Not all blues progressions are created equal. You need to have touch, time, and taste in order to survive when the tempo slows down.
Chops: Intermediate
Theory: Intermediate
Lesson Overview:
• Learn how to combine major and minor pentatonic scales.
• Develop a better time feel over slower tempos.
• Understand how to target chord tones to better define the progression.
Click here to download a printable PDF of this lesson's notation.
In this lesson, we’ll explore how to navigate a slow blues. It’s a common form among nearly all blues players, but just because you know how to play over a faster blues, don’t assume you’ll have a slow blues covered—it’s an art unto itself. I find that working on a slow blues provides an opportunity to appreciate space and encourages you to take a more vocal approach to soloing.
So here are 10 licks I’ve played over a 12-bar blues in the key of G. To have these as authentic as possible, I’ve opted to play from the heart and then go in after tracking to transcribe exactly what I played. I think this approach is important because at a slow tempo there’s a tendency to “float” over the beat, and such subtleties aren’t easily premeditated.
Ex. 1 begins with a Clapton-inspired phrase over the G7, blending hints of G major pentatonic (G–A–B–D–E) and G minor pentatonic (G–Bb–C–D–F), though in all honesty I’m just thinking about approaching the 3 of G7 (B) from a half-step below. An idea like this is all about space. Don’t be afraid to let a line breathe with a sustained note or a rest. Feel free to play with the rhythm because with a few rhythmic variations, this could be spun into 100 different licks.
Click here for Ex. 1
The second lick (Ex. 2) begins with a bend from the b3 to the 3 and then ascends up to the root on the 1st string. I then summon a little Jimmy Herring or Derek Trucks by sliding that up to the b3 and bending a little sharp. This idea then repeats with rhythmic variation, but higher up on the neck to outline the C7 chord.
Click here for Ex. 2
Ex. 3 is something Scott Henderson might have pinched from Stevie Ray Vaughan. SRV was really fond of playing quite fast on slower tempos. In this instance there are three tricky little three-note motifs that repeat. Practice each idea in isolation before stitching them together. The second measure ignores the C7 chord, instead playing out of a minor pentatonic shape with a typical SRV bend. I’ve ended the phrase with a little Albert King tone and a pre-bend release.
Click here for Ex. 3
We grab more inspiration from the great Albert King in Ex. 4. It starts with a series of bends in the G minor pentatonic scale on the 3rd string. To keep things moving forward I’ve ascended the neck to land back on the G chord by playing out of the “C” shape of the CAGED system.
Click here for Ex. 4
Ex. 5 begins by imitating the bass guitar before moving to its own idea. Over the C7 chord you’re higher up on the neck, playing out of the “E” CAGED shape. For the final measure, I’ve repeated the idea from Ex. 2, but ended with a big bend out of the pentatonic shape at the 18th fret.
Click here for Ex. 5
Our next phrase (Ex. 6) is pure SRV, using the classic b9 (Ab) sound to add some melodic interest. On paper it shouldn’t sound great, but after hearing it played by an icon so many times, it’s hard not to love it. After resolving the line with the 3 of the C7 chord (E), then you slide up the neck to play some sixths.
Click here for Ex. 6
We stick with the C7 chord for Ex. 7, and use the “E” shape of the CAGED system. This idea demonstrates how vocabulary used on a G7 chord can be moved up the neck and played against C7. They’re both dominant 7 chords, and as such, have the same scale requirements. We finish the idea without moving up or down the neck, instead opting to bend into the 3rd of G7 (B) at the 8th fret (using the “C” shape of CAGED).
Click here for Ex. 7
The turnaround is an essential part of the progression and Ex. 8 shows you one way to navigate the changes. Beginning with an idea similar to Ex. 1, we walk from the root of D7 up to the 3 of C7 (E) for the change, and then move down the neck to resolve to G7 much like we did in the previous lick. Chord changes like this can be difficult at first, but there’s no better way to practice them than over a backing track that gives you lots of time to think and visualize the new chord.
Click here for Ex. 8
Ex. 9 looks at that same section of the progression, but adds more notes and position shifts. Here, we’re using D major pentatonic (D–E–F#–A–B). Notice how I shift up on the 3rd string to accommodate some descending sixths and double-stops. As the chord moves down to C7, I employ contrary motion by moving up the neck for some country-inspired pedal-steel bends in the “C” shape of the CAGED system. This allows me to resolve to G7 smoothly with some ascending thirds.
Click here for Ex. 9
In Ex. 10 we move a bit, well, beyond the blues by playing a slinky little jazz-fusion idea using notes of the G Super Locrian scale (G–Ab–Bb–Cb–Db–Eb–F) to imply an altered chord that resolves to C7. Over C7, I keep things spicy by playing the C Lydian Dominant scale (C–D–E–F#–G–A–Bb). Definitely an ear-twister!
Click here for Ex. 10
Finally, we have the backing track—a full 12-bar blues for you to work on these ideas and develop some of your own.
Just like guitarists, audiophiles are chasing sound. It may be a never-ending quest.
“What you got back home, little sister, to play your fuzzy warbles on? I bet you got, say, pitiful, portable picnic players. Come with uncle and hear all proper. Hear angel trumpets and devil trombones.”—Alexander DeLarge (Malcolm McDowell) in the film A Clockwork Orange.
We listen to recorded music for enjoyment and inspiration, but few of us expect recordings to rival the experience of live music. Most guitarists know that the average home sound system, let alone Bluetooth boomboxes, cannot reproduce the weight and depth equal to standing in a room with a full-blown concert guitar rig. Also, classical music lovers recognize that a home system won’t reproduce the visceral envelope of a live orchestra. Still, much like guitarists, audiophiles spend huge amounts of time and money chasing the ultimate “realistic” audio experience. I wonder if sometimes that’s misguided.
My exposure to the audio hobby came early, from my father’s influence. My dad grew up in the revolution of home electronics, and being an amateur musician, he wanted good reproduction of the recordings he cherished. This led him to stock our home with tube components and DIY electrostatic hybrid speakers that rivaled the size and output of vintage Fender 2x12s. I thought this was normal.
Later, I discovered a small shop in my hometown that specialized in “high end” audiophile gear. They had a policy: No sale is final until you are completely satisfied. I became an almost weekly visitor (and paying customer) and was allowed to take equipment home to audition, which was dangerous for a young man on a low budget. It was through this program I started to understand the ins and outs of building a cohesive system that met my taste. I began to pay much more attention to the nuances of audio reproduction. Some gear revealed a whole new level of accuracy when it came to acoustic or vocal performance, while lacking the kick-ass punch I desired of my rock albums. I was seeking reproduction that would gently caress the sounds on folk, classical, and jazz recordings, but could also slay when the going got heavy. This made me a bit of an odd bird to the guys at the audio shop, but they wanted to please. With their guidance I assembled some decent systems over time, but through the decades, I lost interest in the chase.
Recently, I’ve begun perusing online audiophile boards and they seem oddly familiar, with tube versus solid-state discussions that might feel at home to guitarists—except the prices are now beyond what I’d imagined. For the most part, they mirror the exchanges we see on guitar boards minus the potty-mouth language. Enthusiasts exchange information and opinions (mostly) on what gear presents the widest soundstage or most detailed high-frequency delivery, all in flowery language usually reserved for fine wines.
Speaking of whining, you’ll rethink your idea of expensive cables when you hear folks comparing 18", $1,700 interconnects for their DACs. Some of the systems I’ve seen are more costly than an entire guitar, amplifier, and studio gear collection by a serious margin. Mostly, the banter is cordial and avoids the humble-bragging that might go along with the purchase of a $10,000 set of PAF humbuckers. Still, I have a lack of insight into what exactly most are trying to accomplish.
If you’ve ever worked in a big-time studio, you know that the soundscape blasting out of huge monitors is not what most of us have in our homes. My experience rewiring pro-studio patchbays is that less emphasis is placed on oxygen-free, silver-plated, directional cables than the room treatment. I’ve found myself wondering if the people on those audio boards—who have spent many tens or even hundreds of thousands of dollars on their home systems—have ever been in a studio control room listening to music as loud as a 28,000 horsepower traffic jam of NASCAR racers. That might be an eye-opener.
One of my takeaways is that even though music recording began as an attempt to reproduce what actually happens in a room, it hasn’t been just that for a long time. With all our effects and sonic wizardry on display, recording is like playing an instrument itself, and much more complex. This is not a new revelation to Beatles fans.
What amazes me is that both audiophiles and guitar fanatics pursue the sounds we hear on recordings for differing reasons and with subjective results. It’s a feedback-loop game, where we chase sounds mostly exclusive to the studio. So, how do we determine if our playback is accurate? Will we ever be satisfied enough to call the sale final?
I’m not convinced, but just the same, I’ll continue my own search for the holy grail of affordable, kick-ass sound that still loves a folk guitar
The series features three distinct models—The Bell,The Dread, and The Parlor—each built to deliver rich, resonant acoustic sound with effortless amplification.
Constructed with solid Sitka spruce tops and solid mahogany back & sides, the Festival Series offers warm, balanced tone with incredible sustain. A Fishman pickup system, paired with hidden volume and tone control knobs inside the sound hole, ensures seamless stage and studio performance.
Grover 16:1 ratio tuners provide superior tuning stability, while D’Addario strings enhance clarity and playability. Each guitar comes with a heavy-padded gig bag, making it a perfect choice for gigging musicians and traveling artists.
Key Features of the Festival Series Guitars:
- Solid Sitka Spruce Top – Provides bright, articulate tone with impressive projection
- Solid Mahogany Back & Sides – Adds warmth and depth for a well-balanced sound
- Fishman Pickup System – Delivers natural, high-fidelity amplified tone
- Hidden Volume & Tone Control Knobs – Discreetly placed inside the sound hole for clean aesthetics
- Grover Tuners (16:1 Ratio) – Ensures precise tuning stability
- D’Addario Strings – Premium strings for enhanced sustain and playability
- Heavy-Padded Gig Bag Included – Provides protection and convenience for musicians on the go
Kirk Hammett has partnered with Gibson Publishing to release The Collection: Kirk Hammett, a premium hardcover coffee-table photo book where Kirk tells the stories behind his rare and collectible instruments.
“I am thrilled to announce the launch of The Collection: Kirk Hammett. I’ve worked diligently on this curated collection of vintage and modern guitars for the book. I feel the book captures the rich history and artistry behind each of these unique and rare instruments. Every picture tells a story and thanks to Ross Halfin and his exceptional photography, every picture in this book is worth a million words! This book could not be possible without the help of Gibson, so I’d like to thank them for making my passion for Greeny, and guitars a reality. I hope all of you enjoy this journey as much as I did.”
“It’s exciting the time has come to release The Collection: Kirk Hammett by Gibson,” adds Cesar Gueikian, President and CEO of Gibson. “We have been working on this project with Kirk for years now, and I had the opportunity to work closely with Kirk on the composition of the collection for the book. It was a thrill to put this together and it took a village to get it done! I hope everyone appreciates the work that went into this book and enjoys every story behind the guitars.”
The Collection: Kirk Hammett, Custom Edition is limited to just 300 numbered copies signed by KIRK HAMMETT and comes in a huge 19 x 14.5” (490 x 370mm) presentation box featuring custom artwork and an outstanding case candy package. In addition to the large-format 17 x 12” (432 x 310mm) hardcover version of the book with a stunning lenticular cover, the boxset includes a frameable 16 x 11.6” (407 x 295mm) art print of a Ross Halfin portrait of KIRK HAMMETT signed by both Halfin and the Metallica guitarist. Other case candy includes an Axe Heaven miniature replica of Hammett’s 1979 Gibson Flying V with case and stand, an exclusive pick tin complete with six Dunlop® Kirk Hammett signature Jazz III guitar picks, and a Gibson Publishing Certificate of Authenticity.
Explore The Collection: Kirk Hammett book HERE.
Here’s Chris Martin surrounded by a group of guitars created to commemorate his family’s 192-year history.
The home organ once ruled the world, only to go extinct. Is the acoustic guitar next?
When I was growing up, my Aunt Kate had a home organ in her living room. Back then, home organs were everywhere. They were sold at malls across America, and were a staple of post-WWII households. Brands like Lowrey, Magnus, and Hammond dominated the market. Lowrey, a division of Norlin (which eventually acquired Gibson), was especially massive. In fact, in a year where Gibson generated $19 million in revenue, Lowrey pulled in a staggering $100 million.
But like all booms, the home organ’s success was temporary. By the 1980s, it had gone bust. A huge contributing factor was the entrance of Casio: a more affordable, portable alternative that rendered the home organ obsolete.
Thankfully, the acoustic guitar has always had portability on its side. I’ve witnessed three major acoustic-guitar booms in my lifetime: the folk and folk-rock explosion of the late ’50s through the late ’70s, the MTV Unplugged resurgence, and most recently, the COVID-era surge.
The ’80s, however, were a tough time for acoustic guitar builders. That decade belonged to pointy electric guitars and hair metal. But the acoustic guitar came back. And unlike the home organ, it has not only endured, but thrived.
My great-grandfather capitalized on the demand for mandolins in the early part of the 20th century. We also tried to make and sell banjos. In addition to that, we made archtops, and although they weren’t as popular as some other brands, we did borrow the 14-fret neck.
While we were making 12-fret guitars with steel strings (the real benefit of that era was a dramatic improvement in the quality of steel strings), we discovered that many players wanted more access to the body and a slimmer profile. Starting with a 000-size guitar, we quickly converted many of our models to the new modern neck design, most notably our dreadnought model. The timing was right, as the dreadnought became the go-to guitar for country music. The steel-string flattop would lend itself to a fantastic melding of styles and types of music from around the world (and around the corner), becoming the driving voice of not just country, but also folk and many other genres.
Baby boomers (myself included) grew up with the sound of the acoustic guitar, and playing the music of our youth remains an essential part of any enthusiast’s repertoire. Our generation is not only large but also living longer, thanks to modern medicine and healthier lifestyles. Many of us have accumulated wealth, and for those of us in the business of making and selling guitars, that’s good news.
I mean no disrespect when I say, “Thank goodness I wasn’t born into the world’s most famous accordion-making family.” Accordions had their day, just as the home organ once did. Interestingly, accordions still have a niche following, whereas the home organ is now a historical artifact. While home organs were, for a time, all the rage, I doubt that even at the peak of their popularity anyone owned more than one. Quite a different situation when it comes to guitars and guitar collecting.
I do wish I could share with my ancestors how popular the guitar continues to be.
Every so often, someone writes an article with a headline like, “Is the Guitar Dead?” My answer is simple: no.
As long as we boomers—and everybody else—keep playing.
