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Since 2007, Anthony Stauffer has been teaching Texas Blues guitar to aspiring guitar slingers around the world. RU-vid is home to his 300+ free lessons, as well as gear related videos. His site, TexasBluesAlley.com, is home to over 80 courses, all designed for players who want to play like Stevie Ray Vaughan, Albert King, Freddie King, B.B. King, Jimi Hendrix, Eric Clapton and more.
Everything you see on RU-vid is paid for by the people who study and improve their craft in the TXBA Locals program. Members get access to the entire library of courses, and they can study them online using our custom online player which offers features like Instant Loops, Loop Stacking, SoundSlice Tablature, Pitch Shifting, RU-vid Import and more.
I’ve had my CUB for a year now. Couldn’t come to grips with the stock speaker and replacing it with a cannabis Rex has tamed the highs and turned a very nice amp into a brilliant one. Great job on the review btw!
does he keep his index finger totally flat on the high strings( for me this is hard to hold the strings) or there's a slight arc at first joint? That confuses me so much, maybe i need more practicing .
Big Mama Thornton - Ball n Chain at around 32 seconds the guitar plays something similar but it sounds more of a pull-off than a hammer on. That’s the earliest version of that lick that I have personally heard and again… it’s not exact but it sounds like SRV could’ve put his own spin on it perhaps? Who knows.
Big Mama Thornton - Ball n Chain at around 32 seconds the guitar plays something similar but it sounds more of a pull-off than a hammer on. That’s the earliest version of that lick that I have personally heard and again… it’s not exact but it sounds like SRV could’ve put his own spin on it perhaps?
Excellent catch! Not exactly the same but close. It looks like the guitarist on that song was Edward “Bee” Houston. I’ll be checking out his other recordings now.
My wife and I saw Mr. Cray open for George Thorogood a couple of months ago. Great show. His bass player seemed like he was in his own world and just grooving. Awesome band!
Don't tear up it's music! There was a Time I was wone of the best bluse player around,all buy here before Ist 4 cords fond key an had song nailed! BONE MARO TRANCSPLIAN ! (CANCER) Tucke me to my needs learning what I new how to play Thank you!😎🇺🇸👍⚓️
13 years later still helping out players!! Such a wholesome time in RU-vid. I love how open you are at the start saying how this an Ad for your Full Lessons :)
Thank you for the excelent video. RU-vid is poluted with trick videos of easy riffs, instead of learning full songs. Thank you for the comments and details about why you choose this songs, and what problems i may have. ❤ much love
At 17:32 you say you don't know if you've explained it very well. Just so you know, this is one of the best "hands on" pedal videos I have ever watched. The fact that you took the time to explain how the amp you're running the pedal into should be rather neutral in tone speaks volumes to both your knowledge and your willingness to to share it. If only I could get every pedal reviewer to be as concise and useful!
I'm really late to this discussion, but for what it's worth... 1) Very enjoyable and informative video here! Great information! 2) My longtime method for setting string height is kind of low-tech, but it has worked really well for me throughout the years. I call it "a Quarter's worth of action." Quite simply, I aim to set the height of the strings so that I can JUST BARELY slide a Quarter under them at the location of the 16th and 17th frets. I rest the Quarter on top of those two frets so that it spans them like a bridge over a river. I work with the 6th and 5th strings (as a pair) initially, then scoot the Quarter underneath the 4th and 3rd strings, and then finally underneath the 2nd and 1st strings. Ideally, I like to get it so that, when plucked gently, each string sits just high enough above the Quarter to be able to ring clearly and without buzzing against the top of the Quarter. This process gives me a nice medium-low action, and gets the strings following the fretboard radius with pretty good accuracy. That's my story and... 😊
Over the years I have heard some of the most insanly insulting things about players and their reason for being so dynamic. It matters not the style or the fretwork but the most important thing is examples. In my home just as his had parents who kept their music on constant rotation. This provides various styles to pull from and the most amazing things can happen in doing so. Buddy Guy never really had formal lessions but when he heard Mary Had Little Lamb he used influences to improve the european one note pattern in song construction. His solo work to me in most impressive, it is not the notes he plays it is the ones he leaves out. 7 years ago I heard him do a 12 min version of 12 year old boy blues and I have to say....I was not prepared for that. It made zero sense for him to combine three styles in one song so lightly if your not paying attention you may miss it. I credit alot of his styles from Beatles songs because of the clash of notation is so insane I know he spent alot of time allowing his influences to inhabit his soul. Then again I tend to enjoy this channel for the commentary and wit. Respect is always demonstrated and thats really cool.
Being music is all based on mathmatic patterns and rules we can understqand the DNA based inner timing this music was based off of. It was communication, messaging, emotional dependance and also cosmic higher power awareness. It may sound crazy but when you know how many artists and legonds kept their own time and often talked throughout preformances. Monk, Lonnie Johnson, Cousin Joe Pleasent, Mingus, Art Blakey, Duke even Larry Carlton, Joe Pass, Elton John and Peter Frampton. Robert Cray has it and it shows when you see him live. His style is complicated but very basic as he hits the notes most players leave behind. This provides a strong back to any progression and adds flair to the notation used. Back in the 1950 pylyrythims were the Magic of Jazz. People were amazed then it was explained. Now we know but all is hidden because remember, the queen handed out whiteness and your supposed to hate everything black people do or take it and claim it for yourself. Its like when i was on college and could only complete a assignment if there was eithr a TV or Radio on while I was doing it. Thinking and managing two or more things at once is a sign and evidence of very high intellect. I do apprecieate the way you worded the title.
Ha,You are the first person I ever found on here to detail this subject. I was beginning to wonder if anybody ever would after I got curious about how some people learn so fast while other take forever and some practically never really get it even though they all try.
Albert King started out as a drummer, so, timing, in spades, he had, and then thrown in his left handed, upside down, one of a kind tuning, and he was a Blues Killer, the very best!
I can’t for the life of me understand how that court was missed. It is a huge component of the harmony that makes the song so interesting. But I love all your stuff!
that passage from Am to C to G, sounds very very good, you're completely right. It is not written in any transcription, but it sounds much better than without. Harmonically it's clear why (it becomes a V to I, rather than a VI to I). In my opinion, it should be highlighted also when soloing. Thanks a lot again
Awesome stuff my friend! I was fortunate to see Robert and his fab band in Ginza, Tokyo 2015 I think it was. I currently reside in Southern Japan now, am hoping I can catch another show...
Love the honesty. There’s so much going on when things click for you that you tend to forget the basic nomenclature. Happens to all of us. i.e. we know the major scale, but dang if i can play it but can’t recite on a whim that the pentatonic drops the 4. Good video.
I found this very useful but let me say I play bass reasonably well but I'm not musically gifted and also I have bad hearing and I've always been more or less Don deaf. so my problem is identifying the chord structure on which to play bass. often do not have the ability to learn and remember what is played on a record, but if I know the structure I usually play an interesting bass that fits and this is for jam sessions and open stages. I'm not in a gigging band. I was very confused by the introduction and the turnaround and when I looked at ultimate Guitar etc. I ended up more confused but you laid it out in such a clear manner. thanks very much
