Kid Andersen Blues Guitar Lesson – Finding Lines in Chord Shapes: Demonstration



so now I want to talk to you a little bit about how we can orient ourselves around the neck by of different chord shapes instead of as many tend to do sometimes when when you're first learning you're just let's say you're improvising over a C blues or see anything and people often you know tend to stick in the regular minor pentatonic blues box as it were which is this one here and that's fine that's a good that's a good safe spot to be and the thing is you can find those notes that are in this scale and and key notes for the you know CEO blues a bunch of different places on the neck and a good place to start is by looking at different shapes of say a c7 chord on the neck so here's one probably all know this one so this has the potential to be a whole new position check it out now I should say that I use I don't tend to think too much in terms of scales I use almost you know all 12 notes chromatically at my disposal at some point during a blues or during what I played they'd they all they all fit somewhere so they're not all to be avoided but what I tend to do a lot of time is I use a combination of the minor pentatonic scale and the mixolydian scale and that would give you so those are the notes that that that I'm looking for on the neck so there's that position I suppose you could call that the first position now you also have a c7 chord here and that has its own position and and fingering of the same note as you can see same notes but a different positioning of your hand and a different spot on the neck and the cool thing about these different chord shapes is that as you're playing one you might suddenly find that you have access to put your hand in another position and that's a good way to keep like a flow ideas and keep it interesting and not get yourself in a rut and get stuck jabbering on the same notes and the same space on the neck so here's a way in which I can show you how to go from the first to the second position and then and this will be my third position and out of this see you got a whole new positioner this is a this feels a little bit like a minor pentatonic which is C major pentatonic you know that's that's an old shortcut to sounding to giving your stuff you know your blues playing a different texture play three frets down and then you got the whole major pentatonic scale and that's more sweeter so that's that's our third position I call that so and then next one well now you're here the old familiar minor pentatonic box which is you know getting out of that box it's why I'm making this segment in the first place so I'm gonna assume you're familiar with that one and move on from there so yeah you got a c7 right there this is when I use a lot where you have it so it's one series of frets up from where I would put my index finger like on the tenth fret here in C and have the root the fifth and the seventh with my pinky and then the third with my pinky I got the fourth right here with my index finger and I got a whole cool little position and then we're pretty much back to that's the next position which is just an octave up from the first one that's how I navigate myself it's a system of navigation navigation around the fretboard and and wonder it works well for me and and it keeps me entertained because if you do it a lot you familiarize yourself with any kind of and there's much there's obviously many more shapes of c7 or some kind of C chord on different spots in the in the fretboard and they all can have like a little little box around them for you to play solos out of so as you playing you finally can go from one to another and pretty seamlessly after a while and it's the kind of thing that will help you come up with new ideas and and new things to play and really keeping yourself entertained while you're playing it's almost like a real time problem-solving thing you know like a crossword puzzle if you go all down here oh no I'm here okay and it'll it'll it'll keep you inspired you know once you start getting the hang of it once you start seeing all the different options seeing all the things you can do besides all the different things you can do besides that and even with the same notes but it's still trigger you to do things a little different and keeping yourself entertained and mostly isn't that what it's about now check it out you can also by tweaking a few notes you can make the c7 into a f7 which is your four chord and then as logic would have it two frets up from there you got your five chord the g7 so for instance let me show you my here's my first my first c7 right oh yeah that's probably the first c7 anybody learns now if you move these two notes the third and the seventh down a half step they become the seven and the third of the four chord which is F and Tata we have an f7 chord this currently has no root in it but that's you know that's why our bass player he can hit that one down there so there's there's a way for you to get from your c7 and have almost the same stuff available to you in F just by moving a few trigger notes on this shape the c7 I showed you check this out there's your f7 you can even add the 9 on top 57 move the 3rd and 7th down and you get the 7 on the surgery and this one I'm just making that one off of those to do this c7 f7 you can add this if you want a route on top so then you got a whole f7 shape too which is awfully close to your pre-existing c7 shape so that's another possibility or another set of possibilities that open up when you think about the fretboard in this way and get out of the box now one of my favorite lakes or moves as I like to call them relate to incorporates these different kind of chord shapes in this position here which is the second one up from the minor pentatonic box okay so here's to the lick and involves a bend and a chord band so as you see here we got where am i we got it we got a c7 shape right here and if you move these two down you got a f7 and here's the F on top now here's my the thing I like to do as I like to bend the on this f7 chord bend the root of the chord which is the F on your g string bend it up to a 9 and you can use that it doesn't even have to be on the on over the fourth chord because blues the blues language is fairly flexible when you know as it comes to tonality and and the court gender you know manor major or minor so you can incorporate that kind of Bend as you know as an alternative to for instance doing right which is pretty normal you know minor pentatonic blues box lick okay now here's how I would do it incorporating that chord shape the f7 chord shape and the bend and then you have your c7 back there so that's often you'll hear me doing a lot two different ways of resolving it all right so what I'd like to do now is a I'm gonna play along to a track and keep my own concepts here in mind and demonstrate some of these things in action how I can be playing out of one chord shape and segue into another one and another one and another one is still and we will just kind of see where the fretboard takes us

12 thoughts on “Kid Andersen Blues Guitar Lesson – Finding Lines in Chord Shapes: Demonstration”

  1. I hope you realize that you didn’t explain anything to anyone. I suggest you record a tryout, next time, and then you can watch it and think If you are teaching , or just showing what a nice tone you have. Thank you!

  2. Hair fits the glasses fits the voice fits the beard fits the accent fits the bruised knuckles. Also plays blues with rugged guitar tone. This man is the complete blueprint of man.

  3. Someone please help. At 14:53, what are the fingerings of that chord,, he's calling it a C7. What frets.Thanks

  4. Aside from the incredible chops, I can say that I've never, in my 30 years of living abroad, ever heard someone so completely lose their native accent.

  5. never heard of you or your guitar before today..Man i been missing out. solid lesson .I wish i could take some real lessons from this dude

  6. Interesting guitar, tone, and nice lesson well shown and explained. Liked the comment on the bass player! “He can hit that root for you 😆”

  7. Informative and funny lesson! Kid should record a (be)bop / Grant Green / early Kenny Burrell type album… Nice Grez btw. I wonder how Kid likes it…

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