The MP3 jam track is available in multiple tempos.
Just FYI. You have the wrong sound tracks up for this lesson. They are the same tracks as from EP Another great lessonthanks Brian. I love that shift from the Bflat to the Bflat major 7. More jazzy stuff please. I am new premium member just last week started. Am really happy to follow these lessons are coin pushers legal in minnesota improve my playing.
My dumb question is can the mp3 tracks be loaded onto my phone to play along with or should I get a tablet or lap top. I have a android Samsung phone. HI Brianwhat kind of strings do you like to play on this Gibson I have the same guitar but use heavy jazz stringsmaybe change to 11s or something I ques?
FlorisAmsterdam. I love learning new licks around chord shapes and new lick ideas to use in other blues progressions. Thanks, Brian, and Happy Birthday again. Well said, John. I am looking forward to playing it. Fantastic tune! Thanks Brian. Great work! More Western Swing, please!! Thanks Brian for another great tune to learn. Is there some reason you are labeling the D chord as D instead of E flat?
Very inspiring. And happy B-day young fella, many many more. This is a really cool lesson Brian! I love the way it starts country and develops that jazzy feel with some nice runs and chord changes. You are batting with these lessons! I would love a vid where you show your guitars and gear ect, maybe some tone tutorials. Hey Brian,great sound and thanks for the jam track,how about sound like that with some beep bob,some dancing sound.
I love your work keep on thank again. You are cooking with gas Brian! Hey Brian, I really am happy to have found you. I do want to note that the fourth in Bb is Eb, not D. Otherwise, thanks for all your hard work. I sincerely appreciate it. Beautifully done, yes on the Pasty Kline, country artists share.
I really like this lesson and composition.US Customers International Customers. Take it Away! Unlock the secrets of hot take-off lead guitar as played by the greatest players from the greatest bands. Western Swing master Joe Carr has transcribed the great guitar solos from the Bob Wills band and other greats and breaks them down note by note into useful licks that can be used to improvise original hot solos. The accompanying audio download availa The accompanying audio download available online uses classic western swing song progressions and presents the licks at a medium, learnable pace.
Written in standard notation and tablature. Learn hot take-off style lead guitar Includes transcribed solos by Shamblin, Wyble, Rhodes, Bernard and more.
Includes access to play-along online audio with all licks at playable pace. Features the music of Bob Wills and other Western Swing greats.
Get the extra files for your Mel Bay book by clicking the "Download Extras" button below. Once it is downloaded to your computer, double-click the file to open.
You can find out more about. If you are having trouble opening or downloading this file, please contact us. Related Products:. Mel Bay products are available through your local music store or through online dealers. Stock varies by site and location.The video series is comprised of 30 minute long lessons that provide insight into learning the most common chord shapes Western Swing guitarists work out of, how they address common chord changes in Western Swing standards, and how to create swinging lines using basic and altered melodies!
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Take one of these tendencies, learn the lick, and apply them to as many songs as you can. Next, try making your own licks out of them! Note the heavy Charlie Christian influence. This lick is less bluesy and shows smooth movement between the notes of the scale. The fingering is somewhat tricky! The first lick is a Redd Volkaert lick using chromatic and diatonic notes.
The second lick is a Roy Nichols lick This is my favorite lick that is featured! The first part of this line highlights the chord tones and the 9 of the 5 chord. The second part of the line is based off a diminished arpeggio from the 5th of the 5 chord. A diminished arpeggio off the 5th of a dominant chord implies a b9 against the 5 chord.
To set this line up, Roy slides into the b13 for momentary tension and then follows through with the diminished arpeggio into the root of the 1 chord. This Zeke Turner lick imposes a dominant 7th harmony over the 1 chord making it become the 5 of the 4 chord.
Zeke starts on the flat 7 of the 1 chord and begins a series of ascending triplets b…2-b…5-bcomes down an E major arpeggio replacing the E with an F 9and then finishes with a chromatic run from the B to the G 5 to 3.
The reason this works is because the augmented 5th of the 1 chord resolves to the 3rd of the 4 chord. Two of the chord tones are simply moving up a half step while one stays the same.
Learn this lick Johnny Gimble played on the mandolin, and you can see this is what happens. Also, this concept can be applied to a dominant 5 chord going to a 1 chord. Junior Barnard has several great aspects to his playing; single note lines, bluesy licks, bends, and double stops.
To me, his style and phrasing of double stops are his most unique contribution to Western Swing guitar. When playing this lick, try picking the double stop rather than grabbing it with a pick and a finger.
Secondly to sound most like Junior, slide into each double stop. The second double stop lick is another signature Junior Barnard lick. Barnard slides from the 3rd to the 1 and finishes with a bluesy lick from the b7 in double stops. To sound most like him, let the notes from the double stops ring into each other.
It does not have to sound clean! All throughout Western Swing guitar, one can hear lines based off alterations of b Learn these licks and then change up the rhythm and ordering of the notes for your own lines. The first lick is a Django-styled lick that you can hear Jimmy Bryant and Chet Atkins use throughout their improvisations. These licks are a huge help to know when playing uptempo tunes.
Learn these licks and then take a scale and create a pattern out of it.
Western Swing Style Rhythm Guitar Lesson – EP185
Most cadences are treated as dominant chords. Yet occasionally, there is a minor 2 to a dominant 5 chord. This is one of my favorite licks by Roy Nichols.Fiddle-tune-based flatpick style guitarists generally discover swing style guitar at some point in their development.
However they get into it, most guitarists eventually find their way to the unique Western version of swing music. Western swing style guitar suggests many different images. For some, it is specifically the rhythm guitar style developed by the great Eldon Shamblin while he was a member of Bob Wills and his Texas Playboys.
Others include the rhythm and lead styles of countless guitarists who played with Wills and bands that developed from or were inspired by the Wills sound. Still others think of cowboy music, beginning with the Sons of the Pioneers and including modern groups such as Riders In The Sky. All these styles can rightfully be called Western swing style guitar. The swing guitar sound is instantly recognizable and owes more to the swing and jazz world than it does folk music.
Swing rhythm features steady four-to-the-bar strums with chords typically changing every two beats. A moving bass line often anchors these changing chords. Characteristic chord forms include sixths, ninths, diminished and augmented. The lead style also developed from swing and early jazz music of the ss. The four-beat swing sound developed out of ragtime and early jazz music. Swing was the sound of the roaring s. Swing was dance music, first and foremost. The rhythmic long-short, long-short beat was a national craze.
Southwestern stringed-instrument-playing folk musicians of the s and early s heard the dance orchestras of Paul Whiteman and others and began to incorporate this pulsing rhythm into their music.
The open ringing guitar chord rhythm style so popular in Appalachian styles was slowly replaced in the West by the newer style. Left and right hand muting and the use of barre chords with few open strings allowed guitarists to emulate the modern jazzy pulse.
The new style combined the jazz sounds of radio, records and the big dance halls of the central and northeastern United States with fiddle tunes, square dance music, blues, and other rural folk music.
Although we cannot say he was the originator of the style, Texas Panhandle fiddler Bob Wills is the most well-known Western swing bandleader. Wills moved to Fort Worth in and formed the Wills Fiddle Band as a duo with himself on fiddle and Herman Arnspiger on acoustic guitar. Arnspiger appears with a Gibson L-4 guitar in numerous early s photographs. The carved top, round sound hole, raised pick guard and tailpiece of this model make it very distinctive.
That duo soon joined with another duo, vocalist Milton Brown and his younger brother Derwood Brown on guitar. Brown is pictured in with a small flat-top Gibson with an attached pick guard. The name of this band changed often, depending on who hired them. However, that job only lasted a few months. In addition to playing on the radio and touring as the Light Crust Doughboys, the group also played dance music in Crystal Springs every Saturday night.
The music that they played in the dance halls was different than that which they played on the radio as the Light Crust Doughboys because the sponsor, W. On the radio, with W. Milton Brown sang these tunes with great affection, but he knew that people also wanted more up-to-date numbers, especially at dances.
Through these records, Milton expanded his vocal repertoire to include popular and jazz tunes, some of which he had learned while with his vocal group in the late s. In February of the Victor recording company came to Dallas from New York City to make recordings with local artists.Western swing is a unique fusion of musical styles and cultures, primarily encompassing country, jazz, blues, swing, and big band.
Even a cursory listen makes it obvious that the musicians in the Western swing scene are extremely proficient and play with a fun, relaxed attitude. Infectious and quirky humor plays a big role in Western swing, and its practitioners favor technically risky and entertaining improvisation and complex chord substitutions, and often borrow phrasing from instruments not found in traditional country music.
Many of these tunes were written and performed during the earlier days of the genre, most notably by Bob Wills. The progression also uses a secondary dominant chord A7 in both sections. In this case, the A7 serves as the V of V. Now, the V of that is A7. You can also think of this non-diatonic chord as a II7.
Western Swing Style Guitar Lesson – Lead Guitar Lesson – EP171
As you can hear in the audio example below, the strum pattern is a little closer to Freddie Green the legendary guitarist in the Count Basie Orchestra than Chet Atkins. Offering playful and interesting improvisational ideas, this technically challenging solo Ex. But before we dive into the notation, we need to touch on the required right-hand technique.
The easiest way to replicate this is to use the thumb, index, middle, ring, and sometimes pinky fingers on your right hand to get that punchy, plucked attack. Another method is to use a thumbpick or adopt a hybrid-picking technique combining a flatpick and fingers.
For the latter, grip the pick between your thumb and index fingers while using your remaining fingers to pluck the strings independently of the pick. Many great players prefer hybrid picking because it gives them the option to throw in the clear, articulated sound of a flatpick at any moment, and switch to alternate and economy picking as the music demands. Click here for Ex. Extended arpeggios are a great vehicle for bridging the gap between chord changes and scales, and they give you an easy way to build lines that include more than simple chord tones.
When you have those down, try adapting the ideas you discover to work in minor situations. Go Your Own Way Improvising gives you freedom to compose some new changes too! This technique is used fairly often in country, jazz, and Western swing.Western Swing - Jazz Lead Guitar Lesson - Improvise a Solo - EP321
The soloist either plays arpeggios or block-style chords with a rhythmic delivery to build on the simple harmonic structure that the band is playing. You can find an example of this starting in the fifth measure over the G6.This works on acoustic or electric guitar. I have tried so many online sites, but this one is by far the best because it is so easy and simple to navigate! I love it! This was a fantastic lesson!! Great John. Thanks again Brian. This is great!!
Thank you Brian. More than a few light bulbs came on for me due to this lesson- thank you for continuing to pound this through my head! I just bought one……. This may seem totally off the wall initially Brian but………. If ever you have been tempted to mix things up a wee bit and toss in a bass lesson………. Any way……. Hi Brian, Thanks for a great lesson. Great feel and fun to play. Might you have been thinking Johnny B Goode for the lick you wondered out loud about?
Keep up the good work. As someone else said: …… a big smile on my face. Brian, you made my day! Great work again. Thank you.
Hello Brian Could you please create a lesson on popular scale shifts or mode shifts. Great lesson and introduction to Western Swing Brian — thanks. Hi Brian, the lick at