Hal leonard 100 blues lessons

ONTENTS PAGE COl

LESSON #1: Anatomy of the Turnaround ...................................... 4 ................ 1 LESSON #26:

LESSON #2: Open-Position Turnarounds in the Key of E...... .. 6 ................ 2 LESSON # 27: Irte....-e::a' ''-:: __ :--=" ,. =S~es__5: ___

LESSON #3: Open-Position Turnarounds in the Key of G........ 8 ................3 LESSON #28: A." :::e.: -.:: ::-: - -;= _ E:3 _ES .__ -='

LESSON #4: Open-Position Turnarounds in the Key of A...... 1 0 ................4 LESSON #29: --_..........._.

LESSON #5: Open-Position Turnarounds in the Key of D...... 12 ................ 5 LESSON #30: T-8o"= ::.,,:- _____. ...._......... .. ......62 __

LESSON #6: Open-Position Turnarounds in the Key of c..... 14 ................ 6 LESSON #31: B.B. ~ = :: _____............................. 64. __

LESSON #7: Moveable Turnaround Lieks .................................... 16 ................ 7 LESSON #32: Albe , -=:- _____.............................66 .... .._

LESSON #8: Replaeing the b7th with the 6th ............................. 18 .... ............ 8 LESSON #33: Britisr 3 _::=:: : -c:. =_ .... .. .... ....................68 .... .... _

LESSON #9: Making the Major Pentatonie Seale LESSON #34: Inco ' -;::-" ::. -3~ _.. .. .. .... ..... .................. 70 ...... .. _ ~

Sound Bluesy ..................................................................20 ................ 9

LESSON #35: Incorpora:":: : -" 9:-__................. ................ 72 ........... _3

LESSON #10: Essential Blues Double Stops ..................................22 ............. 10

LESSON #36: SoloingS:ra:=-::s :c' :-e C ord ......................... 74 .............

LESSON # 11: Dominant Ninth Chords ............................................24 ............. 11

LESSON #37: Soloing Stra:e-g es: : e ' Chord ...................... 76 ............. 3

LESSON #12: Dominant Thirteenth Chords ..................................26 ............. 12

LESSON #38: Soloing S ra-eq es:~ :-e . Chord .. .. ................. .. 78 ............. 3

LESSON #13: Melodie Imitation .........................................................28 ............. 13

LESSON #39: Jazzin' It Up~ i: ': roegg' -_ ................................80 ............. 3

LESSON #14: Rhythmie Imitation ......................................................30 ............. 14

LESSON #40: The Art of Reso ___............. ....................82 ............. 4

LESSON #15: Fret-Hand Muting ......................................................... 32 ............. 15

LESSON #41: Repeated Lieks ............ _ ...._............. .................. ... ......... 84 ............. 4

LESSON #16: Hybrid or Fingerstyle Pieking ..................................34 ............. 16

LESSON #42: Trills .................. ......... ...... ... ... .... ...................... ....................86 ............. 4.

LESSON # 17: The Rake .......................................................................... .36 ............. 17

LESSON #43: Playing "Across the Bar" .................... .........................88 ............. 4.

LESSON #18: Vibrato ............................................................................ ... 38 ............. 18

LESSON #44: Chord Fragments ........................................ ..................90 ............. 4

LESSON #19: Boogie Rhythms and Chord Riffs ..........................40 ............. 19

LESSON #45: Blues Endings .................................................................92 ............. 4

LESSO #20: Robben Ford Style ........................................................42 ............. 20

LESSON #46: Blues Intros ......................................................................94 ............. 4

ES_ ;:2 : AcoustieSlideRiffsinOpenG.................................44 ............. 21

LESSON #47: Siide Guitar Basies.........................................................96 ............. 4

.a.zzin' Up the Blues with Superimposition .......46 .............22

LESSON #48: Acoustie Fingerstyle Blues

-- ~ : -Dace and Allowing Your Phrases in Drop DTuning ...........................................................98 ........... .. .!.

::.==:""'_.......................................................................48 ............. 23

LESSON #49: Aeoustie Fingerstyle Blues

........:>"'-._- -~ ... M _icks in E ................................ ............50 ............. 24 in Double Drop DTuning ....................................... 100 ...... .. .. _

:- _ C nA.. .... ......................................52 ............. 25 LESSON #50: Reeording and EquipmentTips .......................... 102 ........._ .:

Lessons 1-50 by Chad Johnson

PAGE CD 2

ESSON #51: Kick-Starter 1 ................................................................ 1 04 ................ 1

FSSON # 52: Kick-Starter 2 ................................................................ 106 ................ 2

ESSON #53: Kick-Starter 3 ................................................................ 108 ................3

ESSON #54: Kick-Starter 4 .................................................. .............. 110 ................4

ESSON #55: Kick-Starter 5 ................................................................ 112 ................5

ESSON # 56: Siides ............................................................................... 114 ................ 6

ESSON #57: Hammer-Ons .............. ................................................. 116 ................ 7

ESSON #58: Pull-Offs ..... ...... .. ............................................................. 118 ................ 8

ESSON #59: Bends........ .. ..................................................................... 120 ................ 9

~SSON #60: Revisiting Vibrato ............ .. ......................................... 122 ............. 10

ESSON #61: Color Combos ....................... ... ................................... 124 ............. 11

ESSON #62: Bends and Combos .................................................. 126 ............. 12

ESSON #63: Juggling Majors and Minors ................................. 128 ............. 13

SSON #64: Up Through Positions .............................................. 130 ............. 14

SSON #65: Down Through Positions ....................................... 132 ............. 15

ESSON #66: Passing Tones ("lnbetweeners") .......................... 134............. 16

ESSON #67: Bluesy NeighborTones .... .............. ......................... 136 ............. 17

ESSON # 68: Playing the Changes ................................................ 138 ............. 18

ESSON #69: Stringing ItTogether ......................... .. ... .................. 140 ............. 19

ESSON #70: Bending ItTogether .............................................. .... 142 ............. 20

ESSON #71: The12-Bar Blues .......................................................... 144............. 21

ESSON #72: MoreTurnarounds..................................................... 146 ............. 22

ESSON # 73: Three-Octave Blues Riffs ........................................ 148 ............. 23

ESSON #74: 3rds for Rhythm .......................................................... 150 ............. 24

LESSON #76:

LESSON #77:

LESSON #78:

LESSON #79:

LESSON #80:

LESSON #81:

LESSON #82:

LESSON #83:

LESSON #84:

LESSON #85:

LESSON #86:

LESSON #87:

LESSON #88:

LESSON #89:

LESSON #90:

LESSON #91:

LESSON #92:

LESSON #93:

LESSON #94:

LESSON #95:

LESSON #96:

LESSON #97:

LESSON #98:

LESSON #99:

PAGE CD 2

Chuck Berry-Style Rhythm .... ................................ 154 ............. 26

Bo Diddley-Style Rhythm ................. ....... ............... 156 ............. 27

John Lee Hooker-Style Rhythm .......................... 158 ............. 28

B.B. King-Style Rhythm ............................................ 160............. 29

Siiding Chords ............................................................. 162 ............. 30

BasslineThemes ......................................................... 164 ............. 31

Delta Roots ............................... ........................ ............ 166 ............. 32

Delta Il ............................................................................ 168 ............. 33

Cali and Response ..................................................... 170 .. ........... 34

The Blues Scale ........................................................... 172 ............. 35

The Mixolydian Mode............................................ .. 174 ........ .. ... 36

The Dorian Mode....................................................... 176............. 37

Diminished Arpeggios ......................................... ... 178 ............. 38

Augmented Arpeggios ........................................... 180 ............. 39

Chord 1 nserts ............................................................... 182 ............. 40

Pedaling ......................................................................... 184 .............41

Siide Show ................. ................................................... 186 ............. 42

Hammered Chords ................................................... 188 ............. 43

Pulled Chords .............................................................. 190 .............44

Half-Step Chord Workout... .................................... 192 ............. 4S

Open-String Licks in E .............................................. 194 ............. 46

Open-String Licks in A ............................................. 196 ............. 47

Quick Repeaters ......................................................... 198 ............. 48

Classic Elmore James Style .................................... 200 ............. 49

ESSON #75: 6ths for Rhythm .......................................................... 152 ............. 25 LESSON #100: 12-Bar Demo ................................................................ 202 ............. 50

Lessons 51-100 by John Heussenstamm

ANATOMYOFLESSON #1: THE TURNAROUND If there's one thing that almost every 12-bar blues song has, it's the turnaround. There are almost limitless variations on t -s little calling card of the blues, though, which has made it a bit elusive in terms of theoretical study. In this lesson, we'll loo : the anatomy of the turnaround in hopes of gaining a better understanding of what it does, why, and how.

Its Sole Purpose The turnaround occurs in measures 11-12 of a 12-bar blues, and has one sole purpose: to set up another 12-bar chorus 0 blues. In its simplest incarnation, it moves from the 1 chord to the V chord. In the key of G, for instance, this would mean moving from G (or G7) to D (or D7).

rJ .., CDl J=114 (n = J})

(I) (IV ) CIl (IV )

G7 C7 G7 C7

7 7 7 7 7 7 7 7 7 7 7 7 7 , 7 7 7 7 7 Z 1 Z Z Z Z Z Z 7 , , Z 7 , , 2 Z / , Z

1 14I 7fZ=z=z

4(I) (V) (IV) (j) (V)

G7 D7 C7 G7 D7 ,7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7

2 Z , 2 , 2 2 , 7 / 7 Z 2 Z 7 2 2 / 2 , 7 , 2 , 1 1

Turnaround

That's the basic idea. But as we'lI soon see, there are dozens of ways to get from A to B.

Slow Blues Variation ln a slow blues, the turnaround is usually a bit different. It often moves from 1 to IV in measure 11 and then 1 to V in measure 12, with each ofthose chords receiving two beats (or six 8th-note beats in 12/8). Here's an example ofthis in C.

TRACIIl

0:30 ---'

COl ) =56 (V) (IV) (I) (IV) (I) (V)

G7 F7 C7 F7 C7 G7

la 12

7 7 7 7 7 7 7 7 7 7,7 ,7 ,iJ9LJ " z z z 2 z z Z 7 1 Z Chromatic Variations

This is when the variations start piling up. In the classic blues shuffie, the turnaround ofte es chromatie motion wh en moving to the V chord. This can be played on guitar, on bass, or on both. There are gener J .' basic categories: ascending chromatic motion and descending chromatic motion. Interestingly, descending is mue 'e popular on the guitar, while ascending is probably more popular on bass. We'lI focus on the former in this lesson.

When chromatic motion is used, it begins on beat 2 of measure 11. The tirst beat 's srTlP,. tne 1 chord. Beginning on beat 2, there's a line that moves b7-64 6, with each getting one beat. This continues do ore half step to the 5th on the downbeat of measure 12. Interestingly though, this is normally not the arrivai of th: d; ifs usually the 1 chord with the 5th in the bass.

This is followed with more chromatic motion, usually, approaching the root of the . " r aga in, for real this time. The V chord then usually hits on the "and" of beat 2 in measure 12. Let's check out the folio v' a: ' 'oea in E using the open high E string

on top and a descending line starting from the E on string 4. This is a very strp eo " n turnaround.

CD 1

B7 A7 E E7 E"7 Amie E/B B7 E

(j 1+ tI . 1 1 1 1 1

t.J -,J-,J -,J -,J-,J -,T -,T ~~ ~ ~~~ ~ ~. .. q.. -,J ~#~ -,J~-,J II ' ~ lei ril/g - - - - - - -l

n .. u u u :;

;;

2----+-----i! ;; ;; ;; ;; ;; ;; n n ;; ;; ft n u .. .. n ..

L L L L L U U U u n

The descending chromatic line doesn't always appear in the lower register, and it usually doesn't move by itself. It's often

joined bya line that starts on the 5th (again, on beat 2 of measure 11) and harmonizes with the line that starts on the b7th. This line moves 54 5 (or #4)-4-3. This also allows us to assign chord names to these passing harmonies, which are quite colorful as you can see. Here is one way this idea might appear in an E blues.

E E7 E"7 Am E B7

ln yet another variation on this idea, we sometimes add the tonie pedal tone on guitar, which is quite easy to do in the key of E. Here's an example of that idea.

rJ -,

COl J =90( JJ = J}

E E7 E"7 Am E B7

leI ri llg - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -1

2

Instead of the bl-646-5 line, you sometimes see a line that moves 343-2-1 along with the 545-4-3 line. Here's what that

sounds like in E.

T!lACII 1

1:30 .... rJ-,

1 = 9~ ( .JJ = J )> )

E E"7 Am6 E B7

leI r illg - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -1 lei rirl{: - - - - - - - - - --1

OPEN-POSITION LESSON #2: TURNAROUNDS

IN THE KEY OF E A blues player can never know too many good turnarounds. They help to kmark an intro, verse you (and t he band) sound more professional. That's why it's good to be ar ed with as many as pc: concentrate on open-position turnarounds in the key of E.

Where It Goes Though they can appear in other forms, turnaround licks are most ofter .... se in the 12-bar forma:

in the last two measures-ll and 12-and they generally move fro fT' >"" ord to the V chord r to the top of the form . Most often, they make use of chromatic mo:' r: do t his. (They can a :: which case the ending would be changed to resolve on the 1instead ,c : e V.) Here's a chord ('- ::othe placement of the turnaround.

, 1 IV IV 1 7 7 7 7 7 7 7 7 7 -, -, -, 7 7 -, 7 z 2 Z Z Z Z / 7 7 7 , , 1 _L , i 1 Z T-Meas .. 1 2 3 5

T UIT"

V elc.

., -,7 7 7 7 7 7 7 7 7 7 7 7 7 7 77 7 2 i / Z Z Z Z Z Z , , z=/ 7 Z Z Z z

" 1

8 9 /1

licks Now that we know where to use them, let's get to tEr -

LlCKl Th is ti rst one makes use of chromatically descend .... '; 6--: _ ~ s':rings 1 and 3 and is : - ::: of ail.

- : : ear

,--3,

CDl J=94cD =J1' ) E EO? Am6 E

~ ring - - - ----- - ---------------- --- tI ring - - - - - - - - -t

LlCK 2 Here's another take in the same regs:e --;:-:::_., c '2scending 3rds against --

,J, CD 1 = 80 Cn =J l' )

E E7 87 -

H--------i3--3 3 l' roi .. 3 3 _

B B

~-----~~-----

----

LlCK 3 ln this variation on the previous example, we don't use the chromatic descent, but a blues lick instead. This type of idea was a favorite of Stevie Ray Vaughan's.

,J, COl J =80 CD =) 1' )

E7 C9 B9 3 ~

fi 1< +! i=';:::::; ~I rT . M. ""

u ~ q.. !!q1l ::::::::t- = ~ ~ 3 ~ "11 V----i leI ring - - - - - - - - -i

ft ft uT .X X X .X X X

tl.... . ~

"' u u

LlCK 4 ln this turnaround, we see more descending 6ths, this time on strings 5 and 3. We're arpeggiating up through the 6ths and using the open high E string on top each time.

CO 1 J ,J..,

= 70 CD = J } ) E E7 Am E B7

3 3 3

fi 1< +! rt1 riI rt1 u .. q. -,j = ~ ~~~ -,j!!.~ ~ -.

wl pick & fngers leI ring - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -i leI ring - - - - - - -1

u

tl u L

1"\ e ft

n

~ ft

L'T_

~ U ~"' U u

Variations One very important thing to remember is that each one of these turnarounds can yield many more by employing a slight variation. For example, take the notes of one and the rhythmic approach of the other-or vice versa. For instance, we could use the notes from Lick 2 but with the arpeggiation idea of Lick 4 to get this idea.

, J, Ci l .=90c D =J1' )

E E7 Am E B7

LeI ring - - - - - - - - - - - - - - - - - - - - - - - - -

9 - - - - - - - - --i

ft

T

Or notice that each one approaches the walk up to the root of the V chord (B in this case) a little differently. Vou can mix and match those endings with other beginnings and 50 on. Before you know it, four turnaround licks will turn into dozens! Have fun with these ideas, and keep adding to your turnaround repertoire.

1 r: 1 IT 1 c: Ir:

_

OPEN-POSITION

LESSON #3: TURNAROUNDS

IN THE KEY OF G

Vou can never know too many good tu rnaround licks. Besides lending a professional sou nd to yo

great for clearly marking the sections of a blues song, including the intro, verse, solo, and outra. - "0,5 : s good: ::~

armed with as many as possible. In this lesson, we'll concentrate on open-position turnarounds in '''e .::

Where It Goes Turnaround licks are most often used in the 12-bar format, in which they appear in the last tv 0 .....,eas ... e-- " d 2- a they generally move from the 1 chord to the V chord. This usually sets up a return to the top 0 " : ~= =::~ "'e car . 50 be used to end the song, in which case the ending would be changed to resolve on the 1 instead o :~e . _:: ",-:: e" : e """ 2 e use of chromatic motion ta do th is. Here's a chard cha rt of a 12-bar blues illustrating the place...,..,,:: '~ " ':_ "'C.

&1

rv j\'

7 7 7 ""'7 7 7 7 7 7 ""7 ""'7 7 7 7 ""7 ""'7-7 z z 2 , / Z Z 2 Z 2 , , z Z 2 / , r=-.L :r-Mcas.: 1 2 3 4

, V IV Il I!IC. ""'7 7 7 7 7 7 ""'7 7 7 7 7 7 ""7 7 7 7 7 ""7 7 ""7 7 ""7, , , 1 , , , , , ,2 Z 2 Z Z Z Z Z Z Z Z 7 Z Z 47 ::Z~:: ""7 8 9 la "

licks Now that we know where to place them, let's get to the licks.

LlCKl

This fi rst one, which has a slight country blues flavor to it, makes use of chromatically deS C" ~ 6 s on strings 4 and 2. l like to use hybrid picking (pick and fingers) for t his one, but you'lI see it played with jus- p ::: gers) as weil.

TRACII3

0:00 rJ-,

COl = 90 (Po = ) }I) G G7 GD? Cm 07

333 rTi T T ,

~

\VI pick & li nger.;

leI rillg - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -1 leI rillg - - - - - - - - - -1

LT n n

.n

LlCK 2

Here's another idea with the same chromatically descending line on st ri ng 4. This time however, we're moving it against two G

pedal tones-the open third string, and the high G on string l , which is allowed to ring throughout the descending line.

TRACK 3

0:11 rJ-,

COl = 96 (n= )}I ) G G7 GD? Cm G C7 d 7 0 7

3 3 3 1Ail -:J ,. ~~~".~ '-'t.J :;

\VI pick & lingers 1er ring - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -1

.. ~

., ., u u n ll - ,...;; .'1. ' ... " " <

~.J;l ~

1 (::1 ITAO 1 cc 1 n II\IC

4

LlCK 3 This interesting lick combines elements of the first two ideas. We again have chromatically descending 6ths, only this time they're on strings 5 and 3. But we're also pulling off each top note to the open G string, which creates the illusion of a G

pedal tone. The ending is also different, as we ascend chromatically from the open low E string to a first inversion (3rd on the bottom) 07.

,J, CD 1 .1 = 90 (n = J )

G G

OPEN-POSITION

TURNAROU DS

IN THE KEY OF A

A blues player is always in need of a good turnaround lick. They show up everywhere in blues songs: intros, verses, solos, endings, etc. Sadly, many players seem to neglect this crucial ingredient. Vou can often tell wh en a player hasn't spent time learning turnaround licks. They usually end up kind of treading water at that point, essentially waiting for the band to execute the turnaround for them. But we can take an active role in the turnaround while also making them memorable. In this lesson, we'lI concentrate on open-position turnarounds in the key of A.

Where It Goes Turnaround licks most often appear in the 12-bar format during the last two measures-11 and 12-and they generally move from the 1 chord to the V chard. This usually sets up a return to the top of the form, but can also be used to end the song, in which case the ending would resolve on the 1 instead of the V. Most often, they make use of chromatic motion to do this. Let's look at a chord chart of a 12-bar blues illustrating the placement of the turnaround.

IV IV

r777r , 7z / 7 7 7 7 7r 7 2 7 z / / / 7 z 7 z 7 z 7 z 7r 7r 7 z

2 3 4 5 6

r--- - T urnaround - - - -----,

V IV V etc.

/ / Z Z , / / / / 8 / / / / 9 / / / / JO / / / / ,1)/ / /' /11, / Z / /

licks Now that we know where they go, let's get to the licks,

LlCKl This tirst idea has been used by countless bluesmen and made ultra-famous by ZZ Top. It features a chromatic descent on string 4 that moves from the b7th (G) down to the 5th (E) below a high A pedal tone on string 1.

A A7 AO? Dm AjE E

.. .. ....('j 1< +1 ~ 1 l tJ ~ W 'U = ~ 11L-J----1 L-J ----1 -wl pick & f ngcrs

leI rillg - -1 le I rillg - - - - - - - - -1 lel ring - - - - - - - - - - - - - - - - - -1 e e e e e n u u u u uT

.Q e u u L'''';

1.1 n u

LlCK 2 Here's another take on the tirst example where we're basically moving everything down an octave.

TIlACK 4

0:08 .... ,J, CD 1 J = 100 ( n = )} )

A A7j G Dmj F Aj E F7 E7

('j 1< +1 - r-J- ---, ......... r::::.!---, n 1 tJ ~ ::; = " ----q~ .. q~ li!

wl pick & fingers leI ring - - - - - - - - - -1 let ring - - - - - - - - - -1 ~ ~~-- -- --- - - --- - ----- -1

0

L.Q L . ~ . '''';

u,P .,. "

U,. "v, D I I I C C 1 CC: C: ()N C; 1r, IIITA R LESSON GOLDM INE

_ =

LlCK 3

ln this lick, we're pitting an ascending chromatic line on string 2 from the 3rd (0) up to the 5th (E) against a high A pedal tone on string 1. We end with an E7 fragment on the top three strings approached bya half step above.

rJ-,

92 ( .~ = ., )

A D D#o7 A F7 E7

!l - I! ~ ~ ~ x ~ .; J-'n- _~ = 1~ """'j"""'" 3 3 -.

1er ring - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -1 leI ring - - - - - - - - - - - - - - -1 < < < < < ~ ;;;l- r-I

"------ 8 -----' 8 1

",/$

6 8 6 / 8 6

Augmentation and Diminution I"Inother form of melodic imitation is the augmentation (spreading out) or diminution (squeezing together) of a melody. With his technique, we generally repeat the same melody (or something very similar), but we either spread out the note values or

decrease them. This can be subtle or drastic, but it's nearly always recognized by the listener.

, ere's an example of a phrase in A that uses augmentation. The first time the phrase is heard, it's consecutive 8th notes. Each ime after that, the length is expanded. This creates a bit of tension and anticipation, which is resolved by the phrase in the

second half of measure 4, leading into the IV chord (07). 13

rl,

0:51

.= 116 cJJ = .J}) A7 D7

1 >'Sne r~'l' -frqrr?jr~ t'Ht 1 Fr L--Al-- L-----A2-----~~A -

13 1

10 11 10 11

/9 ' " 1 /9 ' 1

And here's an idea using diminution. We're in the key of G here playing over a straight groove. The modified phrase is a G7 arpeggio fragment: B- G- F. Again notice how tension is built and released just in time for the IV chord's arrivaI.

TJIACl( 13

1:07 -~

=100 G7 C7

....~ ~ ).;...~..~ tJ lI ~ ~ /'~------1'-' .~.. ~ /~~~. ~ / 1'- . !. l'-~ .l'-~ .fL~ .L~ f)

1 1 L-- A I -------l L--- A2----.l L A3 -.JL A4 -.J L AS -.JA

...."......""'" ~ ft "" ....""............ ............"......

U

,n ,:. ,:.. .. ,;; 1.T, U .~ U .~ U .~U U .~ ft,n " .u .u 'U u ~ -... _!;J

100 BLUES LESSONS i GU ITAR LESSON GOLDMINE 29

RHYTHMIC IMITATION

Rhythm is one ha If of every melody, and it can illicit a powerful effect on the listener when put to use in specifie ways. One such method is rhythmic imitation-the idea of one phrase imitating the rhythm of another. This can help lend coh esiveness to your solos and give them more of a story-like struct ure. In this lesson, we'll talk about this powerful tool and how we can harness it to make a memorable statement in our solos or riffs.

What Is It? With rhythmic imitation, the idea is to play one rhythm and th en repeat it (or part of it) with another phrase. In other words, the notes may change between phrase A and phrase A 1, but the rhythm will be nearly identical. We'lI look at two different types of imitation here: simple and advanced.

Simple Imitation Below we see the simplest form of rhythmic imitation. We play a certa in rhythm in the first measure and then play the sa me exact rhythm in the second measure using a different melody. Th is helps create a rhythmic hook onto which the listener can grasp.

r3

J= 100 (n = .~ )COl

L---A--.-J

1/4

ln th is second example, we're imitat ing a shorter rhythmic frag ment that only lasts two beats. Therefore, the phrases begin every two beats instead of every measure. This is still a very basic form of imitation and is often used as weil.

rJ-,

COl ~= 100 (n = J.J ) /~ ~ ~~..J ~ Il Il h. ~ ~

u -L-A----1 L- A I ----1 L-A2---1 4

It ... ln o..~T .n ~

u ou ou 'u c ~_

.Cl .. ''';

D

50, in simple imitation, we're repeating on the sa me exact place in every measure, every two beats, or every beat. There are no rhythmic surprises. Let's check out a lick using this simple imitation. This one is built from the A minor pentatonic scale. Ideas like th is are commonly used at the beginning of a solo to build a foundation.

TRAC!( 14

0:20 rJ-,

CO 1 J= 100 Ul = J .J\ ) Il l> Il _ 3

u

T

-..;;

L-A----1

_0:

j--J L--AI-

j -

u u

30 100 BLUES LESSONS 1 GUITAR LESSON GOLDMINE

- -

vanced Imitation - 2::: .anced imitation, we'll repeat the same rhythm, but it won't necessarily beg in in the same spot with reference to the

- : ? ' _ 9 beat. Phrase A below demonstrates simple imitation at work; the phrase is repeated every two beats, starting on - ~ ::e:::: each time. In Phrase B, however, the phrase repeats every 1 1/2 beats, resulting in an on-the-beat/off-the-beat rhythm --:::- s . 2ry stimulating. Th is is advanced imitation.

r3..,

J= 100 en = J} ) Phrase B

tJ Il +1 ~ h. 1'---"1'- /1'-1~

U L A--.J LA l -.J L- A2 -----.J L A3-.J

~~~ ~ """"~ ..,r 0 .n10 u u il -~!_/6 _ / 9_ 8 ---'-----/ 11_ _ 13-'.15 1 /14 11 -.... ~

50. we're still imitating the same rhythm: one 8th note followed by a quarter note. But in Phrase B, instead of waiting an 8th r2S~ 50 that the phrase starts on the beat each time (as in Phrase A), we're j ust repeating it ri ght away. This idea can get as fa r

ut there and continue for as long as you want-just make sure you (and your band) are able to keep your place in the music!

_et's check out some licks that use the advanced imitation concept. These phra ses will be set to a drum beat 50 you can hear ow they sit within the measure. This first one takes a classic int ro phrase and gives it a nice rhythmic twist on its imitation.

")en we have a simple t rip let phrase imitated for an on-the-beat/off-the-beat effect.

= 100 C~ r 3..,

= J} )

(J f i r E~ ~~ y j'"r-- --E F p r1 t.; L--3---...J L--J ----l

"-------A--------' A l l.....--B-\/4

J

7 10 8 8.J

10 5 -- 5 &;/9 ~~---~&~~~~~--5 7-1--5---------~~---~--_______________im 3

J

tJj 3

"------Bl----~ L----B2----~ L--------B3-------~

5 f 5 ___5'3

This final lick is played over a straight groove and imitates two di fferent phrases. The second one is a 16t h-note line that's repeated every fifth 16th note-quite a headturner!

TRACK 14

1:04

=100

tJ Il +1 1~' 1'-~1'- h. ,') ~ .1'- /fr

U .~~#~~# .. -.-

T _! .... IJ

L...-A --1 1/4

0.J u

ou

LAI---1

u

"

LA2..J LA3--.J

It 4

u r/

~ r u

L- A4--.J

r

L- B---.J

r u

r 0

L- Bl--.J

~

L-B2--.J

r u

r ~

L-B3--.J

~

~

on.u

u

100 BLUES LESSONS GUITAR LESSON GOLDMINE1 31

LESSON #15: FRET-HAND MUTING

Fret-hand muting is the unsung hero of blues guitar. It's a vital ingredient, but it rarely gets any attention. When you 're using proper fret-hand muting, you'lI get only the notes you want. If not properly employed, however, you can end up with a sloppy mess. One listen ta Stevie Ray Vaughan will make this blatantly obvious.

How It Works Though your classical guitar teacher may cringe when they see the thumb creep over the top of the neck, blues guitar is not classical guitar; ifs most often played with a pick, for Pete's sake! If the right-hand technique is sa obviously different, why then shouldn't the left? Just as the classical technique (thumb behind the neck, fingers arched, etc) suits that style, blues technique (thumb sometimes over the neck, fingers laid more flat at times, etc) is designed for blues guitar.

For example, let's say you're playing this G note on string 4:

CDl Ill!

tJ

I T

.0. 'ri g

A classical guitarist would fret the note with the finger arched and the thumb centered on the back of the neck. However, a blues guitarist may fret the same note this way, with the first finger laying flatter and the thumb hanging over the top of the neck.

Why? Because a blues guitarist may be using an extremely heavy pick attack and applying intense vibrato. He may be picking through ail six strings ta give the note added weight and punch. (This is exactly what Stevie Ray is doing in the boogie riff before the first verse in "Pride & Joy:') When this is done, you'd better be muting ail but the string you want ta sound, or you'lI be in fo r a noisy, nasty surprise!

u

ln the photo, you can see that the thumb is lightly touching the sixth string ta keep it

quiet. Along with fretting the G note, the tip of the index finger is lightly touching the

fifth string ta keep it quiet. The top three strings are kept quiet by the underside of the

first finger. Obviously, you won't fret every note this way, but there are times when it's

essential ta producing only the notes you want. Listen ta that G note played bath ways

on the first CD example: first by picking only the fourth string, and then with fret-hand

muting sa that we can pick through every string for added punch.

Riffs and l icks Now that we know how it works, let's check out some examples where fret-hand muting is absolutely essential in achieving clarity.

RIFF 1 This first one demonstrates one of the most common instances: a shuffle riff played with a heavy hand. Though this type of riff can be played with a streamlined, clean sound as weil, ifs often played with a heavy pick-hand attack where you're essentially strumming through ail six strings. The separation of the notes then falls entirely on the fret hand. Only the string you're fretting should be heard; ail the others should be muted.

rJ-,

COl =100 (D= ))

E7 D7 A7

lLlt .tt l1 1 1

tJ

T

.0. ... r;;

~ ~

n ~

~ ~

~

,.

..

RIFF 2

-ere's another exam ple of that idea in the key of E, similar to what Stevie Ray plays in "Pride & JoY:'

= 120 ( .--: = ' )

E7

i~-'f! 3@~J ,a J J J ) 1 a JJ,d J J J J 1g@J,a J J J ) 1~J J J1 J J ~J ,a 1 : 1 2 2 4 4-+---------------4 2-+------------- 4 4 1 5 5 4 4 2 2 3 JJ~----------------------- 2 2 2 2 --- 2 2------+------------------

0034 34 003 4A7 E7i',,', hl JqJ ,) J J J J 1ia J J J a Jq:W J 13@~J ,a J J J ) 1 4

etc.

5 4 4 2 21t---- 0 0 - 3 4 --2--2---

HYBRID OR FINGERSTYLE PICKING

If you've never tried out hybrid picking or fingerstyle before, you're missing out on a whole slew of sonic possibilities. They ca make many things easier to play, lend a different sound, or simply allow you to play things that are impossible w ith the pick alone. In this lesson, we'lI take a look at these techniques and how they can be applied to blues guitar.

The Basics Hybrid picking refers to the use of both the pick and the pick-hand fingers to pluck the strings. To get started, try plucking this chord riff by using your pick on string 4, your second finger on string 3, and your third finger on string 2.

Then, try the same riff fingerstyle-Le., plucking only with your bare fingers. 50me players don't use a pick at ail, and some predominantly pick players will "pa lm" the pick or hold it between two fingers when using this technique. Robben Ford is one such player that makes use of the latter move.

TRACII18

0:00 rJ,

COI ~ = 104 Cn = ) }) C7 f

wl pick & fin gers

You'lI notice that this results in a tighter, snappier sound than when using the pick. Ali of the notes are plucked simultaneously, 50 you don't get the ever-so-slightly staggered effect you do when strumming with a pick. Ifs subtle, but it is noticeable. 50 now that you know what's involved, let's check out how we might use this technique when playing the blues.

Boogie-Style Riffs Hybrid picking is excellent for those John Lee Hooker/ZZ Top-style boogie riffs. In this example in A, your fingers pluck ail the notes on strings 4 and 3, while the pick or thumb takes ail the notes on strings 5 and 6.

rJ,

CD 1 ~ =176 Cn = ) } ) AS -fl -

* t) ~ ~ :;.J ~ 4 It4\VI pick & fi ngers J t

T

" " " " " 2 " " :;:; :;B 2---tL L L L L _ ,, / _ L-ri ft -""'

34 100 BLUES LESSONS 1 GUITA R LESSON GOLDM INE

The "SnapH - he Msnap" is what 1 cali the technique of pulling up on the string and letting it snap back against the fretboard. This crea tes a oud. accented note that really pops out and gets your attention. Most players (myself included) actually accomplish this with ooth the thumb and the first finger pulling up on the string. Therefore. this would require you to palm the pick. However. 1

ave seen some players accomplish this with the second finger, which allows them to hold on to the pick.

- hi s move can be reserved for the climax of an otherwise-picked line, such as in this B blues lick.

r J -,

=88 ( .-: = )

w/ tinger--I

:;> 9

1/2

t / 7

1/4

7

1/4

.J"~~" 10 7

1

Or it can be featured throughout for an aggressive sound that really leaps out at you, as demonstrated in this open-position lick in E, which 1 play entirely fingerstyle.

TJACI( 16

0:32 rJ.,

=88 (n =J }

li w/ fingers

0 0 0

3 /~' 7 , 3 '~ 9 1

2

Those Intimate Moments When you want to really bring things down and get intimate with you r instrument, there's nothing like bare fingers on the strings. Stevie Ray Vaughan would do this often. Here's an example of this sound in a B minor pentatonic lick. l'm plucking every note with the thumb here.

TRACK 18

0:40 rJ.,

=62 (n =J J\ ) ,--3-,.11Jl 3 1..

U ..,; ' ,.

wl fi ngers

'--'. -.:J~ ..,; .'-"~ ..,; ..,; ..,; ~ tr

.Q

T

1\. 1;1

r ~

-"' " cn, ~

-,< 7"" , 5 .,

~

~ li :;

n

'1

Weil, that'II wrap it up. The next time you grab your axe, try coaxing a few licks out of it with your fingers as weil as the pick.

You'lI be happy you did. Enjoy!

100 BLU ES LESSONS 1 GUITAR LESSON GOLDMINE 35

THE RAKE

The ra ke is an expressive device you can use for extra intensity and added sonic weight. Ifs one of those subtle sounds that is hard to detect but would certainly be missed if it weren't there. One listen to any solo by 5tevie Ray Vaughan, Buddy Guy, or Billy Gibbons, and you're bound to hear some well-placed rakes.

How It Works Like grace notes, rakes don't take up any real time, generally appearing at the very last second before a note. Ascendi ng rakes are the most common, but descending ra kes are used as weil. Interestingly, the technique used to produce each is quite different.

The Ascending Rake With an ascending rake, we're basically strumming down through several muted strings on the way to our target note, which is usually on one of the top three st rings. The strings below this target note are muted by the palm, a fret-hand tinger, or a combination of both to keep them quiet. The pick is raked across them quite deliberately to produce a c1icking sound. Thi s happens very quickly, 50 the individual muted st rings blur together into one "bpttttt" sound.

This example demonstrates t he sound of a normal note followed by the same note with an ascending rake.

CD 1 =100

rake - - - --1

UP IS DOW N? The terms "up" and "down" or "ascending" and "descending" may be slightly confusing if you're thinking solely of physical direction. In this instance, the terms refer to the orientation of the guitar's pitches, where the th inner strings are called the high stri ngs, and the thicker strings are called the low strings. 50, an ascending rake, while going from low to high in pitch, actually involves moving the pick down toward the floor-vice versa for a descending rake.

The Descending Rake With the descending rake, you're strumming up through muted str ings on your way to a target note on a lower string. With this technique, though, the strings are muted by the fret hand-usually the underside of the tirst, second, or third tinger. This produces a slightly different sound than the ascending rake, but the effect is similar.

Here's an example of a normal note on the D string followed by the same with a descending rake.

COl

, ake - - --j

36 100 BLUES LESSONS 1 GUITA R LESSON GOLDMI NE

E: S c 2ck out a few licks using the rake technique.

1 ~ ;: :] :he most dramatic uses for the descending rake is the open E string-a favorite move of Jimi Hendrix and Stevie Ray,

a 9 others. Check it out in this E minor pentatonic lick .

= ' )

f??-t. x _ 1

* -:J raJ.e---- - --j

=9-'

a

CK 2 -ere's a typical shuffle pattern in A that makes good use of descending rakes to thicken things up.

rl,

( .~ = .) )

A D A7 A

Play J l i ll/ es

:11 4 rake - - - -j rake - - -j rake - --j

5 ~ ! t , :11 6 5 5 7 LICK 3

ln this lick from D minor pentatonic, we see some classic examples of the ascending ra ke. TRACI( 17

0:42 r3,

. =94 Cn = J}

Jj ..~~ b~ ~ ~ ~ F.f.1.['~" ~ b~ =0~ ~~ ~ ~~~~~~~~~~~~~~ h.~ ~~~~

x

tJ

rake - - - - - -l rake - - - -1

I? t~ 1/4

. n . n 0r .~J """~~............""'"....,,"'V ,/ 'V 'V .vT

.! p~ -..,; IJ

LlCK 4 Let's finish off with a B.B. King trademark: the octave "yelp:' Use your pinky for the final high A note 50 that you can lay your

other fingers across the strings to make sure they're quiet. That's the way B.B. does it!

.

tJ

_T

1 1/2 t t ?--l?~

rake - - - - - -1

..~......"" .~ . il ... J;I

~~"" i11qd~g--~ I Mx - (J 101 l F~ 1'f:- ~.. ;

100 BLUES LESSONS 1 GUITAR LESSON GOLDMIN E 37

VIBRATO

Vibrato is one of the most expressive guitar techniques of ail, and it 's a shame that more players don't spend time cultivating it. l1's hard to even imagine the licks of B.B. King, Eric Clapton, Stevie Ray Vaughan, or Albert King without their trademar vibratos. It comes more naturally for some, while others have to work at it. It can be learned though, just like any other technique, and i1's weil worth the effort.

How It Works Vibrato is a fluctuation of pitch that can be fast, slow, controlled, frenetic, subtle, over-the-top, or any combination thereof. On the electric guitar, i1's usually created by slightly bending a string and releasing it to its unbent state over and over. The more drastic the bend, the "wider" the vibrato sounds. This is why someone like Zakk Wylde's vibrato sounds different than Eric Clapton's. There are numerous methods used to produce vibrato. No single method is correct, and many players actual ly master several different types. The motion Eric Clapton uses is completely different than what Stevie Ray used, yet both are equally beautiful in sound. We'lIlook at the two main types of vibrato used in blues here (epitomized by those two mentioned), but feel free to experiment in this regard.

Stevie Ray Style-Wrist Motion The Stevie Ray style of vibrato is perhaps what most consider to be the classic vibrato. It was also used by Hendrix, which is most likely where Stevie Ray learned it. B.B. King's vibrato is very similar to this, though i1's a bit faster than what Stevie normally used. l1's most commonly applied with the frst fnger, though it can be used with any. The motion comes from rotating the wrist back and forth, similar to the act of turning a door knob. It'II take a while to get the fluid ity down, but once you do, i1's very musical-sounding. Practice slowly at frst and build up the speed gradually. Try it with every fnger as weil, because i1's nice to be able to add vibrato on any note.

On string 1, you'lI need to modify the motion a bit, or you'lI fall off the edge of the frets! On ail the other strings, most players pull down (toward the floor), but for the slight bends during the vibrato on string 1, you'lI need to push up (toward the ceiling).

Clapton Style- Forearm Motion The other most popular school of vibrato is the Clapton variety, where the motion comes from the forearm. With this type, the wrist remains in place, but the entire hand is pushed up and down with the forearm. Generally, most players tend to bend and release up toward the ceiling when using this style, which is opposite from the wrist type. Of course, you'll need to make an adjustment on string 6 so you don't push the string off the edge.

Adding Vibrato to Bent Notes l1's common to add vibrato to bent notes as weil. The basic idea is to bend to pitch and slightly release over and over aga in. This technique is most commonly applied with the third fnger while pushing the string up toward the ceiling, but it can be applied to any fnger with a bend in either direction.

~A l nn RI IIFS LESSO NS 1 GUITAR LESSON GOLDMINE

C

=:: ~ eck out a few licks with vibrato to hear how it sounds. Our first lick contains a classic application of wrist vibrato: --:-, - :::'0 note on string 3 of the box position with the first finger. We also finish off by using wrist vibrato with our third finger .

--: =,. ;. )

L

1

~ ~ ~"""~"" T 1

A

~

1 ./ ,{ " ~ ft " ~ ~ ~

.. CK 2

- "'is lick in G takes place in the B.B. box and is reminiscent of Clapton. We're using the forearm vibrato here with the fi rst and :'l ird fi ngers.

= 94 l.l--,

( . --: = ) 1'- ~~"";jp""",,,,"'"

fG ?I*C F F Fit r 1 ~..

OR " " OR " . u u . u u u u

LlCK 3

ln this Hendrix/Stevie Ray-type example from A minor pentatonic, we're applying wrist vibrato to two strings simultaneously, which can be difficult. The motion is the same, but you may need to shift the pressure of your fretting finger slightly so that

bath notes sound clearly.

,1, CIl = 94 en = J )

.fl. ,A. .,.. . ;. ~. / -..., ~....,,"~ - 3 ~ 3

1 t

J

1 t

-3 """"""~

----.. ~ .' 1/4 t

LI e u , ---' u e e -i " ~ .0. u .... -i " , "' u

LlCK 4

Let's finish with an E minor Clapton-style lick where we're applying vibrato to a note on string 2 that's bent up a who le step ta the tonic and a note on string 3 that's bent a whole step to the 5th. These are both hugely common applications.

TRACK 18

CIl 1

0:28 ....

;=94 ,1,

en= ;)

fl l! ~,... ,... ~ r:. ~ ~ ~ ~ r:. ,... ~ * .fR ,... .,.. :''''''''''''''' ~

t T O~

,/ . ~

.0. '''';

I.J

l' oe.u

3

. ~"""""""""""" t~ .........."".. e / .e on

.~ ,/ .~ ,~

100 BLUES LESSONS 1 GUITAR LESSON GOLDM INE 39

BOOGIE RHYTHMS

AND CHORD RIFFS

Though it's fun to tear it up duri ng your solo, most players actually spend most of their time playing rhythm. Therefore, i s wise to be armed with as many chord rifts and boogie lines as possible. It can prevent you from getting bored, and it'II also help to set apart the difterent songs in your set-especially if every single song is a 12-bar shuffle (something 1 would not recommend!) . In this lesson, we'lI take a look at several classic rifts you can use when backing a singer or another soloist.

Classic 5th and 6th Patterns ln the spirit of thoroughness, we'lI start here, even though most blues players are quite familiar with this idea. Still, in case you managed to slip by without ever having to play rhythm, now's your chance to catch up. The most classic of ail boogie patterns is the alternated 5th and 6th chords, as popu larized by Chuck Berry. The concept is simple, but the eftect is a full-bodied accompaniment that's both interesting and groovin:

E5 G5 The 5th portion is simply a power chord, shown here as an open E5 and a

moveable form in third position as G5. li Il

xxxx

E6 G6 For the 6th portion, raise the 5th note a whole step to the 6th. This is no

Il4fr 113fr big deal in open position, but it's a healt hy stretch for the moveable form. Let's check this idea out in action. Here's a classic boog ie shuffle pattern in the key of E. Open forms are used for the 1 and IV chords (E and A, respectively), but we're forced to use the moveable form for the V chord, which isn't ail that comfortable. This would be sta rting from measure 9 (V chord) in a 12-bar.

TRACK 18

0:00 rJ-,

COl ) = 106 cD = )} )

B5 B6 85 86 A5 A6 AS A6 E5 E6 E5 E6 E5 rJil. * t) -.1-.1-.1-.1-.1-.1-.1-.1 ~~~ ~ ~ ~~ ~ "~~"~~ " T 1

e e e e " " " "-ft :; :; ;; ;; :; :; :; :; _!;l_ L L L L L L L L U U U U U U u n n ;; ;; .. :.:. ;; ;; "

Single-Note Bassline Riffs Now let's check out some boogie patterns that use mostly single notes. Many of these function as actual basslines beneath the 5th-6th patterns we looked at above, but they sound great on guitar too. This tirst one is a classic idea in E that makes use of a b3-3 move. To make it sound really big, employ fret-hand muting to deaden every string except the one sounding. That way, you can strum through ail six st rings for added girth. This type of rift is often transposed to the IV and V chords too.

rJ-,

COl ) = 106 CD = )} )

N.C.eE) li iii !t .

t) ~ ~ q:J w;t -.1 -.1 .. .. q:J #:J -.J .. -.1

" " " 2-----': L L L L

40 100 BLUES LESSONS 1 GUITAR LESSON GOLDMI NE

- e es a other classic that's built using only the root, octave, b7th, and 5th. l1's shown here in the key of G moving from t he V :c the IV (C) to the 1 (G).

r-.l-,

= 1Il6 ( .-' =' )

' .c.m ) (C7) (G7)

&1 J ] J J F 1 j j J J ~J J J J J J J J IIJ1 '- ~ sim.

~ 7 7 5 5 5 5 3 3;A 7 7 5 5 5 5 3 3

5 5 3 3 5 5..a 11 3 3 3

I-IV Alternating Riffs Another great rhythm idea is a chord riff that alternates between 1 and IV and back quickly. These are played in the same position using inversions for the chord shapes, which are usually on strings 4-2. Here's a classic example in the key of A. Notice that we're alternating the A7 shape with a D shape, which is played by barring the third finger. Aiso notice the characteristic grace note from the b3rd (0) to the 3rd (C~) for the A7 chord and the thumb-fretted low A notes. In measure 4, we see a

var iation on this riff, which creates a nice movement. Again, you can transpose this idea to ail three chords.

TUCl19

0:38 ,J,

.= 106 cD = J ) A7 o A7 o A7 o A7 o A7

~l!tI r r -Il. x tJ ~' 1 1 1 1 ~ L.J~

*T T T

0 0 ~';!0

' l: ';!"';!" .!, ';!" 'c 0 ';!" ' cO .!, ';!" c o .0. ;, ; ;, ;; ; ;; v ;; . :; ; ;;;, v ; ;,A

u u u u u n ur\ ~ " 0"

*T = Thumb on 6th slr.

Variations Almost any of these patterns can be slightly altered to create an enormous amount of variations. For instance, we could alter

the order of notes in the third example, add a little triplet pull-off, and come up with something like this.

,l, al 1 =106 C.G =J )

N.C(D7) (C7) (G7)

('J I! --3r-;-.., 3

tJ ~ ~ - ~ ## sim. ......... :J :J ., ., '--" ., :J tT " 0 0 ~ ~ " .Q u u .; u 1,u u u u

1"\ " " ~ ~ " " u u u u

"' u u

U U u

Try reworking a few of the other patterns in this lesson this way, and you 'll be amazed at how much mileage you can get out

of such little material. Enjoy!

100 BLUES LESSONS 1 GUITA R LESSON GOLDM INE 41

ROBBEN FORD STYLE

Robben Ford is one of the most respected blues players around today. He's got it ail: tone, chops, taste, and touch. With = healthy background in jazz and R&B, Robben colors his blues playing with several unique traits that makes him ea s il~ identifiable among t he masses. In this lesson, we'II explore his style in depth.

Rhythm Playing Robben often speaks about the virtue and satisfaction in laying down a groove beneath someone else's solo, and this notion is clearly evident in his rhythmic style.

BOOGIE PATTERNS Ford favors simplicity and, as a result, often has a unique take on standard boogie-style patterns, resulting in a clean, stripped

down sound. Here's a typical example in E.

N.C. (E7)

sli gh! P.M . throughout

CHORD VOCABULARY Robben is extremely well-versed in jazz and therefore has quite an extensive chard vocabulary for a blues man. In G, for example, ifs common to see these voicings.

G13 G13 b9 C9 C13 (when moving to IV chord)

x x x x x x x xx xx118rr 119fr Il (II !l7fr & 5fl" 5fr 118fr 1342 1224 1 2344 (Tl 1243 1324 32 14 4 111 1 234

09sus4 07#9 013~9 013 b9 xx118fr 114fr 114fr 17fr

3 42 1 124 3 1234 3 42 11

Lead Style When it comes to lead, Robben has some of the sweetest tone and chops around. Often imitated but never matched, his style is immediately recognizable and quite musical.

MAJOR/MINOR MIX He gets plenty use out of the good 01 ' minor pentatonic and blues scales, but he also mixes in notes from the parallel majo ' pentatonic to get a sweeter sound at times. Here's a shuffle example in the key of E that mixes E major and minor pentatonic

sounds throughout. It starts in measure 9 of a 12-bar blues, over the V chord. TRACK 20

0:08 r3--,

=96 ( il = } ) CD t B7 A7 E7

fl Il !! ~1'~ f.: fI-.,. rf.-~ .,. ~}:)~ ~ ~ g~ ~ ~ f.: ~ q~ :~~~~. $ . -':"'\ b) " 11. t)

u. ft C

If . ~

~ 4 ~ 2

~.....~v. ~ ~

." 1/2

~" '";~ .~

j

I~ .~/ ;";-- ;~

:" ~~

3

'" l4--i~ .~ L:L.,

'" ----l".v

42 100 BLUES LESSONS 1 GU ITAR LESSON GOLDMI NE

THE REVERSE SLiDE Another favorite device of Robben's is the reverse slide. Here's an example in B where we're sliding down into the 4th fram tirst a haIf step above and then a whole step.

T1\Aa( 20

0:22 ,- 1-,

=96 ( .-: = ) ) 8 7

_3f'l Il Il .k Jt

tJ ft' '-.....7~

It4 ~

!' .Q ;, n :, --..... " . ~

DORIAN MINOR Though Robben spends plenty of t ime playing in the 12-bar format, he's capable of playing over just about anything. Often in minor, funkier vamps, he'lI work out of the Dorian mode to get some wicked angular lines. Here's a typicalline in C Dorian.

TRAC!( 20

0:29 ... =104

Cm7 8va - - - - - .. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -~ - - - - - - - - - 1 loco ''''''v.'''

f t L /b~----~ ./"--. ~ ,L-b~ ,L ~---.~ "'''''''''" tJ I:::::::!...... - -

"-" ~"" t ." ,,;:-;., ," ~V.,," , ~ P ,. u

ALTERED SOUNDS Robben can also draw on his jazz roots to take it a bit outside when he wants to. He'll often pull off a half-whole diminished line over an altered Vchord to yank an ear or two. Here's a tingering for A half-whole diminished:

A HALF-WHOLE DIMINISHED

lilll ; 1 g1~ le i And the matching chord forthis scale wou/d be A1M 4fr

Here's a line Robben might play over this chord in a straight-8th groove like "Thriliis Gone" or "Help the Poor:' ln this case, the

line resolves to Dm.

TRACH 20

0:38 --'

CIl 1 =96 Dm?

f'l ~ f:-/ 1f:- ~'-~ .. ~ ..~ " "''''~ tJ - "--"'"

------

ACOUSTIC SLIDE

RIFFS IN OPEN G

If you've ever listened to Delta blues, you've no doubt heard plenty of slide playing in Open G tuning . This was the preferred M.O. of several blues giants of the day, including the "King of the Delta Blues" himself, Robert Johnson. In this lesson, we'll take a look at some classic acoustic slide riffs in Open G tuning.

DISCLAIMER This lesson assumes that you're familiar with basic slide technique. If you've never played slide before, you should check out some beginn ing instructional material first. Having said that, if you insist on plugging on, please remember the following:

~ Align the slide directly above the fretwire for proper intonation

~ Allow the fingers behind the slide to lightly touch the strings to help keep them quiet

~ The plucking-hand fingers also ohen mute strings that aren't being played to keep them quiet

Tune Up! ln Open G, we're tuning a few strings down. To access it from standard tuning, you'lI need to detune your sixth, fifth, and first strings down a whole step. Here's a quick method to use if you don't have a tuner handy:

~ Tune your sixth string down a whole step so that it's an octave lower than your open fourth string.

~ Tu ne your first stri ng down a whole step so that it's an octave higher than your open fourth string.

~ Tune you r fifth string down a whole step so that it's an octave lower than your third string.

OPEN G TUNING: D-G-D-G-B-D

Note that this tuning is identical to Open A tuning-another popular si ide tuning-in its intervallic structure. The only difference is that Open A will sound a whole step higher. However, any lick you know in Open G will also work in Open A and vice versa .

Riffs Now let's get to the riffs. These are usually played fing erstyle-or with a thumbpick and fingers-and pretty much anyth ing goes with rega rds to the technique. You can pluck each string with a different finger, similar to modern fingerstyle techniques, you can strum several strings with one fi nger (up or down), or you can use any combination you can come up with. The techniques used by the bluesmen of the Delta varied greatly, and this contributed to their unique sounds on the instrument.

RIFF 1 Here's a classic blues phrase that makes use of sliding double stops. Note that the 0 note (fret 2, string 2) is out of key (ifs the b5th), but it still sounds great.

TRACK 21

0:00 .. Open G luning: (low 10 high) D-G-D-G-B -D

CDl .J =80 G7

fl lit -:J ~ r-4-. 2:

tJ ~ ~, , ~ , , '-" ~ 3 7 w/sl idc w/o slide wl slide

P.M. P.M. - - - - - - - - - - - - - - - - - - -1 .., .r'~ :; . ~

ft . .., ),T

~ 'I... ::u u /a

RIFF 2

his one works great as an intro. Notice the prevalence of half-step slides t hroughout, which are actually more common in this

0'pe of blues than whole-step 51 ides.

n G luning: lio'" 10 Iligh) D-G-D-G-B- I) ,J,

=80 ( .-. = \ )

:-.rC.CG) G7 GO? Cm/ED G/D D C

I ~'I ~ f~ #f'p=f- Cl C1 g ~ j J ; j Jg j J1 fJ Jl J]fb) g wl ~ I de w/o slide w/ pick & fl ngers - -- - --- -- --- - - --1 \V/sl ide

P.M. leI ring - - - - - - - - - - - - - - - - - - - - - - - -1

o 0 0 1 o &/) 7

RIFF 3

Here's an excellent riff played with a straight-8th feel. It's got a great bounce to it and really grooves. Be sure to pay attention

to the separation between the thumb and fingers in measures 1 and 2. To add the vibrato in measure 3, volley the slide back

and forth in front of and beh ind the 5th fret .

Open G IUil ing : (low 10 hi gh) D-G-D-G-B-D

=88 G7

l'lI! ,1...1. .. J. ~ --- _" J. 1. J. ~ ~,

--- .. , ~ ~

~ ~ :; I::I.....J ~ ~ :; I::I.....J ~ - ==.,J ~ /P7& '~=d w/ pick & fi nge rs w/slide '1.'/0 slide \V/ sl ide

~

." ~ l 7' 6 6 6 0 7' 3"',, 2 ~----fi~2-~ ,:, n n

~.... u ~~. u u ~

-'1 ~ .:; ..,. ... .~ ~ &; u u u u u u u ~ ~~ u

RIFF4 We'll close out on one that uses a good deal of single-note playing. For the ending to sound as intended, you'll need to

employ some pick-hand muting. If you don't, the third string will likely ring out along with the final D string notes, and you'lI

get a C note above the G note. Since we want that last G note to feel resolved, we don't want this to happen. The solution is to

immediately mute the G string after playing it; this is done by touching it with the same finger you used to pluck it. Obviously,

this means you'lI need to pluck the notes on the D string with a different finger (or your thumb).

TRACK 21

0:48 J

Open G IUili ng: (low 10 h igh) D-G-D-G-B-D

COl

J =80 (n= J'J} ) G

l'l I! . r-;--., """",,v.... ..--... r-3-,

~

~ ~ w/slide

3

. ,,~

3

~v.v. n . ~

:, n u u ~~ u

The man to check out for blues slide in Open G is Robert Johnson, but also check out Son House. For more modern blues rock

examples, check out Bonnie Raitt, the Rolling Stones, and the Black Crowes for sta rters.

100 BLUES LESSONS 1 GUITAR LESSON GOLDMINE 45

JAZZIN' UP THE BLUES WITH SUPERIMPOSITION

The blues is a fa r-reaching style, and it has influenced nearly every genre in Western music. Li kewise, each genre assimilates he blues as weil, creating sub-genres. One such creation is jazz blues (or blues jazz if you like), in which some of the soph ist icateo harmonic sensibilities of jazz are infused into the blues language. In this lesson, we'lllearn how you can lend a jazzy flavor to your blues solos by using the concept of superimposition.

The Basic Idea Most blues songs make use of three chords: the l, IV, and V, ail of which are often played as dominant chords. In a jazz blues. however, the harmonies are normally a bit more sophisticated. For instance, instead of just moving to the IV chord in measure 5, as is typical in a standard 12-bar, they'lI often include a brief ii-V progression leading to that IV chord.

Let's take a blues in ( as an example. The 1chord would be ( or Cl, and the IV chord would be F or F7. In a jazz blues, however, measure 4 would often move Gm7 to Cl, which is a ii-V progression in the key of F. 50 it's as though the IV chord is briefly being tonicized.

STANDARD 12-BAR IN C: MEASURES 1-5 TRACK 22

0:00

COl J= 116

'1 C7

"7, 77 77 72 F7

-"7, I V

72

72

72

C7

72

72

72

71

7 Z

72

72

"7, F7

72

I V

71

"7, 71 elC.

Il

JAZZ BLUES 12-BAR IN C: MEASURES 1-5 TRACK 22

0:15

COl J=116

'1 C7 F7 C7 Gm7 C7 F7

~IC.

7 7 "7 7 7 7 7 7 -"7 """7 7 7 "7 -"7 "7 7 7 7 Z 2 , 2 2 Z Z Z / , , 2 Z , , , Z 2 2 7jj

1

IV L-ii- V ofIV-- IV

You can hear the second example already sounds more sophisticated with only one added chord. Weil, even if the rhythm section is playing the standard 12-bar changes, we can superimpose that ii-V of IV sound in measure 4 by targeting certai n notes in our solo. That's the basic idea of superimposition.

Licks Now let's check out how th is sounds. Ail these examples will be played with a backing track 50 you can hear them in context. There are several different spots in the 12-bar where different superimpositions can be used, 50 we'lI break them up that way.

MEASURE 4: ii-V OF IV We looked at this spot already. Now let's hear it in action. After some standard lines in measures 1-3 from ( minor and major pentatonic, we superi mpose the Gm7-Cl sound in measure 4 by simply playing arpeggios for each: D-Bb-G-F for Gm7 and E-(-Bb-G for Cl. Notice how we resolve from chord to chord by either half step (from the F of the Gm7 arpeggio to the E of the Cl arpeggio) or whole step (from the G of the (7 arpeggio to A, the 3rd of F). This is an extremely common practice and results in a smooth, connected sound from chord to chord. Aiso notice the half-step slide into the D note at the beginning of the lick- another extremely common jazz concept.

4 6 100 BLU ES LESSONS 1 GUITAR LESSON GOLDMINE

= 116 ( .-' = .' )

c F C7 F7 ~

X #Vfbr E~~2':~ r ~ j' " 7~r J J1 1"V rFr F J :f 'E E~F..J ~ rd (Gm7) (C7)

~

, 111(,,1'0 t 1;:: 'g8 10 8 9 12 10Br

710 10 10 8 10

MEASURE 6: #iv07 (i07)

Another great spot to superimpose, subtly, is in measure 6, Instead of just hanging on F7 for measures 5 and 6, a jazz blues

normally moves F7-F~07 here, You can play notes from an F!iD7 arpeggio (F#-A-C-Eb) or notes from the F# diminished scale: F~-G~-A-B-C-D-Eb-F. You have to be a little careful, because it can wear out its welcome. llike to hint at it during the last two beats or 50 before resolving back to C in measure 7, as demonstrated here. This example begins on measure 5 of the form.

lUCII 22

0:44 r3,

.= 1l6(n = J )

F7

~

ft Q "T' 1

MEASURE 12: ii-V

The last spot we'lI examine is measure 12. Normally this measure moves to the V chord, but in a jazz blues, there's a ii-V here.

ln the key of C, this means Dm7-G7. Here's a double-time idea demonstrating that superimposition. We ascend up a Dm9 arpeggio and descend down through a G9 sound. This example picks up at measure 9.

TRACK 22

0:56 ... ,-3,

=116 en = J)CDl G7 F7

:, ~; r ~.........................

('j bf'-""-'"f'-./ bf'-./ f'- ./ f!: bf'-~ b), ~ ~

tJ L--3~ 3

1 1/4 1;4 1;4 1;4 J J

ft """""...."""";.~ v,..... ...... ~ ~ 'ft -u' 0/ ,'> ,'>." ,n

C7 G7 C7

('j~ r;-., h';' ~ f!: ~ ~f!:~~ 7 ~r~ ~ i~. -Il tJ -~

u

" n v ~

(Dm7)

~ 12 19

n ,n ~ . v

....

(G7) etc.

10 13 1r.n ' u

1-2 . n

That'II do it for this lesson, but you can take this idea much further when you get into altered sounds and other scales. Listen

to players like Robben Ford and Larry Carlton to hear these ideas in action. Have fun!


USING SPACE AND ALLOW G

YOUR PHRASES TO BREATHE

As guitar players, we tend to till up every second of musical space with something. Even when we're not burning througr

some scale pattern, we're likely grinding some note into submission with vibrato. But if you listen to great blues soloiststhe real story-tellers like B.B. King-you'lI tind that they often take t ime with their phrases. They don't cram everything dowf"'

the listener's throat ail within the tirst 12 measures. In this lesson, we' lI talk about strategies that can help you harness th is powerful phrasing too!.

Exercises Let's t ry a few exercises to get used to this idea.

EXERCISE 1 For this tirst one, we're simply going to pick a beat and leave it blank each measure. In this example, we've done this with beat 1. Notice that every time beat 1 comes around, there's a rest.

r J -,

COl J =96 Cn =JJ\ ) A7

3 J

J 3 \......:.

1/4 ~

~--------~------~~--~~~--~1~~-----r~+---------~~+-~~-+------------------------; Hr--------------~1'~~_+--------------~--+-~+_--------~~~+_~_r----~~----------------~

EXERCISE 2 ln this exercise, we're doing the same thing, except we're moving the rest one beat forward each time. Ifs on beat 1 in measu re

l, beat 2 in measure 2, beat 3 in measure 3, and so on. This will really get you thinking about your phrasing. We've altered the phrase in Example 1 to suit this idea.

r3-,

CO l J = 96 (.!J = J.;) ) A7

b) ,~ ) ,~~~ ......ru, !! b ..J ~ ,--.. r--. h~"

~

I T !

.... ~

j-J It4~

.-- v u ., "v .,

3

v

.,

3

""""""......... ., n ~

~.............."" ou

The idea is simply to make you realize that you don't need to till up every possible beat with something. It's an old express ion but "what you don'! play is just as important as what you do play:' Many people don't give this a second thought, but it reall)

is true. The space in between your notes can do some great work for you if you just let it. It can bookend a phrase, or it ca r create a sense of anticipation that really makes that note count when it arrives.


Licks and Solos Now that you've got the idea, let's check out how space can be put to use in some licks. The idea is to take your time and let phrases end 50 that others have a place to begin.

LlCKl

rJ,

( .-: =\ ) A7 D7 A7 D7

=96

elc. 1 1 1/4 1/4 t t L ~

7 9 19 j ;;:::15 19 12 13 19

12 9 12 11

SOLO 1

When you're not in a hurry ail the time, you also have more time to think about what you're playing, which translates to stepping outside ofyour old, familiar patterns. Here's a full 12-bar solo over an A minor blues.

TRAC!( 23

0:49

=116 Am

1/4

~--~u~--~:~~~~~~ -----'--------?-------------~~~~~ ~ ~.~.~~Y~.~~------,--41~~--~11~/412~~1ffi9-----~8~-1~~''~~~~~~~~ t ~.~.~.~~~~~~~~~~~ ~"412 ~ ,ft I~~

Dm Am

fl ---f:- /'. ~ ,---.., ~ f!: F ~ ~~ tJ

~v.~ t " " ft .-' u u

....... It4

"u ./ ~

_

~

'n 3 13 19' U " ~

Em Dm Am ~~~,~,~~~~ . ~

;. ;. .,.-----frfl .~ . ~ ~ ~. ~ tJ

It4 l/4t ,n/ ,n/ ft 'L , L ~

1/4

J ft ~

.................~,,'\o,,'\o

l'm not saying that less is a/ways more, but sometimes it really is. Take 50me time and fool around with this. Slow down and think more about making phrases that count.There's no hurry! Enjoy!


-- ----

----

OPEN-POSITION LICKS IN E

If there's one thing that's in good supply, it 's 12-bar blues in the key of E. As a blues guitarist, you're likely to play in this ke} more than any other, 50 ifs nice to be well-stocked with E-specific licks and riffs. While we can always transpose licks to an} key, we can also take advantage of the open strings in the key of Eto great effect. This lesson is ail about open-position lic in the key of E.

1 1

Open-Posit ion E Blues Scale Let's take a look at the E blues scale in open pos ition, which is what we'lI be using for the majority of these licks. Notice that the B note in the upper octave is shown in two places: on the open B string and on fret 4 of the G string. Both are commonly used in these types of licks.

o o o o

. ~ -

.- 1';;;:

:: .

::

. -

: J

~

Licks LlCKl

Our first lick makes use of two common elements: a grace-note slur from the ~5th (BI,) to the 4th (A) followed by a pull-off to the \,3rd (open G string), and the minor-to-major 3rd hammer-on (open G to G#). llike to play this one fingerstyle, so 1can really snap the strings, but it works nicely with a pick as weil.

TRACK 24

0:00 ,J,

COl J= 100 Ul = J)

- 3tl ~ t! tJ '-'1,.......--'

3 ------" ., n -

II----'.Q

u u

>" 2 0 ~ ~ -,.,

1:

LlCK 2 This one kicks off with an incredibly familiar sound. The B/D~ dyad is slid into underneath the open high E string to form the dense, ubiquitous triple-stop of B/ D/E. A surprise shift in register at the end takes us back up to the D note, to which we apply a bluesy half-step bend, before finishing it off with the high E note. Consequently, this type of lick could be looped several times.

TRACK 24

0:07 .J ,J,

) = 100 CD = ) ))CD 1 3tl ~ t!

tJ ----.:1 3 1/4

t n ,:; :; :; :; :; - ~ ~

.Q-,., , ':: ':: 7"-4-4 ':: . ~ u .,

~

1:

LlCK 3 Here's a speedy lick that releases the tension created bya repeated pull -off lick with a run down the blues scale.

CO 1 = 100 tl ~ +1 11 ..1 ..J ..1 ~~ ~~

tJ '---3--1 '---3--1 '---3--1

T

tl "ri g

1/4

.J n u u

1/4

.J n u

u u

1/4

~.J n u

n u

u u -I1--

., .. ~


LlCK 4

- e low reg ister is exploited here in typical Stevie Ray-style. After a climb straight up the blues scale, we begin descending

.' ith a grace-note hammer-on to the tonic E from the 7th, D. The grace-note pull-off from Bb on string 5 to the open A string

a: the beginning of measure 2 is a favorite move of Stevie's.

~ 1/4

1 r

o 7;::'2 0 ~ 2 2 o

3

LlCK 5 Here's one that you can groove on for a while. l1's a shuffle pattern that alternates ending on the two most common trills in the

key of E: from the blth (Dq) to the tonic (E) on string 4, and from the minor 3rd (G) to the major 3rd (G~) on string 3. Hendrix did

th is kind of thing ail the time.

lUCI( 24

0:34

,1.,

= 88 en = J) ij#I,U: d :11

T

.Cl n !;I ft

It4

ft '

1/4 tr~ t tr~

u

U U U U U U U U U U

LlCK 6 This final example sounds great moving from the IV chord (A, in this case) back to the l, since it begins by outlining an A

arpeggio on strings 5-3. After that, we see a variation on the descent from Lick 4 that adds one note to the grace-note Bb-A

pull-off figure. Here, instead of just quickly pulling off from Bb to A, we're hammering on from A to Bb and then pulling off to A.

This ail happens very quickly of course and should only take the space of one 8th-note triplet.

TRAC!( 24

0:51

fl 10 * tJ

,

-w~

- '.. L U

3 "*

~

L -"

,-3 --, ,

~v~ q-w ~IJ-w ~q~ ~ ~ ~ ~ ~

" _ ft 2 0 ~ 0 ft U U U

Remember that you can create lots of new licks by combining different parts of these licks in various combinations. That's

often how many players build such a huge catalog of licks. If you break them dow n, you'll see that they're made up of smaller

fragments that can be found elsewhere as weil. Enjoy!

100 BLUES LESSONS 1 GUITAR LESSON GOLDM INE 51

- -

OPEN-POSITION LICKS IN A

With A being such a popular blues guitar key, and 50 many open strings available to us in that key, it makes sense to bu ild stockpile of licks in A that exploit the open position. While this approach is commonplace in the key of E, ifs not as frequent } done in A fo r some reason. In this lesson, we hope to remedy that by learning some open-position licks in the key of A.

Open-Position A Blues Scale -~ Let's take a look at the A blues scale in open position, which is what we'lI be using for the majority

oof these licks. Notice that the E note in the upper octave is shown in two places: on the open high E o - ::- _ I . -.! - --~

- 1

1 . 1 ::. 1

1string and on fret 5 of the B string. Both are commonly used in these types of licks. ~ 1o

Licks Our first two licks exploit the unison E notes on the top two strings. Though this is commonly used in the key of E, where it functions as the tonic, ifs not as often done in the key of A, where it functions as the 5th. These two licks demonstrate a fe-;, ways we can use this somewhat un ique sound to our advantage.

LlCKl

CD 1 (J Il Il .k ~ .....---., ~

tJ _.:!!. - -'--'" q..~ ';4

.r n

~ n

~ n

~ n

,~

u u u u . 'l n .,

U. n ;, ''''; ~ u ~

..Q

LlCK 2 TRACK25

0:10

J=126CD 1 fl Il Il .k h. -----. .-----..... - -~ tJ

T

~-leI rillg - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -j

n ., -u u u u .U .,

';4 ,~

"'-"

,{ ft

"'--' ~

';4 ,-'

.; 'n

q.. :6t

't4

tl ~ n '''';

1.1

L L U ,"

LlCK 3

Here's one that works the lower register of the scale and includes a characteristic grace-note pull-off from the bSth (Eb) to the 4th (open D string). Notice also how we cap it off by sliding up into the 3rd/b7th double stop of a/Go, fram a half step belo Remember to allow the open A string to ring beneath it.

CD 1 J rJ,

= 96 C.rJ =J..l\ ) 3 3I Il Il ,1l,,---/1

tJ ~~ ---- ~ ... ,. "'J ~~ ~ -lei ring - - - - - - - - - - - - - - - - - - - - - -j

~n ~ . .::

~ Il---l--ri , L U , n u .{ 'n . 0

u

52 100 BLUES LESSONS 1GUITAR LESSON GOLDMINE

LlCK 4

- is is a nice boogie lick in A minor that you can groove on for a while, adding fills like t he one in measure 4 to keep things '1~e resting. While t he first-finger barre is normally used for the A5 in these types of boogie riffs, you'II most likely find that the m style fi ngering (with fingers 2 and 3 on strings 4 and 3, respectively) works better here because of the C note that's fretted

on string 2, fret 1 each time.

r3--,

' )

A5

=116 ( .--: =

1er ring - - - - - - --l lei ring - - - - - - --l le' ril/g - - - - - - -1

~) 1 ~3 1 ~3 1 0-1 ~ 2 {~ a_ :11::o o o

LlCK 5

Here's one that uses the high E string as a drone on top of a descending blues scale melody. Again, the fact that this drone is the 5th, as opposed to the tonie in an E lick, lends a unique quality that's not exploited enough in my opinion. 1 use hybrid picking for this one, but you could play it totally fingerstyle as weil.

T1IACII25

0:51 r3-,

.= 66 (TL J) ) 3 3

tJ;I li 1 1 1 r- nn u ~ ---- ~.-S q-41 1 - -410

w/ pick & fingers le, ril/g - - - - - - - - - - - - - -1

n n n v v v v v v v vT . ~.

:;2 2 e 2 0 7 , ~ ~

~ n.... ., &.J

LlCK 6

We'II end with another groove lick that's played fingerstyle and features some rig ht-hand independence. While keeping steady quarter notes on the open A string, we play a bluesy melody on the top three strings and answer it with a lower register fill (which also acts as the intro). Notice that the F# note (fret 2, string 1) is not part of the A blues scale. It's the 6th, which is a bit brighter sounding, but it's a great sound.

TRACK 25

1:02

= 100

fl ;1 il ~ 1 l

..~ ~ ..~:;it) ~ ~ :;i 1,1,1/ fingers It4

~

, -'"I T ., n ~ ! n ~ ~ ft 11.- ." vv v ~ ~

v ~ ~~-,.; n .n ft. -". "

Remember that you can combine different parts of these in various combinations to create lots of new licks. Maybe take the notes of one lick with the rhythmic approach of the other. Or combine the first half of one with the second half of the other, etc. By doing this, you'II have a huge catalog of licks before you know it. Enjoy!


BASIC ACOUSTIC FINGERSTYLE BLUES

Playing fingerstyle blues on acoustic sounds about as authentic as you can get. It harkens back to the original Delta blues

of the twenties and thirties, when the music was young, dangerous, and exciting. Though the electric guitar has certa in established its own enduring legacy in the blues genre, there's nothing like the rootsy sound of bare fingers on a steel-string acoustic. In this lesson, we'lIlook at the basics of acoustic fingerstyle blues.

The Plucking Hand The original Delta blues guitarists used a variety of plucking techniques. Some strummed

everything with their thumb (or a thumbpickl, some used multiple fingers together, some used

their thumb and first finger only, etc. There's really no single "right" way to do it. If it sounded good,

that's what they used. And that's still the basis for the technique today. So, while in this lesson

l'II supply the right-hand fingerings that work best for me, feel free to experiment in this regard.

The fingers of the plucking hand will be labeled as follows: p for thumb, i for index, m for middle,

and a for ring finger. These labels are derived from the classical guitar tradition, but they're also

widespread in other genres of fingerstyle playing, 50 we'll use them too.

Exercises If you're completely new to fingerstyle, you'lI want to start with a few exercises to get a feel for it. Though acoustic fingerstyle blues often makes use of alternate tunings (especially when the slide is involvedl, we'lI remain in standard tuning throughout this lesson for simplicity's sake.

EXERCISE 1

Let's start by playing an Eblues scale in open position. Use your thumb for the lower strings and your fingers for the higher strings. TRACK 28

0:00

CD 1 J=80 t'J ~

tJ .., ... 1:J ~ #~~ P P P P P P i i i i m 111 a a a

n ~ n

u u - ~

.Q -Pi L

L

ft ~-

g U v

EXERCISE 2

Now let's try alternating our thumb and fingers. We'll pluck down for the notes of the scale with our fingers and pluck thE open low Estring with our thumb. Try to make sure you're only plucking one string at a time.

co 1 =80 t'J jj .tJ

~ p

~ a p a

~ ~ 1

p m p m ~ p

1 :; i P i

:; p i

:; P i

u u

~ ~ ~ U L V

L

n n u u u u u u u


--

CO 1 .-- 80 EXERCISE 3

Fnally, we'll do the same thing, but we'II pluck the bass notes and treble notes together at the same time. Picking a bass note with the thumb and treble note with the finger simultaneously like this is sometimes called "pinching:'

Riffs

COlRIFF 1

This first rift is in the key of E and again works the low E drone beneath a melody on top. Note that we include the hammer to the major 3rd (G~) from the minor 3rd (G: ), which is an incredibly common move. The final

note of the melody is E on the fourth string, which,

though the bottom three strings are commonly plucked

by the thumb, needs to be handled bya finger since the

thumb is plucking string 6.

/"J>I

tJ == = = = = = = '11 '11 '11 '11 '11 '11 '11 '11 a 0 m m i i i i p p p p p p p p ~ n

T u u

U ., !>

Jl ~ L-,.;;

1.1 n n n n n n n n u u u

~ =88

/"J lit +1

tJ = ""== ')II~ '11 '11 ~ ~ ~ ~ a 1/1 i i

p p p p p P

T u1

~

Pi L

-'t n _n n 1 li h. ~ Here's another one in E that raises the level of difficulty.

Notice that we're plucking an 8th note in the melody tJ = = = = = '11 '11 '11 ~~ '11 ~ '11during the second measure. Your thumb, however,

lei ring throllghou(maintains steady quarter notes on the open low E. Make a m 0 a a

PJ 114 p 11/P P P P P Psure that these two rhythms are distinct. We're also n n n u u u uadding a quarter-step bend on the high Gb, note. -"'

... n

u u u u u u u u

RIFF 3

Our final example is in the key of G-another common fingerstyle key-and raises the difficulty just a bit more. After keeping a steady, fretted, quarter-note G bass beneath a fairly busy melody on top, we bounce the thumb back and forth between string 6 and string 4 in measure 2. This is an extremely common maneuver in fingerstyle, and you're certain to see more of it in your fingerstyle studies.

r J -,

COl =80 en =.'.J ) 3 3 /"J >I ~ J J J J - 3

tJ ~ :; :; ~ ~ ~ a a ni. m m i i i

P P Tl P P P Tl 1T

.{ ft n u u uJl

u u-... g ~ ~

u u u u u

100 BLUES LESSONS GUITAR LESSON GOLDMI NE 551

- -

INTERMEDIATE ACOUSTIC FINGERSTYLE BLUES

Playing acoust ic tingerstyle blues can be an incredibly satisfying experience. You've got everything you need to make a complete blues statement at you r tingertips, whether you choose to croon or not. In this lesson, we'lllook at some intermediate techniques for acoustic tingerstyle blues, and we'lIlearn some nice riffs in the process.

Right-Hand Independence One of the most difficult aspects of this style can be the independence needed in the plucking hand. Often times, your thumb will be req uired to play different rhythms tha n your tingers, which can take some getting used to if you haven't done it before. Let 's take a look at a few exercises that work th is area.

TRAC!( 27

0:00 rJ-,

COl . =96 cD = ~ EXERCISE 1

This tirst one keeps a steady low E string going beneath

a melody on top containing some 8th notes. Make sure

your thumb doesn't imitate the rhythm of the melody. It

shou ld be playing straight quarter notes on string 6.

tJ It +1 :--,

t.J :; = :; i"JI w/tingcrs 1er rillg lhroughour

n T ! u

-..,; n n

u

u u

~

'-/-

n n u

EXERCISE 2 Less frequent is the opposite idea- quarter notes on the top strings with a bass note melody below-but it does happen occasionally, and ifs a really great sound. Here's that idea in E, using the high E string as our drone on top.

3 3 -tJ It +1 1 1 1 1 l l t.J ~..,-, 0 0 "JI ~ qi =

wl finge rs ~ l eI r;lIg lhrougholll

_n _n on.-"T 1

.,Il ;, ., ;, ., ;, n u ~-...

Q L U .( " TRACII27

0:23 rJ -,

CD 1 J=loo cD = . ) EXERCISE 3 Other times, you may lime a thumb-plucked bass note with a note that's hammered on above. This is a unique coordination that's actua lly used quite a bit. Here's a basic exam ple in E.

tJ It Il 1 :

t.J = = "11 "11

wl fin ge rs h'f ring Ihro llghoUl

T ! .Q -..,; loi ft n_

u

1

~ ~

n.

Alternating Thumb Another common technique in this style is the alternating thumb. While playing melodies or chords on top, the thumb often bounce back and forth between two strings-usually strings 6 and 4 or strings 5 and 4. Depending on the chord fo,.....being used, t he bass is usually bouncing between octaves, between the root and 5th of a chord, or between the root and 3r c of a chord. Occasionally, it w ill get even more involved.

56 100 BLUES LESSONS 1 GUITAR LESSON GOLDM INE

EXERCISE 4 - e'e s a basic example where we're alternating between the open low E string and an octave above on string 4 while playing :; e.ody on top .

= 100 ( .--: = . ; )

J J J

w/ lngers let ring rhroltghow

T ----~------~----~~--~~--------------~

RIFF 1 Now let's check out a few riffs that make use of t hese ideas. This first one, in E, uses a good bit of independence in the right hand and fin ishes off with the 5th-6th boogie pattern strummed by the thumb on strings 6 and 5. Notice that, because the pattern starts on beat 2, the 6th dyad (E/O) is fi rst.

TUCI( 27

0:49 rJ.,

= 84 (.- = h)

w/ fingers P.M. - -- - -- -- - - --- -- -- -- -1 lei r i llg throughouf

RIFF 2 Here's a nice one in A that bumps along with an alternating bassline moving between strings 5 and 4. The notes on top mix

chord and melody sensibilities to provide a well-rounded sound.

TlIACK 27

1:07 rJ.,

= 120 (n = .1 J) ) tJ Il !t .. M. Il 1 1 1 ~ t) :4j :4j~ ~

w/ fingers

u u ..LT - '>" ~ ,; il ~ ~X

ft... ft ft ft ~

RIFF 3 Our fi nal riff is in G and combines a bassline that alternates between strings 6 and 4 with a part on top consisting of dyad

chords (beat 2) and a single-note melody, both of which are derived from the G minor pentatonic scale. For extra credit, make the tirst of the repeated dyads staccato (as it sounds on the audio) while leaving the bass note normal.

~ 1 J - J L t) :; ~

.. -w/ fi ngers

~ ~------;u u

il ft ft U U -... U g - '>

w


--

ADVANCED ACOUSTIC

FINGERSTYLE BLUES

The fingerstyle technique employed by the Delta blues masters of the first half of the century varied considerably from player

to player, creating a vast repertory of unique ideas from which to draw when reinterpreting the blues of today. This meaf"5

combining several aspects of technique in interesting ways. In this lesson, we'lI be doing just that as we examine advancec acoustic finge rstyle blues.

Right-Hand Independence One of the most important skills to master in the fingerstyle world-blues included-is independence in the plucking ha nd. Often times, your thumb will be required to play different rhythms than your fingers, which can take some getting used to if you've not done it before. Let's begin with a few exercises to work specifically on this concept.

EXERCISE 1 This first one is in A and maintains a steady quarter-note bass on the open A string while plucking dyads on the top two strings in various rhythms. Make sure your thumb is not varying from the quarter-note pulse; it should be automatic.

TRACK 28

0:00 .... r3-,

=124

Riffs

Ali right, now let's check out some riffs.

RIFF 1

This first one is an alternating thumb tour de force in E that makes use of a few quarter-step bends in the melody to help provide the illusion of two different instruments. Notice also that, on beat 3 of measure 2, we're timing a hammer-on with a

thumb-plucked bass note. This can be tricky if you're not used to it, so be sure you're getting it deanly.

r3-,

1211 =140 CI: = J )\ ) E7

(j il Il ~ .. .J 1 1 1 1 T 1 1l 1

tJ = = .. = ~ "li "li w/fi ngers

1/4 Ir J u uT n ~ n,,'" u ft u.Q

~

-'ri.,

Hal leonard 100 blues lessons

Education

Transcript of Hal leonard 100 blues lessons