Description
In this week’s guitar lesson, you’ll learn how to convert a basic sounding 12 bar Blues rhythm into a much more interesting chord structure by adding a few extra transition chords. This concept was a game changer for me!
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Like it a lot. Nice chord harmony. What would you do with a 16 bar blues?
I am sure this will prove a popular lesson Brian. I particularly like this up tempo mention.
JohnStrat
Wow!
Brian, one of your best lessons for sure.
Really stimulates creativity.
Wow again!!!!!!!
Great lesson!! would like to see more of this….how to embellish the basic blues progressions. Keep it coming!
As a retired educator I have to say the explanations you offer in this lesson are crystal clear.
I might flunk this class. Not there yet.
WOW Thanks
Thank you so much for providing this lesson with the 9th’s and diminished chords and how to use them. The last 4 lessons have been really helpful to me on understanding and using chords and phrasing. I hope you continue along this line on how to use these chords.
Terrific lesson Brian. It’s great to have an alternative to the shuffle blues that sounds cool as either a slow blues or as a more up-tempo thing.
A future lesson on using the arpeggios of the added transition chords, along with the pentatonic scales, in lead playing, would be great.
Wow, so much packed in to a 24 minute lesson. This one is a keeper for sure. Great lesson, Brian!
Thank you Brian for this one, really lots of ideas and learning to practice.
Your style in teaching is always superb and these “solo lessons” are my favorite.
I’d also love to see from you some explorations in the “acoustic rock” fields, which is something normally less beaten and I’m sure would be and effectively taught in the “Brian style”!
Another brilliant lesson, thanks Brian, so much information explained clearly, sure does inspire some blues playing, more please.
Like this lesson a lot, ideal for experimenting at home, both the 6251 and diminished are fascinating and add real colour.
I was inspired recently by triads based on 1,3&7 (not 5th) on the thicker 4 strings. In just four basic shapes can cover maj7, 7, m7 and dim/m6 and can build off these to make more complex extensions. Was quite a simple breakthrough for me. All the basic info is in these triads, with no redundant 5th.
aka Shell chords
Good stuff. Thanks Brian.
Another reason that I wished I had joined Active Melody a long time ago. Thanks Brian.
I like this a lot. It’s a lesson I can enjoy immediately.
Thank you so much for explaining the diminished chord structure. What a great lesson to begin using these chords.
I truly appreciate this kind of lesson. I love the bite size ideas and understandings that can happen with this kind of lesson. I have been a member for a long time and only get to visit the site from time to time but I always find that I am very glad I maintain my membership. Brian you are one of the best teachers on the web. In a world of flash it is nice to have real and valuable content. Keep up the great work and consistent stream of quality lessons.
Best,
five of the two or six of the one; works for me. thanks!
The similiarity of the IV9 with a I minor probably explains why it can sound good to solo with major pentatonic over the I7 and then switch to minor pentatonic over the IV7 in a major blues. As well, in the turnaround, the B diminished chord is also an E#diminished chord, ie. the #V diminished which is the more obvious theoretical substitution for the E7 giving the intervals of 3, b7, b9, 5 in relation to the V. The b9 is what gives increased tension for the V-I resolution.
I think you’ve covered all these concepts in other lessons but having a review all in one place is terrific. Maybe you could expand this with more voicings and positions for the dominant chords. Rhythm lessons are always appreciated.
More ways to dress up the rhythm please.
Loved this really njce to explore these options
This excellent lesson reminds me of David Bromberg’s rendition of the Ray Charles song “A Fool For You” which is one of my favorites. This is one I’ll be noodling around with for awhile.
Hi Brian and every one else.
Great lesson, It seems to be a little confusing at first, but very well explained.
I have always benn afraid to get interested in jazz technics because of its complexity ; but with this lesson I start to better understand the role and the place of “II V I”turnaround and the diminished chords.
Thanks a lot to be so efficient in your way of teaching.
Lots of info and take aways
Another great lesson Brian! My guitar playing has improved tremendously ever since I’ve subscribed to Active Melody. Thanks so much!!
Excellent lesson!! Using these jazzy changes and diminished chords is incredibly versatile. And it sounds great in up tempo shuffle.
Expanding on this in a future lesson would be fun, as well.
I like to spice it up with EP 358 (an upgrade to the upgrade)
Cheers
Norbert 😉
I like the ML format. Particularly this lesson since it is not only short but very practical. Nice review of the diminished chord: definately a chord I can use more often.
Still unpacking this one. Have to write down a few concepts. Great sound combinations. Using an Am for the 4 chord in context when you’re in the key of A – cool sound. Also, the 4 sharp diminished 7, move up three frets and play it there before resolving to the key of the song. Another great sound and lightbulb moment (I know it’s not the first time you’ve done that but maybe it will stick this time). Take care.
Hi Brain,
This is very sophisticated stuff to add to our blues arsenal. A follow-up (part 2) to this theme would be a great idea.
Great focused ML lesson!
Thanks again for another great lesson, can’t get enough of those diminished chords.
This lesson ranks right up there with ML072 using the half step whole step diminished scale sound.
Great lesson, I’d enjoy more like this and as you suggested using the Pentatonic scales would be nice too. Thanks Brian.
Nicely done really well explained including the use of the relative minor converting it to a major 7th and its position to the E shape. Thanks
So helpful as always, Brian.
Very nice lesson indeed. Thanks Brian. But I do struggle with synchronizing the rhythm, the chords, the embellishments, and the lead-up to, for example, the F#7 with the bars. Sometimes I miss the right moment to move to the next bar or start the next chord. I find it difficult to count along to know which bar I’m in and when to move on to the next one. But maybe that will be easier when mastered the technique and I won’t have to worry about the structure of the song to much.
Hi Brian,
One lightbulb moment from this super informative lesson for me was that there are only three diminished chords and they just change in the arrangement of their individual notes but ultimately contain the same tonal material. Awesome! And I love the fancy sound of your arrangement.
All the best,
Georg
Wonderful Lesson. Thank you. I bet it would get even more complex on top of key changes.
I really like this. I think I just had one of those Aha moments! Nice break from that Chet Atkins stuff you posted, (I’m struggling with that one).
Thanks for a great lesson , Brian. Could you show us how this type of movement would work in other styles such as Western Swing or country?
Nice. Very practical and informative. You could follow this up with a version relating everything to the A Shape instead of the E Shape. Maybe doing it in the key of D or E root on the 5th string for example.
Unfortunately, when I click on the YouTube link, it takes me to Active Melody… but the video is not there, just a black screen.
I have the active tab and it works, but I learn better watching someone play and enjoy the commentary and take-aways.
I just have to watch the video alongside the active tab. until I get it figured out.