œ œ œ œ œnœ œ œ œ œ ˙ œ œ œœ œœ 5 5 7 7 3 3 5 5 7 7 5 5 3 3 5 5 3 3 3 5 3 3 ¢⁄ 5 5 3 3 3 3 5 5 3 3 5 5 5 5 5 5 ° # nœ œ C7 ‰ jnœ œ ˙ ‰ jnœ œ œ œ œ œbœ œ œ œbœ œ œ œ œ œbœ œ œ œ 3 3 & ˙ œ œ œ œ œœ œœ 6 6 7 7 5 3 3 3 5 5 3 3 5 5 5 3 3 5 3 3 5 5 5 5 5 5 ¢⁄ 5 5 5 5 3 3 3 3 ° # G7 D7 & nœ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5 5 7 7 3 3 5 5 3 3 5 5 7 7 ¢⁄ 3 3 5 5 3 3 5 5 5 5 ° # nœœ C7 G7 & w ‰ j œ œ Œ œ œ œ #œ œ œ 6 7 2 4 5 ¢⁄ 3 2 2 3 4 5 Copyright © 2015 Griff Hamlin's Guitar Unleashed 27 .Blues Guitar Unleashed 2.

Blues Guitar Unleashed 2. CD 1 TRACKS 24-26 qaa z=[qp ]e ° # G7 ™™44 3 3 3 3 & œ œnœ œ œ œ œ œ œnœ œ œ œ œ œ œnœ œ œ œ œ œ œnœ œ œ œ œ œœ œœ œœ œœ ™ ™ 3 3 5 3 3 3 5 3 3 3 5 3 3 3 5 3 ¢⁄ 3 3 5 5 5 3 3 5 5 5 3 3 5 5 5 3 3 5 5 5 ° # C7 3 3 G7 œ œbœ œ œ œ œ œ œbœ œ œ œ œ 3 3 & œ œnœ œ œ œ œ œ œnœ œ œ œ œ œœ œœ œœ œœ 3 3 5 3 3 3 5 3 5 5 5 5 5 5 3 3 5 3 3 3 5 3 ¢⁄ 3 3 3 3 3 3 5 5 5 3 3 5 5 5 ° # D7 C7 œ œ œ 3 & œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ 3 5 5 7 5 3 3 5 3 7 7 7 5 5 5 ¢⁄ 5 5 3 3 ° # G7 Ó 3 3 & œ œ nœ œ œ œ œ œ œ nœ œ œ œ œ ™™ œ œ œ œ ˙ ™ 3 3 5 3 3 3 5 3 ™ ¢⁄ 3 5 5 3 5 5 5 5 3 3 3 28 Copyright © 2015 Griff Hamlin's Guitar Unleashed .0 Griff Hamlin EXAMPLE 6-3.

Here’s a slow version in tab first. This same idea. Finding something interesting to do in a slow blues can always be tough. if used over a fast blues. Stormy Monday.0 Griff Hamlin Lesson 7 – The Stormy Slide In This Lesson: By the end of this lesson you will be able to play a common slow blues rhythm found in tunes like Stormy Monday.Blues Guitar Unleashed 2. This riff is a great little 9th chord slide that is similar to what you’ll hear in the Allman Brothers’ recording of the classic tune. gives you a similar sound to the tune Empty Arms by Stevie Ray Vaughan. This is in G EXAMPLE 7-1. CD 1 TRACKS 27-28 G9 C9 G9 C9 qaa z=[qp ]e ° #4 Œ œ œ ˙ œœ˙ œœ˙ & 4 œ nœ ˙ Œ œ bœ ˙ Œ œœ nœœ ˙˙ Œ œœ nœœ ˙˙ Œ œ bœ ˙ 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 ¢⁄ G9 D9 œ œ ˙ œ œ ˙ 4fr ° #Œ œ bœ ˙ Œ œ œ ˙ Œ œ œ ˙ Œ œ œ ˙ & œ nœ ˙ œ nœ ˙ 5 3 7 5 5 3 5 3 5 3 7 5 5 3 5 3 ¢⁄ C9 G9 C9 G9 D9 G9 4fr ° # Œ œœ bœœ ˙˙ 3 3 3 3 3 ‰ nœœœ œœœ ‰ œœœ œœœ ‰ bœœœ œœœ ‰ œœœ œœœ ‰ nœœœ œœœ ‰ n˙˙˙ w w 3 & # œ#œ ˙ w 5 3 3 3 3 3 3 3 3 3 3 3 5 3 5 3 2 2 2 2 3 3 3 3 2 2 5 2 3 3 3 3 2 2 2 2 3 3 4 3 ¢⁄ 3 4 5 Copyright © 2015 Griff Hamlin's Guitar Unleashed 29 .

Blues Guitar Unleashed 2. CD 1 TRACKS 29-30 Bb9 Eb9 Bb9 Eb9 5fr 5fr 5fr 5fr œ œ ˙ œ œ ˙ ° bb Œ œœ œ ˙ œ œ œ œ ˙ 2133 2333 2133 2333 & bœ ˙ Œ œ bœ ˙ Œ œ bœœ ˙˙ œ œ bœ ˙ Œ œ bœ ˙ 8 6 8 6 8 6 8 6 8 8 6 6 8 6 8 6 8 6 8 6 8 8 6 6 ¢⁄ F9 Bb9 7fr 5fr œ œ ˙ œ œ ˙ 21333 œ œ ˙ œ œ œ ˙ œ œ ˙ 2133 ° bb Œ œ bœ ˙ Œ œ bœ ˙ œ œ bœ ˙ Œ & 8 6 10 8 8 6 8 8 6 6 8 6 10 8 8 6 8 8 6 6 ¢⁄ Eb9 Bb9 F9 5fr 5fr 7fr Bb9 5fr œ œ ˙ œ œ ˙ 21333 œ œ ˙ 2333 œ œ ˙ ™™ bw 2133 ° bb Œ œ bœ ˙ 2133 & Œ œ bœ ˙ Œ w w 8 6 10 8 8 6 8 6 10 8 ™ 6 5 8 6 ™ 6 ¢⁄ 30 Copyright © 2015 Griff Hamlin's Guitar Unleashed . EXAMPLE 7-2.0 Griff Hamlin Now here’s an example of this used a bit faster in an uptempo swing feel similar to “Empty Arms” by Stevie Ray Vaughan.

and it works exactly the same either way. EXAMPLE 8-1. It can be slow or fast. are really implied.0 Griff Hamlin Lesson 8 – Blues In E In This Lesson: By the end of this lesson you will be able to play one of the most common blues rhythms on the planet. except the last one. The funniest thing about this is that it’s easy. The chords. If I had a nickel for every blues jam I’ve been to where no two people on the bandstand knew the same song so they just played “blues in E. but they act like 7th chords and that is what’s important. common.Blues Guitar Unleashed 2.” I would be a very rich man indeed. You aren’t really playing enough notes to call these 7th chords as I’ve done. Here’s the TAB for blues in E. CD 1 TRACKS 31-32 qaa z=[qp ]e ° #### ™4 E7 & ™4 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ™ ™ ¢⁄ 2 2 0 0 4 2 2 2 4 2 0 0 0 0 0 0 2 2 0 0 4 2 2 2 4 2 0 0 0 0 0 0 2 2 0 0 4 2 2 2 4 2 0 0 0 0 0 0 2 2 0 0 4 2 2 2 4 2 0 0 0 0 0 0 ° #### A7 E7 & œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœœœœœ œœ œœœœœœ 2 2 4 2 2 2 4 2 2 2 4 2 2 2 4 2 ¢⁄ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 0 2 0 4 0 2 0 2 0 2 0 4 0 2 0 2 0 2 0 4 0 2 0 2 0 2 0 4 0 2 0 E7 ° #### B7 A7 E7 B7 ™™ nw w 2 13 & œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ w nw œœœœœœœœ œœ œœœœœœ w w ™ 031 4 4 6 4 4 4 6 4 2 2 4 2 2 2 4 2 4 4 6 4 4 4 6 4 ™ 02 ¢⁄ 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 2 2 0 0 4 2 2 2 4 2 0 0 0 0 0 0 2 2 2 2 2 2 2 2 0 Copyright © 2015 Griff Hamlin's Guitar Unleashed 31 . and you can solo over it for days.

And last but not least. The reason I show this is to show you how this would be done without open strings.Blues Guitar Unleashed 2. I’ve done this one in a straight feel just to demonstrate the variety that’s possible. EXAMPLE 8-2. Also. we have blues in D.) 32 Copyright © 2015 Griff Hamlin's Guitar Unleashed . And of course...0 Griff Hamlin Blues In A. “blues in E” has a very close cousin named “blues in A” which is below. notice how the I. IV. The V chord is right below the I chord.. and the IV chord just 2 frets down from V (as it always is.. and V chords work when the I chord is on the 5th string. CD 1 TRACKS 33-34 ° ### 4 A7 & 4 œœ œœœœœœ œœ œœœœœœ œœ œœœœœœ œœ œœœœœœ œœ œœœœœœ œœ œœœœœœ œœ œœœœœœ œœ œœœœœœ 2 2 4 2 2 2 4 2 2 2 4 2 2 2 4 2 2 2 4 2 2 2 4 2 2 2 4 2 2 2 4 2 ¢⁄ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 ° ### D7 A7 & œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœœœœœ œœ œœœœœœ 2 2 4 2 2 2 4 2 2 2 4 2 2 2 4 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 4 2 2 2 4 2 2 2 4 2 2 2 4 2 ¢⁄ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 A7 ° ### E7 D7 A7 E7 ™™ nw 1 3 & œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ w w œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœœœœ œœ œœœœœœ w œ œ œ œ œ œ œ œ w 0 ™ 2 2 2 4 2 2 2 4 2 0 0 0 0 0 0 0 0 2 2 4 2 2 2 4 2 ™ 020 ¢⁄ 2 2 0 0 4 2 2 2 4 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 4 2 2 2 4 2 0 0 0 0 0 0 0 0 Blues In D.

CD 1 TRACKS 35-36 qaa z=[qp ]e D7 ° ## 4 & 4 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 7 7 9 7 7 7 9 7 7 7 9 7 7 7 9 7 7 7 9 7 7 7 9 7 7 7 9 7 7 7 9 7 ¢⁄ 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 ° ## G7 D7 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœœœœœœ œœœœœœœœ 7 7 9 7 7 7 9 7 7 7 9 7 7 7 9 7 ¢⁄ 5 3 5 3 7 3 5 3 5 3 5 3 7 3 5 3 5 3 5 3 7 3 5 3 5 3 5 3 7 3 5 3 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 D7 5fr ° ## A7 G7 D7 A7 w w & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œœ œœ œœ œ œœ œ œ œ œ œ œ œ œ ™ w œ œ ™ nw œœ œœœœœœ œœœœœœœœ œœ œœœœœœ w ™ 575 7 7 9 7 7 7 9 7 ™ 7 ¢⁄ 75 75 95 75 75 75 95 75 53 53 73 53 53 53 73 53 5 5 5 5 5 5 5 5 75 75 95 75 75 75 95 75 5 Copyright © 2015 Griff Hamlin's Guitar Unleashed 33 .Blues Guitar Unleashed 2.0 Griff Hamlin EXAMPLE 8-3.

0 Griff Hamlin EXAMPLE 8-4.Blues Guitar Unleashed 2. CD 1 TRACKS 37-38 qaa z=[qp ]e ° #### E7 & ™™44 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ™ ™ ¢⁄ 2 2 0 0 4 4 2 2 4 4 0 0 0 0 0 0 2 2 0 0 4 4 2 2 4 4 0 0 0 0 0 0 2 2 0 0 4 4 2 2 4 4 0 0 0 0 0 0 2 2 0 0 4 4 2 2 4 4 0 0 0 0 0 0 ° #### A7 E7 & œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœœœœœ œœ œœœœœœ 2 2 4 4 2 2 4 4 2 2 4 4 2 2 4 4 ¢⁄ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 0 2 0 4 0 4 0 2 0 2 0 4 0 4 0 2 0 2 0 4 0 4 0 2 0 2 0 4 0 4 0 ° #### B7 A7 & œœ œœ œ œ œœ œœ œ œ œœ œœ œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ 4 4 6 6 4 4 6 6 2 2 4 4 2 2 4 4 ¢⁄ 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 ° #### œ nœ œ E7 E œ #œœ œ w 3 & œ œ bœ œ œ œ b œœ œœ œœ ™™ w w w œ 3 3 3 œ bœ nœ œ œ œ w w 4 3 2 0 0 0 4 4 3 3 2 2 1 1 2 2 2 ™ 0 1 1 1 1 ™ 2 ¢⁄ 0 0 1 2 2 2 2 2 0 34 Copyright © 2015 Griff Hamlin's Guitar Unleashed .

Blues Guitar Unleashed 2.0 Griff Hamlin EXAMPLE 8-5. CD 1 TRACKS 39-40 ° ### 4 A7 & 4 œ œ œ œnœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œœ œœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ 2 2 4 2 5 2 4 2 2 2 4 2 5 2 4 2 2 2 4 2 5 2 4 2 2 2 4 2 5 2 4 2 ¢⁄ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 ° ### D7 A7 & œœ œœ œœ œœ nœœ œœ œœ œœ œœ œœ œœ œœ nœœ œœ œœ œœ œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œœœœœœœœ œœœœœœœœ 2 2 4 2 5 2 4 2 2 2 4 2 5 2 4 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 4 2 5 2 4 2 2 2 4 2 5 2 4 2 ¢⁄ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 ° ### œœ ‰ œœj E7 A7 E7 ˙˙ A5 & œ nœ œ ™™ w œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œ œœ œ œœ œœ œœœ ˙˙ ˙ w w 0 0 0 0 0 0 ™ 2 2 2 4 2 5 2 4 2 2 2 ™ 2 ¢⁄ 2 2 0 0 4 2 5 2 4 2 0 0 0 0 0 0 2 2 4 2 5 2 4 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 0 2 0 2 0 0 Copyright © 2015 Griff Hamlin's Guitar Unleashed 35 .

This type of picking has many names. but what you want to do on this rhythm to get a good ‘snap’ on the strings is to play the 5th (A) string notes with your pick (held between thumb and index finger like normal) and use your middle finger to pluck the 4th (D) string. John Lee Hooker. CD 1 TRACKS 41-43 qaa z=[qp ]e ° ### 4 j j j j j A5 & 4 œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ nœ œ ™™ ∑ œ 2 2 2 2 2 2 2 ™ 2 2 2 2 2 2 2 2 ™ 2 ¢⁄ 0 3 5 0 Now to play the main “groove” once the band gets started you’ll need some good old fashioned rock and roll approved power chords (and adding a fair amount of overdrive to your electric guitar tone helps with the vibe as well!) In A. This is a simple pattern that’s only a few bars long. and your ring finger to pluck the 3rd (G) string. His was the first and has been often copied. and created a total blues staple. It’s actually very common in blues guitar. EXAMPLE 9-1. John Lee Hooker took a simple chord progression. but once you get the hang of it and see what you can do with the technique you’ll never go back to “just using a pick” ever again. Make sure you get the snap out of the off-beat notes by using your right hand fingers as well as the pick. the key we start in. One of techniques I like to demonstrate on this is the use of the picking hand middle and ring fingers.0 Griff Hamlin Lesson 9 – “A How – How – How” In This Lesson: By the end of this lesson you will be able to play a rhythm made famous by blues legend. It’ll take some time to get used to if you’ve never done it before. Boom” by John Lee Hooker. and later by ZZ Top. you’ll need these chord shapes: A5 C5C5 D5D5 D5 E¨5E¨ 5fr 6fr 5fr 5fr 6fr 6fr 36 Copyright © 2015 Griff Hamlin's Guitar Unleashed . handed it off to ZZ Top some years later.Blues Guitar Unleashed 2. so this is a short one. Going back. Listen to “La Grange” by ZZ Top to hear this idea in action. check out “Boom.

Blues Guitar Unleashed 2. CD 1 TRACKS 44-46 qaa z=[qp ]e ° ### 4 A5 C5 D5 A5 C5 D5 & 4 œ œ ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj nœ œœ œ œ ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj nœ œœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ 2 2 2 2 2 2 2 5 7 2 2 2 2 2 2 2 5 7 ¢⁄ 0 0 0 0 0 0 0 3 5 0 0 0 0 0 0 0 3 5 ° ### A5 C5 D5 A5 C5 D5 A5 & œ œ ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj nnœœ œœ œ œ ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj nnœœ œœ w w œœ œ œ œ œ œ œœ œ œ œ œ œ w 2 2 2 2 2 2 2 2 5 7 2 2 2 2 2 2 2 5 7 2 ¢⁄ 0 0 0 0 0 0 0 3 5 0 0 0 0 0 0 0 3 5 0 And then if you play the song “La Grange” like ZZ Top does it. The chords will be: C5 D5E¨5 F5F5 E¨5 F5 5fr 6fr 8fr8fr 6fr 8fr Copyright © 2015 Griff Hamlin's Guitar Unleashed 37 . you’ll need to move that same groove up to C for the solo… or you may just be playing this groove (which is common to a lot of songs) in a different key so here’s how you would do that.0 Griff Hamlin And you’ll put them together like this: EXAMPLE 9-2.

0 Griff Hamlin EXAMPLE 9-3.Blues Guitar Unleashed 2. CD 1 TRACKS 47-49 qaa z=[qp ]e C5 E¨5 F5 C5 E¨5 F5 ° 4 j j j j j j j j j j & 4 œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ bbœœ œœ œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ bbœœ œœ 5 5 5 5 5 5 5 8 10 5 5 5 5 5 5 5 8 10 ¢⁄ 3 3 3 3 3 3 3 6 8 3 3 3 3 3 3 3 6 8 C5 E¨5 F5 C5 E¨5 F5 C5 j j j j j j j j j j & œœ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ bbœœ œœ œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ bbœœ œœ w ° œœ w w 5 5 5 5 5 5 5 5 8 10 5 5 5 5 5 5 5 8 10 5 ¢⁄ 3 3 3 3 3 3 3 6 8 3 3 3 3 3 3 3 6 8 3 38 Copyright © 2015 Griff Hamlin's Guitar Unleashed .

One of the most recognizable elements of Stevie’s rhythm style was his huge “chunka – chunka” Texas style shuffle grooves. This is similar to Stevie’s tune Pride & Joy. Many people would argue that Stevie Ray Vaughan has been the singularly most influential blues musicians of the last 25 years. Modern blues players like Kenny Wayne Shepherd. we’ll look at adding a sort of walking bass to the rhythm. and even more popular artists like Jon Mayer cite Stevie as one of their biggest influences. Here’s the first version…. You can also use this style of rhythm playing over standard tunes like Sweet Home Chicago. The same technique can be found in other tunes like Cold Shot. Jonny Lang. Copyright © 2015 Griff Hamlin's Guitar Unleashed 39 .Blues Guitar Unleashed 2. just trying to get the feel down. Second. I did that on my Live In Poland CD (2004) and it worked really well. and a ton of songs from other artists. Texas style shuffle in the style of Stevie Ray Vaughan. We’re going to do 2 versions: first we’ll take it a little more basic. Stevie used this type of strum in several of his songs.0 Griff Hamlin Lesson 10 – The Texas Shuffle In This Lesson: By the end of this lesson you will be able to play a mid-tempo. Joe Bonamassa.

40 Copyright © 2015 Griff Hamlin's Guitar Unleashed . Watch the video carefully and notice how I do this. CD 2 TRACKS 1-2 (TRACK 5 IS JAM TRACK) E qaa z=[qp ]e ° #### ™4 œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ & ™4 œœ œ œ œJ œJ œJ œJ œJ œJ œœ œ œJ œJ J œJ œJ J œJ œœ J œœ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 ™ 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 0 1 0 1 0 0 1 ™ 2 2 ¢⁄ 2 0 2 0 A7 E ° #### nœœ œœ ‰ œœ œœ œœ nœœ œœ œœ œœ œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ & œœ œ œ‰ œ‰ œ ‰ œ‰ œ‰ œ‰ œ #œœœ œœ ‰ œ œ œ œ œ œ œ œ J J J J J J J œœ J J J J J J J 3 3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 1 1 1 1 1 1 1 1 1 2 2 ¢⁄ 0 2 0 B7 A7 E E ° #### œœœœ‰ œœ ‰ œœ ‰ œœ nœœ œ œ œ œ œœ œ œ œ ™™ w œœ œœ ‰ œœ ‰ œœ ‰ œœ #œœœ œœ ‰ œœJ ‰ œœJ ‰ œœJ w 3 & œœ œ œ œ œ w w œ J J J œ J J J œœ œ # œ œ ˙ w œœ w 2 2 2 2 2 3 3 3 3 3 0 0 0 0 0 0 0 2 0 2 0 2 0 2 0 2 2 2 2 2 2 2 2 2 2 2 0 0 1 1 0 1 0 1 0 1 ™ 0 1 1 2 2 ™ 2 ¢⁄ 2 0 2 0 0 0 0 1 2 2 0 Really make a point to get the up strums correct on these.Blues Guitar Unleashed 2.0 Griff Hamlin EXAMPLE 10-1. then the other 4 strums are all up because they fall on the ‘&’ part of the beat. Each bar has a downstrum on the first beat.

it becomes a lot like the song Pride & Joy. but you have to play it slow at first to get it right.0 Griff Hamlin If we add a little walking bass into this. Most students have a pretty hard time with this and making it really sound good. Here it is in TAB …. CD 2 TRACKS 3-5 E qaa z=[qp ]e ° #### ™™44 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ & œœ œ œœ œ œœ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 ™ 0 1 0 1 0 0 0 0 0 0 0 0 1 0 1 0 0 0 0 0 0 0 ™ 2 2 2 2 ¢⁄ 2 2 4 2 4 2 2 4 2 4 ≥≤ ≥≤ ≥≤ ≥≤ 0 4 4 0 4 4 A E ° #### œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ & œœ œ œ œ œ œ œ œ œœ œ œ œ œœ œ œ œ œ œ œ œ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 1 1 2 2 4 2 4 2 2 ¢⁄ 0 4 4 2 0 4 2 4 4 2 4 B A E E ° #### œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 3 w w & œ œœ œ w œ œ œ œœ œ œ œ w ™™ œœ œ œ œ œ œ œ # œ œ ˙ w w 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 0 0 0 0 0 1 1 0 0 0 ™ 0 1 4 6 2 2 4 2 ™ 2 ¢⁄ 2 6 0 4 2 0 4 2 4 2 2 0 1 2 2 0 Copyright © 2015 Griff Hamlin's Guitar Unleashed 41 . Make it a point to memorize the pattern in the bass notes as quickly as possible so you can get the speed up and start making it sound a lot better. EXAMPLE 10-2. and to memorize the notes. actually. The key on this is the speed. Played slowly it sounds just awful.Blues Guitar Unleashed 2.

the I and IV chords are minor. But there are a couple of important differences… Instead of all of the chords being 7th family (dominant) chords. we would pull the I.Blues Guitar Unleashed 2. It’s going to be in B minor.0 Griff Hamlin Lesson 11 – Minor Blues In This Lesson: By the end of this lesson you will be able to play a minor blues similar to BB King’s tune. enough of the techie stuff. Bm7 Em7 Gmaj7 F#7#9 7fr 7fr 7fr 8fr 2 3 3 3 3 2 3 1 2 1 4 3 1 1 1 2 1 3 4 You’ll notice that rarely will I play the whole chord all at once. let’s play. The Thrill Is Gone. major 7th. In particular. or dominant 7th (just plain old 7th) and as I said. and F#7#9. depending on the sound you want. IV. we’re going to need a bVI as well. 42 Copyright © 2015 Griff Hamlin's Guitar Unleashed . Bmin7. so we’ll take the VI. If it were a standard 12 bar blues.) To show this a little more. I. the Bm7 and Em7 chords will be played in sections. I’m going to use a 7#9 chord. and lower it ½ step (flat it) and we get G natural (not sharp or flat. This gives a good rhythm and drive to the tune and plays along well with the rest of the rhythm section. which is G#. 7th. we use what’s called a b6 (bVI) chord. The b6 chord is major. And from there we finish up with V. or altered 7th (like 7#9 which I’ll use in this example. I’ll play the root note on the downbeat. which is a really popular variation for the V chord in a minor blues. Emin7. In this example. and V from the B Major scale which is : I II III IV V VI VII VIII B C# D# E F# G# A# B However. let’s look at this example more closely. The V chord may be minor or 7th. and the rest of the chord later. and V. Often. instead of the last 4 bars of the form being V – IV – I – V as they would normally be.) Okay. Gmaj7. the V can be minor. A minor blues is similar in form to a standard blues. We’re going to use 4 main chords in this tune.

This isn’t really the place to get too much into that scale. but here it is in tab: ⁄ 7 10 7 10 7 9 10 7 9 7 8 9 7 10 ⁄ 10 7 10 7 10 9 7 9 7 9 8 7 10 7 Now here’s the entire tune in TAB… EXAMPLE 11-1.0 Griff Hamlin I’m also going to use some single note rhythm stuff which will all be right out of the B minor blues scale.Blues Guitar Unleashed 2. CD 2 TRACK 6 ° ## 4 Œ œ œœ Œ B‹ œœ œœ œœ œœ œœ œœ œœ & 4 œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 ¢⁄ ° ## Œ œ E‹7 œœ œœ œœ œœ œ B‹ œœ Œ œœ œœ œœ & Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ 7 7 7 7 7 7 7 7 8 8 8 8 7 7 7 7 7 7 7 7 7 7 7 7 ¢⁄ w ° ## Œ œœœ Œ œœœ œ œ nB‹ œœ œœ nœ ˙ GŒ„Š7 F©7(#9) F©7(#9) Bm9 & Œ bœœ Œ œœ Œ œ Œ œ Œ #œœ ˙˙ ™™ nw w w 7 7 7 7 9 7 7 7 7 10 9 10 9 7 7 7 7 10 9 ™ 7 7 8 8 8 ™ 7 ¢⁄ Copyright © 2015 Griff Hamlin's Guitar Unleashed 43 .

0 Griff Hamlin EXAMPLE 11-2......Blues Guitar Unleashed 2.. CD 2 TRACK 7 œ œœ Œ #œœ œœ œœ œœœ Œ œœ œœ œ œœ ° ## 4 Œ œ Œ #œœ œœ œœ œœ Œ B‹ œ Œ œ & 4 7 7 7 7 7 7 7 9 7 7 7 7 7 9 7 7 7 7 7 9 7 7 7 7 7 9 7 7 7 7 ¢⁄ ° ## Œ œ E‹7 œœ œœ œœ œœ œœ œœ œ œœ Œ #œœ œœ œœ œœœ Œ B‹ œœ & Œ œ œ œ œ Œ œ Œ œ 7 7 7 7 7 7 7 7 7 8 7 8 8 8 8 7 9 7 7 7 7 7 7 7 7 7 7 7 9 7 7 7 7 ¢⁄ w ° ## œ œ œœ ˙˙ n œœ ˙˙ œœ œ n œœ ˙˙ Gmaj7 F#7#9 Bm9 œ ™™ nw B‹ F©7(#9) Œ œ Œ œ Œ #œ ˙ w & œ œ #œ ˙ w Let Ring .... 7 7 7 9 7 7 10 9 7 7 7 7 10 9 ™ 7 7 9 8 8 ™ 7 ¢⁄ 10 9 44 Copyright © 2015 Griff Hamlin's Guitar Unleashed ..

..Blues Guitar Unleashed 2... CD 2 TRACK 8 Bm7 7fr œœ œ œœ œ ° ## 4 œœ Œ #œœ œœ œœ œœœ ‰ j œ œ œœ Œ #œœ œœ œœ œœœ ‰ j œ œ & 4 œ œ œ œ 7 7 7 7 7 9 7 7 7 7 9 7 7 7 7 9 7 7 7 7 9 7 7 7 7 7 7 9 7 7 7 9 ¢⁄ 7 9 7 9 Em7 Bm7 7fr 7fr œœ œœ œœ œœ œœ œœ œ ° ## œœ Œ œœ œœ œœ œœ ‰ j œ œ œœ Œ #œœ œœ œœ œœœ ‰ j œ œ & œ œ œ œ 7 7 7 7 7 7 7 8 7 8 8 8 7 9 7 7 7 7 7 7 7 7 7 9 7 7 7 9 7 9 9 9 7 9 7 7 7 9 ¢⁄ 7 9 7 9 Gmaj7 F#7#9 Bm7 F#7#9 Bm9 w 7fr 8fr 7fr 8fr 7fr ° ## œ œ œœ ˙˙ n œœ ˙˙ œœ œ j n œœ ˙˙ ™™ nw w & œ œ #œ ˙ nœ ‰ œ œ œ œ #œ ˙ w œ Let Ring ...... 7 7 9 7 7 10 9 7 7 10 9 ™ 7 7 9 8 7 7 9 8 ™ 7 ¢⁄ 10 9 7 9 9 Copyright © 2015 Griff Hamlin's Guitar Unleashed 45 ..0 Griff Hamlin EXAMPLE 11-3.

0 Griff Hamlin EXAMPLE 11-4. CD 2 TRACK 9 qaa z=[qp ]e œœ œ œœ œœ œ œœ G‹ ° bb 4 Œ œ Œ nœœ œœ œœ œœ Œ œ Œ œ Œ nœœ œœ œœ œœ Œ œ & 4 3 3 3 3 3 3 3 5 3 3 3 3 3 5 3 3 3 3 3 5 3 3 3 3 3 5 3 3 3 3 ¢⁄ œœ œœ œœ œœ œœ œœ œœ œ œœ C‹7 G‹ ° bb Œ œ Œ œ œ œœ œ Œ œ Œ œ Œ nœœ œœ œœ œœ Œ œ & 3 3 3 3 3 3 3 3 3 4 3 4 4 4 4 3 5 3 3 3 3 3 3 3 3 3 3 3 5 3 3 3 3 5 ¢⁄ œ w E¨9 D7#9 G‹ Gm9 ° bb #œœ œœ ˙˙ nnœœ ˙˙ Œ œœ Œ nœœ œœ Œ #nœœœ ˙˙˙ D7(#9) & œœ œœ ˙˙ ™™ nw w œ #œ ˙ w 3 5 6 6 6 6 6 6 6 5 3 3 5 5 3 3 6 5 ™ 3 3 5 5 5 4 4 ™ 3 ¢⁄ 6 6 6 5 46 Copyright © 2015 Griff Hamlin's Guitar Unleashed .Blues Guitar Unleashed 2.

CD 2 Tracks 11 (11-1 through 11-3) and 12 (11-4 and 11-5) Copyright © 2015 Griff Hamlin's Guitar Unleashed 47 .Blues Guitar Unleashed 2. CD 2 TRACK 10 qaa z=[qp e] G‹ ° bb 4 œœœ œœœ nœœ œœ œœ œœ œ œ nœœ œœ & 4 œ œ œ œ œ œ œ œ œ œ œ œ 3 3 3 3 3 3 5 3 3 3 5 3 3 3 5 3 3 3 5 3 3 5 3 5 3 5 3 5 ¢⁄ 5 5 5 5 œ œ œœ œœ ° bb œœ œœ œœ œœ C‹ G‹ œ œ œ œ nœœ œœ & œ œ œ œ œ œ œ œ œ œ 8 8 3 3 8 8 10 8 3 3 5 3 8 8 10 8 3 3 5 3 8 10 8 10 3 5 3 5 ¢⁄ 10 10 5 5 w D7#9 Gm9 œœ œœ E¨9 G‹ D7(#9) ° bb #œœ œœ ˙˙ nnœœ ˙˙ œ œ nœœ œœ Œ nœœ ˙˙ ™™ nw w & œœ œœ ˙˙ œ #œ ˙ œ nœ #œ ˙ w 3 3 5 6 6 6 6 6 6 6 5 3 3 3 3 5 5 3 3 6 5 ™ 3 3 5 5 5 4 3 4 ™ 3 ¢⁄ 6 6 6 5 5 Example 11 Jam Tracks.0 Griff Hamlin EXAMPLE 11-5.

In jazz circles this is call back-cycling and is a VERY common practice. I played more than one version of G7. Instead of just D7. including a variety of new chords and possible variations of the traditional 12 bar blues. Learning this lesson will really add a lot of sophistication to your playing. 48 Copyright © 2015 Griff Hamlin's Guitar Unleashed . the jazz version of a 12 bar blues. There are a lot of interesting things about the jazz blues example that I want to point out: ○○ Notice the Dmin9 – G7(#9#5) chord in bar 4. There might be quite a few new chords in this one. Instead of just G7. we have a ii – V progression. or sections of it. This is totally normal in jazz AND in blues. Jazz. you play the ii and V of that chord. D7#9. Back-cycling is simply taking any chord. It’s also really good for your ear to get used to hearing these sounds so you can recognize them with a group or from a recording.Blues Guitar Unleashed 2. A 12 bar blues in any blues club is pretty much the same as you’ve seen. also another staple of jazzy turnarounds. ○○ Notice how many variations of the same chord families I use. What is happening here is that the chord that is coming up is a C9. ○○ In bars 9 and 10. ○○ The turnaround in bars 11 and 12 is a I – VI – ii – V progression. Walk into a jazz club. and a more “tense” harmony. finds its way into a lot of tunes. ○○ Notice the E7#9 chord in bar 8. this is called a ii-V change. In the key of C. depending on how many you’re already familiar with. Dmin is the ii chord. this is typical and is the VI chord in the key of G. is characterized by more chords. there is D9. While you may not be a jazz lover. and D7b9. and G7 is the V chord.0 Griff Hamlin Lesson 12 – Jazzy Shuffle Blues In This Lesson: By the end of this lesson you will have learned a much jazzier side of blues. in general. and things will change. The ii – V progression is a jazz staple. though. instead of V – IV. and threw in some G9 as well. and in the bar before that chord.

Blues Guitar Unleashed 2. CD 2 TRACKS 13-15 G9 C9 C13 C9 G9 Dm9 G7[äÁ] qaa z=[qp ]e ° # 4 œœ œœ œ œ œœ j #œ ™ 21333 21334 21333 2133 2134 ‰ nnœœœ ™™™ 2133 & 4 nœœ œœ Œ Ó ‰ bœœœ Œ œœœ œœ Œ ‰ nœœœ Œ ##œœ œœœ Œ ‰# œœœ ™™™ J œ œ™ 3 3 3 5 3 4 3 3 3 3 3 3 2 3 5 4 2 2 3 3 3 2 1 2 5 4 3 3 2 2 2 3 2 3 3 3 ¢⁄ 5 C9 C9 G7 E7#9 5fr 5fr 6fr œ™ œ nnœœ b œœ n œœ ° # ‰nbnœœœ Œ œœœ Œ œ Œ ™ #nœœœ ‰ #nœœœ ™™™ œ 21333 3214 1324 2134 & ‰bœœœ ™™™ œœ ‰ œ Œ œœ ##œœ œ ‰ œœ Œ œJ œ J œJ œ™ œJ 3 3 8 8 7 6 7 3 3 5 5 6 5 6 8 8 8 3 3 7 7 7 6 7 7 7 7 2 2 8 8 5 4 5 6 6 6 ¢⁄ 7 7 7 Am7 Am9 D9 D7 G7 E7#9 Am7 D7#9 D7b9 G9 5fr 5fr 4fr 6fr 5fr 4fr 4fr 9fr œœ œœ œœ j j n w œœ ™™ nœœ ‰#œœj Œ ™ nw 21333 nœ œœ 2 333 2 3334 21333 3241 121 2134 2 333 2134 2131 ° # œœ œœ Œ Œ œœ ‰ œœ œœ Œ Œ œœœ nœœœ œœœ ‰#œœ œ œ ‰ nœ w & nœ œ J œ œJ œœ œ ™ #œœ nœœ ™ w w œ œ œ ™ 7 5 5 5 5 5 5 5 5 5 5 5 5 3 5 3 4 3 4 8 7 8 7 5 5 5 5 6 5 4 5 ™ 101010 5 5 5 4 4 4 3 3 6 6 5 5 4 4 ™ 109 ¢⁄ 5 5 7 7 5 5 5 5 Copyright © 2015 Griff Hamlin's Guitar Unleashed 49 .0 Griff Hamlin EXAMPLE 12-1.

Blues Guitar Unleashed 2.” These are very important placeholders that keep the time correct. The hardest part is the dotted 1/8th and 1/16th notes group on the very first beat. The key to this is ALL in the right hand. Where most people fail on this is they either rush or simply ignore the “skipped strums. You can watch the TAB. then an up strum. you’ll probably not keep a very good beat. I’ve always loved the more funky side of blues. In this example. we’ll take what would be a pretty simple blues in C. 2 skipped strums. It’s a down strum. Without them. but the rhythm above it is more important as the tab just follows the chords until the last 2 bars… 50 Copyright © 2015 Griff Hamlin's Guitar Unleashed .0 Griff Hamlin Lesson 13 – Funky Blues In This Lesson: By the end of this lesson you will be able to play a blues in a more funky style. and add a funky rhythm to it. Instead of each measure being broken down into 8 pieces (8th notes) we’ll be subdividing the measures into 16 parts (1/16th notes) at 4 parts per beat. Now here’s the tune. A couple of my favorite funkified blues players are Freddie King and Albert Collins. Here is how a measure would look if we played every single beat: 4 ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ &4 V V V V V V V V V V V V V V V V Count:1 e and uh 2 e and uh 3 e and uh 4 e and uh Make sure you watch the video for how I play the rhythm used in this tune.

CD 2 TRACKS 16-17 (TRACK 20 IS JAM TRACK) C7 8fr 121 ° 4 ™ ‰ ‰ ‰ ™ & 4 V V VJ VJ VJ V V VJ ‰ VJ ‰ VJ ‰ V ™ V VJ ‰ VJ ‰ VJ ‰ V ™ V VJ ‰ VJ ‰ VJ ‰ 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 ¢⁄ F9 C7 7fr 8fr 21333 121 & V ™ V VJ ‰ VJ ‰ VJ ‰ V ™ V VJ ‰ VJ ‰ VJ ‰ V ™ V VJ ‰ VJ ‰ VJ ‰ V ™ V VJ ‰ VJ ‰ VJ ‰ ° 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 9 9 9 9 9 9 9 9 9 9 7 7 7 7 7 7 7 7 7 7 8 8 8 8 8 8 8 8 8 8 ¢⁄ G9 F9 9fr 7fr 21333 21333 ° & V™ V VJ ‰ VJ ‰ VJ ‰ V™ V VJ ‰ VJ ‰ VJ ‰ 10 10 10 10 10 8 8 8 8 8 10 10 10 10 10 8 8 8 8 8 10 10 10 10 10 8 8 8 8 8 9 9 9 9 9 7 7 7 7 7 ¢⁄ C7 8fr ° ‰ bœœ œœ œ œœ œ œ œ w (C7 chord implied but play the riff instead) 121 & J œ bœ ‰ bœJ œ œ œ œ bœ ™™ bnw w 8 8 8 8 8 8 8 8 8 8 8 8 ™ 8 9 10 10 8 10 10 8 ™ 8 ¢⁄ Copyright © 2015 Griff Hamlin's Guitar Unleashed 51 .Blues Guitar Unleashed 2.0 Griff Hamlin EXAMPLE 13-1.

Blues Guitar Unleashed 2.0 Griff Hamlin EXAMPLE 13-2. CD 2 TRACKS 18-20 C7 F C7 F C7 F C7 F 8fr 8fr 8fr 8fr 8fr 8fr 8fr 8fr ° 4 ™ & 4 V V VJ ‰ ‰ VJ ≈ VR ‰ V ™ V VJ ‰ ‰ VJ ≈ VR ‰ V ™ V VJ ‰ ‰ VJ ≈ VR ‰ V ™ V VJ ‰ ‰ VJ ≈ VR ‰ 8 8 8 10 10 8 8 8 10 10 8 8 8 10 10 8 8 8 10 10 9 9 9 10 10 9 9 9 10 10 9 9 9 10 10 9 9 9 10 10 8 8 8 10 10 8 8 8 10 10 8 8 8 10 10 8 8 8 10 10 ¢⁄ F9 C7 F C7 F 7fr 8fr 8fr 8fr 8fr & V ™ V VJ ‰ ‰ VJ ≈ VR ‰ V ™ V VJ ‰ ‰ VJ ≈ VR ‰ V ™ V VJ ‰ ‰ VJ ≈ VR ‰ V ™ V VJ ‰ ‰ VJ ≈ VR ‰ ° 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 10 10 8 8 8 10 10 8 8 8 8 8 8 8 8 8 8 9 9 9 10 10 9 9 9 10 10 7 7 7 7 7 7 7 7 7 7 8 8 8 10 10 8 8 8 10 10 ¢⁄ G9 F9 C7 9fr 7fr 8fr bœœ œœ œœ bœœ œœ œœ w (C7 chord implied but play the riff instead) ° & V ™ V VJ ‰ ‰ VJ ≈ VR ‰ V ™ VVJ ‰ ‰ VJ ≈ VR ‰ ‰ J œ œ bœ ‰ J œ œ bœ ™™ bnw w 10 10 10 10 10 8 8 8 8 8 10 10 10 10 10 10 10 10 10 10 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 ™ 8 9 9 9 9 9 9 7 7 7 7 7 10 10 8 10 10 8 ™ 8 ¢⁄ 52 Copyright © 2015 Griff Hamlin's Guitar Unleashed .

Occasionally I’ll throw in a single note here and there just to add some melody or change the chord voicing slightly. This particular example that I’ve created is very much in that gospel/blues style. There’s a classic tune by the name of “I Ain’t Got Nothin’ But The Blues” which was originally a Duke Ellington classic.0 Griff Hamlin Lesson 14 – Gospel Slow Blues In This Lesson: By the end of this lesson you will be able to play a gospel-style slow blues in Bb. and my index.Blues Guitar Unleashed 2. I’ve heard a few other more modern versions of it. Copyright © 2015 Griff Hamlin's Guitar Unleashed 53 . complete with some moving bass to go along with the chords. I play this tune with my fingers and utilize my thumb for all bass notes. As a side note. and ring fingers for the top notes of each chord. And I’ve also included what are commonly called the T-Bone Stormy Monday changes. this sounds awesome on an acoustic steel or nylon string guitar. middle. and one I particularly like best is by Robben Ford.

0 Griff Hamlin EXAMPLE 14-1.Blues Guitar Unleashed 2. CD 2 TRACKS 21-22 Bb7 Eb9 Bb7 F7(#9#5) 6fr 5fr 6fr 7fr qaa z=[qp ]e œ œ b˙ œ œ œ bb ˙˙ 1 1211 21333 1 1211 21344 ° bb 4 bœj nœœ œ bœ œ ˙ ‰ bn˙˙ n˙˙˙ 3 & 4 bœ œ œ œ œ bœ nœ ˙ 3 6 8 6 9 6 6 9 6 9 6 7 8 6 7 8 6 6 7 ¢⁄ 6 6 6 6 4 5 6 8 Bb7 Cm7 C#dim7 Bb7/D Eb9 6fr 8fr 8fr 8fr 5fr b œœ œ ˙ 1 1211 2 3333 2 131 3 142 21333 ° bb nœœ œœ nœœœ & bœ œ œ bœœ bœ ‰ bœ bœ ˙ œ œ bœ nœ 3 8 6 6 8 8 9 7 8 9 10 6 6 8 6 6 8 8 8 5 ¢⁄ 6 8 9 10 6 Eb7 Edim7 Bb7 Cm7 Dm7 C#7#11 5fr 6fr 6fr 8fr 10fr 8fr n ˙˙ 324 2314 1 1211 2 3333 2 3333 2 341 ° bb & œ œ bœ œ bnœœ œœ bn˙˙˙ b˙˙˙ ˙n˙˙ 3 œ ˙ nœ ˙ ˙ ˙ b˙ 3 8 6 8 10 8 6 6 7 8 10 10 5 8 6 8 10 9 ¢⁄ 6 7 6 8 10 9 54 Copyright © 2015 Griff Hamlin's Guitar Unleashed .

Blues Guitar Unleashed 2.0 Griff Hamlin Cm7 Bbsus2/D Eb Edim7 F11 F7(#9#5) 8fr 5fr 6fr 6fr 8fr 7fr bb ˙˙ 2 3333 1412 1333 2314 1111 21344 ° bb bœœœ œœœ œœ bœœœ b˙˙˙ & œœ nœ ˙ n˙˙˙ œ nœ 9 8 6 8 8 8 9 8 5 8 6 8 8 8 8 8 8 8 7 ¢⁄ 8 5 6 7 8 8 Bb7 G7(#5) C9 F13 Bb% 6fr 5fr 1 1211 1 234 21333 1 234 2 1134 ° bb œœ nœœœ bnnœœœ œ nw w & bœ bœ bnœœ w œ bœ œ œ #œ nœ nœ bw 6 4 3 3 6 5 4 3 2 5 6 3 2 1 5 ¢⁄ 6 4 3 4 3 2 1 7 6 Copyright © 2015 Griff Hamlin's Guitar Unleashed 55 .

it might even be said that it’s the main sound used in rock music and country music as well. you can play the minor blues scale starting on any note of the sixth string. Don’t try to speed up until you can play it without making any mistakes.0 Griff Hamlin Lesson 15 – The Blues Scale In this Lesson: By the end of this lesson. The better you know it. This scale is the sound of the blues. you should be able to play the minor blues scale starting on any note of the sixth string. and remember to use your metronome. wait. Learn this scale and practice it every day. I call this fingering of the scale Box 1. After you have mastered the A minor blues scale. No. the more confident you will be the first time you step up to solo. In fact.Blues Guitar Unleashed 2. The blues scale is the primary sound used in blues music. wait. The blues scale is identical to the common pentatonic scale. CD 2 TRACK 23 ⁄ 5 8 5 8 5 7 8 5 7 5 6 7 5 8 ⁄ 8 5 8 5 8 7 5 7 5 7 6 5 8 5 And here is a fretboard diagram of the scale. practice it ten times a day. 56 Copyright © 2015 Griff Hamlin's Guitar Unleashed . practice it 100 times a day! Practice it slowly and evenly. The A Minor Blues Scale look like this in TAB: EXAMPLE 15-1. No. but it has one additional note. There are other fingerings we will cover later in the book.

If you were to start the scale on C. it’s a B minor blues scale. it would be a G minor blues scale. Before moving on. CD 2 TRACK 24 For example. make sure you can play the minor blues scale starting on any fret of the sixth string. and so on. I started the minor blues scale on an A note in the example above. Copyright © 2015 Griff Hamlin's Guitar Unleashed 57 . Starting on A makes it an A minor blues scale. it would be a C minor blues scale.Blues Guitar Unleashed 2. Got it? Good. Below. is the C minor blues scale in TAB: ⁄ 8 11 8 11 8 10 11 8 10 8 9 10 8 11 ⁄ 11 8 11 8 11 10 8 10 8 10 9 8 11 8 If I started the scale on G. If I start it on B. and so on.0 Griff Hamlin EXAMPLE 15-2. Being able to do that is the same as being able to play the minor blues scale in any key.

much like sliding or hammering on. and another to help bend it skyward. However. not a D anymore. The TAB note in parentheses should not be played. Typically. once you grab it and bend it up a full step as indicated. One of the most distinguishing elements of blues soloing is the use of string bending. If you bend a note a full step (or whole step.Blues Guitar Unleashed 2. Since most bends occur on the top 3 strings. it is then released back to pitch. EXAMPLE 16-2 1/2 1/2 1/2 ⁄ 7 7 5 7 7 5 7 7 5 58 Copyright © 2015 Griff Hamlin's Guitar Unleashed .0 Griff Hamlin Lesson 16 – Blues Bends In This Lesson: By the end of this lesson you will be able to play several standard blues licks which contain bends. Let’s look at the following lick: EXAMPLE 16-1 full full full ⁄ 5 5 5 7 7 7 Notice that I use my third finger on the 7th fret note. it should sound like the note one fret up from where you start. Notice that the note is not only bent up ½ step.) it should sound like the note 2 frets up from where you start. The note on the 7th fret of the 3rd string is a D. the second note should sound the same as the first once it is bent. it indicates that the note should still be ringing. I usually use one finger to play the note. Bending is just another way to get to a new note. Guitar players are lucky because the guitar. it’s an E. The trick is to always bend towards the center of the guitar neck. Below is a half step bend lick. and my middle finger to help bend it up to match the pitch of the second note. with its ability to bend notes as much as 2 ½ steps. bends are done with more than one finger. is arguably one of the most expressive instruments on the planet. If you bend a note a half step. which I hit with my first finger. In the case of the previous lick. we’ll bend up towards the ceiling to create the effect.

be able to play along with the recorded examples by memory. the second note should sound like the first note after it’s bent. Once again. just get them in your brain and in your fingers. CD 2 TRACKS 25-26 Œ full ⁄ 5 Ó 5 8 5 7 8 7 5 5 7 EXAMPLE 16-5. EXAMPLE 16-3 full full full ⁄ 5 5 5 8 8 8 Here are some common blues licks that use bends.0 Griff Hamlin Here’s another common whole step bend. CD 2 TRACKS 27-28 Œ ÍÍÍÍÍÍÍÍÍŒ full full Ó 5 8 5 7 7 7 5 ⁄ Before you move on. EXAMPLE 16-4. They don’t have to sound perfect. Copyright © 2015 Griff Hamlin's Guitar Unleashed 59 .Blues Guitar Unleashed 2.

and add a little variety to your phrases.” so named because of what it sounds like to me. or pulling-off a note. EXAMPLE 17-3 ⁄ 5 7 5 5 7 5 60 Copyright © 2015 Griff Hamlin's Guitar Unleashed .0 Griff Hamlin Lesson 17 – Hammer-ons. and “tweedlies. Make sure you understand the difference. pull-offs. A Hammer-on is quite simply where you push down with your finger very quickly and hard. you get what I call a “tweedly. try using some slurs. Hammer-ons can only go from lower notes to higher notes. and “Tweedlies” In This Lesson: By the end of this lesson you will be able to play several blues licks which contain hammer-ons. Hammer-ons can only go from a lower note to a higher note. A hammer-on is notated with an arc (slur mark) like this in TAB: EXAMPLE 17-1 ⁄ 5 7 5 7 Pull-offs are basically the opposite of hammer-ons. If you combine a hammer-on and a pull-off.Blues Guitar Unleashed 2. and pull-offs can only go from higher notes to lower notes.” One of the easiest ways to speed up your playing. and add some coolness factor to your solos. On a guitar this can be done by hammering-on a note. You’ll pick the first note. A slur is a generic term for a note that is not articulated with a pick. A pull-off is notated with a slur mark like this in TAB: EXAMPLE 17-2 ⁄ 7 5 7 5 Some of my students get confused when looking at the TAB as to whether to do a hammer- on or a pull-off. so as to “hammer” it onto the note. Pull-offs. The nice thing about a pull-off is that you can give the note a little flick to the side with your finger as you pull it off. This technique will keep the volume consistent. but is still played. is to articulate your notes in different ways. then quickly hammer-on the second and pull-off to the third. Pull-offs go from a higher note to a lower note. Instead of picking every single note. Usually these are pretty quick.

0 Griff Hamlin Here are a couple of licks that use hammer-ons. pull-offs. CD 2 TRACKS 31-32 ° 4Œ œ œ œ œ œ œ œ œ œ ˙ &4 J Ó 3 full 5 8 5 5 8 8 5 8 8 ¢⁄ EXAMPLE 17-6. CD 2 TRACKS 33-34 ° 4Ó &4 Œ œœ œ œ œ œ œ œ j œ ‰ Œ Ó œ bœ nœ full 7 7 5 7 5 7 5 ¢⁄ 5 6 7 EXAMPLE 17-7.Blues Guitar Unleashed 2. CD 2 TRACKS 29-30 ° 4Œ f f Œ &4 f f f f f f f f f f f full full 5 5 5 8 7 7 7 5 5 5 7 ¢⁄ EXAMPLE 17-5. bends. CD 2 TRACKS 35-36 œ ° 4‰ &4 œ œ œ œ œ œ œ œ Œ Ó full full 5 5 7 7 7 5 7 ¢⁄ Copyright © 2015 Griff Hamlin's Guitar Unleashed 61 . and tweedlies all together. EXAMPLE 17-4.

CD 2 TRACKS 37-38 ° 4Œ œ œ œ œ œ œ œ œ &4 œ œ œ œ œ Œ Ó 3 3 3 5 8 5 8 5 8 5 7 5 7 5 5 7 ¢⁄ As with most licks. Use the audio examples to help you stay on track. the key is to play these slowly and perfectly many times before you try to increase the speed. Keep them evenly spaced just like they were picked notes. 62 Copyright © 2015 Griff Hamlin's Guitar Unleashed . be able to play along with the recorded examples of all of the licks. Before you move on. You’re going to see most of these again very soon in the first solo example.Blues Guitar Unleashed 2.0 Griff Hamlin EXAMPLE 17-8. Most people try to do hammer-ons and pull-offs too fast which will make them out of time.

This solo example is a blues in the key of A with a straight feel from example 8-2 earlier.0 Griff Hamlin Lesson 18 – Example Solo #1 In This Lesson: By the end of this lesson you will be able to play a 12 bar blues solo in the key of A.Blues Guitar Unleashed 2. CD 2 TRACKS 39-41 Lick 1 Lick 2 ° ### 4 A7Œ œ œ œ œ œ nœ œ œ œ nœ œ bœ nœ nœ œ & 4 œ œ œ œ nœ œ Ó full full full 5 5 5 8 5 8 7 7 7 5 5 5 7 8 7 7 5 ¢⁄ 7 Lick 3 Lick 4 n œ œ nœ œ ™ œœ œ œ œ™ ˙ œn œ œ nœ œ œ œ œ œ D7 ° ### œ nœ Œ J & 3 full full full full 5 8 5 5 8 8 8 8 5 8 5 5 8 8 8 5 8 ¢⁄ Lick 5 ° ### ˙ A7 œ œ œ nœ œ nœ œ œ E7 & Œ œ nœ œ œ bœ nœ nœ œ œ full 8 7 7 5 5 7 5 7 7 5 5 7 7 ¢⁄ 5 6 7 7 Lick 6 Lick 7 ° ### D7 œ œ œ œ œ œ œ nœ A7 œ œ nœ œ œ n œ œ ˙™ & ‰ œ Œ full full full 5 5 5 8 5 5 5 5 8 7 7 7 5 7 ¢⁄ Copyright © 2015 Griff Hamlin's Guitar Unleashed 63 . So if you want to refresh your memory on that rhythm first that’s where to go. Now here is the solo in TAB: SOLO EXAMPLE 1.

Here is the next fingering up the guitar neck . Here is the TAB for the A minor blues scale. Practice this one as much as you practice Box 1.0 Griff Hamlin Lesson 19 – Moving On Up (Box 2) In This Lesson: By the end of this lesson you will be able to play a different fingering of the A minor blues scale. The notes in the A minor blues scale are A. there’s more than one way to play those notes on a guitar. The better you can “see” this on your fretboard.I call it Box 2. 64 Copyright © 2015 Griff Hamlin's Guitar Unleashed . D#/Eb. Box 2: EXAMPLE 19-1. C. play it starting on every fret. You should also practice Boxes 1 and 2 consecutively. There’s actually five different ways to finger the blues scale on the guitar. Once you get Box 2 under your fingers. E. You will also learn how to combine it with the fingering you already know. Box 1 was shown at the beginning of lesson 1. As you probably already know. the less likely you are to get lost in the middle of your solos. and G. Notice how the two boxes share many notes and fit together. CD 2 TRACK 42 ⁄ 8 10 11 10 8 10 7 8 9 7 10 7 10 8 10 11 ⁄ 8 10 8 9 8 7 10 7 10 7 11 10 8 Here’s a fretboard diagram of Box 2.Blues Guitar Unleashed 2. D.

Notice how they share several notes. which combines Boxes 1 and 2.Blues Guitar Unleashed 2. This is a really important pattern to master. CD 2 TRACK 43 ⁄ 8 10 11 10 8 8 10 10 8 5 7 8 9 9 8 7 5 5 7 7 5 5 6 7 7 6 5 5 8 8 5 Copyright © 2015 Griff Hamlin's Guitar Unleashed 65 .0 Griff Hamlin Here is a picture of your fretboard with the notes of the two boxes. Box 1 Box 2 Try playing the following pattern. EXAMPLE 19-2. Many great blues legends have used this in nearly every solo they play.

What makes this solo different from the last one is that we have added notes from the second box and increased the length to 2 choruses.7 E. Here’s the TAB for it.7 œ™ œ œ œ œ œ ° ## Œ ‰ œ Œ ‰ œ œ œœœ œ œ œ & full full 12 12 10 12 10 12 12 10 11 9 9 7 7 9 9 7 ¢⁄ œ œ™ œ œ ™ œ Lick 5 Lick 6 ° ## œ œ œ œ Œ œ B.7 œœ ‰ œ œ œ œ #œ œ œ Gmaj7 F#7#9 F#7#9 & œ Ó Œ full full full 7 12 12 10 7 10 7 7 9 9 9 7 9 9 9 ¢⁄ 66 Copyright © 2015 Griff Hamlin's Guitar Unleashed .7 ° ## 4 ÆœJ œ œ œ œ œ œœ Œ Ó ‰ & 4 œ full full full 7 7 10 10 12 7 10 7 10 10 10 9 7 9 7 9 9 9 7 ¢⁄ 9 Lick 3 Lick 4 œ œ œ œ ™ œ B. I used the rhythm from the earlier lesson (11-1) where we discussed a minor blues. CD 2 TRACKS 44-46 Lick 1 Lick 2 w œ œ œ œ#œ œ œ œ œ œ œ œ™ œ œ˙ B. SOLO EXAMPLE 2.Blues Guitar Unleashed 2.0 Griff Hamlin Lesson 20 – Solo Example #2 in B Minor In This Lesson: By the end of this lesson you will be able to play a 24 bar blues solo in the key of B minor. This solo example is a blues in the key of B minor with a straight feel. or 24 bars.

7 ° ## œ F#7#9 B.7 ° ## œ œ™ œ œ & Ó Œ ≈ Œ œ œœ œœœœ œ œ œ œ œ œ full full full 3 3 12 12 10 10 7 10 7 7 10 7 9 7 9 7 7 9 9 7 7 9 ¢⁄ 9 Lick 10 Lick 11 E.Blues Guitar Unleashed 2.7 ° ##Æœ œœ ™™ œ œ œ œ œ Œ œœ ™™ œ œ œ œ œ œ & J ÆœJ œ œ œ œ œœ œ Œ 7 7 7 9 7 7 7 9 7 7 7 9 9 9 9 7 9 9 7 ¢⁄ 9 9 Lick 12 Lick 13 œ œ™ œ œ œ œ œ ˙ œ œœ œ œ œ Gmaj7 F#7#9 œ ° ## ‰ œ œ ÆœJ œœ œ œ ‰ œ & full full 3 full 10 12 12 12 10 12 12 10 10 12 12 12 10 12 7 9 9 11 ¢⁄ Lick 14 œ œ œ œ B.9 Ó Œ œ œ œ œ œ œ w & 3 full 10 10 7 12 10 9 9 7 9 7 9 ¢⁄ Copyright © 2015 Griff Hamlin's Guitar Unleashed 67 .0 Griff Hamlin Lick 7 Lick 8 Lick 9 œ œœœœ œœ œ œ B.7 B.

Normally. Listen to it first then play along. I know that’s not the easiest thing to explain in words. each beat is divided into 3 pieces. Simply remove the “&” from “one & a” and you’ve got it.” Dividing each beat into 3 pieces creates what are called eighth note triplets. Instead of “one & two &. eighth notes break each beat into 2 equal pieces. so get used to practicing your scales in triplets as well as eighth notes. EXAMPLE 21-1 12 Œ™ Œ™ Œ™ 5 8 5 8 5 8 8 5 5 7 8 8 7 5 5 7 7 5 ⁄ 5 8 5 6 7 7 6 5 8 5 If we write that same thing in 4/4 time it looks like this: EXAMPLE 21-2 3 3 3 3 3 3 3 3 3 3 4 Œ Ó Œ Ó ⁄ 5 8 5 5 8 5 4 5 8 8 5 5 7 8 8 7 5 5 7 7 5 5 6 7 7 6 5 5 8 8 5 You will use triplets A LOT in your solos. 68 Copyright © 2015 Griff Hamlin's Guitar Unleashed . Below is the A minor blues scale written in eighth note triplets in 12/8 time.” we get “one & a two & a three & a four & a.) Listen to it a few times first. They create the familiar “one & two & three & four &” feel that we’re used to in rock music. then play along. The next example is of the A minor blues scale played in swing eighth notes (as notated by what is called the metric modulation at the top left.Blues Guitar Unleashed 2. In a swing feel.0 Griff Hamlin Lesson 21 – The Swing of the Blues In This Lesson: By the end of this lesson you should be able to play the blues scale in triplets and swinging eighth notes. it’s not too hard to turn them into swing eighth notes. Once you can do triplets.

In the coming solos you are going to have a lot of triplets. You CANNOT underestimate the value of counting and keeping the beat when you play your solos. many that start in the middle of a beat or cross bar lines and some of the timing is pretty tricky. Copyright © 2015 Griff Hamlin's Guitar Unleashed 69 .Blues Guitar Unleashed 2.0 Griff Hamlin EXAMPLE 21-3 qaa z=[qp ]e j 4 ‰ Ó ⁄ 5 8 5 4 5 8 8 5 5 7 8 8 7 5 5 7 7 5 5 6 7 7 6 5 5 8 8 5 Make sure you play along with me on the video and try to get the feel of this. This is a big part of playing the blues and if you struggle with playing triplets it won’t get any easier.

Blues Guitar Unleashed 2.0 Griff Hamlin

Lesson 22 – Example Solo #3
In This Lesson: By the end of this lesson you will be able to play another 24
bar blues solo in the keys of A. This example uses all of the techniques we have
used so far, and contain slurs, bends, and a ton of great licks.

Here’s the rhythm guitar part to the first solo written out in TAB for you. As always, take the
time to learn it well. In this rhythm example, I’ve taken the opportunity to demonstrate a
cool way to play a blues as part of the rhythm section. These chords have just two notes,
and move only one or two frets in either direction. This is really effective because it keeps
the chords going, but doesn’t get in the way.

SOLO EXAMPLE 3, RHYTHM ONLY – CD 2 TRACKS 47-48
qaa z=[qp ]e
° ### 4 Œ œ œ Œ œ œ Œ nœ œ Œ œ œ Œ #œ œ Œ œ œ Œ œ œ Œ œ œ
A7 D7 A7
& 4 nœ œ œ œ œ œ œ œ nœ œ œ œ nœ œ œ œ

6 6 6 6 5 5 5 5 6 6 6 6 6 6 6 6
5 5 5 5 4 4 4 4 5 5 5 5 5 5 5 5
¢⁄
° ### Œ nœ œ Œ œ œ Œ nœ œ Œ œ œ Œ #œ œ Œ œ œ Œ œ œ Œ œ œ
D7 A7
& œ œ œ œ œ œ œ œ nœ œ œ œ nœ œ œ œ

5 5 5 5 5 5 5 5 6 6 6 6 6 6 6 6
4 4 4 4 4 4 4 4 5 5 5 5 5 5 5 5
¢⁄
° ### Œ œ œ Œ œ œ Œ nœ œ Œ œ œ Œ #œ œ Œ œ œ Œ œ œ Œ œ œ ™ w
E7 D7 A7 E7 A7
& #œ#œ #œ#œ œ œ œ œ n œ œ œ œ #œ#œ #œ#œ ™ nw
7 7 7 7 5 5 5 5 6 6 6 6 7 7 7 7
™ 6
6 6 6 6 4 4 4 4 5 5 5 5 6 6 6 6 ™ 5
¢⁄

Now here’s the solo which utilizes triplets, swing eighth notes, and both Boxes 1 and 2.
Enjoy!

70 Copyright © 2015 Griff Hamlin's Guitar Unleashed

This Page Left Blank
Intentionally To
Eliminate Page Turns.

Blues Guitar Unleashed 2.0 Griff Hamlin

SOLO EXAMPLE 3, CD 2 TRACKS 49-50
Lick 1 Lick 2

qaa z=[qp ]e A7 n œ D7 œ œ œn œ œ A7
œ nœ œnœ œ œœ œ œn œ œ D7
° ### 4 Œ œnœ œ Œ Œ Ó ‰‰J œ
œ nœ œ
œ œnœ œ
& 4
3 3 3 3
full
full full

5 5 8 10 10 8 8 5 5 8 5 5
8 10 10 8 5 5 5 8
7 7 7 5
7
¢⁄

Lick 3 Lick 4

n œ œ œ œ œ œ
E7j œ j œ ˙
° ### Œ œnœ œ œj œ œ œ œ œ œ œ nœ Ó nœ œ œ
A7 œ œ
‰ œJ œ Œ
&
3 3 3 3
full full full
full full

5 5 8 8 10 10 8 10 10
8 5 5 8 8 10 10
7 7 7 5 5 9

¢⁄

Lick 5 Lick 6

D7œj œ œ œn œ
#
° ## ‰ J ‰ œ œ œ
A7
œ œ œ E7
œnœ œ œ œœ œ œ œ œ œ A7
& Œ nœ œ œ nœ Œ ™ j
3 3 3 3
œ
full

µ10µ10µ10µ
full full

10 10 10 8 5 5
10 10 10 8 5 5 8
7 7 7 5
7 5
¢⁄ 5

72 Copyright © 2015 Griff Hamlin's Guitar Unleashed

Blues Guitar Unleashed 2.0 Griff Hamlin Lick 7 Lick 8 Lick 9 ° ### 3 D7 jnœ nnœœ A7 œ œ œ nœ œ œ œœ œnœ œ nœ œ Œ nœœ œœ D7 Œ ‰ 3 3 & bœnœnœbœnœ œbœnœ œ œ œ J 3 3 3 full full 5 5 8 5 8 8 5 5 7 7 7 5 5 9 9 5 5 5 7 7 7 7 ¢⁄ 6 7 6 7 6 7 Lick 9 (cont'd) œ œ œ œn œ œ œn œ œ œnœ œ œ b œ œn œ œ œ œnœ Lick 10 Lick 11 # nœ œ œ œ œ œn œ œ A7 œ ° ## œ œ œ œ E7 & Œ Œ Œ Œ J 3 3 3 3 full full 8 8 10 10 10 8 10 8 8 10 11 10 8 10 8 8 8 8 8 10 10 10 10 8 10 10 8 9 9 9 9 ¢⁄ Lick 12 Lick 13 D7 œ b œ œn œ œ œ ° ## œ J # œ n œ œnœnœ œ œ E7 œ nœ A7 œ œ œnœ œ œ œ3 A7 nœ œ Œ Ó & nœ œ œœ j j nœ 3 3 3 3 3 full 10 11 10 8 10 8 8 5 10 10 8 10 8 5 7 5 7 7 7 5 5 7 7 5 5 7 5 7 ¢⁄ 7 Copyright © 2015 Griff Hamlin's Guitar Unleashed 73 .

Blues Guitar Unleashed 2. Just get the notes first and let the vibrato come later. It will come in its own time. It is common in blues to NOT start your licks on a downbeat. ○○ Don’t worry about the vibrato that is notated. ○○ It’s a little tricky to start the lick in bar 4 on the second half of beat 1. you will later.0 Griff Hamlin Solo Analysis and Tips ○○ Notice in bar 1 I’ve used box 1. This is a common technique used by many famous blues players throughout history. ○○ The lick in bar 21 is a pianistic lick I hear a lot. If you can’t do it now. so get used to that. so don’t force it. Listen carefully to the audio example and try to really lock in on that. 74 Copyright © 2015 Griff Hamlin's Guitar Unleashed . all by itself. I use my third finger and pinky to do the opening slurs. and then box 2 in the second bar.

let’s say you want G minor blues. A minor is relative to C major.) The second exercise is the opposite. ONE WORD OF WARNING: The most frequent mistake that my students make is to get used to calling the major blues sound “box 2” and the minor blues sound “box 1. At this point. Bb. You may have heard the trick that you can move your blues scale down 3 frets and you will be playing the relative major key. you should be able to switch between the major and minor blues sounds whenever you want.0 Griff Hamlin Lesson 23 – Other Keys In This Lesson: By the end of this lesson you will be able to play the blues scale in both major and minor keys. not a different and seemingly unrelated note 3 frets down. take the time to go back and review the previous lessons or what follows will be nothing short of bewildering. and you can focus on the actual root note. You may have wondered what to do if you need a major blues scale. It’s faster to start Box 2 on the root note you’re working with instead of Box 1. E minor is relative to G major. During your solos.” If that’s the way you are thinking of the differences between the major and minor blues sound you have missed the point! Again it all boils down to what note box 1 starts on and what note box 2 starts on. you would put Box 2 starting on the 3rd fret. you have A minor blues. For example. you have A major blues. which makes Box 2 start at the 6th fret. If you can’t. G. If you start box 2 on A. That is true. Practice the following exercise. The relative major key is always 3 frets up from the minor key. Now if you want G major blues. There’s no extra step. which goes up using the major blues scale (Box 2) and then back down using the minor blues scale (Box 1. but I find that most people have a hard time with this because of the extra step involved. which makes Box 1 start on the open string. To be more specific. G. These are in the key of G to get ready for the next solo example. you should be able to play Boxes 1 and 2 in any minor key easily on your guitar. You would put Box 1 starting on the 3rd fret. nothing! Every minor key has what is called a relative major key that contains the exact same notes. Copyright © 2015 Griff Hamlin's Guitar Unleashed 75 . The good news. If you start box 1 on A.Blues Guitar Unleashed 2. it uses the minor blues scale (Box 1) going up and the major blues scale (Box 2) coming back down.

Blues Guitar Unleashed 2.0 Griff Hamlin Make sure you can play the following two examples perfectly without any problem before we try to put this stuff together into a solo. EXAMPLE 23-1. CD 3 TRACK 1 G Maj Blues Box 2 G Min Blues Box 1 3 5 3 5 6 3 2 3 4 3 5 6 3 6 5 3 ™ ⁄ 2 5 2 5 5 3 5 4 3 3 ™ 3 5 6 6 3 6 EXAMPLE 23-2. CD 3 TRACK 2 G Min Blues Box 1 G Maj Blues Box 2 3 6 3 3 3 5 6 3 6 6 5 3 4 3 2 ™ ⁄ 3 4 5 3 5 5 2 5 2 2 ™ 3 6 6 5 3 5 6 76 Copyright © 2015 Griff Hamlin's Guitar Unleashed .

and bar 11. We want to know when the I chord happens (bars 1-4.Blues Guitar Unleashed 2. to show off the different chord changes.) and when the V chord happens (bar 9 and sometimes bar 12. not over them. Copyright © 2015 Griff Hamlin's Guitar Unleashed 77 . think about their number.8. where I really get to show you the secret of playing the blues like your heroes. It turns out that you can use both. don’t think about chord names. It’s so simple! But just wait until you hear how cool it sounds.6 and 10. and the minor blues scale (start with box 1) over the IV and V chords. The secret lies in knowing when to use the minor blues scale.) when the IV chord happens (bar 2 in a quick change blues. quite simply. bars 7.) & V V V V V V V V V V V V V V V V A7 (I) & V V V V V V V V V V V V V V V V D7 (IV) A7 (I) & V V V V V V V V V V V V V V V V E7 (V) D7 (IV) A7 (I) The secret. This is truly the secret to making the most of your blues and really sounding great! This is my favorite part. Since this works for any key. at different times within a blues tune. and when to use the major blues scale. is to play the major blues scale (start with box 2) over the I chord.0 Griff Hamlin Lesson 24 – The Secret to Playing Like the Masters In This Lesson: By the end of this lesson you will understand how the blues masters play through the chord changes. also bars 5. Remember a 12 bar blues pattern and when each chord occurs.

you’ll play a minor blues scale throughout the entire tune no matter what happens in the chord changes.0 Griff Hamlin Here’s the 12 bar blues again with labels for when to use the major (Box 2) sounds and the minor (Box 1) sounds. It’s not that hard to learn the scales and play them as needed. and more importantly. However. In fact. & V V V V V V V V V V V V V V V V A7 (I) Box 2 on A for A Major Sound & V V V V V V V V V V V V V V V V D7 (IV) Box 1 on A for A Minor Sound A7 (I) Box 2 on A for A Major Sound & V V V V V V V V V V V V V V V V E7 (V) Box 1 on A D7 (IV) Box 1 onA A7 (I) Box 2 on A As you get more comfortable. When soloing. if you notice. you have to really listen carefully to what’s going on behind you. to anticipate that chord change. meaning the I chord is a minor or some minor type of chord. We did this in one of the previous solos that was in the key of B minor. So it’s not like you cannot do that. we played through the first 3 solo examples just fine without ever changing sounds. you can actually try using the major OR minor blues scale over the I chord. in order to play through the chord changes.Blues Guitar Unleashed 2. One exception to this rule is playing over a minor blues because there’s nothing to think about. As you gain experience. there would be no need to ever change your scale at all. If you have a blues in a minor key. What’s hard is to notice that the chord has changed. you must always use the minor blues scale over the IV and V chords. It’s just that changing to the major blues sound over the I chord adds a level of sophistication to the sound that you simply can’t get by using the minor sound alone. the chord changes will become so natural that your lines will flow from major to minor and back with little thought on your part. Let’s put this in to practice now and learn a couple of new solos… 78 Copyright © 2015 Griff Hamlin's Guitar Unleashed . In that case. You will simply imagine which of the major or minor sounds you want to hear. and it will come from your fingers automatically.

You will learn a 3 chorus (36 bar) solo that clearly demonstrates how the major and minor sounds are used. Plus. Solo #4 In This Lesson: In this lesson we will look at how to use the major and minor blues sounds together in the key of G.Blues Guitar Unleashed 2.0 Griff Hamlin Lesson 25 – Slow Blues In G. The most challenging part of a slow blues is the timing. due to the nature of playing at a really slow tempo. Copyright © 2015 Griff Hamlin's Guitar Unleashed 79 . that just don’t fit with the beat all that well. Look closely and you’ll see that every I chord (G7) uses the major blues sound and every IV and V (C and D) uses the minor blues sound. More than with any other solo you are going to have to play along with the recording repeatedly to get the nuances down. I will do my best to count you through this solo but there are some things. Here’s the TAB for the lead part. The rhythm part for this example is actually from one of the earlier rhythm lessons (7-1) so I won’t show it again here. you will sound really cool doing it.

0 Griff Hamlin SOLO EXAMPLE 4.Blues Guitar Unleashed 2. CD 3 TRACKS 3-4 (TRACK 5 IS JAM TRACK) Lick 1 Lick 2 ° # 12 Œ ™ ‰ œ œ™ œ œ œ œ œ œ œ œ œ œ œ™ Œ ™ ‰ nœ œ œ œ œ œbœ n˙ ™ G7 G7 C7 & 8 œ Œ™ Œ™ 3 full full full full 5 5 5 5 5 3 3 5 6 3 5 5 3 4 5 ¢⁄ b œ œ™ œ œœ œ Lick 3 Lick 4 ° #≈ 5 œ œ œ œJ œ Œ ™ ≈ œ œ œ nœ ÆR C7 œ b œ nœ Œ™ œ œ & œœœ 5 5 full 3 3 3 6 6 3 6 3 5 5 3 6 6 3 2 3 4 5 2 5 ¢⁄ 5 Lick 5 Lick 6 ° # œ œ™nœ Œ ™ ‰ œ œ ™ œ œ œbœ n˙ ™ œ G7 & œ Œ œjbÆœR nœ œ œ J ‰ ‰ œJ ‰ ‰ œ œJ œJ ‰ ‰ full full 3 3 3 6 3 5 5 3 5 5 5 5 3 4 3 4 5 5 ¢⁄ Lick 7 Lick 8 Lick 9 C7 œœ D7 b œ b œ œ œ b œœ C7 G7 ° # Œ ™ ≈bœœ œnœ œ Æ™œ œ™bœœœ œ ‰ ‰ ™œ œ ™nœ œJÆœJ œ J œ œ œœ Œ ™ Œ & ÆR R œ ™ ÆR J J 4 3 full 6 6 8 8 6 6 6 6 8 6 8 8 6 8 8 3 5 7 7 5 3 5 3 5 7 5 ¢⁄ 80 Copyright © 2015 Griff Hamlin's Guitar Unleashed .

0 Griff Hamlin ° # b˙™ Lick 10 Lick 11 œn œ œ8 œ œ œ œ™ œ 3 D7 G7 C7 Œ™ Œ™ Œ™ ® nœÆœR œ bœ œ œ ™ Œ ™ ≈ nœ œbœ œ œ œ Œ ™ 5 3 & œ œœ full 6 5 5 3 ¢⁄ 5 3 3 5 3 4 4 3 2 3 3 5 3 5 5 3 5 5 Lick 12 Lick 13 ° # ‰ #œnœœ œ œœ œ œœ œ œœ œ œœ ‰ #œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ b œœnnœœ œ œ ‰ Æœ œœ œ nrœœ G7 C7 & # ÆRœ ÆœR ÆœR ÆœR ÆœR ÆR ÆR ÆR ÆR ÆR R Jnœ œ œ b˙ ™ œ™ Œ™ 1/2 2 3 2 3 2 3 2 3 2 3 6 3 3 ¢⁄ 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 5 6 3 5 3 3 3 4 3 4 3 4 3 4 3 4 2 4 2 3 5 Lick 14 ° # Œ™ ≈ œ bœ œ™ œ ™ œ œ œ œ nœ œ œ œ œ œœ œ ™ G7 & bœ nœ œ ™ Œ™ Œ™ full full full 1/2 3 ¢⁄ 3 6 3 6 6 3 3 5 5 5 5 3 5 ° # Œ™ œ œ œ œ bœ œ œ œ œ œ œ œ Lick 15 œ œ œ & ‰ bÆœR nœ ≈ 3 3 3 1/2 1/2 3 3 5 5 3 5 5 ¢⁄ 3 5 5 3 5 3 3 4 Copyright © 2015 Griff Hamlin's Guitar Unleashed 81 .Blues Guitar Unleashed 2.

Blues Guitar Unleashed 2.0 Griff Hamlin Lick 15 (cont'd) ° # œ œ œ b œ n œ œJ œ œ nœ œ œ œ œ œ œ3 œ œ œ bœ 3 œ œ œ D7 & œ œ™ ‰ ‰ 3 1/2 3 3 full full 3 6 3 5 3 6 3 6 3 5 5 5 5 3 3 5 5 ¢⁄ Lick 16 œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ G7 C7 C7 œ™ nœ ™ œ™ bœ ™ D7 ° #‰ œ ™ œ œ #œ ˙ ™ & full full full full full full full 8 8 8 8 8 8 8 8 6 8 6 5 4 3 3 5 6 ¢⁄ Lick 17 Lick 18 ° # ‰ bÆœJ n œ œ b œ œ œ œ œ œ™ œnœ Œ ™ b œ œnœ œ œ œ œ œ œ œ œ œ œ bœ G7 C7 & œnœ full 6 7 7 6 5 3 6 3 3 5 3 5 3 6 3 6 3 6 3 4 5 5 5 3 5 3 ¢⁄ œœœœ œœœœ œœœœ œœ Lick 19 ° # nœ œ œ œnœ ™ œ œ œ œ œ œ Œ ™ G7 & bÆœR Œ ‰ ‰ ‰ 1/2 3 full full full full full full full 8 8 8 8 8 8 8 3 5 5 5 3 5 3 3 4 ¢⁄ Lick 20 œ œ b œ œ™ œ œ œ™ œ œ œ œ b œ œ œ œ œ nœ œ œ œ C7 ° # J ‰ ‰ ‰ œ ≈ œR œ œ œ œ bœ œ œ ‰ & 5 full full full full full 8 6 6 8 8 8 6 8 6 8 8 6 8 6 3 6 3 7 5 5 3 5 ¢⁄ 82 Copyright © 2015 Griff Hamlin's Guitar Unleashed .

0 Griff Hamlin ° # Œ™ Lick 21 œ œ œ œ œ œ G7 b œ nœ œ œ œ œ œ & œ œ œ 3 3 3 ¢⁄ 3 5 3 5 5 3 5 2 3 4 4 2 5 Lick 21 (cont'd) œ ™ b œn œ œ œ œ nœ Lick 22 ° # œb œœœœ œ ≈ œ œ œœœœ œ ≈ œ ™œœœœ œ ≈ œ œœœœ œ œ œ œ D7 & ‰ ≈ œ J‰‰ 3 3 3 3 full 1/2 5 65 3 3 5 653 3 5 653 3 5 65 3 3 6 6 3 3 3 ¢⁄ 5 5 5 5 5 3 5 6 œ œ œ œ œ™ œ œ bœ œ Lick 23 ° # C7 œ™ & ‰™ J ‰ ‰ full full full 8 8 8 6 6 ¢⁄ 8 Lick 24 ° # œ œJ nœ œ œ œ œ b œ n œ œ œ nœ #œ nœ œ bœ œ bœ G7 C7 œœ D7 Ab9 G9 & œ j#œjœ bÆœR nœ œ ™ œ œ œ œ J full 1/2 1/2 3 3 3 3 6 3 3 3 ¢⁄ 6 6 3 6 3 5 5 5 3 5 3 3 4 5 4 5 5 Copyright © 2015 Griff Hamlin's Guitar Unleashed 83 .Blues Guitar Unleashed 2.

SOLO EXAMPLE 5 RHYTHM ONLY. The rhythm for this one is very similar to some of the earlier rhythm lessons. Solo #5 In This Lesson: More cool soloing stuff in the key of G. I don’t know why I like the key of G. There are a lot of great songs in G so it must be a good key. but it’s not exact so here’s the tab for it.0 Griff Hamlin Lesson 26 – Uptempo Blues In G. CD 3 TRACK 6 œœj œœj œœj œ œ qaa z=[qp e] G7 ° # 4 œœ œœ ‰ œœj ‰ œœj ‰ j œœ bœœœ œœœ ‰ œœj ‰ œœj ‰ œœj œœ œœ ‰ œœj ‰ œœj ‰ œœj C9 G7 & 4 nœ œ œ œ œ œœ œœ œœ ‰ œœ ‰ œœ nnœœ œœ ‰ œ œ œ nœ œ œ œ œ œ œ œ 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 4 4 4 4 4 3 3 3 3 3 4 4 4 4 4 4 4 4 4 4 3 3 3 3 3 2 2 2 2 2 3 3 3 3 3 3 3 3 3 3 ¢⁄ 3 3 3 3 3 j œœj œœj œœ œœ œœj œœj œœj œ œ j j j j j j ° # bœœœ œœœ ‰ œœœ ‰ C9 G7 œœ ‰ œœ bœœ œœ ‰ œœ ‰ œœ ‰ œœ nnœœ œœ ‰ œœ ‰ œœ ‰ œœ œœ œœ ‰ œœ ‰ œœ ‰ œœ & œœ œ œ œ œ nœ œ œ œ œ œœ œ œ œ œœ œ œ œ 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 4 4 4 4 4 4 4 4 4 4 2 2 2 2 2 2 2 2 2 2 3 3 3 3 3 3 3 3 3 3 ¢⁄ 3 3 3 3 3 3 3 3 3 3 j j j G7 ° # œœœ œœœ ‰ œœœ ‰ œœœ ‰ œœœ bœœœ œœœ ‰ œœœ ‰ œœœ ‰ œœœ nœœ œœ ‰ œœj ‰ œœj ‰ œœj œœ œœ œœ œœ œœ G7 D9 C9 D9 œœ œ œ œ w & #œœ œœ œœ œœ œœ œ œ œ œ œ n œ œ œ œ œ #œœ œœ ‰ œœ ‰ œœ ‰ œœ ™™ nw w J J J œœ œ œ œ J J J 5 5 5 5 5 3 3 3 3 3 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 3 3 3 3 3 3 3 3 3 3 3 3 4 4 3 4 3 4 3 4 5 5 5 5 5 5 5 5 5 5 ™ 3 4 4 4 4 4 4 2 2 2 2 2 3 3 3 3 3 4 4 4 4 4 ™ 3 ¢⁄ 5 5 5 5 5 3 3 3 3 3 5 5 5 5 5 84 Copyright © 2015 Griff Hamlin's Guitar Unleashed . I just do.Blues Guitar Unleashed 2.

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0 Griff Hamlin SOLO EXAMPLE 5. CD 3 TRACKS 7-8 b œ n œ ™ C9 œ œ œ b œ œ œ bœ nœ ™ Lick 1 Lick 2 qaa z=[qp ]e ° 4Ó œ œ œ G7 G7 ‰ bœ nœ œ œ Œ Œ ‰ œJ &4 J 3 1/2 full 1/2 3 6 8 8 6 6 ¢⁄ 3 5 8 8 8 8 3 3 4 ° œ œ œb œ n œ ™ œ œ œ œ œ œ ˙ Lick 3 Lick 4 C9 œ œ œ œbœ œ 3 œ 3 G7 & J Ó Œ J bœ œ œ œ œ bœnœ ™ Œ ‰ œ 3 3 3 J 1/2 3 full 1/2 3 6 3 5 3 3 3 ¢⁄ 5 3 5 6 6 3 5 6 5 3 5 3 3 4 5 5 5 œ œ œ œ b œ œ œ œ œ œ C9 œœ œ œ œ Lick 5 Lick 6 Lick 7 ° œ œ œ œj œ œ œ œ œ œ bœ œ œ œ œ D9 G7 & Œ 3 3 3 3 full full full 1/2 3 8 8 6 8 6 6 8 8 6 ¢⁄ 3 5 5 5 3 8 6 8 8 8 8 8 8 4 œ œ œ œ ˙G7 œ œ œ bœ œ œ Lick 7 (cont'd) Lick 8 Lick 9 ° œ œ œ D9 C9 G7 Ó ‰ œ bœ nœ œ Œ ‰ j œ 3 & œ œ œ full full full 8 8 8 8 8 6 ¢⁄ 8 8 8 8 6 5 3 4 5 5 5 7 7 86 Copyright © 2015 Griff Hamlin's Guitar Unleashed .Blues Guitar Unleashed 2.

Blues Guitar Unleashed 2.0 Griff Hamlin Lick 9 (cont'd) Lick 10 œ œ j ‰ œ œ œ œ œ œ œœœ œ 3 C9 b œ b œ b œ œ œ œ bœ œ Œ 3 & œ œœ œ œ œ œ œ ° 3 3 3 full full 3 3 3 3 6 3 3 3 5 5 7 8 7 5 7 5 5 5 8 5 3 5 8 5 ¢⁄ 7 Lick 11 ° œœœ ˙ œ œb œ œb œ œb œ œb œ œb œ œ œ œ œ œ œ œ œ œb œ œ œ G7 hold bend D9 & Œ ‰ J 3 3 3 3 3 full full hold bend full 3 3 6 6 6 6 6 3 5 5 3 4 3 6 6 6 6 6 6 6 6 3 6 ¢⁄ Lick 12 ° œ œ œ œ œ œbœ œ 3bœ 3 œ œ œ œ œ C9 G7 D9 G7 œ 3 j œ b œ b œ 3 & œ œ œœœ œ œ œ œ œ œ #œ œ ˙ w 3 3 3 3 full 3 6 3 6 6 6 6 6 5 5 3 5 3 3 7 7 5 3 5 5 5 3 5 5 5 5 5 5 ¢⁄ 3 4 5 Copyright © 2015 Griff Hamlin's Guitar Unleashed 87 .

and triplets. There are 5 ways to play nearly every chord and every scale because of the way the octave is divided into 12 frets. Here’s Box 3: ⁄ 10 11 12 11 10 13 9 12 10 12 13 10 12 10 11 12 ⁄ 10 13 10 12 9 13 12 10 12 10 12 11 10 Box 3 88 Copyright © 2015 Griff Hamlin's Guitar Unleashed .Blues Guitar Unleashed 2. play it in straight eighth notes. There are 5 boxes in total. swing eighth notes. This turns out to be the magic number on the guitar for a lot of things. For each Box. Here is the TAB for the remaining 3 boxes. once you have it memorized.0 Griff Hamlin Lesson 27 – Finishing Up The Neck In This Lesson: By the end of this lesson you will be able to play the blues scale in any key throughout the length of your fretboard.

Blues Guitar Unleashed 2.0 Griff Hamlin

Box 4:


12 15 12
13 15 16 16
12 14
12 13 14
12 15
12 15


15 13
14 12
14 13 12
15 12
15 12

12th
Fret Box 4

And Box 5:


15 17 15
15 16 17 17
14 17
14 17
15 17 18
15 17


16 15
17 14
17 14
18 17 15
17 15

12th Box 5
Fret

Here’s a diagram of all five boxes on the fretboard
Copyright © 2015 Griff Hamlin's Guitar Unleashed 89

Blues Guitar Unleashed 2.0 Griff Hamlin

Box 5 Box 1 Box 2 Box 3 Box 4 Box 5

Notice in the picture above how the sequence of 5 Boxes repeats. After Box 5 comes Box
1 again. This is helpful in keys where Box 1 would naturally fall somewhere above the 7th
or 8th fret. By the time you get up to Box 5, you may run out of room on your guitar neck. If
you’re practicing the Boxes and run out of room, just drop the Box by 12 frets (an octave)
and continue.

As an example, let’s say you’re in the key of D minor. Box 4 starts on the 17th fret, which
might feel awkward. As an option, go down 12 frets to the 5th fret, and all of the notes will
be the same, just one octave lower.

Here are a few licks that use Boxes 3, 4, and 5, and in some cases more than one. This
first one is straight out of Box 3 in A minor and would probably work best over a slow blues
since it’s pretty quick.

EXAMPLE 27-1, CD 3 TRACK 9

qaa z=[qp ]e œ b œ œ n œ œ nœ œ œ œ œ
° ### 4 Ó Œ Ó
& 4
3 3 3
full

10 11 10
13 10 10 13 10
12

¢⁄

90 Copyright © 2015 Griff Hamlin's Guitar Unleashed

Blues Guitar Unleashed 2.0 Griff Hamlin

This next one nods briefly to Box 3 then moves squarely into Box 4 to finish up. It’s in A
minor.

EXAMPLE 27-2, CD 3 TRACK 10

qaa z=[qp ]e n œ œ œnœ œ œ œ
° ### 4 Ó nœ œ œ nœ œ œ nœ œ
& 4 Œ œ ‰ Ó
3 3 full full

15
13 15 15
12 14
10 12 10 10 12 14
¢⁄ 12

The next example is in Box 5 but down an octave to make it more playable.

EXAMPLE 27-3, CD 3 TRACK 11

qaa z=[qp ]e
° ### 4 ∑ #œ œnœ œ œ œ œ œ œnœ#œnœnœ œj ‰ Œ Ó
& 4 J
3 3 3 3
3 3 3 5 3
4 5 4 5 5 3 4 3
5 2

¢⁄
Sometimes it’s cool, though, to see how the same lick can be played in different areas of
the fretboard just by using the boxes.

EXAMPLE 27-4, CD 3 TRACK 12

qaa z=[qp ]e
° ### 4 œ
∑ #œ œnœ œ œ œ œ œnœ#œnœnœ œj ‰ Œ Ó
& 4 J
3 3 3 3

8 8 8 10 8
8 9 8 9 9 7 8 7
10 7
¢⁄

Copyright © 2015 Griff Hamlin's Guitar Unleashed 91

0 Griff Hamlin EXAMPLE 27-5. CD 3 TRACK 15 qaa z=[qp ]e n œ œ n œ b œ n œ nœ œ œ œ ° ### 4 Ó™ ‰ j nœ œ œ#œ œnœ œ œ œ nœ œ œ 3 J ‰Œ Ó & 4 nœ œnœ œ œ 3 3 3 3 3 3 3 15 15 17 13 13 15 16 17 17 12 12 14 12 14 14 10 10 12 13 14 14 ¢⁄ 10 12 10 12 12 These last 2 examples are 2 really common ways to descend through the pentatonic/blues scale. EXAMPLE 27-7. 92 Copyright © 2015 Griff Hamlin's Guitar Unleashed . CD 3 TRACK 13 qaa z=[qp ]e ° ### 4 ∑ #œ œnœ œ œ œ œ œ œnœ#œnœnœ œj ‰ Œ Ó & 4 J 3 3 3 3 12 12 12 14 12 13 14 13 14 14 12 13 12 ¢⁄ 15 12 EXAMPLE 27-6. CD 3 TRACK 14 qaa z=[qp ]e ° ### 4 ∑ 3 3 ‰ Œ Ó 3 3 & 4 #œ œnœ œ œ œ œ œ œnœ#œnœn œj œj 5 5 5 7 5 ¢⁄ 6 7 6 7 7 5 6 5 3 5 This next lick example starts in box 3 of A minor and works up in triplets to box 1.Blues Guitar Unleashed 2. This is a great way to climb up through boxes when you need to. The 2nd (example 27-9) will do the same thing up and octave starting with box 5 and ending down through box 4/3. The only reason I’m saying pentatonic in this case is because we aren’t going to use the blue note… but remember it’s all the same thing really. The first one (example 27-8) goes from box 2 down through box 1/5 and you’ll see that each octave is divided rhythmically.

0 Griff Hamlin And don’t forget you can play these in straight feel as well as swing feel! EXAMPLE 27-8.Blues Guitar Unleashed 2. CD 3 TRACK 16 qaa z=[qp ]e ° ### ‰ œJ œ nœ œj œ nœ j & œ nœ ‰ œ œ nœ œj œ ‰ Œ Ó n œ œ n œ œj 10 8 9 7 5 7 5 7 5 ¢⁄ 7 5 3 5 3 5 EXAMPLE 27-9. CD 3 TRACK 17 œ œ n œ œj qaa z=[qp ]e œ n œ œ nœ œ œ nœ œj ° ### ‰ J ‰ J œ nœ œ j ‰ Œ Ó & nœ œ 17 15 17 15 13 14 12 14 12 14 12 10 ¢⁄ 12 10 12 Copyright © 2015 Griff Hamlin's Guitar Unleashed 93 .

This solo uses all of the concepts discussed so far. the rhythm part is identical to lesson 10-1 except there is a break for the ending. take it slow and be patient. For that reason I’ve written out the E minor blues scale Box 1 below: ⁄ 0 3 3 0 0 3 3 0 0 2 3 3 2 0 0 2 2 0 0 1 2 2 1 0 0 3 3 0 Now on to the example. As with all the solos. and throws in a few blues tricks that don’t really fit into any particular category. try changing keys.Blues Guitar Unleashed 2. 94 Copyright © 2015 Griff Hamlin's Guitar Unleashed . You might recognize the feel as being similar to a famous Texas Shuffle. Once you can play it.0 Griff Hamlin Lesson 28 – Texas Shuffle Solo #6 In This Lesson: By the end of this lesson you will be able to play a great 24 bar blues solo in the key of E using all of the concepts in the book! This final solo example is in the key of E. The key of E can be difficult for some people because of the open position. First.

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Blues Guitar Unleashed 2. RHYTHM ONLY qaa z=[qp ]e ° #### 4 œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj E œœ œœ ‰ œœ œœ ‰ & 4 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 ¢⁄ ° #### nœœ œœ ‰ œœ œœ œœ nœœ œœ œœ œœ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj A7 E œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ & œœ œœ œœ #œœœ œœœ ‰ œœ œœ œœ œœ œœ œœ œœ J J J J J J J 3 3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 1 1 1 1 1 1 1 1 1 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 ¢⁄ ° ## # œœ œœ‰ œœj ‰ œœj ‰ œœj ‰ nœœ ‰ œœ ‰ œœ ‰ œœ B7 j j j j # B7 A7 E j j j œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ‰ œœ‰ œœ‰ œœ & bœœ œœ œœ œœ œœ nœœ œœ œœ œœ #œœ œœ œœ œœ œœ bœœ œœ œœ œœ œ œ œ œ œ J J J J œ œ œ œ 2 2 2 2 2 3 3 3 3 0 0 0 0 0 2 2 2 2 0 0 0 0 0 2 2 2 2 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 1 1 1 1 1 2 2 2 2 1 1 1 1 1 2 2 2 2 2 2 2 2 2 1 1 1 1 ¢⁄ 2 2 2 2 2 2 2 2 2 96 Copyright © 2015 Griff Hamlin's Guitar Unleashed .0 Griff Hamlin EXAMPLE 28-1 SOLO EXAMPLE 6.

Copyright © 2015 Griff Hamlin's Guitar Unleashed 97 .0 Griff Hamlin ° #### nœœ œœ ‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj E œœ œœ ‰ & nœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 ¢⁄ ° #### nœœ œœ ‰ œœ œœ œœ nœœ œœ œœ œœ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj A7 E œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ & œœ œœ œœ #œœœ œœœ ‰ œœ œœ œœ œœ œœ œœ œœ J J J J J J J 3 3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 1 1 1 1 1 1 1 1 1 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 ¢⁄ U œœj ‰ œœj ‰ œœj ‰ nœœ ‰ œœ ‰ E ° #### œœœœ‰ œœ œœ œœj ‰ Œ Ó B7 A7 E & bœœ œœ œœ œœ œœ nœœ œœ œœ ‰ œœ #œœ Ó Œ œœœœ ∑ œœ œ œ œ J J J J 2 2 2 2 2 3 3 3 3 0 0 0 0 0 0 0 2 2 2 2 0 0 2 2 2 2 2 2 2 2 2 1 1 1 1 1 1 1 2 2 2 2 2 2 ¢⁄ 2 2 2 2 2 Here is the solo in TAB.Blues Guitar Unleashed 2. and then some. It covers everything we have done in the whole book. It’s also at a pretty good tempo so it will challenge your skills. Take your time with this one.

CD 3 TRACKS 18-20 Lick 1 Lick 2 qaa z=[qp ]e ° #### 4 ‰ œ œ œ œ œ œ Œ œ œ œ œ #œ #œ œ œ œ œ œ œ œ œ œ œ E7 ‰ œ œ œ œJ 3 & 4 J ‰ full full full full full 7 0 5 5 5 7 7 7 7 5 7 5 5 5 5 7 0 6 6 2 ¢⁄ Lick 3 Lick 4 ° #### nœ œnœ b3œ 3 A7 3 E7 3 œ œ œ œ nœ œ œ Œ ‰ œ nœ œœœbœœœ œ œ œ œ #œ œ œnœ Œ 3 3 j 3 3 3 & œ œnœ œ œ œ œnœ 3 nœ #œ 3 0 3 5 5 5 2 320 2 0 2 2 7 2 2 0 5 5 5 7 7 7 875 7 5 6 6 6 ¢⁄ 3 4 7 7 7 Lick 5 Lick 6 ° #### ‰ œ œ œ œnœ œ œJ œ œnœ œ œ nœ j A7 B7 3 3 b œ 3 3 3 & œ œ nœ œ œ œ œ œ œ œ nœ 3 3 3 n œ b œ œ œn œ œ œ œ œ full 10 10 8 10 8 9 9 7 9 9 7 9 7 5 7 8 7 5 5 ¢⁄ 7 7 7 5 7 6 5 0 3 0 3 0 7 Lick 7 Lick 8 Lick 9 n œ œ œ œ E7 n œœ œœ œœ œ nœ œ œ E7 B7 ° #### nœ œ œ œ œ œ #œ œ œ œ œ œ 3 œ nœ œ œ ‰ J ‰ J & œ œ œj #œ 3 3 3 3 full 15 15 15 14 14 12 9 9 11 11 9 9 12 12 12 16 16 16 14 14 12 14 9 11 11 11 11 9 14 ¢⁄ 7 7 9 11 98 Copyright © 2015 Griff Hamlin's Guitar Unleashed .Blues Guitar Unleashed 2.0 Griff Hamlin EXAMPLE 28-2 SOLO EXAMPLE 6.

0 Griff Hamlin œ œ nœ œ œ œ nœ œ œ œ œ Lick 10 #œ #œ Lick 9 (cont'd) œ œ ° #### œ œ œ œ œ #œ œ & ‰ J 3 3 3 3 full full full full 16 14 12 12 12 12 15 15 15 14 ¢⁄ 12 15 16 16 14 14 13 13 œ œ œ œn œ œ Lick 11 ° ## # # œ œ nœ œ nœ œ œœ œ Œ ‰ j n nœbœ nœ œ œ nœ œ œ A7 3 & œ b œ nœ œ nœ 3 3 3 3 3 3 3 14 12 12 ¢⁄ 14 15 14 12 12 14 12 12 7 7 9 12 9 12 14 12 14 5 7 8 9 8 9 14 7 Lick 11 (cont'd) Lick 12 E7 n œ œ œ œ “” n œ B7 ° #### œnœ œ b œ n œ œ b œ n œ nœ œ œ œj œ œj œ œ ‰ œ J œ b œ œ nœ œ œ nœ & 3 3 3 3 3 full full 1 1/2 15 15 17 17 17 19 19 18 17 15 15 ¢⁄ 15 17 15 17 17 17 15 14 12 14 15 16 14 15 16 œ œn œ œ Lick 12 (cont'd) Lick 13 nœ œ œ E7 n œ œ b œ œnœ ° #### n œ œ œ œnœ œ œ œœ œœ A7 œnœ nœbœ 3 U & ‰ œnœ œ œ 3 3 full 3 3 3 œ full 12 17 15 ¢⁄ 15 12 14 12 12 17 15 14 14 12 14 12 12 16 15 14 12 14 14 12 14 13 12 10 12 12 0 Copyright © 2015 Griff Hamlin's Guitar Unleashed 99 .Blues Guitar Unleashed 2.

It is handy. is fundamentally a major sound. What I mean by that is the technique here will work 90% of the time. Unfortunately if that doesn’t make a lot of sense it’s too much explanation for our purposes here.Blues Guitar Unleashed 2. however. and vi chords are minor. not the b5 like it is in the minor blues sound. and vii chords are diminished. scale. One of the coolest sounds you can create are double stops. I’m going to keep things straight forward and follow my own 90/10 rule. ii.) Let’s “blues it up” however by adding a little passing tone with the b3. Remember back when we learned the major blues sound. IV. iii. and V chords are major. the b3 is the blue note. First we’ll learn a 2 note version of the chord scale starting on a G and used over a G7 chord. The drag is.0 Griff Hamlin Lesson 29 – “Chord Soloing” In This Lesson: In this lesson you will learn how to create moving harmonized lines based off of what are called chord scales. to handle the 10% you really have to understand more complicated harmony and it’s just not worth it at this point. EXAMPLE 29-1 œ œ œ œ œ œ œ œ œ G A‹ Bº C D‹ E‹ F G ° œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ 3 5 7 8 10 12 13 15 13 12 10 8 7 5 3 3 4 5 7 9 10 12 14 16 14 12 10 9 7 5 4 4 ¢⁄ That’s a straight G7 scale (sometimes called the G Mixolydian Scale or it’s a C Major scale starting on the 5th note. 100 Copyright © 2015 Griff Hamlin's Guitar Unleashed . or dominant. you’ll hear it immediately and can do something else. to know what’s called the standard harmony rule which says that I. but I do have a complete guitar theory course as well if you are interested in that end of guitar playing. For the 10% that it might not work. Double stops are simply places where you play 2 notes at once in your solo instead of just 1 like you normally do. You can pick both notes with one strum. or pick one note and use your middle finger on your right hand the way I often do for the other. The Mixolydian.” as well as hundreds of other blues classics. This technique is used in the breaks of Freddie King’s tune “Hideaway.

0 Griff Hamlin EXAMPLE 29-2 œ n œ œœ œœ œœ œ œœ œœ œœ œ œ bœ œ œ G A‹ B¨º7 Bº C D‹ E‹ F G œ œ b œ n ° œ œ #œ œ œ œ œ œ #œ nœ nœ Œ Ó & 3 5 6 7 8 10 12 13 15 13 12 10 8 7 6 5 3 4 5 6 7 9 10 12 14 16 14 12 10 9 7 6 5 4 ¢⁄ Since this is a fundamentally major blues sound. and the 2 different “chord shapes.” That means you have to completely change to the C dominant/Mixolydian scale when you go to the C chord (the IV chord in a blues in G. EXAMPLE 29-3 œ œ œ œ œ œ œ œ b œ n œœ n œœ œœ œ œ œ œ œ œ œ œ bœ œ œ œ œ #œ nœ nœ ° b œ œ #œ Œ Ó & 8 10 11 12 13 15 17 18 20 18 17 15 13 12 11 10 8 9 10 11 12 14 15 17 19 21 19 17 15 14 12 11 10 9 ¢⁄ Now how about a D7? I don’t have enough frets to do the whole thing.” One is major. the other is minor or diminished (which is the same as minor for the bottom 2 notes… again a theoretical topic for another place.) So let’s take the same scale and put it over a C7 chord. but you can see most of it. you can’t use it over the IV chord unless you play what I call “chasing the chord. Notice it’s the same thing just starting in a different place… and this is the “bluesy” version with the blue note in place. EXAMPLE 29-4 n œ œ œœ œœ œ œ œ œ œ œ nœ œ œ œ œ n œ # œ œ œ œ œ œ ° # œ œ #œ œ œ œ œ # œ n œ #œ Œ Ó & 10 12 13 14 15 17 19 20 22 20 19 17 15 14 13 12 10 11 12 13 14 16 17 19 21 23 21 19 17 16 14 13 12 11 ¢⁄ See how it works? What you want to learn are the distances between the notes on the first string.) Copyright © 2015 Griff Hamlin's Guitar Unleashed 101 .Blues Guitar Unleashed 2.

Here is the C7 chord scale written out in the lower position using the 2nd and 4th strings instead of the 1st and 3rd: EXAMPLE 29-5 œ œ œ œ ° b œ œ bœ nœ nœ œœ œœ œœ œ œ œ œ œ œ bœ œ œ Œ Ó & œ œ #œ œ œ œ œ #œ nœ nœ 1 3 4 5 6 8 10 11 13 11 10 8 6 5 4 3 1 2 3 4 5 7 8 10 12 14 12 10 8 7 5 4 3 2 ¢⁄ To see how this all works. but it is often done. Take care because it can sound muddy.0 Griff Hamlin Now if you want or need. Obviously you probably wouldn’t do this normally. You would want to mix your chord scale usage with your single note lines. here’s a simple 12 bar solo using just the chord scales in a G blues. you can also switch the string set and play the same thing down lower.Blues Guitar Unleashed 2. 102 Copyright © 2015 Griff Hamlin's Guitar Unleashed .

Blues Guitar Unleashed 2. CD 3 TRACKS 21-22 œ œn œ œ #œb œ œ œn œ œœ ##œœ nnœœ œ œ ™ œ #œ nœ œ G7 ° # ™™12 œ #œ nœ œ œ & 8 #ÆœJ œ J œ J nœJ œ Œ J ™ J J J J 3 5 6 7 7 6 5 3 3 7 6 5 3 ™ 3 4 4 5 5 6 6 7 7 6 5 4 4 7 6 5 4 4 ™ ¢⁄ œ nœ œ œ #œ# œ œ œ œ œ nC7 œ # œn œ œ ˙™ ° # œœ œœ ##œœ œœ ˙˙ ™™ #œ œ œ ÆœJ œ #œ nœ œ ˙™ & J J J J J 3 5 6 7 7 8 10 11 12 11 12 11 10 8 8 4 5 6 7 7 9 9 10 10 11 11 12 12 11 12 11 10 9 9 ¢⁄ œ œœ ## œœ œœ ˙™ D7 œ #œ œ œ# œn œ œ œ™ ˙™ G7 ° #œ œ & œœ œ #œ œ nœ œ œ #œ nœ œ œ ™ Œ œJ œ J J J J 3 5 6 7 7 6 5 3 3 10 12 13 14 14 4 4 5 5 6 6 7 7 7 6 5 4 4 11 11 12 13 14 14 ¢⁄ nC7 œ # œ n œ œ ˙™ G7 œ #œ nœ D7 ° #n œ #œ nœ nœ ˙™ œ œ œ nœ œ #œ œ nœ œ w w™ ™ & J J J ™™ 12 11 10 8 8 3 7 6 5 3 12 11 10 9 9 4 4 7 7 6 6 5 5 4 ™ ™ ¢⁄ Copyright © 2015 Griff Hamlin's Guitar Unleashed 103 .0 Griff Hamlin EXAMPLE 29-6.

This is so critical and so often overlooked. 4.Blues Guitar Unleashed 2. 2. In this first part. This one is in E. You learn to take ownership of the beat. You can just sit down with any guitar. You’ll soon get to where you can just feel where the next chord is coming and what it’s going to be. I just made up very simple licks that could be played within 2 beats. While many of the techniques and strategies in this book work great in a band or group situation. and B7 for this example. A or A7. It is about keeping the time yourself and sticking with it. there’s a lot to be said for simply sitting around and playing by yourself with no other accompaniment at all. 1. and B or B7 type chord. A. and play.0 Griff Hamlin Lesson 30 – “Playing On The Porch” – Part I In This Lesson: In this lesson you will learn a way to play a cool blues tune solo. it’s really enjoyable for others to listen to. You getter better acquainted with the 12 bar blues form. meaning no accompaniment of any kind. Here they are in TAB: Lick #1: EXAMPLE 30-1 qaa z=[qp ]e ° #### 4 Œ nœ œ œ œ nœ Œ & 4 3 3 4Œ Œ 3 0 3 0 4 3 ¢⁄ 104 Copyright © 2015 Griff Hamlin's Guitar Unleashed . I chose basic open position E. There are a lot of advantages to playing by yourself and attempting to play both the rhythm and the lead (call and response) parts. 3. Following the 12 bar form that means I’ll use an E or E7 type of chord. It has nothing to do with a metronome or a drummer. You get to try out new licks and sounds without needing any help from anyone else. I’m using a blues in the key of E. You’ll have a great time and when you get it down. any time.

0 Griff Hamlin Lick #2: EXAMPLE 30-2 qaa z=[qp ]e ° #### 4 Œ œ nœ œ 3 & 4 œ nœ œ Œ 3 3 3 4Œ Œ 0 4 3 4 2 0 2 ¢⁄ Lick #3: EXAMPLE 30-3 qaa z=[qp ]e ° #### 4 Œ œ nœ œ Œ & 4 œ œ œ 3 3 full 4Œ Œ 0 0 4 0 3 2 ¢⁄ Lick #4: EXAMPLE 30-4 qaa z=[qp ]e ° #### 4 Œ nœ œ œ œ nœ œ Œ & 4 3 3 3 3 4Œ Œ 0 3 0 4 3 0 3 ¢⁄ Copyright © 2015 Griff Hamlin's Guitar Unleashed 105 .Blues Guitar Unleashed 2.

Blues Guitar Unleashed 2. 106 Copyright © 2015 Griff Hamlin's Guitar Unleashed . and can play them comfortably.0 Griff Hamlin Lick #5: EXAMPLE 30-5 qaa z=[qp ]e ° #### 4 Œ nœ œ œ œ 3 & 4 nœ œ Œ 3 3 3 4Œ Œ 4 3 0 3 2 0 2 ¢⁄ And the turnaround lick I used: EXAMPLE 30-6 qaa z=[qp ]e ° #### 4 Œ 3 3 3 & 4 œ œ œ nœ œ œ œ nœ œ œ bœ nœ ˙ 3 3 3 4Œ 4 2 2 2 0 2 ¢⁄ 2 0 3 0 0 1 2 2 Once you get each one of those down individually. Mix and match them all you like.

Blues Guitar Unleashed 2. CD 3 TRACK 23 qaa z=[qp ]e ° #### 4 œœ nœ œ œ œ nœ Œ œœ œnœ œ 3 Œ œœ œœ œnœ œ Œ œœ nœ œ œ œnœ œ Œ E & 4 œœ #œœ œnœ œ #œœ œ œœ œœ 3 œœ 3 œœ 3 œœ 3 3 full 0 3 0 3 0 0 0 0 0 0 0 0 3 0 0 3 0 3 0 0 3 0 3 0 3 1 1 4 2 0 1 2 1 2 2 2 2 2 ¢⁄ 2 0 2 0 2 0 2 0 ° #### œœ nœ œ œ œ nœ Œ œœ œnœ œ 3 Œ œœ œœ œnœ œ Œ A E œœ nœ œ œ 3 & œœ œnœ œ Œ œœ #œœ œnœ œ #œœ œ œ 3 œ 3 œ œ 3 œœ 3 full 0 0 3 0 3 0 0 0 0 0 0 2 3 0 3 2 3 0 3 0 0 3 2 2 0 2 1 4 2 0 1 2 2 2 2 2 2 2 ¢⁄ 0 0 2 0 2 0 ° #### œœnœ œ œnœnœ œ Œ œœ nœ œ œ 3 Œ œœ B7 A E 3 3 3 & bœœ n œœœ œnœ œ #œœ œ œ œnœ œ œbœnœ ˙ œ 3 3 3 œ œ œ œ n œ œ 2 0 3 0 0 0 0 3 0 3 2 3 0 3 0 2 2 2 0 1 1 2 2 2 2 2 2 0 2 ¢⁄ 2 0 2 0 2 0 3 0 0 1 2 2 Copyright © 2015 Griff Hamlin's Guitar Unleashed 107 .0 Griff Hamlin Here is the TAB for the way I played it on the video: EXAMPLE 30-7.

0 Griff Hamlin Lesson 31 – “Playing On The Porch” – Part II In This Lesson: In this lesson you will learn another “solo blues” tune. Here are the 5 licks that I came up with. and using the major and minor blues sounds where they are appropriate. but the basic idea is identical. Lick #1 EXAMPLE 31-1 œ œ œ œ œ œ qaa z=[qp ]e ° ### 4 Œ Œ & 4 3 3 full 4Œ Œ 5 5 7 5 4 7 ¢⁄ Lick #2: EXAMPLE 31-2 qaa z=[qp ]e ° ### 4 Œ œ nœ œ œ & 4 nœ œ Œ 3 3 3 3 4Œ Œ 5 5 4 8 7 5 7 ¢⁄ Lick #3: EXAMPLE 31-3 qaa z=[qp ]e ° ### 4 Œ œ œ œ œ œ Œ & 4 3 3 4Œ Œ 4 5 7 5 7 6 ¢⁄ 108 Copyright © 2015 Griff Hamlin's Guitar Unleashed .Blues Guitar Unleashed 2. On this one I jumbled up the licks more. This time in A.

Blues Guitar Unleashed 2.0 Griff Hamlin Lick #4: EXAMPLE 31-4 qaa z=[qp ]e ° ### 4 Œ nœœ œœ œœ œœ œœ œœ Œ & 4 3 3 3 3 4Œ Œ 4 8 8 8 8 8 8 9 9 9 9 9 9 ¢⁄ Lick #5: EXAMPLE 31-5 qaa z=[qp ]e ° ### 4 Œ œœ œœ œœ & 4 œ œ œ nœ Œ 3 3 3 3 full 4Œ Œ 5 5 5 4 5 5 5 7 7 5 ¢⁄ Copyright © 2015 Griff Hamlin's Guitar Unleashed 109 .

Blues Guitar Unleashed 2.0 Griff Hamlin Here’s the TAB for how I played it on the video: EXAMPLE 31-6. CD 3 TRACK 24 œ A7 qaa z=[qp ]e ° ### 4 œœœ œ œ œ œ œ Œ œœœ œ œ œ œ œ Œ œœœ œnœ œ œnœ Œ #œœœ nœœ œœ œœ œœ œœ œœ Œ & 4 nœœ nœœ nœœ œ n œœ œ 3 œ 3 œ 3 3 full œ 3 3 5 5 5 7 5 5 5 5 5 5 5 7 5 5 7 5 7 5 8 5 8 8 8 8 8 8 6 6 6 6 7 5 6 9 9 9 9 9 9 5 5 5 7 5 ¢⁄ 7 5 7 5 7 5 7 5 D7 A7 ° ### œ œœœ œ œnœ œ œ œ & nœœœ œ œ œ œ œ œ œ Œ nœœœ œ œ œ Œ n#œœœ œ œ œ œ œ Œ nœœœ nœœ œœ œœ œœ œœ œœ Œ œ 3 œ 3 œœ œœ 3 3 3 3 3 full 5 5 5 5 5 5 5 5 5 7 5 5 5 7 8 5 5 7 5 7 5 8 8 8 8 8 8 5 7 7 5 5 7 5 6 6 6 9 9 9 9 9 9 7 7 7 5 5 ¢⁄ 5 5 7 5 7 5 E7 D7 ° ### œœ œ nœ œ œ œœ œœ œœ & #œœ œ nœ œ Œ nœœœ œ œ œ œ Œ 3 œ 3 3 3 full 5 5 5 5 5 5 5 8 7 5 5 5 7 7 5 5 7 7 5 6 7 7 ¢⁄ 7 5 A7 E7 A7 ° ### #œœœ œ œ œ œ œ Œ œ nœœ œœ œœ œœ œœ œœ Œ œœ & n œœ #œœœ nœœœ Œ Ó œ 3 3 3 œ 5 5 5 5 7 5 7 5 8 8 8 8 8 8 5 6 6 7 9 9 9 9 9 9 6 5 6 5 ¢⁄ 7 5 7 7 5 110 Copyright © 2015 Griff Hamlin's Guitar Unleashed .

This is a point most people don’t try to achieve as it is very challenging and outside the scope of this course.)” In this case you start treating each chord like a brand new key center and you have to more carefully craft your lines to connect the chords and key centers well. There are SO many great licks and possibilities that most blues players don’t move past this point… there is no need. And to do it they have used exactly what you have in your hands. I’ve had many that never really tried that hard and eventually quit. I’ve NEVER had a student that could not do it if they tried. but with steady practice it will come together. or maybe even hundreds of variations on these ideas… but with what you know from these lessons the likelihood you’ll ever encounter a new chord shape or an idea completely different from what we’ve covered is really small. to really have it down. can take many years. but it will come. This is what we did for the first 3 solo examples. This level. Granted. however. If you don’t it can sound very disjointed and not at all what you’re looking for. Over the last few years I’ve had the good fortune to see many of my students go from not knowing a thing about soloing to playing in their own bands and tearing it up. The options available as an improviser in the blues style are almost as endless as can be. It might take a few months or even a year or two depending on where you are. you will most definitely see improvement. Obviously learning to play blues doesn’t happen overnight. So I like to look at what’s possible in terms of levels of sophistication: Level 1: Use the minor blues scale over the whole progression.0 Griff Hamlin Conclusion I hope you’ve enjoyed this course. Level 4: Here is where outside sounds and more jazzy elements come into play. Don’t think for a minute that this is somehow not good enough because if it was good enough for Stevie Ray Vaughan in his version of “Little Wing” or “Pride And Joy. is another matter altogether. Level 2: Here is where you start injecting the major blues sound over the I chord like we did in solos 4 through 6. But if you follow my guideline of 20 minutes per day of focused practice time on course material. I do have another course currently called The Slow Blues Supplement that addresses this level of playing.” and if it was good enough for BB King in “The Thrill Is Gone. I know I certainly enjoyed putting it together.” it’s good enough for you. If the music you are making at this level isn’t working for you. Level 3: At this point you can start to do what I call “Every Chord Is I (one. looking for more notes is not the answer. Sure there are dozens. It’s a great feeling. Copyright © 2015 Griff Hamlin's Guitar Unleashed 111 . Using more modes and altered scales like Harmonic and Melodic minor (and their associated modes) to create sounds that aren’t going to sound much like blues in some situations. As far as blues rhythm playing goes. Soloing. you really have it all right here.Blues Guitar Unleashed 2.

0 Griff Hamlin The players that come to mind are Scott Henderson. Robben Ford.Blues Guitar Unleashed 2. 112 Copyright © 2015 Griff Hamlin's Guitar Unleashed . and Larry Carlton. but I know it isn’t for everyone and probably won’t sound good to more traditional blues lovers. This is the world that I also like to play in.

Blues Guitar Unleashed 2.0 Griff Hamlin Appendix – Scale & Chord Diagrams Blues Scales Box 1 Box 2 Box 3 Box 3 Copyright © 2015 Griff Hamlin's Guitar Unleashed 113 .

0 Griff Hamlin Box 4 12th Fret Box 4 Box 5 12th Box 5 Fret 114 Copyright © 2015 Griff Hamlin's Guitar Unleashed .Blues Guitar Unleashed 2.

0 Griff Hamlin Pentatonic Scales Box 1 Box 2 Box 3 Copyright © 2015 Griff Hamlin's Guitar Unleashed 115 .Blues Guitar Unleashed 2.

Blues Guitar Unleashed 2.0 Griff Hamlin Box 4 Box 5 116 Copyright © 2015 Griff Hamlin's Guitar Unleashed .

to make partials.0 Griff Hamlin Blues Guitar Chord Chart Root on 6th string . G7 G7 G9 G13 3fr 131211 131341 2 314 1 234 G7#9 G13 G6 G6 3fr 1244 1234 3241 1 324 Root on the 5th string. Partials tend to work best in a band situation. just remove the bottom 2 strings (E and A). For partials. Gmin7 Gmin7 Gmaj7 Gmaj7 10fr 2 333 2 333 13241 1 342 Copyright © 2015 Griff Hamlin's Guitar Unleashed 117 . The root note is always the bass note on these.Blues Guitar Unleashed 2. C7 C7 C9 C13 3fr 13141 3241 21333 21334 C7#9 C7#9#5 2134 21344 Other chord types. while the full versions work best when playing without a bass player. remove the 5th string note.

Example 1-2 Slow 4. Example 8-1 32. Example 5-1 Slow 16. CD Track Listing CD 1 1. Example 2-1 Full 8. Example 4-1 Full 14. Example 8-2 Jam Track 35. Example 3-1 Slow 10. Example 5-1 Jam Track 18. Example 8-3 Jam Track . Example 6-3 Jam Track 27. Example 1-2 Full Speed 5. Example 1-1 Slow 2. Example 6-2 Jam Track 24. Example 8-3 36. Example 6-3 Slow 25. Example 8-1 Jam Track 33. Example 8-2 34. Example 6-1 Slow 19. Example 1-1 Full Speed 3. Example 6-1 Full 20. Example 7-1 Jam Track 29. Example 6-2 Full 23. Example 6-3 Full 26. Example 4-1 Jam Track 15. Example 5-1 Full 17. Example 6-2 Slow 22. Example 2-1 Jam Track 9. Example 2-1 Slow 7. Example 4-1 Slow 13. Example 3-1 Jam Track 12. Lesson 1 Jam Track 6. Example 6-1 Jam Track 21. Example 7-2 Jam Track 31. Example 7-1 28. Example 7-2 30. Example 3-1 Full 11.

Example 12-1 Full 15. Example 11-4 10. Example 8-5 Jam Track 41. Example 11-3 9. Example 9-1 Jam Track 44. 11-5) 13. Example 14 With Guitar 22. Example 8-4 38. Example 13-1 Full 18. Example 9-1 Slow 42. Example 10-1 Full 3. Example 11 Jam Track (Swing 11-4. Lesson 10 Jam Track 6. Example 10-1 Slow 2. Example 10-2 Slow 4. Example 12-1 Slow 14. Example 11-2 8. Example 10-2 Full 5. Example 11 Jam Track (Straight 11-1 Through 11-3) 12. Example 11-5 11. Example 9-2 Jam Track 47. Example 13-1 Slow 17. Example 9-2 Full Speed 46. Example 13-2 Slow 19. Example 9-3 Jam Track CD 2 1. Example 12-1 Jam Track 16. CD Track Listing 37. Example 9-3 Full Speed 49. Example 13-2 Full 20. Example 8-4 Jam Track 39. Example 9-2 Slow Speed 45. Example 9-3 Slow Speed 48. Example 9-1 Full 43. Example 11-1 7. Example 13 Jam Track 21. Example 8-5 40. Example 14 No Guitar .

Solo 1 Full Speed 41. Solo 2 Jam Track (No Guitar) 47. Solo 2 Full Speed 46. Example 23-1 2. Swing. Example 15-1 24. Example 17-5 Full Speed 33. Solo 5 Slow Speed . Solo 5 Rhythm Only/Jam Track 7. Example 17-4 Full Speed 31. Example 17-7 Slow Speed 36. Example 17-8 Slow Speed 38. Example 17-5 Slow Speed 32. Example 17-7 Full Speed 37. Solo 3 Full Speed CD 3 1. Example 16-5 Full Speed 29. Example 16-4 Slow 26. Example 16-5 Slow 28. Example 15-2 25. Solo 4 Full Speed 5. Solo 3 Slow Speed 50. Example 23-2 3. Solo 1 Jam Track (No Guitar) 42. Solo 4 Jam Track (No Guitar) 6. CD Track Listing 23. Example 19-1 (Straight. Swing. Solo 1 Slow Speed 40. Solo 3 Rhythm Full Speed/Solo 3 Jam Track 49. Triplets) 44. Solo 3 Rhythm Slow Speed 48. Example 17-6 Slow Speed 34. Solo 4 Slow Speed 4. Example 17-4 Slow Speed 30. Solo 2 Slow Speed 45. Example 19-2 (Straight. Example 17-6 Full Speed 35. Example 17-8 Full Speed 39. Example 16-4 Full Speed 27. Triplets) 43.

Example 30-7 24. Solo 1 Style Full Length Jam Track 26. Solo 5 Style Full Length Jam Track 30. Example 29-6 Jam Track 23. Example 27-8 17. Example 27-6 15. Solo 6 Slow Speed 19. Example 27-1 10. Solo 6 Style Full Length Jam Track . Solo 3 Style Full Length Jam Track 28. Example 27-9 18. Example 27-5 14. Solo 2 Style Full Length Jam Track 27. Example 29-6 22. Example 31-6 25. Example 27-3 12. CD Track Listing 8. Solo 6 Full Speed 20. Example 27-7 16. Solo 6 Jam Track 21. Solo 4 Style Full Length Jam Track 29. Solo 5 Full Speed 9. Example 27-2 11. Example 27-4 13.