Texas Joy was inspired by Pride ‘n Joy, a Stevie Ray Vaughan classic. Because this tune has a pretty quick tempo, we did a slower version of the solos as well as a regular paced version. If you find yourself struggling with the regular speed one, just try working with the slower one for a while and see if that helps.
Wow! You’ve made it through the course, congratulations! We wanted to give you a little bonus that could really help you take everything you’ve learned even farther. In these two bonus lessons, you’ll discover a simple way to use scale patterns you’re already familiar with to cover the entire fretboard, with just some very small little tweaks.
Before you get started on the lessons, download and print off the tabs, right here.
Welcome to the first song! Make sure you download a copy of the Course Supplement book, as you will find it helpful to go through in tandem with the videos.
As you complete each video, click the “Mark Complete” button on the same page, and the system will track your course progress for you.
If you would prefer a spiral-bound copy of the book, those are available for sale separately (they come included with the DVD version of the course, but not the Download version). You can purchase one here.
Thrill is based on BB King’s The Thrill Is Gone, a great blues song that just happens to use all six diatonic chords. That makes it a pure minor diatonic progression, which opens up new opportunities for us in the solo. Let’s dig in!
Here’s a bonus lesson, not directly related to Mary Had a Little Lamb, but supplemental and helpful all the same. Adding some triplet and shuffle patterns to your rhythm is a great way to spice up your guitar playing and break away from more regular and even strumming patterns. It will be important to starting counting these rhythms correctly from the start.
Sections in this video:
In this section we’ll deal with the first few riffs. Notice the subtle variations – can you think of other ways to play these?
Sections in this video:
In this first section we’ll take a look at the scale we’re using for the riffs, talk about the chromatic passing notes – the so-called “blues” notes! – and also take a look at the chords and various ways of playing those. Don’t skip this part, as it is important foundation for the rest of the song!
To proceed to the next lesson, click the “Mark Complete” button.
Sections in this video:
Wow! You’ve made it through the course, congratulations! We wanted to give you a little bonus that could really help you take everything you’ve learned even farther. In these two bonus lessons, you’ll discover a simple way to use scale patterns you’re already familiar with to cover the entire fretboard, with just some very small little tweaks.
Before you get started on the lessons, download and print off the tabs, right here.
Our last song was inspired by Buddy Guy’s Let Me Love You Baby, and it really rocks! It’s very different from our other tunes, because it relies on a rhythm-riff to establish the rhythm. We’re going to do a normal solo for it, but we’re also going to take the opportunity to work around the pockets created by the rhythm riffs. This song is pretty quick, so there are two versions of the jam track available.
This tune was inspired by Blue Jean Blues – a classic ZZ Top tune. It’s got a great progression, and I think you’re going to love soloing over it!
Texas Joy was inspired by Pride ‘n Joy, a Stevie Ray Vaughan classic. Because this tune has a pretty quick tempo, we did a slower version of the solos as well as a regular paced version. If you find yourself struggling with the regular speed one, just try working with the slower one for a while and see if that helps.
Thrill is based on BB King’s The Thrill Is Gone, a great blues song that just happens to use all six diatonic chords. That makes it a pure minor diatonic progression, which opens up new opportunities for us in the solo. Let’s dig in!
Welcome to the first song! Make sure you download a copy of the Course Supplement book, as you will find it helpful to go through in tandem with the videos.
As you complete each video, click the “Mark Complete” button on the same page, and the system will track your course progress for you.
If you would prefer a spiral-bound copy of the book, those are available for sale separately (they come included with the DVD version of the course, but not the Download version). You can purchase one here.
In this final chapter, Colin takes you into the world of bar chords—an essential skill for playing up and down the neck with freedom. You’ll learn the major and minor bar chord shapes rooted on both the 6th and 5th strings, and how they tie back to the power chords and scales you’ve already used. This lesson gives you the tools to play in any key, unlock new grooves, and confidently expand beyond open positions. It’s the next big step in becoming a well-rounded electric blues guitarist.
To wrap things up, Colin teaches you a bonus 12-bar blues progression that adds a fresh twist to everything you’ve learned. It’s a chance to try out your new skills in a slightly different context—mixing chords, riffs, and rhythm into a cohesive groove. This progression gives you one more solid example to play with, helping reinforce your timing, transitions, and overall blues feel.
In this lesson, Colin shows you how to blend rhythm playing with riff-based ideas to create a more dynamic, layered sound. You’ll learn how to move between chord hits and short licks within a 12-bar structure—just like real blues players do. It’s a key step toward sounding less mechanical and more musical, helping you develop the instinct to fill space tastefully and keep your playing engaging from start to finish.
Now that you’ve got the G minor pentatonic scale down, it’s time to apply it in a full 12-bar blues progression. In this lesson, Colin guides you through playing over a groove in G, combining rhythm and lead ideas you’ve learned so far. It’s all about connecting the scale to the chords, locking into the feel, and starting to improvise with confidence. This is where things start to really sound like the blues.
