Oh, tell me, darling, can I have a talk with you?
Oh, tell me, darling, can I have a talk with you?
Tell me, pretty darling, boy, I love this blue.
It's blues time, ladies and gentlemen, right here on our stage.
Before rock, before jazz, before R&B, there was blues.
It's been around a lot longer than any of those other styles,
but blues sounds just as fresh today as it did when it was being born.
Hello, my name is Keith Wyatt,
and I'd like to welcome you to the Ultimate Beginner Series for Blues Guitar, Step 1.
Whether you're a beginning player looking for new styles to explore
or a player who just wants to get back to the roots,
we're going to spend the next half hour or so with the blues.
I want to remind you at this time that if the basic guitar playing skills
I refer to in this video are completely new to you,
you might want to check out the Ultimate Beginner Series Guitar Basics,
Steps 1 and 2,
where I get you started with the chords and scales we'll be using here.
The only other thing you'll need is a guitar that's in tune with mine,
so let's start out by tuning your high E string to my high E string.
I'm going to go through the strings one at a time, and you tune up as we go.
Here's high E.
Here's B.
And G.
Now we'll go to D.
A.
And the low E.
Now if you need to, you can stop the tape and tune up before we get going,
because you're going to need to be in tune, alright?
And when you're ready, turn the machine back on, let's get down to it.
To help you get the most out of this video, we're going to use something called tablature.
At the bottom of the screen you're going to see six lines,
and they represent the six strings of your guitar.
The top line is like the top string of your guitar,
the bottom line is like the bottom string.
It's almost like you're holding your guitar and looking at it like this.
And on the six strings you're going to see numbers.
The numbers represent frets, and that will go for chords if I play a chord.
The numbers tell you the seventh fret, sixth fret, fifth fret, and so on.
And if I play a scale, same thing.
So between watching my fingers and seeing the numbers, you've got to mate.
There are three basic elements to any style of music,
and that includes blues.
The three elements are harmony, melody, and rhythm.
The place we're going to start playing blues is with the rhythm,
because that's the driving force behind the style.
And as you'll find out, you can play some pretty good stuff
with even one note or one chord if the rhythm is right.
In blues, the basic rhythm is called the eighth note,
and the eighth note is called the eighth note.
In blues, the basic rhythm is called the eighth note triplet shuffle.
Now just to back up a little bit,
the basic beat in most styles of music is called the quarter note,
and it has that name because there are four of them in a complete measure.
I'm going to put my guitar down here for a second so we can talk about this stuff.
Now quarter notes, you just snap your finger, clap your hand,
tap your foot, and that's where you get the feel of the beat.
It's a very natural thing.
Now you take four of them in a row.
One, two, three, four, two, two, three.
There's your measure.
Now if you play two notes for each one of these quarter notes,
they're called eighth notes.
One and two and three and four and.
Those are eighth notes.
If you play three notes in one beat,
we call it a triplet or an eighth note triplet.
Very even.
Now a triplet shuffle is when you play only the first and last notes of the triplet,
and it feels kind of relaxed and lopsided like you're shuffling down the street.
It sounds like this.
Here's the triplet again.
And playing only the first and last.
Alright, get that feeling?
Already you can start to move to it, right?
Now compare that to the straight eighth note.
Here's the straight eighth note and the shuffle.
It's so relaxed.
Now once you start to feel it, you can move with it.
You can kind of sing it.
Get that groove going.
Pick up your guitar and play the.
Oh yeah.
It doesn't take much, does it?
It sort of feels kind of that blues mood already.
Muddy Waters, John Lee Hooker,
they kind of built careers around that much more than this right here.
You know, add a little attitude on top.
Now I'm just playing that one string there.
I'm using the pick of course, playing all down strokes.
Now even something as simple as this, there's a little bit of technique to it.
And what it is, every time there's a down beat, I'm accenting with the pick.
Listen.
You hear that?
Now I'm also muting with the heel of my right hand.
I'm deadening the string so it sounds nice and percussive.
Now the next thing I'm going to do is add some harmony.
And to make harmony, all you need to do is put another note together with that one.
There's your chord.
It's a simple chord, but that's a chord nonetheless.
One finger, I'm playing B on the fifth string.
So I have E and B together.
Some people call that a power chord in blues.
I don't know what you call it.
Let's just call it an E chord.
Now your finger can also hang over on the E on the fourth string.
Now you have a three note chord.
Get that same groove going.
Remember your accent.
Now we're going to add a note to that to make a pattern.
Now the note I'm adding is C sharp.
It's at the fourth fret on the fifth string.
In relation to the E chord itself, the root E,
it's the sixth note.
The B is the fifth, the C sharp is the sixth.
So I'm going from the fifth to the sixth.
There's my pattern.
Still keep accenting in the same way.
Now to make it hip, I can use a little upstroke now and again.
So I can get the high E and the B there together.
Now I've got a complete pattern.
You can take the exact same shape, move it over to A.
Now I've got the open A string.
I've got my finger on the E and the A together.
It's a bar.
And I add, at the fourth fret on the fourth string, the F sharp.
There's my upstroke.
Go back to E.
Oh yeah.
Now there's one more chord you can play in the open position.
That's D.
The D is a little different.
The reason is because of the tuning of the third and second strings.
You have to use a slightly different shape.
So what I'm going to do here is play the two notes together.
Open D, the A, add the B.
And then instead of using a bar with my index finger, I use my second finger here.
Now E.
It's blues time.
It's that simple, right?
So we've got three chords.
We've got a little rhythm here.
It's happening.
Now, you want to play in other keys or you want to be able to move around the neck a little
bit, you have to use bar chords.
So we'll take those same three chords, A, D, and E, and move them up to fifth position.
This is where most people wind up playing this most of the time anyway.
Same basic principle.
You get the root of the chord, the fifth of the chord, and the fifth of the chord.
And with the third finger, I can bar across two strings.
Now I have to reach up with my fourth finger.
It's a little bit more of a stretch.
Now if I want to play D, shift over to the fifth string.
You have to be careful with the right hand now because the tendency is going to be to
want to hit that low string.
You don't want to do that.
So you're dead in the low string with the tip of your finger.
My right hand is still kind of tight here.
Back to A.
Now E is up at the seventh position.
There's the E chord.
There's the added note.
Well now that we got three chords in a pocket, we need somewhere to use it.
And what we're going to do is play what we've just learned
over the 12-bar progression.
This is the most common progression by far
because if we wanted to play this chord
using the double-string chord progression,
we would have to use the double-string version of D,
but if we wanted to use the double-string version of D,
we'd have to play the double-string version of D,
and this would give us a pretty good idea.
This is the most common progression by far in blues,
and the three chords that we're playing,
the A chord, D, and the E,
all happen to belong together in one key,
and the key, of course, is the key of A.
In the key of A, the A chord, logically enough,
is called the one chord.
It's the tonic chord based on the first note of the scale.
Now when you go up to the fourth note of the scale,
that's D, so we call that the four chord,
and then, of course, E is right next door.
That's the five chord, and one, four, five,
arranged in the 12-bar progression
is the foundation of the style that we play today
that we call blues.
Now here's the way it works.
You're going to play four bars on the one chord.
We'll use our little rhythm pattern here to get started.
There's bar one, two,
three,
four.
Now we're going to shift over to the four chord.
Two bars on the four chord.
Use the second bar.
Back to one.
Stay in time.
Now we go to five,
and then back to four,
and then around to one,
and then up to five.
And then the whole thing starts all over again.
It's an endlessly recycling progression.
There are some variations that you run into,
and we'll get into some of those later on in this video
and in step two.
First thing I want to show you is the way that people
usually handle the five chord at the end.
Instead of playing a full bar of five,
there's a little variation people use.
Five chord.
Four chord.
Here's the one.
That's the sound that you hear most often
on almost every blues record.
Now what I did there is I actually hang on to the one chord
for one extra beat.
Five, four,
and instead of a bar of one and a bar of five,
one, two, and.
So what I did is I hung on to the one chord,
and then slid down into the five chord.
And this requires a new chord.
Now in the beginner series, step two,
I showed you dominant chords, dominant seventh chords.
Here's a ninth chord.
And the reason it's called a ninth chord
is it contains an extra note, which is called the ninth.
And I don't want to get too far into theory land right now,
so I'm just going to show you the chord
and leave it at that.
This is an E dominant ninth chord,
and you're going to see this diagram on your screen
as we go here.
Second finger on the E,
first finger on the fourth string at the sixth fret,
and then, it's very simple,
your third finger will bar all the top three strings.
Got to get a lot of pressure down on the third finger there,
almost bend it backwards a bit to make it really work.
And you want to get the highest note in there as well.
So we slide down from above,
F9 to E9.
So once again,
five chord,
four chord,
and here we go.
One, two, and.
Then we'll start the top of the progression again.
So that's the standard blues turnaround.
Now it's called a turnaround because you're getting ready
to turn around and go back to the start of the tune again,
so it makes sense.
Now we've got a groove,
we've got a little chord pattern here,
we've got a turnaround,
we've got a 12-bar progression.
We're going to play rhythm.
The one that I just showed you
is probably the fundamental rhythm groove
that guitar players have played
for as long as the style's been around.
But when you have more than one guitar,
two guitars playing together,
usually you'll have one guitar playing that,
and then the second guitar has to do something different.
Or if you're playing on a tune,
you don't want to do the same thing all the time,
you need some variation.
So I'll show you a couple of real common variations.
Step two there, the dominant chord.
Big fat bar chord all across the six strings.
And you play a little pattern.
Instead of playing a constant beat,
what you do is play some accents.
It goes like this.
One, two, three, four.
For the four chord,
we're using a D9.
Same as the E, but based on D.
And then E,
D,
and here's the turnaround.
Very simple little pattern.
One thing you want to notice is
I keep my right hand going the whole time.
That's my groove, that's my metronome right there.
I'm playing the shuffle against the strings.
And then I control the groove with my left hand.
Where I press the fingers down is where the chord starts.
And when I lift the fingers up, that's when the chord stops.
That's where you get your pattern.
I'm going to show you a couple more,
and then we're going to go and try this stuff out with the band.
So hang on for a second here.
Here's another one.
Now that's authentic blues rhythm phrasing right there.
This is based on a lot of different players that you hear
throughout the history of blues.
Now what I'm actually doing is
starting with what looks like an A minor triad,
and then hammering on with my second finger.
See that move there?
Right?
Hold the third finger down as you do that.
So you're hearing the full chord
with the note hammered on.
Now what I do is pick the downstroke on the A,
then a downstroke on the hammer-on,
another downstroke on A,
fold my third finger over,
and then come back to the hammer-on.
Now for D, instead of staying in this position,
I'm going to move up to where the D chord is located
based on the same shape,
and then back to A,
and then up to the E chord,
and then back to A,
and then up to the E chord,
and then back to A,
and then back to A,
and then up to the E chord,
D,
and then A,
and the turnaround.
Now you can do little variations on that kind of a thing as well.
Here's another variation I kind of like.
Instead of hammering on,
you can go like,
you can slide into the shape,
and in this case you take your first finger,
second finger, slide them up a fret.
Third finger.
One more variation here.
This is the stuff.
I'm giving you the real thing right here. Check it out.
Now that's a little tricky move there.
You start out the same as we did already,
and then you have to shift your entire hand
up to the seventh position.
First finger, third finger,
second finger.
That's still an A7 chord,
but it's a little bit different.
And then,
with the third finger again,
barring, and then back to that hammer-on.
That move is going to take a little while to get down.
You have to work on the shift
so that you're making your connection very smooth.
Up to D.
E. Now we're only going to do half.
That's the hip way, right?
You split that phrase in half and play half on the E chord,
and then you play the second half of the phrase on the D chord.
And back to A.
And the turnaround.
So now in the space of a couple of minutes,
you've got one, two, three, four, five ways
to play rhythm on a medium shuffle.
It's happening.
There's only one thing left to do. Let's go play with the band.
Right now we're going to go join Roscoe Beck
and John Bishop
playing the same patterns
that I just showed you.
What you're going to see on the screen
is me playing the basic shuffle pattern,
first thing I showed you,
and then, through the magic of video technology,
I'm going to play along with myself
and play each one of the variations
that I just explained to you.
And you have a choice. You can play along with me,
you can play the basic part,
you can try one of the other parts
while I'm playing a separate part.
It's up to you, really. Just have some fun with it, okay?
And this will give you a chance to feel what it's like
to play with a great rhythm section.
All right, check it out.
Let's go.
Let's go.
Let's go.
Well, now it's definitely blues time.
Since we already have a groove
and we got some chords,
we're ready to talk about the third part of music,
which is melody,
in this case, soloing.
Blues, soloing,
blues, soloing,
blues, soloing,
blues, soloing,
blues, soloing,
blues, soloing,
blues, soloing,
blues, soloing,
blues, soloing,
blues, soloing.
Look around here at these guys.
It looks like every one of them is in the midst of
getting down,
taking care of business.
Probably, using the scale I'm about to show you right here.
Now, in the basic step two,
I showed you the pentatonic scale,
and that's the basic sound that we're still going to use.
We're going to start to add things to it
and make it sound more specifically bluesy.
But that's kind of the starting point.
So once again, just to review quickly,
key of A,
guitar player's key,
starting in fifth position on the top string
with my first finger,
I play the A,
fourth finger,
just follow along with me, watch that tab too,
third finger,
first finger,
right on down through the scale.
Very easy to play. Your first finger is always there
as a reference, right?
You keep coming back to that first finger.
That's what makes this pattern so special
for guitar players.
Now to make it a little bit bluesier,
we're going to add a note to it.
Starting again at the top,
here's the note,
with your fourth finger.
Now that's called the flat five.
Now that note,
you just play it one time,
it sounds bluesy, what can you say?
They call that a blue note,
and that's kind of one of the things that makes blues sound the way it does.
I'm going to play a few little phrases.
And of course you can add it to the lower octave as well.
There's the fifth, flat five, fourth.
So there's our basic blues scale pattern.
Now if you want to, you can stop the tape
and just kind of run your fingers around that pattern
a little bit.
Get your fingers used to the shape
and get used to adding in that note
because we're going to be using that a bit
as we go along.
I'm going to show you two things
that we're going to be using
as we go along.
I'm going to show you two things
that we're going to be using
as we go along.
I'm going to show you two little extensions
onto that basic pattern
that give you a little bit more room
to move
and allow you to cover most of the sounds
that you hear the greats using.
They work out of this pattern,
almost all of them.
First of all, instead of stopping
on the low A there, we're going to go down
two frets to G.
And you get this little
what they call a box shape down here.
First finger, third finger.
There's the G, the A.
Then we get the C instead of up here.
We get it here and then
the D there.
So as you come down the scale
and then you can add that flat five again.
So it kind of gives you
a way to play in the lower octave
and get down to it
in that position.
Moving back up, all you have to do is
shift up
and you're back in position.
And now we're going to add something
onto the top.
Moving up to the next spot,
we're at the tenth fret now
and come back down again.
And you get a little position right here
which is one of the most common
and most useful positions.
You can bend from it.
Now there's that flat five again.
And now as you just saw
we have three octaves in which we can play
almost any blues lick you want to hear.
One thing guitar players love to do
is learn new patterns
and work things out all over the neck.
And that's cool, but in blues you don't really
need to do that as much as you might
want to do it in other styles
because if you can find a good melody
usually it sticks within about one octave
and then all you have to do is
move it down two frets, move it up two frets
and you got it. So these are our three
basic positions that we're going to be using
and from this point on
once you've got the basic technique
it's all phrasing. So let's take a few minutes
and talk about that.
Now the essence of blues soloing
is phrasing.
It's taking those few notes that we just looked at
and making them
sound like music.
You know a comparison
that I use a lot
is between playing blues and playing a game
like chess for instance.
Chess is pretty simple when you think about it.
There's only a couple of moves you can memorize it
in about fifteen minutes.
But then you can spend the rest of your life
trying to figure out what to do with it.
It's kind of the same way with blues. You've got a five note scale
add in that flat five
and then you spend
the next twenty, thirty, forty
years trying to figure out how to make it
work. And that's phrasing.
So
when guitar players talk about phrasing
the most common term that people
use is licks.
And that's a good thing
and it's also kind of a dangerous thing.
We're going to talk about licks in a second.
The whole point of phrasing is to make you
sound more like a singer. Blues kind of
was invented by singers.
People singing about
their lives. You know things that were
going on. Important things.
And when you sing
something you're going to tend to focus
more on the important notes. You're not going to sing
scales. You're going to sing melodies.
So the whole goal of
this section right
here is to talk about how to get your guitar
playing to sound more like you're singing.
And one of the keys is to learn how to
breathe. And
not only what to play but what not
to play.
Now I mentioned licks. What is a lick?
A lick is a short
rhythmic repeatable
melodic phrase.
It has a beginning, a middle
and an ending.
Now basically it's
a couple of well played notes
with a nice rhythm. I'm going to play a lick for you
right here. Using the
blues scale.
...
...
Now that has a beginning
...
has a little pause in the middle
and then it
...
has an ending.
And it fits into the rhythm. You can kind of feel that beat.
Play with me
would you?
...
...
...
That's pretty easy
to play and
nothing tricky in the technique at all
really. But it sounds nice.
Now what is it that makes it work? Well there's a couple
of things going on there. One is the rhythm.
...
...
...
It has a nice natural feel to it. With that pause
in the middle it kind of makes it feel
like you're saying something
taking a breath and then completing
the idea. That's the essence of
phrasing. Also it
rhythmically fits into the groove in a nice
way. Now there are no
real hard and fast rules about
what beat to start on, what
note to start on. The only
way to really learn phrasing is to listen
to people that know how to phrase
and copy. And over time your
own style will start to come out of that.
But I'm going to show you some of the basic techniques that
people use. First of all, back
in the basic step
two I talked about hammer-ons. This is
something all guitar players use. It's a way
of blending the notes together a little bit.
So for instance, I'm picking every note here.
...
...
... And I'm using all down strokes.
In blues as a rule you don't have to worry too
much about tricky right hand technique.
Down strokes work most of the
time. One thing I'm going to do
to kind of change it a bit is instead
of ...
... picking all those notes I'm going to
pick ... this note
pull off, hammer-on.
...
... You hear the difference?
...
... Kind of changes the way the notes flow together.
...
... Smooth it out a little bit.
Now check this out.
...
... Instead of
picking the flat five I'm going to hammer-on
from the fourth.
...
... I get
...
...
... It starts to get a little bit more bluesy
when you just add that one little
subtlety in there. Now what about
something like this.
...
...
... Now there instead
of hammering on what I did was
I slid from one note to the other.
...
... And when you slide it's more like
your voice. ...
... You don't actually hit the notes as separate
sounds. You kind of blend
them together.
... And then ...
... Instead of hammering on
slide. That's a real common phrase
in blues and jazz.
...
... Now another
way to blend the notes together is to bend.
...
...
...
...
... Now some of the common bends
that you hear in the blues scale are bending from
...
... From the seventh up to the octave.
... It's probably the most
common bend of all. Bending from the
... fourth up to the fifth.
...
... Or bending just a half step.
...
...
...
...
... Now a bend that you may not
notice that I'm using a lot is this one right here.
...
... Now that is really a blues
bend right there. What I'm playing is
the third of the scale. The root.
The third, right? But instead of
playing that note right there, I'm
playing ...
... That note. Now that's not
quite there. It's not there. It's halfway
in between. That is the blues.
That's a blue note.
...
...
...
... Practically every player you ever hear
play the blues is going to use that particular note
in every octave.
...
...
... You have to learn your notes in relation to the
chords so you can think where's the third.
... When you hear that note
give it that little twist, right?
Now
we got three basic techniques there.
Hammering on, pulling off, sliding,
bending. They all add up
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down low
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Let's take it up high again
...
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It's getting mellow now
...
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It's got a trick note in it
...
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Gotta hold that note down while you play it
Watch it
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Well I hope by now you got a couple of licks that you like
that you can use
The great thing about learning licks like that
that are short and complete
is that you can take them and plug them in
just about anywhere
and what we're going to do right now is get you ready to play
over that 12 bar progression
This is what it's all about really
So I'm going to show you a couple different ways
that you can use those licks
Now we've got the 12 bar progression we know about
We go to the four chord and the five chord
Three different chords but that same scale
works over all three chords
That's the magic of the blues scale
You can actually play an entire 12 bar solo
using only one lick
For instance, let's say we're starting our tune off
Help me out by playing some rhythm here
Play the rhythm for me
so you can hear how these things go
Key of A, here we go
One, two, one, here's the lick
...
...
...
...
...
...
...
Now here comes five
...
...
...
...
...
That was the same lick each time
and it works, it feels good
It starts and ends in a nice place
What else do you need?
Well, if you do that all the time, of course
it starts to get a little predictable
So here's another way you can do it
...
...
...
...
...
...
Now we're going to play a different lick
...
...
...
...
...
That's taking the idea of call and response
which we used over a single chord
So you have the call, you have to call again
you have the response
Now, does that remind you of something?
It should, that's how singers in blues
phrase their vocals
They sing the same line twice
and then they sing an answering line
That's the traditional way the 12 bar vocal phrases
are put together
So, once again, thinking like a singer
Now, one thing we haven't talked about, very important
At the end of the progression
Hit that five chord, that's called the turnaround
What do you play over the turnaround?
Let me show you something right here
It's the simplest possible thing on earth
When the chord goes to five
You go to five with your melody
So, once again, let's take it from the end of the progression
Five chord
Four chord
And the one
Now you play that
and I'm going to show you a lick here
Starting on five, two, three, four
Now, when you went
I went
What did I do? I just played the root of the five chord
That's the turnaround
That locks me in to the sound of the band
And it makes the solo sound complete
Very important, don't forget it
Let's talk for a second about equipment
Because I think it's important
If you're a beginning guitar player
Sometimes you can get a little intimidated
It's all good stuff
Seems like you have to spend a fortune to get a sound
I'm going to tell you one thing, and this is true
So listen to this
You know where your sound comes from?
Right here
These two hands
This is your sound
From here, here, here
Everything else is just how you get it out
Now you've got to have something that's going to work for you
And not going to stand in your way
There are any number of different guitar makes
Amp makes, effects
They're all going to work equally well
If the sound is coming from the right place
Now I happen to use a popular
Guitar, you recognize this one, Fender Strat
I bought this brand new
I'm not going to tell you what year either
But I like this guitar
It's got a nice, sweet, even
Sort of a sound that's good for a lot of different styles of music
And not just blues
Basic difference in guitars is between
Single coil pickups
And double coil pickups
Or humbuckers
Double coil pickups tend to be fatter
They get a little bit more distortion at a lower
Volume
Depending on your style, that might be the best sound for you
Or you might want a sweeter
Single coil sound
This is better for rhythm parts and things like that
When it comes to strings
There's kind of a controversy there
Of course, easier to bend
Light strings, but light strings
You lose a lot of tone
And tone is so important in blues
That I would ask you to go to at least
A 10 on top
And down to a 46 or a 52
Even on the bottom
Some people use light top, heavy bottom
I use an even set of regular
Strings, but with a 10 on top
Some players will go even higher
But often, keep in mind, when a player uses
A 13 or something on top
I bet most of the time they're tuned down
To E flat or even to D
So that makes the action a little bit easier to play
When it comes to amplifiers
I would say the rule of thumb
Still, to this day
Is that most of the time tube amps
Are preferable
They just have a warmer sound
So if you want to get that authentic tone
You're probably going to want to wind up with
Something that has tubes in it
Very important
Alright, now it's time to get together
With the band again
And use all the techniques
And the phrasing ideas we've been talking about
Together with the fellas
And you're going to be playing
12 bar solos
Now remember, when you get to that 5 chord
The turnaround, just hit the root of the chords
E, right, you can play it down here
You can play it up here
And remember what else I told you
When you were playing rhythm at the end of the tune
Where do you go? You don't go to 5
You go to 1, alright
So when you play your last lick
End your last lick on the root, A
And that will make it sound finished, complete, done
Now when you're playing blues solos
There's something you have to keep in mind
If you're going to play 2 or 3 choruses in a row
It's like you're telling a little story
And just like a lick
Has to have a beginning, a middle, and an end
Your entire solo wants to have that same feeling
That's what makes it really work
So don't go too high
Too fast
You build your momentum up gradually
You might start out low and leave lots of space
And then you start to fill in the space
A little bit more, play a little bit faster
Maybe play some more notes, start to go up higher
And register
Also don't forget that right hand
The right hand really contains the key
To dynamics
That's loud and soft
And if you want to be intense, you don't have to play fast
You just play harder
So if you want to really go high
Of course everything we're learning right here
Go up 12 frets
Same exact shape
It's a little harder to play up there
Because you have to kind of reacquaint your hand
With the position
We have some fabulous players
Albert Collins, among others
That are basically two position players
They play here
They play here
And then they take it up an octave, and that's it
And they build careers on that
So don't think you've got to know a bunch of patterns
Before you can play
So we're going to go join the band right now
And tell you what
Here's what we're going to do
I'm going to play a solo through with the band
One time myself
And I'm going to show you some ideas
That we've been talking about
Then we're going to start them up again
And it's going to be your turn
You ready? Let's do it
Let's go!
Music
Alright, I gave it my best shot
Now it's your turn
Why don't you step on up there with the band
And give it a couple of choruses
Remember what I told you
Don't forget about that one chord at the end
And dig in
Music
Music
Music
Music
Music
There's still plenty more to do
So when you come back for step two
We're going to get much deeper
Into all of those subjects
I'm going to show you some different rhythm parts
Some new chords
We're going to slow the tempo down a little bit
So until then
Keep on playing
Music