Breaking Down Advanced Blues Techniques - 407

If you’re ready to take your blues playing beyond the basics, this episode is for you! I’m breaking down advanced techniques—like chromatic passing tones, double-stops, and dynamic phrasing—to help you sound more expressive and pro-level in your solos.

8 Advanced Blues Soloing Techniques (You Might Already Be Using)

You might be more advanced than you think.

If you're getting comfortable with rhythms, chords, and scale patterns all over the neck—especially if you're experimenting with blues phrasing—there’s a good chance you’re already dabbling in advanced blues territory, even if you don’t realize it yet.

In this video, I’m going to break down what truly separates intermediate players from advanced blues guitarists. And spoiler alert—it’s not speed!

It’s control, phrasing, and intention.

Let’s walk through 8 essential techniques that advanced players use to sound polished, expressive, and musical. Pick one of these to focus on in your next solo session, and you’ll see a major difference.

1. Targeting Chord Tones

Advanced blues players don’t just run up and down scales. They connect with the chords underneath. That means landing on the root, third, or fifth of the chord—on purpose.

Try this: instead of starting your next lick on a random note, aim for the root of the current chord. Just that one move brings instant clarity. Once you’ve got the root down, try outlining the third and fifth too.

It’s the difference between sounding like you're “noodling” and sounding like your solo belongs in the song.

2. Mixing Major and Minor

This is where blues magic happens! Dominant 7 chords let you blur the line between major and minor—and that’s why blues feels the way it does.

The minor third brings tension and grit. The major third brings sweetness and release. Blend them, and suddenly your solos speak like a voice. It's expressive, human, and real.

Try bending from the minor third up to the major third in your next lick and see what happens. It’s the heart of the blues.

3. Chromatic & Passing Tones

Want your licks to sound smooth and connected? Add chromatic notes and passing tones between strong targets.

You’ve probably already used the classic “blues scale”—which is really just the minor pentatonic plus a tritone (the “blue note”). That note doesn’t belong in the scale... but it works because it creates tension that begs for resolution.

Add a slide, a half-step, or a quick chromatic walk to lead into a chord tone, and suddenly your licks sound professional, not robotic.

4. Diminished & Altered Sounds

Players like Robben Ford, Larry Carlton, and Josh Smith push beyond standard blues by using diminished and altered sounds for added tension.

These sounds don’t show up often—but when they do, they’re powerful. You might use a half-whole diminished scale to lead into a 5 chord, for example. It’s rich with dissonance, but when it resolves, it feels amazing.

This is the advanced spice. A little goes a long way.

5. Dynamic Control and Touch

Advanced blues is not just about what you play—it’s about how you play it.

Listen to players like Buddy Guy or Stevie Ray Vaughan. They don't just crank it to 10 and go—they shape every phrase with volume, attack, and expression.

Try starting your solo soft and slow, then build intensity as you go. Feature one note louder than the others. Back off for emotional moments. These little choices make a huge impact.

6. Hybrid Picking & Fingerstyle Techniques

Players like Derek Trucks and Warren Haynes use their fingers (or a mix of pick and fingers—hybrid picking) to get a different tone and feel.

Fingers can add subtlety and nuance you just can’t get with a pick alone. Try alternating between pick and fingers the next time you jam. For example, pick one note and pluck the next with your middle finger.

The tone and articulation possibilities expand instantly!

7. Rhythm & Comping Mastery

Don’t forget about rhythm guitar. Advanced players are great rhythm players—often better than soloists.

They slide into chords, throw in double stops, use half-step approaches, and create rhythmic fills that add texture and groove. They don’t just play static chords—they play the band.

Next time you comp, try adding a chord stab, slide into a chord from a fret below, or toss in a quick fill. It’ll make your rhythm parts come alive.

8. Expressive Bends and Vibrato

Sometimes it's not about playing more notes—it's about making one note count.

Players like B.B. King, Gary Moore, and Albert King didn’t play flashy licks—they bent one note with emotion and control. Their vibrato had soul. Their bends were like a voice cracking with emotion.

Try this: hold your bend, don’t rush it. Add slow vibrato. Let the note breathe before moving on. That’s where the magic is.

Final Thoughts: Pick One and Get Intentional

You don’t need to master all of these at once. Just pick one technique and focus on it in your next solo session. Record yourself. Review it later. See where you can improve phrasing, control, or target note connection.

These are the things that make you sound like you—not a clone, not a lick machine. These are the steps toward mastery.

Thank you for listening to this week's episode. See you in the next one!

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