00:00 blues 01:18 "hello fellow guitarists"  03:12 ending a tune

05:38 12 bar blues 06:18 V I 06:53 half step above I (♯I ~ V) 07:58 half step above IV (♯IV ~ I) 08:42 half step below I (bI7 → I) more specifically (bI13b9 → I) 10:00 “On the guitar, a lot of playing is with forms and continuity” 10:37 half step above IV (♯IV → IV), here using ♯IV13 11:19 half step above IV (♯IV → IV), but changing the root to the b5 (which is the I) 11:56 IV → IV♯dim (IV♯dim ~ (bI13b9) 13:22 turnaround: C9 B7 E7 Am11 D7 G7 (keeping a common tone—the note D)

14:28 12 bar blues (basic) 15:02 12 bar blues (with more subs) 15:58 12 bar blues (with other voicings) — many good voicings 17:32 turnaround 18:06 the importance of continuity in chordal improvisation 21:20 12 bar blues (with voice leading and pedal tones) 22:52 “I'm using a lot of the same grips, they're bar forms. They're chords that all guitar players learn and know” 23:53 12 bar blues 24:20 dom7 m7 25:10 +examples 25:33 the importance of common tones (in changes) 26:47 “Always count 1, 2, 3, 4. I don't know why” 26:53 12 bar blues

27:07 moving chords down chromatically (C13 B13 Bb13/E A13) 27:46 “you can always move chords either chromatically or through a cycle” 28:35 variation (moving down chromatically) 29:30 12 bar blues (with many 251s), 50s/60s style 30:27 same above 30:57 blues 50s style 31:55 alternative version 33:14 again 33:52 pinky chordal movement (I IV V anchored in I)

34:12 don't do things that break the flow of music 34:47 most guitar greats use mainly simple barred forms 36:09 lines that come from simple forms 37:06 “don't play any chords with four fingers that you can play with two or one” 41:52 another blues variation 42:27 using diminished chords as dom7 chords 43:01 another blues 45:50 Joe checking why his lick wasn't working 49:59 another blues