P2P | 2020年9月19日| 2.5 GB
独奏复杂的布鲁斯变化
作为布鲁斯演奏者，独奏更复杂的现代布鲁斯演奏，福音或爵士乐影响的改变总是与典型的1-4-5演奏令人耳目一新。但是，您会发现，您的次要和主要五声调词汇只会使您受益匪浅。
Jeff McErlain的Uptown Blues Soloing Edition Take 5通过识别和定位和弦音调和普通音调来演示如何“演奏变化”，为您提供了其余方法。这是一种简单得多的方法，不需要学习大量的音阶和琶音，并且可以在制作独奏和即兴演奏时极大地扩展您的创意调色板。
”在本课程中，我们将探索布鲁斯曲调，以打破基本的I IV V和弦进程。在学习进度的同时，我将向您展示如何通过对准每个和弦上的基调来独奏这些变化。实际上，这比看起来容易得多，因为我将向您展示如何查看其中的和弦和音符，而不是思考音阶。
演奏这些变化对许多吉他手来说都是艰巨的，我知道这对我来说很坦率，我避免了！好吧，我有一个活生生的证据，证明您可以花一点精力和耐心就能做到，您也可以做到。拿起吉他，让我们开始吧！”
Jeff用布鲁斯独奏入门作为开场白，他指出了一些进行更复杂变化的方法，分享了几种方法来专注于您的练习和谈论球员学习，并传递了一些布鲁斯独奏的声音提示。
Jeff随后将指导您完成5项“ Uptown Blues”独奏研究，在其中您将学习如何用平七号代替五和弦的渐进进行独奏，渐进结合一六二五。您还将使用较小的四和弦和锐利的四个减弱的和声。
Jeff将在此过程中解释和演示所有关键概念和方法。您将获得所有性能研究的标准符号和选项卡。另外，您将能够使用TrueFire的学习工具将标签和注释同步到视频课程。您还可以循环播放或放慢视频的播放速度，以便按照自己的节奏来上课。包括所有支持曲目，您也可以自己使用。
住宅区布鲁斯独奏入门-示范
“我真的很想上这门课程，并且与过去几年中的其他许多课程紧密地联系在一起-独奏变化，要领：Chord Tone Soloing和独奏探索者：Rock。所有这些课程都讨论了演奏和弦变化并确定和弦的音调，所以，如果您不熟悉这些，请看一看，那些是基于布鲁斯摇滚的布鲁斯。在这里我想说的是，对弹奏和弦有信心很重要标准的12巴布鲁斯蓝调，甚至只有您的五音阶音阶，我发现人们想要超越自己而演奏“炫酷的东西”而又不真正弄清什么是真正的炫酷东西！要容易得多。我不是指舔，而是指使用五音阶即兴演奏，因为那是一切都从这里来。”
级别1：上城布鲁斯独奏-概述
“在本研究中，我们将用bVII7和弦替换通常在布鲁斯音乐中的第9小节的V7。您可能会问什么？根，因为它是自然的VII，我们正在演奏C布鲁斯琴，而通常V7和弦是G7，所以我们将其换成Bb7。我非常喜欢此更改，因为它微妙而酷，您可以演奏五音在它上面，或者您可以进行更改。我发现切换标准的12小节布鲁斯会变得很简单，无论他们是否意识到，这都会对听众产生影响。”
1级：上城区蓝调独奏-表演
“我在这里采取了一种非常简单的方法。这不仅是开始独奏的好方法，而且通过保持简单，我可以清楚地概述所做的更改，以便我们了解其效果。有时只是演奏和弦音色是最好的选择，正如我在视频中所解释的那样，您可以看到它与五音阶位置紧密相关。因此，当您学习独奏时，我建议您创建一个与此相似的音调。写下一个12小节的独奏，专门概述和弦的变化。独奏不一定是您正在练习的杰作，与演奏完全不同！”
1级：上城区蓝调独奏-击穿
“在细分中，您可以看到我做了一些即兴创作并扩展了原始的独奏。我这样做是因为我希望您看到我们可以在基本主题上进行一些细微的改动。以主题为基础是一种很好的方法开始创作连贯且计划周密的独奏，根据歌曲的不同，一种很棒的方法是在独奏的开头引用这首歌的旋律。很明显，我在这里没有这么做没有旋律，但我的确是基于最初的想法。正如我所说，这始终是独奏的好方法。特别是如果您打算加长的话。”
第2级：上城区蓝调独奏-概述
“在这项研究中，我们将演奏一个快节奏的直凹槽，我们将添加一个VI小调和弦。我们在E中，所以它将是C＃m，这种改变很普遍而且很酷这与歌曲“ Mercury Blues”相同，这是一首经典的布鲁斯乐曲，已经录制了很多次，但具体来说，我们正在研究的是我第一次从David Lindley那里听到的版本。并添加了Vim和弦，以他的歌曲版本来打。通常，如果有人在演唱会上演唱这首歌，我认为其中会包含Vim和弦。”
2级：上城布鲁斯独奏-表演
“首先，我主要是想这首歌上的五声调。特别是E小调五声调，但是我将添加每次和弦变化所需的和弦音调。我的第一个和弦是E大调，例如EG＃B，所以我将请确保在弹奏该和弦时击中其中一些音符。A大和弦也是如此，这就是我的IV和弦。这是AC＃E的拼写，因此您可以确定我肯定会在其上击打很多C＃当我进入Bmaj和C＃m时，我实际上是在演奏每个弦的和弦形状。从这种方法开始对进行更改很有帮助。”
第2级：上城区蓝调独奏-击穿
“您要做的第一件事就是在这种音调上使用E小调布鲁斯音阶。无论如何，我还是会建议这样做！我发现很多人都对学习更高级的概念非常感兴趣，最终演奏时发现他们缺乏良好的五音阶布鲁斯演奏的基本原理，这种演奏显然是布鲁斯和布鲁斯摇滚的基础。我不是在谈论布鲁斯舔乐，而是在理解理解细微差别和乐句是音乐的一部分。如果您没有将它们融合在一起，那么其他任何东西都不会真正融合在一起。我已经说过了。:-)“
第3级：Uptown Blues Soloing-概述
“在这项研究中，我们将看一个八格蓝调，并介绍一个VIm和弦以及最重要的I7 VI7 II7 V7 I转弯。这种形式非常重要，因为它很多很多，这是我第一次真正需要进行一些和弦更改时演奏爵士乐的门户，对I7 VI7 II7 V7充满信心是必不可少的，但确实需要大量的工作和练习。所以，让我们来看一下！”
3级：上城布鲁斯独奏-表演
“有几种不同的I7 Vi7 II7 V7 I7变体需要注意。作为一般的经验法则，我发现在许多传统的蓝调音乐中，所有和弦均被视为主要和弦。这就是我的VI7 IIm7 V7 I7。让我们来谈一谈和弦G7 E7 A7 D7 G7与G7 E7 Am7 D7 G7的区别，虽然可能有些微，但您必须要意识到这一点，因为您要确保每个人都处于同一状态Vim7和弦的另一个变体G7 Em7 Am7 D7 G7也很常见，因此最终您将想知道如何独奏这三个。
3级：上城区蓝调独奏-击穿
“这里有个小提示，您可以使用G小调五音调独奏所有这些。当然，您会错过其中一些非常甜美的音符，这些音符会起到演奏这些变化的作用，但是我建议您也进行练习。我已经发现，如果您想听起来很蓝调，那就是这两种方法的结合才是最经典的声音，想想BB King，因为他的许多曲调都使用了周转和这些变化，这是二级忍者必备的知识。 ”
4级：上城区蓝调独奏-概述
“这是一个经典的福音式布鲁斯，叫做“如果我不做就不会有人事”。在这里，我们将介绍III7和弦的使用，这是福音式布鲁斯和弦的一种基本改变。 C，因此III7和弦为E7，因为在C中第三和弦为E。通常该和弦为Em7，但加上福音音的扭曲使它成为占主导地位的第七和弦，我们还将遇到无处不在的I VI II VI我转机。”
4级：上城布鲁斯独奏-表演
“这首歌的很多版本都是1922年首次录制的，带有许多抒情和和弦变奏，当然，我正在教您的版本似乎是大多数蓝调演奏的版本！请查看Jimmy Witherspoon的相同版本我在这里传递的版本是我最喜欢的版本之一，来自FATIASTIC唱片，由Otis Spann创作的自Colossus以来的最大作品，具有原始Fleetwood Mac阵容（我相信Mick Fleetwood除外） ）和Peter Green和Danny Kirwan一起弹吉他。我不能推荐这张唱片，这是我的最爱之一。我喜欢Peter solos在这张唱片上的演奏方式，它既可以进行更改又可以演奏街头布鲁斯。强烈建议学习他的独奏。”
第4级：
“像这样的曲调，真正的诀窍是并不总是使所有的和弦都改变。如果这样做，它会停止听起来蓝调，而倾向于听起来有点爵士。尽管大多数爵士乐手也会在这方面演奏非常蓝调。这是聪明和愚蠢之间的分界线，有时候这首歌听起来很愚蠢，因为我知道，请从我那儿取下来，我建议尝试在此范围内尽力演奏C小调布鲁斯和C大调布鲁斯。勾勒出一些变化，但是要练习，我绝对建议尝试勾勒出所有和弦的变化，以使手指和耳朵下的所有和弦变化。困难的部分是在听起来自然的地方将这些东西混合在一起。并聆听伟人对这些变化的期待。”
5级：
“在这项最终研究中，我们将主要看一下＃IVo7和弦的使用，并再次将I VI II VI转过来。因此，现在应该很清楚，转弯非常重要！我知道我已经忽略了很多年，每次都只演奏过五声无聊的废话，如果您再深入一点，做出一些和弦改变实际上并不难，这需要时间和精力，但是回报是巨大的，因为它是如此普遍。”
5级：上城布鲁斯独奏-表演
“这些更改基本上是对房地美的经典专辑《 Someday After a Sourry of a Sorry》的更改。但是，正如我们所看到的，它有很多曲调。我谈到了这首歌和我的许多课程，因为它如此普遍，对于学习如何演奏至关重要。此键中的＃IVo7是C＃o7，其拼写为C＃EG Bb，C7，其IV和弦的拼写为CEGBb，因此我们可以通过锐化C7的根来看到我们得到C＃o7的和弦，所以我们只需要更改一个音符即可！伙计，我希望我已经知道，当我第一次开始演奏这种东西时，那减少了的第七和弦就让我感到恐惧。”
5级：上城区蓝调独奏-击穿
“让我借此时间回顾一下我们在本课程中学到的很多知识。IVI II VI是必不可少的，因为它在爵士乐和布鲁斯音乐中都非常常见，因此我要知道如何导航。另一个需要注意的是，作为一个演奏者，以及乐队中的所有人，都需要注意周转。另一个常见的变化是在回到I7之前我们对待IV和弦的方式，可以是IV7至IVm至I7或从IV7到＃IVo7到I7。您还希望能够导航这些更改。因此，如果您从本课程中获得任何收获，这些更改都需要花费时间才能掌握，这不是竞赛，记住，你在玩吉他很有趣！”
P2P | 19 September 2020 | 2.5 GB
Soloing Over Sophisticated Blues Changes
As a blues player, soloing over more sophisticated modern blues progressions, gospel or jazz-influenced changes is always a refreshing break from the typical 1-4-5 progression. BUT, you’ll find that your minor and major pentatonic vocabulary will only get you so far.
Jeff McErlain’s Uptown Blues Soloing edition of Take 5 takes you the rest of the way by demonstrating how to “play the changes” by identifying and targeting chord tones and common tones. This is a much simpler approach, does not require learning a ton of scales and arpeggios, and greatly expands your creative palette when crafting solos and improvisations.
”In this course, we’ll explore blues tunes that break out to the basic I IV V chord progression. Along with learning the progressions, I’ll show you how to solo over these changes by targeting the keynotes on each chord. This is actually much easier than it appears because I’ll show you how to see the chord and the notes within it rather than thinking scales.
Playing over these changes is daunting for many guitarists, I know it was for me and frankly, I avoided it! Well, I’m living proof that you can do it with a little bit of effort and patience, you can do it too. Grab your guitar, and let’s get started!”
Jeff kicks off the course with a blues soloing primer where he points out some approaches for playing over more sophisticated changes, shares a couple of ways to focus your practice and talk about players to study, and pass on a few sonic tips for blues soloing.
Jeff will then guide you through 5 “Uptown Blues” soloing studies, where you’ll learn to solo over progressions that utilize flat sevens in place of five chords, progressions that incorporate one six two fives. You’ll also work with minor four chords and sharp four diminished harmonies.
Jeff will explain and demonstrate all of the key concepts and approaches along the way. You’ll get standard notation and tabs for all of the performance studies. Plus, you’ll be able to use TrueFire’s learning tools to sync the tab and notation to the video lesson. You can also loop or slow down the videos so that you can work with the lessons at your own pace. All of the backing tracks are included to work with on your own as well.
Uptown Blues Soloing Primer – Demonstration
“I’m really psyched to make this course and it ties in well with many of my other courses in the past few years – Soloing The Changes, Essentials: Chord Tone Soloing, and Solo Explorer: Rock in particular. All of these courses discuss playing chord changes and targeting chord tones, so please if you’re not familiar with those, take a look, with those being a bit more blues rock-based. Here I want to say how important it is to be confident in playing over a standard 12 bar blues with even just your pentatonic scales. I find people want to get ahead of themselves and play the “cool stuff” without really nailing what really is the cool stuff! By having a solid pentatonic blues rolling background, making the changes will be much easier. I don’t mean licks, I mean improvising using the pentatonic scale because that’s where it all comes from.”
Level 1: Uptown Blues Soloing – Overview
“In this study, we’re going to replace the V7 that normally comes at bar 9 in a blues with a bVII7 chord. What’s that you may ask? A bVII is always a whole stop below the root, as a natural VII is a half step. We are playing a C blues and normally the V7 chord is G7, so we will replace it with a Bb7. I really like this change as it’s subtle but cool, you can just play pentatonic over it, or you can make the changes. I find switching up the standard 12-bar blues something simple like this can make a difference to the listener whether they are aware of it or not.”
Level 1: Uptown Blues Soloing – Performance
“I took a very simple approach on purpose here. Not only is that a great way to start a solo, but by keeping it simple, I can clearly outline the changes so we can hear how effective that is. Sometimes just playing for the chord tones is the best thing to do. As I explain in the video, you can see how this is closely related to the pentatonic scale in position. So, as you learn this solo, I would suggest you create your own that is similar to this. Write a 12 bar solo that outlines the chord changes specifically. The solo does not have to be your masterpiece, you were practicing, which is very different than performing!”
Level 1: Uptown Blues Soloing – Breakdown
“In the breakdown, you can see I did some improvising and extending upon the original solo. I did this because I wanted you to see that with slight variations how we can expand upon the basic theme. Building upon a theme is a great way to get into creating a coherent and well planned out solo. A great way to do this, depending on the song, is to quote the melody of this song at the beginning of the solo. Now clearly I didn’t do that here because it is no melody, but I did build upon my initial idea. And as I said, this is always a great way to start solo. Especially if you plan on taking an extended one.”
Level 2: Uptown Blues Soloing – Overview
“In this study, we’re going to play over an uptempo straight groove and we will add in a VI minor chord. We’re in E so that would be a C#m, this change is common and very cool for a little twist. This is the same changes as the song “Mercury Blues” which is a classic blues tune that has been recorded many times, but specifically, we’re looking at the version I first heard from David Lindley. Alan Jackson also had a country hit with his version of the song with this added Vim chord. Usually, if someone calls the song on a gig, I assume it’ll have the Vim chord in it.”
Level 2: Uptown Blues Soloing – Performance
“I’m mainly thinking pentatonic on this song, to begin with. E minor pentatonic specifically but I’m going to add in chord tones needed for each chord change. My first chord is E major, EG#B so I’ll be sure to hit some of those notes when playing that chord. The same thing goes for the A major chord, which is my IV chord. That’s spelled AC#E, so as you can see I am sure to hit a lot of C#’s on that chord. When I get to the Bmaj and C#m I’m literally playing the chord shape of each one. Starting off with this approach can be really helpful getting into playing over the changes.”
Level 2: Uptown Blues Soloing – Breakdown
“The first thing you’d like to do is become comfortable using the E minor blues scale on this tune. I would recommend that all the time anyway! I find a lot of people are very interested in learning more advanced concepts, and when we end up playing find that they are lacking in the fundamentals of good strong pentatonic bluesy playing. That kind of playing is the foundation of blues and blues-rock, obviously. I’m not talking about blues licks, I’m talking about understanding the nuances and phrasing that is a part of that music. If you don’t have that together, nothing else will really come together. I have spoken. :-)”
Level 3: Uptown Blues Soloing – Overview
“In this study, we’re going to take a look at an eight-bar blues and introduce a VIm chord and the all-important I7 VI7 II7 V7 I turnaround. This form is exceptionally important to know as it is many, many, tunes. This was the gateway for me to play a little more jazzy for the first time I had to really think about making some chord changes. Feeling confident over the I7 VI7 II7 V7 is essential but does require a fair amount of work and practice. So, let’s take a look at that!”
Level 3: Uptown Blues Soloing – Performance
“There are a few different kinds of I7 Vi7 II7 V7 I7 variations to be aware of. As a general rule of thumb, I’ve discovered that in many traditional blues tunes all of the chords are treated as dominant. The traditional jazz version of this is I VI7 IIm7 V7 I7. Let’s talk chords G7 E7 A7 D7 G7 vs. G7 E7 Am7 D7 G7, the difference can be subtle but it’s one to be very aware of, as you do want to make sure everyone is on the same page. Another variation in a Vim7 chord, G7 Em7 Am7 D7 G7 and that are quite common as well. So ultimately you’ll want to know how to solo over all three of those.”
Level 3: Uptown Blues Soloing – Breakdown
“A little hint here, you can use G minor pentatonic to solo over all of this. Of course, you’ll be missing some of them really sweet notes that playing the changes will provide, but I recommend you practice that as well. I have found, if you want to sound bluesy, it is the mixture of these two approaches that are the most classic sound. Think B.B. King as many of his tunes use turnaround and these changes. This is must-know second-level ninja stuff.”
Level 4: Uptown Blues Soloing – Overview
“This is a classic gospel-style blues called “Ain’t Nobody’s Business If I Do”. Here we’re going to introduce the use of the III7 chord which is an essential gospel blues chord change. We’re playing in the key of C, so that III7 chord would be E7 because in C the 3rd is E. Normally that chord would be Em7 but the twist that adds that gospel sound is making it a dominant seventh chord. We’ll also encounter the ubiquitous I VI II VI I turnaround.”
Level 4: Uptown Blues Soloing – Performance
“There are many versions of this song that was first recorded in 1922 with many lyrical and chordal variations, of course, the version I’m teaching you seems to be the version most blues guys play! Check out Jimmy Witherspoon’s version which as the same changes without the VIm added in and is a bit more uptempo. The version I’m channeling here is one of my favorites is from the FANTASTIC record The Biggest Thing Since Colossus by Otis Spann featuring the original Fleetwood Mac lineup (except Mick Fleetwood I believe) with Peter Green and Danny Kirwan on guitar. I can’t recommend this record enough and it is one of my favorites. I love the way Peter solos on this one which is a beautiful mix of making the changes and playing street blues. I highly recommend learning his solo.”
Level 4: Uptown Blues Soloing – Breakdown
“The real trick on a tune like this is to not always make all of the chord changes. If we do that, it stops sounding bluesy and leans toward sounding a little jazzier. Although most jazz musicians will play very bluesy on this as well. It’s a fine line between clever and stupid and sometimes it’s easy to sound stupid on this song, take it from me because I know. I would recommend trying to play C minor blues and C major blues over this as best as you can. And gradually outline some of the changes. But to practice, I would definitely recommend trying to outline all of the chord changes to get that under fingers and in your ears. The difficult part is mixing the stuff together where it sounds natural. That comes down to practice and listening to the greats play over these changes.”
Level 5: Uptown Blues Soloing – Overview
“In this final study, we’re going to take a look primarily at the use of the #IVo7 chord, and once again the I VI II V I turn around. So it should be clear by now that that turnaround is pretty darn important! I know I overlooked it for many years and just played some pentatonic nonsense over-the-top every time, if you dig a little deeper it’s really not that hard to make some of those chord changes. It just takes time and some effort but the payoff is huge as it’s so common.”
Level 5: Uptown Blues Soloing – Performance
“These changes are basically the changes to “Someday After a While You’ll Be Sorry”, a Freddie King classic. But as we can see it is many tunes. I’ve talked about the song and a number of my courses because it is so ubiquitous and essential to learn how to play over. The #IVo7 in this key is C#o7 which is spelled C# E G Bb, C7 which is the IV chord is spelled CEGBb. So we can see by sharpening the root of the C7 chord we get C#o7, so we only really need to change one note! Man, I wish I had known that when I first started playing on for this kind of stuff. That diminished seventh chord used to freak me out.”
Level 5: Uptown Blues Soloing – Breakdown
“Let me take this time to recap a lot of what we’ve learned in this course. The I VI II V I is it essential to know how to navigate as it is exceptionally common in both jazz and blues. There are standard variations to this turnaround that you need to be aware of as a player, as to all the people in the band. Another common variation will be how we treat our IV chord in before we go back to the I7. It can be IV7 to IVm to I7 or IV7 to #IVo7 to I7. You want to be able to navigate these changes as well. So if you take anything away from this course that should be it! These changes take time to get under your fingers and this isn’t a race, remember you are playing guitar for fun!”
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