MEL BAY PRESENTS
BAD
BONE
BLUES 6UITAR RHYTHM PATTERNS CD CONTENTS
OI
ai
Tuning [:30] #1 [:221 #21:22] #3 [:22] #4 [:23] #5 [:22] #61:231 #7 [:22] #81:20] #9[:20] #10 [:20] #11 [:25] #12 [:20] #13 :211 #14 [:20] #15]20] #16 [:20] #17&18{:46] #19 [:20] #20 [:201
J J
J J
#21 #22 #23 #24 #25 #26 #27 #28 #29 #31 #32 #33 #35 #36 #37
[:20] [:20] [:20] [:20] [:20] [:20] [:20] [:20] & 30 [:44] [:21] [:20] & 34 [:42] [:20] [:19] [:19]
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LI J l!J @: I1 EI EIJ EI 1J
#381:19]
EI #39 [:19] :i
#40[:18] #41 [:19] #42 [:19]
IJ FI J
#43 [:19] #44 [:19] #45 [:19] #46 [:15] #47 [:12] #48 [:13] #49 [:13] #50 [:231 #51 [:181 #52[:14] #53 [:16] #54 [:191 #55 [:19] #56 [:19] #57 [:19j #58[:18] #59 [:18] #60[:18] #61 [:18] #62 [:18]
IJ E1
El EI E1 EJ
1l 1 E!J L1
F1 I!1
#63 [:181 #64 [:18] #65 [:19] #66 [:18] #67 [:15] #68 [:14] #69 [:22] #70 [:15] #71 [:26] #72 [:15] #73 [:19] #74 [:20] #75 [:20] #76 [:20] #77 [:20] #78[:11] #79 [:13] #80[:13] #81 [:13] #82 [:17]
J
J E I J EI EI J IJ
#83 [:17] #84 [:181 #85 [:13] #86 [:13] #87 [:13] #88 [:12] #89 [:13] #90 [:12] #91 [:12] #92 [:131 #93 [:12] #94 [:14] #95 [:20] #96 [:20] #97 [:20] #98[:17] #99 [:17] #100[:13 #101 [:16]
BY LARRY McCABE
Credits
Bass
Randy Barnhiil Larry McCabe
Guitar and photos Recording engineer..
Fred Chester
' 1999 BY MEL BAY PUBIJCATIONS, INC.. PACIFIC, MO 53069. ALL RIGHTS RESERVED. INTERNATtONAL COPYRIGHT SECURED. B.M.I. MADE AND PRINTED IN U.S.A.
No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission of the publisher.
Visit us on the Web at http://www.melbay.com
-
E-mail us at
[email protected] Mel Bay Titles by Larry McCabe Titulos de Mel Bay por Larry McCabe BLUES GUITAR * Blues, Boogie, and Rock Guitar * Blues Band Rhythm Guitar * 101 Blues Guitar Turnaround Licks * 101 Mississippi Delta Blues Fingerpicking Licks * 101 Dynamite Blues Guitar Fill-In Licks* * 101 Bad-to-the-Bone Blues Guitar Rhythm Patterns * 101 Dynamite Slide Guitar Licks in Open E Tuning* * 101 Essential Blues Progressions * 101 Red-Hot Jazz-Blues Guitar Licks and Solos ROCK GUITAR * Anthology of American Rock and Roll Guitar Styles * 101 Dynamite Rock Guitar Rhythm Patterns* * 101 Dynamite Rock Guitar Riffs* FINGERSTYLE GUITAR * 101 Fingerstyle Guitar Accompaniment Patterns* * 101 Mississippi Delta Blues Fingerpicking Licks COUNTRY GUITAR * 101 Nashville Style Guitar Licks * Country Lead Guitar * 101 Kickin’ Country Rhythm Guitar Runs SLIDE GUITAR * 101 Dynamite Slide Guitar Licks in Open E Tuning* SWING GUITAR * 101 Red-Hot Swing Guitar Licks BLUES BASS * 101 Blues Bass Patterns ROCK BASS * Anthology of American Rock and Roll Bass Style * 101 Dynamite Rock Bass Patterns* LATIN BASS * 101 Dynamite Latin Bass Patterns* JAZZ BASS * 101 Anzazing Jazz Bass Patterns COUNTRY BASS * Country Bass Made Easy SONG WRITING I THEORY * You Can Teach YourselfTM Song Writing *
Text in both English and Spanish I Libros en Ingles y Espaflol Descriptions of these book/CD sets can be found in the Mel Bay catalogue 1-800-8-MEL BAY More Larry McCabe books will be available from Mel Bay soon. Visit Mel Bay Publications on the Web at http://www.rnelbay.com
2
CONTENTS Introduction
4
How to Use This Book
5
FOUR-BEAT PATTERNS Four-Beat Dominant Chord C7 Patterns
9
Four-Beat Minor Chord Cm7 Patterns
16
Four-Beat Vamp Patterns for C7 and Cm7...
.
17
EIGHT-BEAT PATTERNS Eight-Beat Dominant Chord C7 Patterns
19
Eight-Beat Minor Chord Cm7 Patterns
28
...
Eight-Beat Vamp Patterns for C7 and Cm7
29
Appendix 1. Basic Types of Blues Rhythm Patterns
31
Appendix 2. 12-Bar Blues Progressions in Major Keys
34
Appendix 3. 12-Bar Blues Progressions in Minor Keys.
36
Appendix 4. 8-Bar Blues Progressions in Major Keys
38
Appendix 5. Open Charts for Application of Patterns
40
3
INTRODUCTION With a minimum amount of effort, any beginning guitarist can quickly learn rudimentary accompaniments to hundreds of simple songs. Problem is, the relative ease of acquiring such basic skills often lulls one into the false belief that rhythm guitar playing is a limited kind of musical amusement.’ Indeed, it seems that many guitarists-apparently oblivious to the healing balm of creative exploration-are lucklessly destined to forever walk a dark, narrow, one-way rhythm guitar street filled with creepy alleys, one-eyed cats, hungry rats, windowless dives, and untrustworthy people who also do a little lying, cheating, and stealing on the side. When we discuss those who fail to appreciate the art of rhythm guitar playing, fairness dictates that we not assign this state of deprivation exclusively to the grinning, naive beginner who hopes to someday play ‘as good as Gene Autry did in the movies.’ To get closer to the point, it would be a statistical error to omit from the present discussion those presumptuous hot-shots who are intent on giving everyone within earshot an aural pistol-whipping. With their bWlet-like bursts of rapid-fire blue notes crackling away like annoying little explosions of thunder, such guitarists often know as much about rhythm-section playing as Adolf Hitler knew about the Golden Rule. With my hand on my heart, I testify to you that I have seen many blues guitarists hopelessly snared in the cold steel jaws of the lead guitar trap. Take Benny not his real name, for example. Bending the strings, tossing off hot licks, scanning the audience for hero-worshiping chicks, and oblivious to his rhythm section, Benny is scarcely aware that his scowling bass player has a barely-suppressed hankering to take out a big butcher knife and chop off Benny’s Slinkys.2 I’m not being coy about this. This is merely an attempt to provide you with some decent, honest, friendly, low-cost information. the kind of information that may someday help you avoid having your guitar strings or something else chopped off by an irate bandmate. Because people do chop things off these days. It’s in the newspapers all the time. .
.
Firm in the belief that you are now unalterably convinced of the necessity of acquiring wellrounded rhythm guitar skills, I sincerely hope that you enjoy-and profit from-this new collection of 101 Bad-to-the-Bone Blues Rhythm Guitar Patterns.
Larry McCabe Tallahassee, Florida
I. There are, of course, some guitarists who believe that the Crown of Virtuosity should be placed on their head every time they perform the six open-string chords they learned to pick out by ear" in 1965. But I won’t talk about those people here, because they are not buying this book anyway, and you and I believe in due process, and they are not here to defend themselves. 2. "Slinkys" are a popular brand of guitar strings. You probably knew that.
4
HOW TO USE THIS BOOK The Written Music 1. Each rhythm pattern in this book is based on either the C7 chord or the Cm chord. This format provides a consistent point of reference and facilitates ease in theoretical analysis and comparison of examples. 2. Each example is written in both notation and tablature exactly as it is recorded.
Fingerings Suggested fretting-hand fingerings are provided in the notation staff. The recommended fingerings are not absolute, and you may modify a particular fingering if you have a better idea. 1
=
First index finger
2
=
Second middle finger
3
=
Third ring finger
4
=
Fourth little finger
Patterns 1-101 The 101 musical examples are divided into two basic categories: four-beat patterns and eight-beat patterns see the Table of Contents. Like the majority of blues songs, most of the patterns are in 12/8 time. However, I have also included several patterns in 4/4. Many of the 12/8 patterns can he converted to 4/4 ‘straight time’ and vice-versa. Each basic category is divided into three sub-categories: Dominant patterns C7, minor patterns Cm7, and vamp patterns which include both C7 and Cm7 patterns. In blues music, a vamp pattern is played repeatedly for the entire length of a song. A vamp pattern is also called a monochord pattern. One-chord songs are not rare in the blues; in fact, most blues bands have at least one monochord tune in their repertoire.
The Companion CD 1. Several ‘A" tuning notes are provided on the first track of the companion CD. 2. The CD, recorded in stereo, is mixed as follows: The drums are in the center The bass guitar is on the ifi The rhythm guitar is on the tight 3. If you wish, you may remove either the rhythm guitar or the bass by turning down the appropriate speaker. 4. Most of the examples are assigned an individual track. Because the current technology allows only 99 tracks, a few tracks contain two examples. 5. Most of the patterns are recorded at a moderate tempo. Feel free to adjust the tempo as desired for live performance. 6. Each four-beat pattern is played four times; each eight-beat pattern is played twice.
Procedure Although it might be easiest to start with the four-beat patterns, you can work through the patterns in any order. If you encounter a pattern that is too difficult, try another pattern and return to the more challenging example later.
Application of Patterns to Actual Songs The patterns in this book can be applied to thousands of "real" blues chord progressions see Appendi ces 1-5 for supplementary information. We will now learn the fundamentals of applying the rhythm patterns to blues progressions.
5
Application of Pattern 1 to the Basic 12-Bar Major-Key Blues Progression Example 1 shows how to play rhythm guitar to an entire blues song by applying pattern 1 the first four-beat pattern in the book to the basic 12-bar major key blues progression. The basic 12-bar major-key blues progression is discussed on pages 34-35. Ex. 1 Rhythm pattern #1 applied to the basic 12-bar major-key blues progression
C7
C7
C7
C7
a
-.
ft 5 5
-T A
3 2-
5 5
3 3
10
A
10
5
5
lift 10
8
10
8
10
8 8
3 3
5
P.
:
ft
k 10
a
H
p 3
H
J 5
3
5
3
5
3
5
3
5
3
5
3
B
Application Projects When you feel that you are ready, work on the application projects in Appendix 5 pages 40-44. These projects will help you learn to apply the rhythm patterns to a variety of standard blues progressions in several keys.
6
I
Pattern Modifications Sometimes a rhythm pattern must be modified-or replaced with a new pattern-to fit a context that is different from the original context. For instance, pattern 1 Ex. 2, a four-beat pattern, is played to four beats of C7. Because Ex. 3 is a measure of two-beat chords, the rhythm pattern in Ex. 2 will have to be modified to fit the chords in Ex. 3. Ex.2
Ex,3
C7
F7
C7
One possible solution is shown in Ex. 4.
A less-active possibility is demonstrated in Ex. 5. Here, the technique of anticipation playing a chord before the heat is applied to F7.
Ex..4
Ex.5
C7
F7
F7
C7
Example 6 shows a turnaround progression in the key of C. A turnaround is a two-bar chord progression at the end of a section of music. The turnaround in Ex. 6 is often found in the last two bars of a major-key blues progression see appendices 2 and 4. Apply the rhythm pattern in Ex. 4 to the chord progression in Ex. 6 the first measure of Ex. 6 will be the same as Ex. 4. Hint: to transpose the C7 pattern to G7, move it up seven frets. After doing this, apply the pattern in Ex. 5 to Ex. 6 the first bar of Ex. 6 will be identical to Ex. 5Y Ex.6
C7
F7
C7
G7
There is no precise formula for modifying a given rhythm pattern to fit a new musical context. However, a committment to active listening, study and experimentation will help you become proficient at this skill. For an exhaustive treatment 165 pages of blues rhythm guitar styles, chord fingerings, and modern harmonic substitution and embellishment, see Mel Bays Blues Band Rhythm Guitar. 7
Four-Beat Patterns ‘When you see me leavin, bang your head and cry."
8
Four-beat patterns Dominant chord patterns C7 Each pattern can be used for the C7 chord
1
2 -.-
S
–
TF:
5
3
3
4
p
ii 33 54
3 5
3 4
3 5
3
B
3
iF
5
11 11
8 8
8 8
10 10
8’ 8
9 101
6
4 3 3 3
A B 7
3 3 3
2 2 2
3 3 3
I Liiir
I
!z %JLi:ii
8 10
8 10
6 8
5 5
8
4 Sfl
I 11
A B
12
11
t0
8
1Z
11
10
9
5
9
5
3
5
1-1
Four-beat patterns.. continued .
C7 patterns.
.
.
continued 10
9
I
1
4
--
8 5
T A
1EP–PI
-‘
WI
8 5
8 8
5
at
St
P
10 11
8 10
6 8
PTh]
-
88 10 8
R
Block the G and D strings with the first finger
6 8 88 77
8__10 1011 912
8 6 108 97
5-5 75
55 57
5 5
1-
5 5
5
B
1r’’ A I-’
3 3
3 3 33
3 3 33
3 3 3-3
5 5
3 3 35
-5
5
3
15
HI C3 +-3
10 8 [910
5--.3 10
10
L 10 11 1012
11 12
10 10
Four-beat patterns. C7 patterns
.
.
continued
continued
17
18
-
13
1
Ir’!’iiiiiiilj. 53 5 3
A
2
5
3
J 1
I
66 88 5
A I-’
B
3
3
5
5
11
5 5
3
5
3
1II
Four-beat patterns. C7 patterns.
.
.
continued
continued
25
26
jJ
1
T A JR
2
2
5
5
27
3
13
5
2
1
5
28
iUj.
2
I
-
-.-1
T A
5
13 M3
5
/
87
B
8
29
" -
T A B
I
87
30
kJ! 8 5
8 5
8 5
6 5
6 5
ILiiJ 8 5
8 5
I
6
J 6 5
31
32
12
-
i
Four-beat patterns. C7 patterns,
continued
continued
34
33
%
. .
‘k. 1 -. -
F
8f’ 89
35
3
I
5
3
3
5
3
4 10
8
6
8r
6
45
37
1
St
*
3
--
3
3
38
39
40
1rffff
8
6
8
6
8
8
A [10
13
t8
IHo
8 10
Four-beat patterns.. continued .
C7 patterns.. . continued
41
42
12 is_
T
A
r’
5
5
5
5
r
ii
5
3
11 12
5 5
5
I
-
H 10 1210
i
‘
108’ 108-9
B
4 T A -/%.
‘
-
3 5
3 5
5
5
7
75
5
5
5
7
7
7
8
87
7
7
7
8
810
9
7
7
10
8
8
B
‘
m
T T A
m
"Finch the notes as follows: Middle finger m plays the top note C The F note is played with a downpick
3
53 5
3
1 2
R Number 45 is played using the pick and fingers’ technique. You will find this pattern easy to play if you relax and follow the performance markings and suggested fingerings.
If you enjoy this book, you will also enjoy Mel Ray’s 101 Blues Guitar Turnarounds by Larry McCabe.
14
Four-beat patterns.
.
.
continued
C7 patterns in 4/4 time
47
46
V
II
II
A
5 H
48
49
This pattern
also be thought of as a Bb to C pattern
can
13
1
1
HI
V
8
8 7-
A
9
g 1180 50
51
V
1O
10 -
Pinch" the intervals m
V V___
mm
mJ
5
6 5I5
A B
6
8 5
8 5
6 5
5
5
5 35
ii
3 -5
3 35
52
5
5
3
15
4
V
Four-beat patterns.
.
.
continued
C minor patterns Cm, Cm7, etc.
54
53
4
I*
a.
J
*1 *
T A R
11*1
I
fl’ 1
‘
1
1
*-*-t-1
-i:18 I
10 10
1
8
Sometimes the major chords C C Eb F are played to pattern 53.
55
56
4 A
! 4 5
4-6 5-7
8 8
6 7
I
rY 1
4 5
10 10 10
8 8 10 8
R
9
10
Patterns 54 and 55 can be played in harmony.
Discover the roots of the VaughanlClapton/ Hendrix styles with Mel Bay’s Blues, Boogie and Rock Guitar by Larry McCabe. This great book/CD teaches 25 full-length blues solos. 25 full-length blues rhythms. and blues scale’ and ticks. otes, tahiature. and diagrams.
16
1
Four-beat patterns.
.
.
continued
‘Vamp" patterns for the key of C
I T-5 A
-5
-5---
5
5
3-’5 3 -5
10
10
8
10
-B
4 A 1-
5
-3--
5
3
5
Some blues songs "Smokestack Lightning" have only one chord C7 or Cm in the key of C or riff pattern. A repeated playing of a single riff is called a vamp. Patterns 57-60 can be used in one-chord blues songs. The harmony for one-chord blues tunes is sometimes ambiguous and does not lend itself to a ‘strummed chord. Decide for yourself whether you prefer the C7 chord, the Cm or Cm7 chord, or no chord for each of the above examples.
17
Eight-Beat Patterns "The blues ain’t notbin’ but a good inanfeelin’ bad."
is
Eight-beat patterns Dominant chord patterns C7 Each pattern can be used for the C7 chord
61 *
5
3
5
1
I’
8
1
62
+
-
A B
3
3 3
3
3
3
p
I
3
3
64
I,’
/
-A--
8’ 8
9
8
4
19
:i
5 5
.7.
4 4
.
111111
Eight-beat patterns.. . continued C7 patterns.. continued .
65
66 i.____._1
.
‘II
%
3 5 35
-T A
iti
5 5
8 5
5 5
5 5
Lii
‘
1II 6 5
5 5
B
67
vri
L! -T A
1-
8 9 10
8 9 10
10 9 1-0
11 9
10 9
10
110
11 9
10
10 9
10
11 9
10
10 9
10
B
–TE
68i 8
-A-
1-0
B
20
89
1
Eight-beat patterns.
.
.
continued
C7 patterns., continued
4:
p
1IEJ!IA
12
12
11
10
12
12
11
10
70
9
This pattern can also be played to Cm7
L’
$
8
A
10
10
0
10
10
10
71 .
3 3
[ii
3-,__5 3-53 -,-
t
i
21
-,----.,-
10
10
Eight-beat patterns.. continued .
C7 patterns.. continued
73
tiiii 8 4
4
5
A
-
74 ".
j3
8
ff 8
8
I 8
8
A -B75
". 8 8
8 8
8
8 8
8 8
76
4
A
8’ 89
10
10
-III
l8 89
10 1089
10
22
10 8’ 1089
10
8 8
Eight-beat C7 patterns. 77
.
patteriis.
.
.
continued
continued I
‘L
iLJ9–
.!IIII-
F
78
m
79
3
3r
4 A
I-’
-
5 5
5 5
5 5
5 5
3
5 5
-
-
80
6
6 8
6 8
6 8
A
23
6 8
6 8
Eight-beat patterns.. continued .
C7 patterns.
-
.
continued
81
82
j: .
T A LB 83
10
1O-8
10
1O8
I
10
:
33f
10-8
10
1
: 4
11-10
T A
8
1i1o
8 8
8 8
io
a 84
$ T A B
4:’
I
j
-
‘ 8 10
6 8 7
5 5 5
24
3 3 3
Eight-beat patterns
..
.
continued
C7 patterns.. continued .
85
H 8 8
5 5
-T A I-’
5 5
8
8 8
8
8
5__---------3 5__-3
5 5
5 5
6
5_____----3 5-3
3---5
3
5
3
EL
3R_III
8
25
5
Eight-beat patterns.. continued .
C7 patterns.
.
.
continued
89
---
-
if
5
I
5
3
5 5
3
3
1
5
B 90
4j
jTH 3
A B
3
5 5
5
1
3 3
5 5
3 3 5
3
1-
8
6
6
‘8
8
5 5
A
92
I
11
A
26
11
11
11
1-I
8 11
Eight-beat patterns. C7 patterns.
.
.
continued
continued
93
!‘ 6 5
6 5
6 5
11
-
6 5
-A B
I
-_______
94
9 8
A B
4
10-11
8
10
8
10
10
For an in-aepth study of blues rhythm guitar styles, see Mel Bay’s Blues Band Rhythm Guitar by Larry McCabe. This 165-page book teaches all aspects of blues rhythm guitar playing from basic blues to chord substitution. modern jazz-blues progressions, eight-bar blues, minor blues, and more.
Eight-beat patterns.
.
.
continued
Minor chord patterns Cm. Cm7, etc.
96 3 3
3 3
fl-i 11
10
8
11
10
8
12
10
8
8
12
10
8
8
1-3-
13
A B
.
3 3 3
3 3 3
5 4 5
10 11 12
-3 3 3
-
Mel Bay’s 101 Dynamite Blues Guitar Fill-in Licks reveals the secrets of playing lead blues fills. The innovative format of this book/CD set allows you to "sit in" with a full blues band while learning to play professional fill-in licks behind a singer. Learn "Midnight Special," "House of the Rising Sun." "St. Louis Blues," and other fun songs while rounding out your blues skills. If you are would like to learn slide guitar, Mel Bay’s 101 Dynamite Slide Guitar Licks in Op en E hi,iing is a great way to learn. Using the same format as 101 Dynamite Blues Guitar Fill-in Licks, this hook makes it easy to learn slide guitar.
28
8 8 8
Eight-beat patterns.. continued .
‘Vamp" patterns for the key of C Please see the comments following example 60 page l7concerning one-chord songs and vamp riffs.
C7 or Cm7
98
100
C7orCm7 1
10
101
10
t0
10
10
10
10
10
10
8
9
C7#9
t-
3r 10
*
rsEIE
p
8
10
8
10
p
29
10 10 10
8’ 8 9
Appendices "Pull down your shade, mama, turn your lamp down low...
30
Appendix 1
Basic Types of Blues Rhythm Patterns Blues rhythm patterns can be classified into four basic types: I Monophonic; 2 Doublestop; 3 Chord; 4 Combination. Each of the four pattern types is discussed below.
MONOPHONIC PATTERNS A monophonic pattern contains oniy individually picked notes Ex. 1. Monophonic guitar rhythms, a defining element of the early 1950’s Chicago blues style, are often adaptations of piano boogie-woogie bass figures. Although most monophonic patterns are played on the lower four strings E-A-D-G, monophonic rhythm "licks’ are occasionally played on the two high strings B-E. Ex. 1 Pattern 18 is a single-string pattern
C7
11 T A
B
Monophonic patterns in this book: Numbers 17, 18, 20, 22, 23, 25, 27, 28, 37, 39, 46, 47, 48, 53, 58, 59, 60, 61, 70, 73, 74, 94, 99, 100.
53 3
DOUBLESTOP PATTERNS A doublestop pattern contains one or more two-note intervals Ex. 2. Most doublestop patterns are played on neighboring strings Ex. 2, but there are exceptions. See if you can locate a few doublestop patterns played on non-adjacent strings in the "patterns" section of this hook. Ex. 2 Pattern 8 is a doublestop pattern played on adjacent strings
C7
flJ
k -T--A
5 5
5 5
3 3
5 5
Doublestop patterns in this book: Numbers 2, 3, 7, 8, 9, 10, 15, 31, 33, 35, 42, 43, 44, 49, 52, 54, 55, 57, 64, 66, 69, 72, 82, 83, 86, 88
Doublestop patterns are an example of polyphonic playing. Polyphony is the simultaneous sounding of two or more musical notes. The next rhythm pattern type-chords-also fit into the polyphonic category you are playing polyphonically every time you play a chord.
31
CHORD PATTERNS A chord is produced by the simultaneous and therefore polyphonous sounding of three or more notes. Chord patterns Ex.3 can contain either complete chords or chord fragments. A chord fragment is a partial chord many doublestops are 2-note chord fragments. For example, the notes C-E-A are a fragment of the C13 chord, which contains the notes C-E-G-Bb-D-A. Ex. 3 Pattern 1 uses chord fragments
Chord patterns in this book: 1,5,6, 11, 13, 24, 29, 30, 36, 38, 41, 50, 62, 63, 65, 67, 71, 77, 78, 80, 84, 91, 93, 95, 96, 97.
Example 3 is played to a C7 chord. C7 is a dominant chord; this type of chord is made from the l-3-5-b7 tones of the scale. For C7, these tones are C 1, E 3, G 5, Bb b7. A dominant seventh chord C7. D7, etc. can be extended by adding a ninth tone, a thirteenth tone, or both the ninth and thirteenth. Exception. the ninth is usually flatted when the dominant seventh chord functions as V7 in the minor keys. The ninth of C7 is D, and the thirteenth of C7 is A. Both D and A are used to extend the C7 chord C-E-G-Bb in pattern 1. The next two examples show a number of dominant and minor chord fragments on the guitar fingerboard. Example 4 C7, C9, and
T A
C13 chord fragments
1
3
5
5
8
8
10 10 11
11
11
3
3
3
7
7
9
9
12
12
9
9
5888810101214
3 3
5 5 5
6 5
6 5
8 8
6 B
8 101212 10 11 11 13
12 13
l5ii 13
5
7
7
9
9
14
15
15
8 4 -5
8 8 10 8 10 10 11 11 11 ii 8 8 8 11 11 11 11 13 131 8 8 8 8 8 12 12 12 15 II
9
12
B Example 5 Cm7 and Cm9 chord fragments
1 A
3
1
3 4 33 1 5
4 5 5
4 5 8
4 7 8
8 8 8
3 8 11 11 13 15 15 4 8 8 12 12 12 15 5 10 1013t3 13 13
BII The minor fragments in Ex. 5 are made up of the following tones: I C, b3 Eb, 5 G, b7 Bb, and the 9th tone D, which is an extended tone. Minor chords can also take the 4th tone the fourth tone of Cm7 is Fl. The 13th tone is also used the thirteenth tone of Cm7 is A. However, caution must be exercised when using the 13th; in some songs, the 13th tone sounds better if it is flatted b13. The flatted 13th of Crn7 is Ab.
32
COMBINATION PATTERNS A combination pattern Ex. 6 contains at least two of the previous patterns. Although any blend of the patterns is possible, most combination patterns are made up of individual notes combined with doublestops.
Ex. 6 Pattern 19 is a combination pattern
C7
Combination patterns in this book: Numbers 4, 12, 14, 16,19,21, 26, 32, 34, 40,45,51,56,68,75, 76, 79, 81, 85, 87, 89, 90, 92, 98, 101.
I-
T A B
53
53
3
Additional Comments on Rhythm Patterns Harmonically speaking, all accompaniment patterns are primarily influenced by the tones of the prevailing chord this same principle is true for bass lines, solos, and vocal harmonies. Non-chord tones, known as passing tones, are sometimes used as "stepping stones" to move from one chord tone to another. Example 7 pattern 13 is played to the C7 chord symbol, but the chord fragment contains the ninth tone, D. This is an example of chord extension. Can you find the chord extensions ninths and thirteenths in Ex. 8?
Ex. 7 Pattern 13 is a typical fixed-chord pattern
features harmonic motion
Ex. 8 Pattern
C 2
-9_ A R
3
3
3
3
3
3
33
3
3
3
33
3
I
2
tO
3
88
3
88
1011
108
33
77
912
97
3
3
8
2
86
Most guitarists learn to play rhythm guitar by strumming fixed chord shapes Ex. 7. To be effective in the rhythm section, we must eventually learn to mix up our rhythm patterns. A good rhythm player is capable of setting the harmony in motion Ex. 8.
33
Appendix 2
12-Bar Blues Progressions in Major Keys Example I shows the Roman Numeral arrangement of chords in the basic 12-bar major key blues progression or simply the basic blues progression. This popular progression is the most common chord progression in blues music. 12-bar blues progressions are also used for thousands of rock, country, jazz and folk songs. Ex. 1 The basic 12-bar major-key blues progression
17
17
17
1V7
17
This progression is used for ‘Johnny B. Goode" and many other songs 17 1V7 17 17 17
1V7
7 i’7 P-71 rExamples 2-9 show how to apply the Roman Numerals in Ex. 1 to several different keys. LThe time signature for each example could be either 4/4 or 12/8. Ex. 2 The basic blues progression in C major
Ex. 3 The basic blues progression in G major
G7
G7
G7
C7
C7
07
G7
D7
C7
:ii:
t1
Ex. 4 The basic blues progression in D major
Ex. 5 The basic blues progression in A major
Ex. 6 The basic blues progression in E major
H Ex. 7 The basic blues progression in F major
F7
F7
F7
F7
B"
B’
F7
I
4
F7
C7
B1’
F7
F7
I
Ex. 8 The basic blues progression in Bb major
P7
B7
B’
7
F7
7
B’
B’
7
7ii Ex. 9 The basic blues progression in Eb major
EV1
P7
P
P7
P7
A’
P
E777: 4J 7t 34
VARIATIONS ON THE BASIC 12-BAR MAJOR KEY BLUES PROGRESSION Harmonic variety can be achieved by modifying the basic blues progression Ex. I above. Examples 10-17 show several common variations on the basic 12-bar major-key blues progression. Each variation is first shown in Roman Numerals, then in the key of C. The Roman Numeral I, IV, etc. shows the scale position of the chord root. Letters m, aug., etc. andlor numbers 7, 9, etc. identify the chord type. For best results, transpose each of the four variations to the following keys: G, D, A, E, F, Bb, and Eb. Ex. 10 12-bar major key variation #1
17
17
17
17
1V7
1V7
17
17
V7
1V7
I-
17
V7
L
Ex. 11 Variation #1 in the key of C
F
F
CCGF
C
1V7
1V7
17
17
Ex. 12 12-bar major-key variation #2
17
17
1V7
17
¶
17
V7
1V7
tH
Th-
17 1
Ex. 13 Variation #2 in the key of C 7
FC
CFFC
CG
F
C
17
Ex. 14 12-bar major-key variation #3
17
1V7
17
+"F;-
17
1V7
1V7
17
V7
1V7
F
F
CCG
+1
17
V7
LII
Ex. 15 Variation #3 in the key of C
CC +"
Ex. 16 12-bar major key variation #4
17
1V7
17
The chord progression in mes 11-12 is called a turnaround
17
1V7
1V7
17
17
V7
1V7
17 1V7 17 V7
F7
F7
C
C7
G7
F7
C7 F7 C G
F
EL 17 Variation #4 in the key of C
C7 -
‘V L ....;
F7
C7
C7
I
I L
I
I
35
I
li1
Appendix 3
12-Bar Blues Progressions in Minor Keys Another type of blues progression is the 12-bar minor-key progression. Example I shows the Roman Numeral arrangement of chords in the basic 12bar minor-key blues progression. Minor chord Roman Numerals im, ivm, etc. are written in lowercase letters. Ex. 1 The basic 12-bar minor-key blues progression
im7
im7
im7
im7
ivm7
ivm7
im7
im7
V7
ivm7
im7
im7
iamples 2-9 show how to apply the Roman Numerals in Ex. 1 to a number of minor keys. The tirni signature for each example could be either 4/4 or 12/8. J Ex. 2 The basic blues progression in C minor
Cm7
Cm7
Cm7
Cm7
Fm7
Fm7
Cm7
Cm7
Cm7
Gm7
G7
Cm7
Fm7
Cm7
Cm7
Ex. 3 The basic blues progression in G minor
Gm7
Gm7
Gm7
Gm7
D7
Gm7
Cm7
Gm7
Gm7
L Ex. 4 The basic blues progression in D minor
Dm7
Dm7
Dm7
Dm7
Gm7
Gm7
Dm7
Drn7
A7
Gm7
Dm7
Dm7
Am7
E7
Dm7
Am7
Am7
Am7
Em7
Em7
I 5 The basic blues progression in A minor Am7 Am7 Am7 Am7 Dm7
Ex.
I
I
Am7
Dm7
I
Ex. 6 The basic blues progression in E minor
Em7
Em7
Em7
Em7
Am7
Am7
Em7
B7
Em7
I Ex. 7 The basic blues progression in B minor
Bm7
Bin7
Bm7
Bm7
Em7
Em7
Bm7
Bm7
FV
Em7
Bm7
Bm7
F1m7
Fm7
C7
Bm7
Fm7
Bm7
Ex. 8 The basic blues progression in F# minor
Fltm7
Fm7
Fm7
Fm7
II
Bm7
I
LH
Fm7
-
Ex. 9 The basic blues progression in C# minor A
cm7
Cm7
Cm7
Cm7
14m7
Fm7
36
Cm7
Cm7
Fm
dm7
Cm7
VARIATIONS ON THE BASIC 12-BAR MINOR KEY BLUES PROGRESSION The basic minor-key blues progression Ex. I on previous page is often modified for the sake of harmonic variety. Examples 10-17 below show several common variations on the basic minor-key chord progression. Each variation is first written in Roman Numerals; it is then written in the key of C minor. For best results, transpose each of the four variations to the following minor keys: Gm, Dm, Am, Em, Bm, F#, and C#m. Theory note: In the major keys, any dominant chord 17, IV7, V7 can be extended to the ninth tone. To relate this concept to play a rhythm pattern that includes blues accompaniment: a C7 chord could, when played in a blues progression in C a ninth tone D is the ninth tone of C. However, in the rninsr keys the V7 chord almost always takes a flatted ninth tone, especially when that chord progresses to the tonic minor im. Thus, the G7 chord, when played in the key of C minor, can be extended to G7b9 G-B-D-F-Ab, but it is seldom extended to G9 U, B, D, F, A. General Rule Flat the 9th tone for V7 in a minor blues. Lx. 10 12-bar minor-key variation #1
im
im7
im7
ivm7
im7
ivm7
im7
im7
ivm7
vm7
im7
im7
T
IF I ifim
I
Ex. 11 Variation #1 in the key of C minor
Cm7
Cm7
Cm7
Cm7
Fm7
Cm7
Fm7
Cm7
Gm7
Fm7
Cm7
Cm7
if if Lx. 12 12-bar minor-key variation #2
im7
ivrn7
im7
In the minor blues, V7 or V7b9 is used more often than vm7
ivm7
irn7
ivm7
im7
ivm7
im7
V7
0r vm7
Cm7
G7
or Gm7 Fm7
im7
V
Cm7
G7
if if
-
Ex. 13 Variation #2 in the key of C minor
Cm7
Fm7
Cm7
Cm7
Fm7
Fm7
Cm7
I
L
Lx. 14 12-bar minor-key variation #3
im7
ivm7
im7
This progression has a im7-ivm7-im7-V7 turnaround in measures 11-12
ivm7
im7
Fm7
Cm7
Cm7
im7
im7
V
ivm7
im7 ivm7 im7 V7
Optional chords for measure 10: V7sus / V7b9 /
Ex. 15 Variation #3 in the key of C minor
Cm7
ivm7
Fm7
Fm7
Cm7
Cm7
im7
im7
G7
Fm7
Cm7 Fm7 Cm7 G7
Ex. 16 12-bar minor-key variation #4
im7
ivm7
im7
im7
ivm7
ivm7
VIMaj
im7
im7
Cm7
Cm7
I Ex. 17 Variation #4 in the key of C minor
Cm7 IL
Fm7
I
Cm7
Listen to B.B. King’s The Thrill is Gone’ in B minor
Cm7
Fm7
I
-
Fm7
Cm7
Cm7
ifiif 37
A1’maj Gt’
-I
Appendix 4
8-Bar Blues Progressions in Major Keys A third type of blues progression, the eight-bar blues, is almost always played in a major key. You may already be familiar with several 8-bar blues songs, such as "Key to the Highway, "Stagger Lee, and ‘Midnight Special. Example 1 below shows the universal chord progression for the basic eight-bar blues progression Ex. 1 Basic 8-bar blues progression
y7
J7
This progression is used for ‘Key to the Highway’
1v7
Ti
iv
V7
J7
V7
-1 rExamples 2-9 show how to apply the Roman Numerals in Ex. 1 to several different keys. LThe time signature for each example could be either 4/4 or 12/8. Ex. 2 Basic 8-bar blues in C
G7
Ex. 3 Basic 8-bar blues in G
DGD_
CC7
Ex. 4 Basic 8-bar blues in D
AGG
D
Ex. 5 Basic 8-bar blues in A
AE
DD
AE
Ex. 6 Basic 8-bar blues in E
AE
BEB7
Ex. 7 Basic 8-bar blues in F
Ex. 8 Basic 8-bar blues in Rb
B
F7
E"
EL’7
F7
Ex. 9 Basic 8-bar blues in Eb
38
B’
F7
VARIATIONS ON THE BASIC 8-BAR BLUES PROGRESSION Like the blues forms discussed previously, there are a number of standard 8-bar blues progressions. Examples 10-17 below show several common variations on the basic 8-bar blues progression. Each variation appears first in Roman Numerals; the Roman Numerals are then transposed to the key of C. After you learn these progressions, transpose each of the four variations to the following major keys: G, D, A, E, F, Bb, and Eb.
Ex. 10 8-bar blues variation #1
J7
IV
J7
IV
V7
J7
IV
J7
f
V -‘
Ex. 11 Variation #1 in the key of C
–Li Ex. 12 8-bar blues variation #2
J7
j7
IV
1V7
J7
J7
V7
7
C7
C7
G7
Ex. 13 Variation #2 in the key of C
C7
F7
E-L HH’Ji
LI-- L1
Ex. 14 8-bar blues variation #3
1V7
IV
J7
V7
V
J7
C7
G7
G7
C7
Ex. 15 Variation #3 in the key of C
F7
C7
_L
The last two bars can also be played 17 I 1V7 I 17 / V7 / 1
Ex. 16 8-bar blues variation #4
J7
j7
iH
IV
1V7
V7
V7
I Ex. 17 Variation #4 in the key of C
39
-
C7
Appendix 5
Open Charts for Application of Patterns The following charts will help you learn to apply patterns from this book to standard blues progressions in several keys. As you become more proficient playing the patterns in various keys and song forms, your imagination will develop, and you will eventually become a versatile and creative rhythm-section player. Example 1 12-bar blues in G
G7
G7
G7
C7
C7
D7
C7
G7
G7
To play a simple ending: return to the first measure and strum the tonic chord G7.
Arranging Tips The time signature for this project can be either 12/8 or 414. Most blues rhythms are in 1218. 1. Choose any four-beat C7 pattern that you can play well. Apply this pattern to the above chart as follows: a To transpose from C7 to G7, you have the option of moving the C7 pattern up 7 frets, or down 5 frets. Always choose the option which is the most practical. b To transpose from C7 to D7, move the pattern up 2 frets, or down 10 frets. 2. Next, apply another four-beat pattern to the chart. Although patterns can sometimes be mixed, it is best to use only one pattern per song at first. 3. After you are comfortable applying a variety of four-beat patterns to the 12-bar blues in G, try to apply an 8-beat C7 pattern to the progression. An eight-beat pattern will require modification when a chord is played for only four beats see "Pattern Modifications on page 7.
40
ExampLe 2 12-bar blues in A
A7
E7
D7
A7
A7
D7
A7
A7
D7
A7
E7
Always end the song on the tonic chord: Play measures 1-12 as many times as you wish, then end on an A7 chord.
Airanging Tip The time signature for this project can be either 12/8 or 4/4. 1. Apply any C7 pattern to the above chart as follows: a To transpose from C7 to A7, you have the option of moving the C7 pattern up 9 frets or down 3 frets. Choose the option which seems the most logical for the pattern you have chosen. b To transpose from C7 to D7, move the C7 pattern up 2 frets or down 10 frets. c To transpose from C7 to E7, move the C7 pattern up 4 frets or down 8 frets. 2. Next, work with other four-beat patterns. Arrange at least six choruses, using six different patterns. 3. After you are comfortable transposing four-beat C7 patterns to this chart, work with eight-beat patterns. Again, arrange at least six choruses, using a different pattern for each chorus. 4. Remember, an eight-beat pattern will require modification when it is applied to a four-beat chord. If this is difficult for you, see a qualified instructor.
41
Example 3 12-bar blues in C minor
Cm7
Fm7
Gm7
Cm7
Cm7
Fm7
Fm7
Cm7
Cm7
Cm7
Cm7
Cm7
Arranging Tips The minor chord patterns in this book are in 12/8 time. 1. Select a four-beat Cm7 pattern see page 16. Apply this pattern to the above chart as follows: a To transpose from Cm7 to Fm7, choose either of the following options: Up 5 frets or down 7 frets. b Transpose from Cm7 to Gm7 by moving up 7 frets or down 5 frets. 2. After you complete this basic project, experiment with several other four-beat minor patterns. Use only one pattern per chorus for now a chorus is the entire length of a given chord progression; the blues progression on this page could be called a 12-bar progression or a 12-bar chorus. 3. When you are proficient at applying four-beat patterns to the blues in C minor, work with some eight-beat minor patterns page 28. Again, your imagination will be needed to modify an eight-beat pattern to fit a four-beat chord. Are you listening to a lot of blues recordings? This is essential if you really want to improve your playing. Be sure to listen to bass players, keyboard players, and horn players as well as guitar players.
42
Ex. 4 12-bar blues in G minor Gm7
Cm7
Gm7
Cm7
Gm7
Gm7
Play the 12 bars as often as you like, then end the song on Gm7.
Arranging Tips 1. Choose a four-beat Cm7 pattern page 16 to transpose to Gm7. 2. To transpose from Cm7 to Gm7, choose either of the following options: Up 7 frets or down 5 frets. 3. Choose a 4-beat C7 pattern to transpose to D7b9. For best results, choose a C7 pattern that does not contain the ninth tone, D. If you use a C7 pattern that has a 9th tone, flat the ninth for the minor blues. 4. Transpose from C7 to D7 measures 9 and 12 by going up 2 frets or down 10 frets. 5. After you complete this basic project, experiment with several other four-beat patterns. Use only one pattern per chorus for now. 6. When you are proficient at applying four-beat minor patterns to this chart, work with several eight-beat patterns. However, apply only four-beat C7 patterns to the D7b9 chord for now. Hint: Some minor patterns especially those with a natural 13th tone can be changed to dominant by raising the third tone a half-step. For example, if we raise the Eb b3 tone in the Cm7 chord to E 3, the pattern might work for the C7 chord. Patterns 55 and 97 can both be converted from minor to dominant quality.
43
If you have successfully completed the projects on the previous pages, you know the procedure. Here are a couple of eight-bar blues charts for you to work with. Ex. 5 8-bar blues in D
D7
A7
G7
A7
D7
G7
G7
D7
A7
C7 to D7 is up 2 frets or down 10 frets. C7 to A7 is up 9 frets or down 3 frets. Ex. 6 8-bar blues
in E
E7
E7
E7
A7
A7
B7
B7
E7
C7 to E7 is up 4 frets or down 8 frets. C7 to A7 is up 9 frets or down 3 frets. C7 to B7 is up 11 frets or down 1 fret.
1asy Transposing Chart: Count the distance from one tone to another. CDbIEbEFGbGAbABbBCDbDEhEFGbGAbABbBC Db
44
C#
Eb
D#
Gb
=
F#
Ab
=
G#
Rb
=
About the Author Larry McCabe was born in Kansas City, Missouri. He studied music with a number of teachers including Eldon Shamblin, legendary swing guitarist and arranger for Bob Wills. Deciding on a freelance music teaching career, Larry received his degree in education from the University of Arizona in 1979. Since graduating from college, Larry has taught over 30,000 private music lessons as well as classes on the history of American popular music and jazz. An experienced blues guitarist, he played in the Gulf Coast Blues band, wrote a Living Blues magazine column called "Blues Box,’ and is currently on the nominating committee for the annual W. C. Handy awards. Larry’s vast experience in private teaching has given him a unique understanding of the educational needs of the typical music student. Beginning with Blues, Boogie and Rock Guitar in 1984, he has written a number of Mel Bay books on various subjects including guitar, bass and song writing techniques.
45
