Now I'd like to take you through some rhythm parts over a minor blues.
This is a very famous progression.
It's based on B.B.
King's Thrill Is Gone,
which he had a big hit within the early 70s.
I've moved this from the original key that he played that in,
which was B minor down to A minor just for the purposes of this class.
I'm calling this tune thrilling and it is certainly a tip of the hat to the great B.B.
King. His original recording was for
orchestra thing and all that and he had a big hit with it.
It was the tune that made him a household name.
He was very thankful for that song all his life.
He continued to play it happily for people until the very last of his days too.
We've got a number of minor blues in this lesson, free to look through.
I'm sure you're doing that.
Lots of variations on them,
they're very important part of the blues.
This particular version, when B.B.
wrote it, his turnaround on the song was in B Minor [MUSIC].
He had a turnaround, a G major seven.
[MUSIC]. To have sharp, C7, sus4.
[MUSIC].
To the F-sharp seven.
[MUSIC]. Back to B minor seven.
[MUSIC].
The tune was in B minor originally.
[MUSIC]. That was his turnaround was really pretty with a major seven.
[MUSIC]. But a little later in life, B.B.
changed that turnaround to dominant chords on the ninth chord.
[MUSIC]. Just played like a G9 [MUSIC] to the F-sharp seven,
[MUSIC] to the B minor in this case.
It's a little blues here that we little less pretty and that's
how this song is usually played for several decades.
When he played it live and everything,
you could hear him play the dominant chords on the turnaround.
Let me take you through these changes for a second.
The basic changes on here.
You got A minor [MUSIC] as a home-base chord [MUSIC].
The one chord [MUSIC],
just demonstrating the core changes right now.
[MUSIC] Go on to D minor seven for two bars.
At A minor [MUSIC] can play in F9, [MUSIC] right there.
There's my F and there's that ninth chord that we played a number of times [MUSIC].
One bar of that, and then on the five chord,
it's an E7 sharp nine voicing you'll see.
E, G-sharp, D, and G-natural, the sharp nine.
[MUSIC] Jimi Hendrix [MUSIC] [inaudible] probably recognized that,
and then it takes it back to the one chord [MUSIC].
Looking at very basic changes here,
let me take you through that one more time.
A minor, seven,
three, four bars [MUSIC].
I'm going to keep it real simple for now.
[MUSIC] I'm just going to go to D minor
seven back to the E minor seven.
[MUSIC] F9, E7 sharp nine,
A minor seven [MUSIC].
I'd like to show you a couple of real rhythm parts for this kind of thing,
something you might play If you're out, and I hope,
and micro plane and even on a gig the tune does get called.
Still, it's a big part of blues history,
so it remains a powerful tool to know.
I'm going to start with the very basic part right now.
We're one of the rhythm guitar players,
or maybe the only player plays on two and four,
just those backbeat, one, two,
three, four, one,
two, three [MUSIC].
Just keep those parts simple like that and you go to the D minor seven,
just hit in
the back
[MUSIC].
In the class, you'll see that I've
presented three or four different rhythm parts for this.
We've got a basic backbeat two and four.
We've got a funky backbeat part and I've got a part this called thrilling with
slides and I'm actually going to
demonstrate that right now on the video of the throne of slides.
Now this is just a part that I came up with
that just adds a little bit of color to the part.
We're going to use some of these [MUSIC] whole-steps slides.
Let me take you through some of the chords on this for a second. We've got A minor.
I'm just playing the top four strings to begin with.
[MUSIC]. Now, on beat four,
I'm going to slide up to a B minor [MUSIC] and come back to A minor seven [MUSIC].
That B minor seven is just a passing cord so this sounds still in A minor.
Don't have to worry about the key or anything.
This is just adding a little texture [MUSIC].
It's like one, two, three
[MUSIC].
Now, I'm just going five flat,
seven, one into the next bar.
I'm going to slide from the B down to the A, and back to the B.
We're just coming up with some ways of slide in between the A and the B minor
because that is a passing chord and you can mess with that.
You can do different things with that.
Let me take it the first four bars here.
It is three, four
[MUSIC].
Now I'm going to the D minor 7 using that same voicing [MUSIC].
Now on beat four,
I'm going to take these two fingers and slide the A and the F, two frets up.
I'm doing a little bit going to E minor,
notes of an E minor [MUSIC] over the D minor seven right there [MUSIC].
Here it is, one,
two, three [MUSIC].
Coming back to the D minor,
back to the A minor [MUSIC],
passing the B minor [MUSIC].
To the F9, [MUSIC].
Bringing in some eighth notes,
strumming patterns there one,
one, two,
and three and four [MUSIC].
That's the hits on the E7 sharp nine [MUSIC].
Then back to the pick up notes,
back to the A five, seven,
two [MUSIC] more slides [MUSIC] and that's the course like that.
I've taken it apart.
Let me just play that in tempo slowly onetime, unaccompanied for you.
Here it is, three, four
[MUSIC]
and you know, as you keep going with that, if you keep plenty,
you can add some more of the funky drums,
and let me just show you four bars of this,
taken that A minor thing we just did.
Let me continue that into this one right here, let's see, [MUSIC]
et cetera. You can just keep that go on,
but you can add those scratches in and I presented those in funky two and four-part.
You can just mix and match some of these parts as you like.
You should experiment with this.
Of course, on a track like this,
you can bring your own things that you like to play into a two.
You should merge all of these techniques with the things you're already planned as well.
There's a couple of ways to get through the rhythm part on thrilling.