Chords for Blues Guitar Arrangements in DADGAD Tuning by Al Petteway
Tempo:
160.3 bpm
Chords used:
D
G
Gm
F
Bm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Am]
[G] [D]
[Gm] [D]
[Fm] [G] [D]
[Bm] [Gm] [D]
[N] Hi, I'm Al Petaway and I'm here at the Homespun Studios.
And I'd love to show you some of the stuff I've learned about playing blues in dadgad tuning.
What I'd like to do is go on to another little thing that I love in dadgad tuning as far
as blues styles.
And that is that you've got parallel octave.
[D]
So you can get these licks that I was just doing basically with solo lines, I can do
doubling them as an octave and come up with a really cool thing.
Lead Belly was famous for playing a 12 string, but there's a big resurgence now in 12 string.
And I'm seeing more and more of them and more of them playing blues and slide on 12 string.
But Lead Belly may have done a lick that would sound like this.
[Bm]
[F] [D] [G]
[F#] [F] [Dm]
[A] [G]
[D] [F] [E]
[D]
[Bm] [Dm] Something like that.
And believe it or not, it's the same [G] [Am]
[D] little lines that I [Dm]
was doing before.
[G] Basically third fret [E]
on every string except [G#] for the third string, which is that fret.
So if you remember [Em] that and then you remember that these two are one [D] string in between,
these other two octaves have [A] two strings in between.
[D] Then all you have to do is play parallel with your fingers, whether it's first and second,
second and third, whichever is comfortable for you.
And what I like to do is take something I discover like that and turn it into a little
tune or something.
So this is, I wrote this little, I didn't like the chord pattern, but I used this idea
for this chord pattern.
It would be a great jamming sort of thing, you know, if you have someone else playing
with you and you just want to lay down a cool background groove.
I used to play a lot of bluegrass and a lot of the bluegrass tunes that I played came
from a blues tradition or a folk tradition.
They kind of mix in all different styles with bluegrass.
It's kind of a blues and country style mixed together.
And I was asked once to sit in on a bluegrass tune, one of the old time bluegrass tunes,
and I just finished playing, I was in Dadgad tuning, and they said, come up and play with us.
And I went, okay.
I hadn't been able to really think about it a whole lot, but I realized, well, if I know
they're going to play in G, which is a good bluegrass key, or G with a capo somewhere,
so I think I'll be pretty safe.
Because in Dadgad, you have this, [G]
if I don't play the fifth string, I've got G, D, G, D,
G.
I've got all fifths right there.
If I want a major chord, I can put my first finger down and get a G like this.
[D] I thought, [F] well, at least I know most of the bluegrass tunes are going to be G, C, and
D.
And so I had to kind of quick come up with something.
But the very first note that I played, I realized how cool it was to be playing these tunes in Dadgad.
[G] I was able to do this with a flat pick, this strum, [D]
[G]
that you just can't do in standard.
And all of a sudden, even though it was banjo, mandolin, and me, there was no bass player,
I ended up being the bass player.
And then I [E]
was struggling in my brain, thinking, okay, they're going to the C chord now, what
am I going to play?
Because Dadgad, C is not the greatest chord.
It would be [C] something like this, and you'd have to be kind of careful [G] what you hit.
You don't want to sound like you're playing Celtic music.
I decided either it was by accident or just brilliance, I don't know what yet, but I hit
just a standard C chord in Dadgad.
And it came out, here I [D] am playing this bluegrass thing, I'm going, okay, I've got to go to
the 4 [G] chord,
[Gm]
standard C chord in Dadgad, and then the 5 chord, which would be a D in this
key, [D]
you can just hit it with one finger on the second fret, third string.
So I'm not really playing any third here, no third here, and here I'm playing [Gm] this great
chord.
[D] Well, when I started thinking about blues tunes that kind of cross over those borders
in between bluegrass, blues, and folk, I remembered one that I used to play called Darling Cory.
[G] [D]
[Gm] [D]
[Fm] [G] [D]
[Bm] [Gm] [D]
[N] Hi, I'm Al Petaway and I'm here at the Homespun Studios.
And I'd love to show you some of the stuff I've learned about playing blues in dadgad tuning.
What I'd like to do is go on to another little thing that I love in dadgad tuning as far
as blues styles.
And that is that you've got parallel octave.
[D]
So you can get these licks that I was just doing basically with solo lines, I can do
doubling them as an octave and come up with a really cool thing.
Lead Belly was famous for playing a 12 string, but there's a big resurgence now in 12 string.
And I'm seeing more and more of them and more of them playing blues and slide on 12 string.
But Lead Belly may have done a lick that would sound like this.
[Bm]
[F] [D] [G]
[F#] [F] [Dm]
[A] [G]
[D] [F] [E]
[D]
[Bm] [Dm] Something like that.
And believe it or not, it's the same [G] [Am]
[D] little lines that I [Dm]
was doing before.
[G] Basically third fret [E]
on every string except [G#] for the third string, which is that fret.
So if you remember [Em] that and then you remember that these two are one [D] string in between,
these other two octaves have [A] two strings in between.
[D] Then all you have to do is play parallel with your fingers, whether it's first and second,
second and third, whichever is comfortable for you.
And what I like to do is take something I discover like that and turn it into a little
tune or something.
So this is, I wrote this little, I didn't like the chord pattern, but I used this idea
for this chord pattern.
It would be a great jamming sort of thing, you know, if you have someone else playing
with you and you just want to lay down a cool background groove.
I used to play a lot of bluegrass and a lot of the bluegrass tunes that I played came
from a blues tradition or a folk tradition.
They kind of mix in all different styles with bluegrass.
It's kind of a blues and country style mixed together.
And I was asked once to sit in on a bluegrass tune, one of the old time bluegrass tunes,
and I just finished playing, I was in Dadgad tuning, and they said, come up and play with us.
And I went, okay.
I hadn't been able to really think about it a whole lot, but I realized, well, if I know
they're going to play in G, which is a good bluegrass key, or G with a capo somewhere,
so I think I'll be pretty safe.
Because in Dadgad, you have this, [G]
if I don't play the fifth string, I've got G, D, G, D,
G.
I've got all fifths right there.
If I want a major chord, I can put my first finger down and get a G like this.
[D] I thought, [F] well, at least I know most of the bluegrass tunes are going to be G, C, and
D.
And so I had to kind of quick come up with something.
But the very first note that I played, I realized how cool it was to be playing these tunes in Dadgad.
[G] I was able to do this with a flat pick, this strum, [D]
[G]
that you just can't do in standard.
And all of a sudden, even though it was banjo, mandolin, and me, there was no bass player,
I ended up being the bass player.
And then I [E]
was struggling in my brain, thinking, okay, they're going to the C chord now, what
am I going to play?
Because Dadgad, C is not the greatest chord.
It would be [C] something like this, and you'd have to be kind of careful [G] what you hit.
You don't want to sound like you're playing Celtic music.
I decided either it was by accident or just brilliance, I don't know what yet, but I hit
just a standard C chord in Dadgad.
And it came out, here I [D] am playing this bluegrass thing, I'm going, okay, I've got to go to
the 4 [G] chord,
[Gm]
standard C chord in Dadgad, and then the 5 chord, which would be a D in this
key, [D]
you can just hit it with one finger on the second fret, third string.
So I'm not really playing any third here, no third here, and here I'm playing [Gm] this great
chord.
[D] Well, when I started thinking about blues tunes that kind of cross over those borders
in between bluegrass, blues, and folk, I remembered one that I used to play called Darling Cory.
Key:
D
G
Gm
F
Bm
D
G
Gm
_ _ _ _ [Am] _ _ _ _
_ [G] _ _ _ _ _ _ [D] _
_ _ _ _ [Gm] _ _ [D] _ _
_ [Fm] _ _ [G] _ _ [D] _ _ _
[Bm] _ _ [Gm] _ _ _ [D] _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[N] _ _ _ _ Hi, I'm Al Petaway and I'm here at the Homespun Studios. _
And I'd love to show you some of the stuff I've learned about playing blues in dadgad tuning. _ _
_ _ What I'd like to do is go on to another little thing that I love in _ dadgad tuning as far
as blues _ _ styles.
And that is that you've got parallel octave.
[D] _ _ _ _ _ _ _ _
_ So you can get _ _ _ these licks that I was just doing basically with solo lines, I can do
doubling them as an octave and come up with a really cool thing.
_ Lead Belly was famous for playing a 12 string, but there's a big resurgence now in 12 string.
_ And I'm seeing more and more of them and more of them playing blues and slide on 12 string.
_ _ _ _ _ _ _
But Lead Belly may have done _ _ _ a lick that would sound like this.
[Bm] _ _ _ _ _
[F] _ _ [D] _ _ _ [G] _ _ _
[F#] _ [F] _ _ _ _ _ _ [Dm] _
_ [A] _ _ _ _ [G] _ _ _
[D] _ _ _ [F] _ [E] _ _ _ _
_ _ _ _ [D] _ _ _ _
[Bm] _ [Dm] _ _ Something like that. _
And believe it or not, _ _ it's the same _ _ [G] _ [Am] _ _ _ _
[D] _ little lines that I [Dm] _ _
was doing before.
[G] Basically third fret [E]
on every string except [G#] for the third string, which is that fret.
So if you remember [Em] that and then you remember that these two are one [D] string in between, _
these other two octaves have [A] two strings in between.
_ [D] _ _ _ _ Then all you have to do is play parallel with your fingers, whether it's first and second,
second and third, whichever is comfortable for you.
_ _ _ _ _ And what I like to do is take something I discover like that and turn it into a little
tune or something.
So this is, I wrote this little, _ I didn't like the chord pattern, but I used this idea
for this chord pattern.
It would be a great jamming sort of thing, you know, if you have someone else playing
with you and you just want to lay down a cool _ background groove. _ _
I used to play a lot of bluegrass and a lot of the bluegrass tunes that I played _ came
from a blues tradition or a folk tradition. _ _ _
_ They kind of mix in all different styles with bluegrass.
It's kind of a blues and country style mixed together. _ _ _ _ _ _ _
And I was asked once to sit in on _ a bluegrass tune, one of the old time bluegrass tunes,
and I just finished playing, I was in Dadgad tuning, and _ they said, come up and play with us.
And I went, okay.
I hadn't been able to really think about it a whole lot, but I realized, well, if I know
they're going to play in G, which is a good bluegrass key, or _ _ G with a capo somewhere,
so I think I'll be pretty safe.
Because in Dadgad, you have this, _ _ _ _ _ [G] _
_ _ _ _ _ _ if I don't play the fifth string, I've got _ _ _ _ _ _ _ _ _ _ G, D, G, _ D,
G.
I've got all fifths right there.
_ If I want a major chord, I can put my first finger down and get a G like this.
_ [D] I thought, [F] well, at least I know most of the bluegrass tunes are going to be G, C, and
D.
And so I had to kind of quick come up with something.
But the very first note that I played, I realized how cool it was to be playing these tunes in Dadgad.
[G] I was able to do this _ with a flat pick, this strum, _ _ [D] _ _ _ _ _ _
_ _ _ _ [G] _ _ _ _
_ _ _ _ _ that you just can't do in standard.
And all of a sudden, even though it was banjo, mandolin, and me, there was no bass player,
_ I ended up being the bass player. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ And then I [E]
was struggling in my brain, thinking, okay, they're going to the C chord now, _ _ what
am I going to play?
Because Dadgad, C is not the greatest chord.
It would be [C] something like _ _ this, and you'd have to be kind of careful [G] what you hit.
You don't want to sound like you're playing Celtic music.
I decided _ either it was by accident or just brilliance, I don't know what yet, but I hit
just a standard C chord in Dadgad.
And it came out, here I [D] am playing this bluegrass thing, I'm going, okay, _ _ _ _ I've got to go to
the 4 [G] chord, _ _
_ _ _ [Gm] _ _ _ _ _
standard C chord in Dadgad, _ _ _ _ _ _ and then the _ 5 chord, which would be a D in this
key, [D] _ _ _
_ you can just hit it with one finger on the second fret, third string.
So I'm not really playing any third here, no third here, and here I'm playing [Gm] this _ _ great
chord.
[D] Well, when I started thinking about blues _ _ tunes that kind of cross over those borders
in between bluegrass, blues, and folk, _ I remembered one that I used to play called Darling Cory.
_ [G] _ _ _ _ _ _ [D] _
_ _ _ _ [Gm] _ _ [D] _ _
_ [Fm] _ _ [G] _ _ [D] _ _ _
[Bm] _ _ [Gm] _ _ _ [D] _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[N] _ _ _ _ Hi, I'm Al Petaway and I'm here at the Homespun Studios. _
And I'd love to show you some of the stuff I've learned about playing blues in dadgad tuning. _ _
_ _ What I'd like to do is go on to another little thing that I love in _ dadgad tuning as far
as blues _ _ styles.
And that is that you've got parallel octave.
[D] _ _ _ _ _ _ _ _
_ So you can get _ _ _ these licks that I was just doing basically with solo lines, I can do
doubling them as an octave and come up with a really cool thing.
_ Lead Belly was famous for playing a 12 string, but there's a big resurgence now in 12 string.
_ And I'm seeing more and more of them and more of them playing blues and slide on 12 string.
_ _ _ _ _ _ _
But Lead Belly may have done _ _ _ a lick that would sound like this.
[Bm] _ _ _ _ _
[F] _ _ [D] _ _ _ [G] _ _ _
[F#] _ [F] _ _ _ _ _ _ [Dm] _
_ [A] _ _ _ _ [G] _ _ _
[D] _ _ _ [F] _ [E] _ _ _ _
_ _ _ _ [D] _ _ _ _
[Bm] _ [Dm] _ _ Something like that. _
And believe it or not, _ _ it's the same _ _ [G] _ [Am] _ _ _ _
[D] _ little lines that I [Dm] _ _
was doing before.
[G] Basically third fret [E]
on every string except [G#] for the third string, which is that fret.
So if you remember [Em] that and then you remember that these two are one [D] string in between, _
these other two octaves have [A] two strings in between.
_ [D] _ _ _ _ Then all you have to do is play parallel with your fingers, whether it's first and second,
second and third, whichever is comfortable for you.
_ _ _ _ _ And what I like to do is take something I discover like that and turn it into a little
tune or something.
So this is, I wrote this little, _ I didn't like the chord pattern, but I used this idea
for this chord pattern.
It would be a great jamming sort of thing, you know, if you have someone else playing
with you and you just want to lay down a cool _ background groove. _ _
I used to play a lot of bluegrass and a lot of the bluegrass tunes that I played _ came
from a blues tradition or a folk tradition. _ _ _
_ They kind of mix in all different styles with bluegrass.
It's kind of a blues and country style mixed together. _ _ _ _ _ _ _
And I was asked once to sit in on _ a bluegrass tune, one of the old time bluegrass tunes,
and I just finished playing, I was in Dadgad tuning, and _ they said, come up and play with us.
And I went, okay.
I hadn't been able to really think about it a whole lot, but I realized, well, if I know
they're going to play in G, which is a good bluegrass key, or _ _ G with a capo somewhere,
so I think I'll be pretty safe.
Because in Dadgad, you have this, _ _ _ _ _ [G] _
_ _ _ _ _ _ if I don't play the fifth string, I've got _ _ _ _ _ _ _ _ _ _ G, D, G, _ D,
G.
I've got all fifths right there.
_ If I want a major chord, I can put my first finger down and get a G like this.
_ [D] I thought, [F] well, at least I know most of the bluegrass tunes are going to be G, C, and
D.
And so I had to kind of quick come up with something.
But the very first note that I played, I realized how cool it was to be playing these tunes in Dadgad.
[G] I was able to do this _ with a flat pick, this strum, _ _ [D] _ _ _ _ _ _
_ _ _ _ [G] _ _ _ _
_ _ _ _ _ that you just can't do in standard.
And all of a sudden, even though it was banjo, mandolin, and me, there was no bass player,
_ I ended up being the bass player. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ And then I [E]
was struggling in my brain, thinking, okay, they're going to the C chord now, _ _ what
am I going to play?
Because Dadgad, C is not the greatest chord.
It would be [C] something like _ _ this, and you'd have to be kind of careful [G] what you hit.
You don't want to sound like you're playing Celtic music.
I decided _ either it was by accident or just brilliance, I don't know what yet, but I hit
just a standard C chord in Dadgad.
And it came out, here I [D] am playing this bluegrass thing, I'm going, okay, _ _ _ _ I've got to go to
the 4 [G] chord, _ _
_ _ _ [Gm] _ _ _ _ _
standard C chord in Dadgad, _ _ _ _ _ _ and then the _ 5 chord, which would be a D in this
key, [D] _ _ _
_ you can just hit it with one finger on the second fret, third string.
So I'm not really playing any third here, no third here, and here I'm playing [Gm] this _ _ great
chord.
[D] Well, when I started thinking about blues _ _ tunes that kind of cross over those borders
in between bluegrass, blues, and folk, _ I remembered one that I used to play called Darling Cory.