Acoustic Blues Guitar - Keith Wyatt

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
WARNER BROS. PUSUCATlONS- THE GLOBAL LEADER IN PRII>IT

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C 1 997 WARNER BROS PUBUCATIONS

All Rights Reserved
Any duplication. adaptation or arrangement ollhe compositions

contained In this oollectiOn requ res the wnnen consent of the Publisher.
No part ollhls book may be photocopied or reproduced In any way without permlss!on.
Unaulhorized uses are an Infringement of the U.S. Copyright Act and are punishable by law.
CONTENTS
Page# CD Track#
Introduction...................................................... .................................................................. 3...........................................
Tuning notes ........... .... .............. ........ . ........................... ....... .. ........... ................. . . . .. ................................................. ......... 2
)
SECTION 1: INTRODUCTION TO ACOUSTIC BLUES . ... .................... ................

Preface.................................................... ..... ......... .... . .. ..... . ...................... ....
BASICS: Open Posti i on Chords......................................................... .......... 6
., . .. , .
!!Ht :::. ::. : ::J ;rs : :ssLi

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
. . .
CHAPTER I BLUES PROGRESSIONS ...................................................................... 1 4

Example II: Bass-Chord Pattern ............................................................... l4......................................... 13
:
Example 12: Blues Progression In E.......................................................... l4 ................. ......... ............... 14
:: l : :
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: L:::::::::::::::::::::::::::::::::::::::
Example 15: The Quick-Change Progression..... ..... . _ ....... ....... .. ...... . 16......................................... 17
.
. . ..
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
. . .... . ..
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::::::::::::::::::::::::::::::::3ju

Example 29: Blues In ETumaround ..................... ...................................... 29........... ...... ..................... ... 3S
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
!!HlHE:I: :
Example 32F:TumaroundYarlation........................................................... 37......................................... 47
: I!
Example 32:Whole Progress lon ... ............ .. ... ... ...... ... ............ ............... .. 38.........................................48
: : ::
Ex<lmple 33. More Blues Bass-llnes........................................................... 39.................................... ..... 49
CHAPTER 6: SLUES CHORD SOLOING................................................................41

Example 34: E7 lnverslons........................................................................... 41......................................... 50
Example 35: Chromaticism .................................... .....................................42......................................... 51
Ex ample 36: Blues Chord Solo I .............................................................. .42......................................... 52
Example 37A;A7 Inversions .......................................................................43. ........ . ..... ....... ... ........ . ... 53
Example 37B:A7 Inversions with Chromat1cs........................................ 43.......... ... . ._......... ........... 5-4
. .. .
Example 37C: Chord Solo Turnaround .................................................... 43.. ... ...... - ....................... 55
. .. .
Example 37D: Blues Chord Solo 2 .. ... . . ..... .. ... ........ ....... ......... .. ... .. ...44.... ....... ............. ... .. ........ 56
.. .
.
Example 37E: Blues Chord Solo 3 . . . .... ........ .... ...... . "........................... 45......................................... 57
.. .. . . . . . . ..
. .. .. ..
CHAPTER 7:THE BLUES SCALE ............................................................ -................. 47

Examples 38A-381: E Blues Ucks 1-9................... ..................... -.......47-51 ................................... 58-66
CHAPTER 8: FINGERSTYLE BLUES................................................................. -....... 52

E:lamples 39A-39H ................................................................................. 52-55................................... 67-74
Example 391: Muddy Waters Progresslon.- .......... ................................. 56 ..................... . . . ............ ..... 75
Example 39J: Muddy Waters Tumaround................................................. 57......................................... 76
CHAPTER 9: PUTTING IT ALL TOGETHER.......................... ,............................... 58

Examples 40-42 ....... ... ........................ .. ..... ... .. . ...... .. .. .... .. . ....... . ......... ..58-62................................... n.79
. .. .
Introduction 3
INTRODUCTION
Welcome to Acoustic Blues Guitar.
In the 1920's and 1930's, there were some great players, such as Lonnie Johnson. Blind
Lemon Jefferson and Robert Johnson. The style and infl uen c e of these pl ay e rs esta bl i s he d
a tradition that to this day still app e als to everyone from casual listeners to professional
mus1c1ans.
This book presents traditional. roots oriented blues with contemporary training methods
that wil l allow you to immediately understand and ap ply these useful versatile concepts to
.
your style.
Section I covers all the basics you will need to know regarding the acoustic blues style:
chord shapes. progressions, chord embellishments. strum patterns. bass-lines. the shuffle
groove and turnarounds. Sect i on II focuses on sol o-sty le blues guitar, demonstrating
musical examples, scales. melodic patterns, licks and fingerpicking.
If you love the blues, have an acoustic guitar and two h ands. then you are ready to go to
work.
KEITH WYATT
co
0 SECTION 1:
INTRODUCTION TO ACOUSTIC BLUES
This section is designed to provide you with the fundamental tools and techniques needed
for the acoustic blues style. Make sure you take the time to learn the examples of basic
chord shapes, rhythm patterns, progressions, embellishments. bass-lines and turnarounds
in this section before you start on the next section: Solo Acoustic Blues Guitar.
Take advantage of the included recording. It will be your guide to interpreting the music
examples contained in the book. Remember to tune your guitar to track 2 on the CD before
you play with the recording.
PREFACE
One nice thing about acoustic blues is that you do not need expensive and complicated tools
or devices. The main thing you need is a guitar that is set up well. There are a few simple
tools and devices that you might like to keep in your guitar case: extra strings, picks, slides
(glass or metal) and a capo.
Strings: It is amazing what a fresh set of strings can do to bring out the best sound of a
guitar. If you play regularly, try not to leave the same set of strings on any longer than a
month.
You might want to use light or extra-light strings to reduce muscle fatigue and sore
fingertips. Later, lighter strings will enable you to learn the valuable technique of "bending in
pitch" a lot sooner. After you learn this technique correctly, you might want to experiment
with using heavier strings. Different gauges (thickness) of strings have a different sound
quality, and you will need to experiment until you find the sound you like.
Picking Techniques: There are different techniques for striking the strings that you should
experiment with as you learn the examples in the book:
Playing fingerstyle (without a p ick) produces a warm sound, but it's not as clear and you
have to work harder to produce a wide range of volume. This technique is better for solo
style where you combine bass-lines and melody.
Using a pick will give you a wider range of volume and it is easier to play single-note lines
and melodies. A pick gives you the option of playing single-note melodies with your fingers
and bass-lines with your pick, but you have to train weaker fingers to play fingerstyle
melody-lines. Playing fingerstyle wit a flat-pick is often called hybrid-picking .
A thumb-pick is primarily designed for down-strokes to play fingerstyle bass-lines, but they
are a little awkward for playing single-note melodies.
Finger-picks are also available, to be combined with the thumb-pick to get a brighter
sound. This technique is used more for banjo than guitar ..
The most important thing to consider when choosing a technique is the sound. While you
might find one of t hese techniques easier than the others, you should still practice the
technique that will give you the best sound even if it takes a little longer. Flat-picks come in a
variety of sizes. shapes and materials that affect the sound and feel. When using a flat-pick,
experiment with different thicknesses and different materials to learn their effect on the
sound.
BASICS:
OPEN POSITION CHORDS
Acoustic guitar players. in any style, spend m ost of thei r time in open pos i tio n (close to the
nut) to make use of the open strings. The open strings resonate m ore than fretted notes
and bring o ut the richness of the instrument.
CD
0 Example 1: The E Chord
The first chord is an E m ajor chord and is a triad because there are only three different
notes in the chord:
E: E G# B
Major T riad: 1 3 5
E
0 0 0
4t
4.4t
2 3 1
"
t) n
u
......
Make sure that all strings are ringing c learly by placing the fingertips ri ght against t h e fret.
Be careful not to touch the open stri ngs Do not push so har d that you are cramping your
.
ha nd. The more developed your calluses are, the less you will need to push to get the right
sound.
CD
0 Example 2: The E7 Chord
In bl ues. a fou rth note is added to the basic triad to create a dominant 7 chord (indicated
as E7). Th e fourth n ote is 0, which is the b 7 interval of E.
E7: E G# B D
Dominant 7: 1 3 5 b7
The following fingerings are the most common E7 fingerings that apply to the blues:
E7 E7 E7
0 0 0 0 0 0 0 0 0
4
4t 4t
4
2 2 I 4 2 3 I 4
"
tJ :H: H: n
u u u
"
,.
!
A
_ft
g
.......
CD
0 Example 3: The A Chord
The following are different fingerings for the A chord. Even though the notes are the sam e ,
the choice of fingerings is different.
A: A C# E
Major Triad: 1 3 5
A A A A
X 0 0 X 0 0
- -t
2 I 3 l - 3 l 2 I I l
'
t. - - - -
-& -e -& -e
'T" ;:; ..,

:. :.
.0. ;;;; "
.... ;;: ;;:
g
......
0
CD
Example 4: The A 7 Chord
To turn the A chord into a dominant 7th chord, add the G (b 7). There are two places to add
a G to the open A chord: either take a finger off the 3rd string to expose the open G, or
add the G to the first string.
A7: A c E G
Dominant 7: 1 3 5 b7
A7 A7 A7
)( 0 0 0 X 0 0 X 0
4t 4 4t t
4.
2 J 2 3 4 I I I 2
-'" 0 0
1-(
::::::... ::::::...
& -& -e-
" ...
;:; .

"
;::;

-.-.
(j)
CD
Example 5: The 87 Chord

There is one primary fingering used in acoustic blues:
87: B D F A
Dominant 7: 1 3 5 7
2 I 3 4
r-'"1\ .fl.
tJ
'T' "

A :.-
..... .;.
g
co
G) Example 6: Combine All Three Chords
Now that we have three chords, we can play a blues. Practice changing from one chord to
the other to get used to making the transitions. Later. we will be learning some rhythm
patterns that involve these chords.
7 A7 87 E7
0 0 X 0 X 0 0 0
2 3 I 4 I I 1 2 2 I 3 4 2 3 I 4
0 J.l..
J.l.
-
H
n: ..,.. ffl- n
u u
,.
I

....
..,
""
The blues progression is a specific pattern of chords that relate to a key. If you play a
blues in the key of E. the I chord will be the E7. Two other chords, A7 and 87, are the IV
an d V chord of the key of E. The Roman numerals I, IV and V identify the relationship of the
chords to the notes of the major scale:
E F# G# A B C# D E
II Ill IV V VI Vll
The I chord is built on the first note, or root, of the major scale. The A is the IV chord of E
because it is built on the 4th note of theE major scale, and 87 is the V chord because it is
built on the 5th note of E major.
There are several different blues progressions that are popular, but the one that's the most
popular is the " 1 2-bar" blues. The I, IV and V chords are always arranged in the same
sequence within these twelve bars.
E BLUES
E7
bt 17 I
7
I
I I.f'.
I I
I I.f'. I.f'.
I
I I I
:1 I
I I.f'.
I
I
I I.f'. I
:1 I
I
I
I
A7
#
E7
# FIV7 I.f'.
-
j
I
I
I :1
,
I
I
I
I
I
I
I 17 :1
I
I
I
I
I I I
I
I
I I.f'.
I
I
B7 A7 E7 B7
flt V7 'T.f'.
I
1
I
I I IV7 I
I .f'.
I I.f'.
I 17 I -..
I
I
I
jv7 Il. .f.
I I fl
10 Basics: Open Position Chords
The Key of A
The other common keys that you hear on the acoustic guitar are the "open keys," so called
because they use a lot of open strings. The second most common open key is the key of A.
The I. IV and V chords in an A b lu e s are A7, 07 and E7. You already know how to play both
the A7 and the E7, so the only new chord is 07. You g et a 07 by taking an open 0 triad
and lowering the higher octave 0 t a C:
co
0 Example 7: D and 07 Chords
D: D F# A 07: D F# A C
Major Triad: 1 3 5 Dominant 7: 1 3 5 b7
D D7
X X 0 X X 0
4
4 4
I 3 2 2 1 3
Jt
u
v u u
"- "
.,. ..
" .:.
A
v ;;
v
.....
_p
Memorize the blues in A using chord symbols and Roman numerals.
A BLUES
A7
lb#t 17 I
I I
I I
I
I I
I
,
I
I
I I
I I I
l
I
I
I
I 7 I I
I 1
.I
r
I I

07 A7
,.# rv7 -
I.l
-I
I I
I
I I
I
I
I I
I ;(.
I
I 17 I
I Il I I
I
I
-
I
6J
# E7
f'- v 7 E7
Il Il ,l
07
I IV7 ll I
I I
I
A7
I 17-. II I
I
I
I
IV7 l
I Il
I
I
II
Basics: Open Position Chords 11
The Key of C
Another common open position key on the guitar is the key of C. The I, IV and V chords in a
C blues are: C7, F7 and G7.
CD
@ Example 8: C7
The C7 is a C triad with a Bb added to the third string:
C: C E G C7: C E G Bb
c C7
X 0 0
r-'11
tJ e.
,..
...
! n
4
.... ;:;
u w
CD
@ Example 9: F7
The F7 is an F triad with an Eb added to the second string:
F: F A c F7: F A c Eb
F7 Fl
X
3 2 I I 3 2 4 I T 3 2 4 I
-'II I I
t) -
-
-e
4
'T .; ..t
I
;. ;;
A ;:;
w
:';
-
:';
......
D
CD
@) Example 10: G and G7 Chords

There are two common fingerings for G:
G: G B D
Major Triad: 1 3 5
2 l 3
l'l n n
._,
tt tt
"T"

A
__..,_
u "

The second ex a mp le makes it easier to turn the G into a G7. The G7 is a G triad with the
first string root lowered to an F:
G7: G B D F
Dominant 7: 1 3 5 177
G7 r-'_tl
0 0 0
._,
u
4
"T"
4
!
J..
1\
;::
- .... "
v
Memorize the following blues in C the same way you memorized the other keys. At this point
you should be able to hear the similarity betwee n the keys.
c BLUES
C7

I
17 I
I
I
I
I I
I
I
j
I
I :t.
I
I I
I
I
I
I
I
I
I
I I
I
I
I I:t. I
l
N7
F7 C7
l.
I ll Il
I I
I
I
j :t.
I
I
I 17 I
I
I
I
I
, I I
I
I
I
I
I .z
I
F7 C7 7
; 7 -
I
I
I
I IV7 I
I I
I
F f 17 I .l
I
I
I
lv7 I
I l
I I II
CHAPTER 1:
BLUES PROGRESSIONS
CD
@ Example 11: Bass-Chord Pattern
This first example is a 1 2-bar blues in E. The rhythm pattern is called the bass-chord
accompaniment because you alternate between bass notes and full chords. There are two
benefits to this pattern; it brings out the full sound of the instrument and is easier to move
from one chord shape to another. Since you only have to play one or two notes for the
bass, you have more time to finger the rest of the chord shape resulting in a smoother
sounding transition.
7 7 E7
I\ it b.
.; = lll = 111 -:J. =

111 111 111
hold throughow
" ,.,
"'P' A ;;;
! .. .. 7; :; ..
A ;.. ;; ;;
..... 7;
- ;;;
- "
v I>
v ;;;
-
g " ,.. "
'""
CD
@ Example 12: Blues Progression in E
Play the following blues in E with the recording while employing the bass-chord pattern.
E7
0 "
g
*bt
2:11 4
I
I
I
I
I
I
I
I
I I
I
I
I Il Il
I I
I
I
I
I
I
I
I
I I
I Il I
I
Il
A7 E7
xo 0 0
a I I 12
g
2314
fb I
I
87
I
I
I
I Il
I I
I
A7
I
I
I
I l
I
I I
I
E7
l
I
-
I
c I I
I
I
I
I
I
B7
I
I
" 0 XO
e 21
111'2
3 I,
WI
213 .\
4*b l
I I-l
I
I
I
I
I I
I I
I I
I
I
I
I I
I
-
I
I
I
I
I
I I
I
I
I
I
I
I
I
II
Notice the last chord, 87, is only played on the last two beats of the last measure while all
of the other chords have at least one full bar each. This part of the progression is called the
turnaround because. as the word implies . it turns the progression "around." back to the
beginning.
@
co
Example 13: Blues in A
This is the same progression as the previous example but transposed to the key of A.
Review the A7, 07 and E7 chords and apply the bass-chord pattern to the following
progression. Notice that this example uses the I chord to end the progression. In the
previous examples, the V chord was used to "turnaround" the progression back to the
beginning.
7

frt ,
I II 2
jt
I
I
I
I I
I I
I I
I I
t jt I
I j
I
I
I I
I
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I
I
07 A7
D-11; # 213
ill1112
jt ,
1?#
I I I I I I 7 , I , I
I
I I I I I I I I I I I I
07 A7 E7
b im 1112

1.\14
I
I
l
I
I I
r
I
1
I
I I
I
I, I
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I I
I
I
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I I
I I
r
I
1
I
I
II
@
CD
Example 14: Blues in C
To transpose the blues progression to the key of C, start by reviewing the C7. F7 and the
G7 chords. Now play the following progression using the same bass-chord pattern as the
previous examples.
C7
>( 0
g 31
!t I
,
Il
I
1
I
I jl
I
I
I
l
I
I
I I
I
I
I Il Il
I I
I
I
l I
I l
I
F7 C7
)O< " "
1m 3241
m l2J I
4 I I I
I I - , I I I I I I I I I
Il I Il I I I I l l l I l I I Il l
G7 F7 C7 07
"'" " 0 000
1m o\)
m 3 24 I
ml
. 2 l
I I II
I -I I , I I I I I ,
I I Il I Il Il I Il I I l Il I I Il 7
CD
@ Example 15: The Quick-Change Progression

The previous examples start off with four bars of the I chord. This is called the "slow
change" blues. A variation on this progression, the "quick-change," is to replace the second
bar with the IV chord and return to the I chord in the third bar. The rest of the progression
remains unchanged.
Quick-change
E7 A7
n hi Ill
#-## I""
I I
I I Jt I I r r ,
I
I
I
I
I
7 I
I I
I
A7 E7
#
'=:!f(l
oli' Ill!

2)14
r
I I
,
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l I
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r I ,I
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I i
I I
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87 A7 E7 87
hi
#I I
I I ll lJH 21}
=P. # " "

I I
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Y I
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II
YBL
CHAPTER2:
RHYTHM
It's amazing what a little bit of rhythm will do to make those chords sound good; changing
the right-hand rl1ythm pattern while playing the same exact chords covered in the previ ous
chapter. This is how you can start building your rhythm patterns, starting with the full chore
s hap e and breaking them down, bit by bit, to find the melodies.
CD
@ Example 16: The Shuffle Groove
The rhythm patterns demonstrated throughout this book are called shuffle grooves. The
shuffle groove is fundamental to blues. The shuffle is a triplet, but played only on the first
and third part of the beat, giving it an uneven, lopsided effect.
,-3-. -
-. ,-J .-J-.
J .hJ j) J1J .h
beat: 1 2 3 4
COUll/.' 1 2 3 1 2 3 I 2 3 1 2 3
It is very important to emphasize the down beat [the first part of the beat) to give the
groove more depth.
A shuffle is usually written in straight eighth notes, and it is left to the player to interpret the
feel to have the first half of the beat to be longer than the second.
J J J J J J J J
be01: 1 2 3 4
count: I 2 3 1 2 J 1 2 3 1 2 3
At the beginning of most son g s, you will see an indication such as "shuffle" or "blues feel,"
or you will see this symbol which tells you to interpret eighth notes with a triplet or "shuffle"
feel:
Chapter 2: Rhythm 19
CD
@ Example 1 7: Left-Hand Embellishments
When you e m bellish a chord by adding or removin g notes , you are adding some melodic
movement. The fo llowi n g exa mple is an E7 embel lished by adding the b 7th (D) to the 2nd
string with the 4th finger to create a melody. Th i s , combined with th e shuffle groove and
the bass-chord strum patte rn , can make a simple open chord shape sound like the blues.
o- 1 -,
s h u rn(' (n =J ))
E7
""" " .:' I l I I I 1 -
tJ = - I
:;
= =
")II 11 "II
hold througftrtllf
" _n
T X " n .., X
I v
'! ';[ '!
v
Jl ;.. n

....
c n "
v n "-
......
CD
@ Example 18: A 7 Embellishment
Th e fol lowing exa mple em bellishes the A7 chord by creati ng a melody with th e E , F # and G
notes o n the 1 st stri n g . Continue to use the sh uffle groove and the bass-chord pattern .
(l'J J ) )
,- J -,
S h ume
A7 -
"""' '\ .It ! b. I ......
h. - ...-=--.
I
t)

i1 ,.., v ,.., v ,.., v ,.., v i1 v
.., "'
v " " v
T X ::; X X ::; ;:;
-
! 'i ;:; ::; ::;
A ::;
- ::;
...
;;;
- 'i
-
- n
g v
CD
@ Example 1 9: Whole Progression
The followi ng blues in E incorpo rates left-hand e m bellishment and the ba ss-chord strum
pattern . Remember to maintain th e sh uffle groove th rou ghout.
Since the 87 ch ord only lasts fo r one bar, it will sound fine if you just maintain the bass
chord pattern.
j -,
Sbutne (l:J J Jl )
=
E7 -
...... ,. .t I I
- - -
tl
4}. '
i ! i : i
= = =
11 "II ..
hold throughout
v i1 v ,.., v i'l v i'l v i'l v v i1 v etc.
" 1'1 ...
" " X " " X " ... " ., X
I .j '.t ': ':: v
Jl ;..
- ;.. ;.. ;. ;.. .. , ,; ;.. " ,;
.... " _ii ii :i.
g v
" " " 1'1 " " i\ " ;;
v v v v v v v v
......
A7
L-. 1 I
-
b
-
.,..,.1t 4t _ __i I I I -
b. ,_ I
--
i}
"
4 .J =:- P

... ... ,..
..
"'- _,.,
,.. ;=; X ::; ;;; ;; ;;
"
-"F- "- ;;;, _;; ;; ;; ;;
_...
;; ... X
2 2
-
A ;. A .;. ... ;; 2 ;__ ;; r.
--
g
n n ;;

" v ....
v v
--
E7 B7
""'""-
I
-
1t I I 1- I -

lll '1 -,j
- -
lll 111
- -
...
"T" ..
n 1'\ ...
X X ;;:
..
... " " ... ...
! -
... .:> ;; ;;
. X X
A ), A A A A A .:. A J.

.
;;;,
n
::n_

u
..,
,.. ...
- -
--
-
A7 E7 B7 E
-
.., ,., _1f 1t b ..J I I "'"' /':\
ll
. \._/ .
lll "I n:

"iJ '1
- -
:;i'1
lll u
-
.,.. 2 2 2 a 9
..,. n "' " " " n
... ... ... :: ...
7 2
" _l'l_
! ;; ...
A ::; X A A A .:. A ;, :.
... ... ...
....
....
v
...._
It should sound ful l , h ave some groove to 1t and fe el relaxe d . If you find yourself tig hteni ng
u p , your r ig h t hand struggling or yo u r left hand struggling, just s l ow it down . Ta ke yo u r time
and work on the fi nge r ing s .
CD
@ Example 20: E 7 Variation

This em b e l l i s h m ent for E7 u ti l izes the s a m e interva ls as the previ ous A7 e m b e l l ishment
exa m p l e : the 5th (B), 6th (C# ) a n d b 7 [D) on th e 2 n d stri n g .
-(--,
Shuffi e <n J Jl ) =
E7
l'l .lf i \ I I
tJ =
-
'i i
.. :;
v ri v ri v 1' /f'.
.,..
,..
X " ... 1\ " t'\ " -" _... ... -
"
'::_ ': ': ':' ":: ': ': ':' ...
A .;, ;, ;.. ;..
u
..... - - - - -
-
n "
v
....
@
co
Example 2 1: Quick-Change in E
Apply the previ o u s E7 variation to a qu ick-change blues p rogression i n E . Wh ile this

p rogress i o n can b e used to acco m pany a voca list or soloist, it can a l so stand alone a s a ful l
solo I nstrum enta l . It conta i n s harm o n i c , rhyth m i c and melodic movement to provide a full
m usical statem ent.
<n J ) )
r- .1 --.
Shume
E7 A7 E7
'\ 1t
__41
\, I b. I I I I I I I
.. - '-/ - -
- ... -
... ... :;
v v 1""1 v M v ,., v ,., v ,., v v ,., v f'IC.
1'\. .., ..... ... "
T " " ... r. " " .... ;; :; ;; ;; ;; "
u " " .... ;;
;;
I
': ': ': ';{ ': ';{ - . . - . .. ;; :-
4 - .
.:
- - - - -
rio "
.
&;I " " "
v -
I b. I
A7
!"""_/
" II
U !. 11: b.
<!' ,, ;,
fl'a

'S

- - -
'--" '--"
2---::t---,
-" 1'\. -"' -"'
'T ,., "
u
... " " ;; " ;; ;; :; ;;
! -:: t 't ;:; ;:; ;:; "
A !io .
;, "
- - - - -
.... " "
g
E7 87
-
!"""" I'! Jt I I I I L I
., 9.
!
= I I I
...
L'l. 9 a ... ....

T ... L\
u .... "
u "
u .. L\
u .... " ii n
I
:- ' "
u u
:: :: ;;
u ;:; ;; ;; ;:; ;:;
.D. :- :- :- :- X
,..,; .., -
&;I :; ,.,
.....
A7 E7 E
-
..... ,. tt. b I I I I I I r..
ii:
-.) 9
j = = ... ....-..
.,
,__
... ... u
" ... L\ " " ,., " " _ ,,

,
T X ;; ::: " " ,., ;::: " ;; n n. " :..
" n .. ::; . ';{ ;:; ;; X ';{
4 ;.., 2---.;:; ;; :::: i ii
u ;,
.... n "
v
. ...
. ;;
.., " " :;:
u
"' u
....._
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 by si mply a d d i n g m ore bass n otes .
CD
@ Example 22A: E7 to A 7 Bass-line

The bass-l i n e should lead to the ro ot of the next ch o rd . Notice h ow the bass n otes at the
end of the E7 bar sound like they are "steppi n g u p " to the A7 chord .
.-J-.
S huffie cJJ J Jl )
=
E7 A7
r--, I b. .
D
-
=
..
... "
"T' ... ... ::; ::;.
!
_
.. " " i\
11 ,!, ;,
-
;:;
-
;:;
-
_...._ "
- " "'
..
-._
CD
@ Example 228: A 7 to E 7 Bass-line

Th ere a re a couple of choi ces fo r bass-l i nes th at lead from A7 to E7 . The first choi ce is to
continue the upward move ment and jump down to the low E at the beg i n n i n g of th e n ext bar.
,- 1 --,
Shuffie (/:J J Jl )
=
A7 - E7
1':\
it b.
t) ---- -
-
u
... n ... "'
T_ :'1 ;; ::; ;;
' - - - -
A " , ... "
.......
g
-"
- .. ....
v
n
...__
co
@ Example 22C: Another A 7 to E7 Bass-line

You can also walk stra ight down fro m th e A 7 to the E 7 .
.- I -,
Sh uffle (r:l = J Jl )
A7 -
7
-' I! ,.; it b..
41
t)
- -
= =
._
.. . llll
" n , " "
...... ::: ::; :::
!
.;-
-X-
A ...
- ...
- "
- .n
- _
.....
g
n
...
_ t'l
-. "
-
v
co
@ Example 220: 87 to A 7 Bass-line
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
Sbume (n J ) ) =
E7 87 !""""- A7
r-" " 11 -- be
-
-,; ... D-.

-
'-' I I -
r;i
A A
- "" n ., " " ii i\ " ;; ;:;
! ';: ';: ': ';: ;:; ;:; ;; ;; ii :; :;
A .. i: ;;
- ;:;
- ;:;
-
.... "
v
. " ....
.. "
"" '> "
-
""'
CD
@ Example 22E: The Whole Bass-line Progression
r- . --,
Shuffie en = J ) )
E7 A7 - 7
.. <It 1\. I I - J I -
......, I I J I
t.
-i ,.,J
f#i _.J
r;i -
-
i
-
i
-
i qif
hold th roughout
A " " " " " "
T " ,
't "
v ...
:' i\
v ;:; ::;
.. ;:;
.. .,
_ "' --'
' -
v
" "
v
..., n " n "
v
;:: :; 't ': :- 't ::: :- y
11 - - - ;,
-
.... "

g ... .., A "
v v
""'
A7 E7
- -
-
"""" I'Ut jj: b. b. - I I I I"""'" I I I I
- -
'-'
'iJ - 4 -
- -
=
.... qi -
4 i
..
..
t
.n .., .n -
"- "
v
T iio " " ;:; ;:; ;:; " iio ;:; '> n " n " ., " ... ;:;
- . . . . . . - -
- .
- v
.
A ...
- ...
: -"'-
- - "
- f\
- - - -
... - - -
- ...
- ,.,.
_
_
-.
.... n "
v
" n
v
"
g " A ....
v
-...
87 A7 87 E
-
-
r-" " ... ft b. I l. I I I I 1 l /':\
II
. . .. p- -

tJ
. -
- -
:#4 .. v'11 ii:
--
i i u
.... "' A n .a n "

'T 1\ ;;: 1\ n: " ;; ;:; " ii. n " n n i\ n: n: n
- - v
.,
! ;:; ;; ;:; ;; :-. .. .. :-. v ;; ;; ':
A :- ';..
-
'
-

.... .. A .... " n
I
IJI '> .... n .h ii.
v - v v v
co
@ Example 23: The Jimmy Reed Progression
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 E with a shuffle gro ove and use all down strokes .
.- J-.
Shuffle (J'J = J ))
E7
M. - - - - - - - - - - - - i
P. M . - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
n ,.., 1"'1 n 1"'1 1"'1 n v n n n n n n n n rc.
A7 E7
'"""
tJ
4 4 :'l ]I ]I ]I JII :W ]1 ]1 ]1 ]1
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - i
... ... i i ... ... i ... ... i i
... ... i i
v P. M . - - - - - - - - - - - - - - i P. M. . ---- -- -
- - --- -
- - - -
;
....

A ... ... M , ... "' ... ... .. " ... ... .. ...
..,.
.r.. ;::: ;::: ;; :;; ;::: ;::: ;; ;:::
w
;::: .d ::: ;::: ... " M , , .... ... M A .... .
g n: "
w " ,;,
- i\
- "
- ti
- n
- :..
- .ti "
- n
- 9 "
- ti
-
B7 A7 E7 B7 E

'""" '1 ... 1':\
-,; - # -,;
tJ 4: 4: 4: ]I ]I ]I ]I :w = ...,-. n:
... ... .. ... ... ... '111 ... U'
P. . - - - - - - - - - -- ; P. M . - - - - - - - - - - - - - i
... .... " ...
.... " ;; ;; ;; ;;
.
:;: h:;:.. "
.n ... ... .... "
...... ..,. n
- n
- "
- - v v "
- "
- " ;:; " v -
-- :;; :;; ;:: ;::
...
;; r; ;::: -
v ... v v
....__
Notice how this pattern sounds m ore " c o m pact a n d muted " c o m p a r ed to the b i g , open and
ringi ng s o u nd of the previous progressions . You can ac c omp l ish th is by muting the strings
with yo ur ri g ht ha nd . placi n g it lightly against th e strings near the bridge.
co
@ Example 24: Up-strokes and Accents

You can 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
u p-strokes . These acce nts s h o u l d not i nterru pt the g ro ove or re pl ace the acce nts on the
d own beat.
P J\t - - - - - - - - - - - - - - - - - - - -
n n n v
CD
@ Example 25: Blues Rhythm Lick
This m ove is a common b l u es cl ic h e . Tech n i cally, it i s th e IV ch o rd being thrown in q u ickly to

create more melodic m ovement. For the open E7 c h ord . add th e A tri ad by layi n g your
finger across the 2 n d , 3 rd a n d 4th strings at the 2 n d fret. Fol low this m ove with the same
three strings p l ayed o p e n , a n d f i n i s h with the E ch o rd .
r .f -,
hume (n J Jl > ==
E7
.,..., it
..., - 9.
: ! ! !
n
..
. .. u
v r"1 n ,.., I!((.
-
"P' n
! " n.
A n :';
. ;:;
v
,... X
y
n ....
p ft ;; ft ft ;; ;;
.....
CD
@ Example 26: Full Progression
Apply the previous exa m ples to the fo llowi ng slow-change b l u es in E
7
!"""' fl I

.. > "ill
..::. :! ]I 'f

P M.
i i ! !-1 '1 =
"ill ... "'I
]I ]I
"'I "'I ]I ]I
. "'I

... "'I "'I
]I
...
P.M. --- - - - -1
r"1 r"1 r-1 r"1 r"1 r"1 r-1 v 1'"1 v r"1 ,., r-1 1'"1 n v ere.
- - - - - - - - - - - - - -
- - - - - -
...
"
" " ;;; _..._ "
" ::; " ;:; ;::
4 :; X :; ;::

v
.,.
1;1
..,
.... ., - ...._ .A. A _....._ ..
n: n: ti. ti. ;; n: ti. ti. n: ;:; ti. ;:; ;:; ,;. ti. ;:; ;;
.
v v v .., .., v n
.., .., v v v .., .., v v v u
A7
"""" 'I t
>
..
t. :! .:::
>
= :! 4 4 4 -. '
... "'I "'I ! "11
P.M. ---- ------------- P. M . - - - - - - - - - - - - - . - - - - -
v v
-l
T "
v
Ji
4 4 .=-.
- "
0 e
... ... " .... A " ...

;..,; " " v ;:; ;;: ;; _;;_ ;;: a 9
ft ;; ;:; ;:; ,;
v .., .., .., v v v
....
.......
E7 B7 -
r-/L'LJ!r l

tJ ]I :! - ]I - 'I = :! "iJ. .,; r

! 111 "'I "'I : 111 "II -. -. : : "'I
-
P. M . - - - - - - - - - -1
2 f'l
"T"
" n .. ...
" ;;;; n: ;;; ;; J;;
-
n
! ;:: v
;:: :::: :::: :::: ::: f::::
A ::; X :0 ..
_ .. .. :;-
11;1
v
... " ... " " ... A 1\ ,
;;
v
n:
v

v ti.
.., ;:;_
.., ;;
v n
..,
..;
v
,;
v v v
..;
v
A7 7 B7 E
!"""' _It it r-1 .J /:\

.., -J :'1 .. ! ! i ! ! -'1
!
iip -,Jv"il . ii:
u
P. M . -1 P.M.
v
-1
- - - - - - - - - - - - - - -
- - - - - - - - - - - -
T
" "

" ;; ;:;
::; X ;:; ;:: "
v
n
A .. ;; :::: .
.. X
,.,
... " " ...
g
.... ;; ;;; ,; ;;: ;; ;; ..;. " ...
...
;; ;; ti. ti. n n: n n
v v v v v v v
v v v v v v .. v
"""
@ Example 2 7
CD
Now add bass-li n es .
<n "" J ) )
.- 3 ---,
Shuffle
it
E7 A7 7
,.
-9
-:;i. -:J. 4
: i i i ::ii::
.; r
( P. M . !he bo . string throughout)

I>
T "
... n
A " " A A " " "

;..,; ,.. ,.. . ,.. ;: n
u :.. :.. ri. ri :.. " ., .. ;:; ;;: ;:;
v v v v - v v v v
'"'
4-1 it I
A7
.=: -=:: -=:: -=:: -

.; -
-
1111

1111

...
:Jill
1111
-
-
... # ... .. 4 4 .. ... 4 ..:;
..
-=::
.. 4 4
=
"
'?
:: ....
l.1 _I>_ -"' .A A. 1> ... ;;: ... ... ... ...
.... .. A , n
v ii
v ri
v ri ii
v ii ri
v v v v 9--v
g n ;: ;: ;;: n ... " " ...
v v v
'"'
E7 B7
...... 1\ .U. -lt I I J J J
:! :! :! :! p ;t

:; ! !
-
1111
- lj
.; - jl ]I 1111
1111 .. 1111 1111
n " ... ,.. ...

T " "' " X
v v v
.. ;:; n.
g. ;:; n.
u
.... A A , , , , n. .. ..,. .. v
g " ;: ;:; ;:; ;:; " " " ii ii
v v v v
""
A7 E7 B7 E
J
it I
__.... 1""\ 1':\
...... I\ "
I""" !-"l ..
4 4 qi

1111 '-' . 9 .
! :
..
._; = ::> = II
... ... ... -.../ u
v
" ... , ,
T ;:; ii " ii "
I
':: ;:; ;:; ::; ;:;
A ,.. ... A A ... " , ..-. X
v
!o !o
-
6-0--e "
_1""11. :;.
;;.
v v
... ... " "
u ,., .... " ri "
v - v v v
CD
@ Example 28
This quick-chang e blues in E combines bass-lines to conn ect the chords and bi g chord
embellishments.
,) -,
Shume <n = J Jl >
E7 A7 E7
A7
_.l "l ii I
t ]I
i If*
> ]I -==!-
.. .:::
..:: 4 ..:::
-
"II "II "II "II

.. .. 4
q:;
P. M. -- - - - 1 P. M . - - - - - - - P. M. - - - - - - - - -

T

I
;;
':
A "' " "' "' . .
J"L - 9 Q
.. A ...
g
. " X ti .0. n n 9 9 9
G e
A .... " r. ..
w w w
......
"
"

E7 B7
_.1 "' l:t I J J .J
t. - 9.
]I ]I :! :! ]I "II 'JI tf4l --
iP
]I ]I :! ]I ]I
... "II "II
"II "II 'II "II "II ... "II 'II
P.M . - - - - - - - - - - - - - - - P. M . - - - - - - - - - - - -
T ;; ;:;
- -
r. " ... "'
... ....
! " i\ :;' w
A ;:;:
Q 2 a 4
g
- -
.... " A A " " n. " .. " ,.. A
_:..
v ;;
w ;;,

w ;;
w "
w "
v
1i
v "
v
A7 E7 B7 E
r,...
.-io- ,...,
_./ 'I it
t.
4 4 i :JI Y :! :!
... 1111 1111
ll
...
::
...
-
...
=
...
#i.._j1111 v 'l ii:
u
II
P. l'vl . - - - -- . -- . 1 -
P. M .
.- hold - - - . - - - - - 1
v
. - - - - - - - - - -
- - - - - - - - - -
""r
.... .... .... "
;; ;; ;; " :::
;;, ;;, ;:; ;:;
.D. ... ... :- :- :::
- ... ...
A " "'
.... ;:; ::
g
::;:
-
A
n.
w
"
w "
w ,.. v -"'
v "
w ;;:
v i\
v ;;:
w
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 ...,
h ume (n J ) )
=
(E7 ) B7
l"""' fl <f 'li
t.
' p -,;
hold

T ;;
I :;:
A
.... " "
g

u
....__
lt is q u ite common to use variations on the last two bars to "tu rn the progression aro u n d "
t o the begi n n i n g . Mem ori ze eve ry turnarou nd as a lick that you can p l a c e at t h e end of a
p rogression at wil l .
J --,
Sbuffie (J1 = J Jl )
B7 !"""""- A7
r-"ll <f :!t '
tj*

-.1
-
-.J
ft
T ;; ;; ;; ;;
:;: X
A " ,. .. A " " .--. "
....
..... .... ;; ;; ri ;:; ;; ;;
v
.,
""
E7 87 E
3
"""' "' ... tl: .I .l b r-- I""" !'"'. t:\

FiJ ::n
t) - . .,_,. !i

:; u-
., .... " ,., .... " ,.,

"'"_ "' :;; ::: :;: ;; " ,.,
! "
u
" :0 :;
u u - -
':: X X X X
.D. .. 4' . "
.... ... u
J:J
"
v
n
v
30 Chspt:er 4: Blues in A
CHAPTER 4: BLUES IN A
Th e key of A i s pro ba bly the second most comm o n g u itar key for b l u es _ N ow experiment
with the fo l l owi n g e m bell ishment ideas fo r both the A7 a n d 07 chord . The E7 wi l l use the
same embellis h m ents used in th e key of E .
CD
@ Example 30A: A 7 Embellishments

Hold the A 7 fi n g e ring with the 1 st and 2 n d fi ngers a n d use the 3rd and 4th fin gers to
embellish th e chord on the 4th and 5th frets of the fi rst two strings .
A7
X 0
-" I\ ... I
._,
-&
A
,.,

T ...
r A
... ....
I
_A
.....
..,
CD
@ Example 308: D7 Embellishments

A si m p l e way to embell ish the 07 i s to ba rre th e 1 st fret o n the first two stri ngs with the
1 st fi n gers .
07
X X 0
-,..
u
tJ
"
T ..
I
"
.0.
....
v
@
co
Example 30C: Blues in A
A7 D7 A7
"""" 'I .w. 1t b. l. .w. b
..
-:;1 --- I ..
v 1..-- -J.
hold throughout
"' "' ., "' .., ... ... ,..
, ;:: ;:: ::: ;:: ;:; " ;; ;; ;;
, ;; ;; ;;.
v ...

.;

.;

" ;; ;;
ll " " " ;:;
-
.. r. 1\
II;; v
"
r-" fl .If 1 ,. b. J L. J .w. J r---

07
,. . - .jf

I ..
v
" ., ... " " " ... ... ... ...

.. ::: ::: ;:: J'lo
;:; :;: ;; :;: .;
- .;
- .;
- .;
- .; .;
- .;
- .;
- .;
- .; "
ll ;;
- ;; ;;- ::; ... ;:;
;..
II;;
......
r-" fl .w. 11: A 7 ,. b. .. ,. b

7
-:;1 D
... - I
...... 4 - --
...
"' ... ... "' "' ... ...

"'" ;:; -" -"- _;;_ " _, _;;_ ;:; ;;.
v "
v ;;.
v
! ;:; ;:; ;:; :.;
- ;:; ;:; ;; ;:; ::
.0. "
- :;:
- "
- :;:
- ;:;
- - - -
..... "
v "
v
g 1\
""'
D7 A7 E7
-' A .w. 1t L J.l. b. .. .. ..
I
.. .. - -

t)
i
--
... ... .. ... ... I!" .. .. "

T .. ::; ;:; - ;;
- ;:;
- ;;
!
v
.; .;
- .;
- ::; ::; ;; ::
.0. "
v
... " ;; ;; ;.
... "
v "
v ;n
v ...
g ;;
v
"
CD
@ Example 3DD: E7 to D7/F#

There is a weak spot in the previous progressi o n ; the tra nsitio n between the fu l l sounding
E 7 and the th i n ner sounding 07 . The l owest sounding 0 on the instrument is almost an
octave higher th a n E, making the tra nsiti o n sou n d and feel more abrupt. As a so l ution , u se
the l ow F# in the bass of the 07 instead of th e D . Th i s w i l l smooth th e tran sitton between
the two c ho rds by adding more fullness to th e 0 7 chord and reduc i ng th e distance between
the b ass notes to a whole step .
Wh ile the F is i n the chord , it usua l ly is not in th e bass. When a note oth er than th e root
is in th e bass . it is i n d icated in the ch ord sym bol by placing a s l ash after the c h o rd name ,
fo l l owed by the n am e of the bass note . So , fo exa m ple , the 07 c h ord with a n F# i n the
bass i s i n d i cated a s 07 /F .
r-.1-,
Shume (J:I - J Ji )
E7 D71f# A7
u it i'1 I r..
--
-
#i

i

t - - -
- = = e-
111 "II 4
,., 1\
... X ... ... ... - r-
! ':: ;<; ;..
Jl ;,
- 1
v'1 1i
v
...
g
"
n 1'\
.
...
.
n ..
""' v v v
CD
@ Example 30E: Blues in A

Play the whole blues i n A with a q u i c k cha nge prog ression incorporating the 07 / F# .
r- l
S h u m e <n == J .P )
. 7 07 A7
.,;II.Jl ,. b. b- 1---
. ..

...
---
I -
"iJ.
" "' "' ., "' .. ... ... -- "' .. -"

.,. A. ::;_ X X X X :- :; .. r.- " X
. X X
- ...
!_ ..ii ;, ;, ;, ,:;
.. .:. ,:; ;; 2 ;;
A " "' "
v
"
-
"
-
....
c
1\
v v
......
D7
-' .10 1!: .. _b._ - I. .. L l
_II ._
:.- I

t. ..:::
..: I I --
... ....;; '"" ... ., ... '""

1--&-
" ,.. " "
'T' ,.; ;; ill " t :- :- :- :-
;:;: ;; ;; .. i. .:. i. i. i. i. A i. ..
A :;- - ,.
., ;:;
- - - - - - - - - - -
"'
i-ii v
ID -"
"'
,...... E7
_, ,o. tt A7 b. .. b. ri I
t.
;J :...J 4 I J - - -
i i #i
.... -
X vc-
.. ,.. .. ...
T " "' "' X
II.
;:;
;:;
"
;:; r-
;::;
....
:;-
::;
;:;
;::;
!'l
;:; ;:; ;:;
.n
;:; ;:; X ::
v ..<>
::
..
P"l
-
!;I
"'
.
-""
v v
"' n
-...
v
07/F A7 E7 A7
,;' ,oj. ft. ... .. b. .. !bo .
'--"
t
r = -:J

= =
.. .. qi ...
.. .. ... .. .. n " " n ...

T ;; .:> "' :;: :! X X X X X
- 1 --- -&
,., " ...
! ;:; ;:; ,; ;.. ;:;_ _:"> :"> ;;
-_ ;; .A ;;;
-
v
;:; ;:; ;:; ::; i. i. .;. " ;;;:
....
- - -
g
" " "
v
" v
... ... "
-...
- -
CD
@ Example 31: Blues in A Turnaround
Here is a simple turnaround fo r the key of A. Start on the second beat and use th e sa me
fingering for each chord whi le shifting dO\tvn one fret at a tim e .
,- J -,
Shume (n = J Jl )
E7 07/FP A7 E7 A7
,...,II .. it ..., I I I
t. . -
- -.. #i- ::::; -
v
&
-

- - - - -
... .
. lii: #i ... :#i
lwld thrnughour
... n n
T ;;. li ...
;;. ... .. ... A A " " " ... ;;. ;:;
.;. ... ii.
v
:: ;:;
. ::
-,,
..
.0. ;.. -..
-. -..' -v -.: ;:; i. i.
-
;.. ... -,.
- .... v ...
....
- -
...
v v - -
:::
g
A
v v
" " " ... " " ...
... A
SECTION II:
SOLO ACOUSTIC BLUES GUITAR
This section concentrate s on solo blues guitar style - the art of pl ayi n g unaccompanied
b l ue s g u itar . Yo u sho u ld sti ll conti n u e to m a in t a in th e tools and ideas from Section I as you
a re l e a rn ing the fol lowing examples. You will soon see how both secti o ns com p l i ment each
othe r .
In the first section , different optio n s for right h a n d technique were pointe d out. Li ke th e first
se ctio n the ex amples on the re cording a re demo nstrated us i n g a flat pick for the ba ss
,
n o tes and single-note leads . wh ile th e fingers strike the chords and embellish m ents . This is
called hybrid-picking . It is o kay to use a th umb-p ick, finger-p icks or fin gers without a p1ck
inste a d of trying to match the recordi n g .
CHAPTER 5: BLUES LICKS
A l ot of the great s i ngle-l i n e solos that you h e a r a re rea l ly n ot as diffe rent from the ch ord
parts as you might i m a g i n e . When we l e a rn ch ords a n d we l earn h ow to e m bellish chord s ,
we a re rea l ly creati n g m e l o d i e s u s i n g n otes that b e l o n g t o t h e chord a s we ll as n otes bu i lt
around the c h ord - scale tones. Rather th a n learn scale p atterns u p a n d down the neck,
as i s the cu stom when l e a rn i n g electric guita r . we wi ll co nce ntrate on the chord tones to
find out what n otes c a n be used for melody a n d solo i ng . The o p e n c h ords a re especi a l l y
i m p o rta nt because they b r i n g o ut t h e ri c h , ful l chara cte r of the a coustic g u ita r.
CD
@ Example 32A: E7 Blues Lick
I f. for exa m p l e . you want to p l ay a m e l ody o r to s o l o a g a i n st a n E ch ord . i n stead of ju st

playi n g a n E s c a l e . try l o o k i n g at the n otes of th e chord to see what you can get out of it.
The followi n g l i ck is a very common b l ues p attern util i zi n g o n ly the n otes of an E7 c hord . The
trick is to hold th e o p e n E 7 c h ord shape w h i l e m a ki n g i t sound like a si n g l e-note melody.
r 3 --.
Sh uffie (J"'J = J ))
E7
'\ J.P oft

I
3
"
- -
T
I
..,

" ..
_A -
....
D
-._
CD
@ Example 328: A 7 Blues Lick
While this l i ck h a s the s a m e s el ecti o n of n otes as th e e m bell ishment examples i n the

previous secti o n . th e te c h n i q u e is slig htly different. I t uses the o pe n A7 c h o rd shape plus
embellish ment note s , but it is pl ayed as a s i n g l e-n ote lead p attern .
Notice th e curved l i n e b etween the th i rd a n d fou rth note . It i s called a slur a n d it indicates
that the F on th e 2nd fret is to be stru c k a n d the n " pu ll e d-off" to th e o p e n E . This
tech nique a dd s some swi n g a n d p h ras i n g to the lick. The best way to em ploy th is tech nique
i s to strike the F# and pull a cross the str i n g with your 2nd fi n ger . sou n d i ng th e open E
string i n the pro cess .
, J -,
Shuffie <J"'J J J> )

=
A7
1l: IJ
-
J

.,..--...
"' ....n " ,

!
.0.
,.,. "
v
g
-._
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 .
.-- J-.
Shuffie (n J ) ) =
87
_,. r- 3 ----, ...., .-.
'"
# ..
3
-
hold
, 2 2 "
,.
_! "'"'

A

g v -
CD
@ 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 -,
S h u iDe (n J ) ) =
1/.j
../
E7
"" I\ ri:J
I I 1 .--. t:\
- -
t) = 3 I I
.. 3 i
1,4
../ .....---,
- .,
-
v v v v v ro
,. " ., " n - .. ;:;:
! ...
A
--..;
.., 1\ n
v v
co
@ 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 -,
Shume <n J ) ) =
A7
_.1 '1 .. 11: J b I I J b.J ;----
'
.. -
:4j
.,.
ol
.,
... .,
..,
... ,.
... ,..
T
. ,. ... ;:; " "
-
C'
...,
-
A
.... -
_1;.1
co
@ Example 32F: Turnaround Variation
This turnaround should l o o k fa mi li a r since it is basically o n e of th e turnarounds from Secti on

I. There is one c h ord s h a p e that is d ifferent from the open ch o rds that we have been usi n g .
The primary reason for u s i n g a d ifferent c h ord shape l i ke th is is that thi s shape sounds
h i gh er and th inner th a n the o p e n fi n g eri n g . This allows for m o re melo d ic m ove ment a n d
va riety . Y o u can l a b e l these ch ords with d ifferent n a m es wh e n m ovi ng down t h e fretboard i n
half ste p s , but it re ally i s n't ne c e s sa ry . By starti n g a n d e n d i n g on E, the chords i n b etween
sound more like a tra n sitio n than a series of d ifferent chord s . It i s better to treat th is
movement as a m e l od ic idea since it d oesn 't re a l ly change the overall ch ord progression .
E7
X X X
4
t -
"
2 I .)
-' 'I ito
t)
T :;;-
!
A
....
.- J -, ..,
Sbumc (n = J ) ) ""'
E7 B7 E
r...
r-' 1\ .. 11: b.

.J - ,__ - -.- =
# .. n
;; .. u
" .. .. .. "' n "
- "
" " .....
T ;;- :- ': ;:; ii ii i\ .il.
! /.A A _;:;_ _;; '':t ;::;
- ;::; io.
-
A / ':
.... " --
-
;;
v
g n
-
" ;:;
v
CD
@ Example 32G: Whole Progression
Now let's put together all fo ur o f the previous licks to create a com plete progression .
.- J -.
Shuffle <n "" J ) )

E7 A7 E7
.,/ .li i rr.J
- - -
v - I I 4 3- = I I
-. 3 .. 3
hold throughow
"
-" -
"
-'
" ...
..... - ...
v -
" ....... "
v -
" ...
v
,. _4 e ...
A v
...
.......
g
t\
" "
v
......
A7
-"II it
-
... l _l 3 J

3
,.--..,.
...
,.--..,.
-_
... " -
" _,..._ -
_.., "'
-- -
" -"' "
--
-
.....
v v v
- " -
" -"
-
v
!_ -
"
v
A
... " "
g v
......
E7 87
J it
f
r- 3 -, i1 - - -
I I I I
p
-
... = -
... -
3 3 3
...
.n. " .t\ " ..,.. "

" v v - - - -
.... .... " " "
"
! "
v "
-
t\
v
"
-
-
.A "
.
... v -
-
""
A7 E7 87 E
" J,l it :a_ - .. .. .. 6 . .. . J 1':\
...
"'3 -r- i P
-
tJ
.. 3 = ....- n:
lll -3
- u
""
/'""'.,
.,
v_ ... I\. " A A ... ... " " " " " " "
<i <i <i ;;. a
-
..,. ;:; ;:; 4 .. _;;. _;;. ...
/A ';; :; ::; :; ;,. ,;. ,;. .. ;:; ;:; ;:;
L
"
v
" 4 ...
-
... "'
-
v
""
Chapter 5: Blues Licks 39
CD
@ Example 33: More Blues Bass-lines

Even th ough th e previous exa mple sounds full harmonica l ly and melodically, there is sti ll
some empty space . Here is another opportun ity to apply bass runs to make it sound like a
complete piece of m usic .
<n J ) )
r- .1 -,
Sbume
A7 E7
,..,. 11 _. 1t I I I J

._,
.l'
t.
7 b;i 7
......,
-
=
i

111 '
.,

v ...
- - n "
v
v ... - v " v ...
T

... ...
.
- .. "
- "
v
A "'
-
... ... "'
Ll ... -
.......
A7
ib.J ib.J
-
"""' l't I I I ..-._ I .l I ..J
q.. ;F ,..
lti #i
t.J 3
3
,(""",..v
..---....
"' -
...
- - v -
T ..
... _,.,
- -
"-
I
A
....
Ll
"
- ,..
-
...
n
... .,
... A n
... ...
... "
"'
E7 B7
"""' " -!! ...., ..
J J
t.J - -
:; p 111 3 111 D'II

i
-
3 3 1111
n n n
- "
... n "
- ...
- "
v "
- -
"T ... ... ... ... ;:(
" ...
-
v 1
-l _ft.
- -
A
p,; n ... "'
-
L.J_ "
... - v
"'
A7 E7 87 E
,.-I I\ rb.J ...... b

/":\
II
t.J
3 =
-;- -.1- -.r- --,...J :; F1111

.ii:
1111 rr
/""'\
... ... ... ft ... "' ... ...
;; ;; ;; ;; ;; ;;
,
- 2--Q " n Jl
,. ... ... - ... ... " <> ::; ::; :; :c -- ;;_
I ii ...
ii ...
ii il -
;.. ':: ;:( ;:( ;:( ':
- -
.D.
...
:c ...
..... n ... :;
g -
... Jl
v. __o_
v
...
.....
A
Clrapter 6: Blues Chard Soloing 41
CHAPTER 6: BLUES CHORD SOLOING

In order to maste r the p owerful technique of soloi n g with cho rds . you n eed to m e m orize
certain c hord i nversio ns . C h o rd inversions a r e n ot only a great way to add melodic
movement to your chords, but they also provide va luable visual refe rences that will help yo u
to travel the fretboard .
When yo u i nvert a ch ord , you a re actu a l l y re-a rra n g i n g th e sam e n otes into a different
order. By re-arra nging th e n ote s , d ifferent notes end up on top of the chords and o n th e
b ottom . For exa mple , the o rd er of th e n ote s , fro m the low string to the h i g h stri n g , of th e
open E7 is E-8-E-Gn-D-E . The melody n otes a re either 0 or E . The o rd e r of the notes of the
next inversion , at the 2 n d posti o n , is E-8-D-G . This places G# i n the m e lody.
E7 E7
0 0 X X
E B E Gd D E E B D G#
fl. io
-..1 :a
u
" A
T _;; "
! ;; A"
A ;..
.... "
g :.
-....
CD
@ Example 34: E 7 ln11ersions
Now ta ke th is a ste p further and le arn the inversions that wi ll place the re m a i n i n g n otes of
the chord i n the melody - B , 0 and the higher octave E. P l ay the fol l owing shapes forward
and backward in the order that they occur a n d it will sound l i ke a scale of ch ord s .
7 E E7 E7 E7 E
a m M M" tmr mr
2 2 1 1 3 2 -1 2
.0.
3 1 4 l
A
l l 2 1
-e
1 1 4
I'""" I\ 11:n 6T hl;

..1/J.
-
tJ
_1:1. ,.. "7

:.,.
v
." ...
;:; ;; ,; :.
":' .. :; ;; _ii
_...
. - "
- ;.,
v
;:: ;::
""
co
@ Example 35: Chromaticism

Yo u can a d d m o re m e l o di c o pti ons and m ore te nsion to dominant chord i nversions by taking
a ny i nversion up or down a half ste p , as long as you return to th e actu al ch ord . This half
step movement is ofte n descri b ed as chromatic movement or chromaticism .
De cending Ascending
E7
'\ 4t 1!: 1::.. .. ,. i Ill.
= -"'- "7
..; ;; 4 " " l t ;,
_! '::'
A
- ': l ;;
v
;;;
v
:;
""
....
g
1:0
@ Example 36: Blues Chord Solo 1

This chordal technique 1s used by cou ntry blues gu ita r pl ayers to solo without losing the feel
of the rhyth m .
Notice h ow taking th is E 7 fi n g eri n g down o n e fret to E b 7 , for th e second measure , implies a
qui ck-change progress i o n . Since th i s fi ngering omits the root (E b ). it d o e s n ot clash with the
E of the A7 chord . If yo u c ompare this E b 7 fin g ering to A7 , you wi ll find that the re's o n ly a
on e note d i ffere nce ; t he B b in ste ad of the A. Th e B b is com pati ble with the A7 chord , thus
al lowi ng the Eb 7 ch ord to act as a substitute .
r- ......
ShufJle <n = J ))
E7 A7 E7
.J J .J .I .I
,.._...,.....,....... ,..."'!"""'"
. ........
. ,.....,...
.. ..,......
.J .. .. .. b. b.. ..
v "
A7 3 J
""" .ft b.. .. 11: .. ..

ir--
... ,.. b.r

... ,.. b r b.

t.. -.....!
C...JJ
4 4
1\. " " " ., "- A .A
4
1:: -"'
_I::
4
J!
r- ..J:.
r-r-"' _.,_ .1:: "' n
T' " ft 4 ':' ft " ;:j ;;; "
- - - ::
- :::
- - __;;,
- -'' ::
-
.. .;,. .; ;; ;; ;t A
A. - - n
- - n
-
....
g
n ... "
v 1"\
v "' "'
E7 B7 3 3
.J
-"""-
_./ " 1t .J .I , ,.. ,.., . ..
ill- . I ba. Ill. q!ll- Ill. ,.... - -
_,__
tJ -
- - -. t .. ...... .. ..
..
.. ,.. " .,. ... .. " .,. ... ... 1"\ "' "
T ., ;; ;; A" l t E . _i! l :t ;. ;. ;.. ;:; ;;
'.:' l A ;:: ;: ::- :; :; ;; :; :; :; ::: ::: "

_!_ - -
i> .;._ .<'I

--
g
- - - - .
"
--.
A E7 B E
I""' ..
-
I
I JJ b - - I
I
# -. ii
''-'' I
t.J
LJ...J i
-
'-"L,...

-.
4 =.
u
... ., ., " A "' " ,., ... "
2
T :::- ;;_ ;:;
- - -
""" ii ;; ;; "
y
I
A l ..
u ..
u "
- "
- y
A ..
- "
- /
..... n ...
g " " y
-
u
....,
@
co
Example 3 7A: A 7 Inversions
Now transpose E 7 i nvers i o n s to A 7 ,

A7 A A7 A7
X 0
X 0 X X 0 X X 0 X
8 fr l O fr
I I 2 2 2 1 3 2 I 3
A7
..,., 1'1 it b. -
... b
t) .:::
..
: '

, n ,,. n "' "
T ::: ::: " ;:;; ;.: ;:.
;;:;
A ::; ;;
y y - y
B ::;
....
@
CD
Example 3 78: A 7 Inversions with Chromatics
L.:l! Q#:
A7
_, II tt .#!- h' - b,..:!Sl-
t) I
"' .... 0 " rn

;._v 4 ....
T ;: ..<:.. ;:; ;;,. J::;:
! ""
y i>
u y Y i'i
-
A
rl>
g
@
CD
Example 3 7C: Chord Solo Turnaround

Apply i nversions an d chromaticism to a turna round .
Shuffle en = J 'J> )
E7 B7 E
'\. it I I I b .. .. I
i i
- -
-
ll n
u
.. " " ...

,., A . . . n n
ii ii e ;:; ;; .; ..; ;;: X
:;
y y
': ': ;;_
- ;::; ..
4 .. "
.... n.
u .. n
-
g n ;:;
.....
y
44 Chapter 6: Blues Chord Soloing
CD
@ Example 3 7D: Blues Chord Solo 2
N oti ce how th e ascending patterns that ta ke you u p the fretb oard increase th e te nsion and
the excitement, whi l e descending patterns te nd to decrease th e te nsion and excitement.
r- J ....,
S h u ffle (l':J = J ))
E7 A7
,.......
... ....
...
..
..J ..J ..J - ..J .J ..J ..
,,.
-

i
.,
T'
_i " .,
_ ,.
_ '> n.
;; .; ;; .; ;; ., " ;:; -:;: ;:; )( ;:;.
_
'A _;; ;; .. - ;; - -
A
v v
:J
.... "'
v
......
A7
r-" ____/1 fir tt - b. tt. JJ ,. ,. hi:: :: hi bJ#: - ::

t.J
... ...
T 8 a ! a
n n n n n " " _A n.
" " " :; ;; .; ;:: ;:: ;:: ;; :;;:: ;, ::; ;; ;;
I
't 't ,; ,; ;; ;; ;:: ;:: ;:: " ;:: ;. :::: :::: ;., .. ;:;._ n
A
.... "-

-,.
E7 87
lit.
fl ,; -ft
_I{

.. ..

... ...
ill-
.. ... ..
lit. lilt.
... ... ..
.,. rJ-

t) = = ... ....._

... ...
.... -""'" '" -"

T
__. .... c<n. _
.,.
, __.
_,. ...... -" ;.v
- " " ....
:.. " " no no no ;..- ;.. " i\ ;..- ;;_ ;:; ;; ;; ;;
_ _
;;; ;; ;; ;; ;; " ;; ;; ;; ;;
::.
I
- -
A ;; " " ;:;. _;:;.
- ;:;.
- ;:;.
- ;:;._
- ;;_ " - . _._
....
&;I
.,. v v v v v v
t'\ ...
" -. v
-,.
A7 7 87 E
fl it b. .. ... I I I b. I
..(,

t)
-
i
--
i # ... :D:
u
... ... ... ... ...

T
" " " " t'\ " A A " "
;;. " " ;;. " " it.
v it.
v ;:;. n ,; _., ;;_ X_ -" ., ;:; ii it.
:; ;; ;:; :; ;; :'.; ': ';;' ':: :; :; ';;' ';;' ;:;
I v v
A - -"-
- - _:;:
....

e----+-r'

"

co
@ Example 3 7E: Blues Chord Solo 3

After learn 1ng Blu es Chord Solos 1 , 2 and 3 , try combining them in exactly the same order.
Chord Solo 3 spends the most time in the higher register of th e neck. As a result , the first
two solos will soun d like they are building to a climax i n Solo 3 .
.-J-,
Shume <n = J ) )
E7 A7 E7
,.._.,._ ,.......
. ... ....
.l ..J ..J b.l .l .l
-- - -
i :; :;
. . . "' -
"'" ;:: ;; .. ;:; ::; _;:; ;:; ;:; ..; .; .; :; ;::! ;::!
':: ':: ':: ':: :'; :; :'; :; :; :; ";; ':: ',; ;! ;! :::
v
:::
-
.....
g
......
"'
v " ...
"
A7 b'
,...... fl .u ft ,._ ,._ ,._ ,._ ,._ ,._ ,._ ' ' ' ,q, ' ' C:blq' ,b.#:: ' '
t.l
r_-
-
.. ..
.L'I. _
ro. -"- _.. _..
"P' :.. :. ;, .. ;. ;, ;; ;:; " ;:; ;; ., _:;_ 0 "1 8 ;:; ;:; ;:;
::; :! :: ::: ::: ::: :: X :-. ;, X X
A
...... "
D "
......
E7 - 87

If_ If_ !: If_ ,_
b
: ::
_.
,...... fl .u +i -. -. -. .. .. .. .. .. .. 1..- ,-
tJ - - -
i i i
'"' '"' ' "' '"' '"' &---9
---1 2 H! ':."
v .... on -"- ,.. . 1 1 4
9--lr
&---9--4
"P' _;.; - :." ;:;: 19
I
;: ;:; ;:;: ;; ;:;: X ;:; ;:; ;; ;:;: ;:;: h ': ... .IV
.'-
"
...
4 :! - ;: ;: ;: ;:: ;:: ;:: ;: ;: ;:: ;:;:
;,.,;:
D "' ,.. "'
A7 E7 87 E
,...... " ' C:h,q' ' L.,_ !- .. .l .J .l b. - - J /':\
t.J = ._L,.... i p --
n:
-. U'
"' <> - .... "' " " ... ,..

-r ;: ;: ;, ;, ;; ;; ;; _;; . ..; ;; ;:;: ;:;: -
I
::: ::: ;., ;., ;; ::; ::: ::: ',; ',; :'; :; .; .;. ;; _;:; ...

l
...... -"' __._
'>
g n
v -
, ,
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 .
!
0
,.., "
k G
- -
.. lr.-

.,. [,-. -
..
-
-
tJ -
-
..,. ....
.... ....
v n v i"1 v i"1 v n v i"1 v n v n v
n v r; v r; r; v r; v r;

T' 3
I
" .., "
n
A ,..
"
- .., ,..
v
r.; " " - " "
c ... 'l .., "'
y y y
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.
;
E7 ../
lt-4
1\ .jj. Ib..J I I 3
I I ../ Ib..J I I 3
-
tJ 1....1 -
-......J = 1-JW
- -
=
i
-
.. ...
#"
...
'4
,,
_! ...
I
.-/ n i ,..
-
:;,. v "
" y
"'" - " - - .., " ..,
-
.. " 1"\ " 1
11 - - - ... " ...
-
....
c " " n
" "
""'
CD
@ Example 388: E Blues Lick 2

The combination of ha mmer-ens and pull-offs give this lick a lot of spic e .
,-; ....,
Shume (l':J J Jl ) =
lA
E7 _;
""" A it b.J I I r- 3 ---,

- .!':\
t) -
lA
- >
1111
-
J
v v
,. ...
_! ... "' ... " ....
_A ...
- ...
-
.....
g "
v
"""
CD
@ 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 J ))

E7
""" " it: > > -
>) >I
....
t >--- -
J J i ] \4
v
J v j rt

.. .. ., .. .. ... - - ... ...
" "
- v
" n
-
.
-...
' \4
1'1 -lt r--1 > > 3 >) >J
'
t) =
>---
=
1111
3 3 111 J \4 lA
J J
-r
"' "'
., ., ., ., ., .. -- - .., ...
! l l l l l A
v v
..a.
....
/ "
-
.....
IJ
....
"
v v
"""
co
@ Example 380: E Blues Lick 4

Combine the previous licks.
,--- j -,
Sh uiDe (l':J : J ) )
E7 r- 3 ------,
'I It I I I
..
- - - -
- .I I > -
1111
-
3 3
T
" " .... ....
-
--= - -
I
"' 4 ::; "
- "
- ,.
- ..,
- n
A .!>c
- ;:; "' .... "'
g
.....
,
""" 't
;.
../
r- 3 -----,
,.., ft. ill .11_ r-1 > > J
b I I ,...__
' -

f.,
._. - --
=
-
? 3
lA
...
../
,

_T .. .., "' " .. .., - ..
! A A A A ':t 'A " ,;. " " ... ...
11
-
A "
....
- - -
c ,. ,.
co
@ Example 3BE: E Blues Lick 5

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
t. - ...... .._.
li > > --s --s

y J -
i i
-
... 11

-
-
u
'A
I
"T"
!
A ... ... '"' ... ... " " ...
.... " /
_U "
-
..,. " "
- v v
n ...
u
""'
co
@ Example 3BF: E Blues Lick B
(n J ) )
,- ] -,
Shume =
-< 7
,.., '\ it
J y 9
t.
p -.J
-
J
>
!r - A
=
111
=
...
1
T
A v -
... "
v -
"
v - n
v
- " -
...
.... I
- ..,
" " " '"' ,. 1 ...
- "

,..
-...
1\
'I
-o /""'o.o .

tJ - '-"
i - -..... -.... -....
-
qi
-.J lrl'
> ...
y.
\14 ../
I v
,.
!
A u ..,
- "'
v v
...
-
.... " ...
..... " I "
g
... .. -"-
- .., ..,
l\ "
" .., -
co
@ Example 38G: E Blues Lick 7

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 to as question-a nd-answer p hrasing .
r- .f-,
Shume (l':J J ) ) =
,
E7 ./
-"
I""' " bJ I I r- 3
- I I I I 1
- -
t) =
ll A
...
'T"
-!
u "
v
-
"
u
-;;
I n
"
" I
.... ., .... " .... ...

A .., - ..,
- v
- .... "
... L_
- ..,
" ...
,..l fl ... ' ft

..
1.: .. .. ..
... lrir"--':;J.
v -

._. ._. ._.
-:;1 -
-
ll
._. .._;
'T"

A " 2 e .... .... .. .... ....
"
v ... -
;,.,; -"' ..,
..,

u . '
"
....
-...
co
@ 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 a fa m o u s
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 .
I-,
Sh uffie (n = J ) )
87 A7
..-' 'I .. 1f: r J .JJJ ,; r- 3 ---,
I.a. ..... (h..l._

.L

#"t ll T+

;. v. 1/
-
14
-
... 2 2 2 .,. L ., !. 1 J ... J (\

87 a/ .....

::; I -

"T 0 ...... x
!
A
"
. "
-
- - i ....
- ..,
v ....
- "'
.., ....
-
. n.. n

""
E7 87 E
,..1 _fl .. 1f: ........, 3

v - - ..
..
- -
-
J - -
.. ... o
e n "
... ;:;. ;; ;; ;:;.
v
'T" -
... - -
..,
.! A _n "' ... "' " i>.
A
_
-"-
" "
- -
..,
.....
-" .., ..,
" n
v
-...
CD
@ Example 381: A Progression Of Licks

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 -.
Shuffle
E7
1"""' 1\ 11: i-1 > > .}_ I I I . > >
- J
.._ -
' '
---
I) =
"II
7 7 7 7 7
1,4
"r'

n n n
J -
""
-" "'-.... _ .., " "' -
y
... ... ..
- -
! ......- .. .. /.0 'A ..- .. . . .
- - - -
" " . "
v
A " ;;: "
.....
g ... ...
""
1,4
b _hJ J J
A7 ,---- 3
I"""'_jj_Jit it ../
- -
-

:w
I) I I
i
-3
3 111
1,4 'A 'A J,f. .y.
1,4
.d i
_.) _.)
.., ,., " ... "'
__) _/ __)
.., "' "' .<l
-
.;.
v v v v v v v v
..,.. ..
v
"
v ..
v "' "'
! ;..,
-
... "'
A ... ..
-
.... "
..., -"- L>.
......
7 1,4
B7
-' 11 11: ...., -

3 ...... ,......, ../ ..J J
...__,
/ '
-
i F
-
I) "II "Ill
3
i 3
y.
" J "' " " "' ....
..,.. ..
v - - ..-, ..,
- ii
v ii
v ii
v ii
v ii
v ii
v
! ..
.... " " "
v
A -
.... " ... "'
g " n
v - -
'.4
A7 _.! 7 B7 E
-" 11 11: b.J I I _....., _3 - _....., r.-.
"' '
- -
"
ii:
]""
i P
I)

1,4 u
"'
-:! ,. " ...
n
v
..
.....
- -
..a
v ..
n:
"'
n:
.A
"
-
..
- ...
v
n .;. " ;; ;; ;:;
J:l "
- - - -
.. " "'
-
Iii
1>.. v
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 should al most sound a s if two peop l e are
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 -
n ote sh uffle in the bass u s in g the open E. Emphasize the down beat , and
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
Shuffie (.r:l "" J )

7
r-'ft 1t
'
= - -
-. i i -
iii
- - = -
.. i -
... :;
= =i = :::]-. i- -:t -:;
... "'I
- - - - - - - =
:; :;t ; :; :; :;
- - -
i li i i i i i li
- - - - -
M . - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - i
,..
I
A
-
u A n n A n n ft A ft ft ft ft ft _1\ _h _,. -"' "-
- " " "
v v v v v v v v - v v v v v v u
CD
@ Example 398
Now add a melody note on the fi rst and third beats of each measure. You will have to strike
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.
<n J J> )
,..- ) -,
ShuNle =
?:7
!"""' " .. it I I I I I I I l
tJ - -
- -
-
-
-
-
- -
- -
-
-
-
-
- - - -
- - - -
- -
- -
-
-
-
-
- -
- -
-
-
- - -
- - -
-
-
-
-
- -
- -
- -
- -
- -
- -
- -
- -
r r r r r r r r rr r r r r r r r r r r r r r r rrrr rr r r
M- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - i
" ,., .o._ _n. n.
y
T
!
4
g
....
n " n n n
v
"' " " " n n n " " .... n n n " n " ,., ,., "
CD
@ Example 39C
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 = J ))
E7
_., Jot it I I I I I I I I I I I 1 I I I I
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
..
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
rrr r rrr r rrrr rrrr rr r r rr r r rr r r rr rr

P. M . - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
i
" " " " " " .... "
v
,., ,., ,., ,.,
T
!
A
....
-
" n ,., "
""
CD
@ Example 39D
Now play th e melody i n sync with the bass notes by playing the exa ct same sh uffle in the
melody that is in th e bass . Th is is a great exercise of pinches throu ghout .
.--- 1 -;
S h uffle (n = J ) )
E7
I"""' II It I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I
tJ - -
- -
-
-
-
-
- -
- -
-
-
-
-
- -
- -
-
- - - - - -
- - - - - - - -
- - -
-
-
- - - -
- - - -
- - - - - - - -
- - - - - - - -
rr r r r r r r r r r r r r r r r r r r r r r r rr r r r r r r
M. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- - - - -
" "
v
....
v
n
v
n
v "
v
n
v
n
v
"
w "
v w
,., "
v v
,.,
v
,.,
v
,.,
v
,., "
w "
v "
v "'
w n.
v n.
v n. n.
v n
w n
v "' -
T
-
!
4
....
g ""
,., n
a a 9 n n n n n. n. n n
v
n. n n n
v n.
v
-"'
v
1\
v "
v n.
v
n
v n
v n.
v
"
w
n
v v
" w n
v
"
- ,.,
-
""'
54 Chapter B: Fingerstyle Blues
CD
@ Example 3SE
P l ay the melody n ote on th e opposite part of the beat as th e b ass n otes. When p l ayed
corre ctly , p l ac i n g a mel ody n ote i n b etween the uneven bass n otes will sound l i ke a solid
triplet.
r-J-.
Shuffle (/':J J )) =
E7
r J -, r J -, r .? -, r J -,
-' ILJt ft ..
. I ..:. j I .. I -" L .. I .
. I . L . I . I .. I jl!
I. w I .., I I ... I
tJ -
-
- -
- -
- -
- -
- -
- -
-
-
-
-
- -
- -
- -
- -
- -
- -
-
-
- - -
- - -
- -
- -
- -
- -
-
-
-
-
- -
- -
- -
- -
- -
- -
-
r rr r r rr r r rr r r rr r r r r r r rr r r rr r r rr r
P M. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
'"' ....
v "
v n " "
v n
v n.
.., "
u "
u ,.. n ... ,.. ,.. "
.,.
.11
.....
... n n n n n " .... n " n .rt " n n n ... .... -:> " " " ... " " n " " ,.. .... .... " "
"""'
u u
CD
@ Example 3SF
Altern ate betwe en p l a cing mel ody n otes on the beat with the bass note s a nd off the beat in
between th e bass n otes .
.--- J--:1
Shu me <n = J Ji )
E7 r.- 3 --,
J fi .Mo if: 1..-. I .., I ..- t\ 1 t\ L-. t\ I .
. I ..- 1\ . I t\ ...
tJ -
-
-
-
-
-
-
-
-
-
-
- - -
- - -
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
- -
-
r r r r r: r rr L: r r r r: r r r r rr r r r r
"
v n
v
.... "
v
" " ,.. " .... ....
v
...
A.
......
.... .... .... .... .... ... " " .... "" " n n "" n ... ,.. " n " ,.. " n.
v v .., v v v v .., v v v v
.....
"""' ... I - t\ - t\ ... I - t\ I 1 - t\ I I

-
t) - - - - - - - - - - - - - - - - - ("
- - - - - - - - - - - - - - - -
r i: r r r: r r r L: L:: r: r L: r: r: r r
" n. n. ,.. ,..
v 1'\
v n n.
v "
v
v
r
11

" " .... .... n ,.. n " t\ t\ " " n n n " n
......
CD
@ Example 39
Now let's re place the on e-note pattern In th e melody with an E bl ues sca le in open positi o n .
,- -,.
S h u rn e ("1 J ))

=
...J
E7
"""" .. 1t ... bll r---1 I I L bJ
_r,
.. -
-
- -
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
-.-
r r r t t r t t t r t I
r r
'4 It
...J
"'"
!
w "
v 0 '>
.
....
!
v
... ... .... .... ,., ...
.D.
v
....
D
....
... .... -" ,.,_ " -0 "
"""
v v v v v v v v
,,
..
.../
..I 1t I I I l I I I b.J I
_r,
.. -=-
- - - - - -
=- - - - - - - - -
- - - - - - - - - - - - - - -
"1 t
r r r r - r r r r r r r r.,4
...J
"- "
"'"
... ...
.... "
v v v v
! .. .... .. ..
v v
"' "
....
... ... ... v ...
...
A
rl3
.
-
h
v .
...
-
....
"' .... n n n
u
" " ....
u
"
"' "
v
"
v "
n v v ... v ..
"""
co
@ Example 39H
Gra d ua l ly i n corporate th e E b l ues l i cks from Chapter 8.
-,
'b:"t
3
,.-!__ _... _ft _k

7
b.-l1b1:'1 -l-, ... -l1b.!i r\ i-, ...
-I t\_ lJ"j J
II
.. -
-
-
- -
-
-
-
-
-
-
-
-
-
--
-
-
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
----
-
-
-
- -
rr r r t rr r rr r r rr r r r r r'r r IJ.. '4 14

* P . M . Lhroughout
...J _)
" " ... " ;; .!
...
v v '>
v .... ....
v .....
v v v "'
v l'l
v ,.,_ n v 1\
v -"

r
I; ... " " " " " "
,"'
n
v n
v v n
v ....
v 1\
v ...
v v v v ... n.
... ....
... .... ....
v v ....
v 1\ l'l n
v 1\
v 1\ l'l
" Bas on ly.

r- ? -, ../ r- J ---,
I
,...., 'I Mo 1t t\ - b.f"i t\ . I o.{_ !':h - L r::"'L. b_ I ... t\. 1\ 1 "r-1 I 1\ I
.. - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - -
r r:: r tr r t' r l:: r t r r r r r r r

'.4
'A I /
" " ! " j_ _L'l i"

3
n n. .l'l ....
v v v v v v v v_ y -"-
"'
v
"
u
..
v... "
v G "
v .r!.
v J'l
v J'l
v J'l
v J'l
v a
v
.... a "
v
" ...
-
,.. n " ,.. " n ...
v
1,4
,- 3 --, J --, r- 3 ----, r-;-
r::'l. h_ L 'r-1
1- __/
I
tl l I I 1'"""'-1 ,--

.,.1 "' Jj. -It ... - .., ,..-,..
.; - - - - - - - - - - - - - - - - - - - - - -- =- -
- - - - - - - - - - - - - - - - - - - - - - - -
rrr r rrr r
II.!
r r r. r r r r. r 11.1
r r. r r r r rr
" " / " " " " /v
, " "
'T"
u v v v u v v
I
" .. 0
...
v ..
_A ..,
;;;;
-
g
....
A " A .... " A .... " " A .I\ n "' n
- - - - - v " - v v v - - - v - v v v v v v v
--.
r- J ---,
I 'ii
-
I r--,
r- , r---
,.. ,.. .. ..... .., I ----
r:
.> -
-
- - - - - - - - - - - - - - - -
- - - - - - - - - - - - - -
f
- -
r: r r. r r: r. r r r: r. r: r r: r: r ---
\4

" J A
_,.
- - -
X
v
..,
.., X
.. ...
.., "
..
-
-
...
Jl .., ::; -
1;11
....
" "' " "' " " " " " n " n ... " " " ....
-...
CD
@ Example 391 : Muddy Waters Progression
A great way to sum it a l l u p i s with th is "M uddy Wate rs-styl e" progressi o n . Wh i l e Muddy
Waters didn't i nvent this styl e . he did p o p u l a rize it. Make sure you practice this progression
very s lowly to m e m orize which melody n otes a re on the beat and which notes a re i n
betwee n . r- J -.
Sbuffie (J':l J ))
,- 3 ---,
fi r- -1
E7

I I
r- ---,
_., 'I ,. ft. ..,
- .__
-.! =- -
- -
- - - - - - - - - - - - - - -
- - - - - - - - - - - - -
r r r r r: r r. r r r r r r r r r
-
A " A " A
'T .,
v
., n
v i\
v
! ... ...
A 2--e- ...
g
....
...
v "
v
1\
.. h.
v
"'
... "
v
.J'\
v "
v
A
.. "'
v "
v
"
v 1\
" "'
v
"
v
"
v
r.- ?
A7
.,.1 "'Jj. .ft I I I I ii ....., - t\ I . b)hll - n":.h 1 -,
'
rrr r rr r r
-.! -
-
-
-
-
-
-
-
-
-
-
-
-
-
--
- -
-
- -
- - - - - - - - -
r: r r. r r r. r. r r: - r r r r.!T
"' " n " .. " ., -" -{)--
'9" ;;
v
... .., .., .... ... X ft ;:; ;:; :\
v
/"'- -
"
v v v . . .
A ....
-
;..,;

n " " " " ....
- v
"
v
"
v
n
u n.
v "
v
"
v
n
v
t\ " n " " .... 0 - .
. j) I .I ...J I I "'
- --. E7 r- 3 --,
_.1 '1. flo tt r--1 --
- - - - - - - - - - -
.. - - - - -
r r r r r r r
i r r
- - - - - - - -
t r L: r L: r
.... " , ... " " "
.... ;:; ;:; ;:; ;:; ;:; , , "'
'l A: :;; ..
- ...
...
- ..;,
A , " ...
.... " " " .... .... " .... ...
c L>. " J'\, ...
" " " " " "
......
- -
3
_... " r--'1 \ Jl I
B7
l'l J n""' J A7 bj) _A-, I n
r: r r r u r& r: r r r r: r r r
- - - - - - - - - -
rr
4t)
rr r r rr
-
- - -
'A 1,4
-! -!
3
/""""',
n
v n. " "'
.... " ...
-"'
_;;, - -
- -
" " "
v ;;, ;;: ;;: ::. ;:; -
I - " - "
" - - - -
D.
.... n
v ... ... ... ...
. ... "' .. ...
- n.
v " 1\
v " "'
v "
v "
v "
v
c .... ,.. .... ... .... ... ,..
- - - - - - - - -
.....
v v w
E7
-1--, 11 I r::1
r.-- J
_,/ i J,j. .ft I I I I
II
t
- - - - - - - - - - - - - - - - - -
...
r r: r r r r: r r r!T rr
-
- - - - - - - - - - - - - - -
r L: r u
- - - -
trr t
.... .... " " ....
T li n. n. i\
v
.,
n ..,
v ;;,
v " v ., v
I
... .... "
- - -
A
....
-
n -"' J'L -"' " " , 1\ .1'1. n. " 1\

v " - - " - v v v - v - " - v - v - - v
@
co
Example 39J: Muddy Waters Turnaround
All this progression needs is a great turnaround l ike this :
en J ) )
.- J
Shume
E7 J J 3
B7 t:\
r J --,
r-"fl t ft: :. L I I J I I l I I I }_
t.l
r 'r r
r
r r
L___ 1 r#f r#
-
-
= '11
L_ J __j L_ J _j L_ j _j 3
- ...:._j
1'1
". " v
.... _..._ ....
.... n n
-
i\
-
"
! .... ...
"
...
"
;:; ;:; ;:; ::
A 4
- -
;.
"
" ,.. ...
-
l"'o , ... . 'l " "
g - - - -.
...
-
v
.......
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 ffle groove , bass / chord pattern s ,
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 .
.- J-.
S h uffie (J"'J J ) ) =
E7 . 7 E7
fl. It
oft'II._- r.
*
,.
_ -
I .._
\ I t b J I r I I 1. L
._;
r r
r r r
- - - - - - - -
t
- - - -
r r ... ... ... "'

r lJ ...
lJ
'T"
"
...

!
-
A .... .... .., ....

....
. . . .
!1;1
...
-
n n " " "
v " "' " -
All down temmed nole' P. M .
b)) }) J b .r: J
A7
I"""' 1'\ 4t it I r-1 I ..

t) - -
u u
- - - - - - - -
t v v v
- -
i
r u i o.; '"f "1
1>. 1\ ,_ .. ... .. ,.
T
"' ... -"--
"' ... :\ ;; ;:; ;;: ;:; 2
'
t2-
D. i
;..,; "
"
...
"
...
"
n
" "
" n
"' "
"' "
v "
v

g .1'> .n.
" _., ..

E7 87
r-"'_ It .. I I I r-i ii J ..n
t!f i u
tJ - - - -

- -
t t
- - - - -
r
i
u " ...
u "
... " .... " ....
T ..0.
" " v
.,

;; ::; ;;
.ll L
..... ... ... ... ...
_g_
-
... " ... "
v "
v "
v
v
"'"'
A7 E7 87
,..,. ,.. .. it b.J J L J 1 "" j I -
1t
"l-
; ..
r

r
t. - - - -

u r
-- -
"1
., .., n
r n .. " " n
v ..
'T' ;; ;:; "' n. ;:; ;;
! ::;

;;
v
... ... A ;; ;; ;:;
A - - "
-
.... ... ., ....
g - -
"
- - -
...
""
E7 A7 E7
,..,. 1\ .. .J b. .J. b.J n" .J .J b. h it.J .
u '--/r
t - - - - - - - - - - - - - -
i r i
- - - - - - - - -
u u
"1
r " " ,.
r r.
r
"" .
'T' L_ .ii
- .'i
- _;;
- ;;
-
! A "'
... "
... .. ...,
.
A
.... "-
v .0. " "
...
g - v
"
... "
v "
v ...
... v
" " " " v
" v
"
,..,. 'I .. it .J b.J ot:.

A7
b.J 1l I b.J jj I -
t t =
t.
"1
- - - - - -
u i u
- -
"1 "1 I "1
...
., " ... ... .., n

'T' ;:;
- ;;
- ;;
-
A ... .., n
., v
A :.
... 1\ "
v "' -"-
v _n.
v n_
v v
g "' " n ..
...
"'
""
I I I r-1 ri J ..r-J
B7
it
E7
.,.., I'\ ..
t)
"1 "1 "1 "1 "1 r tJ*
- - - -

- - - - -
"
."'
.,
"
"
n ... ... ...
.. ;;
v <> ::: ... ;;
v

- :.
.1
.. n ., ...
I; " n ." " "
- - -
..
"'
1'1 -lt bJ .J I
E7 .
A7 -
.. I I I
tt j 11r i
t)
"1 r r
- - - -
Lr
--- -
r
"l;
rit.
'> n n
T ;;.
"
- <>
" " " ... . 't
A. ...
.... "
v
"
v
"
v
... .... I!!
v
;:;
I;J .n. ::
v
CD
@ Example 4 1
Thi s example is a lick-o ri ented blues n A. It sta rts off with a two b a r i ntra th at i s actually a
turn arou n d . It is very common to use a turnaround for th e intra since the turn arou nd's
main fu n ction is to lead to th e beg i n n i n g of the p rogressi o n .
The 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.
Make sure you play the exa mple sl owly at first. Do not i n crease the s peed u nti l you are
c e rtain that yo u are pl ayi n g the correct rhythm for each note.
Th e i ntra li ck i n the fi rst measure i s based on the s a m e b l ues scale fi ngering covered i n
Ch apte r 8 . except i t i s pl ayed i n th e key o f A . In t h e key o f E, open str i n g s are a n i m portant
part of the fingeri n g . I n th e key of A, yo u r first fin ge r has to play all of the notes that yo u
o ri gi n a l l y learned to play as open:
The A Blues Scale

['.....
.
E G
>g(
A I
v
(@
A 0
v XII
Flnger1ng: 1 2 3 4
-h -- ._ _I _I
I
..,
4 I 4 1 4 3
I
\ 3 I 3 2

1
..
4
r I
.... ,...
... "'
.
A .. ....
w
.... 7
_p 0 .II:
...._
w
,- J -,
Shuffie (n = J ) )
_/
A7 E7
-' fl #lo __U Al >'
-
.....
tJ I . I I
- -
"II
3
3 3

r.
__./
.,
v
n .... .... .,
.., .
;, i: .i>
v v "
"' "7 ..
A
w v v
.. ..
.....
v
"' .. --5
g
v
-
-....
A7 D/F# A7
.l JJ1 b.J Jl
;._
.
I"""" II JO ft I b. ..J. I I I

i
- - - - - - - - - - - - - - -
r u r r r !i v tl u r r u r
- -
v'--'i
'1 =
[__ J __J
--" " n n
"'
... ---;."'.
"'
n
... ':: '::
:::::
_"'" ..,
!
-
Q.
- ...
-
n
v
.... "
v n
v
"
v
" n
g v v
- - -
n n ,., A
DIF#
I I I I I
I I I I
r rL___ 3 __j
r tJ i 3
J
"'
- -
...
A -
v
...
-,-
A7
i I
- -
r r
3
J r r 3
J r r
-
"'"
v "
DIF#
r- J J r1
E7
-It I I
3 ,.......-:::;;o
.10 a
""'-.
r vvi r
- -
t
- - -.
- -
- . _ _ _ _ _ _
- r u r rrr
- - --.
r
- -
L- J -l L.. j __l [____ 3 __j

n - -
T
-..
! " "'
v
;.,
v
A n
.;.
n n n
.... : '"
-...,-
_n " n
v
g v v "
-
;, " "
_
n n
-=
n
--.:;- "' ...
- - v
..,
.......
A7 JJ .; ,-- J ----,
r-" fl r. ft .; J J J J I J b
tJ I I I 'I I r p I I 'I r -
r
-
-&
1_ 3 ----l
I
"
v 1!
v "'
v "'
v v
.,. "
v v
-
v
- - - - - -
,. "
' -
A ""-
v .. .. ..,
v
.., - n - - -
....
- -
"' v
-
CD
B Example 42
This entire example can be pl ayed using only a fl at pick. Th is progression wou ld be a great
exercise to experi m e nt with d iffe rent rig ht-h a n d tec h n i q u es .
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 a strong shuffle groove
thro u ghout the progress i o n .
r-] -.
S h uffle (J":J J ,Jl) =-
E7 E 7
_., It it b.
-
t)
. AI
;;
A
:::
AI ..
:;;-
..
;;
..
;;
A
:;;-
... .., ., ., ... ... .. "
_;;;_ 2 2 ;; Q
;o 4---4 :::;- :::; ;; ::;
A
- - - - - -
......
..,
D7 E E7 Eb 7 07 E 87
r-'ll it - - l .l .J b. - r-1
i --
-
:p "ll t
"11 i
. ,. : ':'
..... ., ... ,., n " A
,;
...;:; ... .....

" " " ..... ...
" ;::;
.;
. r. .; ;,. .; .; .; -:
-
/. '.: ::; :; ;.. .; -: ::: X
.0. .. ... .. .. ...
" ,.
u ... ...
..... ri " ..
n ..
..
.., ;; n
-
E A7 E7
r-"' It I - _......, -- 3
t) -,; ..,;
-
7 7

! #i .. - ..
3
/""'\
3- =
..
" .. ";..
,., n " " " "
X n. ., .., .,
" ...v v v - v
..
" " "' "
A A A '.: ';;'
v
"'
-
..
" / ...
...
...
- -
3 "
.......
A7
r-"' 1\ .. I rr.J --.., ro "" 1!.
t) l l -
3
-
.. #i J
,..,-...
;j J
/""'\
"'"
,.,
u
1\
u
,.,
v ..,
...
"'
.. n
v "
v .
" 1\
v "'
... ..
" n
... "
... 1\
... A
... " ... "
-"'
.0.
...
...... " ...

.., n , A
v ...
E7 1 , B7
.,_tut it ri \
""""""' IT- _/ ......., ....,
- "'-'-" -
..
i ;i:p
-
t)
:iJ ]""" """'-' -

J- -r-
1.4
... ... ...
..-.
-
" J " " "
T r. "' -" ;;. "

... ...
'> " n
"' "
I v
A "
- " "
..... "
D ...
-
n
"

""
A7 E7 Eb7 07 E7
.
_.;'_h f+ -It b.. - I .. J b.

' -
t) _..J
.. =
..
rit.

... ... ... ... ... ...
T ...
-
..
_.., _,
r- --

. :;; :;; :;; ::\ -" 4 4 "
y y y
.L'.
I
'1 ':: ':: :'.; :'.; ;. ;. ':t
A
..... ...
D ...
"""
y
TAJ MAHAL
-
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
H A M M ER ON:
-/fl --:a ___... Play lower note.

then "hammer
on" to h1gher
tJ u note w1th another
finger. Only the
,____,
-

T first note is
! -
e
A
ov
- 1
.. attacked.
n
I.
-
-9 ,
v
'"'"'' I 't2'1h f t rt A t"" Choot\1 Cl>orll AI
"a.'nu .. , , ,,
PULL OFF:
Play h1gh er note,
then "pull off' to
BENDING NOTES lower note wth
J
another finger.
Only the first note
is aHacked.
H ALF S T E P : Play
the note and
bend stn ng one
half step.
1 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.
attacked).
I 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
ST R U M chords are
('
I N DICA to be played
TIONS: I N D ICAT I N G with added
5 3 ,,, open 3 1 r ope
Strum With S I N G LE em phasis.
A G F E A
md1cated NOTES
rhythm. n -J J ) ...
USING
RHYTHM
The chord voicings are found on
the first page of the transcription SLASHES:
DOWN
underneath the song title. Very often
single notes are i n corporated I n to
STROKES
a rhythm parL The note name Is
AND
UPSTR OKES:
i n dicated above the rhythm slash
Notes or
w A half step is the smallest interval in with a fret n u m ber and a string
chords are to
Westem musrc: 11 1s eq ual to one fret i ndication.
be played with
A whole step equals two frets. either a
ay Kenn Chipkln and Aaron Stang downstroke
( -, . ) or upstroke ( v ) of the pick.
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
! S B N 0 7 6 9 2 -003 8 9
1111 11 1 1 1 1111 1 1 1
9 780769 200385

Acoustic Blues Guitar - Keith Wyatt

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Acoustic Blues Guitar - Keith Wyatt

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BEYOND BASICS

Editor: Aaron Stang

WARNER BROS. PUSUCATlONS- THE GLOBAL LEADER IN PRII>IT

....ll ....... rr......,.....,

C 1 997 WARNER BROS PUBUCATIONS

Any duplication. adaptation or arrangement ollhe compositions

SECTION 1: INTRODUCTION TO ACOUSTIC BLUES . ... .................... ................

!!Ht :::. ::. : ::J ;rs : :ssLi

CHAPTER I BLUES PROGRESSIONS ...................................................................... 1 4

Example 12: Blues Progression In E.......................................................... l4 ................. ......... ............... 14

CHAPTER 2: RHYTHM ................................................................................................. 18

Example 12C:Anot:her A7 to E7 Bass-llne.............................................. 22......................................... 26

Example 22D: 87 to A7 Bass-line.............................................................. 23......................................... 27

l:s f7:2J : ..-::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::i7"t::::::::::::::::::::::::::::::::3ju

Example JOB: D7 Embellishments ............................................................. 30......................................... 37

SECTION II: SOLO ACOUSTIC BLUES GUITAR.................... -....... ................... 34

CHAPTER 6: SLUES CHORD SOLOING................................................................41

CHAPTER 7:THE BLUES SCALE ............................................................ -................. 47

CHAPTER 8: FINGERSTYLE BLUES................................................................. -....... 52

CHAPTER 9: PUTTING IT ALL TOGETHER.......................... ,............................... 58

Welcome to Acoustic Blues Guitar.

0 Example 1: The E Chord

0 Example 2: The E7 Chord

0 Example 3: The A Chord

the choice of fingerings is different.

'T" ;:; ..,

Example 4: The A 7 Chord

Example 5: The 87 Chord

G) Example 6: Combine All Three Chords

0 Example 7: D and 07 Chords

Memorize the blues in A using chord symbols and Roman numerals.

The F7 is an F triad with an Eb added to the second string:

@) Example 10: G and G7 Chords

@ Example 11: Bass-Chord Pattern

.; = lll = 111 -:J. =

@ Example 12: Blues Progression in E

Example 13: Blues in A

Example 14: Blues in C

@ Example 15: The Quick-Change Progression

=P. # " "

@ Example 16: The Shuffle Groove

@ Example 1 7: Left-Hand Embellishments

@ Example 18: A 7 Embellishment

@ Example 1 9: Whole Progression

@ Example 20: E 7 Variation

Apply the previ o u s E7 variation to a qu ick-change blues p rogression i n E . Wh ile this

L'l. 9 a ... ....

" ... L\ " " ,., " " _ ,,

@ Example 22A: E7 to A 7 Bass-line

@ Example 228: A 7 to E 7 Bass-line

@ Example 22C: Another A 7 to E7 Bass-line

@ Example 220: 87 to A 7 Bass-line

-,; ... D-.

@ Example 22E: The Whole Bass-line Progression

.... "' A n .a n "

@ Example 23: The Jimmy Reed Progression

@ Example 24: Up-strokes and Accents

@ Example 25: Blues Rhythm Lick

This m ove is a common b l u es cl ic h e . Tech n i cally, it i s th e IV ch o rd being thrown in q u ickly to

@ Example 26: Full Progression