Blind Blake 's Techniques - Jim Bruce Blind Blake Guitar Lessons
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- Опубліковано 1 сер 2012
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Mastering the Genius of Blind Blake: Techniques and Secrets for Fingerstyle Guitar Players
Brief background on Blind Blake
Blind Blake, born Arthur Blake in Florida in 1896, was an American blues and ragtime guitarist and vocalist. He gained popularity during the 1920s and 1930s with his unique fingerpicking style and intricate chord progressions. Blake was a master of the guitar, often referred to as "King of Ragtime Guitar," and left an indelible mark on the evolution of blues music.
Importance of Blind Blake's guitar techniques
Blind Blake's guitar techniques were innovative for his time, and have influenced countless musicians since then. His use of alternating thumb and finger picking combined with rhythmic complexity created a new sound in blues music that became known as "ragtime blues." In addition to this technique, he also used open tunings to create unique sounds that added texture and depth to his music.
His contributions to the genre were not only stylistic but also technical. Many modern guitarists study his techniques to improve their own fingerpicking abilities or incorporate ragtime elements into their playing.
Fingerpicking Techniques - Alternating Thumb and Finger Picking
Blind Blake was known for his intricate fingerpicking style that incorporated a technique called alternating thumb and finger picking. This method involves playing bass notes with the thumb while plucking melodies with the fingers.
The result is a hypnotic rhythm that can be heard on many of Blake's recordings. By mastering this technique, guitarists can add a new dimension to their playing, allowing them to create complex arrangements with ease.
Syncopation and Rhythmic Complexity
Another hallmark of Blind Blake's guitar playing was his use of syncopation and rhythmic complexity. He was constantly changing up the rhythm, using unexpected accents and pauses to keep the listener engaged.
This approach created a sense of tension and release within his music that made it incredibly dynamic. To achieve this effect, Blake would often play against the beat or emphasize off-beat notes.
Use of Open Tunings
In addition to his unique fingerpicking style, Blind Blake frequently used open tunings in his music. Open tunings involve tuning one or more strings on the guitar to create a different sound than standard tuning. This allowed Blake to experiment with new chord shapes and voicings, creating fresh sounds that were not possible with traditional tuning methods.
Some of the open tunings he used included DGDGBD (open G) and DADF#AD (open D). By incorporating these techniques into their own playing, guitarists can unlock a whole new world of sonic possibilities.
Chord Progressions and Song Structures
Blues Chord Progressions: Keepin' it Simple but Powerful
Blind Blake's blues chord progressions are a fundamental aspect of his guitar style. He used simple, yet powerful, chord progressions that provided the foundation for his intricate fingerpicking patterns.
The classic 12-bar blues progression is a prime example of this, consisting of the I-IV-V chords in a specific order. Blind Blake's unique twist on this timeless progression came from his use of inversions and substitutions on certain chords, adding an unexpected and captivating flavor to his music.
Ragtime Song Structures: Syncopation with a Twist
Another key element of Blind Blake's style was his use of ragtime song structures. Unlike traditional blues songs that follow a predictable pattern, ragtime structures involve complex and often unpredictable rhythms that playfully challenge the listener's expectations. Blake incorporated these structures into many of his songs, creating a distinct sound that set him apart from other guitarists at the time.
Vocal Accompaniment - Use of Scat Singing
Another vocal technique Blind Blake employed was scat singing, which involves using nonsensical syllables to create a rhythm or melody. This approach allowed him to add another layer of percussive sound to his music without relying solely on his guitar playing. Blind Blake's scat singing was both playful and complex, adding to the overall sense of fun and energy in his performances.
Harmonizing with Guitar Playing
Blind Blake was skilled at harmonizing his voice with his guitar playing. He often sang in unison with his guitar melodies, creating a sense of unity between voice and instrument that is rare in solo performances. In addition, he frequently used falsetto vocals to add another dimension to his music.
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94 years after that recording and we're still examining, still studying Blind Blake's approach to the guitar. That is incredible.
For sure--I'm trying to learn it myself
It isn't possible to duplicate it. The only way is if somebody can actually copy it in the speed in which he did it-and he was extraordinarily fast-and do it blindfolded. Nobody can do it. Period.
Man that guitar chimes is so good
Blind Blake is my Guitar Hero. I have never heard anyone come as close as you to capturing Blind Blake's style. Fantastic.
You are so good brother Jim, God bless you brother
Dear Jim Bruce: I heard Blind Blake's "Sun to Sun" on KBRD radio this morning, looked it up on UA-cam, and found your tutorial. Nice job. Thanks for making such a straightforward instructive video. Carry on.
Hey Jim! You and your excellent videos have done more to help me get where I want to be in my playing than anything else I've tried. You have a depth of understanding of Blake's work that beats all but it's your ability to help others learn from it that is truly remarkable. Just excellent! Thanks!
This tutorial is good in sound and graphics, also for the camera close up position, love it and thank you so much, Jim!
Always good clear straight ahead explanations. Good Job!
man o man you are awesome ,,,,love that double time thumb thang...really when my shoulder is better and i can play guitar ,,,its all about the ragtime for me and will be getttin those lessons you offer,,, thanx R
thanks for sharing these tips and tab. very helpful.
brilliant playing great lesson
You inspire me. Mucho gracias.
You nailed it Jim!
Great lesson!
riveting video fella. Loved every minute of it. Pat on the back from me Jim.
loved this!!!
Wow! Awesome playing and picking! Thumbs up:)
cheers, enjoyed it
Brilliant Jim😎
great stuff bro....
Hey Mr. Bruce, I'm a big fan of your finger picking! I was wondering if at some point you could post a lesson on "Rope Stretching Blues"? I can't find it anywhere and the audio is difficult for me to decipher.
Thanks for keeping Blind Blakes music alive!!
***** Fantastic! Can't wait for your next video. Thanks again for your knowledge and teachings! You have a lot of students out there, including myself.
Great Subtitling!! LOL.
Bruce says: "Guitar Chimes" and the subtitle says: "Pizza or Chinese" ..
Hahahaha!!
Hey Diolch! learned plenty.
Impressive BB playing! Q: In Southern Rag you lift up your picking hand. Do you use your ring finger there?
At 4 minutes you say that in Southern Rag Blake used all his fingers (as in the very opening line). A while ago I watched Woody Mann's documentary on Rev Gary Davis and was amazed to see that he really only seemed to use his thumb and first finger! I wonder why? (I think maybe Merle Travis was the same.) But for me that is one of the factors that makes Blake a much more sophisticated player. I'd be interested to know what you think, Jim!
Another angle on Blind Blake: David Olusoga chose some pre-War blues last week for his Desert Island Discs. It struck me there is now enough visual material for a TV programme about him: an article in The Times, a death certificate, a grave, stories (of the research which produced his death certificate, of the romantic discovery of 'new' recordings in an old steamer trunk,) possible testimonies to his playing by e.g. Ry Cooder and Ralph McTell, NOT TO MENTION the work done by you and one or two others in making Blake's wondrous techniques available to other guitarists via UA-cam! And as David O is interested in pre-War guitar (and his chosen luxury was a Martin), I thought that he would be the ideal person to pitch the idea to a production company and to present the programme -- provided that he likes Blind Blake, that is!
This guy should be sitting in with Jorma and Jack.
3:32
Woody Mann does a good job on blind blake. Most of the stuff that he did also he used the guitars that did not have x bracing. So the sound was different. For being a great guitar play that he was feel that history is being very kind to him. I also feel that he was killed for being a playboy.
0:16 and 3:20
🤩🤩🎸🎶👍🇨🇱🍷
Jim, it sounds as if he's strumming all of the "ands" ( or 2s and 4s depending on time) and not single picking with the thumb. I have yet to hear anyone play it like Blake himself, but I think you are the closest yet.
Vintles1 i'll second that
Indeed, it's something I have incorporated in my playing. ua-cam.com/video/IrcZz42PcQc/v-deo.html
you're sure that's Eb7 and not the diminished chord?
Well said, sir (and, to be fair, the difference is 1 string, 1 fret-not much). I regretted the way that sounded as soon as I sent it-- I was just thinking in terms of Gary Davis and B.B. Fuller using the diminished as the weapon of choice in place of the 5 chord when going back to A. Thanks, incidentally, for responding-- I very much admire your work.
The Eb7 works better than a diminished, because it gives you that nice semitone run down on the 4th string: f e eflat d. You hear that run better when Jim plays it faster.
Open G ?
Standard tuning
HELENObbg standard with capo on the 1
"When you're the #1 ragtime player, and your first song is WEST COAST BLUES, where do you go from there"? Answer" You become Rev. Gary Davis
Jeez, who did the subtitling? Obviously doesn't understand the Sheffield accent!