Hello again, today version of love in vain by Robert Johnson. It's based loosely on the original, many of the licks that Johnson used, although it might lack a little of his intensity, which was, which was very special. But it does allow us to put ourselves into the music within the basic structure. Here's a piece in a and let's take a look at the code we're going to use. First of all, I use along a in this for that often. I use my little finger to hold the last two strings down.

This is a line and Hopkins trick, which gives a really nice effect. And of course we use a seven in this form We have a basic e code I think wouldn't be a blues without an E seven code. We also use a D seven code. This is the full D seven code. But often we just use this half code. We have a diminished chord.

Have you used a kind of a D seven shape high up here on the ninth and the eighth on the seven frets. Maybe that's about it. The interesting thing that we're doing the long aiklaud Cool, the trademark Johnson rundown. You'll notice throughout this song that the thumb is striking the bass strings quite heavily, and very often damping as soon as it strikes in this way It's a strange kind of technique because if you do too hard the strings boasts and they don't make it very nice, nice noise. So the damn thing with the farm is a little bit critical, but it provides this boom, boom, boom, the nice driving bass beat it gives it a lot of intensity, and of course, the treble notes with the fingers provide an answer to the base. Sometimes we won't dump, but this will become apparent when we're playing to the song.

Sometimes you'll feel that it needs to be done. And sometimes you can let it ring a little bit. The rest of it is pretty straightforward, except that on the D seven chord, we have a hammer and a pull off, and they have to pull off again this way. You'll see this in the tablature later. But if you can only manage one hammer on on one pull off for now, then do that. And now play the introduction and one verse and the incidental break to show you what we're aiming for.

Here we go then live in pain by Robert Johnson. went down to the stage my suitcase in my hand down to the stage with my suitcase filled, so long Let's take a look at the tablet for now and the detail tuition for loving vain. We'll start with the introduction, which is quite short. And before we look at the detail tablature which is quite slow. I'll show you. First of all how this section should sound sounds quite strange when you finish halfway through But when you learn this section and the next section and put them together, you sort of make sense but at the moment, the strings are ringing because we're leaving them.

But normally when we play, we run them all together. See how you get on Just one string here with my fingers crossed across both of them. It's quite nice As we move on to the D seven, we opened the bass then put our thumb back on in that way, which is nice because of the effect. We drop onto the g7 using this double hammer on and pull off effect Also with the IE seven, we just bend that note a little bit. Before we let it go And then we'll come to the section where we're going to play D seven again. And here is an effect.

That is a trademark of Johnson's. He's holding the sixth string down on the second fret with his phone, hitting them with some of our right hand. Then we'll drop it down to the first fret and back to the second. But in between those strobes, we're going to hit this fifth string with our finger. Sounds like this. Here's what it sounds like with the music.

See how you get on Well, that's the end of the tuition for love in vain. I hope you've enjoyed it. If you've got any questions or comments at all, please email me on Jim Bruce, at YouTube records calm, and I'll be happy to talk to you make some time in the morning in the evening to practice practice regularly. Even it's a little that regularly is much more beneficial than two or three hours one day and then nothing for two or three days after. Another thing I want to say is that often guitar instructors talk about the riffs and the chords and the scales and the technique. But one important ingredient when you play the blues is his attitude.

Try and put yourself in the shoes of these, these old guitar masters, how they lived, how they how they worked, they traveled around playing for a room playing for food. Life was very hard, very hard. Let the intensity of that feeling come out in your music and you will go wrong. I'll see you again. Bye bye