22K views · 2.4K reactions | One riff to rule them all… and in the blues bind them. This Chuck Berry–style move works over ANY chord and gives your playing that timeless rock ’n’ roll energy. Learn it once — use it forever. | Marty Schwartz | Facebook
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22K views · 2.4K reactions | One riff to rule them all… and in the blues …
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FacebookMarty Schwartz
13K views · 1.3K reactions | Everyone knows the 12-bar blues… but almost nobody plays this. The 8-bar blues is grittier, punchier, and hits harder — think “Key to the Highway” or early rock ’n’ roll grooves. In this quick lesson, I’ll show you the real pattern and how to make it sound downright nasty on guitar. | Marty Schwartz | Facebook
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13K views · 1.3K reactions | Everyone knows the 12-bar blues…
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You ever wonder why great blues and rock players sound so thick, gritty, and alive while beginner solos feel thin? The difference is double stops. The second you stop picking one lonely note at a time and start hitting pairs of strings with intent, everything changes. Your bends get attitude, your licks get weight, and suddenly your guitar has a voice instead of just notes. Hendrix, SRV, Prince, Keith Richards — they didn’t rely on single-note lines. They made the guitar speak in harmony and ten
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You ever wonder why great blues and rock players sound so thick, g…
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FacebookMarty Schwartz
21K views · 813 reactions | These three notes sit right next to each other, and they’re the reason blues solos sound tense, dirty, and emotional. It’s the flat five, the blues note, rubbing against the notes around it that creates that unmistakable blues-rock feel. Slide into it, hammer through it, or pull off of it, and suddenly your solo sounds alive instead of clean. These notes aren’t meant to sit still. They’re meant to move. | Marty Schwartz | Facebook
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21K views · 813 reactions | These three notes sit right next to each o…
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FacebookMarty Schwartz
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