By now you've probably learned at least a handful of iconic Blues licks, and most likely played dozens of standard 12 Bar Blues progressions which is awesome and all necessary at first… but let’s face it after a while it can start to sound and feel pretty stale if that's all you got!
Is there a way to learn how players like Stevie Ray Vaughan, Gary Moore, and Buddy Guy were able to keep one firmly rooted in the blues and with the other foot kick open the door to fire and aggression of Rock’n’Roll? Is there a way to learn how they took classic blues licks and turned it into some of the most iconic Blues Rock guitar parts of all time?
After we released Complete Blues Volume 1, our intention was to immediately start working on Complete Blues Volume 2, but we all know how 2020 went... HA!
But we did realize there was a great opportunity to have Corey record a course in his home studio that will help players make the Blues Rock Connection and also help prepare you for what's to come in Complete Blues Volume 2. Â
You might be hitting a dead-end wondering when how you’re going to get the most out of those Pentatonic Scales you’ve been working on.
Or, you may be stumped when it comes to expanding your blues rhythm beyond a standard 12 Bar Shuffle.
We’ve all been there which is why we decided to put together a course that starts you down the path to effortlessly integrate the rock FIRE into your blues playing.
In this course, Corey is going to show you how blues went from Albert King, Buddy Guy, BB King, Freddy King, and Chuck Berry & morphed into Led Zeppelin, Thin Lizzy, Jimi Hendrix, The Red Hot Chili Peppers and Billy Gibbons (just to name a few).
The best part is, every one of these bands used 12 bar blues progressions as a starting point to their songs.Â
The ability to change the timing, phrasing and feel can turn your solid blues foundation into something entirely new!
The goal of Blues Rock Connection is to make you a well-rounded guitar player. To do that we need to focus on elements of both rhythm and lead guitar.Â
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