Jazz Guitar Lessons • Summer Wishes, Winter Dreams • George Benson • Chord Melody, Chords, Tab, Video
Learning Blues Guitar
With this book, my goal is to relate the scales with chords and rhythms as opposed to just learning solos or licks and having no idea how to apply them. Good rhythm playing and knowledge is crucial to good soloing and vice versa. This comes through understanding the relationship between chords and scales. This book provides that important foundation.
The book is unique in the fact that each chapter is based around a different key signature and an open (contains unfretted notes), pattern of the pentatonic scale. There are five chapters covering the key signatures of E, A, D, G and C, and the five open ‘box patterns’ (scale patterns) of the pentatonic scale. Eventually all the box patterns are covered, from the open strings to the fifteenth fret.
There is no endless scale practice or useless licks to learn. Instead, each chapter begins with a chord progression, moves into various rhythm patterns derived from the chord progression, and then culminates with solos based on the scale and key covered. These solos tie in with the chord progression and rhythm patterns to form a complete lesson for each chapter.
The book is progressive. Upon completion, the student will have a solid foundation in blues guitar, and will understand the rhythm, lead connection.
The book is best studied from beginning to end, without slighting any material. All theory is explained in the simplest terms. There are fretboard diagrams for the scales, chord grids, and photos of hand positions as well as videos posted on YouTube to aid in the learning process.
It is best, but not necessary, to have a knowledge of barre and open chord shapes before beginning this course. All the chords have fretboard grids associated with them.
Good luck and have fun. Music is a celebration. Enjoy!
Lorne K. Hemmerling
- Learning Blues Guitar
To purchase a pdf copy, please follow this link.
I did this arrangement many years ago after hearing 's version. It is a beautiful George Bensonmelody, and one of my favourite Benson (and there are many) pieces.
I found this tune very easy to arrange. Many of the chords are the same name, just different inversions and voicings. Measure one is a good example of this. The first Ab Major (beat one), is the second inversion. Chord spelling is Eb (fifth), Ab (first, or root), C (third). This chord could also be an Fm7. Chord spelling: Eb (seventh), Ab (minor third), C (fifth). In this case there would be no root. The second Ab Major (beat 3), is the root position. Chord spelling: Ab (first, or root), C (third), Eb (fifth), Ab (first, or root, octave higher).
Diminished chords are very interesting. On the guitar fretboard, diminished loosely translates to one fret lower. Mostly used as passing chords (chords that are used to connect two chords, rarely used as the basis for a song), the chord repeats four frets higher. For example: G dim7 contains the notes, G (root), Db (diminished fifth), E (diminished seventh), Bb (minor third). Four frets higher (based on the eighth fret), the chord contains the same notes in a different order: Bb (root), E (diminished fifth), G (diminished seventh), Db (minor third). Four frets higher than that (based on the eleventh fret), the same notes again in a different order: Db (root), G (diminished fifth) , Bb (diminished seventh), E (minor third). Four frets higher (based on the fourteenth fret): E (root), Bb (diminished fifth), Db (diminished seventh), G (minor third). Every note in the chord can be thought of as a root note. When playing a G dim7, you are also playing Db dim7, an E dim7, and a Bb dim7.