The seventh chords from the previous chapters have been replaced by minor chords. Many blues tunes incorporate minor shapes. These chords have an inherent sad sound to them, perfect for the blues genre.
I have limited the chords to standard minor and minor seventh shapes. Minor ninths, elevenths, thirteenths, etc. could be substituted. As long as there are no alterations (sharp or flat intervals in the chords), the same scale can be used to improvise over the entire progression. This holds true for the other progressions as well.
This transcription will have you moving around the fretboard quite a bit. The mixture of Root 6 and Root 5 barre chords, as well as a melody chord shape (Gm7, measures three, seven and twelve), is quite challenging. These chord shapes should be thoroughly memorized. Always understand what root that you are playing. For example
Gm in measure one is a Root 6, Cm in measure two is a Root 5.
To this point, we have learned the Pentatonic scale in Box Pattern's #1, #2 and #4. Part four introduces Box Pattern #5 in Gm Pentatonic in the open position. G minor is relative to B♭ Major, they share the same key signature (two flats: B♭and E♭). In the B♭ Major Pentatonic scale (EXACTLY the same notes as Gm Pentatonic), the E♭ (the fourth scale step), is omitted. That is the reason behind the movement to Cm Pentatonic in the previous rhythm pattern.
Comparing Gm Pentatonic to Dm Pentatonic, you will notice that there is, again, only one note difference: the A natural has moved to B♭ (or A♯, enharmonically). This becomes a factor when applying Pentatonic scales that are not the tonal centre of the chord. Eg: When improvising over a Gm chord, Gm or Dm Pentatonic could be played. Dm Pentatonic contains and A natural, Gm Pentatonic contains the B♭. BOTH of these notes are part of the full G natural minor scale. From a theory standpoint, this works. Your ear may hear it differently, especially if you only employ the Pentatonic's and not the full scale.
More than any other genre blues music has the ability to convey emotions. From extremely happy to downright miserable and everything in between. I set out to create a very lonely, sad feeling with this solo. The minor chords really make a difference in the overall sound, but the main factor are the string bends. They create a 'crying' sound. A perfect example of this is The Beatle's 'While My Guitar Gently Weeps'. Eric Clapton's playing fits the title perfectly, a string bending crying sound throughout the solo.
Besides the bends, another key factor in the creation of this sound is the technique of vibrato. Good vibrato is essential to the blues and can define a performer's playing style. There are two types, 'violin vibrato' is executed by releasing your hand from the back of the fretboard and rocking back and forth on your finger (in a motion parallel to the fingerboard). This is very effective on the treble strings, but not so on the bass strings. The other technique is 'bend vibrato' where the string is actually bent down or up (but not both at the same time, that is, only bend the string one way from the unbent pitch). This is a much more pronounced technique. Watch the video for a demonstration of both styles.
© 2014 Lorne Hemmerling
Ddog666 on October 18, 2015:
Many thanks Lorne, you should have the payment and my email now!
Lorne Hemmerling (author) from Prescott on October 17, 2015:
If you pay $8.00 (.99 off original price) to my paypal account (email@example.com), I will send the book through free.mailbigfile.com. Paypal will notify me when the payment comes through. Please send your best email address to the above address, so I can send the book. Thanks so much my friend!
Steve on October 17, 2015:
I've been trying to buy your book, "Learning Blues Guitar" without success from distribly.com. They only have a couple European countries on the country list when signing up, with no other options. The knock-on effect of that is that, I'm unable to complete my profile and therefore unable to complete any kind of transaction there.
I contacted them a few days ago about this issue, but haven't received any reply yet. What I'd like to know is if you are selling the book anywhere else or have an alternative method to buy it. Distribly.com have already worn out my patience. Many thanks.
Lorne Hemmerling (author) from Prescott on October 22, 2014:
Most of the instruments popular in blues music attempted to emulate something. Harmonicas reproduced the sound of a train whistle. As mentioned in the post, crying sounds influenced bending notes on guitar and other instruments. I have always felt that more than any other form of music, blues has the ability to create emotions. Thanks for the comment, my friend! If you have a chance, check out this gem from the great bluesman, John Mayall: https://www.youtube.com/watch?v=H6pSWlcjOkk.
Ann1Az2 from Orange, Texas on October 21, 2014:
I think it may have been the great B B King that invented the sliding of the strings that creates to tone of the blues so well on the guitar. At least that what I heard. He certainly had the technique down. This is great instruction - voted up.
Lorne Hemmerling (author) from Prescott on October 16, 2014:
Thanks so much, my friend, and it's never too late!
Bill Holland from Olympia, WA on October 16, 2014:
One of my regrets in life: never having learned the guitar. Sigh! Great instructions here.