Slide Guitar and Blues Licks Guitar Lesson
Slide Guitar and Blues Licks
Hawkeye Herman talks about playing and creating blues licks with the slide.
Taught by Hawkeye Herman in Blues Guitar with Hawkeye seriesLength: 9:53Difficulty: 2.5 of 5
Tune Time
Before you tackle the licks presented in this lesson, make sure that your guitar is tuned perfectly to open D. Use an electronic tuner to check your tuning accuracy. Remember the anagram "dad fad" when tuning to open D. Make sure that the third string is tuned to F# instead of an F natural.
Blues Box in Open D
In lesson 45 of this series, Hawkeye introduced a commonly used blues box played in open D. The following information is taken from the Lesson Information section of lesson 45
D Minor Pentatonic Scale
Hawkeye demonstrates how to play the D minor pentatonic scale in "open" or first position. Believe it or not, the D blues box scale pattern is slightly easier to play in open tuning. An open string note and a note at the 3rd fret are played on each string. This pattern is very handy for playing blues licks with a slide since notes along the same fret can be played simultaneously with the slide.
Left Hand Fingering
When playing any scale in first or "open" position, use the left hand fingering outlined below.
1st Fret Notes: First Finger
2nd Fret Notes: Second Finger
3rd Fret Notes: Third Finger
4th Fret Notes: Fourth Finger
Hybrid Scale
The notes within the pattern form a hybrid D major / D minor pentatonic scale. The minor and major forms of the pentatonic scale are frequently blended together in blues, rock, country, and jazz licks. A distinct blues sound is produced by embellishing the major third of the key (F#) by the minor third (F). Analyze the spelling of the pentatonic scales listed below.
D Minor Pentatonic: D, F, G, A, C, D
D Major Pentatonic: D, E, F#, A, B, D
Hybrid Scale Taught in Lesson:
Octave 1: D, F, A, C, D
Octave 2: D, F, F#, A, A, C, D, F
It is important to understand that the scale pattern demonstrated in this lesson and lesson 45 is neither the major nor minor version of the pentatonic scale. Rather, it features a few notes from both scales. Refer to the "Supplemental Content" section to view the D minor pentatonic pattern played in open D tuning.
Practicing Scales
Follow the guidelines listed below when learning / practicing any new scale.
1. Say each note name out loud as you play it. Combining multiple brain functions will allow you to learn new material in the most efficient manner possible.
2. Do not simply memorize the visual shape of the scale pattern. You must learn where each individual note is located within the scale.
3. When you can play the scale from memory, begin to practice along with a metronome. Tap your foot along with the metronome to further internalize the pulse.
4. Always begin and end the scale on the lowest root note in the pattern. Begin with the open D note played on the sixth string. Then, ascend to the highest note in the pattern (F). Next, descend back down to the starting root note.
5. Remember the proper fingering rules for position playing.
6. Practice through the pattern using a variety of picking techniques. Use the following picking patterns when practicing all scales:
a. All Downstrokes
b. All Upstrokes
c. Alternate Picking Beginning with a Downstroke
d. Alternate Picking Beginning with an Upstroke
Note: The ascending pattern of the scale is labeled as Exercise 1 in the "Supplemental Content" section. The descending pattern is listed as Exercise 2.
Exercise 3
In addition to the scale exercises listed above, Hawkeye covers a new slide exercise to practice with this box. First, pick the open string note. Then, slide up to the third fret note. Next, slide down from this note. Finally, play the open string note once again. Repeat this process on all six strings.
Lick #1
This lick is a variation on a lick taught in the previous lesson. It is the final half of the last melody phrase in "You Got to Move." This lick can be played in eighth notes or sixteenth notes at any tempo.
Lick #2
This is the exact phrase segment from the end of the "You Got To Move" melody. Hawkeye demonstrates the lick at 02:35
Lick #3
Lick #3 is another slight variation on Lick #2. Instead of resolving the lick to the tonic D note, it ends with the fifth scale degree, A.
Lick #4
Lick #4 is a great way to end a blues song in the key of D. The top three strings form a first inversion D major chord when played at the 12th fret. Consequently, the lick will give a definite sense of finality to any blues song. This lick is demonstrated at 03:00.
Variation on Lick 1
Since the pentatonic box contains an open note and a 3rd fret note on every string, Lick #1 can be transferred to all pairs of adjacent strings. Hawkeye demonstrates this idea at 03:38.
Ending Blues Licks
The note D at the 5th fret of the second string is a great ending note for slide phrases in open D. This D note features a bright yet round tone. In addition, ending a lick with a fretted D note instead of an open note allows you to apply a vibrato to the note. Vibrato will give your playing a more vocal, expressive quality.
Listen as Hawkeye plays Lick #2 at 05:21. The first time around, he ends the lick with the D note at the 5th fret. Then, he ends the lick with the open first string. How would you describe the difference in sound between these two examples?
Lick #5
This basic lick transfers basic idea of Lick #1 to the lower strings.
Lick #6
Lick #6 is a variation on Lick #5. This new lick ends with a tonic D chord played at the 12th fret. Or, it can be ended with any combination of strings played at the 12th since all of these notes are part of the tonic D major chord.
Lick #7
Chordal and double stop licks are extremely popular in open tunings since major barre chords line up along a single fret. Lick #7 features a D major chord played in a steady triplet rhythm with the slide. Hawkeye demonstrates the lick at 07:25.
Combining licks
Experiment with combining elements from all of the licks taught in this lesson. A sample idea that combines multiple ideas from this lesson is provided in the final measures of ?Supplemental Content.? Also, experiment with creating your own licks in this tuning.
For ear training practice, transcribe some songs in open D. "Draw the Line" by Aerosmith is a rock song that utilizes many similar slide licks in open D. Numerous songs by Led Zeppelin and Mississippi Fred McDowell are played in open D as well.
Supplemental Learning Material
Blues Guitar with Hawkeye
Found in our Beginner Lesson SetsThe blues is a distinctly American style of music. Many popular genres such as jazz, rock, and country music draw upon basic blues concepts. Consequently, it is advantageous for any guitarist to study the blues.
Lesson 1
Introduction to Blues
Hawkeye Herman introduces the blues. He explains the 12 bar blues chords and the poetic format that blues lyrics typically follow.
Length: 19:25 Difficulty: 1.0 Members Only
Understanding Blues Chords
Hawkeye explains how the I, IV, and V chords are used in a 12 bar blues progression.
Length: 12:12 Difficulty: 1.0 Members Only
Blues Rhythm
Hawkeye demonstrates common strumming patterns used in blues music. He also explains how country music evolved from the blues.
Length: 19:42 Difficulty: 1.5 Members Only
Intro to the Blues Shuffle
The shuffle is one of the most common rhythms used in blues music. Hawkeye introduces the most basic shuffle rhythm pattern.
Length: 18:12 Difficulty: 1.5 Members Only
More Blues Shuffle
Hawkeye covers the blues shuffle in greater depth.
Length: 13:13 Difficulty: 1.5 Members Only
The Blues Turnaround
Hawkeye introduces and explains a common blues turnaround.
Length: 7:45 Difficulty: 2.0 Members Only
Interesting Blues Turnaround
Hawkeye demonstrates various ways of arpeggiating the blues turnaround from the previous lesson.
Length: 8:08 Difficulty: 2.0 Members Only
Moving the Turnaround
Hawkeye explains how the turnaround from the previous lesson can be transposed to all 12 keys.
Length: 5:57 Difficulty: 2.0 Members Only
Turnaround in the Bass
Hawkeye explains how the blues turnaround can be played on the bass strings.
Length: 11:12 Difficulty: 2.0 Members Only
Turnaround Practice
Hawkeye provides some tips regarding how to integrate turnarounds into the context of the 12 bar blues form.
Length: 3:58 Difficulty: 2.0 Members Only
Turnarounds as Lead
In this lesson Hawkeye will explain how you can use turnarounds as a way to play basic lead.
Length: 0:00 Difficulty: 2.0 Members Only
Subtle Changes
Hawkeye demonstrates how subtle changes made to the blues shuffle can have a profound impact on the overall sound of the 12 bar form.
Length: 7:12 Difficulty: 2.0 Members Only
Blues Shuffle Variations
Hawkeye demonstrates more blues shuffle variations. He discusses playing individual notes and palm muting.
Length: 7:23 Difficulty: 2.0 Members Only
Bass Blues Shuffle
In this lesson, Hawkeye teaches a bass version of the blues shuffle that mimics a common left-hand piano pattern.
Length: 10:49 Difficulty: 2.0 Members Only
Turnaround Exercise
Hawkeye presents an exercise that will enable you to play a turnaround over the blues form in all twelve keys.
Length: 10:44 Difficulty: 2.0 Members Only
Delta Blues Turnaround
Hawkeye teaches a Delta blues turnaround in the key of A. This turnaround is played in the style of Robert Johnson.
Length: 10:45 Difficulty: 2.0 Members Only
Delta Blues Turnaround #2
Hawkeye Herman teaches a new Delta blues turnaround. This lick was inspired by Robert Johnson.
Length: 7:12 Difficulty: 2.0 Members Only
Robert Johnson Style
Hawkeye Herman teaches more components of Robert Johnson's signature sound.
Length: 27:38 Difficulty: 2.0 Members Only
Movable Chords
Hawkeye introduces some common, movable chord shapes.
Length: 17:42 Difficulty: 2.0 Members Only
Movable Chord Review
Hawkeye reviews movable chords in this lesson. He explains how these chord voicings can be used in a practical blues context.
Length: 5:41 Difficulty: 2.0 Members Only
Basic Blues Scale
Hawkeye Herman introduces the minor pentatonic scale in this lesson, the most commonly used scale in blues lead guitar.
Length: 23:54 Difficulty: 2.0 Members Only
Passing Notes
Hawkeye builds on the pentatonic scale. He introduces "blue" notes, which transform the pentatonic scale into the minor blues scale.
Length: 12:50 Difficulty: 2.0 Members Only
Scales and Keys
Hawkeye explains how to transpose the minor pentatonic and minor blues scales to different keys.
Length: 21:18 Difficulty: 2.0 Members Only
Finding the Key
Hawkeye Herman explains how to determine the key of a blues song. This information is essential if you wish to play lead over a song.
Length: 15:31 Difficulty: 2.0 Members Only
Lightnin' Hopkins Style
In this lesson, Hawkeye will bring together much of what he has taught in this lesson series and apply it to the style of Lightnin' Hopkins.
Length: 16:36 Difficulty: 2.0 Members Only
Treble Shuffle
Hawkeye explains how to play the blues shuffle on the treble strings.
Length: 9:22 Difficulty: 2.0 Members Only
The Great River Road
Hawkeye Herman teaches you how to play his original song, "The Great River Road," in this phenomenal lesson.
Length: 16:39 Difficulty: 2.0 Members Only
Mississippi John Hurt Style
Hawkeye covers the guitar style of Mississippi John Hurt. This style makes heavy use of alternating bass lines.
Length: 14:48 Difficulty: 2.0 Members Only
Piano Blues
Hawkeye teaches an original piece called "Piano Blues." He teaches this song to further demonstrate the alternating bass line.
Length: 13:20 Difficulty: 2.5 Members Only
Blues Accompaniment
Hawkeye Herman teaches a beautiful blues accompaniment pattern.
Length: 10:11 Difficulty: 2.5 Members Only
Stop-Time Blues
Hawkeye introduces the stop-time blues rhythm.
Length: 17:21 Difficulty: 2.5 Members Only
Sweet Home Chicago
Hawkeye Herman explains how to play Robert Johnson's "Sweet Home Chicago."
Length: 16:17 Difficulty: 2.5 Members Only
Eight Bar Blues
Hawkeye introduces the eight bar blues progression.
Length: 22:28 Difficulty: 2.0 Members Only
8 Bar Blues Key Transposition
Hawkeye takes the 8 bar blues material from the last lesson and explains how to transpose it to different keys.
Length: 6:39 Difficulty: 0.5 Members Only
Classic 8 Bar Blues
Hawkeye teaches a classic 8 bar blues tune in the style of Brownie McGhee and Big Bill Broonzy.
Length: 25:10 Difficulty: 2.0 Members Only
Playing Multiple Notes
In this lesson Hawkeye revisits the blues/pentatonic scale and talks about playing multiple notes at the same time.
Length: 9:42 Difficulty: 1.5 Members Only
Classic End Tag
Hawkeye Herman teaches a classic blues song ending. He also explains how it can be played in different keys.
Length: 9:42 Difficulty: 2.0 Members Only
Basic Blues Slide
Hawkeye Herman covers the basics of slide technique and provides exercises to demonstrate them.
Length: 25:49 Difficulty: 2.5 Members Only
Slide Guitar and Open D Tuning
Hawkeye Herman introduces open D tuning. He explains how to play a 12 bar blues progression with a slide in this tuning.
Length: 14:56 Difficulty: 2.5 Members Only
Ramblin' On My Mind
Hawkeye Herman demonstrates the classic Robert Johnson song, "Ramblin' On My Mind" in open D tuning.
Length: 8:41 Difficulty: 2.5 Members Only
Blues Shuffle in Open D
Hawkeye explains how to play the blues shuffle in open D tuning.
Length: 0:00 Difficulty: 2.0 Members Only
Open D Harmony Shuffle
Hawkeye teaches the "harmony" version of the shuffle in open D tuning.
Length: 5:15 Difficulty: 2.0 Members Only
Open D Turnaround
Hawkeye teaches a simple blues turnaround in open D tuning.
Length: 9:00 Difficulty: 2.5 Members Only
Open D Slide Licks
Hawkeye Herman teaches some open D slide guitar licks. These licks are inspired by the song "Ramblin' On My Mind" by Robert Johnson.
Length: 8:14 Difficulty: 3.0 Members Only
Pentatonic Scale in Open D
Hawkeye Herman explains how to play the D minor pentatonic scale in Open D tuning.
Length: 4:00 Difficulty: 2.5 Members Only
Ramblin' On My Mind
Hawkeye challenges you to play "Ramblin' On My Mind" using the techniques from the past couple of lessons.
Length: 4:03 Difficulty: 3.0 Members Only
Rock and Slide Guitar
Hawkeye shows that open D tuning and slide guitar are not exclusive to the blues. He provides an exercise that demonstrates how this tuning can be used in rock music.
Length: 15:55 Difficulty: 2.5 Members Only
D Tuning Chords
Hawkeye returns to the world of open D tuning. He introduces various chord voicings and explains how they can be used in the blues.
Length: 10:00 Difficulty: 0.5 Members Only
You Got to Move
In this lesson, Hawkeye teaches a classic blues song by Mississippi Fred McDowell - "You Got to Move."
Length: 9:03 Difficulty: 2.5 Members Only
You Got to Move Melody
Hawkeye Herman demonstrates how to play the melody of "You Got to Move" with a slide.
Length: 6:51 Difficulty: 2.5 Members Only
Slide Guitar and Blues Licks
Hawkeye Herman talks about playing and creating blues licks with the slide.
Length: 9:53 Difficulty: 2.5 Members Only
Elmore James Style
Hawkeye Herman breaks down important aspects of Elmore James' style.
Length: 23:11 Difficulty: 2.5 Members Only
Blues Licks and Riffs
Hawkeye teaches some versatile blues licks and riffs that can be used in open D tuning.
Length: 11:15 Difficulty: 2.5 Members Only
Open G Tuning
Hawkeye Herman teaches the basics of open G tuning.
Length: 7:28 Difficulty: 2.0 Members Only
G Tuning Chords
Hawkeye gives a brief overview of chords and how they are played in open G tuning.
Length: 6:11 Difficulty: 1.5 Members Only
Blues Scale in Open G Tuning
Hawkeye gives a brief rundown of how the blues / minor pentatonic scale can be played in open G tuning.
Length: 4:48 Difficulty: 1.5 Members Only
G Tuning Accompaniment
Hawkeye talks about playing accompaniment using open G tuning.
Length: 7:44 Difficulty: 2.5 Members Only
Improvising in G Tuning
Improvisation using the minor pentatonic / blues scale is discussed in open G tuning. Hawkeye also touches on Robert Johnson's song, "Walkin' Blues."
Length: 7:26 Difficulty: 2.5 Members Only
Open G Shuffle Rhythm
In this lesson, Hawkeye Herman talks about playing the blues shuffle in open G tuning. He also shows some basic turnarounds.
Length: 10:37 Difficulty: 2.5 Members Only
Open G Shuffle Variations
Hawkeye reviews the blues shuffle in open G tuning. He demonstrates shuffle variations as well as a few licks, turnarounds, and other tidbits.
Length: 15:45 Difficulty: 2.5 Members OnlyLesson 61
Robert Johnson Licks
Hawkeye teaches several Robert Johnson licks in this lesson. These licks are played with a slide in open G tuning.
Length: 14:40 Difficulty: 2.5 FREE
G Tuning and the Capo
Hawkeye introduces the capo and explains how it can be used. This lesson is still in the context of G tuning.
Length: 10:28 Difficulty: 2.5 Members Only
Come On In My Kitchen
Hawkeye Herman showcases the power of slide guitar by demonstrating the classic Robert Johnson song, "Come On In My Kitchen."
Length: 6:33 Difficulty: 3.0 Members Only
Skip James Style
Hawkeye Herman gives a brief rundown of Skip James' blues guitar style. This lesson also focuses on playing in open tunings without a slide.
Length: 19:15 Difficulty: 3.0 Members Only
Open D to Open G
Hawkeye demonstrates how to take a song from open D tuning and play it in open G. He uses the song "No Expectations" by the Rolling Stones as an example.
Length: 10:26 Difficulty: 0.5 Members Only
Drop D Tuning
Hawkeye shows you the wonders of drop D tuning and teaches his rendition of "Big Road Blues."
Length: 30:30 Difficulty: 3.0 Members Only
Statesboro Blues
Hawkeye goes over the fantastic song "Statesboro Blues" by Blind Willie McTell in Drop D tuning.
Length: 27:12 Difficulty: 2.5 Members Only
Blind Lemon Jefferson
Hawkeye discusses some history behind the great blues guitarist Blind Lemon Jefferson. He covers the song "Matchbox Blues" to provide an example of his style.
Length: 19:40 Difficulty: 2.0 Members Only
Minor Blues
Hawkeye explains the chord changes used in a minor blues progression.
Length: 12:53 Difficulty: 2.0 Members Only
The Capo
Hawkeye talks about the capo and its many uses.
Length: 22:32 Difficulty: 2.0 Members Only
Song Endings
By user request, Hawkeye shares ideas on how to end songs in this lesson.
Length: 21:26 Difficulty: 2.0 Members Only
Stop Time Blues
In this lesson, Hawkeye Herman returns to the wonderful world of stop-time blues. He teaches a few more ways to play in this glorious style.
Length: 17:53 Difficulty: 0.5 Members Only
Eight Bar Blues
Hawkeye talks about the eight bar blues and uses some classic blues songs as examples.
Length: 26:19 Difficulty: 3.0 Members Only
Blues Mambo
Hawkeye talks all about the blues mambo in this lesson.
Length: 16:09 Difficulty: 2.5 Members Only
Movable Endings
Hawkeye explains how all the endings you've learned up to this point can be transposed to any key.
Length: 31:53 Difficulty: 3.0 Members Only
Movable Blues Scale
Hawkeye talks about transposing the minor pentatonic scale to various keys.
Length: 16:58 Difficulty: 3.0 Members Only
Blues Scale Lead
Hawkeye explains how the blues scale can be used to play lead in any song.
Length: 30:57 Difficulty: 3.0 Members Only
Spanning the Neck
Hawkeye explains how the blues scale can span the neck in any key.
Length: 22:09 Difficulty: 3.5 Members Only
The Blues Had a Baby
Hawkeye talks about the background of rock 'n roll and how it is connected to blues.
Length: 21:42 Difficulty: 2.0 Members Only
Fun Licks
This lesson is filled with fun licks and lick techniques.
Length: 17:32 Difficulty: 3.0 Members Only
Spanning the Neck Continued
Hawkeye brings more blues wisdom to you in this lesson about spanning the neck.
Length: 18:18 Difficulty: 3.0 Members Only
Barre Chords Refresher
Hawkeye provides a few useful tips on playing barre chords.
Length: 13:18 Difficulty: 2.0 Members Only
Chord Relationships
Hawkeye discusses how the visual shapes of chords relate to one another on the fretboard.
Length: 15:06 Difficulty: 3.0 Members Only
Chord Relationships Continued
Hawkeye explains how to find the I, IV, and V chords in all 12 major keys.
Length: 8:43 Difficulty: 3.0 Members Only
Shuffle Rhythm Review
Hawkeye answers member questions on the shuffle rhythm.
Length: 16:19 Difficulty: 2.0 Members Only
Key of A Idea
Hawkeye shares an idea in the key of A that you can apply to your blues playing.
Length: 18:15 Difficulty: 3.0 Members Only
Thumbpick Vs. Flatpick
Thumbpick Vs. Flatpick: A most common question asked among guitarists is discussed in this lesson.
Length: 15:13 Difficulty: 0.5 Members Only
Capo Ideas
Hawkeye shares his ideas on the capo and explains why he thinks it is important for every guitarist to own one.
Length: 18:34 Difficulty: 0.5 Members Only
Everything is Movable
Hawkeye reiterates that everything is movable on the guitar and provides some fresh new ideas.
Length: 12:27 Difficulty: 2.0 Members Only
Bass Notes in Treble
Hawkeye explains how to add variety to the shuffle pattern by transferring the bass notes to the treble register and by adding palm muting. He also explains how you can create your own shuffle variations.
Length: 21:21 Difficulty: 2.0 Members Only
Treble Shuffle
Hawkeye provides more amazing tips and tricks on moving your shuffle rhythm to the treble for a unique sound.
Length: 16:50 Difficulty: 3.0 Members Only
Creating Solos
Hawkeye revisits the techniques learned in the last few lessons and explains how to tie tie them together to create solos.
Length: 9:46 Difficulty: 2.0 Members Only
Transposing Songs
Hawkeye provides some great tips for transposing any song you want to learn to a different key.
Length: 17:31 Difficulty: 3.0 Members Only
History of Blues
This exciting lesson dives into some of the earliest history of blues music and how it has shaped popular music today.
Length: 13:52 Difficulty: 0.5 Members Only
Blues is the Roots
Hawkeye Herman explains why "blues is the roots, and everything else is the fruits."
Length: 8:41 Difficulty: 1.0 Members Only
The Style of Hank Williams
Hawkeye discusses the history and style of Hank Williams.
Length: 17:07 Difficulty: 2.0 Members Only
The Style of Jimmie Rodgers
Hawkeye demonstrates some key aspects of Jimmie Rodgers' style.
Length: 12:30 Difficulty: 2.0 Members Only
Boom-Chicka Strum
Hawkeye demonstrates the "boom-chicka" strum and explains various ways you can incorporate it into your playing.
Length: 22:44 Difficulty: 2.0 Members Only
Fun Runs
Hawkeye Herman explains how to spice up your rhythm playing by incorporating bass runs between chord changes.
Length: 16:20 Difficulty: 2.0 Members Only
Review & Practice
Hawkeye Herman celebrates lesson 100 with a short but sweet review of what you've learned in the past couple of lessons.
Length: 6:51 Difficulty: 2.0 Members Only
Song Medley
Hawkeye Herman demonstrates rhythmic concepts from earlier lessons by playing a fun medley.
Length: 13:08 Difficulty: 2.0 Members Only
Hawkeye's Favorite Licks
Hawkeye shares some of his favorite licks in this lesson.
Length: 22:35 Difficulty: 3.0 Members Only
More Fun Licks
Hawkeye teaches more fun licks to add to your blues bag of tricks.
Length: 31:20 Difficulty: 2.5 Members Only
More Licks Up the Neck
Hawkeye Herman is back with some more classic blues licks that span the length of the fretboard.
Length: 26:20 Difficulty: 2.5 Members Only
Bass Licks
Hawkeye explains the importance of playing licks over the entire neck of the guitar.
Length: 21:33 Difficulty: 2.0 Members Only
Rock Me Lick
Hawkeye Herman shares a lick that is commonly known as the "Rock Me Baby" Lick. He explains how this lick can be incorporated into a performance of this classic B.B. King song.
Length: 19:09 Difficulty: 2.0 Members Only
Turnaround Positions
Hawkeye discusses how ideas derived from turnarounds can be incorporated into blues solos.
Length: 8:19 Difficulty: 2.0 Members Only
Instrumental Themes
Hawkeye Herman talks about instrumental themes and how you can add lead fills to them.
Length: 18:03 Difficulty: 3.0 Members Only
Instrumental Themes Continued
Hawkeye continues his discussion on instrumental themes and blues.
Length: 23:42 Difficulty: 2.5 Members Only
Ninth Chords
Hawkeye Herman explains how dominant 9th chords are formed and how they can be used in blues music.
Length: 15:16 Difficulty: 3.0 Members Only
Ninth Chords Continued
Hawkeye Herman continues his discussion on 9th chords.
Length: 26:52 Difficulty: 2.5 Members Only
More Eight Bar Blues
Hawkeye Herman shares more eight bar blues knowledge in this fun and information-packed lesson.
Length: 23:57 Difficulty: 2.5 Members Only
Using a Tuner
Hawkeye shares his thoughts on tuners in this lesson.
Length: 6:38 Difficulty: 0.5 Members Only
Introducing the Capo
In the 114th installment of his Blues Series, Hawkeye introduces the capo. He demonstrates how this valuable tool allows you to transpose chord voicings to various keys.
Length: 23:21 Difficulty: 2.5 Members Only
Forming Barre Chords
Having trouble getting those fingers to form barre chords? In lesson #115 of his Blues Series, Hawkeye covers some tips and techniques to help with these problematic chord shapes. Any beginner can master...
Length: 10:03 Difficulty: 2.5 Members Only
4 Up, 5 Down Applied Concept
Hawkeye explains why the adjacent strings on the guitar are tuned in perfect fourths and how this relates to left hand fingering.
Length: 18:44 Difficulty: 3.0 Members Only
Relative Chord Shapes
Hawkeye continues where he left off in lesson 116 and explains how the tuning of the guitar relates to commonly used chord shapes.
Length: 16:43 Difficulty: 2.0 Members Only
Transposing Notes / Changing the Key
Hawkeye Herman reviews important transposition concepts. Here he demonstrates how to change the key of a song so that it is appropriate for your vocal range.
Length: 20:31 Difficulty: 3.0 Members Only
All About Finger Picking
Hawkeye takes a look at this important right hand technique.
Length: 20:54 Difficulty: 3.0 Members Only
Bo Diddley Beat
Hawkeye provides a history lesson on Bo Diddley. He also demonstrates how to play the classic "Bo Diddley Beat." This rhythmic pattern appears in countless blues and rock songs.
Length: 20:15 Difficulty: 2.0 Members Only
Thematic Bass Lines
Hawkeye teaches some blues bass lines that can be applied to the twelve bar blues form.
Length: 19:04 Difficulty: 2.5 Members Only
Bass Lines Continued
Hawkeye continues on from his 121st lesson with more examples of blues bass lines for guitar.
Length: 7:14 Difficulty: 2.5 Members Only
Lead Bass Ideas
Hawkeye dives into some lead bass ideas. He demonstrates how a classic Eric Clapton riff can be used over the twelve bar blues form in any key.
Length: 12:57 Difficulty: 3.0 Members Only
Willie's Bounce
Hawkeye teaches the bass line riff to his song "Willie's Bounce."
Length: 16:31 Difficulty: 3.0 Members Only
Finger Picking Part 2
Hawkeye continues his discussion on finger picking.
Length: 12:27 Difficulty: 3.0 Members Only
The Texas A
Hawkeye Herman teaches a version of the A chord that he calls "The Texas A."
Length: 13:59 Difficulty: 3.0 Members Only
Blues Scale: Adding the Major 3rd
Hawkeye breaks down the blues scale and demonstrates how to appropriately add the major 3rd.
Length: 26:16 Difficulty: 3.0 Members Only
Double Stops
As demonstrated in previous lessons, Hawkeye opens up the world of double stops. Hawkeye teaches some classic Chuck Berry licks to demonstrate how double stops can be used effectively.
Length: 11:53 Difficulty: 2.5 Members Only
Scrapper Blackwell
Hawkeye introduces the guitar stye of Scrapper Blackwell. He uses the song Scrapper called "E Blues" as a starting point.
Length: 20:46 Difficulty: 2.5 Members Only
Influence of Blind Lemon Jefferson
History flows deep in blues music. Hawkeye discusses the influence of Blind Lemon Jefferson. This lesson is one for the history books.
Length: 22:43 Difficulty: 2.0 Members Only
Humming and Strumming
Hawkeye opens up some ideas on how to "plan ahead" in your playing. Similar to riding a bike, you need to look forward to see where your going. Humming what you want to play allows you to anticipate the...
Length: 18:49 Difficulty: 4.0 Members Only
Katrina, Oh Katrina
Inspired by the tragedy of Hurricane Katrina, Hawkeye was commissioned by the BBC to write a song about Katrina. Hawkeye demonstrates this song and recalls his thought process in writing this song.
Length: 29:53 Difficulty: 3.0 Members Only
All About the Hammer-on
Hawkeye demonstrates how a hammer-on can be used to open up doors in your playing. Hawkeye shows you how to achieve this technique and use it successfully in your playing.
Length: 24:07 Difficulty: 3.0 Members Only
The Pull-off
Hawkeye covers the pull-off, best friend of the hammer on. This technique is used to achieve the same goal as the hammer-on, yet with a completely different finger movement.
Length: 15:02 Difficulty: 3.0 Members Only
Using Hammer-ons and Pull-offs Together
Hawkeye combines lessons 133 and 134 and demonstrates some examples of how to utilize the hammer-on and pull-off techniques together to enhance your overall blues guitar skills.
Length: 10:27 Difficulty: 3.5 Members Only
The Quick Change
The 12 bar form is a staple in the world of blues music. However, there are plenty of different ways to arrange it. This lesson covers what is commonly called "The Quick Change."
Length: 15:15 Difficulty: 2.0 Members Only
Starting on the IV Chord
Hawkeye demonstrates how to change up a traditional 12 bar blues progression by starting on the IV chord.
Length: 16:51 Difficulty: 2.5 Members Only
The Talking Blues
Hawkeye demonstrates yet another form of blues known as the "Talking Blues." This style is indicative of its name. It features a talking vocal style played over a I, IV, V chord progression.
Length: 24:43 Difficulty: 4.0 Members Only
Utilizing 9th Chords
Need a slightly different voicing to spice up your playing? 9th chords will give your blues playing a colorful, urban sound.
Length: 24:53 Difficulty: 3.5 Members Only
Minor Tuning, Major Sound
Hawkeye breaks out his slide and demonstrates how chord progressions in major keys can be played in open minor tunings.
Length: 4:43 Difficulty: 1.0 Members Only
Style of Elmore James
Hawkeye offers up some tricks and techniques that Elmore James utilized in his style of playing.
Length: 25:52 Difficulty: 3.5 Members Only
Style of Son House
In lesson 142, Hawkeye dives into the style of Son House. House pioneered an innovative style featuring strong, repetitive rhythms often played with a slide.
Length: 14:32 Difficulty: 3.5 Members Only
About Hawkeye Herman
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""One of America's finest acoustic guitarists and blues educators."
Cascade Blues Association
"Herman plays with a sensitive, reflective touch that continually draws
attention to his vocals, which are effectively understated and free of
affectation... Herman can rock with the best of them. A solid choice for fans of
traditional acoustic blues."
Living Blues Magazine
" ...plays haunting music on a mournful guitar."
Los Angeles Times
"The only thing better than hearing this live album is seeing Hawkeye Herman
in the flesh. Whether adding his own spin to blues classics or offering his
own songs, Herman is a one-man history of blues, noteworthy guitar player and
inimitable communicator. Miss him at your peril."
Blues Access
With over 40 years of performing experience, Michael "Hawkeye" Herman
personifies the range of possibilities in blues and folk music. His dynamic blues
guitar playing and vocal abilities have won him a faithful following and he leads
a very active touring schedule of performances at festivals, concerts, school
programs and educational workshops throughout the U.S., Canada, and Europe.
His original music has been included in video dramas and documentaries and in
four hit theatrical productions.
In 2000, Hawkeye was awarded Philadelphia's
Barrymore Award for Excellence in Theatre for best original music in a
theatrical production. "Everyday Living," Hawkeye's first nationally released album
from 1987, now reissued on CD, features the late blues giants Charles Brown and
"Cool Papa" Sadler, and established the demand for his now long-standing
festival and concert touring. His latest CDs and DVD, "Blues Alive!" (CD), "It's
All Blues To Me" (CD), and "Hawkeye Live In Concert" (DVD) have been greeted
with rave reviews. Hawkeye's journalistic efforts have been published in numerous
national and regional blues and music-related periodicals.
In 1998 he was the
recipient of the Blues Foundation's "Keeping The Blues Alive" award for
achievement in education. He served on the Board of Directors of the Blues
Foundation for six years. Hawkeye was inducted into the Iowa Blues Hall of fame in
2004. In September of 2005, Hawkeye composed, at the request of the British
Broadcasting Company (BBC), "Katrina, Oh Katrina (Hurricane Blues)," detailing the
hurricane disaster on the Gulf Coast. The song was aired to over 7 million
listeners on the popular "BBC Today" program. He is the cofounder of the Rogue
Valley Blues Festival, Ashland, OR.
This musician has definitely carved out a
spot for himself in the contemporary acoustic blues/folk field, and has earned a
reputation as one of the most accomplished artists in the genre, and
audiences throughout the US/Canada/Europe have come to know and appreciate Hawkeye's
talent, dedication, and captivating performances.
Acoustic Guitar Lessons
Our acoustic guitar lessons are taught by qualified instructors with various backgrounds with the instrument.
Hawkeye Herman
Hawkeye teaches several Robert Johnson licks in this lesson. These licks are played with a slide in open G tuning.
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Erik Mongrain
Erik expounds on the many possibilities of open tunings and the new harmonics that you can use in them. He explains what...
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Mark Lincoln
Time to unlock your creativity because in this information packed lesson. Mark dives deep into how to deconstruct the process...
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Orville Johnson
Orville Johnson introduces turnarounds and provides great ideas and techniques.
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Mitch Reed
Mitch teaches his interpretation of the classic "Cannonball Rag." This song provides beginning and intermediate guitarists...
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Mark Kroos
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Jessica Baron
Jessica kindly introduces herself, her background, and her approach to this series.
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Steve Eulberg
Steve Eulberg does a quick review of this lesson series and talks about moving on.
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Nick Amodeo
Nick explains how to play some of the most commonly used chords in the bluegrass genre.
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Our electric guitar lessons are taught by instructors with an incredible amount of teaching experience.
David Wallimann
This is a crucial lesson that explains tablature, how to read it, and why it's important.
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Nick Greathouse
Nick starts his series with Alternate Picking part 1. Improve your timing, speed, and execution with this important lesson.
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Brendan Burns
Brendan demonstrates the tiny triad shapes derived from the form 1 barre chord.
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Lisa Pursell
Lisa breaks into the very basics of the electric guitar. She starts by explaining the parts of the guitar. Then, she dives...
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Kris Norris
Kris analyzes different pick sizes and their effect on his playing. Using a slow motion camera, he is able to point out the...
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James Malone
James explains how to tap arpeggios for extended musical reach.
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DJ Phillips
Learn a handful of new blues techniques while learning to play Stevie Ray Vaughn's "The House Is Rockin'".
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Nick Kellie
Nick explains how to use scales and modes effectively when soloing over a chord progression.
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Kenny Ray
Albert Collins brought a lot of style to the blues scene. In this lesson, Kenny breaks down Albert's style for you to learn.
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Lauren Passarelli
Lauren Passarelli offers up her wisdom on purchasing a guitar. She also includes information regarding proper setup and care....
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Member Comments about this Lesson
Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.Hi Hawkeye, ive lost myself as to what lesson i commented on in telling you i was getting a resonator guitar, the National Estralita Deluxe!! I went down to pick it up the other day and when i tried to play it in the shop, the guy stood there and watched me, which made me nervous, and my mind just hit a blank as to how to play blues! It's a beautiful looking guitar, but i noticed that the fretboard at the first fret is 5mm wider than the guitar i'm used to, plus its a 12 fret guitar, so that too is hard to get used to. The sound is amazing, so i did buy it. The thing is now, i've got to go back to basics as even playing an open C chord, or any of or a first position A7, or E7 is taking a bit of getting used to, which is a bit of a set back as i was doing so well with your lessons. Also, when i used to do the shuffle beat in E on my old guitar i used to put the heel of my right hand on the bridge and ever so slightly place it on the 5th and 6th string as i did the shuffle to give it that nice groove sound, but with the National there's the resonator and the buicuit thingy that the strings go through, i find it difficult to slightly mute the strings, its either dead or ringing as the buscuit part of the guitar is much higher than the bridge, i hope tihis makes sense?!! I've watched you do it with your guitar, so i have to ask what exactly is the technique you are using? Many thanks. OB
Thanks for the message. With my National, to mute, I rest the heel of my palm on the bass strings very lightly. Also, for slide, I wouldnot have purchased a 12 fret guitar ... it limits the access to play beyond the 12th fret. My 1934/35 National "Trojan" model is a 14 fret guitar. They first made 14 fret guitars in 1934, so that you could access more note up the neck. Sorry, but you're either going to have to get used to dealing with the limitations of your guitar ... or return it and take you time and be more careful in selecting an instrument that's right for you in the future. I would not buy a guitar that does not meet all of my needs, especially when purchasing a new guitar at the very high prices being charged by National for new guitars ... when buying a used guitar for much less money from a private party via newspaper advert of estate/rummage/yard sale is a different matter, you can let some of your 'qualifications' go because of the price being muc lower ... even so, I would not buy a guitar that is hard to play and hard to get used to ... I hope your guitar works out for you ... if you don't think its the right guitar for your needs/qualifications ... take it back as soon as possible ... shopping for the 'right guitar' is not process that should be rushed. Best of luck.
By the way, I probably would not buy any guitar that has only 12 frets to the neck, for slide or standard playing ... it limits your access up the neck for notes/strings you might want to play beyond the 12th fret. If you play electric guitar and find that you frequently go way up the neck to play high notes beyond the 12th or 14th fret, as is commonly done on electric guitar, you might consider a cut-away acoustic guitar that allows access way up the neck. "Short scale" guitars that have 12 frets to the neck usually stay in tune a bit better than "long scale" 14 frets to the neck guitars ... but the difference is not such that it would ever steer me toward purchasing a new guitar with a short scale. For the amount of money you're spending on a new guitar, I would be totally sure that the guitar you purchase meets all your needs ... look carefully before you leap ... just like buying a new car, the minute you drive the car away from the dealer it depreciates and becomes a 'used car' and is worth less ... the same is true with a guitar ... if it doesn't meet all of your specifications/qualifications, don't buy it. You have to live with the guitar and like/enjoy it for the rest of your life ... or take a loss when you sell it because you made a hasty decision when purchasing it. :-)
Thanks for your replys hawkeye, the bad thing about living in australia as opposed to the US or in england, is that guitar shops are few and far between. I searched high and low for shops who had national guitars in store, one was a rustly old resorocket steel body, and the others that were stocked instore weren't wooden body guitars (you told me that these were better). As much as i would loved to HAVE just gone to a shop and picked up a few guitars to play and get the feel for, but that wasn't possible over here. The manager of the shop got this new guitar from the states and i had to put a deposit on it, he said i didn't have to buy it, that it would sell regardless, but the sound is just amazing Hawkeye, i'm actually getting used to it pretty quickly, and am quite happy, though i wish in hindsight that i could have found a 14 fret guitar! Many thanks again for taking the time to reply, it's very much appreciated. OB
Sorry, i forgot to say that with the resonator guitar it's harder to mute the strings because of that silver bit sticking up over the strings. To rest your hand on the bridge and slightly lower it onto the strings is much easier as the bridge supports your hand, whereas on the resonator you have to take more time to suspend your hand above the strings and then try and lower it slightly which is much more difficult. Still, i wont give up, but now you've said you wouldn't have purchased a 12 fret guitar, and its been playing on my mind, i may try and get my money back. Cheers, OB
I face the same issue as you with my National in regard to muting. I deal with it by being patient and making the adjustment of resting the heel of my palm delicately on the bass strings. I do what I have to in this circumstance. I previously listed the considerations one must think about when purchasing a guitar; sound/tone, comfort, ease of playing/playability, and appearance. If a guitar doesn't meet these personal considerations, its not for me. Only you know what guitar is for you ... I have my own preferences. You should take the time to develop and understand your own preferences and needs and explore yourself, your interests, and what's available in the world of guitars ... standard acoustic, a resonator, 12 fet, 14 fret, cut-a-way, acoustic/electric ... there are many choices ... and you can't judge what you want by seeing/watching somebody else ... you have to hold and play the guitars yourself to know what suits you. I would never tell anyone to play a guitar like mine, nor would I ever suggest what kind of guitar another person should play ... it's a personal decision that should be based on the considerations I mentioned previously. The guitar is a tool for making music, and you should buy the tool that is best for your personal needs. ;-)
Thanks Hawkeye, i actually love the sound of my new guitar, but i can fall back on my old one when i need to 'span the neck' and learn more about how to play blues. Also, i'm pretty sure, now that i have the knowledge, that i will in the future buy another great guitar, and then i'll make sure that there are 14 frets to the neck. At the moment, the sound and feel of my guitar is getting better everytime i play it. Even though i may have to go back to quite a few of your lessons to 're-play', it'll be a joy! Everytime i log on to jamplay, when you first come up on screen, you smile and say we're here learning and playing the blues is infectious, and it really lifts me, you have added so much to my life in the 5 short weeks i've been playing along with you. OB
If you're happy ... I'm happy. My goal is to allow you to enjoy the guitar, and the blues ... forever. I can't help my 'infectious' attitude ... I get to do 'work' that I really enjoy ... I never forget how fortunate I am to been able to have played and taught guitar for almost my whole life, exclusive f any other kind of work since 1975, or so. I can't help but smile ... at the beginning of every lesson :-) ... and throughout all my lessons. I appreciate your 'catching the blues bug' ... from me ... a 'contagious disease' that I hope brings you joy for many years to come. The 'side effects' of my 'contagious disease' are, I hope, happiness, satisfaction, and great peace of mind ... along with an ability to enjoy the blues and express yourself on the guitar ... and always seek more information about blues history and blues guitar.
I'm certainly getting satifaction, apart from robert johnson, i didn't really know any of the old blues masters..But now i've seen son house play and he even uses his hand to hit the guitar and make a beat in with his playing. There's elmore james, great stuff, lightnin' hopkins, brilliant, fred mcdowell, who i've looked up his work on you tube, wow what a player. You see, Hawkeye, i would never have known about these guys if it weren't for you. Many thanks for all your lessons, Hawkeye for 'President'!!! OB
There is much 'discovery' to be done in blues music. My job is to give you 'entre' into the blues genre; to introduce you to the music, it's history, and to teach you the 'language' of blues guitar, as well as steer you toward listening to as much blues music as I can. I'm glad you've started to 'scratch the surface,' and I hope you'll dig deeper into listening/watching/learning from the many fine old blues musicians and contemporary blues musicians. I have well over 1,000 blues CDs, over 500 blues LPs, and about 600 very old blues 78rpm records, not to mention about 30 or 40 blues DVDs and videotapes. There's a lot to listen to, and learn from. I hope you'll continue to 'discover' the great blues that's out there for the listening/learning/enjoying. ;-)
By accident, on youtube yesterday, i saw a girl play 'Dust my broom' and she added a few bits and bobs to what you've taught. It took me a fair while, but i eventually worked out what she was doing, and it sounds great. I know that's your next lesson, but to carry on our conversation thus far, i put my comment here. When i listen to the greats of blues, sometimes i get overwhelmed, and hunger to know what it is they're doing in a song when they're improvising, especially the ones you've so kindly guide us students through. Before i move onto blues in open G, i want to know if you have any more lessons in the future in open D, i'm sure theres so much more to tap into in this glorius key,just love the sound so much? I also wanted to ask, if i may, i've heard a few songs and the term "Mojo" pops up, what exactly Hawkeye is ' a mojo'? Is it like a spell, or goodluck charm? In Robert johnsons version of dust my broom, he talks of a woman being a "doney" sometimes i just dont get what it means? I cannot say enough to you Hawkeye about how fulfilled my life is since i've met you, so to speak, on jamplay, and just how outstanding a musician and instructor you are!! If i met you in person, i could sit down for hours and talk to you and ask you about not only the history of the blues, but what was it like to meet legends like Lightnin. Maybe one day! OB
Yes, in the future there will be more lessons in D tuning. In regard to your 'blues vocabulary' questions, please go here: http://www.answers.com/topic/mojo-1 http://www.urbandictionary.com/define.php?term=mojo http://en.wikipedia.org/wiki/Mojo_(African_American_culture) http://www.google.com/search?hl=en&defl=en&q=define:doney&ei=PlGZS6WsIInesgOSoYDCAQ&sa=X&oi=glossary_definition&ct=title&ved=0CAYQkAE http://en.wiktionary.org/wiki/doney
hgnative, Hanging from the headstock of my guitar is a woven/beaded hawk representation and hanging from that are small feathers from a dove, hawk, crow, and bluejay. It's called a 'mojo' ... my wife created the beaded aspect and I chose to add the feathers ... and it's there to always remind me that my job as a musician/artist is to 'fly' ... so that my audience can 'fly' along with me. The minute I take my guitar out of the case to perform the first thing I see is the mojo ... and it empowers me and makes me focus on the job at hand. It works for me. You might want to find/create your own mojo, and put it in your guitar case, or hang it from the headstock ... this is not at all a requirement to play blues music ;-) ... but it works for me ... there are many distractions for a performer like myself when we get up at a huge blues festival to play for a few thousand people ... the 'mojo' helps me focus on my job .. and not all the distractions around me. Thanks for the question.
what is that that hangs of your guitar hawkeye?