I’m Tore Down – Intro

This is our final post on Freddie King (for a while), the intro lick to I’m Tore Down. This uses the dorian scale we talked about last week. As a bonus, we will also show you how to give the lick an even stronger dorian flavor.

Here is the tune in case you need to refresh your memory.

A few things to notice before you get started: the third note, E, is the 9 of the Dorian scale, but you are bending it up to the same pitch that you would play in them minor blues scale (F). The thing that makes this lick sound distinctly Dorian is when you play B halfway through the third measure, because it is the 6th scale degree, or modal note, of dorian.

toredown

Listen carefully to the phrasing and the rhythm in the tune. This is a distinctly Freddie King lick, and a great one to add to your vocabulary. Pay attention to the phrasing he uses in measures 3 and 4.

Here is the lick played slowly.

Here is the lick played at tempo.

You should also listen to how Clapton phrases this, or one of the many other versions of this tune.

Below, Joe changed the beginning of the lick, having it start on B. He is immediately establishing this is using dorian, giving it a stronger modal sound. In Freddie’s version, it is not clear that it is dorian until he hits the B halfway through the lick, giving it some ambiguity as to whether it’s dorian or the minor blues scale (the 9th is bent quickly enough that it could be considered an embellishment). Which version is better? That depends on your taste

Here is the tab for the more dorian version.

toetoredown

When you watch the video, notice how he does something different the second time he strikes the 13th fret (F) of the high E string (no bend). When he plays it faster, he gives that note vibrato. That is the beauty of blues, you can change things. Sometimes you use vibrato, sometimes you add an extra bend here or there, trust your ears and go with what sounds good!

Enjoy, next week we begin discussing B.B. King.

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Dorian

Before we can work on the intro lick to I’m Tore Down, we have to talk about the dorian scale. Dorian is what is called a mode (a type of scale with specific melodic behaviors). We will go more in depth on modes at a later date. For the purposes of this tune, we are going to relate the dorian scale to the minor pentatonic scale. When we turned the minor pentatonic scale into the minor blues scale, one note (the blue note) was added. In this case, you will add two notes, which will be referred to as the 2nd and the 6th (or 9th and 13th, depending on the context). The 2nd is used in the minor scale as well, so what makes dorian unique is the 6th. In minor, the 6th is lowered. The 6th maybe referred to as a modal note, because it is what establishes this scale as the dorian mode.

The scale we used for last weeks lick on I’m Tore Down contained the notes D F G (G#/Ab) A and C. To turn this scale into dorian, you will take the blue note (G#/Ab) out of the scale, and add E and B. The resulting scale is D E F G A B C. If you count up the scale, D=1, E=2, F=3, etc.

Below is an image of the minor pentatonic scale (left) and dorian (right). The notes added to the minor pentatonic scale to make it dorian are red. To play these in D, you will need the root to be on the 10th fret.

Minor Pent - Dorian

About 99% of the time it is ok to use dorian instead of the minor blues scale, it just has a different color or flavor. I personally like using dorian over the IV chord. Experiment, and have fun. Next week you’ll learn the intro lick to I’m Tore Down, which will give a great example of the dorian scale.

Freddie King – I’m Tore Down Lick

This week’s lesson comes from the famous tune “I’m Tore Down”, appearing on Freddy King Sings (he changed the spelling to Freddie later in his career) and written by Sonny Thompson.

Now that you have had a chance to listen to the song, we’ll look at the lick about 18 seconds in. Next week, you can tackle the run at the beginning of the tune. This is a pretty straight forward lick using the D Minor Blues Scale. First, bend the note F (13th fret, 1st string) up a whole step. Next, release the bend and do a run down the scale until you hit the F an octave lower than your starting note, and bend this note. After the bend, you will end the run on D, the 12th fret of the 4th string. FK Tore Down 18

Here is the lick slowed down (the lick is played twice in the video).

Here is the lick sped up.

Your goal should be to execute the lick with Freddie’s recording. Can you play it so in sync with the recording that you cover him up? Try using the lick in a different key, change the rhythm, repeat something, etc. Combine this with the lick you did last week and see what happens. Ideally, you will begin to interpret it your own way, and you will start to sound like you interpreting Freddie, then eventually just sound like you. Listen to how Clapton interprets this lick, about :20 in to his recording.

Now get to practicing and have some fun!

Freddie King

Freddie King, who along with Albert & B.B. were known as the “Three Kings of Electric Blues”. He was born in 1934 and is one of the great blues guitarists to come out of Texas. Best known for playing a Gibson 345 or 355 slung over his right shoulder, he played with a metal thumb pick and a metal finger pick on his index finger. This allowed him to attack the strings using either a down or up motion and gave his playing a distinct, bright sound whenever he played a lick. Combine this with a Fender Quadverb and it makes for a killer combo. Unfortunately, Freddie died in 1976 at the age of 42. He was inducted into the Rock & Roll hall of fame in 2012.

Some of his signature tunes include:

Hideaway

The Stumble

I’m Tore Down

Going Down

Joe’s Recommendation: Key to the Highway from 1971’s Getting Ready. “This is my favorite take of that blues standard.” It is a funky one that really lets Freddie shine on guitar and vocals. Getting Ready was released on Shelter Records, Leon Russell’s label. Leon helped put the funk into Freddie’s sound, and it is a high point in his stellar career.

This version of Key to the Highway was recently featured on Eric Clapton’s 2007 tour featuring Doyle Bramhall II and Derek Trucks. From day one of Eric’s career he leaned heavily on Freddie’s influence  and in 1966, he would often cover Hideaway with the Bluesbreakers. Over the next 5 decades, Clapton would draw liberally from Freddie’s catalogue, even performing a Freddie King tribute in the mid 90’s.

Brendan’s Recommendation: Check out the album “Let’s Hide Away and Dance Away with Freddy King”. This album of instrumentals is full of fantastic guitar playing. We could do a years worth of lessons on the material  from this album alone. Honestly, I usually don’t go for instrumental blues tunes but this album is definitely worth a listen. My favorite track is Sen-Sa-Shun.

Freddie King Lick from “If You Believe In What You Do”

Now that we have the basics out-of-the-way, it’s time to start learning some blues. The first lesson we will post on this blog is from Freddie King‘s tune “If You Believe (In What You Do)” You will be studying the first lick in the tune.

This is a very simple lick, using the F minor blues scale. The bend on Ab (1st fret of the 3rd string) is important. The lick won’t sound the same without it. Here is the tab.

FK LICK

It is written in 12/8 and the lick starts on the 3rd beat. I love this lick because of the way Freddie uses quintuplets (fitting 5 notes into one beat).

Here is the lick slowed down.

Joe doesn’t use his pinky when he plays this, but you could if you wanted to on the 4th fret of the 2nd string(Brendan usually does). However, you need to be able to get your ring finger to that note in the blues scale if you want to bend it. Your choices are either use both fingers, or use your ring finger all the time. Do what feels most natural and comfortable to you. Most of the great blues guitarists rarely (if ever) use their pinky when they play lead.

Here is the lick at full speed

Now, you need to practice playing it with the Freddie King recording. As soon as you are comfortable doing that, begin working it into your own solos. Base a solo around this idea, using it verbatim and then add to it. Change the rhythm, repeat some notes, experiment, but mostly have fun and make music!

12 Bar Blues

The 12 bar blues is easily one of the most popular chord progressions in music. If someone asks you to play a “blues in G”, they are most likely referring to a 12 bar blues. There are other variations, such as the 8 bar and 16 bar, but 12 is the most prominent. This progression is usually broken up into three groups of four measures. Typically, the singer will sing for the first two measures followed by two measures of guitar (or some other instrument). This is called call and response. The singer calls, the guitar responds. The last two measures of the progression are the turnaround, which signals to everyone that you will be returning to the beginning of the chord progression. Normally, you will keep repeating the progression until the song is over. Even though the progression repeats, there are solos, stop time sections, and many other devices used to keep it interesting.

The standard blues progression is based on three chords, the 1, 4, & 5. Usually they will be written as roman numerals – I, IV, V. How do you figure out what these three chords are? First, the one chord is the key of the tune, so if you are playing a blues in C, the I is C. To find the IV chord, you count up the scale, C=1 D=2 E=3 and F=4. You would continue on to find the V chord, G. So if you are in C, the I is C, the IV is F, and the V is G.

Below are a few popular keys:

A, D, E

E, A, B

F, Bb, C

Bb, Eb, F

Obviously there are more keys, but these five (including C) are enough to get you started.

If you are not that comfortable with theory, I have a diagram to help you. I IV V EThese show the relationships between the root of the 3 chords. If the I is on the second fret of the 6th (low e) string, then IV is next to it as the second fret of the 5th (A) string. The V is then two frets above the IV, or the fourth fret of the 5th (A) string. This works the same way as scales and bar chords, if you change the key of the I chord by moving it up three or four frets, both IV and V move up with it.

This works the exact same way if the I is on the 5th (A) string. However, instead of IV being next to it, it is two frets lower on the 6th (low e) string. V is next to the I chord on the 6th (low e) string. You will probably not use this as often as playing the I on the sixth string, but it is good to know.

I IV V AOne thing that is important to remember is you will not always be playing chords if you are the accompanist. Sometimes you will be playing the shuffle pattern or a riff like what is used in Rock Me Baby. If chords are called for, is a safe bet that you should use seventh chords.

Below are two 7 chord shapes, one with the root on the 6th and another with the root on the 5th that will fit nicely into the I, IV, V pattern we just discussed. You will only play 3 notes at a time, and if there is no finger on the string, don’t play it! With these two chords, you can play in any key. The 1 means use your index finger, 2 is middle, and 3 is ring.

7 chords

Now that all of the background stuff is taken care of, you can play the progression.

The 12 bar blues.

12 bar 1

Here’s a YouTube clip demonstrating this in Bb, with the root on the 6th fret of the 6th string. Each chord is played at the beginning of each measure, to reinforce which measures contain which harmony.

The following progression has a few examples of variations. If you want to do a quick IV, you will play IV in the second measure, going back to I in the first measure. There is also a V chord in the 12th bar. Both of these are popular, and you will need to listen to the tune you’re playing to decide if you should add them or not. Usually, if a tune is going to use the quick IV, it will do it every single time. You don’t just add it or take it out in the middle of a song.

12 bar 2

Here’s a YouTube clip demonstrating this in E, with the root on the 7th fret of the 5th string.

Have fun!

The Minor Blues Scale

The minor blues scale is one of the most important tools available to a blues musician. Material derived from this scale appears all over the place, and you can find it used by every major blues guitarist.

This scale is based on the minor pentatonic scale, with an additional note, the “blue” note.  The blue note can refer to a few different notes depending on the context, but it’s most common use is the note between the 4th and 5th scale degree.

First, start with the E minor pentatonic scale, which contains the notes E, G, A, B & D.

epent1

e minor pentatonic

Once you are comfortable with that, add the blue note (A# or Bb).

eblues1

E Blues Scale

You should become so comfortable with this scale that you can play it without thinking about it.

notes on e stringOnce you can play it in E, practice moving it around. You play the scale in different keys by shifting the entire pattern up or down the fretboard. On the right side of this page is a diagram with all of the natural notes (up to the 15th fret) on the low E string.The scale is identified by paying attention to what note the root is on. In this case, the root is the lowest note of this scale. You will move this around the exact same way you move a bar chord.

To change from the E minor blues to F minor blues, you shift everything up one fret so that the root is on the first fret of the low E string, or F, instead of the open string itself. If you wanted to play a G minor blues scale, you would start the scale on the third fret; C minor blues would start on the eighth fret, etc.  Attached is a PDF with the minor blues scales in the natural keys (A, B, C, etc.) Remember, while you start in a different place each time, the shape of the scale is always the same! You should develop the dexterity to use all four fingers on your fretting hand, however you will see many great guitarists ignore the pinky. Make sure you can use it, but remember that sometimes you will need to stretch your ring finger and forget about your pinky. Minor Blues Scale Reference PDF

Once you’re comfortable with the shape referenced above, I recommend moving the second note of the scale to the next string and then shifting up.

For example, here is how you played an A minor blues scale without shifting.

A Blues No ShiftHere is how you would play it with a shift.

A Blues with Shift

Why would you want to add the shift? Realistically, if you’re play licks on the 5th and 6th strings, you’re going to want to use your ring finger to play the root so that your index finger can play the next note, making it easier to bend, because bending with your pinky is difficult. This does not work if the root of the scale is lower than G (unless you are past the 12th fret).

What fingers should you use to do the shift? First, start with your ring finger, then play the next note with your index finger. The next few notes depend on context. You will either jump your index finger up to the 5th fret, and proceed to play 6 with your middle and 7 with your ring OR play 5 with ring and slide it up (6 and 7 with ring). See what is easiest for you, and remember, context is extremely important. We have also attached a reference sheet for the scale with a shift on the 5th string. Minor Blues Scale with shift on 5th String Reference PDF

Have fun!