Blues Guitar - Trovato

PRIVATE LESSONS

S GUITAR Essential Progressions, Patterns, and Styles by Steve Trovato

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Variation 3—a la Led Zeppelin Here is a great rhythm part based on a dominant-seventh chord shape. It sounds powerful when doubled by a bass. For the turnaround, slide into the B9 chord from a half step above. It sounds best when: • It is played using strict alternate picking. (The actual notes are played using downstrokes, and the upstrokes are ghost notes.) • A slight amount of distortion is added to the sound. • Each note is held for as long as possible before playing the ghost note.

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Variation 4—Single-Note Shuttle Here is another extremely common and popular rhythm that sounds great when doubled by the bass. The turnaround is played by sliding into the B9 chord from a half step above. It sounds best when: • Each note is played staccato. This is done by releasing pressure on the fretted note just after it is played. • It is played by muting the strings using the heel of your picking hand just in front of the bridge (P.M.).

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2 luck Berry Style Chuck Berry has been a major contributor to American blues music. His style of blues/rock is so recognizable that the phrase "Chuck Berry style" instantly brings to mind a certain guitar sound. This style of rhythm guitar has a driving, rock edge. Chuck has written and recorded such great songs as "Roll Over Beethoven," "O' Carol," "Rock and Roll Music," and "School Days," but is perhaps best known for his classic tune, "Johnny B. Goode." "Johnny B. Goode" is the epitome of the Chuck Berry-style of rhythm and should be an integral part of every guitarist's repertoire. I've written these examples and variations in the key of Bl>, the original key for "Johnny B. Goode."

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Variation 1 Here is an example of the basic and essential Chuck Berry-type rhythm. It should be played in the lowest register possible for any given key. In the key of B^ there are no open strings, so it must be played using only fretted notes. Play the lowest note of each pattern with your first finger. The upper notes are played using your third finger, then your little finger. This move requires a bit of a stretch, so practice it until you feel comfortable. If the key of Bb is too difficult at first (because of the stretch required), practice the pattern in a higher position on the fretboard where the frets are spaced closer together. After you have mastered that, move down the fretboard to the intended key of Bk Notice there is no turnaround to interrupt the drive of the rhythm. Note also that there is no IV chord in measure 1 0. It sounds best when: • It is played using only steady downstrokes. • It is played in the lowest register for any given key. • It is played using a slightly distorted rock sound ......... ................................................

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Variation 2 This variation is a chord slide rhythm that is mean? to be played by itself or in conjunction with variation 1. The use of ninth chords gives it a bluesy sound. The Bi>9 chord is voiced on strings 5, 4, 3, and 2. This perhaps unfamiliar ninth chord voicing is a very important one to know; it will enable you to play all the chords in the progression within close proximity and in the same register. This lends a consistency to the overall sound. It sounds best when: • It is played using alternate picking, beginning with a downstroke. • Each chord of the slide is picked in a quick down-up motion. • You keep your picking hand moving in strict time with the music. • You play it using a clean, thick, rhythm tone—not too rnuddyT Fig. 9 j =168 Bb9

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Variation 3 Here's another "in the pocket" rhythm variation for the basic feel. It sounds best when: • You keep your picking hand moving in strict time with the music. • It is played using the designated pick strokes. • You play it using a clean, thick, rhythm sound—not too muddy.

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The first double stop you play is not the same chord you are playing over. For example, the first double stop (two notes played simultaneously) that you play contains the notes of an El> chord, not a Bt chord. Nevertheless, it sounds great. This pattern is repeated over each chord in the progression. Pay close attention to the staccato markings (dots over notes) as they are very important. The staccato feel makes this riff pop and gives it a less mushy sound. It sounds best when:

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CHAPTERS The Uptown Swing a la B.B. King The uptown swing (or "jump" blues) is a fairly sophisticated feel. It is usually played quite fast and is reminiscent of B.B. King's "Everyday I Have the Blues." Other artists that have popularized this feel include Duke Robillard, Bugs Henderson, and Hollywood Fats. The basic feel is set up with the drummer and bass player playing quarter notes on the downbeat. The drummer will play the quarter notes on the kick drum, and the bass player will double it, playing a boogie-woogie rhythm part. The guitarist plays staccato chords on the upbeats. I recommend practicing this rhythm style using a metronome to establish a great sense of time because even the most experienced players have a tendency to rush this rhythm.

Variation 1— Upbeat Rhythm Because this style is a bit more sophisticated than many other blues rhythms, we'll complement it by playing chords more sophisticated in sound. For the upbeat rhythm, we'll begin by using ninth chords. It sounds best when: • It is played using sharp, staccato upstrokes. • You keep your picking hand constantly moving in time with the tempo. For the downbeats, which are notated as rests, you should actually use a downstroke, and lightly play the muted chord by loosening your grip. For the upbeat, snap your wrist upward, playing the indicated chord. Fig.

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Variation 2—Horn Punch Rliytlim imagine a four-piece horn section playing togefher and driving B.B. King's big band to a feverish pitch. The idea of the "horn punch rhythm" is to simulate this effect. The larger chord voicings provide a slick uptown sound. It sounds best when: • Picked using short, brassy, staccato stabs. • Played using a clean, trebly tone similar to a trumpet. • The bridge or treble pickup is used.

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Variation 3—Horn Pencil Variation This is an "in the pocket," relaxed variation of the previous example. Again, the chord voicings are larger to provide a jazzier sound. It sounds best when: • It is played using staccato downstrokes. •The pick attack is sharp and definitive. • A brassy, trebly tone is dialed in, and the bridge or treble pickup is used.

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Variation 4—The Frisky Trumpet Here is yet another variation of the horn punch rhythm. This one incorporates larger voicings for ninth chords. These voicings are typical of the voicings that an actual horn section might play. In this example, the top voice moves like a lead trumpet in a horn section. The movement is executed by pulling off with your little finger. The lower note of the pull-off is played on the first string using a first finger barre across the top two strings. Ninth chords are used throughout the entire example, but notice how the voicings change during the turnaround. Here, the slide is from a half step below (Ei^-E?). It sounds best when: • A sharp, percussive attack is used. • A clean, brassy tone is dialed in, and the bridge or treble pickup is used.

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CHAPTER 4 Kansas City Jazz Swing The Kansas City feel is a medium-tempo big band sound reminiscent of the blues standard "Kansas City." The basic form is a standard 12-bar blues, but many additional chords may be added or substituted. The variations get progressively more jazzy with both larger chords and walking bass lines.

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Variation I—Chunk Chord;; The term "chunk chords" refers to the style in which the chords are played: quarter-note chords played on each beat. This type of rhythm guitar is also sometimes called "Freddie Green style." Freddie Green was the great rhythm guitarist with the Count Basie bar.d. I've made all of the chords dominant ninths with each chord being approached from a half step above. Half-step approaches are common in blues rhythm and give a forward-driving motion to the feel. It sounds best when: • A clean rhythm guitar sound is used. • It is played using a relaxed, lazy strum. • It is played using all downstrokes. •You play every chord and don't slide from one chord into another. Fig. 17

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Variation 2—Expanded Chord Voicing Variation 2 uses the same quarter note "chunk".rhythm as variation 1. The difference is the use of much larger-sounding chord voicings. The dominant thirteenth chord is one of the swing blues player's favorite sounds. It lends a big-band quality to a small combo. Pay close attention to the chord shapes when playing this example, and you'll be rewarded with an extra bonus: a melody produced by the top note of these chords moving in minor third intervals—very bluesy! It sounds best when: • A clean rhythm guitar sound is used. • It is played using a relaxed, lazy strum. • It is played using.all downstrokes. • You play each and every chord and don't slide from one chord into another.

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CHAPTER 6 The Mambo Feel The mambo feel is a straight eighth-note feel reminiscent of "Crosscut Saw" by bluesman Albert King. I've written three separate rhythm parts for this feel. Each part stands on its own and may be played by itself. Variation 2 may be played simultaneously with either of the other variations if you have a second rhythm instrument in your band, such as a keyboard or second guitar.

- Variation 1 This is a single-note line that sets up the mambo feel. It sounds great when the bass player doubles it and the drummer plays a rhumba or ch'a-cha beat. It sounds best when: You play it with a clean, percussive guitar sound.

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Variation 3—Chord Sweeps This is a great variation of the single-note line because of the chord sweep. The chord sweep is meant to emulate the sound of a snare drum playing a mambo or cha-cha beat. To play the sweep, fret each chord first and drag your pick upwards across the strings evenly. It will take some practice, but the reward is worthwhile. It sounds best when: • It is played using a clean rhythm guitar sound. •The sweep notes are played staccato and not permitted to bleed into one another. • The sweep is played by dragging the pick upwards across the strings evenly.

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CHAPTER 7 Minor Blues

The minor blues isn't really a feel, but because of its haunting, melancholy quality, it stands out as its own thing. For this reason, I have included it as a separate chapter. The minor blues has the some number of measures as the other blues types, but it differs in form. In measure 9, the V7 chord of the key is typically replaced by the \N\7 chord, and, in measure 10, the IV7 is replaced by a V7.

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Variation 4 This one is reminiscent of Stevie Ray Vaughan's "Cold Shot." It is a strong rhythm that sounds great in all keys. Remember to play it only on the indicated string set—all the single notes are on string 4 and all the double stops are on strings 3 and 2. Be sure to play the single notes and allow them to ring for an entire quarter note (a full beat). Do not play the single notes staccato. The last chord (A7I9) adds a real Stevie Ray touch. It sounds best when: • It is played only on string groups 4, 3, and 2. • It is played using a circular picking motion. To pick this way, imagine a dot cenered between your pickups (on a two-pickup guitar), and pick in a circular motion around the dot. Stay about three inches from the dot as your hand travels around in a small circle. Each beat should account for one complete revolution around the imaginary dot. ' It is played using a slight distortion or crunchy guitar tone. 1

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CHAPIER8 Straight Eighth-Note Blues-Rock Although any blues form may be played as straight eighth notes, I had a specific sound in mind when writing this chapter. The straight eighth-note feel here is geared towards a bluesrock sound. All this means is that the general feel of the song is rock-oriented and heavier. A song that comes to mind is "Pretty Woman" by Gary Moore.

Variation 1—Easy Chords in First Position This is a standard rhythm lick in the key of C. I've kept the chord voicings in or near the open position, and they are geared toward the beginning to intermediate player. The open position is the area of the fretboard nearest the nut and tuning pegs. Play the first chord of each measure and allow ^ The second chord is played sharply and cut off immediately. The eighth rest is followed by a bass note walk-up into the next chord. The last measure is simply a G chord played in steady eighth notes with an eighth rest at the beginning and end of the measure. The rest at the end of this measure was added to allow time to set up the fingering for the first measure again. It sounds best when: • It is played with driving conviction.

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Variation 2 — Straight Eighths with Seventh Chords This example is similar to variation 1 except for the addition of chord voicings that move up the fingerboard, making this example a bit more difficult to play. The bass-note walk-up into the next chord is longer and is based around each chord shape/The general feel is also the same as variation 1 . It sounds best when: • It is played using light to heavy distortion. • The walkup bass line is doubled by the bass. • It is played with conviction.

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GUITAR NOTATION LEGEND Guitar Music can be notated three different ways: on a musical staff, in tablatura, and in rhythm slashes.

D RHYTHM SLASHES are written above the staff. Strum chords in the rhythm indicated. Use the chord diagrams found at the top of the first page of the transcription for the appropriate chord voicings. Round noteheads indicate single notes. THE MUSICAL STAFF shows pitches and rhythms and is divided by bar lines into measures. Pitches are named after the first seven letters of the alphabet.

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a 4th string, 2nd fret

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DEFINITIONS FOR SPECIAL GUITAR NOTATION HALF-STEP B£ND: Strike the note afiir bend up 1/2 step.

WHOLE-STEP BEND: Strike the note and bend up one step.

GRACE NOTE BEND: Strike the note and tend up as indicated. The first note does not take up any time.

SLIGHT (MICROTOME) BEND: Strike the note and bend up 1/4 step.

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BEND AND RELEASE: Strike the note and bend up as indicated, then release back to the original note. Only the first note is struck.

PRE-BEND: Bend the note as indicated, then strike it.

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PHE-BEND AND RELEASE: Bend the note as indicated. Strike it and release the bend back to the original note.

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UNISON BEND: Strike the two notes simultaneously and bend the lower note up to the pitch of the higher.

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VlBRATO: The string is vibrated by rapidly bending and releasing the note with the fretting hand.

WIDE VIBRATO: The pitch is varied to a greater degree by vibrating with the fretting hand. . . .

HAMMER-ON: Strike the lirst (lower) note with one finger, then sound the higher note (on the same siring) with another finger by fretting it without picking. ' •

PULL-OFF; place bom liuyers on iiie nules to be sounded. Strike the first note and without picking, pull the finger bit to sound the second (lower) note. • • '

TRILL: Very rapidly alternate between the notes indicated by continuously hammering on and pulling oft.

TAPPING: Hammer ("tap") the fret indicated with the pick-hand index or middle finger and pull off to the note fretted by the fret hand.

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LEGATO SLIDE: Strike the first note and then slide the same fret-hand finger up or down to the second note. The second note is not struck.

SHIFT SLIDE: Same as legato slide, except the second note is struck.

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