Oh, now you’ve gone and done it.
You’ve clicked on this video, and now you’re about to learn a hack that’s gonna allow you to jam the blues in any key, anytime, anywhere. And it only takes two notes.
And when you start applying this hack I’m about to show you, you’re gonna be well equipped to handle any blue situation, whether you’re playing with a buddy or hitting the stage at your local blues jam. all right, so let’s get into it. So what is.
Two note Blues hack I’m talking about.
Basically this is just gonna be a two note grouping that you’re gonna be able to use to play successful.
1 4, 5 Blue shuffles in any key.
Let me show you, let’s take for example, the key of a, so. If we were to apply this two note blues hack, right, we would of course need to cover the Acor, right? Or an A seven.
So what we’re gonna be doing is we’re gonna be taking these two notes.
I’m talking about which of the key of A happen to be these two right here, which is the fifth thread on the D-ring, and then six Fred on the G-string. So these two notes.
Which funnily enough are not the note A right, which would be this note if we were to play it, you know, an Octa up. It’s actually these notes.
So this is how they sound when I have an A droning over them pretty much completing an A seven chord right or an A dominant chord. But we’re really only focusing on these two notes. So check this.
Usually when you’re in a band situation as a guitar player, we tend to do like, we’ll play like full bar chord or something like stuff like that, you know? But really depending on the situation you’re in, like let’s say if you’re in a band that, you know, chords has a rhythm section, right? You got drums. Bass.
Maybe you have keys, right? Maybe you have a harmonica player, maybe you have a horn section. You know, whoever likes to show up at the blues jams you. Different every time.
But generally as guitar players, there’s a certain pocket that we need to sit in a band mix that these two notes cover perfectly. So let’s say for example, in a simple blue shuffle, let’s say the bass player is holding it down with a nice, like, uh, you know, kind of swingy like, and then meanwhile the keyboard player is doing something like, Something like that. Right.
You know, just imagine like a Hammond organ playing some bluesy licks like that, right? What your job as a guitar player to be, to make sure you’re sitting in the right place and not stepping on anyone’s toes is more or less this. That’s all you would need to play. To get the job done right.
Now, this again, is, is, uh, particularly important when you’re talking about playing in a combo, right? With a whole band.
Now, this works perfectly too, if you’re just jamming with just one person too.
You know, again, because these two notes, they cover all the ground that we need. So what are these two notes? These two notes happen to be the flat seven and the third, the major third of we’re talking. An acord, right? You don’t have to know exactly how I come to that conclusion on what those scale degrees are.
Just know that the two notes we’re talking about, right, for over the cord are the flat seven and the major third, right? So we, we’ve got that covered for the one chord, right? So if to do something like just play those notes just like that. You know, you can imagine someone would be able to, to easily solo over just that little, little groove you’re doing.
Now, what happens when we gotta move to the four chord, right? So for the Q of A, our four is gonna be D, but instead of playing a full chord or a bar cord or anything like, We’re gonna use this two note hack here. Here’s the best part.
We’re gonna take this, right? Remember fifth fret and sixth Fred on the d and g strings.
We’re gonna take this shape here and we’re just gonna flatten it. We’re gonna move both notes down, a single fret each. Now, what happens when we get here, we’re actually gonna be covering the third and the flat. For the four chord.
But the cool thing is they’re actually the, the order is inverted, so it’s third flat seven now, and this being the root, the root third flat seven, whereas over the one chord we had root flat seven, third, so it’s still the two notes we needed right flat seven, third. Third, flat seven.
So it’s still, it’s different order, but still the right notes that we need. That’s the cool thing about this particular shape.
All we’re doing, by the way, you can use your third finger if you want to, or your second finger. It doesn’t really matter.
With this shape, you’re moving it down one front. You’re trying to go from the one of the four core to be like this.
See how just with those two notes, you can almost hear the movement of the chords, right? Without any kind of, you know, without me having to do anything else. Right.
If I were to apply, you know, the base notes would be like this, right? And of course it would kind of add some more context and it’d make more. But we really don’t even need to do that. Right.
And I’m just applying a simple groove. Just little, little stabs, right? Because something like that will be perfect, especially when you have like a really active moving baseline. Like I demonstrated earlier, something like. Something like that, right? So something like this will be perfect under that, right? Typical three chord. In the 12 bar, right? We got 1 45.
We did the one cord, the four cord. Now we got the five cord.
Now here’s the best part, right? We’re we’re still staying within this neighborhood, keeping this shape together. All we’re having to do to hit that five cord is moving it up a fret from the one cord, right? So we have four down here, one.
Up one fret for five, right? So the five cord and A would be E, right? So we have the root, if we’re, if we’re actually forming out that cord, we have the root third, flat seven. There’s our E dominant, right? Our E dominant, our E seven triad There.
But if I were to remove the, the, the base notes, right? The root notes we just have, so it works.
So if we’re to use this in context, you know, you can add little embellishments here and there, you. Right then.
And right there just by using those two notes, that flat seven and that third, right? And, and as the order, uh, changes, right when you change the chords, you’re still hanging on those same exact notes.
You’ve got yourself an entire 12 bar blues, three chords, right, one, four, and five, and you really don’t need to do anything else. Now, let’s say you wanna adapt this to a new key.
Let’s say you want to do, I don’t know, G, right? So you’d want to start with finding the root note, right? And kind.
This is kind of using the fretboard conveyor belt method, right? Starting with using the root note on the low estring.
So we know G is the third fret on the low estring, right? So now that we’ve got, we’ve established that this is gonna be our neighborhood for all the, for these two note hack here.
So we’re gonna start with our first court, right? So it literally sits directly below where the root node is, so that flat seven and that third are gonna be on the third front of D. And then the fourth threat of G. So that’s our one court.
So if we were to go through, you know, like the core changes, right? And if, let’s say we wanted to move it to the key of let’s say C sharp, right? That would be.
The C sharp on the low sring is on the ninth thread here, right? So we know that’s where the root note is.
So we just drop that, that two note hack, right? Our little two note shape, which is gonna be, uh, the flat seven is here on the ninth thread of the D-ring.
10th thread on G is gonna be the third. And then sa, same deal.
Literally any key you can adapt this to.
If you wanna do e I recommend doing it in a higher octave, right? So you’re gonna be going a little bit up here on the fret board, but finding E, right? Instead of open E, you’d find the 12th fret E, right? It’s the same thing.
You know, so it literally applies to any key.
All you have to do is just fretboard conveyor, belt it to whatever location you need to, to adapt to the right key.
And voila, you are now playing the blues in whatever key that you find yourself in. So there it is, your two note blues hack that’s gonna allow you to jam the blues in any key, anytime, anywhere. And you’re gonna start coming off like a seasoned blues pro when you jam with anybody.
And speaking of jamming, I still owe you that free gift. Here it is.
It’s a free blue solo heat map.
So today we went over a very powerful hack to allow you to play blues rhythm guitar at any key anywhere on the Fre.
But this is gonna allow you to place some ripping red, hot blue solos all over the fretboard as well.
So you definitely want to compliment that with what you just learned today. So be sure to click here to claim your copy or check the link in the description box.
Well, that about does it for this video.
I want to thank you for hanging out with me today.
I hope you’ve enjoyed this lesson as much as I’ve enjoyed bringing it to you. I’m Eddie with Q Guitar Mastering Method, and I look forward to seeing you in the next lesson.

Source : Youtube
Being a musician from a young age I began singing at the age of five. I have been a live performer for about thirty years and have played in many bands from covers bands to original ensembles. At twenty I began to write a lot of my own songs and still do today and have written about two hundred works.

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