REQ: Ton van Bergeijk's Fingerstyle Blues & Boogie Guidebook
Ton overviews and demonstrates all of the following performance studies and then breaks them down, emphasizing the concepts and techniques to master them and then "fiddle around with them to make them your own." Throughout these performance studies, Ton also shows you a variety of intricate rhythms, licks, and boogie bass lines on guitar, which were inspired by the piano work of James Booker, Ray Charles, Dr. John and Professor Longhair.
Blind Baking Beans - ”This is a typical Blake Rag. The song has changed so much in the years, all that remains is the chord-progression. Somewhere in the late 70’s I started playing in C with a dropped D tuning. This allows you to go higher up the neck with the non-C-chords.”
Gimme Some More - ”Here's a claw pattern on the low strings that I use in a tune where I also sing in harmony with the guitar licks. So Jerry Reed & Roger Miller joined together.”
Hi Heel Sneakers - ”I use this pattern for straight forward blues in E like the hit song Hi-Heel Sneakers. We're talking 2-finger strumming here. Alternated by the odd fill with whatever fingers are needed. The thumb plays dirty on the bass strings and the index plays dirty on the trebles.”
Keep On Gwine - ”This instrumental is basically just two chords: A & E7. Essentially it's about breaks/fills and turnarounds. It's a challenge to keep up its lazy tempo and difficult not to speed-up. I do try to keep the two-step feel, but don't get all religious about it. It's very much New Orleans style in my mind, so plenty of Big Chief rolls here.”
Lonesome Day Blues - ”This is a blues classic originally played by a 30's blues pianist named Jesse James. I have combined it with the bass line of the 60's hit record by Joe Jones, You Talk Too Much.I must admit: I do like experimenting with combinations that may seem far apart. Probably due to my blues harp background, I opted here for the classic Hammy Nixon ending that found its way into so many 30's blues recordings.”
Water Wagon Moan - ”Here are a load of licks and patterns from various backgrounds. In this tune licks from George Van Eps via Pops Staple all the way up to Sly Stone come together over a R&B chord progression.”
Weekend Boogie - ”This is a type of guitar-boogie more or less in what I consider the Jerry Reed-style. Boogie patterns on a guitar seem to work best in E. Or with a dropped D tuning in A and sometimes even D. That way you'll have open bass strings and most of your left hand fingers free for the root and 4th degree chords.”
Won't Be Long - ”This pattern is used for various blues songs that can take a boogie bass. The tricky thing here is the thumb stumbles. You'll get all the different ones I mentioned in the concept section.”
All of the performance studies are tabbed and notated for your practice, reference and study purposes. You’ll also get Guitar Pro files so that you can play, loop and/or slow down the tab and notation as you work through the lessons.
Blind Baking Beans - ”This is a typical Blake Rag. The song has changed so much in the years, all that remains is the chord-progression. Somewhere in the late 70’s I started playing in C with a dropped D tuning. This allows you to go higher up the neck with the non-C-chords.”
Gimme Some More - ”Here's a claw pattern on the low strings that I use in a tune where I also sing in harmony with the guitar licks. So Jerry Reed & Roger Miller joined together.”
Hi Heel Sneakers - ”I use this pattern for straight forward blues in E like the hit song Hi-Heel Sneakers. We're talking 2-finger strumming here. Alternated by the odd fill with whatever fingers are needed. The thumb plays dirty on the bass strings and the index plays dirty on the trebles.”
Keep On Gwine - ”This instrumental is basically just two chords: A & E7. Essentially it's about breaks/fills and turnarounds. It's a challenge to keep up its lazy tempo and difficult not to speed-up. I do try to keep the two-step feel, but don't get all religious about it. It's very much New Orleans style in my mind, so plenty of Big Chief rolls here.”
Lonesome Day Blues - ”This is a blues classic originally played by a 30's blues pianist named Jesse James. I have combined it with the bass line of the 60's hit record by Joe Jones, You Talk Too Much.I must admit: I do like experimenting with combinations that may seem far apart. Probably due to my blues harp background, I opted here for the classic Hammy Nixon ending that found its way into so many 30's blues recordings.”
Water Wagon Moan - ”Here are a load of licks and patterns from various backgrounds. In this tune licks from George Van Eps via Pops Staple all the way up to Sly Stone come together over a R&B chord progression.”
Weekend Boogie - ”This is a type of guitar-boogie more or less in what I consider the Jerry Reed-style. Boogie patterns on a guitar seem to work best in E. Or with a dropped D tuning in A and sometimes even D. That way you'll have open bass strings and most of your left hand fingers free for the root and 4th degree chords.”
Won't Be Long - ”This pattern is used for various blues songs that can take a boogie bass. The tricky thing here is the thumb stumbles. You'll get all the different ones I mentioned in the concept section.”
All of the performance studies are tabbed and notated for your practice, reference and study purposes. You’ll also get Guitar Pro files so that you can play, loop and/or slow down the tab and notation as you work through the lessons.