Artist21
Verified buyer
04/02/21
Great Teacher!
Groove Guitar: Lead
10 Multi-Style Soloing Techniques & Approaches for Guitar
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James Hogan
Educator
Genres
About this course
All of our guitar heroes have one thing in common -- they know how to lock their solos into the groove, whatever style they’re playing. James Hogan’s Lead Guitar Edition of Groove Guitar will help you develop this essential skill by covering 10 essential lead guitar concepts showcasing a wide variety of feels, styles and techniques including Jazz, Blues, Funk, Rock, Country, Gospel, Pop, and R&B styled grooves.
”Whether you’re an intermediate player in need of some new ideas or a seasoned pro just looking for a refresher, I think you’ll get a lot out of the material I’ll be presenting here in this Lead Guitar edition of Groove Guitar.
We’ll definitely be covering a ton of ground with some killer licks and tricks across a wide variety of popular grooves!”
For each of the 10 soloing performance studies, James will first perform the solos over a backing track, and then break them down for you detailing all of the right- and left-hand techniques being used, as well as the creative and harmonic approaches required to pull off the lead guitar parts authentically.
James will explain and demonstrate all of the key concepts and approaches along the way. You’ll get standard notation and tabs for all of the soloing performances. Plus, James includes all of the backing tracks for you to work with on your own. In addition, you’ll be able to loop or slow down any of the videos so that you can work with the lessons at your own pace.
Grab your guitar and let’s get in the ‘groove’ with James Hogan!
”Whether you’re an intermediate player in need of some new ideas or a seasoned pro just looking for a refresher, I think you’ll get a lot out of the material I’ll be presenting here in this Lead Guitar edition of Groove Guitar.
We’ll definitely be covering a ton of ground with some killer licks and tricks across a wide variety of popular grooves!”
For each of the 10 soloing performance studies, James will first perform the solos over a backing track, and then break them down for you detailing all of the right- and left-hand techniques being used, as well as the creative and harmonic approaches required to pull off the lead guitar parts authentically.
James will explain and demonstrate all of the key concepts and approaches along the way. You’ll get standard notation and tabs for all of the soloing performances. Plus, James includes all of the backing tracks for you to work with on your own. In addition, you’ll be able to loop or slow down any of the videos so that you can work with the lessons at your own pace.
Grab your guitar and let’s get in the ‘groove’ with James Hogan!
What you'll learn
- Play a complete jazz blues phrase in the style of Kenny Burrell
- Apply staccato rhythmic phrasing to jazz blues lines
- Understand how to use chord extensions (9ths and 13ths) in blues progressions
- Understand how to lock lead guitar solos into the groove
- Develop stylistic vocabulary for jazz, blues, funk, rock, country, gospel, pop, and R&B
Release date: 10/25/2018 • 1h 43m runtime
Sample lessons
Gypsy Jam
Performance
Austin City Special
Performance
Nashville Hot Lead
Performance
Faux Slidin'
Overview
What's included
32 lessons • 10 charts • 10 Jam Tracks
Groove Guitar: Lead
Hi, I'm James Hogan and welcome to Groove Guitar: Lead. This companion course to Groove Guitar: Rhythm covers ten essential lead guitar concepts showcasing a wide variety of rhythms, feels, styles and techniques. Jazz, blues, funk, rock, country, gospel, pop, and R&B styled grooves are all featured here, so we'll definitely be covering a ton of ground with some killer licks & tricks in this diverse lead guitar course!
We'll start the course off with some tasty slide guitar licks over an old-school Southern gospel quartet "drive" that'll get you deep in the pocket and grooving hard. From there, we'll check out some classic blues rock licks and techniques inspired by the incomparable Jimi Hendrix. Once we tackle some of Hendrix's iconic soloing concepts, we'll head down to Austin, TX to dig into some of Stevie Ray Vaughan's signature moves over a Texas blues shuffle!
Next, we'll head to "The Big Easy" to lay down some tasty John Scofield inspired phrases over a traditional New Orleans clave groove. From there, we'll take a detour up to Nashville to check out some hot country double stops over a 90's country shuffle.
Some of the funkiest grooves of all time can be found in the music of James Brown. We'll lay down some of Kenny Burrell's signature blue note blues licks over a funky 12/8 guitar groove inspired by the JB's famous cut "Doing It to Death" aka "Funky Good Time". Next, we'll kick into overdrive and rock some John Sykes, Gary Moore & John Frusciante moves over a classic funk-rock groove.
After we rock out a bit, we'll smooth things out with a classic R&B chord progression that showcases some really nice jazz soloing concepts over a smooth R&B groove. Next up are some slick faux slide guitar phrases in the style of Derek Trucks and Jimmy Herring over a pop-funk Mixolydian vamp!
Finally, we'll check out some tasty single note soloing concepts over a modern pop dance groove that will keep people on the dance floor!
Whether you're an intermediate player in need of some new ideas or a seasoned pro just looking for a refresher, I think you'll get a lot out of the material I'll be presenting here in this course. All of the examples are laid out for you in both tablature and standard notation, and I've included some really nice backing tracks for you to jam along with at home! Keep in mind, these examples cover a wide variety of styles and showcase multiple techniques, with varying levels of difficulty. Let's get to it!
We'll start the course off with some tasty slide guitar licks over an old-school Southern gospel quartet "drive" that'll get you deep in the pocket and grooving hard. From there, we'll check out some classic blues rock licks and techniques inspired by the incomparable Jimi Hendrix. Once we tackle some of Hendrix's iconic soloing concepts, we'll head down to Austin, TX to dig into some of Stevie Ray Vaughan's signature moves over a Texas blues shuffle!
Next, we'll head to "The Big Easy" to lay down some tasty John Scofield inspired phrases over a traditional New Orleans clave groove. From there, we'll take a detour up to Nashville to check out some hot country double stops over a 90's country shuffle.
Some of the funkiest grooves of all time can be found in the music of James Brown. We'll lay down some of Kenny Burrell's signature blue note blues licks over a funky 12/8 guitar groove inspired by the JB's famous cut "Doing It to Death" aka "Funky Good Time". Next, we'll kick into overdrive and rock some John Sykes, Gary Moore & John Frusciante moves over a classic funk-rock groove.
After we rock out a bit, we'll smooth things out with a classic R&B chord progression that showcases some really nice jazz soloing concepts over a smooth R&B groove. Next up are some slick faux slide guitar phrases in the style of Derek Trucks and Jimmy Herring over a pop-funk Mixolydian vamp!
Finally, we'll check out some tasty single note soloing concepts over a modern pop dance groove that will keep people on the dance floor!
Whether you're an intermediate player in need of some new ideas or a seasoned pro just looking for a refresher, I think you'll get a lot out of the material I'll be presenting here in this course. All of the examples are laid out for you in both tablature and standard notation, and I've included some really nice backing tracks for you to jam along with at home! Keep in mind, these examples cover a wide variety of styles and showcase multiple techniques, with varying levels of difficulty. Let's get to it!
Slidin' Ghently
This example is inspired by Southern gospel quartet music. Since the early 20th Century, four piece gospel quartet singing groups have played a prominent role in historically African American churches. In the early days, these groups were typically accompanied by piano, guitar or lap steel, although many churches had bass drums and tambourines to use as well in the early days. With this instrumentation, there's a heavy emphasis on the quarter note, especially beats 2 and 4. Uptempo "drives" with tambourine or snare "cracks" on beats 2 and 4 are a staple in gospel music. While many modern churches have moved on to full bands with full choirs, there are still many small churches that play quartet music. Also, the fast quartet "drives" are still widely popular today, even in the bigger mega churches.
We'll be playing some slide guitar here to mimic the House of GOD "Sacred Steel" style of phrasing and vibrato. It's important to mute with both our picking and fretting hands here. You can use a pick if you wish, but I'll be using my fingers to pluck the strings on this example. Willie Eason, Aubrey Ghent, The Lee Boys and Robert Randolph are some great Sacred Steel artists you can check out for inspiration.
Note: Sacred Steel players typically use a variety of open tunings, but we can mimic many of their single note licks in standard tuning, which is what we'll be using in this example. I used a Gibson SG, an Ibanez TS 808 and a Fender Princeton Reverb amp in the course performance.
We'll be playing some slide guitar here to mimic the House of GOD "Sacred Steel" style of phrasing and vibrato. It's important to mute with both our picking and fretting hands here. You can use a pick if you wish, but I'll be using my fingers to pluck the strings on this example. Willie Eason, Aubrey Ghent, The Lee Boys and Robert Randolph are some great Sacred Steel artists you can check out for inspiration.
Note: Sacred Steel players typically use a variety of open tunings, but we can mimic many of their single note licks in standard tuning, which is what we'll be using in this example. I used a Gibson SG, an Ibanez TS 808 and a Fender Princeton Reverb amp in the course performance.
Slidin' Ghently
This example is inspired by Southern gospel quartet music. Since the early 20th Century, four piece gospel quartet singing groups have played a prominent role in historically African American churches. In the early days, these groups were typically accompanied by piano, guitar or lap steel, although many churches had bass drums and tambourines to use as well in the early days. With this instrumentation, there's a heavy emphasis on the quarter note, especially beats 2 and 4. Uptempo "drives" with tambourine or snare "cracks" on beats 2 and 4 are a staple in gospel music. While many modern churches have moved on to full bands with full choirs, there are still many small churches that play quartet music. Also, the fast quartet "drives" are still widely popular today, even in the bigger mega churches.
We'll be playing some slide guitar here to mimic the House of GOD "Sacred Steel" style of phrasing and vibrato. It's important to mute with both our picking and fretting hands here. You can use a pick if you wish, but I'll be using my fingers to pluck the strings on this example. Willie Eason, Aubrey Ghent, The Lee Boys and Robert Randolph are some great Sacred Steel artists you can check out for inspiration.
Note: Sacred Steel players typically use a variety of open tunings, but we can mimic many of their single note licks in standard tuning, which is what we'll be using in this example. I used a Gibson SG, an Ibanez TS 808 and a Fender Princeton Reverb amp in the course performance.
We'll be playing some slide guitar here to mimic the House of GOD "Sacred Steel" style of phrasing and vibrato. It's important to mute with both our picking and fretting hands here. You can use a pick if you wish, but I'll be using my fingers to pluck the strings on this example. Willie Eason, Aubrey Ghent, The Lee Boys and Robert Randolph are some great Sacred Steel artists you can check out for inspiration.
Note: Sacred Steel players typically use a variety of open tunings, but we can mimic many of their single note licks in standard tuning, which is what we'll be using in this example. I used a Gibson SG, an Ibanez TS 808 and a Fender Princeton Reverb amp in the course performance.
Slidin' Ghently
This example is inspired by Southern gospel quartet music. Since the early 20th Century, four piece gospel quartet singing groups have played a prominent role in historically African American churches. In the early days, these groups were typically accompanied by piano, guitar or lap steel, although many churches had bass drums and tambourines to use as well in the early days. With this instrumentation, there's a heavy emphasis on the quarter note, especially beats 2 and 4. Uptempo "drives" with tambourine or snare "cracks" on beats 2 and 4 are a staple in gospel music. While many modern churches have moved on to full bands with full choirs, there are still many small churches that play quartet music. Also, the fast quartet "drives" are still widely popular today, even in the bigger mega churches.
We'll be playing some slide guitar here to mimic the House of GOD "Sacred Steel" style of phrasing and vibrato. It's important to mute with both our picking and fretting hands here. You can use a pick if you wish, but I'll be using my fingers to pluck the strings on this example. Willie Eason, Aubrey Ghent, The Lee Boys and Robert Randolph are some great Sacred Steel artists you can check out for inspiration.
Note: Sacred Steel players typically use a variety of open tunings, but we can mimic many of their single note licks in standard tuning, which is what we'll be using in this example. I used a Gibson SG, an Ibanez TS 808 and a Fender Princeton Reverb amp in the course performance.
We'll be playing some slide guitar here to mimic the House of GOD "Sacred Steel" style of phrasing and vibrato. It's important to mute with both our picking and fretting hands here. You can use a pick if you wish, but I'll be using my fingers to pluck the strings on this example. Willie Eason, Aubrey Ghent, The Lee Boys and Robert Randolph are some great Sacred Steel artists you can check out for inspiration.
Note: Sacred Steel players typically use a variety of open tunings, but we can mimic many of their single note licks in standard tuning, which is what we'll be using in this example. I used a Gibson SG, an Ibanez TS 808 and a Fender Princeton Reverb amp in the course performance.
Gypsy Jam
Enough can't be said about the brilliance of Jimi Hendrix. No one really sounded like Jimi before he was on the scene, and thousands upon thousands of guitarists have tried to sound like him since! That's the true mark of an icon, and in Jimi's case, a genius.
This example highlights some of Jimi's signature licks over a Band of Gypsys era, riff-based groove. There are some killer E minor pentatonic phrases here and lots of rhythmic variation in this example. It's essential to stay in the pocket and really lock into the syncopation of these phrases! Hendrix was a master of rhythm & groove, so we want to do him some justice by staying in the pocket here.
Also, while you don't have to have a Strat and a "dimed" Marshall Plexi to play this example, it sure does sound great through that gear! If you're using single coil pickups, I recommend using the neck pickup for this one. If you're using a guitar with two humbuckers, you can try using the middle position and balance the volumes to mimic single coils. I used a Fender Strat, an Ibanez TS 808, an RMC 3 wah and a Malekko analog delay through a reissue Princeton Reverb for the course performance.
Remember, if you need to slow the riff down to get the timing on point, you can always slow down and jam along to the Guitar Pro file I've included with the course, in addition to the backing track.
This example highlights some of Jimi's signature licks over a Band of Gypsys era, riff-based groove. There are some killer E minor pentatonic phrases here and lots of rhythmic variation in this example. It's essential to stay in the pocket and really lock into the syncopation of these phrases! Hendrix was a master of rhythm & groove, so we want to do him some justice by staying in the pocket here.
Also, while you don't have to have a Strat and a "dimed" Marshall Plexi to play this example, it sure does sound great through that gear! If you're using single coil pickups, I recommend using the neck pickup for this one. If you're using a guitar with two humbuckers, you can try using the middle position and balance the volumes to mimic single coils. I used a Fender Strat, an Ibanez TS 808, an RMC 3 wah and a Malekko analog delay through a reissue Princeton Reverb for the course performance.
Remember, if you need to slow the riff down to get the timing on point, you can always slow down and jam along to the Guitar Pro file I've included with the course, in addition to the backing track.
Gypsy Jam
Enough can't be said about the brilliance of Jimi Hendrix. No one really sounded like Jimi before he was on the scene, and thousands upon thousands of guitarists have tried to sound like him since! That's the true mark of an icon, and in Jimi's case, a genius.
This example highlights some of Jimi's signature licks over a Band of Gypsys era, riff-based groove. There are some killer E minor pentatonic phrases here and lots of rhythmic variation in this example. It's essential to stay in the pocket and really lock into the syncopation of these phrases! Hendrix was a master of rhythm & groove, so we want to do him some justice by staying in the pocket here.
Also, while you don't have to have a Strat and a "dimed" Marshall Plexi to play this example, it sure does sound great through that gear! If you're using single coil pickups, I recommend using the neck pickup for this one. If you're using a guitar with two humbuckers, you can try using the middle position and balance the volumes to mimic single coils. I used a Fender Strat, an Ibanez TS 808, an RMC 3 wah and a Malekko analog delay through a reissue Princeton Reverb for the course performance.
Remember, if you need to slow the riff down to get the timing on point, you can always slow down and jam along to the Guitar Pro file I've included with the course, in addition to the backing track.
This example highlights some of Jimi's signature licks over a Band of Gypsys era, riff-based groove. There are some killer E minor pentatonic phrases here and lots of rhythmic variation in this example. It's essential to stay in the pocket and really lock into the syncopation of these phrases! Hendrix was a master of rhythm & groove, so we want to do him some justice by staying in the pocket here.
Also, while you don't have to have a Strat and a "dimed" Marshall Plexi to play this example, it sure does sound great through that gear! If you're using single coil pickups, I recommend using the neck pickup for this one. If you're using a guitar with two humbuckers, you can try using the middle position and balance the volumes to mimic single coils. I used a Fender Strat, an Ibanez TS 808, an RMC 3 wah and a Malekko analog delay through a reissue Princeton Reverb for the course performance.
Remember, if you need to slow the riff down to get the timing on point, you can always slow down and jam along to the Guitar Pro file I've included with the course, in addition to the backing track.
Gypsy Jam
Enough can't be said about the brilliance of Jimi Hendrix. No one really sounded like Jimi before he was on the scene, and thousands upon thousands of guitarists have tried to sound like him since! That's the true mark of an icon, and in Jimi's case, a genius.
This example highlights some of Jimi's signature licks over a Band of Gypsys era, riff-based groove. There are some killer E minor pentatonic phrases here and lots of rhythmic variation in this example. It's essential to stay in the pocket and really lock into the syncopation of these phrases! Hendrix was a master of rhythm & groove, so we want to do him some justice by staying in the pocket here.
Also, while you don't have to have a Strat and a "dimed" Marshall Plexi to play this example, it sure does sound great through that gear! If you're using single coil pickups, I recommend using the neck pickup for this one. If you're using a guitar with two humbuckers, you can try using the middle position and balance the volumes to mimic single coils. I used a Fender Strat, an Ibanez TS 808, an RMC 3 wah and a Malekko analog delay through a reissue Princeton Reverb for the course performance.
Remember, if you need to slow the riff down to get the timing on point, you can always slow down and jam along to the Guitar Pro file I've included with the course, in addition to the backing track.
This example highlights some of Jimi's signature licks over a Band of Gypsys era, riff-based groove. There are some killer E minor pentatonic phrases here and lots of rhythmic variation in this example. It's essential to stay in the pocket and really lock into the syncopation of these phrases! Hendrix was a master of rhythm & groove, so we want to do him some justice by staying in the pocket here.
Also, while you don't have to have a Strat and a "dimed" Marshall Plexi to play this example, it sure does sound great through that gear! If you're using single coil pickups, I recommend using the neck pickup for this one. If you're using a guitar with two humbuckers, you can try using the middle position and balance the volumes to mimic single coils. I used a Fender Strat, an Ibanez TS 808, an RMC 3 wah and a Malekko analog delay through a reissue Princeton Reverb for the course performance.
Remember, if you need to slow the riff down to get the timing on point, you can always slow down and jam along to the Guitar Pro file I've included with the course, in addition to the backing track.
+ 25 more lessons
Reviews
5 results
boogie50
11/19/19
Groove Guitar: Lead
James Hogan does a nice job of presenting 10 different lead styles, all of which will help improve your sense of groove when improvising. He covers the gambit from rock to blues to jazz: all of which are essential to help strengthen your lead playing and help lock you into the groove.
piero02
Verified buyer
07/02/19
VERY INTERESTING COURSE, I APPRICIATE THIS TEACHER.
Jeffochka
10/28/18
James Can Jam
I concur with the other review already posted here. I love the teacher’s easygoing style. You get a lot of content and absolutely no fluff; the teacher stays on subject and keeps the lessons bite-size so you are able to learn as much as possible in a short amount of time and you are able to keep adding layers of knowledge with each new lesson. Great teacher and great material!
Jim
10/25/18
Excellent overview for any aspiring guitarist
James is truly amazing.......he always seems to understand the fellow guitarist mindset and here once more delivers just a great assortment on 10 different but all quite pertinent 'grooving' guitar styles! Of course match this one up with the rhythm edition but also go back to James Hogan's original TrueFire courses and be equally wowed on the licks and concepts he generously shows us!! Anyone can get this newest course under their fingers and immediately head out to any jam night and play with confidence plus find themselves getting inventive and exploratory by their own improvisation!! TrueFire's on an absolute roll and this latest James Hogan is definitely shining proof!! Jim C.
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