Chords for Matt Schofield Guitar Lesson - More Advanced Blues Harmony - Blues Speak
Tempo:
105.3 bpm
Chords used:
D
A
E
F#m
F#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[A] [D]
[A] [F#m] [F#]
[E] [D]
[A] [D]
[E] [F#m]
[A] [F#m] [G]
[A] [D] [F#]
[E] [F#m] [E]
[F#] [D] [C]
[D] [F#m] [D#]
[D] [Bm] [Am]
[D] What [E]
[A] you tend to find is playing kind of straight ahead at the beginning of a bar.
And then you put in something a little slippery in, coming up to one of the changes is a really good way of giving your soloing a pace and a flow and keeping it exciting.
So the change to the four chord for the second time, the main four in the progression, is where [F#] I dropped one of those kind of little sus type, that [G] kind of thing.
It [C#] kind [A]
[D#] of leads into the four chord in a cool way.
The phrasing is kind of interesting.
And then we're landing onto, I think I landed on the third of the four chord.
So it's got a bunch of stuff going on that's kind of cool to include.
And then if I recall, we came out of the four chord then with the [D]
little [C#] diminished [D] thing [A]
[B]
back into the warm and a little chromatic run down, [C]
that [G] [A]
kind of thing.
[F#] And then the five chord I played, it's like a BB King thing, I think.
[E]
That kind of thing.
So we're bringing out that major third like we were talking about earlier.
So that was the first verse of the progression.
Then I think I ended up up here doing some kind of, [B]
[D] [C]
[D] [G#] that kind of stuff, which is kind of mixolydian.
And the phrasing I think I probably went for something that's like 16th notes, which builds a bit of excitement for a second into the change.
We're aiming for that tension and release in the blues all the time.
And sort of picking out the, [E]
[B] [D] [Am]
we're working our way back down the neck there in the mixolydian scale I think it was.
So it's a few kind of little extra ideas, both rhythmically and melodically, that make things
[A] [F#m] [F#]
[E] [D]
[A] [D]
[E] [F#m]
[A] [F#m] [G]
[A] [D] [F#]
[E] [F#m] [E]
[F#] [D] [C]
[D] [F#m] [D#]
[D] [Bm] [Am]
[D] What [E]
[A] you tend to find is playing kind of straight ahead at the beginning of a bar.
And then you put in something a little slippery in, coming up to one of the changes is a really good way of giving your soloing a pace and a flow and keeping it exciting.
So the change to the four chord for the second time, the main four in the progression, is where [F#] I dropped one of those kind of little sus type, that [G] kind of thing.
It [C#] kind [A]
[D#] of leads into the four chord in a cool way.
The phrasing is kind of interesting.
And then we're landing onto, I think I landed on the third of the four chord.
So it's got a bunch of stuff going on that's kind of cool to include.
And then if I recall, we came out of the four chord then with the [D]
little [C#] diminished [D] thing [A]
[B]
back into the warm and a little chromatic run down, [C]
that [G] [A]
kind of thing.
[F#] And then the five chord I played, it's like a BB King thing, I think.
[E]
That kind of thing.
So we're bringing out that major third like we were talking about earlier.
So that was the first verse of the progression.
Then I think I ended up up here doing some kind of, [B]
[D] [C]
[D] [G#] that kind of stuff, which is kind of mixolydian.
And the phrasing I think I probably went for something that's like 16th notes, which builds a bit of excitement for a second into the change.
We're aiming for that tension and release in the blues all the time.
And sort of picking out the, [E]
[B] [D] [Am]
we're working our way back down the neck there in the mixolydian scale I think it was.
So it's a few kind of little extra ideas, both rhythmically and melodically, that make things
Key:
D
A
E
F#m
F#
D
A
E
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ [A] _ _ _ [D] _ _ _
_ [A] _ _ _ [F#m] _ _ _ [F#] _
[E] _ _ _ _ _ [D] _ _ _
_ [A] _ _ _ [D] _ _ _ _
_ [E] _ _ _ _ [F#m] _ _ _
[A] _ _ _ _ _ [F#m] _ _ [G] _
[A] _ _ _ _ _ [D] _ [F#] _ _
_ [E] _ _ _ [F#m] _ _ _ [E] _
_ [F#] _ _ _ _ [D] _ [C] _ _
[D] _ _ _ _ [F#m] _ _ _ [D#] _
[D] _ _ _ [Bm] _ _ [Am] _ _ _
[D] What _ _ _ _ [E] _ _
[A] _ _ you tend to find is _ playing kind of straight ahead at the beginning of a bar.
And then you put in something a little slippery in, coming up to one of the changes is a really good way of giving your soloing a pace and a flow and keeping it exciting.
So _ the _ change _ to the four chord for the second time, the main four in the progression, is where [F#] I dropped one of those _ kind of little sus type, _ _ _ _ _ _ _ that [G] kind of thing.
It [C#] kind [A] _
[D#] of leads into the four chord in a cool way.
The phrasing is _ _ kind of interesting.
And then we're landing onto, I think I landed on the third of the four chord.
So it's got a bunch of stuff going on that's kind of cool to include.
And then if I recall, _ we came out of the four chord then with the [D] _ _ _ _ _ _
little [C#] diminished [D] thing _ _ _ [A] _
_ _ _ _ _ _ [B] _
back into the warm and a little chromatic run down, [C] _
that _ [G] _ _ [A] _ _
kind of thing.
_ [F#] And then the five chord I played, it's like a BB King thing, I think.
_ _ [E] _ _
That kind of thing.
So we're bringing out that major third like we were talking about earlier.
So that was the first verse of the progression.
Then I think I ended up up here doing some kind of, [B] _
_ _ _ _ _ [D] _ [C] _ _
[D] _ _ _ [G#] that kind of stuff, which is kind of mixolydian.
And the phrasing I think I probably went for something that's like 16th notes, which _ builds a bit of excitement for a second into the change.
We're aiming for that tension and release in the blues all the time.
And sort of picking out the, _ [E] _
[B] _ _ [D] _ _ [Am] _ _ _ _
_ _ _ we're working our way back down the neck there in _ the mixolydian scale I think it was.
So _ it's a few kind of little extra _ ideas, both rhythmically and melodically, that make things
_ _ _ _ _ _ _ _
_ _ [A] _ _ _ [D] _ _ _
_ [A] _ _ _ [F#m] _ _ _ [F#] _
[E] _ _ _ _ _ [D] _ _ _
_ [A] _ _ _ [D] _ _ _ _
_ [E] _ _ _ _ [F#m] _ _ _
[A] _ _ _ _ _ [F#m] _ _ [G] _
[A] _ _ _ _ _ [D] _ [F#] _ _
_ [E] _ _ _ [F#m] _ _ _ [E] _
_ [F#] _ _ _ _ [D] _ [C] _ _
[D] _ _ _ _ [F#m] _ _ _ [D#] _
[D] _ _ _ [Bm] _ _ [Am] _ _ _
[D] What _ _ _ _ [E] _ _
[A] _ _ you tend to find is _ playing kind of straight ahead at the beginning of a bar.
And then you put in something a little slippery in, coming up to one of the changes is a really good way of giving your soloing a pace and a flow and keeping it exciting.
So _ the _ change _ to the four chord for the second time, the main four in the progression, is where [F#] I dropped one of those _ kind of little sus type, _ _ _ _ _ _ _ that [G] kind of thing.
It [C#] kind [A] _
[D#] of leads into the four chord in a cool way.
The phrasing is _ _ kind of interesting.
And then we're landing onto, I think I landed on the third of the four chord.
So it's got a bunch of stuff going on that's kind of cool to include.
And then if I recall, _ we came out of the four chord then with the [D] _ _ _ _ _ _
little [C#] diminished [D] thing _ _ _ [A] _
_ _ _ _ _ _ [B] _
back into the warm and a little chromatic run down, [C] _
that _ [G] _ _ [A] _ _
kind of thing.
_ [F#] And then the five chord I played, it's like a BB King thing, I think.
_ _ [E] _ _
That kind of thing.
So we're bringing out that major third like we were talking about earlier.
So that was the first verse of the progression.
Then I think I ended up up here doing some kind of, [B] _
_ _ _ _ _ [D] _ [C] _ _
[D] _ _ _ [G#] that kind of stuff, which is kind of mixolydian.
And the phrasing I think I probably went for something that's like 16th notes, which _ builds a bit of excitement for a second into the change.
We're aiming for that tension and release in the blues all the time.
And sort of picking out the, _ [E] _
[B] _ _ [D] _ _ [Am] _ _ _ _
_ _ _ we're working our way back down the neck there in _ the mixolydian scale I think it was.
So _ it's a few kind of little extra _ ideas, both rhythmically and melodically, that make things