Griff Hamlin: Blues Guitar Lesson How To Play Hide Away by Freddie King

Griff Hamlin: Blues Guitar Lesson How To Play Hide Away by Freddie King

While this is a fun little melody to learn and a cool tune... I have an ulterior motive for showing it to you :) We often talk about "playing on the porch" style stuff where you will be responsible for holding down the rhythm while, at the same time, attempting to play something that resembles a melody... Because as you probably remember, you need 3 things to make music - rhythm, harmony, and melody. Taking a little time to learn this would be SUPER beneficial if you're more towards the beginner end of things... And at the very least, fun if you're more advanced.
Griff Hamlin
Duration: 13:17

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Griff Hamlin Lessons: Practicing Your Scales To End On Beat One
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Griff Hamlin Lessons: Practicing Your Scales To End On Beat One

Most folks, when practicing scales, start playing on beat 1 and play through the scale... And while that makes sense academically, it often doesn't make sense musically :( There are 2 reasons: 1) you don't want to start your licks on beat 1, so maybe not starting your scales on beat 1 will help you get used to that. And 2) if you're playing a scale, like a mode, that might lead your ear to a note other than the root, not having the root land on beat 1 is rather - unsettling... or unsatisfying at the least. Watch the video... easier to show that tell :)
10:122 months ago
Griff Hamlin: Blues Guitar Lesson - Expanding The Fretboard With A Simple Blues Lick Moved All Over
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Griff Hamlin: Blues Guitar Lesson - Expanding The Fretboard With A Simple Blues Lick Moved All Over

If you play blues guitar solos, you probably know good old "box 1" but that gets you really used to looking at the world from the right. Instead, let's look at the world to the left of the root, it's there and it can be a wonderous place full of music and mystery ;)
11:242 months ago
Griff Hamlin Lessons: Strumming Double Time - G Cadd9 Em7 D
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Griff Hamlin Lessons: Strumming Double Time - G Cadd9 Em7 D

While I realize this is Blues Guitar Unleashed.... I'd be doing you a disservice if I didn't talk about something that is important for guitar playing no matter what style you play. This strumming and rhythm technique is HUGELY important, and the most important part is (you guessed it) how you COUNT it and tap your foot to feel the beat in the right way. So watch, play, learn, absorb all good things :)
09:462 months ago
Griff Hamlin Lessons: How To Play Since I've Been Loving You by Led Zeppelin
Griff Hamlin

Griff Hamlin Lessons: How To Play Since I've Been Loving You by Led Zeppelin

Again crossing over onto the "Classic Rock Unleashed" side, we're going to look at the chord progression, and some soloing ideas, from Led Zeppelin's classic, "Since I've Been Loving You." You might think. from just a basic listen, that while it sounds bluesy, it's not really a blues... However, if you don't mind digging into your jazz theory a little, you can actually explain this as a minor 12 bar blues. But even if you don't really care why, it's just fun to play and solo over... and we'll talk a little bit about the pentatonic scales and the modes that you can use.
17:523 months ago
Griff Hamlin: How To Play Mississippi Queen By Mountain
Griff Hamlin

Griff Hamlin: How To Play Mississippi Queen By Mountain

This is a song I always dug because it's just one of those classic 12 bar blues rock songs that you might not know is just a 12 bar blues at heart. The basic riff is all E Minor Pentatonic Based, while the intro solo is all E Major Pentatonic Based.. And all that goes on around a basic 12 bar blues in E chord progression. Hope you can dig it!
13:043 months ago
Griff Hamlin: Blues Guitar Lesson How To Play The Funky Rhythm From Tightrope By SRV
Griff Hamlin

Griff Hamlin: Blues Guitar Lesson How To Play The Funky Rhythm From Tightrope By SRV

As much as I love funky rhythms, this is one of my all time favorites... In blues, we don't get to use these funky rhythms as often, and therefore they often get played incorrectly, or without much feel. So what I tried to do here was to break this down into levels - start simple, get more complex as you get more comfortable. I hope you can give it a shot and don't mind the buzzing low B (I've fixed it now :)
11:433 months ago
Griff Hamlin Lessons: The 3 Legs Of Blues Soloing And How To Use Them
Griff Hamlin

Griff Hamlin Lessons: The 3 Legs Of Blues Soloing And How To Use Them

OK... so this isn't a "lesson" in the sense of giving you something to play and practice on... But I would say that, "you don't know what you don't know," is equally as important... And sometimes we need to take the 30,000 foot view and make sure you're on the right track. You'll hear me reference this "soloing tripod" a lot in other videos, so I hope you'll indulge me a few minutes to clarify what that's all about and why.
09:043 months ago
Griff Hamlin Lessons: The Turnaround For 12 Bar Blues
Griff Hamlin

Griff Hamlin Lessons: The Turnaround For 12 Bar Blues

This is that one old school 12 bar blues turnaround that everyone and their brother/sister/uncle/cousin plays... And you should too :) It works for a shuffle or a slow blues and it's just one of those moves you have to know, so get to learnin' it.
04:243 months ago
Griff Hamlin Lessons: Blues Rhythm Guitar Lesson The I IV I7 Move
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Griff Hamlin Lessons: Blues Rhythm Guitar Lesson The I IV I7 Move

For blues comping (playing blues rhythm guitar) this is a move that gets used on all kinds of tunes... Slow blues, shuffle blues, straight feel songs... really doesn't matter, this will work. It's also one of those "set and forget" moves - honestly don't worry too much about why it works (I'll tell you) but concentrate on experimenting with it and really making it your own. Play it - a lot - and get it down so it works for you. I promise you'll be glad you did.
08:003 months ago
Griff Hamlin: My Pedalboard And Teaching Rig
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Griff Hamlin: My Pedalboard And Teaching Rig

Above all else, the one question I hear time and time again is... "How do you get that tone?" Surprisingly, my video studio rig is very simple, and very inexpensive... probably not what you'd expect. I'll walk you through it all and link to this video in every other video from now on :)
15:584 months ago
Griff Hamlin: Playing/Counting Rhythm & Lead Together
Griff Hamlin

Griff Hamlin: Playing/Counting Rhythm & Lead Together

This video is a little more of a project for the beginning blues players watching... In order to be able to play with other people (really, in order to be able to play at all) you need to be able to play a simple rhythm, keep some time, and maybe play a little lead over it... I talk a lot about counting, and I hear from a lot of students that they have trouble counting when it comes to single note lines - so this line is really easy and should be straightforward for counting. You NEED to be able to do this. If you cannot, work on your skills until you can, and you'll be setup for much more progress down the line. If you can do this already, that's GREAT!
18:304 months ago
Griff Hamlin: First Finger Bend & Licks
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Griff Hamlin: First Finger Bend & Licks

I know that I'm usually the first person to say, "Don't bend with your first finger, that just doesn't feel good and it's hard." That hasn't really changed, but there *are* certain times when your first finger is going to be called upon to push some steel - and this is that time. These are a couple of Albert King-ish moves that tend to require the first finger if you want them to sound just right.
09:124 months ago

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Kevin was born in Compton, California to loving parents, and into a talented family who where from richly diverse musical cities of Chicago , Illinois and New Orleans, Louisiana. From birth he has congenital club feet and a hip displacement , but he did not allow this condition to deter him from pursuing his passion for music and the zest for life. Meeting Louis Armstrong at one of his concerts was also an inspiration in his early years... Kevin was self-taught at the tender age of 4, playing his sister's piano and at age 7 he took up his brother's saxophone, as he was gifted and enjoyed playing several instruments. When he was 9 his father suggested that he find a dedicated instrument of his own to play. Kevin wanted to play drums, however, his father thought with his handicap, eventually he would become discouraged.His older brother had a band and persuaded him to play electric bass because it was needed. Christmas of that year, Kevin received his first bass, a St George bass obtained from a swap meet. His brother taught him the basic technique and playing position, and the Kevin took it from there. He listened to various musical styles from Nat King Cole, Frank Sinatra, Big Band swing, Classical, Rhythm and Blues, Soul and Rock. During that time there were no stereo systems, stereo sound, or digital technology as we know it today. There were only records players and vinyl records. Many bass notes were difficult to hear, so Kevin put his ear over the record player as it played, to hear the bass notes for the songs he would play in his brothers band. At 13 years of age he began his formal musical training on the flute with Milton Hall from Watts,CA. Acoustic bass began during this time with Mr Hamilton also from Watts as well, which he continued through High School. At Pius the Tenth High School, Kevin learn to read music on both instruments respectively. The flute in treble clef and the bass in bass clef. He studied harmony, 20th century western music, counterpoint, and took other music courses as well.In addition, he performed with the prestigious all-city Pico Rivera Stage Band, yielding him the experience, and understanding of the bass player's role in a big band. This band won numerous awards, and the Hollywood Bowl Competitions for 3 consecutive years. In this same band, Kevin received the Jazz Soloist Award at the Orange Coast College Jazz Band Competitions. After graduating from Pius the Tenth High School, Kevin earned a full scholarship to the University of Southern California; however, his love for jazz prompted him to forego the USC Scholarship. Instead he opted to attend Cerritos and Long Beach Colleges, know for their jazz programs. Soon after, his desire to play professionally, and an opportunity to work with the Tommy Dorsey Orchestra, relocated Kevin to New York City. After his stint with Tommy Dorsey, he returned to Los Angeles, and also returned to his previous classical acoustic bass training, studying under renowned bassist's: David Borkenhagen, Nathaniel Gangursky, Ami Porat, and was a protege of Barry Lieberman from the Los Angeles Philharmonic Orchestra. While working in the Bellflower Symphony Orchestra, Kevin finished his education at the University of Long Beach. As his career escalated, Kevin has become a premier bassist /producer on the music scene. Today, he has found great success working with many of the world's top recording artists, entertainers, musicians, and is involved in a myriad of events within the music, entertainment, television, multimedia, web designing and film industries. In 2007 he was awarded by the National Association of Recording Arts and Science Double Grammy 's for his musicianship and participation on the 2007 Grammy Nominated " Album of the Year " and "Best Pop Vocal Album " Justin Timberlake "FutureSex/LoveSounds", 2006 Best R&B Album of the Year "Breakthrough" by Mary J Blige , 2005 Beyonce and Stevie Wonder " So Amazing " single and the 2004 Grammy Album Of The Year , Best Rap Album , " OUTKAST ".
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