Chords for Matt Schofield - Guitare Xtreme #61
Tempo:
113.25 bpm
Chords used:
A
E
D
G
F#m
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Jam Along & Learn...
Hi, this is Matt Schofield for Guitar Extreme Magazine and very happy to be here doing some
I've got a new album coming out in February 2014 called Far As I Can See and I hope you'll
some bluesy, funky, rock and roll-y, soul-y, jazzy stuff.
guitar player and they'll come
those outside notes that you're using within the context of a blues
outside notes that I like to use.
When you've grown up playing a lot of blues, you tend to think in terms of pentatonic over
But really, a nice thing to add to that is just being aware of the major third within
I've got a new album coming out in February 2014 called Far As I Can See and I hope you'll
some bluesy, funky, rock and roll-y, soul-y, jazzy stuff.
guitar player and they'll come
those outside notes that you're using within the context of a blues
outside notes that I like to use.
When you've grown up playing a lot of blues, you tend to think in terms of pentatonic over
But really, a nice thing to add to that is just being aware of the major third within
100% ➙ 113BPM
A
E
D
G
F#m
A
E
D
_ _ _ _ _ _ _ _
_ _ _ _ _ _ Hi, this is Matt Schofield for Guitar Extreme Magazine _ and very happy to be here doing some
stuff for the fellas. _
I've got a new album coming out in February 2014 called Far As I Can See and I hope you'll
check it out if you like _ some bluesy, funky, rock and roll-y, soul-y, jazzy stuff.
There's a question I get asked after most gigs by some guitar player _ and they'll come
up and say, what are those outside notes that you're using within the context of a blues
progression and they're really not outside notes that I like to use.
They're actually more inside.
When you've grown up playing a lot of blues, you tend to think in terms of pentatonic over
the chord when you're soloing.
_ _ But really, a nice thing to add to that is just being aware of the major third within
the chord that you're playing over.
And so in that regard, I kind of treat each _ chord in the progression of a blues as a key
change in some way.
_ So I'll show you an example of that in _ [F#m] A.
_ _ [F#] _ _
_ [E] _ [A] _ [D] _ [A] _ _ _ _
_ _ _ _ _ So that's playing out the A, [F] I'm including the major third.
[A] _ _ [G] _ _
[A] _ _ [B] [F] And then when I go to the four, I [A#] like to _ [F#m] _ [Em] _ _ _ [D] _ _
[F#] _ include [N] the major third, in this case, of
D.
[F#] _ _ [G] _ _ [E] _ [F#] _ [G] _
_ _ _ _ [A] _ _ [D] _ _
[A] _ Hopefully there you can hear it went back to the one.
_ _ [A] _ _ _ [E] _ _ _
[Gm] And a five chord.
_ _ _ [Bm] _ _
[Gm] _ _ _ [Em] _ _ [D#] _ [D] _ _
[E] _ [Dm] _ _ _ _ _ [Gm] _ _
[Am] _ _ [C] _ [A] _ _ _ _ _
So hopefully it still sounds like blues but you can [Gm] hear the _ progression when I was choosing
to change chords and not necessarily just following a straight 12 bar [F#m] pattern. _
[G] _ And just leading the ear into the change.
So following on from that idea of outlining _ _ the thirds in the chord you're playing over,
_ I like to really, _ _ both visually but mainly _ using my ear, be _ completely aware of going
in and out of the chord at any time. _ _
_ _ It's important not to see chords and rhythm and _ lead and solos as two separate things.
_ _ They're one in the same.
You're either just playing notes _ all at the same time or one after another.
So _ _ I like some extended [A] voices of chords, things like kind of sixth, [F#m] type thing like
that which _ immediately [G#] leads you [G] into _ _ being able to play a melody out of that [F#m] within your
solo like this.
So here's the chord.
_ _ [Gm] _ [C] _
_ [A] _ _ _ _ _ _ _
_ And [F#] I'm just coming straight out of holding the chord and [A] _ _ _ _ [N] using that sixth as my lead
off to play a solo line.
And the same for the four [F#m] chord.
[F] _ _ _ _ [E] _ _
_ [F#] _ [Em] _ [F#] _ _ _ Chords right there under my fingers where [N] I finished the [Em] fret. _
[D] _ _ [Em] _ [F] _ [D] _ [C] _ _ [F#] _
_ [G] _ _ _ _ [F] _ [Em] _ _
[D] _ [Gm] _ _ _ _ _ [G#] Just fits all under the fingers and then the five [G] chord. _ _
Now that's just outlining a basic E7.
[E] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [D] _ _
_ _ _ [E] _ [F#m] _ [E] _ _ _
_ _ _ _ [D] _ _ [C#m] _
[D] That's _ _ [A] _ _ an E9.
You can play some [G] lines out [E] of the chord.
[B] _ _ [E] _ _ _
[G#] _ _ [E] _ [F#m] _ _ _ Back to the one.
It's [G] all _ _ interlinked.
_ _ _ _ _ _ Hi, this is Matt Schofield for Guitar Extreme Magazine _ and very happy to be here doing some
stuff for the fellas. _
I've got a new album coming out in February 2014 called Far As I Can See and I hope you'll
check it out if you like _ some bluesy, funky, rock and roll-y, soul-y, jazzy stuff.
There's a question I get asked after most gigs by some guitar player _ and they'll come
up and say, what are those outside notes that you're using within the context of a blues
progression and they're really not outside notes that I like to use.
They're actually more inside.
When you've grown up playing a lot of blues, you tend to think in terms of pentatonic over
the chord when you're soloing.
_ _ But really, a nice thing to add to that is just being aware of the major third within
the chord that you're playing over.
And so in that regard, I kind of treat each _ chord in the progression of a blues as a key
change in some way.
_ So I'll show you an example of that in _ [F#m] A.
_ _ [F#] _ _
_ [E] _ [A] _ [D] _ [A] _ _ _ _
_ _ _ _ _ So that's playing out the A, [F] I'm including the major third.
[A] _ _ [G] _ _
[A] _ _ [B] [F] And then when I go to the four, I [A#] like to _ [F#m] _ [Em] _ _ _ [D] _ _
[F#] _ include [N] the major third, in this case, of
D.
[F#] _ _ [G] _ _ [E] _ [F#] _ [G] _
_ _ _ _ [A] _ _ [D] _ _
[A] _ Hopefully there you can hear it went back to the one.
_ _ [A] _ _ _ [E] _ _ _
[Gm] And a five chord.
_ _ _ [Bm] _ _
[Gm] _ _ _ [Em] _ _ [D#] _ [D] _ _
[E] _ [Dm] _ _ _ _ _ [Gm] _ _
[Am] _ _ [C] _ [A] _ _ _ _ _
So hopefully it still sounds like blues but you can [Gm] hear the _ progression when I was choosing
to change chords and not necessarily just following a straight 12 bar [F#m] pattern. _
[G] _ And just leading the ear into the change.
So following on from that idea of outlining _ _ the thirds in the chord you're playing over,
_ I like to really, _ _ both visually but mainly _ using my ear, be _ completely aware of going
in and out of the chord at any time. _ _
_ _ It's important not to see chords and rhythm and _ lead and solos as two separate things.
_ _ They're one in the same.
You're either just playing notes _ all at the same time or one after another.
So _ _ I like some extended [A] voices of chords, things like kind of sixth, [F#m] type thing like
that which _ immediately [G#] leads you [G] into _ _ being able to play a melody out of that [F#m] within your
solo like this.
So here's the chord.
_ _ [Gm] _ [C] _
_ [A] _ _ _ _ _ _ _
_ And [F#] I'm just coming straight out of holding the chord and [A] _ _ _ _ [N] using that sixth as my lead
off to play a solo line.
And the same for the four [F#m] chord.
[F] _ _ _ _ [E] _ _
_ [F#] _ [Em] _ [F#] _ _ _ Chords right there under my fingers where [N] I finished the [Em] fret. _
[D] _ _ [Em] _ [F] _ [D] _ [C] _ _ [F#] _
_ [G] _ _ _ _ [F] _ [Em] _ _
[D] _ [Gm] _ _ _ _ _ [G#] Just fits all under the fingers and then the five [G] chord. _ _
Now that's just outlining a basic E7.
[E] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [D] _ _
_ _ _ [E] _ [F#m] _ [E] _ _ _
_ _ _ _ [D] _ _ [C#m] _
[D] That's _ _ [A] _ _ an E9.
You can play some [G] lines out [E] of the chord.
[B] _ _ [E] _ _ _
[G#] _ _ [E] _ [F#m] _ _ _ Back to the one.
It's [G] all _ _ interlinked.
