When seeking to improve at blues guitar, the first port of call is usually learning some guitar solos, be it the swampy pentatonics of Stevie Ray Vaughan’s Texas Flood or dynamic melodies of B.B ...

Over the next few columns, I’d like to demonstrate three distinct approaches I like to take to expand my soloing vocabulary within the blues form: chromaticism, diminished/augmented chords, and ii - V ...

In my last column, I demonstrated a Jimmy Reed-inspired eight-bar rhythm figure played with a funky, syncopated half-time feel, moving from the I (one) chord, A7, to the V (five) chord, E7, and back ...