denis.yarmonik
Verified buyer
04/13/26
5 stars
Great course, enjoyed every second of it! Recommended!
Exotic Blues from The Gristle Shop
Gristle Up Your Blues Moves
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About this course
Greg Koch is back with another new mind expanding learning adventure from the Gristle Shop. As you know, Greg mixes virtually every know genre into the ‘gristle’ blender to help take your chops across all known boundaries to uncharted worlds of wonder.
If your blues chops could use a few doses of originality and gristleness, stop by the Gristle Shop for a massive injection of Exotic Blues.
”What I'm trying to do with this course, ladies and gentlemen, is to give you some recipes that will allow you to add a little bit more harmonic interest to your blue soloing. It's easy to sound too much like a straight ahead jazz musician if you don't approach it from a fresh perspective.
We'll discuss little things that can add some exoticism to your blues. We'll do some things like add what I call the Majavishnu scale or do some open string pull offs in keys where maybe those open strings don't quite gel with the tonality that you're in. But that's where the sweet Gristle dwells my friends.
So if you're ready to take your blues, a skosh outside, grab your guitar and let's get down with the gettin’ with a little bit of Exotic Blues.”
You’ll have all of TrueFire’s advanced learning tools at your finger tips to personalize your workspace and learn at your own pace.
You can loop, slow down, or speed up any section of a lesson. Plus, all of the tab and notation is synced to the videos for the optimal learning experience. You’ll also get tab and standard notation files to print out, Guitar Pro files, and all of the backing tracks to practice with.
Grab your guitar, and let’s get our gristle on with Greg Koch!
If your blues chops could use a few doses of originality and gristleness, stop by the Gristle Shop for a massive injection of Exotic Blues.
”What I'm trying to do with this course, ladies and gentlemen, is to give you some recipes that will allow you to add a little bit more harmonic interest to your blue soloing. It's easy to sound too much like a straight ahead jazz musician if you don't approach it from a fresh perspective.
We'll discuss little things that can add some exoticism to your blues. We'll do some things like add what I call the Majavishnu scale or do some open string pull offs in keys where maybe those open strings don't quite gel with the tonality that you're in. But that's where the sweet Gristle dwells my friends.
So if you're ready to take your blues, a skosh outside, grab your guitar and let's get down with the gettin’ with a little bit of Exotic Blues.”
You’ll have all of TrueFire’s advanced learning tools at your finger tips to personalize your workspace and learn at your own pace.
You can loop, slow down, or speed up any section of a lesson. Plus, all of the tab and notation is synced to the videos for the optimal learning experience. You’ll also get tab and standard notation files to print out, Guitar Pro files, and all of the backing tracks to practice with.
Grab your guitar, and let’s get our gristle on with Greg Koch!
What you'll learn
- Apply whole tone scale ideas over a blues-jazz progression
- Use hybrid picking to execute whole tone runs
- Create tension using whole tone scale over altered dominant chords
- Play major third intervals in a whole tone context
- Navigate between blues vocabulary and whole tone 'outside' playing
Release date: 08/15/2023 • 1h 43m runtime
Sample lessons
Minor Pentatonic Substitutions
Demonstration
Fifth Up Alura
Performance
The Mahavishnu Scale
Demonstration
Boogievishnu
Performance
What's included
42 lessons • 18 charts • 7 Jam Tracks
Exotic Blues from the Gristle Shop
Tired of the same old blues? Greg Koch here and welcome to the Exotic Blues edition of The Gristle Shop!
What I'm trying to do with this course, ladies and gentlemen, is to give you some recipes that will allow you to add a little bit more harmonic interest to your blues soloing. We'll explore all kinds of different things that allow you to apply these ideas to a blues format without sounding stale.
We will discuss little things that can add some exoticism to your blues. We'll do some things like add what I call the "Mahavishnu" scale, or do some open string pull-offs in keys where maybe those open strings don't quite gel with the tonality that you're in, but that's where the sweet Gristle dwells, my friends.
So if you're ready, grab your guitar, and let's get down with getting on with a little bit of Exotic Blues!
What I'm trying to do with this course, ladies and gentlemen, is to give you some recipes that will allow you to add a little bit more harmonic interest to your blues soloing. We'll explore all kinds of different things that allow you to apply these ideas to a blues format without sounding stale.
We will discuss little things that can add some exoticism to your blues. We'll do some things like add what I call the "Mahavishnu" scale, or do some open string pull-offs in keys where maybe those open strings don't quite gel with the tonality that you're in, but that's where the sweet Gristle dwells, my friends.
So if you're ready, grab your guitar, and let's get down with getting on with a little bit of Exotic Blues!
Neighbor Tones
Okay, ladies and gentlemen, boys and girls seeking exotic and outside deviations for your blues nourishment. This particular tune we're going to work on next is a minor blues tune of mine, called—uh—a tune with a basic gist that just goes from A minor seven to D seven. It's like an A minor 11 to a D seven or a D seven over A. What I'm doing here is our first little foray into kind of taking things outside a little bit, or adding some exoticism or exotica. I don't know exactly what that means, but I get asked about this stuff all the time. People ask, "Hey, when it sounds like you're taking things out a little bit, what exactly are you doing?"
Well, there's a bunch of different things, and one of them is as simple as starting a half step below your tonal center, or a half step above, and then resolving to where we're at. So with this particular tune, I can think of a couple of different things, like just a straight A minor pentatonic or a blues, or even a Dorian.
Okay, so if I look at it pentatonic-wise and I'm playing over an A minor seven, I can start and literally do a blues lick a half step down. So there, I started a half step down below from A, so A flat, then back up to A, then to a half step above, back to A again. All right, so: A flat, A, B flat.
Okay. So in concert play, it's the idea of taking the listener on a little ride. You're grabbing them by the ear and they're going, "No, no." Then you resolve, and they go, "Ooh," kind of glad they went on that little trip. Same thing if we do like an A Dorian—if I start a half step down and do A flat Dorian back to a B flat, back to A.
It's an interesting way of breaking things up and adding a bit of ear candy. The theory behind it is not exactly rocket science. You're just literally moving your hand down a half step, going up to the tonic, and then going up a half step and then going back again. You can mix it up as much as you want, doing all that kind of fun stuff. So there you have it. That's the concept of this neighbor tone thing, if you will—half step down, half step above, resolving it to the tonic or the key that you're in, in this case, A minor, going down to A flat, going up to B flat, and going back to A.
Well, there's a bunch of different things, and one of them is as simple as starting a half step below your tonal center, or a half step above, and then resolving to where we're at. So with this particular tune, I can think of a couple of different things, like just a straight A minor pentatonic or a blues, or even a Dorian.
Okay, so if I look at it pentatonic-wise and I'm playing over an A minor seven, I can start and literally do a blues lick a half step down. So there, I started a half step down below from A, so A flat, then back up to A, then to a half step above, back to A again. All right, so: A flat, A, B flat.
Okay. So in concert play, it's the idea of taking the listener on a little ride. You're grabbing them by the ear and they're going, "No, no." Then you resolve, and they go, "Ooh," kind of glad they went on that little trip. Same thing if we do like an A Dorian—if I start a half step down and do A flat Dorian back to a B flat, back to A.
It's an interesting way of breaking things up and adding a bit of ear candy. The theory behind it is not exactly rocket science. You're just literally moving your hand down a half step, going up to the tonic, and then going up a half step and then going back again. You can mix it up as much as you want, doing all that kind of fun stuff. So there you have it. That's the concept of this neighbor tone thing, if you will—half step down, half step above, resolving it to the tonic or the key that you're in, in this case, A minor, going down to A flat, going up to B flat, and going back to A.
Minor Blues Deviant
In this lesson, you're in for a treat! We're diving into a little minor blues tune of my own that I've recorded with my fantastic band, the Koch Marshall Trio. We're going to experiment over an A minor 11 to a D seven, playing a half step below, then resolving, a half step above, then resolving, and maybe even mixing it all up! It's a thrilling variation of a minor blues, and I can't wait to take you on this musical journey. Let's go!
Minor Blues Deviant
In this lesson, you're in for a treat! We're diving into a little minor blues tune of my own that I've recorded with my fantastic band, the Koch Marshall Trio. We're going to experiment over an A minor 11 to a D seven, playing a half step below, then resolving, a half step above, then resolving, and maybe even mixing it all up! It's a thrilling variation of a minor blues, and I can't wait to take you on this musical journey. Let's go!
Minor Blues Deviant
Folks, in this lesson, we're about to have a blast exploring some musical flavors! We're going to play around with a song called "Alura," using a half-step below, half-step above approach. Picture it—playing over an A minor 11 to D seven over A, maybe even dabbling in Dorian or minor Pentatonic blues. Can you hear it? I'm going to start with something as simple as going down a half step and back to A. It's a little bit of flavor, a little bit of tension. And guess what? This stuff works on dominant sevens too!
But hold on, there's more! We're also going to have fun with what we're calling pentatonic substitutions. Three variations, my friends! Playing over an A minor seven chord, we could choose A minor pentatonic, B minor pentatonic, or even E minor pentatonic. Imagine the tension, the unique palette it creates! Now, if you're feeling adventurous, we'll even throw in a C minor pentatonic over an A minor pentatonic scenario. It's a musical journey that's taking things just a little bit farther out, all with pentatonic scales that you might not typically associate with the tonality you're playing over.
So grab your instrument and get ready to add some interesting fodder to your playing. We're building tension, we're exploring, and above all, we're having a blast! Can you, and will you, dig it? Because I know we're going to create something really cool here. Let's go!
But hold on, there's more! We're also going to have fun with what we're calling pentatonic substitutions. Three variations, my friends! Playing over an A minor seven chord, we could choose A minor pentatonic, B minor pentatonic, or even E minor pentatonic. Imagine the tension, the unique palette it creates! Now, if you're feeling adventurous, we'll even throw in a C minor pentatonic over an A minor pentatonic scenario. It's a musical journey that's taking things just a little bit farther out, all with pentatonic scales that you might not typically associate with the tonality you're playing over.
So grab your instrument and get ready to add some interesting fodder to your playing. We're building tension, we're exploring, and above all, we're having a blast! Can you, and will you, dig it? Because I know we're going to create something really cool here. Let's go!
Minor Pentatonic Substitutions
Hey there, musical explorers! Buckle up because we're about to dive into something exciting! You see, we're about to jam on the chords of my tune "Alura," and we're going to spice things up with what we call pentatonic substitutions. Hang on; it's not as complex as it sounds!
First, over an A minor seven chord, you might usually play an A minor pentatonic or blues. That's all well and good, but how about we go a step further with a B minor pentatonic? Oh yes, those notes already exist in a Dorian scale, but isolating them brings a different vibe to the party. A bit of tension, a new color – it's all about stepping out of the ordinary.
And hey, we're not stopping there. Ever thought about playing an E minor pentatonic based on the fifth, or a wild C minor pentatonic that's a minor third above? Mixing them, blending them, bouncing between them – it's an exciting way to add texture to your playing.
So here we are, the chords of "Alura" are A minor 11 to a D seven over A. I'll show you how to balance between a regular A minor pentatonic scenario and then adding a B minor, a whole step above. It sounds different, it feels different, and it's all about experimenting and discovering new flavors.
Ready to see how all these pentatonic scales can fit together over an A minor chord? Can you dig it? Let's do it!
First, over an A minor seven chord, you might usually play an A minor pentatonic or blues. That's all well and good, but how about we go a step further with a B minor pentatonic? Oh yes, those notes already exist in a Dorian scale, but isolating them brings a different vibe to the party. A bit of tension, a new color – it's all about stepping out of the ordinary.
And hey, we're not stopping there. Ever thought about playing an E minor pentatonic based on the fifth, or a wild C minor pentatonic that's a minor third above? Mixing them, blending them, bouncing between them – it's an exciting way to add texture to your playing.
So here we are, the chords of "Alura" are A minor 11 to a D seven over A. I'll show you how to balance between a regular A minor pentatonic scenario and then adding a B minor, a whole step above. It sounds different, it feels different, and it's all about experimenting and discovering new flavors.
Ready to see how all these pentatonic scales can fit together over an A minor chord? Can you dig it? Let's do it!
Whole Step Up Alura
In this lesson, you will learn the fascinating approach of blending chords with a little twist in my tune "Alura." We'll be working with an A minor 11 to a D seven over A, and then we'll explore a regular A minor pentatonic scenario. But wait, there's more! We'll also add a B minor pentatonic, a whole step above, to make it sound extraordinary. Just adding pure B minor pentatonic over an A minor chord will create a unique flavor you'll love. So grab your instruments, and let's do it!
+ 35 more lessons
Reviews
6 results
uribaranes
Verified buyer
10/23/25
Exotic Blues
ב"ה With Greg Koch you cannot go wrong! Fun and amazing guitar playing!
mdimartino
Verified buyer
08/29/25
More Gristle
I love getting me a heapin' helpin' of Gristle!
patandmel
Verified buyer
10/02/24
Edutaining, Practical and Useful
Exotic Blues From The Gristle Shop exceeded by expectations. Greg's delivery is 'edutaining', but also super easy to understand and apply. I'm a pretty seasoned player, but there's content in here I'll go back to over and over again. The content is extremely practical and useful. Good depth and breadth of blues exotica. Highly recommended!
gear1152
12/08/23
Just what I needed
Is this you? You're jamming on some blues or a long vamp with buddies, and it's going great, but after about one chorus, you find yourself playing the same old licks and searching for sounds that you can kind of hear in your head but can't play? The drummer's checking his email and the bass player's looking at you like she wishes you were someone else? If your blues is getting played out, Greg has the cure. These techniques, explained with both clarity and humor, instantly expanded my blues vocabulary. Some subtle, other awesomely over the top. Tons of stuff to work on for months to really add to your vocab.
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