General Music Chat

How many blues guitarists do you know hanging on slide-able B7/Bm7 type deal?

You know what i MEAN?

A 1-4-5 that starts on B7, to E7 and F7 staying with the slide-able position and using the m7 variation.

That 1-4-5 blues situation would be B7 - E7 - F#7, wouldn't it?

In that situation, I occasionally go to the G & then to the F#, depending of the mood of the piece. I don't get where your sliding comes in. Do you have a recorded sample? I'm not getting it in text, but I could be a lil slow this AM.

The cool sliding chord I use sometimes is the diminished, where you can slide it 3 frets at a time all the way up or down the neck for effect, but I don't use a slide for that.

Yeah I am sorry, I was trying to fix the other poll and I didn't include the #

Easier to play it than to talk about it.

Sorry for the confusion, back to our regular programming.

One easy way to show a chord in text is string by string like this:
G major = 3-2-0-0-0-3
You can do that and show us what you mean.
I'd certainly like to see what you mean by the sliding 7ths, Capt.

Phil, I am talking about the B7 based in the A position.

Not a "barred B7", but the equivalent no barre.

follow me?

E muted
A string 2nd fret
D string 1st fret
G string 2nd fret
B muted
E string 2nd fret

That position will slide; up and down the scale/neck, into an E position, into an A position or a D position.

The above B7 chord is in the A position.

B7, E7 + F#7 + 1-4-5, like a sandwich only missing the cheese.

Key in a ton of tunes like Red House, Tush, Jailhouse Rock etc.

And Ratt, I know you know.. lol

I am just not good at talking positions/progressions with a way to illustrate the chord form without a better way. (Thanks for that Rat.)

Your way..would be B7 x-2-1-2-x-2, E7 x-7-6-7-x-7, F#7 x-9-8-9-x-9 or 2-1-2-x-2-x.

Ah - I call that an "open B7," for some reason. Sliding the root form the 2nd fret to the 7th makes it an E7, & then onto the 9th for the F#7...

Yeah, I've used that on the electric a buncha times. It's more difficult on an acoustic.

It works real well for the open C7, with the C/F/G patterns, too. (Muted 1st & 6th strings)

I've done similar things with the 9ths, too.

Yeah but you notice how many people are HANGING on it? (there is much more to this genre than this)

I just saw this one guy play, I won't out him for this..he was sounding good to me.

A guy after the show goes, "he was very good but he really didn't change it up much".

I replied "He was using a slide-able 7th chord in a 1-4-5 ", and it doesn't get much more basic than that.

He said that most blues players do, then he asked me what 1-4-5 was.

I told him and then he asked me what a slide-able 7th chord was and at that point, I kind of thought I just gave him "the keys to the kingdom" for blues anyways.

And I just had to ask HERE if there was anyone that doesn't get this>?
(that is experienced) (Beginners may not know this)

Or for the experienced, if you notice how many guitarists LEAN ON this hard enough to make ya wonder? Seems like tons to me.

I am sick of hearing it.

I thought the most often used type chord in blues is the one similar to what you're talking about but without muting the b string. X = muted:
X-5-4-5-5-5 for the IV chord and X-7-6-7-7-7 for the V chord, when playing in A or A7. It's slideable and sounds cool to hit the in-between chord when sliding up or down from IV to V and back. Would those be like D7 dim and E7 dim? or augmented or something. That's how musically illiterate I am. Been playing those chords for years, but still don't know the right names.

That's a 9th, Jeff. It includes the 1-3-5-7-9 of the scale. It's the B string that gives you the 9th of the scale (or 2nd, if you prefer)

That's a 9th, Jeff. It includes the 1-3-5-7-9 of the scale.

Old dog, new trick = COOL!
Finally, I know what that chord is.

Ooh, don't do that..

You can do more damage with the regular chord form and then hit that muted string for a quick bend, collecting the rest of the "A" pattern.


x-2-1-2-x-2, progressing to x-x-2-2-2-x/x-x-2-x-x/x-x-2B-2B-2B-x
B = bend


That part you are including, that I like to bend up is the 9th? I am unsure.
Too many chords, I don't know the name of any longer. They just flow.

The thing that solidified the neck for me is the relationship between
this 7 type chord, the 9th voicing and the 7omit3 in conjunction with the 1-4-5. This taught me what I can play within this genre of blues/acid rock/southern rock as far as single note voicing.

Sorry 7omit3, as in B7omit3 = x-2-0-2-x-2 the 3rd is history.

Yeah, Cap. I see these lil tricks overused all the time, but they're still effective when they aren't overplayed. It's just tough for some ppl to get out of that rut, I guess, once they've learned something that works.

Ooh, don't do that..

You can do more damage with the regular chord form and then hit that muted string for a quick bend, collecting the rest of the "A" pattern.


x-2-1-2-x-2, progressing to x-x-2-2-2-x/x-x-2-x-x/x-x-2B-2B-2B-x
B = bend


That part you are including, that I like to bend up is the 9th? I am unsure.
Too many chords, I don't know the name of any longer. They just flow.

The thing that solidified the neck for me is the relationship between
this 7 type chord, the 9th voicing and the 7omit3 in conjunction with the 1-4-5. This taught me what I can play within this genre of blues/acid rock/southern rock as far as single note voicing.

Sorry 7omit3, as in B7omit3 = x-2-0-2-x-2 the 3rd is history.

My head is starting to hurt!

EXACTLY what I thought. USe them, but don't abuse them

PHRASING!!!!!!


Anything in moderation is ok, do not STAND on it and make your own phrasing unique to YOU.

That way people will never call you redundant. LOL
I've been called ATONAL, but never redundant.
Non-melodic sucks, but not as bad as being old hat or trite.

I just posted a 2 minute excerpt from my 'Molasses Blues,' sung by my friend, Julie Jazz, bass/guitar by me.
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It's Blues in B, for those who want to hear it.
(B, E, F#)
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You're not gonna hear many 1-4-5 progressions from me, but it's a pretty good example of sliding 9ths.
I use completely different fingerings/voicings for the E9th, sliding B9, and F9#. Each fingering has it's own unique flaver . . .
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Because, you guys are right: Ya gotta mix it up; too much of a good thing just becomes boring, then mediocre, after a while.
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Incidently, the open B7 you've been talking about is a good substitute for an A9 (or A7), when played on the 12th fret.