Jimi Hendrix SLOW BLUES Masterclass: 12 Incredible Bars from RED HOUSE, Live in 1969 (Guitar Lesson)

[Music] hmm be [Music] uh [Music] [Music] uh [Music] [Music] hey everybody gary here with pal music in this video we're going to go over this awesome 12 bar intro solo to red house by jimi hendrix live in sweden so you had that fret live animation in this lesson we're going to break down each phrase one step at a time talk about some of the techniques he's using some of the key notes that he's nailing on each particular chord then we're gonna go over how to take these ideas and make them your own so i'm gonna demonstrate playing one of these phrases no for note and then kind of playing it with your own flavor and rearranging it to make it your own [Music] um [Music] so my goal here is for you to not only learn how to play the riff but to understand the context how it exists on the fretboard over the chord progression the intervals and then ultimately incorporate it into your own vocabulary and make it your own if you want to go deeper on soloing if you're a beginner check out my soloing for complete beginners course if you're more on the intermediate level check out my fret live fretboard mastery program for pal music patrons we've got the tab for the entire solo the backing track that i created in the key of a and in the key of b flat and in the key of b in case you want to practice it in the three different keys that hendrick's mainly played it in all right let's get into the lesson so this is the thing jimmy calls the key of b he goes like that he plays a b chord and then noel goes and plays an a [Music] so i'm sure jimmy heard that but he starts it in b this b7 chord and the intro even though it's an intro it's literally the chord progression so it's not an intro to the chord progression he's starting at the top of the chord progression but the band doesn't kick in until the fifth measure so jimmy's just on his own so he starts in the key of b with his b7 and gives a little vibrato now this is often called the d shape right because if we think of a d7 we're just moving that up to here and we're leaving out the root note so we're just playing the fifth the flat seven and the major third so we just arpeggiate it top to bottom bring it down a half step then the last time he goes so he skips the middle note then back to where we started so when he brings it down to b flat seven that's actually a substitute for e7 they sound very similar let me explain so the chord right there is an e7 but he's playing a b flat seven so that's called a tritone substitution jimmy did a lot of pretty advanced things it's a great sound uh the reason why it works is it shares the same tritone just flipped as the iv chord so a dominant seven chord if we look at an e7 [Music] between this note and this note is what we call a tritone a tritone just means three whole tones so from here to here that's one whole tone two whole tones three whole tones and then when we play those together that's a diminished fifth so a dominant seven chord contains both a major triad and a diminished triad put together that's that sound there's tension but it's also got that major sound at the same time okay so now if we take this tritone and we reverse it we have this right so i took this note and played it here retain this note and now the tritone of this dominant 7 chord is the same tritone as in this dominant 7 chord [Music] see that same kind of a sound right just a different flavor so the rule of thumb is if you want to substitute one dominant seven chord with another just go up a tritone so from e up three tones one two three is b flat so we're playing it here cool right so [Music] now at that moment null reading plays an a again so nola's just playing this thing a whole step down then the usual key of b so jimmy hears that and you see him go like this backs down a whole step and then starts the song in a good ears on jimmy's part so then instead of starting here [Music] which would be the right spot he brings it down a whole step to the key of a [Music] so right off the bat there's a signature hendrix trick right here check this out okay so that hendrix-ism is after he goes this right here ready so he bends up this flat seven to the root [Music] right and then catches the next string the flat five note and drops that down so up with the flat seven catch the flat five and drop it down [Music] like that so [Music] then just running down the blue scale with some key micro bends [Music] stopping on the flat three [Music] now that brings us to the four chord which is the fifth chord in the 12 bar progression and that's when the band kicks in right starts with a classic blues riff [Music] so this is blue's 101 riff right here you have to know this riff it's a bend up on the fourth to the fifth drop down pull off so you get three notes for the price of one pick and then and then what i really like is that he uses his index finger to slide back into that fourth which is the root of the four chord right so nailing that chord tone right right on that four chord [Music] so cool so he goes slides up a whole step bends a whole step then slides down a whole step all this whole step stuff [Music] and then he finishes that phrase by going up to the fourth scale degree the root of that four chord and then scale degree one which is the fifth of the four chord so really outlining that chord so really outlining the chord so the blues is it's only limited usually to three chords so the work that it takes to really get to know which notes are part of what chord it's very limited it's not like we're dealing with an infinite number of chord progressions it's basically one chord progression so you can really get to know the sound of the progression which is basically always the same and which notes go along with which chord you want to trust your ear but obviously someone like hendrix been playing the blues so long he knows that's my root right really outlining that chord then he does it again but he holds out that a little longer flavor right [Music] so then we've got this bend right classic bending the four to the five such a big blues move [Music] but then to the root or somewhere in between somewhere in between there and there so really outlining the four again because we're on the iv chord [Music] now that note that he hammers on [Music] that note is the major third [Music] of the four chord right intentional [Music] and then he does the same thing on the next string and then that little bluesy trail off he does that a lot sometimes here we go but just just those two little pull off now i just want to take a moment to talk about jimmy's picking so he picks like a few of my other favorite players isaiah sharkey george benson corey wong with the pick angled this way so the pick is on an angle that way most people angle the pick this way like you're starting a lawnmower but they angle it that way like you're i don't i don't know find your own metaphor but anyway so that pick that way of holding the pick i think really ends up creating a unique tone like listen to sharky listen to benson listen to corey listen to hendrix you're going to hear a bit of a similarity especially in their clean tone based on their pick attack all right so now we see jimmy play with his controls [Music] and i believe he switches either to the middle pickup looks like the middle pickup but it's possible that he turned the volume down on his neck so you're hearing more of the of the bridge to me it sounds like more of the bridge so i'm gonna go bridge pickup and then i think he increases volume probably had it toggled a little bit he might have stepped on some sort of a dirt pedal it doesn't sound like fuzz but we hear a little bit of overdrive the volume might have been overdriving his marshall amp so i'm kicking on the overdrive for this get more of that that bright focused aggressive sound as opposed to this so here was my original tone was but now i'm going like this so i just put a little bit of the uh overdrive on my wampler dual fusion and went to the bridge pickup got the tone around 6 volume on 10. [Music] so here we've got now to control the muting you don't want open strings ringing out if you keep this index finger barred it's going to mute out that g string when you let go of it [Music] see because the g string is going to go like this it's going to land on the tip of your index finger hendrix often just kept that index finger planted and did all his finger work my hands aren't quite as flexible or large so i can't really do that but i could do it to an extent in certain situations if you spend all that time wishing your hands are like hendrix you're going to get depressed believe me so just try to do the best you can and work with your own advantages and limitations so then we go down the pentatonic now you could pull this off but there's a certain sound to picking both notes that we hear from him [Applause] [Music] so this trail off you barely hear this note so we come back after the [Music] so we go [Music] we kill it at the top [Music] and then trail off [Music] so real soft fingered on the trail off like if you look at him he's barely touching the guitar [Music] i mean now that i'm watching this in slow motion i think the last few notes he didn't even pick he just hammered on you know just used his left hand well for him his right hand adding that extra pinky makes it harder for me like just ending on this note would be fine all right now we're gonna trap make our way to the five chord this is maybe my favorite part so he goes [Music] [Music] so it's a popular thing in the blues to play a note in one place and then slide up to it on the next string you know like that but if we overshoot it big deal sounds cool then he goes so this riff right here targeting the root of the v chord e7 so here's our note e right so then when we get up to that e [Music] give it a little vibrato just that using your wrist grabbing it using the neck as a fulcrum right so it's all in the in the wrist twist to get that [Applause] [Music] now if you're wondering about jimmy stringage he is according to his guitar tech he used uh a custom set he had a 10 on the high e string but i think down to a 38 on the low e so where typically you have like a 9 to 42 he had a 10 to 38 i believe so they were a little thicker on the high end and and thinner on the um on the low end to get more of a balanced output from what i understand [Music] okay now he does that lick again where he i find it way easier here than anywhere else because what you could also do when you see so we bend up this 10th fret of the high e and we grab 10th fret of the b and drop it down now i find you could use your middle finger to mute the high e string just to make sure you're only going to hear one string on the way down see i put my [Music] i did have a big cup of coffee before this lesson i think it's running through my nervous system a little bit all right so then after that he goes straight down the blue scale with a couple key micro bends and a trail off always adding in these little micro bends right so [Applause] [Music] those little micro brands make it sound so funky and expressive [Applause] [Music] then a classic just kind of going up the b string and then down the g string [Music] so that right there [Music] slides into that fifth well slides into the fourth bends it to the fifth [Music] now that is blues 101 we saw that in the clapton riff that i did a couple weeks ago probably also in that john mayer one from a few weeks ago so and then he does that riff one more time to bend this note grab this one and bring it down so [Music] then there on the four chord he's landing on the major third so definitely check out my lesson that's all about nailing the major thirds on one four and five i'll put a link to that in the description after that lesson you'll be able to do this very easily all the time i promise so [Music] then he does this little rake [Music] and hits the second scale degree and then we go another classic blues riff now being he's got his finger barred you can see he just kind of alternate pick strums like [Music] if you review the his right hand he kind of strums through both these strings [Music] [Music] hmm [Music] [Applause] [Music] [Applause] then we get to the one coordinates [Music] and that's an arpeggio on the triad of the a major triad again sliding into that fourth because we go one four so he goes one four then we're going to work our way back to the one chord [Music] again on the four hitting that major third so [Music] right up the pentatonic then that hammer on pull off to the third of the four chord [Music] then we've got [Music] [Applause] [Music] so mixing together riffs we've heard previously and developing kind of repeating the last riff parts of it [Music] and then the but now ending it like this [Music] on the root of the v chord [Music] so like i said at the beginning of the video to me there's a three-step process to becoming a better improviser one is learn ideas that you love from the players that you love as close to note for note with all the expressive details possible by ear is the best way second step is to contextualize that's what my channel really tries to help you with is making sense of how it all exists on the fretboard and some of the underlying theory and how everything's connected and then the third thing is to workshop those ideas and make them your own so first thing i'm doing here is just playing jimmy solo note for note as best as i can and then the second time through i'm going to start changing the ideas adding some of my own things changing some of the rhythms some things i'm going to play almost no for note other things i'm going to totally transform what you're not going to see is the pretty much three hours of jamming i did just on the solo trying to workshop those ideas so i encourage you to do the same after my solo is 12 bars for you to solo on your own if you want the complete jam tracks and three keys that's for pound music patrons but there's 12 bars for you in a to do the same thing on your own enjoy all right so now i'm just going to give it a little bit of my own flavor but still stay pretty close to the original [Music] [Music] um [Music] um [Music] um [Music] so [Music] so [Music] [Music] before i go i'd like to extend a huge thank you to the following upper level pal music patrons william creighton andrew vogel chris watson david crawford derek mickel dawn stringham donald james grass jake martin john cushman joseph mccarthy kent grissom lemuel faustin michael varney randy wallingford sam juans scott lee shawn ellis stephen passano trampus thompson thank you guys so much and thank you to all of the pal music patrons that help make this content possible happy playing i'll see you guys next time [Music] you

Channel: Pow Music

Views: 1,144,595

Keywords: jimi hendrix, guitar lesson, hendrix blues, slow blues, blues guitar lesson, how to play blues, red house, how to play red house, red house tutorial, hendrix live, pentatonic scale, scale shapes, pentatonic shapes, hendrix chord, little wing, pow music, guitar tutorial, how to play blues guitar, play like hendrix, gary heimbauer, fretlive, fretboard animation, live in sweden, stockholm

Id: TklQE-Cuh8Q

Length: 29min 1sec (1741 seconds)

Published: Sun Jan 30 2022