101 TIPS & TRICKS FOR BLUES GUITAR. Chris Hunt CD TABLATURE

101 TIPS & TRICKS FOR BLUES GUITAR. CD TABLATURE

Series: Guitar Educational
Publisher: Cherry Lane Music
Softcover with CD - TAB

Educational director / project supervisor: Susan Poliniak

Author: Chris Hunt

54 corti Licks ispirati dai maestri del Blues e del Rock. 

From tips on performing with a band to improving your tone to copping the essential techniques of the blues greats and beyond, this book is chock full of pointers to help everyone from the beginning student to the seasoned pro. Here, you'll learn how to: play with the band - become a strong rhythm player - use the full range of the guitar's natural tone - find the right kind of pickup - and much more. You'll also learn a multitude of techniques, licks and riffs. The CD includes demonstration tracks. 44 pages.

THE BLUES APPROACH

EQUIPMENT TIPS

BLUES GUITAR ESSENTIALS

CLASSIC LICKS AND RIFFS

START PERFORMING TONIGHT

Nothing pumps the adrenaline like performing in front of an audience. When you play live you find yomself

doing things you didn't know or think you could do. Find as many performing opportunities as possible,

and use them to really stretch out. If you feel you aren't ready for an audience, get over it-nobody really ever

feels ready-and just leam to be in the momento

BE A SUPPORTIVE PLAYER

Remember to be a supportive player when it isn't yom tum to solo. Put as much thought and effort into yom

rhythm playing as you do into your lead playing, and do ir ar an appropriate volume. Create an environment

where other soloists can sound good, feel comfortable, and thrive. Always listen to what rhey're trying to say.

If you do, folks will enjoy playing with you and you'll find yourself increasingly in demando Besides, one of

rhe grear joys of making music is blending with an ensemble. The whole is always greater rhan rhe sum of its

parts.

PLAY WITH THE BAND, NOT AGAINST IT

Don't be one of those guys who "noodles" between songs either ar a performance or in a rehearsal. Ir's unprofessional.

When rhe tune starts, be conscious of yom volume and yom tone whether you're playing lead or

rhyrhm. Try to tune out the noise in both the room and yom own head, ignore the attractive members of the

opposite sex in the audience (or in the band), and put yom focus on the needs of the ensemble. Never stop

listening, even when you're taking the lead. The best soloists respond to what the rhythm section is doing,

and vice versa, rather than simply tuning them out and wailing over the top.

BUILD YOUR SOLOS

Let a solo develop. The audience needs something to anticipate, so don't give it all away at once. If you begin

yom solo at maximum intensity, you will wear out yom welcome before you're halfWay through. "Pacing" a

solo may be as simple as starting out in a lower register and gradually moving higher. Or, it may mean leaving

longer spaces between phrases early on, and then slowly getting busier. You may also play at a lower volume

to start with, and then add the grit later. Any combination of these can help you to develop some "architectme"

to yom solo. Taking your time will allow the listener to digest what they've just heard, and can give

you a moment to hear where you'd like to go next as well.

DON'T OVERPLAY

The blues is avocaI tradition. People were singing the blues long before anybody got the notion to play a

blues lick on the guitar, and when they finally did, it was hardly with virtuoso technique. Keeping in mind

that a singer must take regular breaths between phrases, don't feel compelled to fill all of the available space

with yom solos. In the blues, the "feel" of yom solo is much more important than the number of notes it

contams.