238658923659
90 Part II: Setting Up to Play the Blues TEAM LinG G7 3fr. Track 14 1 312 11 T A B P.M. P.M. P.M. P.M. P.M. P.M. P.M. P.M. P.M. 3 3 3 3 3 3 4 4 4 4 4 4 3 3 3 3 3 3 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 C7 3fr. 1 31 4 1 P.M. P.M. P.M. 3 3 4 4 3 3 5 5 5 5 5 5 3 3 3 3 3 3 3 3 3 3 3 5 5 5 5 5 3 3 3 3 3 5 5 5 5 5 3 3 3 3 3 3 3 3 3 3 5 5 5 5 5 3 3 3 3 3 5 5 5 5 5 3 3 3 3 3 Figure 5-14: The straight-four feel is used for a moredriving, rock-based sound. G7 1 312 11 3fr. P.M. P.M. P.M. P.M. P.M. P.M. 3 3 3 3 4 4 4 4 3 3 3 3 5 5 5 5 5 5 5 5 5 5 5 5 3 3 3 3 3 3 3 3 3 3 3 3 D7 3241 3fr. D 7 3241 3 3 3 3 3 3 3 5 5 5 5 5 5 5 4 4 4 4 4 4 4 5 5 5 5 5 5 5 (continued)
- Page 164: Chapter 4: Getting a Grip on Left-H
- Page 168: Chapter 4: Getting a Grip on Left-H
- Page 172: Chapter 4: Getting a Grip on Left-H
- Page 176: Chapter 5 Positioning the Right Han
- Page 180: Chapter 5: Positioning the Right Ha
- Page 184: Chapter 5: Positioning the Right Ha
- Page 188: Chapter 5: Positioning the Right Ha
- Page 192: Chapter 5: Positioning the Right Ha
- Page 196: Chapter 5: Positioning the Right Ha
- Page 200: Chapter 5: Positioning the Right Ha
- Page 204: Chapter 5: Positioning the Right Ha
- Page 208: Chapter 5: Positioning the Right Ha
- Page 212: Chapter 5: Positioning the Right Ha
- Page 218: 92 Part II: Setting Up to Play the
- Page 222: The two-beat feel The two-beat feel
- Page 226: (continued) A7 5fr. A 7 4fr. E7 5fr
- Page 230: 98 Part II: Setting Up to Play the
- Page 234: 100 Part II: Setting Up to Play the
- Page 238: 102 Part II: Setting Up to Play the
- Page 242: Track 20 N. C. 1324 6fr. A9 1324 4f
- Page 246: The 8-bar blues The 8-bar blues is
- Page 250: 108 Part II: Setting Up to Play the
- Page 254: Track 24 (qr=qce) G G6 G G6 C C6 C
- Page 258: Track 25 Shuffle (qr=qce) A5 A6 A5
- Page 262: 114 Part II: Setting Up to Play the
90 Part II: Setting Up to Play the Blues TEAM LinG<br />
G7<br />
3fr.<br />
Track 14<br />
1 312<br />
11<br />
T<br />
A<br />
B<br />
P.M. P.M. P.M. P.M. P.M. P.M. P.M. P.M. P.M.<br />
3 3<br />
3 3<br />
3<br />
3<br />
4 4<br />
4 4<br />
4<br />
4<br />
3 3<br />
3 3<br />
3<br />
3<br />
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5<br />
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3<br />
C7<br />
3fr.<br />
1 31 4 1<br />
P.M. P.M. P.M.<br />
3 3<br />
4 4<br />
3 3<br />
5 5 5 5 5 5<br />
3 3 3 3 3 3<br />
3 3 3 3 3<br />
5 5 5 5 5<br />
3 3 3 3 3<br />
5 5 5 5 5<br />
3 3 3 3 3<br />
3 3 3 3 3<br />
5 5 5 5 5<br />
3 3 3 3 3<br />
5 5 5 5 5<br />
3 3 3 3 3<br />
Figure 5-14:<br />
The<br />
straight-four<br />
feel is used<br />
for a moredriving,<br />
rock-based<br />
sound.<br />
G7<br />
1 312<br />
11<br />
3fr.<br />
P.M. P.M. P.M. P.M. P.M. P.M.<br />
3 3<br />
3 3<br />
4 4<br />
4 4<br />
3 3<br />
3 3<br />
5 5 5 5 5 5 5 5 5 5 5 5<br />
3 3 3 3 3 3 3 3 3 3 3 3<br />
D7<br />
3241<br />
3fr.<br />
D 7<br />
3241<br />
3 3 3 3 3 3 3<br />
5 5 5 5 5 5 5<br />
4 4 4 4 4 4 4<br />
5 5 5 5 5 5 5<br />
(continued)
Change language