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Having a repertoire that has some skill in timing, some licks so tasty you need to play them more than once, a song structure you need to keep on top of and a groove to fall in with the rest of the band and be a part in the whole sound.
That's my aim, I just think I'll be risking more if I drop a bar or fluff a note of a repeated riff - so learning faster as it matters more, supporting other musicians and making friends, improving my bandsmanship, stage presence, there seems to be more energy in that music to my ears AND if no one else wants to play rhythm - more practice time for me!
Also, is it me or has "60s Rhythm and Blues" warped into "Blues"? Big Brother and the Holding Company "Combination of the two" is blues and not a million miles in feel from King Curtiss's Memphis Soul Stew - but it seems people want to play Little Wing or Scuttle Buttin'
Lots of talk about arpeggios. That's lots of thinking. It's worth simplifying the application by understanding a slightly more sophisticated concept. That is, how triads stack to make chords. Initially, understanding that the top three quarters of a Dom 7th chord is a diminished triad off the third. E.g.play an E dim triad instead of a full C7. Stick with three note voicings on strings 123 and 234. Gives you small, easily-remembered units of notes to play with (and your bassist will thank you).
Later, you can walk into those chord tones chromatically or diatonically and start to understand how the other diatonic triads relate to the Dom 7th. ('All Blues' demonstrates, as do people like Robben Ford.)
However, that's all in danger of over-complicating it for now, so: just set up a C7 groove and side-slip into an E dim.
(For a cool sound ending on a 9th, slide up from Gm to Am and back over C7)
Was about to make chicken stock but now have irresistible urge to find out what chitlins' are and get me some.
It is all min/maj pentatonics, mixolydian, dominant 7 arpeggios but knowing well the fretboard is not enough. I believe all of the greats have a solid time feel and creative phrasing.
When I started playing in a ska band I thought I knew about it but I didn't really, then listened to loads and eventually became quite obsessed with the minutia of it. That's a much narrower band of music than 'the blues.' Indeed in some ways it is hard to know where to start with blues as there is such a rich culture and heritage and you could follow it through James Brown and 80s hip hop for example: believing that it ends up with Joe Bonamassa style twiddle fests is only one perspective. So, take an aspect of the blues - an artist or subgenre - and immerse in that, hear it in your head, see through the matrix as it were. Transferring that onto the fingerboard is another matter but if you don't know what you are aiming for then you won't ever get there.
[patronising lecture over... ]
(Sorry, the software won't let me post a link to a Youtube page because it keeps trying to turn it into an image of a video, which it isn't. It's a channel page. Grrr!)
Search You-tube for "Fretboard Confidential"
I really like his "just learn one thing at a time" philosophy.
Another very good, down-to-earth one is here: (Sorry. Same annoying BBS software problem. You will have to search You-tube for "Tim Daley Blues Guitar".
Can't go wrong with either of those.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
https://www.premierguitar.com/lessons/blues/-2657200501