Details

Blues Guitar For Dummies


Blues Guitar For Dummies


1. Aufl.

von: Jon Chappell

19,99 €

Verlag: Wiley
Format: EPUB
Veröffentl.: 14.07.2020
ISBN/EAN: 9781119748960
Sprache: englisch
Anzahl Seiten: 384

DRM-geschütztes eBook, Sie benötigen z.B. Adobe Digital Editions und eine Adobe ID zum Lesen.

Beschreibungen

<p><b>Want to become the coolest possible version of yourself?</b></p> <p>Time to jump into learning the blues guitar. Even if you don’t read music, <i>Blues Guitar For Dummies</i> lets you pick up the fundamentals and start jamming like your favorite blues artists.</p> <p><i>Blues Guitar for Dummies</i> covers the key aspects of blues guitar, showing you how to play scales, chords, progressions, riffs, solos, and more. This hands-on guide is packed with musical examples, chords charts, and photos that let you explore the genre and play the songs of all the great blues musicians. This accessible how-to book will give you the skills you need to:</p> <ul> <li>Choose the right guitar, equipment, and strings</li> <li>Hold, tune, and get situated with your guitar</li> <li>Play barre chords and strum to the rhythm</li> <li>Recognize the structure of a blues song</li> <li>Tackle musical riffs</li> <li>Master melodies and solos</li> <li>Make your guitar sing, cry, and wail</li> <li>Jam to any type of blues</li> </ul> <p>Additionally, the book comes with a website that shares audio samples of all the examples covered in the lessons. Go online to practice your riffs and chords and develop your style as a blues musician.</p> <p>Order your copy of <i>Blues Guitar For Dummies</i> today and get ready to start shredding!</p> P.S. If you think this book seems familiar, you’re probably right. The Dummies team updated the cover and design to give the book a fresh feel, but the content is the same as the previous release of Blues Guitar For Dummies (9780470049204). The book you see here shouldn’t be considered a new or updated product. But if you’re in the mood to learn something new, check out some of our other books. We’re always writing about new topics!
<p><b>Introduction</b><b> 1</b></p> <p>About This Book 1</p> <p>Conventions Used in This Book 2</p> <p>What You’re Not to Read 3</p> <p>Foolish Assumptions 3</p> <p>How This Book is Organized 4</p> <p>Part 1: You Got a Right to Play the Blues 4</p> <p>Part 2: Setting Up to Play the Blues 4</p> <p>Part 3: Beyond the Basics: Playing Like a Pro 4</p> <p>Part 4: Sounding Like the Masters: Blues Styles through the Ages 4</p> <p>Part 5: Gearing Up: Outfitting Your Arsenal 5</p> <p>Part 6: The Part of Tens 5</p> <p>Part 7: Appendixes 5</p> <p>Icons Used in This Book 5</p> <p>Where to Go from Here 6</p> <p><b>Part 1: You Got a Right to Play the Blues 7</b></p> <p><b>Chapter 1: Every Day I Have the Blues Hallelujah!</b><b> 9</b></p> <p>Capturing the Blues Train from Its Departure Then to Its Arrival Now 10</p> <p>The pieces of blues that made the genre 10</p> <p>The place of the blues’ conception 11</p> <p>Rejoicing over 100 years of blues: The shifting shape of the genre 11</p> <p>The qualities that made blues cats hit the big-time 12</p> <p>It’s Not All Pain and Suffering — The Lighter Side of Blues 13</p> <p>Surveying the Means to Make the Music: The Guitar in All Its Glory 14</p> <p>The low-fi acoustic guitar 14</p> <p>The semi-hollowbody electric guitar 15</p> <p>Solidbody electric guitars 15</p> <p>The Collision of Two Worlds: Acoustic versus Electric 16</p> <p>Getting a Grip on How Guitars Work 17</p> <p>You’ve gotta use your hands — both of them 17</p> <p>Producing the tones: String vibration and pitch 18</p> <p>Electric guitars only: Pickups and amplification 18</p> <p>Performing and Looking Like a Blues Player 19</p> <p>Expanding and filling your brain with know-how 19</p> <p>Looking the part 20</p> <p>Blues Trivia For Dummies 21</p> <p>The questions 21</p> <p>The answers 22</p> <p><b>Chapter 2: Blues Meets Guitar: A Match Made in Musical Heaven</b><b> 23</b></p> <p>Beyond the Delta: Defining the Blues Guitar Sound 24</p> <p>The method to the music: Chord progressions 25</p> <p>The guitarist’s language of melody 25</p> <p>The expression that invokes your senses 26</p> <p>The groove that sets the pace 27</p> <p>Dissecting an Acoustic and an Electric 27</p> <p>Getting Down with the Blues: A Quick How-To 31</p> <p>The foundation for all guitar playing: Acoustic guitars 31</p> <p>Shifting acoustic to overdrive: Electric guitars 32</p> <p>What You Need to Get Your Groove On 35</p> <p><b>Chapter 3: Grab Hold, Tune Up, Play On!</b><b> 39</b></p> <p>Holding Your Axe (That Is, Your Guitar) 39</p> <p>Grabbing your guitar’s neck 40</p> <p>Pushing down on the strings 41</p> <p>Getting sound to come out 42</p> <p>Holding the Pick, Attacking the Problem 44</p> <p>Getting Situated 45</p> <p>Sitting down  46</p> <p> or standing up 46</p> <p>Tuning Up 47</p> <p>Helping your guitar get in tune with itself 48</p> <p>Holding your guitar to an electronic standard 49</p> <p>Playing a Chord 50</p> <p>Music Notation: Not Just for Geeks 51</p> <p>Guidance for your aimless fingers: A chord diagram 52</p> <p>Mapping out your short-term path: Rhythm notation 53</p> <p>Guiding you all the way through a song: Tablature 54</p> <p><b>Part 2: Setting Up to Play the Blues 55</b></p> <p><b>Chapter 4: Getting a Grip on Left-Hand Chords</b><b> 57</b></p> <p>Starting Out Simple: Blues Chords Even Your Mom Could Play 58</p> <p>Going to the Next Level: Barre Chords 59</p> <p>Forming a barre chord 61</p> <p>Naming barre chords 62</p> <p>Playing E-based barre chords 63</p> <p>Playing A-form barre chords 65</p> <p>Combining forms 67</p> <p>Taking Advantage of Versatile Power Chords 68</p> <p><b>Chapter 5: Positioning the Right Hand for Rhythm and Lead</b><b> 71</b></p> <p>Strumming Along 71</p> <p>Stroking down 72</p> <p> And stroking up 72</p> <p>Combining down and up 73</p> <p>Striking to a beat 73</p> <p>Eighth-note striking, twice per beat 74</p> <p>Mixing Single Notes and Strumming 75</p> <p>Separating bass and treble: The pick-strum 75</p> <p>Playing common pick-strum patterns 76</p> <p>Shuffling the Beats with Syncopated Strumming 78</p> <p>A bit of notation: Dots that extend and ties that bind 79</p> <p>Syncopation: Playing with dots and ties 80</p> <p>Stopping the String Ringing (Just for a Sec) 81</p> <p>Muting the sound between two chords (left hand) 81</p> <p>Simulating syncopation with left-hand muting 81</p> <p>Muting the sound of a note (right hand) 82</p> <p>Copying the Classics: Plucking Fingerstyle Blues 83</p> <p>The Right Hand’s Bliss: Different Rhythm Styles to Play 84</p> <p>The shuffle groove 85</p> <p>The driving straight-four 87</p> <p>The slow 12/8, with groups of three 89</p> <p>The two-beat feel 91</p> <p>The slow and funky 16 feel 92</p> <p><b>Chapter 6: Blues Progressions, Song Forms, and Moves</b><b> 95</b></p> <p>Blues by the Numbers 95</p> <p>Recognizing the Big Dogs: Primary Key Families and Their Chords 96</p> <p>The Structure of a Blues Song, Baby 97</p> <p>Playing the 12-bar blues 98</p> <p>Slow blues 101</p> <p>The 8-bar blues 104</p> <p>Straight-four (or rock blues) 104</p> <p>Applying Structures to Keys 106</p> <p>A move with many chords: The Jimmy Reed move 106</p> <p>The sound of sadness: Minor blues 109</p> <p>Accessorizing the 12-Bar Blues: Intros, Turnarounds, and Endings 112</p> <p>Intros 112</p> <p>Turnarounds 113</p> <p>Endings 114</p> <p>High Moves 115</p> <p><b>Chapter 7: Musical Riffs: Bedrock of the Blues</b><b> 119</b></p> <p>Basic Single-Note Riffs 120</p> <p>For the low-down bass notes: Quarter-note riffs 120</p> <p>The big daddy of riffs: Eighth-note riffs 121</p> <p>Adding a little funk: 16th-note riffs 122</p> <p>Throwing rhythm for a loop: Syncopated eighth-note riffs 123</p> <p>Double the Strings, Double the Fun: Two-Note Riffs (or Double-Stops) 123</p> <p>Straight feel 124</p> <p>Shuffle, or swing, eighths 125</p> <p>High-Note Riffs, the Bridge to Lead Guitar 126</p> <p>Keith Richards’s borrowed trademark: Quick-four riffs 127</p> <p>Intro, turnaround, and ending riffs 127</p> <p>Mastering the Rhythm Figure 133</p> <p><b>Part 3: Beyond the Basics: Playing Like a Pro 135</b></p> <p><b>Chapter 8: Playing Lead: Soaring Melodies and Searing Solos</b><b> 137</b></p> <p>Mastering Your Picking Technique 138</p> <p>Becoming smooth with your simple downs and ups 138</p> <p>Tackling tricky alternate-picking situations 140</p> <p>The Universal Lead Language: The Pentatonic Scale 141</p> <p>Why the pentatonic is the perfect scale 142</p> <p>The two sides of the pentatonic scale 142</p> <p>A common scale for practice: E minor pentatonic 144</p> <p>Pentatonic Plus One: The Six-Note Blues Scale 147</p> <p>Adding Some Extra Flava to the Blues Scale 148</p> <p>Clashing bitterly 149</p> <p>A dash of sweetness 149</p> <p><b>Chapter 9: Playing Up the Neck</b><b> 153</b></p> <p>For Inquiring Minds: Why Up the Neck You Should Go 153</p> <p>Positioning Your Digits for an Easy Key Change 154</p> <p>The pros of closed positions 155</p> <p>The details of closed, numbered positions 155</p> <p>Easing Into Position: Moving the Pentatonic Up and Down 157</p> <p>Changing Your Position 159</p> <p>A natural first: Moving from fifth position to eighth 159</p> <p>The eighth-position blues bonus 160</p> <p>How low can you go? Moving from fifth position to third 160</p> <p>The Technical Side of Moving 161</p> <p>Like taking candy from a baby: The subtle shift 161</p> <p>Seeking a bit of attention: The noticeable slide 162</p> <p>When you don’t want to move, just reach or jump 163</p> <p>Five Positions You Should Know: Meanderings of the Pentatonic Scale 163</p> <p>Relating the positions to each other 164</p> <p>Connecting the positions: Licks that take you up and down 166</p> <p>Understanding the Logic behind the Corresponding Shift of Position and Key 166</p> <p>Recognizing common keys and their comfortable positions 167</p> <p>Mapping keys to positions 167</p> <p><b>Chapter 10: Express Yourself: Making the Guitar Sing, Cry, and Wail </b><b>171</b></p> <p>Appreciating the Art of Articulation 172</p> <p>Going In for the Attack 172</p> <p>A little bit louder now a little bit softer now: Dynamics 173</p> <p>Hitting hard and backing off 174</p> <p>Breaking Down the Music: Phrasing 176</p> <p>Connecting notes the slippery way: Slides 176</p> <p>It’s hammer time — get ready to strike a string! 179</p> <p>Exposing a note by lifting a digit: Pull-offs 181</p> <p>Giving Your Sound a Bit of Flair 182</p> <p>Shake that string: Adding vibrato 182</p> <p>The rubber-band blues: Bends that stretch a string 183</p> <p>Playing a Song with Various Articulations 187</p> <p><b>Part 4: Sounding Like the Masters: Blues Styles through the Ages 191</b></p> <p><b>Chapter 11: Acoustic Roots: Delta Blues and Its Country Cousins</b><b> 193</b></p> <p>Delta Blues: Where It All Began 194</p> <p>Understanding the Delta technique 194</p> <p>Ladies and gentlemen, king of the Delta blues: Robert Johnson 194</p> <p>Country Ragtime: The Piedmont Blues 201</p> <p>Everything In-Between: Country and Folk Blues 203</p> <p>A quick profile of country and folk blues 203</p> <p>Giving these “in-between blues” a listen 204</p> <p>Closing with a lick and some style: Ragtime tags 204</p> <p>Country and Folk Blues Had a Baby; Its Name was Rockabilly 206</p> <p>Quintessential Blues: Slide Guitar 208</p> <p>The tools that let you slide 208</p> <p>Sliding technique 208</p> <p>Tuning your guitar for slide, a technique all its own 209</p> <p><b>Chapter 12: The Birth and Growth of Classic Electric Blues</b><b> 213</b></p> <p>The Rise of the Electric Guitar in Blues 214</p> <p>Giving Props to the Earliest Electric Pioneer 215</p> <p>Sweet Home Chicago, Seat of the Electric Blues 218</p> <p>Muddy Waters, leader of the pack 218</p> <p>Elmore James, slide guitarist extraordinaire 219</p> <p>Otis Rush: Soulful player with a flair for vibrato 220</p> <p>Buddy Guy, the father of blues rock 221</p> <p>Modern-Day Blues Styles: The Sounds of Texas 222</p> <p>Four Blues Giants: Three Kings and a Collins 224</p> <p>Albert King, the upside-down string bender 224</p> <p>B.B King, the blues’ king of kings 225</p> <p>Freddie King, a two-pick man 227</p> <p>Albert Collins, master of the Telecaster 228</p> <p>Children of the Post-War Blues Revival 229</p> <p>Son Seals, Chicago’s favorite son 230</p> <p>Robert Cray, smooth persuader 230</p> <p>Bonnie Raitt, stellar lyrical slides artiste 231</p> <p><b>Chapter 13: Blues Rock: The Infusion of Ol’ Rock ’n’ Roll</b><b> 233</b></p> <p>The Blues Had a Baby, and They Called It Rock ’n’ Roll 234</p> <p>Chuck Berry, blues rock’s first superstar 234</p> <p>Bo Diddley, king of the jungle beat 236</p> <p>The Brits Invade the Blues 236</p> <p>Clapton and Green, early blues icons 236</p> <p>Jeff Beck, blues-rock’s mad scientist 237</p> <p>Trippin’ the Blues 238</p> <p>Eric Clapton, the original guitar god 238</p> <p>Jimi Hendrix takes the blues psychedelic 240</p> <p>Heavy “Blooze”: The Infusion of Hard Rock 241</p> <p>Jimmy Page, frontrunner of the metal blues 241</p> <p>Leslie West, big man with a big sound 241</p> <p>Blackmore and beyond, where blues gets scary 242</p> <p>Southern Comfort 243</p> <p>The Allmans, especially brother Duane 243</p> <p>Lynyrd Skynyrd 243</p> <p>Hot Barbecue Blues, Texas Style 244</p> <p>Johnny Winter, Texas blues-rock titan 245</p> <p>Billy Gibbons and ZZ Top, giving rock some soul 246</p> <p>Stevie Ray Vaughan, the greatest modern bluesman of them all 246</p> <p>Blues on Steroids 249</p> <p>Eddie Van Halen takes the blues to ’80s metal 249</p> <p>Euro-Metal brings virtuosity and precision to the blues 249</p> <p>21st-Century Soul 250</p> <p>John Mayer, new kid on the blues block 250</p> <p>Allmans Redux: Warren Haynes and Derek Trucks, keepers of the flame 250</p> <p><b>Part 5: Gearing Up: Outfitting Your Arsenal 253</b></p> <p><b>Chapter 14: Shop Till You Drop: Buying the Right Guitar for You</b><b> 255</b></p> <p>Before You Begin Shopping 256</p> <p>Deciding On a Make and Model 257</p> <p>Evaluating a Guitar 257</p> <p>Construction 258</p> <p>Materials 259</p> <p>Workmanship 262</p> <p>Appointments (aesthetic options) 263</p> <p>Welcome to the Jungle: Shopping 263</p> <p>Bringing a friend 264</p> <p>Money matters: Deal or no deal 264</p> <p>Protecting Your Guitar 266</p> <p>Hard cases 266</p> <p>Soft cases 267</p> <p>Gig bags 267</p> <p><b>Chapter 15: Choosing Your Amp and Effects</b><b> 269</b></p> <p>Getting Started with a Practice Amp 270</p> <p>Shopping for a practice amp 270</p> <p>Playing with a practice amp 272</p> <p>Powering Up to a Larger Amp 273</p> <p>Choosing among different amp formats 274</p> <p>Feeling the power 276</p> <p>Dissecting the Amplifier 277</p> <p>Input jack 277</p> <p>Preamp 278</p> <p>Tone 278</p> <p>Effects 279</p> <p>Power amp 280</p> <p>Speakers 280</p> <p>The flexibility of having separate channels 280</p> <p>What’s That Sound? Checking Out Your Amp Choices 281</p> <p>Tube amps 281</p> <p>Solid-state amps 283</p> <p>Hybrid amps 283</p> <p>Digital-modeling amps 284</p> <p>Remembering the Good Old Days 284</p> <p>Vintage amps 285</p> <p>Reissue amps 285</p> <p>Dialing in an Amp Sound 285</p> <p>Chronicling Classic Amps for Blues 287</p> <p>Fender Bassman 287</p> <p>Fender Deluxe Reverb 287</p> <p>Fender Twin Reverb 288</p> <p>Marshall JTM 45 288</p> <p>Marshall Plexi Super Lead 100 289</p> <p>Vox AC30 289</p> <p>Mesa/Boogie Mark IIc+ 290</p> <p>Messing Around with Your Sound: Effects 291</p> <p>Juicing Up Your Sound 292</p> <p>When your sound is too hot to handle: Distortion 292</p> <p>Toying with Tone Quality 293</p> <p>EQ: The great tonal equalizer 294</p> <p>Wah-wah, the effect that is as it sounds 294</p> <p>Modulation Effects, from Swooshy to Swirly 294</p> <p>Stacking sounds for a fuller effect: Chorus 294</p> <p>Swooshing, like a jet plane: Flangers and phase shifters 295</p> <p>Like a visit to the opera house: Vibrato and tremolo 295</p> <p>Pretending (and Sounding Like) You’re Somewhere You’re Not 296</p> <p>Delaying sound in a cave-like way 297</p> <p>Adding reverb to make your sound slicker 297</p> <p>Choosing an Effects Format 298</p> <p>A string of effects: Pedals on parade 298</p> <p>A box to house them all at your feet 299</p> <p>A box to house them all at hand level 299</p> <p><b>Chapter 16: Changing Strings</b><b> 303</b></p> <p>Change is Good, But When? 303</p> <p>Choosing the Right Strings 304</p> <p>Acoustic strings 305</p> <p>Electric strings 305</p> <p>Outfitting Your String-Changing Toolkit 307</p> <p>Removing Old Strings 308</p> <p>Stringing a Steel-String Acoustic 309</p> <p>Stringing an Electric Guitar 313</p> <p><b>Part 6: The Part of Tens 319</b></p> <p><b>Chapter 17: Ten Blues Guitar Giants</b><b> 321</b></p> <p>Robert Johnson (1911–38) 321</p> <p>Elmore James (1918–63) 322</p> <p>T-Bone Walker (1910–75) 322</p> <p>Muddy Waters (1915–83) 322</p> <p>Albert King (1923–92) 323</p> <p>B.B King (b 1925) 323</p> <p>Albert Collins (1932–93) 323</p> <p>Otis Rush (b 1934) 324</p> <p>Eric Clapton (b 1945) 324</p> <p>Stevie Ray Vaughan (1954–90) 324</p> <p><b>Chapter 18: Ten Great Blues Guitars</b><b> 325</b></p> <p>Gibson L-1 Flattop 325</p> <p>Gibson ES-175 Archtop 326</p> <p>National Steel 326</p> <p>Gibson J-200 326</p> <p>Fender Telecaster 327</p> <p>Gibson Les Paul 327</p> <p>Fender Stratocaster 327</p> <p>Gibson ES-335 328</p> <p>Gibson ES-355 328</p> <p>Gibson SG 328</p> <p><b>Chapter 19: Ten (Plus One) Must-Have Blues Guitar Albums</b><b> 329</b></p> <p>Robert Johnson: The Complete Recordings 329</p> <p>Blues Masters: The Very Best of Lightnin’ Hopkins 330</p> <p>T-Bone Walker: Complete Capitol Black & White Recordings 330</p> <p>T-Bone Walker: Complete Imperial Recordings 330</p> <p>The Best of Muddy Waters 331</p> <p>B.B King: Live at the Regal 331</p> <p>The Very Best of Buddy Guy 331</p> <p>Robert Cray: Bad Influence 331</p> <p>Masters of the Delta Blues: Friends of Charlie Patton 332</p> <p>Mean Old World: The Blues from 1940 to 1994 332</p> <p>Chicago: The Blues Today 332</p> <p><b>Part 7: Appendixes 333</b></p> <p><b>Appendix A: How to Read Music</b><b> 335</b></p> <p>The Elements of Music Notation 336</p> <p>Reading pitch 337</p> <p>Reading duration 338</p> <p>Expression, articulation, and miscellaneous terms and symbols 340</p> <p><b>Appendix B: How to Use the Website</b><b> 343</b></p> <p>Relating the Text to the Website 343</p> <p>Count-offs 344</p> <p>Stereo separation 344</p> <p>System Requirements 344</p> <p>What You’ll Find on the Website 345</p> <p>Audio tracks 345</p> <p>Troubleshooting 350</p> <p>Index 351</p>
<p><b>Jon Chappell</b> has jammed with countless blues musicians at Chicago's blues clubs. He is an award-winning guitarist and composer as well as past editor- in-chief of <i>Guitar Magazine</i> and <i>Home Recording Magazine.</i> His other books include <i>Guitar For Dummies, Guitar Exercises For Dummies, Classical Guitar For Dummies,</i> and <i> Rock Guitar For Dummies</i>
<ul> <li>Select the right guitar and accessories</li> <li>Learn the riffs and scales that define the blues</li> <li>Play solid blues rhythm or step out for a solo</li> </ul> <p><b>Recreate the sounds of the blues masters</b> <p>Want to play the blues? Can't read music? No problem! This fun, accessible guide shows you how to play blues scales, chords, progressions, riffs, and solos. Learn about the structure of a blues song, including intros, turnarounds, and endings. Master the art of articulation, dynamics, and phrasing. From Delta blues and modern blues to blues rock, you'll see how to use today's guitars, amplifiers, and effects to play a wide variety of styles, with hands-on guidance on changing strings for when you really boogie down. <p><b>Inside</b> <ul> <li>Explore acoustic and electric styles</li> <li>Perform common blues scales</li> <li>Learn song structures and improvise leads</li> <li>Follow the history of the blues</li> <li>Choose the best equipment to accentuate your sound</li> <li>Get to know legendary blues artists and albums</li> </ul>

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