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101 Blues Licks You Must Know

101 Blues Licks You Must Know

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Published by Juan Pablo Baruta

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Published by: Juan Pablo Baruta on Dec 06, 2010
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lilk Anallysis and the lilk lle1llenld

Licks, are the musical sentences of the blues language. Part of learninq, understandinq, and mastering a language involves studyinq the "basic parts of speech." The following terms ,and their abbreviations are us ad to dsf ne th es'e speci fie e I e me rrts at work 1 n the I leks-they a re used to d i ag ra m t~ e blues sentences, so to speak. ThE!: abbreviations are used throughout in lieu of text blurbs to provide a streamlined but thorough approach to lick analysis.

Thel lilck legend

Slnglle melody tones ar,e cited and circled in the music notation. These are:

ll=leadins Tone. A hl\adiril9 tcne pushes toward an important rneledic tone from a half step below. In bluest leading tones typlcally move to the third, fifth, or tonic note'.

ILNI ... Lower Nieighbor note. A note either a half step or whole step below a principal tone .. NH=Non~HarmOfik tens. These would include the 2nd or 9tnj 4th or Tlth, and 6th or 13th deblrees, of theseals.

BN= B~ue Note. In blues, these include the ~Iatted 5th/augmemed 4thl the minor Jrcl in a rnejor or dominant context, and the minor 7th.

La I"g,er stnJ etu re I davie,a,s such as sp ec ific fig u res of th ree notes 0 r greater and tum a rotJ nds flre cited ,and bracketed in the notation. These include:

ARP:;;;;Arpeggio (pr'eceded by 1]1 chord name, such as CARP)

CA ~ Ch re m atlc Asce nit Three or more chrorn atlc notes in G, row rnovi ng higher in pitch, CD""Cnromatitc Descent. Three or more chromatic notes in a row moving lower in pitch.

RM= Rev.erse Mordent. An ornament commonly found in blues. It involves thealternetlcn of a me inn ete whh its U ppe r n ei,s h bor.

R F == Repe'rated F~ 9 ure, These are th e ba !iIi s fa r th e riff co n cept in bl U ElS play i 1i19. IMIT"" Imitative procedure at work.

Q: and A: <::!Question. and Answer phrases. The "call and response" procedure Is an important as pe ct ,of lalrge r blues me lody structure.

Every lick is defined by an overall context........either a Basic Scale or a Basic Tonality, depending on its melodic (sing~e nates) or chordal nature. Furthermore, the harmonic situation of each lick is described via, the chord symbols I; IV, or V below the TAB staff. These will aid you in using the phrases purposefully against specific chord progression areas in the 12~bar blues form. A suggested tempo feel is provided for each lick: Fast Swing, Moderato, Slow, etc., to further guide you in ,apply~ ing these phrases in your music.

Finally, once you have grasped the essentials of Ikk analysis, begin your own investigations. Pick your favorite blues improvisations and listen for these devices at work in the music of the greats. Be on the lockout fer imitative contours in rnelodlesand riffs,quest1on~~md~answer phrases, and other thematic development strate9ies. This sort of listening and thinking opens the door to a deeper understanding and assimilation of the blues language.

Pre-War Ele1ctric Blues

The first batch of licks comes from tile swing Jazz and jump blues era of the Ilate 19305 and early

, 9'40s. ln this period there was 1:1 much closer relationship between jazz and blues. Horn-driven big bands were the popular medium of the time and predominately used acoustic '9u,itari,sts to provide a strictly ecccmpanimental, rhythm guitar role-that is, until Charlie Christian appeared on the scene. Christian played innovative melody lines on the newly-marketed electric-Spanish (ES) guitar! a hcllowbodisd Gibson ES~ ~ 50, His mix of earthy Oklahoma and Texas blues and swinging, sax-inspired phrases marked the formal emergence of the ellectric gu~tar in blues, pop, jazz, and later rock music. His work with the Benny Goodman Sextet set the standard for early combos with electric guitars; the electric guitarists who followed in the 19405 were under the spell of Charlie Christian and sought to emulate his sound and style, Many of his licks were heard in the subsequent wave of electric swing and jump blues guitarists cperatinq in the 19'40s and 19505. Christian's licks also infJuencEl'd blues-based reck 'n' roll players of the 19505 like Scotty Moore and Chuck Berry. You will no doubt notice several commonalities such as extensive use of the sixth degr'ee of the scale (the characteristic dissonance of the swing era); trltcne double stops, and a consistent swinging eighth-note feel.

TQ maintain sonic authentldty, I played these licks on a Gibson ES-175D with heavy-gauge flatwound strings. The neck pickup was used exdu.sively and the tone control was rolled down slightlly (around 7 or 8). Th,e tone of the amp was set for a warm and moderately clean sound with a hint of tube overdrive" Tube amps are a must for this music-solid-state guitar amplification hadn't been invented yet.

,~ IBa.~dc Sca,ia: C Mixolydian

.... ;~ "'1

Fast SwiJlg (.1 "' .. .h c

'-_"'--

BN 1,'4 LT L___ C6 ARP ___j

---======-=;II_--'_- --l"'_~_!I~_S_. _,o_· _18_. _ -' UJ 1 _s __ ,_o _8_. _0, 1 -I.

'--=__ 10 7--_U' -=- __ ----'-.,

LT

+ IBa.sic Scale: C Minor/C Major

-;1-.

Fast Swing d1 '" J ,,"l l' F7

c

l_LN ___j

'--- erne ARP ---

L___ C6 ARP ___j LT

-t-?-8----j"-B----f- ~ -, -~B-=1t'l;~ -9i------8· ..... 9 -1'.1

·-1-6--8 ----1'--'1·0-- - 1·G--7~ 11,9 ------i----------l.

1---1"1---- ----___:.::_-----=- - - -;'0·- ---------

_------- ----~.

IV

+ Basie Scale: C Dorian

r)-

Fast Swing (.r. ",.1 h

c ~ ....

7

Sash: Sea le: C Mixo Iydian

r.,#,

Fa.~1 S\\'inll {.1 =~ .... 1 C

BN I/~

....

T' -a-loll - _'1~!I----1·e---il'-1-e_-_-(I -~-'----8------Fr---7~~~-' --------m!' I

-A.- ... 10. 13; 1I--10-9 e,~~

-"'- - 19-7-- HI

B ------1--------- _

NH

IT I___ cs ARP ___j

LT

~ B,asic Scale: C Mi,l(,olydian

-n,

li1ast SWll~G t n ",.J 1.)' >.

NH

C7

M

-1------ -- ~_12_1·e_--_-1-; --,-~-------~-,- -e-II-'II6-/-' --I-----~er-r---,

_____ -_-_-_-_-_-_-_-'_2-· = ~~-H;:;9_____B .-1---tO----=---- --'0-. -

B -

9

8,

Plos;t-War Elelctrilc Blues

Jump blues exploded after World War II. The west coast, psrticulerly Los AngEl,les, became Si hotbed of actlvityand attracted many regional players to take part in the devel,opment of thlsfirst official phase of electric blues, The west coast blues style ws,s urbane and still very closely ali'gned w~th t~e swing jazz music of the 19410s. The leadinq gluitarist OT the scene WOiS the h~ghly influential l-Bcne Walker, a Texas bluesman who was a cohort of Charlie Christian. After Christian's untimely death ~n 19411j Walker became the leading guitar voice of the electricguitar. His fluid, elegai'!lt blues riffs,

sou Ifu I stri n 9 b ~nds,i3i nd sl u rred cho rd styleexe rted a strong i nfl u e nee 0 n vi rtua I iy every 5 U OS€! q u ent pi ay'er.

The sound on these licks calls for a hollow-body archtepelectric and again was achieved with a, Gibson ES~ 17 5. Slightly lighter strings, particularly an unwound G string, allow for easJer bend~ng which is an important aspect of these phrases. The amp tone isa little grittier and brighter with

s I ig ht tube ovs rd rive and more S ustai n,

+ Basic Scai,e; G Blues

r~~

Slllw (1: ~. }) G7

EP9/B~ D9iA J

1:4

t .Il

3, 5:1 -IV' $1-' ----j .. :-------,-------------..,

1 __ ---- _- _~-:;,_ .. -. _"3-- -=·:I_= __ --=--_G---i-_s-.-=-==~·o ='= ~_Ss---;=;3=5-:.~_b~I-=5- =:~::-s--if--c-- =~_ -===:---111

'W v

+ Basic Scale: G Blues/G Mitxoillydian

r~.,

Mooe:r!'LI!eI~' c.1;;o:; ~)} G7

D7

.§3

BN L---------RF ---------~

It:1 !:;

f t

I--t--------_s.zL- -----~ _---= __ 3:_' -11 __ 6 -: ;'3_.-' ----- ' -=-1

____ _L_~y~.----------------~

Ji2

f 3

1-3 ~.:! ·..-I-____......,__-, -':19- 6r------!1>-1"l! -f--b-------ss- -1.1

___ ~ ~ 3==_5 _3 4===='11--5-.-. --AS--4I-. - _- _-_-_-._-_ -_ -_ -_ ..::.._ -_-_5==.LI:~ __ --4_-_.I~-_~~~-~:_, ~~~~~====~.

IV

9

+ BaSJi,c ,kale: G Mi not' Pentatonic

.-., .....

Slowly (r: "". j) G7

,tJ9iC G9.fB

3

:f

3

full J.l4 114 U4 L~4 I~~

-----5-.. 9-~~ --=--_6_'.Y_3_' _-_-_~_!i --='_·_'S_a~ 6,.23-'-9_6_--'_' _13 ~:":- -I-_-_=_v-'-_- -------f--l!31-:~,.-, '~~~

==-- _ ~ ~'4::- ~

2~"""2

,~ !Basic Seale: 'G fllliue,s Model"3tciy ~,Jj '" J ,rf)

If4 114 114

,-=~----~*- f:?~r-----'i~-' §~~~~LA.-"------~~-&6------~3----~-----G====~--~=~---_-_-3~ 6_, ~~

'------- GI'm ARP

IMiIT _j
a ~,

5 3 -9
~-

--

C7

;.L__ Grn AR P --!

1/4

~ ~

IV

+ Basi'l: Sca1le: G B~ueslG Mixolydian

r-:J...,

M,jjd~rflt'ial}' ,t.1 "' ... ") G7

BN

L/4 1/2 III

T-, __ ~=----- 3_s_.~:~~~=, -I_~3-4- .. -'---5_~_-_6-_a_1 _5_--IEJ '_;3_/_'_5 r--II

B'N

!..T

NH

NH

BM

~tlcd nnrl bmJllc pil;:kllj'"

10

Clountry Blues Hind Early rChlicag,o Blules

The Mississippi Delta region spawned a great: wave of country blues artists in the 1940s. Typfca,lly the artists were ecoustlc soia performers who were raised on the music of earlier country blues innovators like Robert Johnson, Son House, Charlie Parton, and Skip James. These second-generation country blues artists played both acoustic and electric guitars at various career junctures, and; hence, the next series of licks can be rendered to glood effect on either instrument.

Several of these licks, are in open turtinqs. The two most popular open tunings in blues are open G and open D. Both are slack tuninqs achieved by lowering the pitch of three or four strings if starting in standard tuning. The object of both is to create the sound of a major chord with alii six open strings. Open G (from law to nigh: D-G-D-G-B~D) is associated with the licks of John Lee Hooker and Muddy Wat,ers, while open D (from low to hiqh: D-A-D-F#-A--D) was used prominently by Elmore Jam9'5. The slide is usedon licks 14-15" 18, and 22-29-

lin the recording of these llcks, a National Style 0 resophonic guitar was used for the licks in open D tuning and ,81 Dobra F·60 Classic was used for the licks in open G. Additionally, a Fender Stratocastsr or Telecaster was played for the electric slide licks,

The migration of southern blues players northward in the postwar years generated a motherlode of blues guitar licks. John Lee Hooker relocated to Detroit and invented the boo'gie, which has resounded in blues, rock, and pop styles. ever since. Muddy Waters and Howlin' Wolf developed the early vers ions of Ch lea gob I ues by amp I ify i ng t h ei r rootsy De Ita I j cks ina combo setti n gl with tu nes like "Hcochie Coochie Man," "Mannish Boy," "Little Red Rooster," and "Spoonful." Elmore James, also in Chicaqo, produced the most copied blues slide style with his "Dust My Broom" licks. Also notewo rthy am 0 n g second - gene rati 0 n co u ntry b lues g,'IJ i tari sts a re Big Bill 13 roo nzy, U ghtn in' Hopkins, and Slim Hsrpo, All of tn@ aforementioned proved to have a monumental impact on the subsequent generations of blues guitarists, with their rootsy licks at the very core of the blues guitar genre.

+ Basic, ionality: G Domina,nt

UP<:l1 G Tuning:

'~=D 0-D 00-8 (~)-li @-li ®"D

f!lsl (r:J ",J"j)

G

I__ CA __j

A

-, -1-

11

.,. Balsic TonaHty: GI Domimmt

Open (l Tuning:

CD-b -®~D ®~ H ® o

(1;o-G (£i-I} -0..,

Fast (..1 ~J .')

G7 1""1

~ ..

1·1

1---A--_-t_2_::::._~ -~-~ -g, X~ ~,~i-~~ -~ -~, ~, ~. ~, : 8-1

·--x~ ~ . II '--- X- {I

------0 [1- 0 -- II '[I 0----1

I

; Slrmn with [J1~kh~I1(! ii'~gi!'r~

-FM-----,'If-! --~E!:> ~- ~g~-;;a=-j_ t=ji

===r= . ..... ...

.

tI 0 1.1 2 ...... 'S_____, t1 0 00 X

1---2....,..qJ-----+--l~I;--·_,g- :-I-t--=F-----2~-----a-t_GX-i-- ~_~ Llo'i---I.I

-----~:---~ II e 0-' II ~

-------~--------------~

..,.. Balsic To n ality: E D'om i na nt

Mooer.lI,My (~1 ~J:I}}

Id~c·1 1::7

G· -:~-;:t-#~ - -
-f'HII-----'): 1 ~
IJ,... fI .' J;: - -, ~ ~.1 1 , "I -I
, 1J ~ ~iI- :I
-';J'" . - 1 ,.- Ai: ::.: C !~t ~
,.' ~II seml-clean t-onelpl " 11
Q,
P.M. r. M. - - - - - - -
-T- 9 ~- 9

J1 i~ 4d! '" ~ .J
... 2
iO!! ~~ !
0 ' - (Ill

IV}

E7

135

A5

[7

[',.\'1. - - - 1

11:';41-3_, -a~ -, ------,-~-,--- -- - l------1---{1,.·-I-

---------------------' 1:! U ----2- ",0

1----*------ - 2~ 2 1.1 x~._. --1.1 [I O--~----------~Q

(Ill IV) I

P.M.

Open I) lI'un'i!I~=

CD-D @~D

@= A ®= A @- P @- D

M~I(I!)or~~ly

fK;!ti<m~1 , ~~

Rll-iOphonJ~ gil)...... _._

;- 1==1t-.::1=:____t=I===I:::71>- f:j-=j=f ------"'r'-.,_______,-..-------.---.------.----

Dfi D:5 D6
!!h, ~
i2 d ?~ -!) J
~: "*
-J. *-
- - - i > > :> D6 D5

Ii i-" -- 1.1

A: ""I ~Lj,d~ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

~, Basic Tonality~ E Demlnant

E6

E5

'iN1 shdc - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --

.

--_.

wI scrni-disttene

1:2' 1·212 12 1;2 12 ~12 ~2 . _ 1-2 '- - ~: I

r1,2--'111!---1i!-12-1-t-l'2-12-1-2-----'11l7""'l-2~""::-4----------1 - --------..::1.

-9, • -

~~~==========---------------J---o-~~-i-~ "I ~-------l

.,.' IBa,sk Tonality: D Dominant

O~n D Tuning:

@~B @=[] OO~t\ @-A 00 - F! @- n)

M,OO~nltcl~ [J~

IJ/B

D/B~

D/A

A

I---------------lurnarm.md-------------------~

;> wf rJmg>::r~

~~1 rh~g CO ~--------------'

____ O_--{I_,:_'-G---,, 0-6--6,' -{I-----O---Q---e-------O-0~_-----a_,. 1

1---II-I1-----!50-, ---~3 a 2 2 1 "==I-----a

0- 0 I
V
113 ,+ Bils,ie Tonality: E Dominant

S![l~d:'ird Tuning Mod>ilOildy .E*

Hiel

E..'13

B

'.

wi r,n8Cl~ CD

letrlng

-----0 ------n.::-_====-=--_,[I- ~-_~ __ O=--.--I. 2- -_-_-_ -_-_--l-O:.-_=~=~--EI===_=~~~~~~__ !

B ----1 --1--5 4---{!- -fJ- -

----- ------

1

~(1KJrd ~l'!nhllls 1'ellccllmpUeu IlIfI(ilii>'

." Basic lona~ity; D Dominant

Open ~:J. Tuning: '1:' " I) @ - [) oo-A OC'=A

\I)=FI @-D _ r- _~--, SlQwly (., -~ .h n

Die

Di.'\ F5

U5

D/H

DiS

D;'('

D/A rs

os

." Sa,sic Tonality: E Dominant

S!anclnrc Tunmg: r- ~ --,

Slowly (r:;;;;~ h

E

+ Bas,ie Tonality: 'G IDominant

OPI'Ii G Tuning:

CD-iJ @~D @cH l~-(i

~.-rr @-O .---i~ Fast (.r. "'J h as

os/c

.

wi fl~!!.~~s

.I"JI!.-_-+-p==-.~--~-,.-l(--.-. ~_}_ _-t-=_-"--,1i(lr---1_---=_----il~I,-.- __ -_fl-g_"'- -=----=--~~~-_;- -_ -O_I_~--I

I.

6N

14

G5

14[1

...

11

(_.

+ 16ash: Tonality: G Dominant

Open G TlJni~g:.

®~D @-D (ii~B ®-G

®-G @-D _&' Fast d1 ",J il G

:¢ilj_zh=-oo

II ."I, :\
~ ~' 'jI~ _,
BtN :>- If4
[IN •
-~-- 0 I 1=1
- -0 -l-
S 9 r
a 2 " ,",

~j~--¥=J

:

.~ i

Q: ~II1D~~r~

"

+ Basic 'onality~ 10 E10minant

Op~n D T"~ll ir~:

CD-D @-D ®-i\ ®~I\. @-r! @-D

,8-

s~.ow (n '" J J) D5 CiS

DS

G5 F5

D5 D ;>

(KII~ioo~i

" II R~,cll)i,..,rd~ ~L1. ~

:.~.

.~- ~I

_ .. -

~

...

-.. wi slide - - - - - - - - - - - - - -

;..

1'. M. - - - - - - - - - - - . -

15

+ Basic Tonalit.y.: DDomi;n.ant

Opim I) l'Uillan!j.:

Q::,aD @-n

G)-A G)-A

®-f'l ®=D

fllsl

IN~Li~md D

i~~~oplli(!(lU~gtr.)

> BN

... - - - - - - -I ",/ ~I.u~ - - - - - - - - - - - - -

r-S--o-- -o--~-~- 1-/ fj--fl-ril---O ---"S~-e--e -

~~-----4)------------ _' __ /_.~_. ~ __ ~~--- -_3 __ ========~~------

BN

IT

'~;"'i' :;.1 ide - - - - - - - -

-------1

BN \'!if ~li4ti - - - - - - - - - -

-- -- --,

wI slide

:====-3,~---g-· _,,_.a __ I1_---=-~-<_a_---tl_:_.-~-o-b; ~_-_3 __ 9--a_---;F~-<~3-.· -~ .~@

+ Basic Tonality! G Dominant

Open G -limmg:

®=U (f;'-D ill-a ®-a :J)-G @ D

M,(ld(':r,Rt~ly

G5 C5 G5

'- -[1

Op~o G Turung:

®-o ®~D ®-fI G)-G ~zG 'J)-D

S]Olvh' G

G

~~ c ~

1.:--

"lI6

+ 8aJdc. Ton.ality: G Dominant

Open G Tun~~.!I:

CD-D @=D

@=ll. (E-G

@c(1 (E-D

Slowly

I

+ Basic fonality: G Oom~n.ant

Open G Tuning:

CD-n @-I) [J-13 @~G @=G @-o

Molienltely (n7

,., JO (.j(lblCil rD.

-_,.

II

~-.... .~j M

.-~j -.

w

, I --- IMIT -----'

...

I

BN _JI

I~~ ri~.!!

1~=-----~~1~1----3 ~Ir---~-'----------,- 3~1---~--~-----------

I--ITI-- -~> ...... a~-- -'91----.." .... <31-"<-...,...,""'.· .q.2~'-"'-- ~=-""'-3 >' S·.,,_ ..... 2ll- ~il'

n --------------. 4/3 0----+-------- --2 ,......·3, -Oi·-------=-H-

:=' -.,.t}~4- ... --================-====-=------ -- -- -- -- -- --- -- -- -- -- ------1-\~jK-):=-+--=--=--=--=--=--=--=-------

+ Basic lbnality: G Dominant

Op,,;n G Tllll;~g:

CD=D @~D ®-EI (!)-n @-o @-D

MCllternMy (dobm] C,

" J,;.

~-

1- I

l-r

1 _II

,; ___..

BN

BN

--.. --~."~"~,~,,~,,~,,~,~--

12 >'12 ..... "'1~- II

-T------ -~----~-------~<1t-

~-i~··~~. -:._~=--~=--~=----O=-"T- -- . ...,=:-. =~_=_-e_--~~I-_·_=_"-'_5_=__=_-=_5 __ -5_·-=--=-~~~~5~~~:~~:;:~""":"'3~~~9~~2_:::a=o_··. __ : __ ~o2_. _.,-_:~~::~~~~~~-=--=--=--=--=--=--=--=--=-~1ts·-2~"':_"'==-=---=-=-o~--=~--=-=-_-:-=r-l

JV

Basic Tcmal~ty: G Dominant

OpeilGTllllillg:

CD-D G>D

Q}=1I @KO

®~G @-p

ModerDtely

Do ->-

17

+- Basic Tonality: IE Dominant

5m~~~rd Tllni'll~ , 1 •

Sl.{lwly t.' -~ J) E7

(:87}

I---------Tumaround ----~

.~'

+ Bask Tonality; E i:h.)minant

-.? -t

:Sl~wl~' (~1 ~.J ..... ) 87

tl

2 ]
,
0: -, "2
V + Basic fona~lity: E Oom~nant

r:)-

Mod~nU!~ll' t.F::", j) E7

BN

@ --.1 jo
. ' .. BN BN BN
~(3» J ~ e Til r ::-:
"
"lI" r -..- r -.'
,-=]- 5 ~I-o
·4 ::"""'-2 -0
Q;
.~
9 o- Il" 0 {I =11

i-:-I'~"'··-"~~~----11·::;:===e=====;=. ====_:"======;======j.== _

"U3

Classic Ilectril: Bllues from thle Ki!ngis

The leadng exponents of the Memphis blues category are IB,El.. King and Albert King. Though their music is truly universal todaYr they both were depletive of their region.a~ context in the early days of the I r eel ree rs, Rei ated by sp 1 rit rath e r th a n blood, both Ki n gs we re trern end 0 us in novato rs of 9 I ectri c blues guitar. Their licks remain as the common language of the blues guitar solo style.

S, B. King got his start in the early 1950s as the Jd Bea~e Street Blues BOYl" but rapidly became a national figure with an approach too broad to be pfgeonholed by a particular geographic location, His style was influenced initially by J-Bons Walker! Charlie Christian, and the Delta country blues. By the 1960s1 King was himself an influence on the next generation of guitarists such as Eric. Clapton, Mi~e Bloomfield, Peter Gresn, Jimmy lP.age, Johnny Winter, and :many others. He took the art of string bending to new heigi1ts-bey'ond the pioneering of T-Bone Walker-and refined the art of finger vibrato. He also expanded the sound of certain licks with his patented use of a major pentatonic shape k n own as 'Th e B. B. Box." Li sten fo r th 0 se e I e me nts 1 n the se I leks,

B, B. K~'i1Ig 1 s dose Iy i de ntif ed with the Gibson ES-300 SEl ries of t h i n ~ i ne sern ~~ h 0 II ow e le ctri c 9 u ita rs (sspecially the ES-355), and combo amps, often pushed to a smooth, sustaining overdrive. These licks were played on a Gibson ES-335 anda variety of tube amps .

.,. Basic Seale: C Mixolydian

I"JIiiO -

':if-

IT '~:] • ;r -

-CARP- --BN NH

BN - l_ CD _ :1 LT L__C7 arp __ -'

:~~-+5!'t=-_~_=-=--=--=-=-=-==---il_==~-=-r1-_~C=.=s=-:-; =- _~(I= __ ~=-1_-1= __ ~e='. ---'1=-1-1=- =-0=-_:9=.1-=-_=08=- -=GI:r-'- _- _-1-_1-_~- _4-{1=='_~-·=='1='~==1=O =~!I-·~~-_'-1_-1-_--_-f)--~~B~_!r-----'·_'I-fI __ ~1~O_~_8_. ----!-1_1_6 @_u •

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rJ""

MOOCl'~lcly (.1 ~,. }) C7

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v

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19

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- IV-,

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t

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20

l__ 8N--

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v

IV

+ Basic Scale~ C Minor/Major Pentatonic

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Mooel~aldy (n ",.J .t) C7

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'-- ----- The B_B. Box -_-

+ Basic $c,ale: C Mlinor P,enta1ttonk

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---- em ARP ___j

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.21

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C"1

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f~U r~11 i/~

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C7
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1{1

to II -l-:

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rl-

~loihmu:{!ly (.r: '" )\)

:1

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LT I.- G, ARP -- BN

ElN

.. _'"

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IV

+ Basic: Scale! C Millor Pentaitonic

[V

Albert King is another col ossa I figms in electric blues guitar. He came to the forefront of the scene in the mid 19605 with a series of funk-oriented rel,eases on the Stsx label, Backed by a sterling studio band, he took the bluesguitar world by storm with his taut rhythmic licks and extreme string bends. King picked with his 'fingers end attacked his strings percussively, often snapping them against: the fingierboard. He also exploited a signature position cited in these, licks, as "The Albert Box," King had a profound impact on Jimi Hendrix, Stevie Ray Vaughan. Elvin Blshop, and countless other players in rock and bl Lies.

Albert Kin'9vavored a lata '1950$ Gibson Fllying V during his classic period. These licks were played with flngerplucking technique on astmilar Korina 195,8 Gibson Flying V and a Soldano amplifier witn a Marshall 4x 1-2 cabinet

22

,+ Basic Scale: 1:1 Minor P,entatonic

Moderately D7

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wi semi-cleun K'~
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I
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+ B,ash:: Scale: A M~nor P'entatank

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I 112 A:-

1 - The Albert BOK _j

+ Basic Scale: B Minor Pentatonic:

H

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+ Basic Scalie: ,A BI~ues

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,IV

24

+ Basic Scalle: C Minoli' Pentatoni,e Moderately

(', I-------~-----Turnaround -- ---------~=:___I

~ (G7)

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'111/ semi-clean tone ElN -- L_ C ARi' __ ,

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V I

BN

+ Basic Scale: C Blues Slml'ly

Cm7

r->.

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w,' semi-clean tune '1'/[ fjJLSIET~

ron 112

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t ': r [>, ~~ -- ~~,
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TeKas 1II0is

The third of the mighty King triumvirate, Freddie King, garnered attention with a spate of catchy blues instrumentals in the early 19605. His style is steeped in the tradition of country blues guitarists like Lightnin' Hopkins, thouqh he flaunted a powerful, albeit more downhorne, si'ngle~not.e style, His technique is singular-King used thumb and fingerpIcks to articulate his licks, He IS renowned for his memorable turnaround phrases and hooky guitar licks.

Freddie King, ~ike B,B. King, played il thinline semi-hollow Gibson ES.30Q-style guitar most of the time. He was seen with various models: the ES-3351 ES-345 .. and ES~355, during his, lifetimel though he began his Ian d mark re cord i n g:s on a go I d to p G ~ bson l.es Pa u I mod el. These licks we re played with a Gibson ES~335 and a Soldano amp.

+ Basic Scale: E Major Pentatonic

_ 1.)11

Mod~r~tcly (., "'~ _~ i

~.~

A

.-.._

,... r

r ~

'WI pick .&. nn~~~

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'----- RF -----'

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LT 3

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v

2:5

Basic: lo'nality: IE IDominant

E

~ilt ri.B~ - --.--- ----I wI pjck &: ±LDg~rs

2

Let ring - ----- -- - --~

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I

v

+ B,a~!ik SCile: E Mix.olydian

-,7 ..,

Muderu.truy j n :;: j J.) E7

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BN NH

1 - R

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I

+ Basic Tona,liiy: E,Domi'nant

:1

3 Q: wi flick & nI1~r"

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~
~ +, Basic Tc.mality: C IDomirumt:

MO~CrDWly

C7

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BN BN
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26

+ IS a sic: Scali e: Ii MI~n or P'elli'ltat,o n ie.

r :11-,

Moderately (n -. 11

E7 r-:

bold bend •• - - - - - - - - - - - - --I

wI disL rull

f-- ---- - ....

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+ Basic lonallity: E Dominant

.-;.1..,

Moderately (!':"'" j) £7

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!;'IN :1
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Motllll~t.~ly c., ",J ~~} OJ

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wi seml-elean i!m~ PM_ - - - --
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+- Basic Scale: [) Minor Pentatonic:

1'.7

,-9, II" !-"""'" '~!I'-~

--------Turn~rQ,und ---------j

<." f- q~:_.. • ,."

I3N

8N

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wi clis~

IV

v

+ Basi c Sea Ie: C Min or Fe n taten ie

SN BN

i~JlL full

f t

1-""~_-:_-_-_t1~~~~_- __ :~~~~~~~~_fl-_-_11_J I-----._) __ 11 __ '-_1 _- S_, ------'1-§

+ Basic Scale: C Minor Pentatonic MooofT.ntely (.r: ",]"'i)

m

I\~

F7

I T u rnaround

17 fI-... , ..

f L

(Gi')

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IV

(V)

+ Basic Scaille: IE Major/Minor P@ntatoni"c

r-:.j-

ModCl'aJtlily (.F:=. j, A7

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f,,1l li~ 1/.1

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r 'l'.'f di~L

I3N

IV

ModElrn Chicago and Texas blues guitar styles are distinguished by the work of guitarists like Buddy Guy, Magic Sam, Otis Rush, and Albert Collins, These "twin movements" be'gan in the late 19505, flourished in the 196051 and continue to the present. As with many blues crosscurrents ~'I: IS easy to ascribe general influences, namely the contributions of the previous -generation taken to greater lev~ els of sophlstkatlon and intensity. The modern Chicago and Texas styles are, in turn, directly attributable for their effect on the subsequent generat~on of British blues-rock guitarists (Clapton, Beck, Pagrer Green, et at) and the American blues-rock players (Hendrix, Bloomfield, Wlinter, Ford, and others), Hallmarks of the styles include a more florid .. high-energy approach to solo licks, the influence of funk rhythm, and a more overdriven amp tone. CI.early these factors influenced not only rack and bhJ,es but pop music to follow.

Vario'us guitars were used to play these, licks including several Fender Stratocasters, a 19'53 Telecaster; and a Gibson ES-33S.

+ Basic Tonality: E Oomimmt

Ai

E7

1\'

+ Bask Tonality: D Dominant Mooel"tdcly (n ",J·'i)

1\6 A9

D7 C9 Ct9 D9

--------- Endil'l9 ---------'-:J

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rv

-;/-..

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57

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29

+ Basic Scale: C Mixolydian/C Minor Pentatonic Slow]y (., -:~.~) C7

F7

C7

G7

Dr

;. .J ~ ~'-r- I~ "f'r t,

/\,7

£7
Turnaround
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15 ffi 5 15 15- 45 5 15 +- Basic Scale,: A Minor Pentatonic:

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Fast (~"h:J .'1) A7

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I. V

TV

30

.... Basi,e: Scale: 0 Minor Pentatonic

MlldemteJy

AT

Cf1 > :> '-l~'
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IBrlitisll Biles aOld Early IBlues Rock

Traditional blues merged with hi9h~decibel British and American rock in the midi to late 1960s, and has continued in various forms to the present. Some point to Muddy Waters' glrOundbreaking tour of G rest Britain in 1958 as the piv,otal moment which sparked the trend. Waters' app,earance inspired a host of British blues bands such as the Rolling Stones, the Animals, the Yard birds/and Ten Years After. This in turn led to further permutations in the form of John MayaWs Blues Breakers, Creern, FI,eetw.ood Mac, and the Jimi Hendrix Experience. The British blues movement also affected American counterparts such as the Paul Butterfield Blues Band, Canned Heat, Electric Fl.ag, and others, and bsca me th e impetus fo r the b I ues-rcckfusi on of th e lete 1 9605 and 197 Os. Lea din 9 '9 u ita r proponents of the movement. include Eric Clapton, Peter Green, Jeff Beck, Mick Taylor; Jimi Hendrix, Mike Bloomfield, Johnny Winter, and others.

The licks in the British blues genre and blues-rock 2m~generally modernized elaborations of Chicago, Texas, and Memphfs styles reinterpreted and taken to further extremes. You will no doubt recognize many of the musical elements and even distinct melodies as being related to theearlier and contemporaneous American schools. What is new is the greater degree of distortion, usually achieved wfth high-gain Marshall amplifiers.

II played these licks on a Gibson Les Paul Standard, Gibson ES·335, and Fender Stratccaster plugged into a Soldano SLO-1 00 or late 19605 Marsha~1 head, and ell 197'0 Marshall 4x 12 cabinet.

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Po,stmadern Blues

The postrnodern blues g.uitar era began in the 19805 with the work of Texas blues gu~ti3Jrist Stevie Ray Vaughan, V.aughan blended the licks and riffs of his influences Albert King. Lonnie Mack, Jimi

Hendrix, Buddy Guy, B.S. King, and others with his own passionate playing to Tarm a powerful amalgam. Vau,ghan's success '·ed to a greater acceptance of the blues in pop culture and paved the way for subsequent eostmodern gui.taris'tsllke Robert (ray, Jeff Healey, IRobben Ford, Kenny Wayne Shephard1 Gary Moore·, Sonny landreth, Chris Duarte, and Jenny Lang. Vaughanfmther paid homage to bluesrnen I.ike Howlin' Wolf, Elm.ore James, and Wi/lie Dixon in his improvisations and repertory.

Vaughan tuned his ,guitar down one half step (a la Jim! Hendrix) and predominately relied on a varisty.of Fender tube combo amps .. His distortion was usually produced with an Ibanez. Tube Screamer overdrive pedal. These licks were played on a Fender Stevie Ray Vaughan Signature Stratocaster tuned down one ha~f step. I, also used a T5-808 Tube Screamer and a Soldano SLO- 100 amp with the rJ SRV1J modification.

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