Truefire – Marko Karhu’s Melodic Blues Soloing Guidebook TUTORiAL | File size 779.2 MB| Free download
About Marko Karhu’s Melodic Blues Soloing Guidebook
Essential Melodic Techniques & Approaches for the Blues Guitarist
Take a moment and think about what you consider to be the most memorable solos and you’ll find that the vast majority of them are the ones with the strongest melodies running through them. B.B King’s ‘The Thrill Is Gone’, Santana’s ‘Europe’, Stevie Ray’s ‘Texas Flood’, ZZ Top’s ‘La Grange’, Gary Moore’s ‘Still Got The Blues’ are all great examples of a memorable, melodic solo.
Crafting compelling, memorable blues solos is the primary focus of Marko Karhu’s Melodic Blues Soloing Guidebook. To create memorable solos you will need to get out of the blues box and that’s a challenge for many blues guitar players. You will need some fresh concepts, ideas, ways of looking at the neck, and a few very effective approaches to add some spice and colors to your solos.
”The set of tools I’m going to give you are part of the toolbox of many of the great players. Because I’m not your typical blues guitarist, I’ve used influences from other styles. Concepts like chromaticism influenced by Sonny Rollins, a creative use of thirds, which you don’t see a lot in blues and a modern approach to the cliche Question Question Answer motifs that I learned from Scott Henderson. I’ll also show you melodic and harmonic sixths a-la Robben Ford, using open strings to create ringing chord-like melodies and playing straight 16th notes on a triplet shuffle groove.”
In the first section of the course, Marko will present 6 key concepts and approaches these concepts in a practical manner, showing you how to ‘see’ and play them across the fretboard.
Q-Q-A – Concept 1
”I learned the concept of question-question-answer approach to a blues progression from Scott Henderson. It’s a great way of keeping the audience’ attention.”
Chromatics & Targeting – Concept 2
”Chromatics to me is “filling up the blues box”, playing every note in between. For this to sound good, you need to target notes that sound good. Chord notes are strong, and upper extensions will sound weaker, lighter.”
Thirds – Concept 3
”Let’s run down what thirds are and how you can use them creatively in blues.”
Sixths – Concept 4
”The sixth interval is a very versatile and open tool to arrange a melody or a backing part.”
Open Strings – Concept 5
”Using open strings in a melodic run can give you some great chord-like ringing sounds. It also makes it easier to switch positions without having a break in the melody.”
Straight 16th On Shuffle – Concept 6
”A great tool to create some rhythmic variation or tension is to play a straight 16th melody on top of shuffle groove – which has a triplet feel. Switching between both forms of timing can be somewhat of a challenge.”
In the second half of the course, Marko applies all of the concepts over six killer live recorded tracks with Sami Sallinen on bass, guitar and keys and Kai Jokiaho on drums.
”Here’s a shuffle in G using the question-question-answer method that I learned from Scott Henderson. This means we’re trying to play the way we speak. We play a phrase that is like a question on the first 4 bars. Then, we repeat the question by playing it again on the next 4 bars. Here we may alter the question a bit, and then we play the answer on the last 4 bars.”
”Here’s a funky track in D where we’re playing a bit of chromatics. A little targeting – like shown in the concepts – and also a super cool lick that I stole from Pat Martino. I’ve used this lick on a broad range of genres; for example, we’ll check it out over a metal track, too.”
New Orleans’ Thirds
”Here’s a New Orleans kind of track in A. A really nice groove that’s a little in between a shuffle and straight 8ths. Playing a lot of thirds really fits this kind of style, and we’re also connecting some of the thirds chromatically here.”
”I love playing sixths! This is a boogaloo type of track in E. We’re playing the sixths, sometimes letting them ring on top of each other and sometimes playing them after one another. We’re also learning a couple of different fingerings, so we do not necessarily need to change positions.”
Open String Theory
”Here’s a bit of a country blues style track in E where we’re adding open strings. This makes for a really nice sound, like having little chords here and there. By using the open strings, it’s easy to change positions without a break in the phrase.”
”Here’s a shuffle in A and we’re playing some straight 16th note lines here as well. It can be difficult to switch from the shuffle eighth note feel into a straight 16th note feel. But, it’s very cool to be able to have this kind of rhythmic variation once you get it together.”
Marko will explain and demonstrate all of the key concepts and approaches along the way. You’ll get standard notation and tabs for all of the key examples and performances. Plus, you’ll be able to use TrueFire’s learning tool to sync the tab and notation to the video and can also loop or slow down the videos so that you can work with the lessons at your own pace. All of the backing tracks are included to work with on your own as well.
Grab your guitar and let’s get melodic with Marko Karhu!
Course content: https://truefire.com/blues-guitar-lessons/melodic-soloing-guidebook/c1432