Chords for Call Me The Breeze - Guitar Lesson Preview
Tempo:
81.45 bpm
Chords used:
F#
G
F#m
D#
G#m
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[N] Hey, there are a lot of songs that go like this, in one way or another, thousands.
But almost every one of them has something that makes it a little distinctive, unique,
has got some nice little fills, it depends on the lyrics, the melody, the tune.
We're going to take a look at J.J. Cale's tune, Call Me the Breeze.
Now this turned into a big hit, or at least a staple, for Leonard Skinner, a little later,
on their second album, second helping.
But it first appeared on J.J. Cale's album, Naturally, in 1970, which had some other great
tunes, we've already talked about, Crazy Mama, and a few others on the way, I promise.
This one falls in the category of absolutely stock 12-bar blues.
It is in what we might call double time, in that the riff really happens twice in [F#] one
measure, one, two, three, four.
[G#m] So the beats, we would count that [E] as one measure.
I got through the riff twice, except the second time was a little bit different.
So we're going [G] to talk about the specific [N] inflections that we get based on having an
E, a power chord, moving from a five chord [F#] to a six, with the addition of C sharp, to
[F#] a seven, with the addition of D, back to six.
[F#m] Now I'm capable of the second fret, I'm talking in the key of E, [D] but I'm capable of the second
fret, putting it really in the key [D#] of F sharp, because that's the key he did it in.
In this [G] lesson, we're going to talk about it in both keys, kind of depending [N] on what
is important at the time.
The first important thing is, it's just 12-bar blues.
Four measures of E, two measures of A, two more measures of E, a measure of B, a measure
of A, and two more measures of E.
It's about as, again, when I call it stock, that's like
the standard, [N]
the easiest way 12-bar blues goes, almost, with one exception.
Once it got to B chord five, it could have stayed there for two measures, which would
have made it easier, the Johnny B.
Goode approach.
But in this one, we have four measures of chord one, two measures of chord four, two
more measures back to chord one, then five, four, one for two measures.
There is our 12-bar set.
We'll talk about how we do this [F#] riff in E.
We'll also talk about, at the very beginning,
there is a little guitar addition that throws in some [A#] triads,
[D#m]
[F#] [D#] four little different voicings
of essentially an E chord or an F sharp chord, depending on which key I'm going to be talking
about it in.
Then we'll talk also a little bit about [F#m] a couple of different patterns, [N] a couple of
different pentatonic patterns that we'll use to fill in some little lead parts.
We're not going to take a look at specifically the lead that happens in this because it can
go any way you want, a fun little jam and tune.
Okay, [A] enough talking about it.
First, we'll talk about 12-bar blues, then we'll talk about everything [N] a little specific that happens.
This is going to be a short lesson, but hopefully you'll get something really valuable out of it.
But almost every one of them has something that makes it a little distinctive, unique,
has got some nice little fills, it depends on the lyrics, the melody, the tune.
We're going to take a look at J.J. Cale's tune, Call Me the Breeze.
Now this turned into a big hit, or at least a staple, for Leonard Skinner, a little later,
on their second album, second helping.
But it first appeared on J.J. Cale's album, Naturally, in 1970, which had some other great
tunes, we've already talked about, Crazy Mama, and a few others on the way, I promise.
This one falls in the category of absolutely stock 12-bar blues.
It is in what we might call double time, in that the riff really happens twice in [F#] one
measure, one, two, three, four.
[G#m] So the beats, we would count that [E] as one measure.
I got through the riff twice, except the second time was a little bit different.
So we're going [G] to talk about the specific [N] inflections that we get based on having an
E, a power chord, moving from a five chord [F#] to a six, with the addition of C sharp, to
[F#] a seven, with the addition of D, back to six.
[F#m] Now I'm capable of the second fret, I'm talking in the key of E, [D] but I'm capable of the second
fret, putting it really in the key [D#] of F sharp, because that's the key he did it in.
In this [G] lesson, we're going to talk about it in both keys, kind of depending [N] on what
is important at the time.
The first important thing is, it's just 12-bar blues.
Four measures of E, two measures of A, two more measures of E, a measure of B, a measure
of A, and two more measures of E.
It's about as, again, when I call it stock, that's like
the standard, [N]
the easiest way 12-bar blues goes, almost, with one exception.
Once it got to B chord five, it could have stayed there for two measures, which would
have made it easier, the Johnny B.
Goode approach.
But in this one, we have four measures of chord one, two measures of chord four, two
more measures back to chord one, then five, four, one for two measures.
There is our 12-bar set.
We'll talk about how we do this [F#] riff in E.
We'll also talk about, at the very beginning,
there is a little guitar addition that throws in some [A#] triads,
[D#m]
[F#] [D#] four little different voicings
of essentially an E chord or an F sharp chord, depending on which key I'm going to be talking
about it in.
Then we'll talk also a little bit about [F#m] a couple of different patterns, [N] a couple of
different pentatonic patterns that we'll use to fill in some little lead parts.
We're not going to take a look at specifically the lead that happens in this because it can
go any way you want, a fun little jam and tune.
Okay, [A] enough talking about it.
First, we'll talk about 12-bar blues, then we'll talk about everything [N] a little specific that happens.
This is going to be a short lesson, but hopefully you'll get something really valuable out of it.
Key:
F#
G
F#m
D#
G#m
F#
G
F#m
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [N] Hey, there are a lot of songs that go like this, in one way or another, thousands.
But almost every one of them has something that makes it a little distinctive, unique,
has got some nice little fills, it depends on the lyrics, the melody, the tune.
We're going to take a look at J.J. Cale's tune, Call Me the Breeze.
Now this turned into a big hit, or at least a staple, for Leonard Skinner, a little later,
on their second album, second helping.
But it first appeared on J.J. Cale's album, Naturally, in 1970, which had some other great
tunes, we've already talked about, Crazy Mama, and a few others on the way, I promise.
This one falls in the category of absolutely stock 12-bar blues.
_ It is in what we might call double time, in that the riff really happens twice in [F#] one
measure, one, two, three, four.
[G#m] So the beats, we would count that [E] as one measure.
I got through the riff twice, except the second time was a little bit different.
So we're going [G] to talk about the specific [N] inflections that we get based on having an
E, a power chord, moving from a five chord [F#] to a six, with the addition of C sharp, to
[F#] a seven, with the addition of D, back to six.
_ _ _ [F#m] Now I'm capable of the second fret, I'm talking in the key of E, [D] but I'm capable of the second
fret, putting it really in the key [D#] of F sharp, because that's the key he did it in.
In this [G] lesson, we're going to talk about it in both keys, kind of depending [N] on what
is important at the time.
The first important thing is, it's just 12-bar blues.
Four measures of E, two measures of A, two more measures of E, a measure of B, a measure
of A, and two more measures of E.
It's about as, again, when I call it stock, that's like
the standard, [N]
the easiest way 12-bar blues goes, almost, with one exception.
Once it got to B chord five, it could have stayed there for two measures, which would
have made it easier, the Johnny B.
Goode approach.
But in this one, we have four measures of chord one, two measures of chord four, two
more measures back to chord one, then five, four, one for two measures.
There is our 12-bar set.
We'll talk about how we do this [F#] riff _ _ in E.
We'll also talk about, at the very beginning,
there is a little guitar addition that throws in some [A#] triads, _ _
_ _ _ _ [D#m] _ _ _ _
[F#] _ _ [D#] four little different voicings
of essentially an E chord or an F sharp chord, depending on which key I'm going to be talking
about it in.
Then we'll talk also a little bit about [F#m] a _ _ couple of different patterns, _ _ _ _ _ [N] a couple of
different pentatonic patterns that we'll use to fill in some little lead parts.
We're not going to take a look at specifically the lead that happens in this because it can
go any way you want, a fun little jam and tune.
Okay, [A] enough talking about it.
First, we'll talk about 12-bar blues, then we'll talk about everything [N] a little specific that happens.
This is going to be a short lesson, but hopefully you'll get something really valuable out of it. _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [N] Hey, there are a lot of songs that go like this, in one way or another, thousands.
But almost every one of them has something that makes it a little distinctive, unique,
has got some nice little fills, it depends on the lyrics, the melody, the tune.
We're going to take a look at J.J. Cale's tune, Call Me the Breeze.
Now this turned into a big hit, or at least a staple, for Leonard Skinner, a little later,
on their second album, second helping.
But it first appeared on J.J. Cale's album, Naturally, in 1970, which had some other great
tunes, we've already talked about, Crazy Mama, and a few others on the way, I promise.
This one falls in the category of absolutely stock 12-bar blues.
_ It is in what we might call double time, in that the riff really happens twice in [F#] one
measure, one, two, three, four.
[G#m] So the beats, we would count that [E] as one measure.
I got through the riff twice, except the second time was a little bit different.
So we're going [G] to talk about the specific [N] inflections that we get based on having an
E, a power chord, moving from a five chord [F#] to a six, with the addition of C sharp, to
[F#] a seven, with the addition of D, back to six.
_ _ _ [F#m] Now I'm capable of the second fret, I'm talking in the key of E, [D] but I'm capable of the second
fret, putting it really in the key [D#] of F sharp, because that's the key he did it in.
In this [G] lesson, we're going to talk about it in both keys, kind of depending [N] on what
is important at the time.
The first important thing is, it's just 12-bar blues.
Four measures of E, two measures of A, two more measures of E, a measure of B, a measure
of A, and two more measures of E.
It's about as, again, when I call it stock, that's like
the standard, [N]
the easiest way 12-bar blues goes, almost, with one exception.
Once it got to B chord five, it could have stayed there for two measures, which would
have made it easier, the Johnny B.
Goode approach.
But in this one, we have four measures of chord one, two measures of chord four, two
more measures back to chord one, then five, four, one for two measures.
There is our 12-bar set.
We'll talk about how we do this [F#] riff _ _ in E.
We'll also talk about, at the very beginning,
there is a little guitar addition that throws in some [A#] triads, _ _
_ _ _ _ [D#m] _ _ _ _
[F#] _ _ [D#] four little different voicings
of essentially an E chord or an F sharp chord, depending on which key I'm going to be talking
about it in.
Then we'll talk also a little bit about [F#m] a _ _ couple of different patterns, _ _ _ _ _ [N] a couple of
different pentatonic patterns that we'll use to fill in some little lead parts.
We're not going to take a look at specifically the lead that happens in this because it can
go any way you want, a fun little jam and tune.
Okay, [A] enough talking about it.
First, we'll talk about 12-bar blues, then we'll talk about everything [N] a little specific that happens.
This is going to be a short lesson, but hopefully you'll get something really valuable out of it. _
_ _ _ _ _ _ _ _