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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