Free Download - 17 Essential Strum Patterns PDF
All About Chords,
part 4
The Blues Injection
by
Darrin Koltow
www.MaximumMusician.com
Be sure and check
out all of the lessons in the "All About Chords" series.
Part
1 - how harmony and chords work
Part
2 - the ii-V-I chord progression.
Part 3 - Arpeggios
Part 4 - The Blues Injection
Part
5 - CAGED - Form E
Part
6 - CAGED 2 - Form A
Part 7 - CAGED 2 - Form A - Arpeggios
Part 8 - CAGED 2 - Form A - Chord Melody
Part 9 - CAGED 2 - Blues Chord Melody
In this installment of All About Chords, we continue exploring
the great chord connection. I have no idea what that means. But
I do know we're going to continue with our All About Chords lesson.
This is part 4. And hang on to your hankies, because we're going
to explore the Blues Injection.
A
Bit o' Review
Up to now in the All About Chords series of lessons, we've learned
how important it is to play chords as *music*. That generally
means playing chords within a chord progression. The chord progression
we've been using is the ii-V7-I, because it's so popular that
we instantly recognize we're making music when we play the ii-V7-I.
We explored arpeggios, too, including how to practice them:
again, in our 251 progression, and together with chords. Do you
remember why we play chords and melody together? We do this so
we can know which melody notes go with which chords, and which
chords go with which melody notes. This builds super human music
ability, and guess what: it ain't all that hard. Heck, it's even
fun. Man, all of life should be as much fun as making music and
playing guitar.
The
Blues Injection
I want to do something that's gonna make practicing our chords
even more fun. The 251 chord melody progression we've been playing
in open position sounds good. It sounds like music. Let's go beyond
good. Let's make it sound *great.* How? I'm not gonna tell you...yet.
I want you to *hear* how we're gonna turn good sounds into a great
feeling.
Here's the tab for this souped-up, double-dipped, extra-spicy,
batter-fried, finger-lickin, flat-pickin' -- aw, just dig the
tab:
E E Q E E Q E E Q E E Q
|--------------|----0-------------|
|----------1---|-4----1-----------|
|------0-2-----|---------2--0-----|
|-1--2---------|------------------|
|-3------------|---------3--3-----|
|-3------------|------------------|
C C
Q E E E E Q Q E Q E Q
|----------------|-1--------------|
|--------1-3-----|-1--3-1---------|
|----1-2---------|---------1-2----|
|-3--------------|----------------|
|-3--------------|----------------|
|----------------|----------------|
F or Dm F or Dm
Q E E E E Q Q Q E E Q
|----------1-----|-3--1---------|
|------0-3-------|-3----3---0---|
|-0--3-----------|-4------3-----|
|-0--------------|-3------------|
|----------------|--------------|
|----------------|--------------|
G7 G7
E E E E E E E E E Q H E
|------------------|--------------*|
|-------1-----1----|-4-3-1--------*|
|-2-0-2---0-2---2--|-----0--------*|
|------------------|-----2--------*|
|-3----------------|-----3--------*|
|------------------|--------------*|
C C
++++++++++++++++++++++++++++++++
Duration Legend
---------------
W - whole; H - half; Q - quarter; E - 8th
Duration letters will always appear directly above the note/fret
number they represent the duration for. Duration letters with
no fret number below them represent rests.
++++++++++++++++++++++++++++++++
Get the Power Tab for this tab here.
Need the free and excellent Power Tab software? Get it here:
http://power-tab.net
Mac users, don't despair! Get the
MIDI files for this tab here.
Now that you have the tab, I should remind you how to *play*
it. Remember from the last lesson the introduction to the Pick
Fingerpick right-hand technique? You'll need to use it because
strumming won't work with this tab.
To get acquainted or reacquainted with the Pick Fingerpick technique,
go here:
http://www.maximummusician.com/pickfingerpick.htm
Let's talk about this tab. How the heck does it work? All this
tab does is put our 251 chord-plus-melody ("chord melody") exercise
through a Blues filter, to come out with something that's still
pretty close to the original exercise. So you can compare the
original 251 chord melody exercise with this one, here it is again,
from the last lesson:
E E E E E E E E E E E E E E E E
|------------------|-----------------|
|---------1--------|-------1-3-1-----|
|-----0-2-0-2-0----|-----2---2---2---|
|---2-----2-----2--|-0-3-----3-----3-|
|-3-------3--------|-0---------------|
|-3----------------|-----------------|
E E E E E E E E E E E E E E E E
|-----------------|---------0--------*|
|-------0-3-0-----|-------1-1-1------*|
|-----0---0---0---|---0-2---0---2-0--*|
|-0-3-----0-----3-|-2-------2--------*|
|-2-------2-------|-3-------3--------*|
|-3-------3-------|-3----------------*|
Don't worry that the Blues 251 tab is twice as long as the original.
It's longer because we're playing two bars of each chord instead
of one. But the same, simple pattern, where the melody goes up
and then comes down, is happening in both tabs.
Page
2, How we made the Blues tab 
©
2002 Darrin Koltow, All rights reserved
www.MaximumMusician.com
Free Download - 17 Essential Strum Patterns PDF
|
