A turnaround helps connect the end of a chorus with what follows. It may be harmonic, melodic or a combination of both, and the band needs to agree whether it leads into another chorus or a final endi...
Read moreA dominant seventh chord adds a particular colour beyond a basic major triad. In a blues practice setting, familiar examples such as A7, D7 and E7 can provide a useful starting vocabulary. Learn a sma...
Read moreA twelve-bar blues form gives a player a repeating framework to hear, count and navigate. Begin with one agreed version rather than assuming every blues performance uses exactly the same changes. In a...
Read moreCall and response can be practised as a conversation between two short ideas. The response does not have to copy the call exactly; it might answer with a different rhythm, a lower register or a cleare...
Read moreA chord change is successful when it arrives with the music, not merely when the fingers eventually reach the right position. Start with a small number of comfortable shapes and a tempo that allows an...
Read moreA short phrase can have a clear beginning, direction and ending even when it uses only a few notes. Decide which note feels like the destination and shape the timing around it. Repetition lets a liste...
Read moreSilence gives a solo structure and leaves room to hear the accompaniment. A pause can make the next note feel more deliberate, especially when the rhythm underneath continues clearly. Start by plannin...
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