In bar 10, the pattern from bar 9 shifts down two frets to describe the implied C7 chord. (Note: All of the riff patterns in Examples 1–8 are transferable to this next higher pair of adjacent strings.) 8 over to the A and D strings and move it up two frets to align with the D7 chord. 4 and a chromatic single-note climb (C - C# - D) to the root of the ensuing V chord, the implied D7, which we get to on the downbeat of bar 9. 8 followed by the bluesy minor-to-major- 3rd figure from Ex. In bars 5 and 6, the patterns from Examples 7, 5 and 3 are shifted up to 8th position and applied to the IV chord, the implied C7.īar 7 marks the return to the I chord, where we encounter the pinkie-saving riff option from Ex. The text notation above the TAB staff identifies the previous short riff patterns from Examples 1-8 that are being dispatched here at any given moment. The progression is capped off in bar 12 with a brief return to the V chord (D7), which brings us back to the I (G7) in bar 1 of the next 12-bar chorus.Īs the first four bars stay rooted on the implied G7 tonality of the I chord, that affords us plenty of time to juggle several of the riff ideas that were introduced earlier. The next three bars (9–11) descend from the V (five) chord, an implied D7 (D, F#, A, C) to the IV and then back to the I. The layout is a basic 12-bar blues progression in the key of G: four bars on the I (one) chord, which has an implied G7 tonality, followed by two bars on the IV (four) chord, which alludes to C7 (C, E, G, Bb), then back to the I for two bars (7 and 8). 9 provides a cool-sounding and challenging road test for setting all of these riff patterns in motion. This approach easily facilitates the sustaining of the foundational root-5th power chord structure throughout the entire figure.Įx. 8 offers yet another option, which relocates the note to the D string’s 3rd fret. If you’re still having trouble fretting that F note comfortably, Ex. 7 offers one alternative solution, which separates the notes and allows you to momentarily let go of the low G root note while reaching up to grab the F. This is a cool and fat-sounding riff, but the required pinkie stretch up to F at the 8th fret on the A string can make it somewhat arduous to play for guitarists with small hands.Įx. 6 lays out the pattern utilizing a steady stream of dyads (two-note chords). Formula-wise, this gives us root-5th/root-6th/root-b7th.Įx. Our next set of figures is based on the same root-5th/root-6th pattern, but with an added b7 (F is the b7 of a G7 chord, which is spelled G, B, D, F). 5 also incorporates this minor-to-major-3rd ploy, here combined with the triplet rhythm introduced in Ex. The Bb note provides a passing “blue-note rub.”Įx. 4 features an inherently bluesy handoff from the minor, or flatted, 3rd, Bb, to the major third, B, on the low E string. A well-known example of this pattern in action can be found in the intro to the acoustic guitar riff in the song “Revolution 1” by the Beatles (the slow version from The Beatles, a.k.a. 3 puts a rhythmic and melodic twist on the pattern with a triplet-fueled hammer-on move. 2 offers a subtle variation on our initial riff pattern that has just a single strum on the root-6th embellishment followed by an immediate return to the root-5th power chord.Įx. Goode” and also “The House Is Rockin’,” as famously recorded by the late, great Stevie Ray Vaughan.Įx. Although blues progressions and rhythm patterns can be played in a variety of keys, for the sake of continuity and comparison here, all of the examples in this lesson are presented in the key of G.Īdditionally, they’re all performed with a swing-eighths, or shuffle, feel, which is based on an undercurrent of eighth-note triplets, but alternatively, each example can be played with an even-eighths, or “straight-eighths,” feel, like that heard in the Chuck Berry blues-rock classic “Johnny B. Ultimately, the choice of how to attack a note is up to the individual player, and the subtle differences in touch and textures make a deceptively simple style ever interesting and exciting.ģ. The pick-hand palm muting instructions (P.M.) and staccato markings (those little black dots below some of the note heads, which tell you to reduce the note’s duration by 50 percent) are articulation suggestions that offer a starting point.įeel free to use little or no palm muting at all, and experiment with normal (non-staccato) articulations and various accents. Each of these two-beat patterns would typically be played twice across a bar of 4/4 meter.Ģ. For the purpose of economizing space, the first five examples are presented back to back, or side by side on one line, and in 2/4 meter with repeat brackets.
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