BluesGuitarBasics PDF

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Index
Introduction
About the Author
Chapter 1 The Basic Chords 1
1) Seventh Chords 1
2) Seventh Barre Chords 6
3) Musical Scales, Progressions and Everything You Will Need to Know 10
6
Chapter 2 Technical Basics 15
1) Hammer-ons & Pull-offs 15
2) Slides 16
3) Vibrato 16
4) String Bending 17
5) Muting Unwanted String Noise 18
6) Shuffle Feel 18
Chapter 3 Major Blues 19

1) Chords 19
2) Progression & Rhythm 19
3) Scales 20
4) Licks 20
Chapter 4 Minor Blues 23
1) Chords & Progression 23

2) Rhythm 24
3) Scales 25
4) Licks 25
Chapter 5 Playing in other Keys 27
1) The Key of E 27
2) Licks in the Key of E 28
3) Fingerstyle Blues in E 29
Chapter 6 Turnaround Licks 32

1) Turnaround Licks 3231
Chapter 7 Using the Entire Neck of Your Guitar 33
1) The 5 Positions of the Minor Pentatonic Scale 33
chapter 8 Blues Licks in different positions on the neck of the guitar 38
1) Licks in Position 2 38
5) Playing Diagonally 43
copyright (c) 2010-2012 www.antonyreynaert.com

Introduction
Learning to play blues guitar can be quite satisfying.
However, it’s not always easy to find the right things to practise so that you can build up a
good foundation. In this ebook we will build up this foundation that will be applicable to
both blues lead-guitar and rhythm guitar playing.
The book is written with the assumption that you know how to read tablature and chord
diagrams. In case you don’t have any experience with reading this form of notation, you
can do a simple google search on ‘how to read guitar tablature’ and ‘how to read guitar
chord diagrams’. If you speak the dutch language (as I do), I’ve written a mini-course
about the subject that you can download for free here: Gitaar Tablaturen Leren Lezen.
This ebook starts off with the most common chords in blues and the most important
techniques in chapter 1 and 2.
Once you went trought the basics, you’ll learn to apply these chords and techniques to
several blues chord-progressions in both major and minor keys. We’ll dive into these in
chapter 3 and 4.
Further in the book you’ll learn to play the blues in the key of E; by far the most common
key in blues guitar. Also, you’ll learn to play a few so-called ‘turnaround licks’. Chapter 5
and 6 are specially designed for these exercises.
In chapter 7 and 8 we will start looking at how to use the entire neck of the guitar to play
solos.
There is one problem with all of this; if you aren’t playing guitar at the higher beginner/
lower intermediate level that this book presents, chances are that some of the techniques
and concepts sound unfamiliar and require more training.
In the book, you’ll find several audio-examples. Just click on these links and you’ll be
directed to the audio. Also, every month I release a new youtube-clip where I explain the
licks and concepts in this book in step-by-step detail. You can subscribe to my youtube-
channel to receive these video-lessons: Blues Guitar Video Lessons.
It’s my intention to dedicate this book to everyone who finds himselve where I found myself
10 years ago. Feel free to reach out if you have any questions at all about the content of
this book or about playing guitar in general. You can reach me trougth the contact-form on
my website or on my facebook-page: Antony Reynaert Music, where I also share updates
about upcoming workshops/masterclasses, performances and music.
Good luck and enjoy!
Antony Reynaert
P.S.: in case you are living in Belgium, feel free to have a free trail lesson in my guitar
studio: Gitaar Training Studio.
About the Author
ANTONY REYNAERT
professional Guitar Trainer & Guitarist
Born in Belguim, Antony learned to play classical piano

at the age of seven.
At the age of 17, he saw a friend playing the guitar and
later got intensely into guitar.
During high school he practiced for more than 5 hours a

day.
At the age of 19 he found a teacher who was just
perfect for him, and learned to play blues and country-
influenced music as well as other styles.
Later, he traveled to Ireland to study with Trevor

Darmody.
This opportunity boosted his confidence and made him progress even more as a musician.
Back in Belguim, Antony released a CD with the band which he was part of at that time,
which was a great learning experience.
Antony is currently studying jazz-guitar, and being mentored by virtuoso Tom Hess. After
graduating as an interior designer he now devotes his time into building a succesfull career
in music.
He gives guitarlessons and workshops on both a national and international level.
Antony feels great joy in teaching others and helping them improve their abilities. As
founder of Guitar Training Studio, he is training students of all ages and backgrounds on
the guitar in his hometown Ostend.

He is currently working on his debut-album "Spirits in Revolution"
It is his goal in life to become the best musician he can be and to share his music with as
many people as possible!
copyright © 2010-2012 www.antonyreynaert.com

Blues Guitar Basics Chapter 1 - The Basic Chords
Chapter 1 The Basic Chords
The chords that you will need, to play the blues, differ somewhat from the regular
basic chords. Usually you will not play ordinary major and minor chords (like the
A,D,E chords, etc.), but in blues you will mainly use “seventh chords”.
Seventh Chords
Let’s take a look at a so-called seventh chord. Below you will see the “A” chord. This
is a regular basic chord, so not a seventh chord.
! ! ! ! ! ! A
Now you will see the A7-chord below.
This is played with the second and third finger.

Of course you could also play this chord with the first and second finger, like in the
diagram to the right.
A7 (with 2nd en 3rd finger) A7 (with 1st en 2nd finger)
Note the twisted, bluesy sound that this chord entails, contrary to the cheerful
sounding “A” chord.
Many of these chords can be played in different ways. Like the A7-chord on the next
page, where we put down the first finger flat over different strings. This chord usually
Copyright (c) 2010-2012 www.antonyreynaert.com

1
sounds even more twisted than the former way to play the A7 chord, that is why this
fingering is extremely suited to play blues.
A7
Choose the way that you are most comfortable with to play. Do you prefer the first
and second finger for the A7, or do you rather play with the first and second finger? It
is all possible, as long as you don’t experiment too much with fingerings yourself.
There isn’t one particular correct way to play a chord, but there are quite a lot of
inefficient ones however, which will stop your progress on the guitar, and that is why it
is important to follow the presented finger settings.
The following chords are important seventh chords that we will use a lot in this
course.
E7
The E7 chord is being used in all kinds of styles of blues very often. Just like for the
A7 chord, there is also an alternative finger setting for the E7 chord, which is often
used by blues guitarists.

2
E7 (alternative fingering)
You will notice that the alternative fingering of the E7 chord has a heavier blues
sound. That is why this fingering is often preferred. The next chord which is
important, is the C7 chord. This chord is very convenient, because we can move it up
on the neck of the guitar.
C7
Perhaps you will not notice it at first, but this C7 chord is actually the basic C chord
with the pinkie on the third string added. In the chord-diagram of this you will see the
basic C chord below.
! ! ! ! ! ! ! ! ! ! Just one finger of

! ! ! ! ! ! ! ! ! ! difference with the
! ! ! ! ! ! ! ! ! ! C7 chord.
! ! ! ! ! ! C
This C7 chord is played a lot, and is really convenient because we can play this
fingering on every part of the neck of the guitar.

3
D7
In the chord diagram above you see the D7 chord, played with the fingering of the C7
chord. This is because every time the fret that we play on the fifth string, determines
the name of the chord.
In the tablature above you will find the notes on the fifth string. You will notice that we
play a D-note on the fifth fret, hence the name D7.
Two frets ahead, on the seventh fret, we find the E-note. Therefor we can just simply
slide the fingering of the C7 chord up, until our third finger is on the seventh fret. The
name of this chord is E7.
! ! ! ! ! ! ! ! ! The name of this fret

! ! ! ! ! ! ! ! ! determines the name of
! ! ! ! ! ! ! ! ! the chord.
E7
Important: This way of sliding up the chords on the guitar neck cannot be used for
every chord. Let’s continue with our much used seventh chords.

4
The next chord is the D7-chord.
! ! ! ! ! ! D7
We have played this D7-chord before (with the fingering which we have slid up from
the C7-chord). So there are different ways to play the same seventh chord.
The choices which we will make, considering these chords, will depend mainly on the
current place on the neck of the guitar and the sound that we prefer, just like other
factors which play a role in choosing the way to play a chord.
A next chord which we will play is the B7-chord.
B7
This B7-chord is a much used chord as well, and will be needed a lot later on in the
course. Lastly we will play the G7-chord. This one will not return in the course, but is
being used sometimes in certain songs.
G7

5
Now that we have learned the most important seventh chords in first position
(positioned around the first fret), we will take a step further and look at chords that
can be played higher on the neck of the guitar. The following chords need good
knowledge and implementation of barre chords.
Seventh Barre Chords
Next to the open chords which we have seen in the first part, we play barre chords in
blues very often. For example, we can play the A7 chord which we took a look at in
the former part, also as a barré chord.
! ! ! ! 5 7
A7
If you have played barré chords before, you will notice that this A7 chord is played in
almost the same way as a regular major barre chord with basic note on the 6th string.
Below you see the chord diagram of the regular A major chord in barré.
! ! ! ! ! ! ! ! ! only the pinky differs with

! ! ! ! ! ! ! ! ! between the A-chord and
! ! ! ! ! ! ! ! ! the A7-chord
You will notice that only the pinky (on the fourth string) differs here between the
regular A major barré-chord and the A7 barré-chord. The same goes for the minor
barré chords.
The next chord is a minor seventh chord. We will need this later on in the course,
when we take a look at minor blues.

6
! ! ! ! ! 5 7
Am7
In this case you play A minor 7 (or for short: Am7). Below you will see again that this
Am7 chord looks like the regular Am chord in barré. Again the pinky is the only finger
which differs between the two chords.
! ! ! ! ! ! ! ! ! Again the pinky is the

! ! ! ! ! ! ! ! ! only finger which differs
! ! ! ! ! ! ! ! ! between a regular barre
! ! ! ! ! ! ! ! ! (like Am) and the
! ! ! ! ! ! ! ! ! seventh barre
! ! ! ! ! ! ! ! ! chords (like Am7)
! ! ! ! ! 5 7
! ! ! ! ! ! Am
Below is another minor seventh chord; the Dm7 chord. This time the basic note of the
chord is on the fifth string. So the low E string will not be used here.
! ! ! ! ! 5 7
Dm7

7
You will also regularly see the following chord.
! ! ! ! 5 7
D7
In the next chapters of this course however, we will play this chord in a different way.
We make use of the fingerings which you will see on the chord-diagram below:
! ! ! ! 3 5
D7
You will notice that we learned to play the same D7 chord in three different ways
already; the D7 in open chord, the D7 in barré chord and the D7 chord as above. So
there are different ways to play one and the same chord.
The choice which we will make regarding this, depends mainly on the sound quality
of every chord; the D7 in open chord will definately sound different from the one in
barré chord.
On the next page you will see again the overview of all essential seventh-chords
which we have seen until now.

8
Much Used Seventh Chords in Blues
Here you will find the overview of all important chords which we have seen until now
and which you will also need further on in the course.
Seventh chords in 1st position (played around the first fret)
! A7!! ! ! ! D7! ! ! ! E7
! B7!! ! ! ! G7! ! ! ! C7
Seventh chords played in barré

with the root note on the 6th string.
! ! 5 7! ! 5 7
! ! ! A7!! ! ! ! Am7
with the root note on the 5th string.
! ! 5 7! ! 5 7
! ! ! A7!! ! ! ! Am7

9
Musical Scales, Progressions and Everything You Will Need to Know
In chapter 1 we have seen the most important chords that you will need to play blues
guitar. In the next chapter we will take care of the main techniques you will need in
the next parts of the course.
In chapter 3 and 4 you will learn the difference between minor and major blues-
progressions. In chapter 5 you will learn to play these progressions in other keys.
Before we will start with this, it is important that you have the knowledge of general
terms such as chord progressions, musical scales, licks etc.
Chord progressions
Chord progressions are series of chords in a certain structure. The most used chord
progression in blues is structured in a 12-bar blues diagram. In this schedule you play
12 bars of a certain series of chords before you will start again with the first bar of
your schedule.
Below you will see such a 12-bar blues progression noted.
You see that every line of tablature is subdivided into 4 bars, whereas the full
schedule counts 12 bars. During the first 4 bars of the schedule you play the A7
chord. Then you will play the D7 chord for two bars, followed by 2 bars of A7 chord.
In the last 4 bars you will turn from the E7 chord (for 1 bar) to the D7 chord (also for 1
bar), only to play 2 bars of the A7 chord again. There are 2 possibilities to play the
chord progression above. Either you will play the chords which you have learned in
chapter 1, or you will play the bluesriff which is noted on the tablature.

10
Bluesriffs
Next to the possibility to play a blues progression with chords, you can also play the
rhythm parts by playing bluesriffs.
Below you will see the first four bars of our 12-bar. You will notice that above the first
bar, the chord A7 is written. Therefore we can play this chord during all 4 bars.
If you would follow the tablature you would notice that on the fifth string, an open
string is being played. On the fourth string you will constantly change between 2
strokes with the second fret pressed and 2 strokes with the fourth fret pressed. For
this you use your index finger and middle finger or index finger and pinky.
These simple riffs are a must for every blues guitarist and they can appear in more
extended forms.
Strumming Patterns
The application of strumming patterns on the bluesriff above, can happen in two
ways; either you use alternate picking, or you will simply use all kinds of downpicks.
In case that you play the blues progression with chords then you can be creative with
various rhythms. The constructing of strumming patterns on your own, and the feeling
of timing are essential for every guitarist, but it is not the goal of this course. If you
have trouble to play your own rhytms, studying with a dedicated teacher might be
helpful for you, after which you will know everything you’ll need to generate your own
good sounding rhythms.
Scales
A next aspect of knowledge that you will need to continue on this course is the basic
knowledge of musical scales. A first scale at which we will take a look, is constantly
used in different music styles such as blues, country, rock, etc.
On the next page you’ll find the minor pentatonic scale;

11
! !
! ! ! ! 5! ! ! 8! !
! ! ! ! A minor pentatonic
Above you will see this scale presented in a scale-diagram. You will play every note
seperately, as presented here in the tablature:
In chapter 7 you will learn this scale also at different positions of the neck of the
guitar, so you can play on the complete neck of the guitar.
This is the blues scale:
! ! ! ! 5! ! ! 8! !
A blues scale
This blues scale is almost the same one as the minor pentatonical key which we
have seen earlier. You will notice that there are only two frets which differ; the 6th fret
on the fifth string and the 8th fret on the third string.
On these two frets we play the “blue-note”, this note will add an extra bluesy sound to
the scale.

12
Licks
To learn to play bluessolo’s it is necessary to build up a vocabulary of blueslicks.
Licks are melodical fragments and are usually played with a solo piece, but can also
be used in between chords. A lick always comes from a scale. Because we use the
notes of the scale randomly, we create the unique sound of the specific lick.
Learning to play a solo (or melodical fragments in between chords) can be seen the
same way as how you learn a language. A child starts to learn by listening to the
sounds that his parents (and people around him) make. Because the child tries to
copy these sounds, it will gradually come to the words which his parents use.
When the child goes through the different stages of education (toddler, lower, middle,
higher education) he will be thought the technical side of grammar. The child creates
a sophisticated vocabulary, in the higher stages of education. The child creates his
own identity, determined by the experience and contacts (parents, friends, family etc.)
A guitar solo is in fact a series of different melodical phrases. By learning these

phrases and repeating them over and over again, you will create a personal identity
on the guitar, because these phrases become part of your vocabulary. That is why it
is important to learn to play guitarlicks. These licks are musical phrases which you
can put together, to create a guitar solo. The thought behind learning to control a
musical instrument is the same as learning a language. A thing which is different
though, is the proces which is used to get to this control of the instrument.
The difficulty with an instrument is that you will first need the necessary skills and
technique, before you can come to these phrases (licks).
In the next chapter we see the basic techniques which are needed to learn and play
blueslicks. An expert guitar teacher can help you to learn to control these techniques
by application and integration of the presented techniques.
We start with some guitarlicks which need as little as possible special techniques.
All notes that we use to create licks are always derived from a scale. Depending
on the music style you can use notes which are outside of the musical key, but this is
rather an exception.

13
This means that the lick above comes from a musical key. The lick which we played
above, is created by the notes of the Am pentatonic scale which we have learned
earlier in this course. It is very important to see the connection of licks and scales.
Why not play a Am pentatonic scale and compare this with the lick above. You will
see that all notes from the lick will also appear in the musical key.
Below you will see another lick. Here we make use of a ‘doublestop’. A doublestop is
a technique where we sound 2 strings which are next to each other (like the 2nd and
3rd string in this example) at the same time.
Use your first finger to hold down both the 2nd and the 3rd string (you will have to lay
your finger flat on these strings). Let’s look at a lick that uses a slide:
You’ll notice that in the first measure of this lick we use a slide and in the second
measure we use a doublestop. We don’t exactly use the correct fingerings from the A
minor pentatonic scale, here we use the diagonal position which we’ll look at in
chapter 8 of this course. In that chapter we will also learn the fingerings from this
diagonal position, as it is very important to use the fingerings from the scales in your
licks.
As you’ll probably realise by now, it’s very important to have build up a good technical
ability when you play these licks. In the next chapter we will delve in to the most
common guitar techniques in the blues.

14
Blues Guitar Basics Chapter 2 - Technical Basics
Chapter 2 Technical Basics
Before we delve in to the meat and juice of playing the blues, let us first look to some es-
sential techniques we will need.
Hammer-ons & pull-offs
Hammer-ons & pull-offs are quite common in any style of lead guitar playing, including the
blues. These techniques are also sometimes refered to as ʻlegatoʼ.
When performing a hammer-on we sound the first note by striking the string with the pick.
The second note is played by ʻhammeringʼ a lefthand finger on to the string. The powerfull
strike of our lefthand insures that the string keeps on vibrating and sound is produced.
A pull-off is the opposit of a hammer-on. Here we play the second note by ʻpulling-offʼ a
lefthand finger from the string. It is a good idea to not merely lift our lefthand finger, but pull
it off the string towards the floor. This will insure that the string keeps on vibrating.
In the examples above, we played a hammer-on and pull-off on an open string. Another
possibility is to use these techniques from a note that has already been fretted.
In this case itʼs essential to give the notes enouf left-hand pressure to ensure the string to-
keep vibrating. Especially on the second note of the pull-off you want to make sure you
push the string in the opposite direction of the pulling finger.

15
Slides
A slide is performed by a lefthand finger sliding up or down the fretboard. In the next exam-
ple a slide is being performed from a defined place on the fretboard. Strike the first note with
the pick and slide to the desired fret with your finger.
Itʼs also very common to play a slide from an undefined place on the fretboard. Slide your
finger up (or down) the fretboard and hit the string with the pick in the middle of the slide.
Vibrato
Developing a solid vibrato is THE most important technique to master the guitar on a high
level. The biggest misconception beginning guitarstudents have is the believe that vibrato
has to be performed from the fingers. A good vibrato doesnʼt come from the fingers, but is
being developed by a rotation of the forearm.
Once you got the feel for this vibrato, you want to start practising this technique on other-
strings.

16
String Bending
String bending is probably one of the most expressive techniques that can be performed on
the guitar. When bending a string, one raises the pitch of the fretted note to a note higher on
the fretboard. Just like a good vibrato, string bending is best performed out of a rotation of
the forearm. Here is a basic string bend, raising the pitch from the 7th fret to the 9th fret.
One of the challanges to encounter when learning to bend strings is to raise the pitch of the
fretted note exactly to the note higher on the fretboard. Besides practising string bending
with an eletronic tuner, itʼs a good idea to play the note that you are bending up to, at the
same time as the note your bending from.
This is called a ʻunison bendʼ and is commonly used as a lead-guitar technique of itʼs own.
Here is the same technique but played in different locations on the neck of the guitar:

17
Muting Unwanted String Noise
When playing string bends or vibrato itʼs quite common to have unwanted string noise being
produced from the strings adjacent to the string being played. Here you will need to mute
these strings, so they remain quiet. One way to mute unwanted strings is to use the right
hand. Lay the palm of your hand on the lower strings to mute the bass strings and use the
fingers of your right hand to mute the higher strings. In some cases the left hand is also
being used to mute unwanted string noise.
Swing feel
In general, most pop/rock tunes are being played in ʻstraight rhythmʼ, while the essence of
the blues is the ‘shuffle’ feel.
In a straight feel all 8th notes are being evenly spaced in time.
A shuffle feel is based on a triplet rhythm with the middle note missing.
To keep the reading simple, itʼs common to have shuffle rhythms written as straight notes-
with an indication to play with a shuffle or swing feel.
This might be indicated by the following symbol:

18
Blues Guitar Basics - Chapter 3 Major Blues
Chapter 3 Major Blues
Lets get started with learning the 12 bar progression. Itʼs the most common way to play the-
blues, everyone has heard it before. The 12 bar blues is characterised by itʼs repeating
chord structure, wich we will look into here.
Chords
When using the chords below, we are playing in the key of A. These 3 chords will make up
the entire 12 bar progression.
A7 D7 E7
! ! A7! ! ! ! D7! ! ! ! E7
Progression & Rhythm
Here is the repeating 12 bar chord structure. You can use the open chords from above or
the shuffle rhythm in the tablature given below to play through the progression.
Scales to Use

19
The possibilities of scales we can use over a major 12 bar progression are huge. Thatʼs why
we start with the minor pentatonic and blues scale first. From there we will delve into some
other scales/positions further along in the book.
5! ! ! 8 5!! ! ! 8
A minor pentatonic scale A blues scale
Licks
Here are some licks you can use in your improvisation. Donʼt forget to experiment with the-
se and come up with your own licks!
Listen to Lick 1
This first lick starts off with a slide towards the first note. On the second note a bluesbend is
played. This means that you bend the string on that note very lightly by pulling the string
down (or pressing it up). Listen to the example and try to copy the sound.

20
Listen to Lick 2
Listen to Lick 3
Listen to Lick 4

21
Listen to Lick 5
This lick 5 makes use of a technique called doublestop, which we looked at in chapter 1
of this course.
Listen to Lick 6

22
Blues Guitar Basics - Chapter 4 Minor Blues
Chapter 4 Minor Blues
One of my all time favourite things in life is to sit down and jam to a minor blues track. The
12 bar blues progression we used earlier, here turns into a minor progression. Just replace
all the major 7th chords we used, into minor 7th chords.
Minor blues characterises slower tempoʼs. A great example of a minor blues song is Stevie
Ray Vaughanʼs version of Tin Pan Alley (aka Roughest Place in Town).
Chords
Lets look at a blues progression in the key of A minor. Here are the minor 7th chords we will
use:
Am7 Dm7 Em7
Progression
Most minor blues is played using the same 12 bar structure as the 12 bar blues in a major-
key. Check out the chords for this very common minor blues progression on the next page.
This sign that is being used in the following diagrams, means that you’ll need to repeat the
last chord.
copyright (c) 2012 www.antonyreynaert.com

23
Rhythm
A very common way to play trought a minor blues progression is to arpeggiate each minor
7th chord. This means that we are going to pick individual notes of every chord, instead of
strumming the entire chord.
In the following tablature we play the same chord progression as in the last one, but in-
stead of strumming the chords with one stroke each, we pick each string seperatly. Ma-
ke sure you hold your chords down while you pick the 6th, 4th, 3rd and 2nd string.
Scales to Use

24
One of the beautifull things to a minor blues is that it lends itself perfectly for a steaming hot-
jamsession. If we are staying within the above A minor chord progression, the scales we
can use to improvise are the A minor pentatonic scale or the A blues scale.
5 8 5 ! ! !8
A minor pentatonic scale A blues scale
Licks
The following blues licks can be applied to practically any style of blues-playing, but are ve-
ry well suited to solo over a minor blues progression.
Listen to Lick m1
Listen to Lick m2

25
This 3rd lick is one of my personal favorites. It’s starts with a string bend on the G-string
and ends with a slide to the 10th fret on the B-string (on this 10th fret we play the A-no-
te, which is the root-note of our scale).
In the next chapters we’ll look at some more licks, so you can build up a vocabulary of
blueslicks. If you are playing for a couple of months, most of these licks shouldn’t be
that hard to get under your fingers. If you are having trouble with these licks, don’t waste
time and start studying with an experienced teacher.
Listen to Lick m3
Every month I record a video where I teach some of these (or sometimes totally diffe-
rent) licks. Make sure you are signed up to receive these videos (it’s totally free!). Here
you can subscribe to receive these licks: Blues Guitar Videos
Here is the link to the video where I show you how to play the last three blueslicks step
by step: Blues Licks Lesson.
If you are experiencing problems with learning these licks or you have any other questi-
ons, don’t hold back to contact me and I’ll be happy to help you out. You can either use
the contact-form on my website or ask me on facebook here:
www.facebook.com/antonyreynaertmusic

26
Blues Guitar Basics - Chapter 5 Playing in Other Keys
Chapter 5 Playing in Other Keys

The key of E
Letʼs take a standard 12 bar progression, like the one we played in the key of A and play it
in the key of E. Here are the open chords we can use in the key of E.
E7 ! ! ! ! A7 ! ! ! ! ! B7
We can use these three chords to play our 12-bar progression. Another option that we
have is to play the recognisable blues riff that is written in the tablature:
Listen to this 12 bar progression.

27
Licks in the key of E

This key gives a lot of options for using open strings and is a very popular key amongst
bluesguitarists. The next licks illustrate the open string possibilities.
lick 13 played slow & fast
Listen to Lick 14
Listen to Lick 15
Listen to Lick 16

28
Fingerstyle blues in E
To conclude, hereʼs a fingerstyle blues in E. Notice the 12 bar structure.
Listen here to this fingerstyle blues
Notice the creative use of the basic techniques such as slides, hammer-ons and pull-
offs. Once mastered, these techniques have the power to give a basic blues progres-
sion a totally different feel. We call this piece a ‘fingerstyle blues’ because it is very
suitable to play with your fingers instead of using a pick.
If you want to learn to play this piece, it is necassary to first practise the first two bars of
this progression. When you get these down, then it will be alot easier to play the full pie-
ce. Pay attention to the notes that you don’t have to hit with your pick (or your fingers).
For example, after you played the slide from the 4th to the 2nd fret (on the G-string),
you have to immediatly perform a pull-off to the open G-string. So here you play a total
of three notes, but you only have to hit the first note.
This is a complete 12 bar progression in the key of E. Notice the creative use of slides and
hammer-ons & pull-offs that gives the progression a different character. This style is very
suitable for playing with the fingers, instead of the pick.
In the beginning, these pull-off and hammer-on techniques require some practise to perform
them flawless, but they are extremely valuable to your playing. These techniques can make
your guitar playing sound very smooth and fluently. On the next page you’ll find the full fin-
gerstyle blues.

29

30
In the last two measures of this progression we play a ‘turnaround lick’.

These licks are played a lot in blues, they function as a connection between the last
measures of the 12-bar before you go back to the first chord again.
The licks on the next page are all turnaround licks.
We can play them:
• As the intro of a blues song
• During the last two measures of a blues progression (as we’ve seen in the above
piece)
• As the outro of a blues song

31
Blues Guitar Basics - Chapter 6 Turnaround Licks
chapter 6 Turnaround Licks

These turnaround licks are a great practise: Letʼs start off with a Turnaround in the key of E.
Listen to Turnaround Lick 1
Next is a slight variation on the first lick, using the bass strings instead of the higher strings.
This is a variation on the first turnaround, but now weʼre in the key of A:
And here is a common turnaround in E:


32
Blues Guitar Basics - Chapter 7 Using the Entire Neck of Your Guitar
chapter 7 Using the Entire Neck of Your Guitar
If you want to be able to use the full range of sounds on your guitar, you have to know your
scales in different positions. Here we will look at all the positions of the minor pentatonic
scale. Memorise them. As you will eventually learn, these patterns can be transferred to all
keys, but letʼs start off in the key of A.
The Box Position (Pattern 1)
A minor Pentatonic Scale 1st Pattern (box position)
Now that you know how to play this pattern, it’s a good idea to learn to play some licks in
this position. Almost all licks that we covered in this course so far are played in this box po-
sition.
This box position is the most used position in blues guitar; countless licks, solo’s and riffs
are based on this position.
Next to this box position, there are four more positions to know. If you know all five positions
and you are able to improvise a bit, you can play lead-guitar on the entire neck of the guitar.
Let’s take a look at the next position.

It’s important to know where the ‘root notes’ are in each position. The root notes are marked
with an extra circle in the scale-diagram.
copyright(c) 2010-2012 www.antonyreynaert.com

33
Pattern 2
** Note: Start Pattern II with your second finger.
A minor Pentatonic Scale 2nd Pattern
Pattern 3
** Note: Start Pattern III with your first finger and stretch left with your index finger to reach the 9th fret on
the G string.
A Minor Pentatonic Scale 3rd Pattern

34
Pattern 4
A Minor Pentatonic Scale 4th Pattern
Pattern 5
** Note: Start Pattern V with your second finger.
A Minor Pentatonic Scale 5th Position

35
Playing The Minor Pentatonic Scale Over The Entire Neck
The name ‘Pentatonic’ comes from ‘five tones’.
Thus in this scale we play a total of five different notes. You’ll see that in the aforementioned
position we play more than five notes, but this is because we repeat the same notes over
and over.
For example, in the box position we play the notes A en C on the 6th string (low E-string),
on the 5th string we play the notes D and E and on the 4th string we play the G-note. The
7th fret on the 4th string is the A-note again, so from there the five notes repeat themselves
again.
So the notes of the A minor pentatonic scale are: A, C, D, E en G. If we played these five
notes on the low E string, we would end up with the pattern shown below:
A C D E G A
A Minor Pentatonic Scale on low E String
Once you have mastered all five positions, you will able to visualize and more importantly,
play the Minor Pentatonic scale over the entire fret board. Here are all 5 positions in one
image:

36
Notice the fact that each pattern starts on one of the five notes that lay on the low E-string.
To make things a bit more clear, look at the next diagram:
A good blues guitarist can switch fluently between each position. Also note that the scale
does not end here. You would simply play pattern one again at the A note on the 17th fret.

37
Blues Guitar Basics - Chapter 8 Blues Lick in Different Positions on the Neck of the Guitar
chapter 8 Blues Licks in different positions on the neck of the guitar
We’ve already learned licks using the box position (pattern 1) of the pentatonic scale. Letʼs
take a look at some of the possibilities in other positions. Each position has itʼs own advan-
tages to build your licks around.
It’s important that you first memorise the fingerings for the positions, so when you try these
licks you’ll at least now which finger to use. We learn these licks because it’s key to build a
vocabulary of licks that you can use in your own lead-guitar playing.
Licks using position 2
Listen to Lick 17
Listen to Lick 19

38
Listen to Lick 20
Listen to Lick 21
Listen to Lick 22

39
Listen to Lick 23
Listen to Lick 24
Listen to Lick 25

40
Listen to Lick 26
Listen to Lick 27
Listen to Lick 28

41
Listen to Lick 29
Listen to Lick 30
Listen to Lick 31

42
Playing diagonally
When we are first learning to improvise over a blues progression chances are that we are
staying within the comfort of the box position (found at the 5th fret for Am pentatonic). Even
now that you know where to find all four other positions (including some hot licks) of the
pentatonic scale itʼs probably not always easy to break free of the well-know positions. In
the following scale charts weʼll cover the same Am pentatonic but by using more of the enti-
re neck of the guitar, we’ll connect different positions together.
Check out the next chart. It covers ground from the 3th fret on the low E string all the way
up to the 12th fret at the high E.
3 ! ! 5 ! ! ! 7! ! 9 !! ! ! 12
There are plenty of different possibilities to connect different positions with one another.
In the next example we’ll use slides to shift from one position to the next. The numbers
in the circles under the tablature give you the correct fingerings to play this diagonal po-
sition.
With this diagonal position we can connect different positions on the guitarneck. This
last position requires some practise to get under your fingers, but once you do have this
one down you’ll be able to improvise around this part of the neck.

43

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About the Author

Chapter 1 The Basic Chords 1

Chapter 3 Major Blues 19

Chapter 4 Minor Blues 23

1) Chords & Progression 23

Chapter 5 Playing in other Keys 27

Chapter 6 Turnaround Licks 32

Chapter 7 Using the Entire Neck of Your Guitar 33

1) The 5 Positions of the Minor Pentatonic Scale 33

chapter 8 Blues Licks in different positions on the neck of the guitar 38

copyright (c) 2010-2012 www.antonyreynaert.com

Learning to play blues guitar can be quite satisfying.

Good luck and enjoy!

Born in Belguim, Antony learned to play classical piano

During high school he practiced for more than 5 hours a

Later, he traveled to Ireland to study with Trevor

He gives guitarlessons and workshops on both a national and international level.

copyright © 2010-2012 www.antonyreynaert.com

Chapter 1 The Basic Chords

This is played with the second and third finger.

A7 (with 2nd en 3rd finger) A7 (with 1st en 2nd finger)

Copyright (c) 2010-2012 www.antonyreynaert.com

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! ! ! ! ! ! ! ! ! ! Just one finger of

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! ! ! ! ! ! ! ! ! The name of this fret

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The next chord is the D7-chord.

A next chord which we will play is the B7-chord.

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Seventh Barre Chords

! ! ! ! ! ! ! ! ! only the pinky differs with

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! ! ! ! ! ! ! ! ! Again the pinky is the

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You will also regularly see the following chord.

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Much Used Seventh Chords in Blues

Seventh chords in 1st position (played around the first fret)

Seventh chords played in barré

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Musical Scales, Progressions and Everything You Will Need to Know

Below you will see such a 12-bar blues progression noted.

Copyright (c) 2010-2012 www.antonyreynaert.com

On the next page you’ll find the minor pentatonic scale;

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This is the blues scale:

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To learn to play bluessolo’s it is necessary to build up a vocabulary of blueslicks.

A guitar solo is in fact a series of different melodical phrases. By learning these

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Chapter 2 Technical Basics

Hammer-ons & pull-offs