Acoustic Blues Guitar (The Ultimate Beginner Series)

BEYOND BASICS

K ITHWYATT

Editor: Aaron Stang Additional Text and Music Examples: Colgan Bryan Ar1Jst Pho!Ography courtesy of Ebet Roberts Art Design: Joseph Klucar

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CONTENTS

Page# CD Track# Introduction...................................................... .................................................................. 3........................................... Tuning notes ........... .... .............. ........ . ........................... ....... .. ........... ................. . . . .. ................................................. ......... 2 )

SECTION 1: INTRODUCTION TO ACOUSTIC BLUES . ... .................... ................ � Preface.................................................... ..... ......... .... . .. ..... . ...................... .... BASICS: Open Posti i on Chords......................................................... .......... 6 .,

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Example 6: Combine All Three Chords .................................................... 9................................. -..... 8 . Example 7: D & D7 Chords ...................................................................... l0........................................... 9

=�:: �� w�::��::::�::::::::::::::::::::::::::�::::::::::::::::::::::::�::::::::::::::::::::::::::::: : ::::::::::::::::::�::::::::::::::::::::: :? � Example I 0: G and G7 Chords ...... . . .

. .. ..... .................... ....... ... l l.................. .. ........ .. ... ... ... l 2

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CHAPTER I BLUES PROGRESSIONS ...................................................................... 1 4 Example II: Bass-Chord Pattern ............................................................... l4......................................... 13 Example 12: Blues Progression In E.......................................................... l4 ................. ......... ............... 14 :

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��:: l �·::::::::::::::::::::::::::::::::::::::::�::::::::::::::::::::::::::::::::::::::: L::::::::::::::::::::::::::::::::::::::: � Example 15: The Quick-Change Progression..... ..... . _ ....... ....... .. ...... . 16......................................... 17 . .

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.

CHAPTER 2: RHYTHM ................................................................................................. 18 Example 16: The Shuffle Groove................................................................ IB. ..........................-........... 19 Example 17: Left-Hand Embellishments ................................................... 19......................................... 1 9 Example 18: A7 Embellishment .................................................................. 19......................................... 20 Example 19:Whole Progression ................................................................ 19......................................... 21 Example 20: E7 Varfatlon.............................................................................. 20......................................... 22 Example 21: Quick-Change In E ... .... ..... ......... ... ...... .... ... .. ............... . 21......................................... 23 .

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CHAPTER 3: BASS-LINES............................................................................................. 22 Example 22A E7 to A7 Bass-llne.. .... ........ ........... .......... .............. ... ...... 22 ................. ......... ... ...... ... .. . 2.. Example 22B:A7 to E7 Bass-llne ....... ............ ...... .. ... .. . ................... ...... ... 22 .. ...... .................. .. ............ 2S Example 12C:Anot:her A7 to E7 Bass-llne.............................................. 22......................................... 26 Example 22D: 87 to A7 Bass-line.............................................................. 23......................................... 27 Example 22E: The Whole Bass-line Progression.................................... 23... ...................................... 28 Example 23: The Jimmy Reed Progression .............................................. 24__............ ........................ 29 Example 24: Up-Strokes and Accents ....................................................... 25......................................... 30 Example 25: Blues Rhythm Uck .. . . ..... .... _ ........... . .. ..... .... ........ ..... ........ 25 ... ... .......... . ..... .. ...... .. . .. ... 31 2 1 ��l:s f7:2J : ��.�.����-�::::::::::::::::::::::::::::::::::::::::�::::::::::::::::::::::i7"��t::::::::::::::::::::::::::::::::3·j·�u Example 29: Blues In ETumaround ..................... ...................................... 29........... ...... ..................... ... 3S ....

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CHAPTER 4: BLUES IN A .. .......................... .......... . . . . .............. . .... ....... ....... ........ ......... 30 Ex;�mple 30A:A7 Embellishments ... . . . . . . . .......................................... ......... 30......................................... 36 Example JOB: D7 Embellishments ............................................................. 30......................................... 37 Ex.:lmple 30C: Blues In A.............................................................................. 31......... ........ ...... ...... ... ....... ..38 .

���:: �g�=�:,�r�:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::�l::::::::::::::::::�:::::::::::::::::::::� Example 3 I: Blues In A Turnaround .......................................................... 33......................-................41

SECTION II: SOLO ACOUSTIC BLUES GUITAR.................... -....... ................... 34 CHAPTER S: BLUES UCKS .............................................................. ,........................... 35

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22 Chapter 3: Bass-Lines

CHAPTER 3: BASS-LINES So fa r we have looked at chord s u s i n g melody n ote s as embellish ments . Another way to dress up th e chords a n d l i n k them to gether is with bass-runs . You can approach b ass-r uns as a va riation to the bass-chord pattern CD

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Example

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You can walk u p to the 8 7 from the open A by playi n g th e n ote i n b etween th e o pe n A and the second fret B . Th e n reverse th e pattern from th e 87 to th e A 7 . This little wa l k-up to the 8 7 is a l i n e you wi l l hear in n u merous b l ues songs . r-1

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A l ot of people call th i s the "Jimmy Ree d " patter n , n amed after the immortal Chica go blues g u itarist. Jimmy Reed si m u ltaneo u sly played acoustic g uitar a n d h a rm o n ica on a nec k-ra ck , kind of a fo l k style , a n d wrote many fa bu lo us , i n fl ue ntia l b l u e s so ngs . I n spite of its a c oustic roots , this pattern i s actu a l ly the most basic that electri c b l ues p l ayers learn today because it leaves room for vocals a n d other i n struments . Play the blues in

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24: Up-strokes and Accents

dd rhyth m i c va ri ety a n d fl avor to the g ro ove by occasiona lly th rowi n g i n acce nted

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Example 25: Blues Rhythm Lick

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Example 26: Full Progression

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Example 28

This quick-chang e blues in E combines bass-lines to conn ect the chords and bi g chord embellishments. Shume

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Keep experimentin g with each of the elements covered up to t h is point: chord shapes .. progressions , rhythm patterns, melodic embellishments , bass-lines, muti ng and accents to come up with some of your own ideas . More importa ntly, you need to listen to oth er players to hear how th ey i ncorporate th ese ideas . You will notice h ow songs that mi ght have seemed compli cated to you in th e past can now be b r o k e n down into si mpler i d e as .

Chapter 3: Bass-Lines 29

CD

@

Example

29: Blues in E Turnaround

So fa r we've been using one turnarou n d . a little bass-run u p to the 87 chord i n the last measure : ,- J ...,

(n J ) )

h ume

=

B7

(E7 )

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,

CD

@

Example 32C: 87 Blues Lick

At th e B 7 chord . notice the si ng l e-n ote pattern that uti l i zes the

ri

g h t h a n d only , while the

left hand h o lds the chord s h a p e .

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Example 32D: E7 Lick

One of the m o st n otable

s

ty l i sti c blues trade m arks yo u ca n get from a g u itar is th e be n d .

Bending is t h e technique o f stretching t h e stri n g to raise the p itch of a note . Y o u stretch the stri n g by p u s h i n g or p u l l i n g the stri n g toward a n ei gh bori n g stri n g . Bending " i n p itch " means the note is bent far e n o u g h to sound l i ke a n a ccu rate n ote or pitch above the fretted n ote. I n bl u es , it is a l so common to use q uarter bends , which are o n ly slight bends that add some spice to the fretted n ote i n ste ad of taking it all the way to the n ext note . With the exce pti o n of the o p e n E , this l i ck is the same as some of the previous A7 l i c ks . This works because it sta rts with a n E a n d fi nis hes with E7 ch ord to n es . Notice the q u arter bend on the 3rd fret of the 1 st stri ng :

.-- 3 -,

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Example 32E:

@

A 7 Lick

This lick a ctually spells out an A blues scale. A s i n gle-note scale p attern by itself wo u ld n o rmally so u n d too thin for solo style g u itar . Starti n g the l i ck with a n open A a nd a llowi n g it to ri n g through out ma kes th is s i n g l e-note pattern s o u n d fu l l er. ,- 1 -,

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,

KEB M O

CHAPTER 7: THE BLUES SCALE In addition to using chord shapes , there is a more obvious source to help yo u cho ose notes

that g ive you the blues sound , the blues scale. The blues scale has five notes and an extra note in it that people use a lot. Th e first five notes of the E blues scale are known as the E m i no r pentaton ic : E-G-A-B-0 . The extra note i s B b , which is techn ically described as the b 5 or "blues" 5th .

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These notes can be fou nd a ll over the fretboard , but i n acoustic blues you will find that a thorough knowl edge of the open positi on wi ll be enough for the majority of yo ur p layi ng . I f

y o u want to learn a l l of the fin g e rings for the entire fretboard , you m ight want to check out the UBS Blues Guitar B as ics book ( UBSBK 1 03CO) , available from Warner Bros .

Publications . CD

@

Example

3BA: E Blues Lick 1

Notice th e effect of the bends and th e sh uffle groove . which can be enough to change an otherwise dry sounding scale i nto a musical statement.

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CD

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Example 388: E Blues Lick 2

The combination of ha mmer-ens and pull-offs give this lick a lot of spic e . Shume

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Example 38C: E Blues Lick 3

Each slide s h o u l d be acce nted " o n the be at" to give it more drive . Shu_me (n E7

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Example 380: E Blues Lick

4

Combine the previous licks. Sh uiDe

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3BE: E Blues Lick 5

Example

The next two licks, playe d in th e low register , are i n th e style of Chicago blu es players like

Muddy Waters. �

r-/ � 41: it

li

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38G: E Blues Lick 7

Example

You can u s e the co m b i nati on of low-note and high-note m e l o di e s to create a call-and·

response effect that is o ften refered r- .f-,

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Example 38H: Double-Stop Turnaround

The "double-stop" bend during the A7 lick is a l ittl e tricky . Y o u n e ed to keep your' first fi n ger o n the 1 st stri n g wh i l e th e second finger bends th e 2nd string slightly. There's

fa m o u s

a

tu ne that uses this l i ck in th e i ntro called "That's Alright, " and it was written by M u ddy Waters ' guita r p l aye r . J i mmy Ro gers . Sh uffie

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CD

@

381: A Progression Of Licks

Example

At thi s point . you should b e ab le to see how the E blues scale ca n fit an E7 chord . When playi ng through a blues progression , you now have to deal with relating the sca le to two other chords ; i n this case , th e A7 and the 87 . The bea uty of the b lues scale is th at you do not have to play a d ifferent scale fo r each chord .

(J1 = J ) ) r- J -.

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52

Chapter 8: Fingersty/e Blues

CHAPTER S: FINGERSTYLE BLUES Fingerp icking is

a

great way to ke e p "ti me " for yourself with bass n ote s wh i l e sim u lta ne ou sl y

playing the m e l o d y n otes . When done correctly , it

al most sound a s if two peop l e are

should

playi ng i n stead of o n e .

M a ke s u re you p ractice every patte rn very slowly at first, then grad u a l ly increase the speed.

You sho u ld m ute the bass notes to

c ontra st

the ri n g in g m e l o d y n otes .

The best way to le arn th e i n d e pe n d e n c e that is necessary for this te c h n i q u e is to start with an even bass p attern a n d add eac h m elody note one at a t im e . You will fi nd that the m e lo d y

notes are either p laye d at th e same time as a bass note

or

in between the b as s notes .

As yo u a re memorizi n g th e pattern s , make su r e you m e morize which n otes are playe d

on

t h e b eat a nd w h i c h ones a re n ot.

co

@

Example 39A

Start with a si n g le

-

sh uffle in the bass u s in g the open E. Emphasize the down beat , and

n ote

use the palm mute t e c h n iq u e by p l acing the rig ht-h and palm lig htly agai nst the strin gs near

the bridg e . Do not push so h a rd that you stop the n otes fro m ri ng i ng .

just hard enough to

get a m uffl ed sou nd . Later . when yo u begi n a d d i n g melody notes to th e pattern , th e muted

bass notes will co ntrast the ri n g i n g mel ody notes in such a way as to create the i l l u s io n that more th a n one instru ment is playi ng at the same ti m e .

r- J-1

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CD

@

Example 398

Now add a melody note on

fi rst and third beats of each measure. You will have

the

strike

to

the first string with yo ur middle fi nger wh ile striking the bass note with the pick. This moveme nt is often described as a pinch . Be careful not to break tempo , a n d remember to mainta in the palm mute.

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39C

Example

Play a melody note on every beat. This pattern alternates between p i nching the bass and mel ody notes on every beat and playing a bass note i n between each pi nch . r- .l-,

Sh uffle (n E7 _., � Jot it

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Example 3SE

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as

th e b ass n otes. When p l ayed

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Example 391

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CHAPTER S: PUTTING IT ALL TOGETHER It i s im portant to fi nish by usi n g progressions to apply th e ideas a n d conce pts that have

been discussed th ro u gh o ut th is boo k : he

shu

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embellishments . b a s s-l i n e s , accents , muti ng a n d turnarounds . CD

@ Example 40 This p ro g ress i o n is a quick-c hange blues in E. Full n e s s will come from emphasizing the

ba ss-li n e . Remember to hold th e chord shapes as you play th e melody . Do n ot try to fi nger th e melo dy-l i n e one note at a ti m e . N otice th e va riations betwe e n th e two choruses ( repeats ) . These variati o n s are i m p rovisations that wil l k e ep the p rog ressions i nteresti n g .

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shuffle feel i n th i s exa mple should be v e ry strong . At first it wi l l b e a l ittle tricky to

m a i nta i n the sh uHie , since th ere i s a vari ety of rhythms found in both the bass and melody.

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The first three mea s ures of the intra start with th e 17 chord and shifts d own chromatically (in 1 / 2 ste ps) u nti l th e c h o rds reso lve on th e n ext inversi on , down in the open pos ition . Measure s 4 a n d 5 a re a tu rnaround in E . It i s i m p ortant t o hold the necessary chord sha pes a n d ma i nta i n

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TA BLATURE EXPLA N ATION

A RTICU LATIONS

R E A D I N G TAB L A T U R E : Ta blature I ll us trates the s 1 x stnngs o f t h e g o 1 ta r Notes and chords are 1nd 1ca1ed by the placement of fret n u m bers on a g1ven stn n g(s ). 0

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, A t"" Choot\1

ON:

Play lower note.

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H A M M ER

then "hammer on" to h1gher note w1th another finger. Only the

,____, �

first note is attacked.

Cl>o•rll A�I

PULL OFF: Play h1gh er note, then "pull off' to

BENDING NOTES

J

lower note w�th another finger. Only the first note is aHacked.

H ALF S T E P : Play the note and

bend

1

stn ng one

half step. ·

.

LEGATO SLIDE: Play note

'

and slide to

P R EBEND A N D

the

R E L EASE: Bend

followmg

the string, play iL

no te. (Only

then release to

first note IS

the original note.

·I

attacked).

W H OLE STE P : Play t h e note and

PALM MUTE:

end string one

T he note or

whole step.

notes are muted by the palm of the p1ck hand by llg hUy touching

the

string(s) near the bridge.

RHYT H M S LASHES

ACCENT: Notes or ('

chords are

ST R U M

to be played

I N DICA­

TIONS: Strum With md1cated rhythm. The chord voicings are found on

® ® ® 5�

3•

,,,

A

G

F

® ® ®

open 3 1 r ope

E

A

n -J J ) ...

I N D ICAT I N G

with added

S I N G LE

em phasis.

NOTES USING RHYTHM SLASHES:

the first page of the transcription

DOWN

Very often

underneath the song title.

STROKES AND

single notes are i n corporated I n to a rhythm parL The note name Is

UPSTR OKES:

i n dicated above the rhythm slash w A half step is the smallest interval in Westem musrc: 11 1s eq ual

to one fret

Notes or

with a fret n u m ber and a string

chords are to

i ndication.

be played with

A whole step equals two frets.

either a downstroke

· · ay Kenn Chipkln and Aaron Stang

( -, . ) or upstroke ( 1990 Beam M Up Music C/o CPPIBelwtn. Inc Miam1. FIOOda 330 1 4 lntemaJionaJ Copyrl ht SeaJred Made I n U.SA All R h iS Reserved

v

) of the

pick.

! S B N 0· 7 6 9 2 -003 8 · 9

1111 11 1 1 1 1111 1 1 1

9 780769 200385