David Hamburger - 30 Blues Intros, Turnarounds & Endings You MUST Know

Blues Intros, Turnarounds & Endings

Автор: David Hamburger
Инструментальная принадлежность: Гитара (стандартная нотация + табулатура)
Жанр: Блюз / Блюз-рок / Самоучитель
Год выпуска: 2018
Серия: Licks You Must Know
Язык: Английский
Формат: PDF
Качество: Изначально компьютерное (eBook)
Количество страниц: 30
Источник сканов: E-net
Аудиокодек: mp3
Видеокодек: mp4
Битрейт аудио: 192 kbps
Битрейт видео: AVC, 960x540 (16:9), 29.970 fps, ~760 kb/s avg, 0.051 bit/pixel Аудио: AAC, 127 kbps, 48000Hz, 2 ch
Описание: Блюзовые интро, тёрнэраунды и концовки от David Hamburger.
[Intros * Turnarounds * Endings * Outros * Soloing * Improvisation * Licks]

Содержание:
Ray Vaughan: Shuffle Intro I - ”This first intro is a remix of various signature Stevie Ray Vaughan intro moves. Unison slide into the high E? Check - see measure one. Double-time b5 hammer-on/pull-offs? Check - see measures two and three. Half-stepping into the V chord, complete with Hendrix-approved 7#9 voicing? Check and check - see measure four. You can hear all of these elements in their native environment on 'Texas Flood”.”
Train Wreck: Shuffle Intro II - ”Double stops, stop time, double time - it's all here. This intro opens with a variation on the classic blues 'train whistle' double stop over a set of rhythm section hits before getting to some seventh-chord sounding double stops in measure three and a hammer-on/pull-off move. Notice that the 4-b5-4-b3 move in the middle of measure three is the same lick, in the same spot, as in Shuffle Intro 1 - it's just an octave higher.”
Grissom: Open Minded: Shuffle Turn I - ”Back to open position, where we kick off this turnaround move with a unison slide to a B at the start of measure one. The double stop at the end of the same measure leads you headlong into measure 2 by anticipating the A7 chord the rhythm section is about to hit. There's a Charlie Christian-esque vibe to the way the descending lick that follows spells out the A chord, and the blues licks in measures 2 and 4 are an open-string version of the conclusion to Shuffle Intro 2 above.”
Grissom: Shuffle Turn II - ”I totally swiped this opening move from something I saw David Grissom demonstrate once, the idea of using the open second string as a pedal tone while playing blues licks below it on the fourth and fifth strings. The low-end blues scale triplets in measures 3 and 4 are either sped up Muddy Waters or slowed-down Stevie Ray Vaughan, depending on your perspective and/or who you heard play them first.”
Meade Lux Deluxe: Shuffle Ending I - ”This is an adaptation of the classic A9 move from William Brown's 1942 'Mississippi Blues'. In its original context, it's played on the I chord as part of a fingerstyle arrangement in A. Here, we've got a more flexible electric guitar version of the same idea, transposed through all three chords of a turnaround in E.”
Chromatica: Shuffle Ending II - ”More anticipation, and more transposing of a cool-sounding lick from V to IV. The secret here is the way you hammer-on into a double stop that includes both the b7 and the major 3rd before completing the cool, chromatic Charlie Parker-esque climb to the 5th. Repeat on the IV, anticipating the downbeat with the A7 hammer-on, before winding up with a combination of triplet single-note licks and staggered chord hits.”
Stop-Time: Boogaloo Intro I - ”The straight-eighths boogaloo groove supposedly has its origins in New York-based Latin music of the 1950's and 1960's. Lee Morgan's 'The Sidewinder' is possibly the best-known jazz example of the sound, but Buddy Guy's arrangement of 'Mary Had A Little Lamb' may be the blues equivalent. These licks will work well on the more James Brown-esque items in Junior Wells' catalog, too, like 'Messin' with the Kid.'”
All the Hits: Boogaloo Intro II - ”You could drop this stop-time intro into the first four bars of the blues form. The spare, three-note Freddie Green-style voicings for the half-stepping chord hits are answered by pentatonic licks with half-step bends to the b5, which themselves have a call-and-response pattern which culminates in the double-stop bend lick in measure 4. From here, you could roll right into the IV chord, or measure 5 of the blues.”
Checkerboard: Boogaloo Turn I - ”This four-string dominant 7th voicing may be the boogaloo chord, and the single-note riffs on the low strings are straight out of the Buddy Guy/Junior Wells playbook. This turnaround is a bit of sleight-of-hand, as we're really combining the work of two guitar parts into one: the aggressive chord strums in the first half of measures 1 and 2, and the palm-muted single-note answers on beats 3 and 4.”
Junior's Jam: Boogaloo Turn II - ”This turnaround starts out with a dressed-up, double-stop variation on the riff from Howlin' Wolf's 'Killin' Floor' (take out the upper notes in measures 1 and 2 and you'll see what I mean). In measure 3, we spell out the I chord with a rolling, piano-style move before landing on an abbreviated 7th chord voicing for A7 in measure 4.”
Double-Time: Boogaloo Ending I - ”For this ending, we're combining the Buddy Guy single-note boogaloo move (the front half of measures 1 & 2) with the 'Killin' Floor' chromatic climb (the back half of measures 1 & 2) and taking the whole thing into double-time overdrive for the extended two-measure conclusion in measures 3 and 4. Watch out for the quick jump from third to first position and back again on the last three notes of measure 4!”
Who You Callin' Chicken?: Boogaloo Ending II - ”In which we poach a little technique from country guitar turf, using hybrid-grip picking to play a series of descending sixths over measures 1 and 2. The country theft continues in measure 3, with open-position hammer-on and pull-off moves before we resolve the whole thing with a solidly blues-approved chromatic chord climb from bVII up to I.”
Duck the Third: Slow Blues Intro I - ”The all-downstrokes double stops over A7 and D7 really drive home the 12/8 feel so characteristic of the slow blues sound. The Bb9 and A9 voicings are straight out of T-Bone Walker, but the way we're using them here is also typical of Stone Crazy!-era Buddy Guy: do the double stops and F7 to E7#9 big and aggressive, then drop back to a whisper on the final two chords to create plenty of room to build the dynamics back up over the first couple of verses.”
T-Bone Runner: Slow Blues Intro II - ”This intro is a triple-stops update on T-Bone Walker's classic slow blues intro: a descending series of 9th chords, from I9 to bVII9 to bVI9 to V9. The top voicing on each chord, spelled 9-3-b7 from low to high, is one of my favorites. Notice also the extra half-measure the F9 occupies; this idiosyncratic phrasing is a key part of what gives the T-Bone original its slightly disorienting quality and increases the sense of satisfaction when you finally resolve the E7aug to the I.”
Buddy's Rake: Slow Blues Turn I - ”More Buddy Guy-inspired sounds, in the form of the flurried, double-time moves that make up the majority of this turnaround. The key technique here is the downward rake that opens each phrase, while the key concept is the way the main phrase gets tweaked to land on the root of the IV, then the I, then the V. And a little vibrato goes a long way to help emphasize those landing points.”
Earl's Pearl: Slow Blues Turn II - ”I've seen Ronnie Earl use this parallel-voicing move on more than one occasion and have always thought it was especially cool. I'm not sure where he got it from (or if it's one of his own things) but to me it sounds like something a horn section would do, or like a Western swing steel guitar lick. However you think about it, it's a good addition to your stash.”
You Say Diminish, I Say Demolish: Slow Blues Ending I - ”For this ending, we're sneaking a little squared-off, sixteenth-note double-time into the slow blues groove. While we're at it, we're using that double time to spell out a bit of the dread diminished sound, using it as a passing chord from IV back to I (D to D#º to A7). That's all bookended by basic minor pentatonic licks, to keep things from getting too uncontrollably jazzy.”
Emily's List: Slow Blues Ending II - ”This ending is a slow-blues variatio