What's Included with Membership?
Is your Blues playing bland? Does it feel like your playing is missing a few key ingredients? Well, it's time to spice things up with this comprehensive course as Mark Kroos offers several tools that will add variety to your solo playing over the 12-Bar Blues and beyond!
Complete course with step-by-step lessons and practice examples.
Course filmed with 6 cameras for the perfect angles.
All tabs and notation provided in PDF and Guitar Pro formats.
Download tabs, helpers, JamTracks and docs included with lessons.
Access this course, along with all other courses with Membership.
Mark will start with a basic 12-Bar Blues form before progressing through the Minor Pentatonic shapes. We'll then work our way through the Dorian and Mixolydian modes, arpeggios, double stops, and bends! There are a handful of solos sprinkled along the way to help us master the shapes and skills required to spice up our Blues playing!
Mark Kroos introduces us to 'Spice Up the Blues'!
Grab your guitar and let's get started with this basic form of the 12-Bar Blues.
We've all heard of the Minor Pentatonic scale, but in this lesson, Mark will dive in on tweaking the Pentatonic Scale to cover more ground and incorporate the Major and Minor Blues Scales.
Now that we have the Major and Minor Blues Scale under our fingers, Mark takes us through our first solo for this series utilizing both of these foundational scales.
In this lesson, Mark shifts gears and dives into one of his very favorite modes: The Dorian Mode.
Time for another solo! In this solo, we'll incorporate what we've learned with the Dorian Mode and even add a new level of complexity by including the Major Blues Scale.
Ok, let's move on and add another mode to our musical toolbox. In this lesson, Mark dives into the Mixolydian Mode.
Alright, let's get another solo under our fingers as we combine the D Dorian and D Mixolydian modes!
In this next lesson, we'll move on to learning some key Dominant 7 arpeggio shapes for incorporating into our 12-Bar Blues soloing.
Arpeggios are fun, but can often lead to losing our place on the fretboard.
In this lesson, we'll take our arpeggios a step further by learning how to stay in position while using them!
Now that we have our arpeggio shapes down let's put them to the test with this arpeggio-based solo!
We have the Dominant 7 arpeggio shapes thoroughly under our fingers now, but what do we do with them? In this lesson, Mark guides us on how to use these arpeggios as a roadmap to connect our chord tones to build tension and resolution.
Now it's time to work on our chord changes over the 12-Bar Blues by using guide tones!
Ok, now it's time to put everything we've learned about chord and target tones to the test by connecting the different chord changes in this solo!
Looking for a quick and fun skill to incorporate into your solos? Here, Mark dives into harmonic double stops and how to use them at different intervals in our playing.
Let's expand on our double stops as Mark incorporates sixths to create a very distinctive sound!
Now let's take these harmonic double stops that we've got under our fingertips and incorporate them into a solo!
Moving on, Mark walks us through harmonized bends and how to tailor this technique for the specific chords that we're using in our 12-Bar Blues.
Alright, now let's take those harmonized bends we learned in the previous lesson and put them to use in this next solo!
In this next lesson, Mark breaks down what can be intimidating to some players: fully diminished 7th chords.
Time to take a look at a different type of arpeggio! Diminished Arpeggios can be tricky, but once we get them under our fingers they can be a lot of fun!
In this lesson, we move on to the useful Diminished Scale, which is built from alternating half-steps and whole-steps.
Time for another solo! For this solo, we'll take the Diminished Scale and incorporate some tension and resolution to make this a well-rounded and dynamic piece.
Here, Mark takes us through the Whole Tone Scale, which feels a little different from other scales we've encountered due to the notes being a whole step apart.
Congratulations! For this final lesson of the course, we'll put our Whole Tone Scale to use in this unique-sounding solo.
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