Untitled

Steve.Wright5@hotmail.Co.
uk 7 Martlets Court, Montargis Way, Crowborough, East

Sussex, TN6 1JF
Steve.Wright5@hotmail.Co.uk 7 Martlets Court, Montargis Way, Crowborough, East
Sussex, TN6 1JF
The Chicago Blues Guitar Method

Learn Chicago Blues Rhythm Guitar and Soloing
Sussex, TN6 1JF

Learn Chicago Blues Rhythm Guitar and Soloing
BY ANDI SAITENHIEB
Published by www.fundamental-changes.com
ISBN: 978-1-911267-53-9
Copyright © 2017 Fundamental Changes Ltd.
The moral right of this author has been asserted.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or
transmitted in any form or by any means, without the prior permission in writing from the publisher.
The publisher is not responsible for websites (or their content) that are not owned by the publisher.
www.fundamental-changes.com
Twitter: @guitar_joseph
Over 8000 fans on Facebook: FundamentalChangesInGuitar
Instagram: FundamentalChanges
For over 200 Free Guitar Lessons with Videos Check Out
Cover Image Copyright: Pixabay Thomas-Eichentopf / Shutterstock Petr Malyshev

2
Sussex, TN6 1JF
Other Books from Fundamental Changes
100 Classic Blues Licks for Guitar
Beginner’s Guitar Lessons: The Essential Guide
Complete Technique for Modern Guitar
Fingerstyle Blues Guitar
Guitar Chords in Context
Guitar Finger Gym
Guitar Fretboard Fluency
Guitar Scales in Context
Jazz Blues Soloing for Guitar
Sight Reading Mastery for Guitar
The CAGED System and 100 Licks for Blues Guitar
The Complete DADGAD Guitar Method
The Complete Guide to Playing Blues Guitar Book One: Rhythm Guitar
The Complete Guide to Playing Blues Guitar Book Three: Beyond Pentatonics
The Complete Guide to Playing Blues Guitar Book Two: Melodic Phrasing
The Complete Guide to Playing Blues Guitar Compilation
The Complete Technique, Theory & Scales Compilation for Guitar
The First 100 Chords for Guitar
The Practical Guide to Modern Music Theory for Guitarists
Delta Blues Slide Guitar
3
Sussex, TN6 1JF
Contents
Introduction ................................................................................................. 5
What This Book Teaches You ............................................................... 5
What You Should Already Know ........................................................... 5
A Few Common Terms Explained ......................................................... 6
Get the Audio............................................................................................... 7
Blues Progressions .................................................................................... 8
Blues Feels .................................................................................................. 12
Rhythm Guitar Part One ............................................................................. 13
Rhythm Guitar Part Two ............................................................................. 32
Rhythm Guitar Part Three .......................................................................... 46
Rhythm Guitar Part Four ............................................................................ 56
Lead Guitar Part One – Playing Fills ......................................................... 67
Lead Guitar Part Two – Tackling the V chord........................................... 80
Lead Guitar Part Three – Turnarounds, Intros, Endings ......................... 84
Lead Guitar Part Four – Complete Solos .................................................. 91
Solo One .................................................................................................. 92
Solo Two .................................................................................................. 94
Solo Three ............................................................................................... 97
Solo Four ................................................................................................. 99
Solo Five .................................................................................................. 102
Solo Six .................................................................................................... 105
Congratulations........................................................................................... 107
Appendix One: Listening Recommendations .......................................... 108
CDs ........................................................................................................... 108
DVDs ........................................................................................................ 109
Andi Saitenhieb (Professor Snake Oil) ..................................................... 110
4
Sussex, TN6 1JF
Introduction
What This Book Teaches You
Some beginner books start at nothing and teach you step by step. There are also some more advanced
books with exact transcriptions of well-known songs or that include a lot of theory, chord shapes or scales.
Then, there are the books that try to be a ‘Jack of all trades’ but are in fact - masters of none. They begin
with how to hold the guitar and 30 pages later try to teach you advanced Hendrix licks, leaving out crucial
information and middle ground for you to master what you are learning.
There are surprisingly few books that focus on learning specific styles, and that’s where this book comes
in. It's for guitarists who can play the basics and want to learn Chicago Blues.
This book is practically based so should encourage you to pick up your guitar and experiment with a
variety of exercises and examples. It has been designed to encompass guitarists from all walks of life,
giving a healthy dosage of theory and musical ideas. You will learn new concepts, cool riffs and hot licks
taken directly from the masters of Chicago Blues. More importantly, you will learn how to put these
ingredients together because that’s what Chicago Blues is all about: musical interaction.
We will start with some basic knowledge on typical blues chord progressions and grooves. Then you will
learn some lower register guitar parts like bass lines, and finally some important second guitar parts that
fit perfectly together with the others. If you play in a band or have a friend that plays the guitar, you can
play these parts together. If you are on your own, you can use the audio downloads to play along (the
guitar is only on one stereo channel and can be faded).
In the second part of the book you will discover how to play lead guitar. The book explains the function of
the lead guitar in songs from the very beginning and starts by showing you how to play short fills. Later,
you will learn how to construct complete solos. Naturally, the rhythm parts in the first half of this method
are easier to play than the fills and solos in the second half.
After completing this book you will be able to play rhythm and lead guitar in a Blues band and you'll be
welcome at any jam session.
What You Should Already Know

This book is not for the complete beginner. It doesn't hurt if you have played some blues before, but that's
not required. However, it is assumed that you know:
• How to hold and tune your guitar.

• How to fret without too much fret buzz.
• How to play some chords and single note melodies.
More importantly you must have an interest in Chicago Blues guitar and have a deep desire to play it.
5
Sussex, TN6 1JF
A Few Common Terms Explained

What is a Riff?
A riff is normally played in the lower or middle register of the guitar. It's usually repetitive, rhythmic and
serves as an accompaniment giving a song a high memorability. Think of 'Smoke on the Water' and dab,
dab, daaaa … that's a riff.
What is a Lick?
A lick is usually played in the higher or middle register of the guitar. It's a small chunk of a solo and is
usually not repetitive, but rather is varied and enhanced throughout the solo. It usually demonstrates
interesting melodic or rhythmic material.
Pattern
A pattern is just another word for a repeating part you are playing, like a riff or a chord with a certain
rhythm or a lick. Some people also use the term building block.
Interval
An interval is the distance between two notes. For example, The interval between C and F is called a 4th
because the notes are 4 scale steps apart (C, D, E, F). The interval A-E would be called a 5th because
these notes are five scale steps apart.
Chord / Chord Change

Officially the term 'chord' means three or more notes sounding together.
Chord I, Chord IV and Chord V

These names describe how chords relate to each other. Chord I is the first chord in a scale, chord IV is the
fourth, and chord V is the fifth. For example, in the scale of C Major;
CDEFGABC
Chord I is C, Chord IV is F, and Chord V is G.
In this book we will be working primarily in the key of A Major:
A B C# D E F# G# A
Chords I is A, Chord IV is D and Chord V is E.
To move any I chord riff, lick or chord to the IV you simply move it up five frets.
To move any I chord pattern to the V, move it up seven frets.
To move anything from the IV to the V move it up two frets.
Chorus
One cycle through the complete progression of the song is called a chorus. The following chapter will
teach you all about the typical blues progressions.
6
Sussex, TN6 1JF
Get the Audio
The audio files for this book are available to download for free from www.fundamental-changes.com
and the link is in the top right corner. Simply select this book title from the drop-down menu and follow
the instructions to get the audio.
We recommend that you download the files directly to your computer, not to your tablet, and extract them
there before adding them to your media library. You can then put them on your tablet, iPod or burn them
to CD. On the download page there is a help PDF and we also provide technical support via the contact
form.
Kindle / eReaders
To get the most out of this book, remember that you can double tap any image to enlarge it. Turn off
‘column viewing’ and hold your Kindle in landscape mode.
For over 250 Free Guitar Lessons with Video Check out:
Twitter: @guitar_joseph
FB: FundamentalChangesInGuitar
Instagram: FundamentalChanges
7
Sussex, TN6 1JF
Blues Progressions
This chapter is going to teach you all the chord progressions you need to know to play Chicago Blues, and
most other blues styles too.
These chord progressions are easy to remember because they all only use three chords and they are all
variations of two basic sequences: The 12-Bar Blues and The 8-Bar Blues.
Exercise:
1) Play all the following progressions using a simple rhythm.

2) Listen to the example songs listed for each progression and try to recognize the chord changes. If
you have never done this before, it might take repeated listening. With a little practice, you’ll
quickly learn to hear those changes within the songs.
You can use any major or dominant 7 and ‘9’ chord shapes you know. Here are some simple ‘7’ chords to
get you started:
If you feel your skills are a little more developed than this, try using a more intricate pattern, like in
example 2a.
Example 1a: Simple 12-Bar Blues
This sequence doesn't have a common name. Some people call it the ' Long V', as it is a standard 12-Bar
Blues, but the V chord lasts for two bars instead of one. Most people call it the 'Simple 12-Bar Blues', as it
is the simplest form of the 12-bar Blues or 'The Rock'n'Roll-Form', as this chord progression is frequently
played in Rock'n'Roll songs.
Examples: Rock Around The Clock (Bill Haley); See You Later Alligator (Bill Haley); Blue Suede Shoes
(Elvis – not every chorus uses this progression)
8
Sussex, TN6 1JF
Note that I have intentionally written out this chord progression in groups of four chords. This is how The
Blues is usually phrased. The sequence of 12 bars is written out in three lines of four, the first four bars
are in the first line and the next four are in the second etc.
Often the singer will sing two bars followed by a 2-bar fill from an instrument. The next line is similar,
often with the same lyrics and melody. The third line usually answers the first two lines with a different
melody and often rhymes with the first two lines.
In the blues, the chosen chord progression is played repeatedly (for verses and solos), and as mentioned
before, one cycle through the complete progression is called a chorus.
In all these progressions, the final two bars can be manipulated in several ways. You can play the main riff
on the I chord, change to the V in the final bar (or for the final two beats of the final bar) or insert a
turnaround (addressed later in this book).
Example 1b: Standard 12-Bar Blues

This is by far the most used chord progression in modern music. It is used extensively in the blues, but
also in rock 'n roll, rock and even pop music. The only difference from the previous example is that in the
10th bar, the E chord has been substituted for D.
Examples: Blues Before Sunrise (Eric Clapton), Matchbox Blues (Matchbox Blues Band), Shake, Rattle
& Roll (Bill Haley), That's All Right (Jimmy Rogers)
Example 1c: Quick Change

This is the most common variation of the standard 12-bar Blues progression and is used a lot in Slow
Blues. Again there is only one bar different from the previous example (the second bar where A has been
substituted for D).
Examples: Sweet Home Chicago (This song was played by countless Blues musicians like The Blues
Brothers, Eric Clapton, etc.), Before You Accuse Me (Eric Clapton), Third Degree (Eric Clapton)
9
Sussex, TN6 1JF
Example 1d: 16-Bar Blues
A 16-bar Blues is just a standard 12-bar Blues with the first four bars repeated.
Examples: I'm Ready (Muddy Waters), Don't Burn Down The Bridge (Albert King), Hoochie Coochie
Man (Muddy Waters)
Example 1e: 24-Bar Blues

A 24-bar Blues is just a standard 12-bar Blues, but each bar is doubled. So basically you are playing:
Examples: Junior Wells and Buddy Guy on 'Good Morning Little Schoolgirl' (CD Hoodoo Man Blues)
Example 1f: 8-Bar Blues

This is 'the other' standard progression of The Blues, but it is less common than the 12-bar Blues.
Examples: It Hurts Me Too (This song was played by countless Blues musicians like Tampa Red, Elmore
James, Eric Clapton, etc.), How Long Blues (Leroy Carr, Eric Clapton, etc.)
Example 1g: 8-Bar Blues

This is the most common variation of the 8-bar Blues. The only difference is in bar two, where the E
chord has replaced the A.
Examples: Key To The Highway (This song was played by countless Blues musicians like Little Walter,
Big Bill Broonzy, Eric Clapton & B.B. King, Freddie King, Memphis Slim, Pinetop Perkins, etc.)
10
Sussex, TN6 1JF
Example 1h: Minor Blues 1
There are two common minor Blues progressions. The first one is just a standard 12-bar Blues (example
1b) or a Quick-Change Blues (example 1c) played with minor chords instead of major:
Examples: All Your Love I Miss Loving (Otis Rush), Green Onions (Booker T & The M.G.s)
Example 1i: Minor Blues 2
The other common minor Blues progression has an interesting twist in the final four bars. Instead of the
common V – IV – I it has a ♭VI – V – I. A '♭VI chord' is simply the chord a half step above the V, e. g. in
the key of A the V chord is E (or E7) and the ♭VI chord a half step above is F (or F7).
Examples: The Thrill Is Gone (B.B. King). With slight variations to the progression: As The Years Go
Passing By (Albert King), Life Is Hard (Johnny Winter)
Example 1j: One-Chord-Groove / One-Chord-Vamp

Occasionally, especially on older tunes, the song has no chord changes at all. Instead, the musicians play
over a static chord progression of just a single chord.
Examples: Wang Dang Doodle (Koko Taylor), Rolling Stone (Muddy Waters, the song changes chords
during the solo), Smokestack Lightnin’ (Howlin’ Wolf)
With the above progressions, you now know the formula for more than 95% of all well-known Blues
songs!
11
Sussex, TN6 1JF
Blues Feels
Now that you know all the common Blues progressions the next area for study is the different ‘feels’ of
the blues (or 'Blues grooves' or 'Blues sub genres' if you will). This means how the ensemble will sound
dynamically, rhythmically and it will often determine the tempo of the song.
You will often be told to play a certain chord progression with a certain feel and in a certain key. For
example, a 'standard 12-bar blues, medium shuffle in E' or a 'slow blues in G with quick change' or a
'funky blues in A' or any of the other sequences discussed in the previous chapter.
Different musicians use different terms of categorization, but here are the most common ‘feels’ with the
most common names (and a few examples of each). Seek out the following songs and listen to the effect
each of the different ‘feels’ creates.
• Shuffle (Sweet Home Chicago; Baby What You Want Me To Do; Dust My Broom)
• Slow Blues or 12/8 (Stormy Monday; Five Long Years; Still Got The Blues (this one uses a Jazz
chord progression); The Sky Is Crying; Little Red Rooster)
• Swing & Jump Blues (Jump, Jive 'n Wail; Caldonia; Let The Good Times Roll; T-Bone Shuffle)
• Blues-Rock or Straight Blues (Messin' With The Kid; Born Under A Bad Sign)
• Funky Blues & 1/16th feel (basically most of Albert Collins' stuff)
• Blues Rumba (Crosscut Saw; Don't You Lie To Me (I Get Evil))
• Two-Beat or Cut Time or Cut Shuffle, drummers sometimes refer to this as 'The Train-Beat'
(Got My Mojo Working; Big Boss Man; Sloppy Drunk)
• Minor Blues – This is not a certain feel, but a certain progression (see example 1h and 1i) that can
be played with different feels (The Thrill Is Gone; All Your Love I Miss Loving; Green Onions)
The shuffle can be performed at different tempos and with many variations. It is by far the most common
blues feel used in the Chicago style.
Also, there are some grooves that are associated with certain artists or songs like The Thrill Is Gone or
'The Jimmy Reed Style' and these artists tend to have a recognisable sound. A seasoned blues player will
be comfortable at playing with any sequence in any feel, but first decide which ones you like best and
work them out on your guitar!
The examples in this book have suggestions for several different Blues feels to give you a better
understanding of the application of each one.
Let's get started!
12
Sussex, TN6 1JF
Rhythm Guitar Part One

The guitar parts in this chapter are relatively easy to play and thus can be learned by beginners. However,
it is crucial to pay attention to the fine details, i.e. sustained notes or shorter notes. Short, abrupt notes are
called staccato and are notated by a little dot underneath the note. Also, check which notes have accents
(these are played a little louder than the rest).
Technically these riffs may be simple, but it's not always easy to make them sound right. So much of the
blues is down to feeling, so be sure to make each note count and do not rush.
In Chicago Blues, it is important to avoid overplaying. The blues is not about who can play loudest or
fastest; it's about how the musicians interact – so always listen out for the other players. In later chapters,
you will learn how to work as a second (or even third guitarist).
Now we will study some rhythm guitar examples. When you play through them yourself, try not to rush
and pay attention to the rhythm while following the accented notes. Listen to the following examples.
Boogie Shuffle Variations

This is probably the most frequently played guitar riff in the blues. It sounds bluesy at different tempos
from slow blues to fast shuffles. This riff can also be played with a straight 1/8th note feel for a rock,
blues-rock, or rock n' roll feel.
Example 2a:
Play the first note of each pair a little louder and staccato, and the second shorter and smoother. You must
experiment with the phrasing and find a comfortable way of playing the staccato notes, either with the
fretting fingers or the picking hand.
The audio file demonstrates the riff played both ways, first with both notes long and then with the first
note of each pair played staccato (shown by the little dot under the notation). There is a short pause added
between the notes of each pair.
This staccato effect can be created by letting the strings ring freely, then stopping them with the side of
your picking hand. Note that the bass guitar imitates this riff on the backing track.
13
Sussex, TN6 1JF
The next example shows you how to play the same idea without using open strings. If we avoid using
open strings, we can play these riffs in any key by simply moving them to a new place on the neck, using
the simple ‘power chord’ shape.
Example 2b:
I suggest that you use your first and second fingers to play the above pattern, but you may find it easier
with your first and third, depending on the size of your hands and reach.
The next examples add a minor 7th scale note to the riff to make a blues-sounding phrase:
Example 2c:
Making this pattern movable requires a little stretch. You can see how this pattern can be made into a
movable shape in the second bar above. Practice moving the D7 riff around the fretboard to play in
different keys and get used to this important stretch. If you’re struggling to stretch your fourth finger, try
to lower your thumb down on the back of the guitar neck. Make sure that you maintain good posture and
avoid any discomfort as this can cause injury over time.
Playing Technique: The Palm Mute

In the following example, I added gentle palm-muting to all notes. The palm mute is achieved by simply
touching the strings lightly with the palm of your picking hand close to the saddle. While your hand is
resting on the saddle, pluck the strings – you will feel them vibrating and hear the notes but they should
sound ‘muted’. Try listening to the audio and match the sound. This sounds quite different than letting the
strings ring freely (like in examples 2a – 2c).
The following variation is often used in a slow blues. Notice the pickup note that begins just before the
first bar line on the upbeat. This means we must anticipate the chord changes by one 1/8th note. Even
though the bass changes chord exactly on beat one (without the pickup) the guitar part still fits perfectly
on top because the note combinations harmonise consonantly.
14
Sussex, TN6 1JF
It is important to hear these ideas in action, so go to www.fundamental-changes.com and download the

audio for free now.
Example 2d:
This example can also be played with the minor 7th on beat three, just like in example 2c and is
demonstrated on the repetition of the audio example. Feel free to add little variations like this to all the
patterns you learn and experiment as much as possible.
Playing Technique: Slide

The slide is one of the least technically demanding techniques that we use on the guitar. Simply play any
fretted note and then slide up/down to another note on the same string while maintaining fretting pressure
with the finger. Another name for this technique is glissando.
The audio example demonstrates different variations of slides:

You can slide into a note (bar one and three), or slide out of a note (bar two and four).
The slide can be an upward motion (bars one-two) or a downward motion (bars three-four).
A slide can be executed so that only the target note is audible but not the starting note (bars one-four) and
a slide can connect two clearly audible notes (bar five).
The slide motion itself is usually relevant to the tempo, but some players choose to make it faster if the
starting note is unaccented. Again, listen to the audio and experiment with your own phrasing.
Example 2e:
15
Sussex, TN6 1JF
The longer the distance between the starting note and the destination note, the more difficult it is to hit the
target note correctly. Looking at the target fret will help you to hit the end note correctly; it is far more
important to sound the destination note correctly than the starting one!
The shuffle is a type of groove that you should familiarize yourself with, as it is prominent in the Chicago
Blues style. It can be heard on various hits such as Jimmy Reed’s Shame, Shame, Shame. Play the first
note of each pair accented and staccato (bar one) or play all the notes with the same dynamic (bar two). I
demonstrate both in the recording, but try to keep consistency when playing a song and don't change the
groove!
I have also included a common variation in bar two, using a slide lick. Start the slide with the third finger.
The last 1/16th note is played as an upward strum. Listen to the audio and see how this works.
Example 2f:
Keep it simple and don't overplay. As the renowned Chicago Blues master Kid Andersen once said: ‘If
you don’t have fun playing a groove like this for the duration of complete song, you are either a) doing it
wrong or b) you suck!’
Jimmy Reed
Jimmy Reed was one of the most successful and influential Blues artists of all time. He wrote and
recorded many Blues classics like Ain't Got You, 'Big Boss Man, You Don't Have To Go, Bright Lights,
Big City, Shame, Shame, Shame and Baby, What You Want Me To Do. Reed was a major influence on
The Rolling Stones, Eric Clapton and Elvis Presley to name just a few.
Here is one more variation featuring a bluesy 'minor-to-major’ move:
Example 2g:
16
Sussex, TN6 1JF
Find variations of these grooves by listening to recordings of important Blues artists and experimenting
with your note choice, phrasing and rhythm. If you need some inspiration, check out The Complete
Guide to Blues Rhythm Guitar by Joseph Alexander.
Bass Riffs
Doubling the bass
An easy way to create a guitar accompaniment is by doubling the bass and playing the same notes an
octave higher. This is easily done, as the four strings of the bass guitar are tuned the same as the lower
four strings of the guitar (E-A-D-G), but an octave lower. This allows us to watch bass player's fretboard
and fingers to see what he is playing and use it to help us. (Something that’s not so easy with a saxophone
or piano.)
Doubling the bass works best if they are playing a riff that is constantly repeated. Make sure you copy not
only the notes, but also the phrasing of the bass, as it is easy to sound terrible if the two instruments don't
play at exactly the same time. Bass players have a very different feel to guitarists and they are vital in
keeping the groove.
The following is a riff with just three different pitches in the style of the blues-harp player, singer and
bandleader Billy Boy Arnold. It consists of the root, the octave and the minor 7th to create a distinctive
yet simple sound. Listen to the audio track to get the feel of the straight 1/8th note groove, and the
syncopated (off beat) notes.
Example 2h:
17
Sussex, TN6 1JF
You play the same one-bar riff twice with a slight difference – in the second bar the first note is
syncopated and pushed ahead of the beat.
The second note in bar two is repeated and then the following two notes are placed on off beats. Try this
riff without the syncopation and you’ll find that the riff becomes pretty boring! Notice how the same
pattern is played in different places on the neck to move around the I, IV and V chords.
Riffs like these can also be used over a one-chord-vamp when there is no chord change in the song, or
with a typical progression like a 12-bar Blues.
Here is another, syncopated riff containing the same three notes as before but with the 5th added. It can be
heard (with slight rhythmic variations) in many songs like What'd I Say, Stranger Blues, and many others.
Once again, listen to the audio to get a feel for the note lengths and accents.
Example 2i:
The IV and the V chords for this example are not shown. Find them on your own and play them in
different positions and in upper/lower registers, as explained in example 2g.
The Box Shuffle

I like to call the following riff 'the Buddy Guy-riff', as he played it on several of his songs and it is one of
his trademark sounds. It is also known as 'The Box Shuffle' because it is played in the pentatonic ‘box’
that most guitar players learn as their first scale. It is played with only the first and the third finger and the
notes are played with a shuffle feel.
18
Sussex, TN6 1JF
Example 2j:
Experiment by first playing all these notes for their full duration, and then by playing them staccato.
Which do you prefer? In the audio example, I play the first note of each pair quite short but you should
experiment with your own variations.
Once again, play the same riff over the IV and the V chords, using the previous examples as a guide.
Playing Technique: Pull-Off
A pull-off is executed by playing a fretted note and then ‘pulling off’ the finger to a finger on a lower fret
on the same string. Note that the second note is always lower in pitch than the first.
The audio example demonstrates different variations of pull-offs.
Just as with a slide, the pull-off can also be executed immediately so that only the target note is audible, or
it can connect two clearly audible notes (bar two). Because only the first note is picked, it is usually
slightly louder dynamically. The pull-off motion itself is always quick, even if the first note is long.
Example 2k:
Pull-offs are not limited in terms of intervals since you have the entire length of the string and your finger
span to worry about. You can also pull off to an open string. Guitarists apply these techniques in every
style, so listen to your favourite players and practice your own combinations.
There are countless variations of example 2i. Here is a common one that uses the same notes in a different
order and features a pull-off. It combines the rhythm of example 2j with the note order from example 2i:
Example 2l:
19
Sussex, TN6 1JF
Bar two shows a common variation with a triplet (3 notes in the time of 2). You can experiment by
applying the triplet in different places, and try playing it backwards – anything to inspire your own
creativity.
20
Sussex, TN6 1JF
Sonny Boy Williamson
Little is known for sure about Sonny Boy Williamson II (c. 1899 – 1965). Even the year of his birth and
his real name are uncertain. What is certain is that he was one of the most influential Blues musicians and
one of the greatest blues harp players, singers and entertainers that ever lived. His band had a unique
sound and his guitar players were particularly inventive. He played with Robert Lockwood Jr., Elmore
James, Robert Nighthawk, and, at the end of his career, The Animals and The Yardbirds. Check out his
recordings!
Here is a medium tempo shuffle variation in the style of Sonny Boy Williamson II. It is a simple A major
arpeggio with an added bluesy slide going into the major 3rd, and a little rhythm to create a simple yet
effective idea. Don't hold the last note too long! You need to give yourself a moment to get the first finger
back to the root for the next bar.
Example 2m:
Here are some ideas to help you create your own variations:
Change a note! For example, play the octave (7th fret D-string) instead of the 5th (7th fret A-string) as the
third note.
Change the rhythm! Try playing two 1/8th note instead of one 1/4. Find more variations!
Playing Technique Hammer-Ons

A hammer-on is executed by playing any note and then hammering a finger onto a higher fret on the same
string. You could consider this the opposite of a pull-off.
The audio example demonstrates different variations of the hammer-on:
A hammer-on can be executed immediately so that only the target note is audible (bar one) or it can
connect two clearly audible notes (bar two). The hammer-on motion itself is always quick, even if the first
note is long.
21
Sussex, TN6 1JF
Example 2n:
The next riff features a hammer-on. This example is handy for blues-rock and funky tunes and uses the
same pull-off figure as in example 2l.
Example 2o:
Note that in the recording, the bass guitar doesn't play the same. Instead, it stays on the main riff. Do you
like this or would you prefer that both instruments play the same thing? It is all a matter of taste in the
end.
Here is another common variation of a Shuffle. The pianist Fats Domino played something like this on his
hit records Ain't that A Shame, Blueberry Hill, and Poor Me.
Example 2p:
Bar two features the triplet variation once again to show you that you can mix and match all of these
building blocks. Don't forget to play this in different keys and also with open strings (root E and A).
22
Sussex, TN6 1JF
Walking Bass
Another common accompaniment is a walking bass. A walking bass is usually played in 1/4 notes and
legato (smoothly).
This type of walking bass is useful in all types of blues. However, at slow tempos, you can add more
variation than in the faster songs, like using the triplet ideas from examples 2l and 2p. This is because you
have more time to play with the sound that you are creating in the moment.
Example 2q:
In the notation, each riff is shown only once. Listen to, and then analyse the underlying chord progression
before playing along. Notice how the guitar tone changes when notes are played on the unwound G-string.
I prefer to play this riff on the bottom three strings so that my tone is always consistent throughout the
phrase. But many others like the brighter tone produced by the unwound G string; try playing it in
different positions to see what you like best.
Next, the pattern is moved up the neck to a common fingering. Again, each riff is notated only once but
you’ll hear the complete 12-bar Blues on the recording. Analyse the progression and transpose to the
relevant chord as the time comes.
Example 2r:
23
Sussex, TN6 1JF
Being totally at ease playing in any key is always a shortfall for most guitarists. To play this riff in any
given key, just find the root note on the low E-string, put your second finger there and copy the rest of the
shape (because the intervals are the same).
If the tempo is slower you could play each note twice as 1/8th notes, doing so fills the extra space.
A possible variation is to add the root of the underlying chord on the upbeats instead of simply repeating
the last note. This makes a wonderful accompaniment for a fast boogie tune. These two ideas are shown
below. Notice how the bass varies on the repeat in the audio example.
24
Sussex, TN6 1JF
Example 2s:
In bar two, play a small barre with the first finger across the 2nd fret (D- and G-strings) and let the notes
ring throughout.
The guitar on the audio example has a relatively aggressive sound with some distortion akin to the electric
recordings of the amazing Lightnin' Hopkins (these recordings from 1954 have been re-issued on a CD
called ‘Lightnin’ and the Blues’). Perhaps they cannot be labelled exactly ‘Chicago Blues’ but they are
most certainly an inspiration and worth checking out!
Creating a two-bar pattern from the previous idea may take a little practice but here is one example of how
it can be done:
Example 2t:
Freddie King's recording of Key to the Highway shows how to use the next riff in a slow blues.
Bars three to four show a similar idea over a minor chord. Listen to example 9f to hear these lines in the
context of a complete minor 12-bar blues solo.
Listen to songs like Just a Little Bit from Rosco Gordon to get some inspiration for how you can expand
on the idea.
25
Sussex, TN6 1JF
Example 2u:
Chromatic Riff
'Chromatic' is the musical term for 'moving in semitones'. In this book, chromatic notes are to be used as
passing notes only. This means that they should not be emphasised on strong beats; instead, they should
be used to connect two diatonic (scale notes) together.
The following riff was used on many Blues records like Killing Floor, My Babe, and Long Grey Mare. It
could also be used for blues-rock tunes and also at a fast shuffle.
Here is the riff with a straight feel at a tempo of 131 BPM (beats per minute). The audio example features
a complete standard 12-bar Blues progression.
Example 2v:
You may have noticed the legato sound in the recording. This is what feels natural to me when I play
these licks, so that’s what you hear on the recording. Once again, experiment with the length of each note
and see what you prefer. As there are no open strings, this riff can be easily transposed by placing the first
note on a different fret.
Expand the riffs to a standard 12-bar Blues progression. On the recording, the first riff is played from bars
one to eight and the second in the final four bars – making the full 12 bar progression.
26
Sussex, TN6 1JF
Example 2w:
Tip: At faster tempos - play fewer notes.

What you have seen in examples 2v and 2w is a useful rule of thumb: The faster the tempo, the fewer
notes you play and vice versa. The same is true for the number of musicians: The more people play, the
fewer notes each musician plays.
Here are two fun riffs in the style of Albert King. The first one uses a straight 1/8th note feel. All the notes
are played with the first finger or the third finger.
Example 2x:
Albert King
Albert King was one of the masters of string bending. Take a close listen to his solos and you will hear
that he used a lot of micro-tonality (pitches between the actual notes of Western harmony). This is an
expressive technique and his backing band’s grooves weren't that bad either!
Here is a riff in the style of Albert King in the same fretboard position, which could be played over a fast
shuffle:
27
Sussex, TN6 1JF
Example 2y:
Playing Technique: String Bending

To play a bend, pick any fretted note and then bend it up using the fingers and forearm muscles. If
possible, use other fingers to support the bend on the string because sometimes a great deal of force is
required. Bends can be executed with any finger but they’re usually easier with the second or third. Try to
avoid unwanted noises from other strings.
When you bend the string it raises the pitch of a note and different strings need different amounts of force
to produce the same change in pitch. The easiest notes to start with are in the middle of the string at the
12th fret because at this point the string is more flexible. Start practicing here and ensure you achieve the
correct pitch by fretting the note first to train the ears.
There are different ways of bending the string and the most important ones can be heard in example 2za.
It is possible to create the illusion of a downward bend by first bending the string and then striking the
string (bar two), but this is more difficult as you can’t hear the pitch while bending up. Practice this by
sounding the target note first before bending, then release the pressure.
Furthermore, you can gradually bend the string (bar four) or execute the bend quickly (bar five).
In the last example only the target note was audible but not the starting note.
Bars one to six feature a whole tone bend. Bar seven demonstrates a semitone bend and bar eight shows
the ‘smear bend’ or ‘blues bend’. This is a tiny bend of less than a semitone that is used for expression. It
is possible to play larger bends of three, four, or even five semitones, but this is extremely physically
demanding at first – especially on lower strings.
Bar four demonstrates a bend and release, which is where you play a note, bend it up and let it down
again. Bar five demonstrates a reverse bend which is where you bend the string before picking it and then
release the bend.
28
Sussex, TN6 1JF
Example 2za:
Listen to Albert King to hear some of the best examples of string bending ever recorded. The following
riff features a quarter-tone bend. Later examples in the Lead Guitar chapters will show many other
bending techniques that will help you to create amazing, expressive guitar solos.
Junior Wells played a similar line to example 2y on his amazing album 'Hoodoo Man Blues' using a
straight 1/8th feel. This riff was played on the I chord. On the IV and V chords, his guitarist (Buddy Guy)
simply played a dominant 7 chord with a funky rhythm. You will learn about blues chords later.
Example 2zb:
29
Sussex, TN6 1JF
Using repetition
This example sounds like a lead guitar part but with lots of repetition it can be used as a common
accompaniment phrase. As a rule of thumb in Chicago Blues you can repeat any phrase to create an riff or
apply variation and development to create an interesting lead guitar part. Later in this book you'll learn
more about these tools.
Now let's get funky! A funky groove is an excellent way to add contrast to shuffle-based blues set.
Although you can create a convincing funk sound with 1/8th notes, the most common way to play funk is
with 1/16th note rhythms. Most of Junior Wells' Hoodoo Man Blues album, an absolute Chicago Blues
masterpiece, demonstrates some well-rounded funky blues playing.
Example 2zc:
Usually, funk grooves are played with a pick for a nice bright tone. The audio example demonstrates two
different finger approaches. First with index and middle fingers (alternating like a bass player), and on the
repeat I played with my thumb and my index finger. This creates a distinct tone and is a fantastic way to
create your own voice on the guitar. Listen to the Godfather of Soul, James Brown and the masterful
Albert Collins to get more inspiration for the funk sound.
Another important Chicago Blues groove is the blues rumba. Listen to the sample below, noting the
straight 1/8ths and the rest on beat two.
30
Sussex, TN6 1JF
The drum pattern that typically accompanies this kind of groove is important. It was used on many classic
recordings, including Professor Longhair's Mardis Gras In New Orleans and several others. The audio
example features a complete 12-bar Blues progression, so feel free to transpose the riff to the other chords.
Note the rumba-typical syncopation in beat two of every bar – this is what creates the classic ‘Latin’ feel.
Example 2zd:
The final example in this chapter is a common variation of the ‘blues rumba’ groove and is notated with a
movable fingering. Listen to Crosscut Saw by Albert King or Don't You Lie To Me by Gary Moore to
hear this in action. Again, transpose the notes to the other chords by moving the fingering up the fretboard
as we did before.
Example 2ze:
Minor Blues
While a ‘minor blues’ is not considered a type of ‘groove’ or ‘feel’, it is an important component of the
blues repertoire. Any of the previous blues feels can be played in a minor key, like example 2u. Have a
listen to the following well-known tracks to hear the Minor Blues in action:
• The Thrill Is Gone by B.B. King (Funky Slow Blues)

• All Your Love (I Miss Loving) by Otis Rush (Blues Rumba)
• Green Onions by Booker T & The M. G.s (Fast Shuffle)
In a Chicago Blues band, there are usually two guitarists. When the other guitarist is playing the ideas
shown in this chapter, what can you do? Do you repeat the same parts? Do you stop playing? You could
go to the bar and get another beer while he steals the limelight. Or, even better - you could just master the
ideas in the next chapter.
31
Sussex, TN6 1JF
Rhythm Guitar Part Two

This chapter is a Swiss Army Knife of second guitar parts; a toolbox with ideas that work for fast and
medium tempos, swing blues and any other style - even a blues rumba. Some of these ideas might need a
little development when used in a slow blues and will be explained as we progress through the chapter.
I’ve included some extra parts for the slow blues in the final two examples.
The first idea that we will cover is the use of double-stops (playing two notes together). You will also
learn how to create variations by learning different rhythmic ideas and combining these into longer
phrases. Finally, you will discover that it is easy to add embellishments to these phrases. These double-
stops can be played in different regions of the fretboard and have many tonal options that can create
different sound colours. I will also teach you how to find more double-stops on your own (ex 3l-n).
Dominant 7 chords
A Dominant 7 chord consists of the root, and three other intervals; the major 3rd, the 5th and the minor
7th. The interval between the major 3rd and the minor 7th is a tritone1, and this represents the sound of a
Dominant 7 chord. The root is often added by another instrument like the bass, and the 5th can be left out
completely as it doesn't add much to the sound palette. Therefore, by removing the ‘unnecessary’ root and
the 5th, you can make chords with just the 3rd and the 7th.
Here we have the shapes for the A7, D7 and E7 chords:
Example 3a:
The tritone is located on the top two strings in all these chords and is shown in black. Notice how these
three voicings are fretted, they have only moved up or down the neck a fret between each chord. This is
useful to know and helps us to make smooth transitions between chords.
1
A tritone is a double-stop where the two pitches are three whole tones apart (hence the name tri-tone). A tritone is a very dissonant interval that is formed by
the distance between the 3rd and minor 7th of a dominant 7 chord.
32
Sussex, TN6 1JF
Example 3b:
Let's start with the straight blues backing track. The accents here are on beat one and the ‘and’ of beat
two, ‘locking in’ with the accents of the backing track.
Example 3c:
Tips on chords: Remember where the root is – even if it’s not played!
Whenever you learn a new chord voicing, you must learn where the root is. These roots don't need to be
fretted or played but you should always visualise them so that you can use rootless chords in any given
key - just as you would when playing a normal chord.
Memorise the movements between chords I, IV and V so you can use double-stops easily without
thinking. When performing you will not have the time to think so you must know where to put your
fingers automatically to create the sound you hear in your head.
Here is a rhythmic variation of the previous idea, this time over a Blues Rumba.
Let’s place the guitar accents in between the ones of the main groove and see what happens. Note that the
A7 is now on the 8th fret (the D7-shape moved up to A7) and that this shape is moved one fret down or up
to play the D7 / E7. You now have two positions to play a tritone over any dominant chord!
33
Sussex, TN6 1JF
Example 3d:
Transpose this idea into the lower position shown in example 3c.
You can place these rhythmic stabs wherever you want within a bar. Here are some tips to help you create
some interesting rhythms:
• Start or end on an offbeat (one of the 'ands').

• Play at least one of the stabs staccato (very short).
Now invent some rhythms yourself!
You can combine two one-bar phrases to create a two-bar phrase. Let's use a shuffle with a walking bass
(like example 2q and 2r) for this example.
Example 3e:
Examples 3e and 3f use an overdriven guitar amp sound with increased high-end frequencies to imitate a
brass sound.
Now let’s add a little chromatic movement to the tritone accompaniment. This creates a feel of change in
the chord progression with just an embellishment of a static chord.
34
Sussex, TN6 1JF
Example 3f:
Note that you are playing the same bar twice just with an added chord hit at the end of bar one. When you
play this pattern on the IV chord, there is an open string involved. Once again: Play this example in
different positions to expand your possibilities (see ex 3d).
Comping
It is also possible to freely improvise with these patterns to create interesting, non-repeating
accompaniments. In this context 'improvising' does not mean soloing, but making up rhythms and
chromatic embellishments as you play.
The following examples will show you more rhythms and chord voicings. You can freely mix and match
all these together to create interest and development in your rhythm playing. Many guitarists struggle with
this at first, but with practice it can be mastered. Here are some steps to help you learn:
• Learn one chord shape and understand how to transpose it to chords in the progression.
• Learn one rhythmic pattern and practice using this pattern throughout the complete chord
progression.
• Learn another rhythmic pattern and apply it to the complete progression again.
• Alternate between the two different rhythms, playing each one once.
• Next, alternate freely between these two rhythms: Don't forget to change the chords according to
the progression. Voilà: You are improvising your rhythm!
• Now, add new rhythmic ideas to your vocabulary: Alternate freely between these rhythms.
• Add more and more rhythmic variations to the mix until you can freely improvise the rhythm.
• Next, learn a new chord voicing (see below). Repeat the steps as with the first chord.
• Then mix and match the two chords with one rhythm, first with a clear pattern (e. g. one chord
shape for the I and the other chord shape for the IV and V).
• Mix the different rhythms with different chord voicings freely.
• Add chromatic movement up and down as you like.
The result may sound like this:
Example 3g:
(No score, just listen and come up with your own version.)
More double-stops
Now that you know how to integrate these ideas into your playing, let's learn more two-note chord forms.
Until now, we have focused on creating rhythmic variations. Next, we will learn some new tonal colours.
Apply the rhythm from above to the following ideas and come up with some rhythms of your own.
35
Sussex, TN6 1JF
First up is a simple, two-note chord taken from an A7 chord fragment.
Example 3h:
Play a little barre over two strings (G- and B-string) and hammer on to the G-string 6th fret. It's important
that the note on the B-string continues to ring. It's also possible to slide into the chord (see bar two).
Example 3i:
To play the IV chord, move the shape up five frets. To play the V chord move the shape up seven frets. If
you feel comfortable doing this - play along with one of the backing tracks.
Now choose a different rhythm and play along with that rhythm. Play it with a shuffle (examples 2q & 2r),
a blues rumba (examples 2zd & 2ze), a straight blues rock (examples 2v & 2w) and others previously
covered.
Instead of moving a shape up or down the neck, it's also possible to stay in the same area of the fretboard
and adjust the notes to the new chord. Below is the chord D9. A ‘9’ chord contains the interval of a minor
7th and is a type of dominant 7 chord.
36
Sussex, TN6 1JF
Example 3j:
In the following example, just play the two notes on the G- and B-string from the above shape. Barre them
with your first finger.
If you played the hammer-on in the previous example, you should already be fretting the “mini-barre”
over the two strings - the notes needed for the IV chord. Let go of the second finger to play these notes. To
play the V chord (E9 in this case) just move up two frets.
Example 3k:
Now the chord change sounds completely different to example 3i. This D9 is a versatile sound that's easy
to play – what more can you ask for?! Play this idea over other backing tracks.
To recap, we created these chords by extracting two notes from the I chord and searched for notes from
the IV chord that were as close as possible to the starting notes. To play the V chord, we moved the IV
chord up two frets.
Let's do this again with another version of the I chord: Choose two notes from the A Major chord below.
After experimenting, I chose the notes on the G-string and B-string again (highlighted in black):
37
Sussex, TN6 1JF
Example 3l:
The closest IV chord (D7) is the one at the 1st fret. Again, pick the notes on the G- and B-strings:
Example 3m:
This shape can be moved up a tone (two frets) to form the V (E7) chord.
Here are the three double-stops for the complete blues progression using the rhythm from example 3c:
Example 3n:
Once again I used the backing track from example 2q so you can compare the sounds, but you should also
play this idea over any other.
38
Sussex, TN6 1JF
Now, choose a different chord shape for A (or A7 or A9), pick two notes you like from the chord. Then
find the closest D shape (or D7 or D9), and pick two notes from the chord again. Move this D-shape up
two frets for the E chord and then play these new shapes over the backing tracks using the rhythms that we
have used so far (see above).
6ths
One of the most commonly played intervals is the 6th, because of its sweet and consonant sound.
Essentially, the 6th interval is an inverted 3rd which means that it is played upside-down. Therefore, like
with 3rd intervals, you will find major and minor 6th intervals. In example 3h you played a C# and E to
make an A chord. That's a minor 3rd because E is three notes above C#. If you turn that interval upside
down (E and C#) you create a major 6th, because C# is six notes above from E.
You played an A and a C# to make an A chord in example 3l. That's a major 3rd. Turn it upside down to
get the minor 6th (C# to A). Note that an inverted minor 3rd always becomes a major 6th and an inverted
major 3rd becomes a minor 6th.
Example 3o:
The next example is in the style of the Howlin' Wolf's classic track, Killing Floor (1964).
Howlin' Wolf
Howlin' Wolf – born as Chester Burnett – is another Chicago Blues legend and was the rival of Muddy
Waters for many years. Check out the appendix 'Listening Recommendations'. Hubert Sumlin, another of
the guitar greats, featured on most of the Howlin' Wolf records. It's recommended that you study Hubert's
guitar style to learn as much as you can about this style.
Example 3p is a simple idea that simulates a horn line. Different fingerings are possible for these 6ths but
the notation shows the way I prefer to position them. To play the IV chord and the V chord, move up the
pattern five and seven frets respectively. You could also play the pattern an octave lower (see bar seven to
ten).
39
Sussex, TN6 1JF
Example 3p:
If you play these 6ths using a pick, rather than with your fingers, you will need to mute the middle string
between the two notes with the bottom of your second finger to omit any unwanted noise or notes. You
could also pick the G-string with the pick and the high E-string with the second finger of your picking
hand.
Let's analyse where these intervals come from. The first 6th interval comes from a D7 shape moved up to
A7.
Example 3q:
40
Sussex, TN6 1JF
The final 6th comes from an A7 Barre.
Example 3r:
The 6th in between is just a passing chord – this means that you should not emphasise it, but use it to
connect two diatonic chords together.
Now let's add some rhythm to make this even more interesting and to get close to what Hubert Sumlin
played on the original recording near the end of the song. The backing is taken from example 2v.
Example 3s:
Here is another idea, this time using a shuffle backing. Bar four introduces another chord position by
moving the last chord down another two frets. To make this line even cooler, a chromatic passing chord is
included – creating a more interesting, smoother transition.
The tension produced by this chromaticism is rather dissonant and therefore should be resolved quickly. It
is crucial that you do not remain on this chord for more than a passing beat/half beat.
Example 3t:
41
Sussex, TN6 1JF
This is a nice riff to play just before the change to the IV chord because of the transitional sound that the
chromatic passing chords produce.
Here is another variation. This time the chromatic chord is played between the upper two 6th shapes from
examples 3p, 3s and 3t. Notice the movement in semitones and the interesting sound that is created.
Example 3u:
The previous example can be played upwards and downwards – try combining both to create more
interest.
Example 3v:
Built For Comfort is another classic track from Howlin' Wolf which he recorded many times.
The following two ideas are similar to the original recording found on the album The Real Folk Blues.
Notice the interaction between the two parts and how they complement each other.
42
Sussex, TN6 1JF
Example 3w (guitar 1 & 2):
This low guitar part is built around 3rds on the lower strings and has a strong organ-like sound. This
impression can be enhanced with the use of a light overdrive and a rotary simulation (or a Univibe pedal).
Example 3w was recorded with a chorus pedal to simulate this effect.
The next riff is an absolute classic of Chicago Blues and is the standard figure for slow blues. This sliding
6ths figure works well with the boogie shuffle and is played with the same feel. The audio example and
notation show the three-note version, but you could leave out the middle note to isolate the 6ths as in
previous examples.
For the IV chord and V chord, move the pattern up five or seven frets respectively. Alternatively, use the
shape on the top three strings (bar three-four).
For the chords on the top three strings play a barre with one finger.
43
Sussex, TN6 1JF
Example 3x:
Another option in a slow blues is playing partial ‘7’ chords on the top three strings (example 3a) in
triplets. You can either strum the chords (bars one-three) or pick the strings one by one to get a
contrasting, thinner sound (bars four-six).
Example 3y:
The way that you choose to accent/pick these notes can add a great deal of textural variety to your sound.
You could strum the chords using just down-strokes (bar one). For a variation, you could use alternate
strumming (bar two) or start each triplet with a down-stroke (bar three). Doing this will create a stronger
triplet feel by emphasising the first of each three notes.
44
Sussex, TN6 1JF
The notation above shows all three versions; which one you choose depends on your personal preference.
Just make sure to give the downbeats (the first note in each triplet) a slight accent.
Bars four to six show three different options when arpeggiating the notes of the chords one after the other.
Sometimes called playing broken chords it can be done with the fingers (mostly i, m, and sometimes a2) or
with a pick.
Create variations of this idea by playing the notes in a different order, or, alternating between different
picking patterns. Try changing the pattern over the chord changes. Master the patterns you like and use
them in your next jam session.
Tip: Imitate other Instruments

It's important to copy ideas from other instruments and this will help to a distinct style of your own.
Here are some suggestions:
- Imitate a Hammond organ or a Boogie Woogie piano.

- Borrow a few cool bass lines.
- Transcribe solos from the harmonica or saxophone.
Many Blues recordings use a horn section with trumpets, saxophones, or trombone. Some of my favourite
examples are the Otis Rush album Ain't Enough Comin' In. Many of Albert King's albums like Blues for
Elvis, and just about any recording from the fantastic Blues Brothers band.
Most horn lines sound fantastic when played on the guitar, as they are fresh with totally different phrasing
to what guitarists are normally accustomed. If you ever run out of ideas for a second guitar part, just listen
to these instruments for inspiration.
2
i = index finger, m = middle finger, a = ring finger.
45
Sussex, TN6 1JF
Rhythm Guitar Part Three

In the previous chapter, you learned some generic patterns that can be applied to most Chicago Blues
songs. This chapter will teach you how to find second guitar parts that lock in tightly with specific riffs.
Adding movement
You already had some fun with simple two-note shapes, but how about taking it up a notch and adding
some melodic movement to them?
Here are the shapes for an A major chord and a D major chord:
Example 4a:
If you play just two black notes from these shapes and copy the rhythm from example 2a you create the
following idea.
Example 4b:
Fret the A-shape with your first and second finger and the D shape with your third and fourth finger.
Alternatively, you could use a third finger barre for the D shape. This is can be difficult in the beginning
but with some practice it will open up some interesting phrasing possibilities (see example 4e – 4g).
At a fast tempo, you could play each shape and hold it for a 1/4 note (see bar two).
On beats one and three in the third bar, notice the hammer-on that’s used to add an exciting bluesy
flavour.
The following A7 chord is a D7-shape shifted up the neck.
46
Sussex, TN6 1JF
47
Sussex, TN6 1JF
Example 4c:
Example 4d uses all three shapes from example 4a and 4c:
Example 4d:
You can add the hammer-on from examples 3h-i if you want to add some embellishment. Please note the
two different fingerings between the two bars above. Bar one shows the same fingering as in the earlier
example but bar two shows the second finger as a guide finger that slides up and down on the G-string.
This kind of accompaniment is frequently used in Chicago Blues guitar so find variations of your own.
Match your variations to what the other musicians are playing (other guitar parts, bass, keys etc.) like we
did in earlier examples. These ideas can also be used as lead guitar parts to create fills or solos and we
study these ideas later in the book.
Let's add another note to this riff - the root A on the D-string. Example 4e combines the root with the
hammer-on figure from example 3i.
Example 4e:
48
Sussex, TN6 1JF
Here is another pattern with shapes from example 4a and 4b. Notice how both guitars play notes from a D
chord on beat four.
Example 4f:
Example 4g is a pattern often played by horn sections in medium shuffle songs like Sweet Home Chicago.
Example 4g:
This could also be played as a lead guitar part but the repetition helps it to function as a rhythmic riff. The
transcription shows the idea in the key of A and then in the key of E. As this part jumps around, make sure
you find a comfortable fingering.
Let's learn some ideas higher on the fretboard. The following idea will complement the riff given in
example 2g.
Example 4h:
49
Sussex, TN6 1JF
This time the second guitar does not double the rhythm exactly but leaves out the first 1/8th-note and
sounds much more sophisticated this way. The notation shows the exact fingering I use in the recording -
it's a workout for the fourth finger, but there is no other convenient way of playing it.
Finding variations for boogie riffs in a high register

To find accompaniments for any boogie riff, try the following techniques:
• Imitate it.
• Add the minor-to-major-3rd-move on the same beat as the low guitar
• Add the root note but keep your part repetitive. These added roots provide a little more thickness
since they are not played in the same way as the other guitar part.
• Play a completely different rhythm as shown in example 3y.
All these ideas are commonly used in Chicago Blues so try to use a different idea in every song. These
little variations may not seem like much but they go a long way musically.
The next example is, once again, part of the movable A-shape chord. When I first heard this riff, I
integrated in into my playing immediately because I loved it. It features the minor-to-major-3rd move with
the 5th on top and suits any medium shuffle groove.
Example 4i:
Example 4j:
50
Sussex, TN6 1JF
Chords
Let's learn some chords that you can use in any blues song. These shapes are pretty much interchangeable,
but the following examples show some rhythmic patterns that fit perfectly over most of what we have
already covered.
Less is more
Often it's better to play sparingly, especially if the band is busy. People often say, ‘less is more', but how
do you apply this? Let me give you some real-world examples that every professional has used.
• Try playing a single note line in the middle or high register but be repetitive.
• Try simple repetitive two-note chord fragments but play them very lightly.
• Limit your use of accents.
Let’s take a closer look at this. The following example shows an interesting move from an A7 to a D9
chord using chord fragments. Only play the black dots and find your own fingering.
Example 4k:
51
Sussex, TN6 1JF
Now let's play these shapes over some shuffle grooves and make them fit by using an appropriate rhythm.
Play the chords with the rhythm shown in example 3c. Over a groove like this you can play many
rhythmic variations and chord shapes, but I found it fits best if:
• The chords contain three or fewer notes.

• The rhythm is sparse and repetitive. (Remember: the more instruments in the band, the less each
one plays.)
52
Sussex, TN6 1JF
Example 4l:
When playing these chord stabs with a lower guitar part, it's often a good idea to keep a simple rhythm,
such as playing only on beats two and four. Keep the chords stabs very short.
Example 4m:
Listen to the drummer!
The backbeat (beats two and four) is where the drummer usually hits the snare, but not always. Listen to
their playing – are they hitting the snare on the backbeat? If they are playing something else you can
simply imitate the snare groove and lock in with them. Doing this will musically enhance the sound of the
band.
In Chicago Blues the drummer often plays 'laid back', which means they play the snare a fraction of a
second late – this is obviously intentional and not out of time; it just creates a looser, relaxed feel in the
groove. Paying attention to details like this is essential for creating a professional band sound.
In the next example, the D9 is played on the top four strings and requires a barre on the top three strings
using the third finger. This may take some practice, but once you can play it you will realise exactly how
versatile it is. A perfect companion for the D9 chord is the following A6 voicing on the top four strings.
53
Sussex, TN6 1JF
Example 4n:
When accompanying a walking bass line like in example 2q, we often play chord stabs on the upbeats (the
‘ands’ between the beats) as the bass notes are played on the downbeats. This creates a sense of
interaction as the bass notes and chords continually alternate.
Example 4o:
Now make up your own rhythms and place the chord accents wherever you like. Try different chord
groups and see which ones you prefer.
Comping with chords
Earlier, you learned how to comp with a two-note chord called the tritone - this device can also be used to
embellish sequences with larger chords since they share the same notes. In the examples above you
learned chords that Chicago Blues guitarists play all the time. Use them for comping to be as versatile as
possible.
In a blues rumba, it's common to play repetitive rhythms with chord stabs. However, there is another
useful technique used in Rumba that you need to know - the arpeggiated chord. This is performed by
slowing down the strum/picking movement to produce a broken chord sound.
Listen carefully to the drums to hear the little snare roll on beat two of each bar. The guitar imitates this
with the broken chord technique. Examples 5g, 5i and 5j also feature this idea.
54
Sussex, TN6 1JF
Example 4p:
55
Sussex, TN6 1JF
Rhythm Guitar Part Four

A trademark feature of the blues is the turnaround – a musical line that helps the song return to the start of
the chord sequence. A turnaround normally starts on the I chord and ends on the V chord and creates
tension that requires resolution at the beginning of the next chorus.
We also need to begin and end songs in an effective, interesting way and intros and endings can easily be
created from turnarounds. After working through this chapter you will be able to play complete songs that
include intros, turnarounds and endings.
Turnarounds can be played if you are the only guitar player or if there are two guitar players in the band.
Turnarounds
Let's start with an example that fits over all the walking bass lines and riffs that you learned earlier. Here
is an idea played in 1/4 notes.
Example 5a:
If the tempo is slower, you can play more by repeating each 1/4 note as an 1/8th note or adding more
embellishments.
Here is a movable variation of the previous idea.
Example 5b:
56
Sussex, TN6 1JF
Muddy Waters – The Father of Electric Chicago Blues
Someone once said, 'Muddy Waters invented electricity'. Well, maybe not quite, but when it comes to
Chicago Blues innovation, this is most certainly true.
Muddy started out playing acoustic Delta blues. The Plantation Recordings from the early ‘40s document
that time. When Muddy went to Chicago in the late ‘40s, he didn't change his playing style - he just
electrified it. He started recording with reduced accompaniment, often with just his voice, guitar and an
upright bass. Classic recordings from this era include Can't Be Satisfied, I Feel Like Going Home, Train
Fare Home and Kind Hearted Woman. In the early ‘50s he added drums, bass, blues harp, piano and a
second guitar – the rest is history.
The Muddy Waters Band became the blueprint for the Chicago Blues sound.
The following two turnarounds are in the style of Muddy Waters. Transpose both turnarounds to the key
of A by playing them one string higher. Find a movable version of them so you can play them in other
keys.
Example 5c:
This turnaround is also a clear example of “it's not what you play, but how you play it”. Leave out all the
hammer-ons and bends, then listen to how lifeless the line sounds without them.
Here is another classic turnaround from Muddy:
Example 5d:
57
Sussex, TN6 1JF
The following turnaround works well with example 2j.
Example 5e:
The above idea can be adapted to any similar bass riff: Play the riff as usual on the I chord in bar eleven,
then walk up to the V in bar twelve to create the turnaround.
Here is a typical turnaround for a Blues Rumba. In bar eleven the riff on the I chord is followed by strums
of the E7 chord in the following bar. The last 1/8th note can be left out making it easier to get back to the
main riff after the turnaround.
Example 5f:
Here is a turnaround that features an augmented V chord and is frequently used in slow blues. Note that
the chord changes every two beats from I to IV and back to I - a typical feature of the slow blues.
Let the notes of each arpeggio ring. At the end of bar two, the lead guitarist or the singer usually plays a
pickup to lead back into the next chorus. In bar one you could strum the chords in triplets to create a
different rhythm.
58
Sussex, TN6 1JF
Example 5g:
Turnarounds often consist of two independent lines or voices, one of them higher and one of them lower.
These can be played by different musicians or both on one guitar. Often, one of these lines is doubled. For
example, the bass player could double the lower guitar one octave below.
We can categorize the melodic movement in turnarounds into four common types of musical motion and
then learn some examples:
1. Oblique motion: One line remains constant (usually the root of the I chord), while the other moves
freely.
2. Parallel motion: Both lines move in the same direction with exactly the same distance between the
two lines.
3. Similar motion: Both lines move in the same direction, but the distance between the two lines
changes.
4. Contrary motion: Both lines move in the opposite direction.
Here is a turnaround with oblique motion. It was originally used by Delta Blues musicians like Robert
Johnson and later made its way into Chicago Blues. It can be moved to other keys easily by playing the
first bass note fretted and using a moveable version of the V chord. Note how the bass guitar doubles the
lower line of the guitar. The higher, fixed line (the root) is played in triplets.
Example 5h:
59
Sussex, TN6 1JF
Here is the same turnaround in the key of A. Again, the bass doubles the lower guitar line. The higher line
(the root) is played in 1/8th notes this time.
Example 5i:
Example 5j is a turnaround with similar motion and is probably the most recognizable. It uses a 6th
interval that is moved down chromatically.
The bass guitar doubles the upper line of the guitar while using the rhythm of the lower guitar line.
Example 5j:
To play this turnaround in the key of A just play it five frets higher.
Here is a similar turnaround that moves in the other direction using parallel motion:
60
Sussex, TN6 1JF
Example 5k:
The following example shows turnaround 5k transposed to the key of A. Listen to the bass line and notice
how it is doubled in the guitar part.
Example 5l:
Here is a turnaround with contrary motion. The fingering here is my suggestion, but you may find others
that you prefer.
Example 5m:
To create more variations of this turnaround try playing one or both lines in 1/8th notes or triplets.
Here is the same idea in the key of E:

61
Sussex, TN6 1JF
Example 5n:
And finally, here is a turnaround that features three lines simultaneously and uses contrary, and oblique
motion at the same time. Although I do claim that this one was invented by ‘yours truly’, I wouldn't be
surprised to find out that someone else had played it first!
It sounds best if the high E-string rings throughout the first bar without being stopped. The bass guitar
doubles the lower guitar line but it could just as well double the upper guitar part.
Example 5o:
Instead of approaching the V chord from below, it can also be approached from above, usually from one
semitone away using single notes (bar two) or chords (bar four) like in the following example. This
approach can be used with all the turnarounds in this book. Try it!
62
Sussex, TN6 1JF
Example 5p:
63
Sussex, TN6 1JF
Intros
In Chicago Blues, there are only a handful of common intros. Listen to some classic recordings and you'll
find that they generally begin in one of the following ways:
1. If a song starts with a solo, in most cases there is no intro at all. This is called 'from the top'. Rarely
does a song without an intro start with a vocal chorus because this would be an abrupt start. A
notable exception is the original recording of I Can't Quit You Baby by Chicago Blues master Otis
Rush. Other classics with this kind of intro are Dust My Broom from Elmore James and All Your
Love (I Miss Loving) from Otis Rush.
2. A turnaround can be used as an intro. This technique is called 'from the turnaround'. Listen to Earl
Hooker's version of Dust My Broom. He uses an intro much like the one in example 5j.
3. The complete final four bars of the Blues progression can be used as an intro. This is usually called
'from the V'. Listen to She's a Good Un from Otis Rush and Don't Start Me Talkin' from Sonny
Boy Williamson II.
4. Some songs stay on the I chord for four bars and then begin with the blues progression. Great
examples for this kind of intro are Green Onions from Booker T & The MGs and I'm Ready from
Muddy Waters.
5. Sometimes a song starts with two bars on the I followed by a turnaround. Listen to Sweet Home
Chicago from The Blues Brothers Soundtrack to hear this idea. The turnaround in the intro is once
again a variation of example 5j.
If you know some turnarounds – you know some intros! Just play the turnaround to create a two-bar intro
or add the V – IV (or two bars of the I) in front of the turnaround to create a four-bar intro.
Endings
To create an ending, the turnaround needs to be modified only slightly. Endings usually finish on some
kind of tonic (I) chord. It's common to create a strong tension just before the final resolution. This is
usually done by substituting the regular V7 chord (E7) for a bII7 (Bb7) which moves down one fret to
resolve.
Note how the tempo slows during the ending in this example.
Example 5q:
Here are some other common chord shapes you could use:
64
Sussex, TN6 1JF
Example 5r:
The following example is a more melodic variation of the previous ending:
Example 5s:
The next example uses a strong melodic line by continuing the turnaround up to the octave.
Example 5t:
A typical ending for a Blues Rumba is the well-known 'Cha Cha Cha':
65
Sussex, TN6 1JF
Example 5u:
Endings normally finish on the ‘and’ of beat two in bar twelve. Blues Rumbas are a notable exception.
Find your own variations

Listen to your favourite Blues songs and try to hear and understand what turnarounds, intros and endings
the guitarists are playing. Also, find your own variations by transposing one or more of the lines an octave
(or two) up or down, and experiment with the rhythm – you can never know too many turnarounds, intros
and endings.
Putting it all together

Before moving on to the lead guitar section, learn to play complete songs using the rhythm guitar parts
you now know:
1. Play an intro.
2. Play a chorus with a turnaround and repeat as desired.
3. Play the final chorus with an ending.
Remember: Turnarounds and endings normally replace the last two bars of the chorus.
Now, go meet some fellow blues musicians at a local jam session, play the blues and enjoy yourself.
Before we move on to the soloing ideas, a quick note:
Rhythm guitar equates to around 80% of what you will likely play in a band – so make playing rhythm as
much of a priority as soloing! Be creative and find variations by improvising with your rhythmic ideas.
All talented solo guitarists are also excellent rhythm players and it is this understanding of rhythm that
makes their improvisational skills so fluent.
So, have fun learning the following soloing concepts and afterwards you will be ready for the spotlight!
66
Sussex, TN6 1JF
Lead Guitar Part One – Playing Fills

Fills are short instrumental lines that occur between vocal phrases. This chapter will teach you short licks
that can be used for this purpose and also show you what to play, when to play and how to play it.
As blues guitarists, we spend about 80% of the time playing rhythm or fills behind a singer (or another
soloist), so practising fills is time well spent.
The licks in this chapter form the vocabulary from which later solos will be built. It's a logical way to
learn a language; first learn some words, then build short sentences with these words, and finally form
some complete stories with these sentences.
When playing fills, you need to be clear about some of the different aspects of playing:
• First, you need to know what to play. There is no right and wrong, and what you play is a matter of
taste and experience. Having more choices and experience usually leads to better results.
• Next, you need to know when to play. One way to do this is to listen closely to the phrasing of the
singer. Play between their vocal phrases, not over them. After hearing the first chorus you would
normally become familiar as to how the singer phrases as it is usually consistent from chorus to
chorus. Examples 6o – 6q take a close look at this concept.
• Finally, add feeling and expression to your melodies. This is how to play. It involves using
techniques such as slides, hammer-ons, pull-offs, bends and vibrato.
The notation will show you these techniques but you don't have to copy my articulation exactly; you can
add your own style and personality to each phrase. For example, do you want to add vibrato on a certain
note? How fast should it be? How wide? These are all personal decisions and will make your solos
expressive and unique.
What to Play
This section teaches you different licks while explaining the concepts behind them and then how to find
variations of each idea. First, you need to learn one of the most important playing techniques for lead guitar.
Vibrato
Vibrato is commonly used on any long note, but even more so on the last note of a phrase. Most listeners
probably won’t notice vibrato if it is there, but they definitely will notice if it’s not there.
Generally, vibrato is executed by playing many fast, even, small string bends without striking the string
again. This motion varies from player to player; sometimes originating from the fingers or from the wrist.
You can vary the tempo of the vibrato and its size (how far you bend the string). Ultimately each guitarist
has a different sound, so see which you like best.
Bar one demonstrates a slow narrow vibrato and bar two a fast, wide vibrato.
67
Sussex, TN6 1JF
Example 6a:
Guitarists can add vibrato on top of an already bent note although this can take some practice. Listen to
Chicago Blues legend Otis Rush to hear this in action. Essentially the movement is similar, but
maintaining intonation over a bend note can be a challenge – especially with the extra string tension
accumulated with the bend. Nevertheless, your practise and hard work will pay off eventually!
Listen to your favourite guitar players and analyse their vibrato. Is it fast or slow, is it wide or narrow?
Imitate your favourite vibrato as close as you can.
Here is your first lick. On the repetition the last note is played an octave higher.
Example 6b:
The bending idea in the next lick is a real classic. It was featured in Rolling Stone Blues by Muddy Waters
and many others. Later, it made its way into Rock music in tracks like Voodoo Child (Slight Return) by
Jimi Hendrix, and Are You Gonna Go My Way? by Lenny Kravitz.
68
Sussex, TN6 1JF
Example 6c:
The exact timing of the bend and release in this lick is hard to notate, so listen closely to the recording. On
the repetition, the lick jumps up to the high root again.
The open position is especially useful in the keys of E and A. This lick is the basis for solo 9a.
Example 6d:
Here is similar lick, this time in the key of A. By repeating the lick with slight variations, we create the
beginning of a soulful solo. Once again, the bending adds expression.
Example 6e:
69
Sussex, TN6 1JF
Play What You Sing.
One of the best tips given by professional, improvising musicians is to play what you sing. Play on the
guitar what you sing, hum (or squeak). Let your ear and voice be the guide, not your fingers on the guitar!
You will immediately start to sound a lot more musical and vocal. If you like a phrase that you sing, find
it on the guitar, if not, sing another phrase and try again. Pretty soon you'll start to hear the sounds in your
head before you play them.
Blues Rumba
Here is a classic lick that is regularly played over a Blues Rumba groove.
Example 6f:
Minor Blues
The following example is in the style of All Your Love (I Miss Loving) from Chicago Blues legend Otis
Rush. The idea is simple: Pick any minor chord shape and add a picking pattern.
Here is the chord shape used in example 6l:
70
Sussex, TN6 1JF
Example 6g:
Listen to audio example 9e to see how I constructed a solo more or less exclusively with that one idea.
Here is a melodic idea for a minor Blues:
Example 6h:
Listen to example 9f for a solo built around this lick.
Double-stops
Playing two notes together is called a Double-stop. In the blues, the intervals most often used are 3rds and
6ths. Let’s learn a few licks for both intervals.
3rds
Here is a cool lick using 3rds in positions you already know.
Example 6i:
71
Sussex, TN6 1JF
Try playing the triplets with both alternate picking and with pure down-strokes. The sound is quite different.
Which one do you prefer?
Here is a lick that many blues musicians call 'the train whistle lick'. You only bend the lower of the two
notes.
Example 6j:
This lick is often played in the key of E so the open strings can be used as a resolution point (end of bar
one). Bar two shows the same idea played in a different position.
Back to the key of A. Here is an idea for bar four of the blues progression (just before the change to the IV
chord):
Example 6k:
The next examples are in the style of Freddie King and incorporate 6th intervals. Check the notation for
fingering suggestions.
72
Sussex, TN6 1JF
73
Sussex, TN6 1JF
Example 6l:
The next lick ascends using a similar idea.
Example 6m:
You don't have to move in one direction all the time:
Example 6n:
Find your own lick variations
It's not about becoming a clone - it's about learning what options you have while sparking your creativity.
When you like something, integrate it into your playing but when you don't – analyze what you didn’t like
and change it. Try different notes, a different rhythm or different articulations to find your favourite
variations of a lick then integrate them into your playing.
As mentioned earlier it’s possible to simply repeat a lick with a slight variation to create a two-bar phrase.
Here are some ideas for variations:
74
Sussex, TN6 1JF
• Change the rhythm.

• Play the notes shorter or longer.
• Play certain notes with different articulation (slide, hammer-on, pull-off, bend...).
• Move the lick in the bar (playing it one 1/4 note earlier is common in Blues).
• Play the final note of the lick longer instead of short and add vibrato to it.
• Play the final note of the lick an octave higher.
Play these variations on all the licks you learn to make them part of your own natural blues language.
When to Play
No matter how many scales or playing techniques you know, if you don't know when to play – you are
lost. On the other hand, if you do know when to play, you can use the simplest vocabulary and always
sound good.
The concept of 'Call & Response', or 'Question & Answer’

The blues originated from field hollers, where one field worker would holler a line and the others would
repeat or answer it; this was the beginning of The Blues. This concept is imitated when a singer vocalises
a melody and another instrument responds.
To create a two-bar call and response, the singer sings for two bars before the guitar plays a two-bar lead
fill in response.
Here is the Quick-Change Blues progression once again:
Let's compose a sample song before putting some fills in the spaces between the vocal phrases.
A typical blues verse could be something like this:
My baby, she's so good to me.

My baby, she's so good to me.
I'm happy, happy as a man can be.
Here is a possible vocal melody transcribed for guitar.
75
Sussex, TN6 1JF
Example 6o:
Notice that the melody starts with a pickup note each time. Listen to the song again and count the rests
while listening. Count the beats: “My baby (two... three… four...)”. These counts are the spaces where the
guitar fills can go.
Repetition & Variation

How much repetition and variation you use is a matter of taste, personal preference and experience. If you
use too much repetition, your fills or solos will get boring. If you present too many different ideas you
may sound unmusical and your listeners may not be able to follow you.
The trick is to use enough repetition to create memorability and coherence while using enough variation to
create excitement.
76
Sussex, TN6 1JF
Example 6p:
Compare the licks in bar three, four, seven and eight.
Optional: Add mini fills in the middle of the vocal phrase

There is a short rest in the middle of the first and the second vocal phrase and it is possible to play a short
fill in this space. Listen to how the gap is filled without overlapping the vocal and guitar parts.
77
Sussex, TN6 1JF
Example 6q:
Listen, Analyse & Play

Now listen to some songs and analyse the phrasing of the singer while trying to add short fills in the space
that they leave.
Play with Feel

Chicago Blues is all about feeling. If you solo without articulations (bends, etc.), it simply sounds boring.
Analyze the licks in this book: Which notes have articulations? Which don't? Replace the articulations with
others (slide instead of bend, bend instead of hammer, etc.). How does it sound? What do you prefer? The
licks and riffs from this book have been played by countless Blues guitarists but all the greats still have a
unique sound.
78
Sussex, TN6 1JF
Finding your Own Voice:
Improvising is not about re-inventing the wheel. It's about using what you have in your toolbox in new
and exciting ways. The process is like writing a story: You don't invent new words, but instead you tell
your story in your own way with existing language. You use your feelings, your point of view and your
phrasing to make it special and personal.
The same is true for improvisation: Once you learn some patterns, licks and solos from this book, the next
step is to find your own variations and add little twists. It's far more useful to know a few concepts and
lick and learn to alter them, than to know hundreds of licks that you can only play in one precise way.
Experience & Taste:

Finding and using these variations can seem miraculous to less experienced guitarists but it's just a matter
of experience and taste. Experience is all the songs, licks and solos you have heard, transcribed and
learned; the tools in your tool box. An experienced musician has tried everything and knows what does not
work through trial and error. Taste is your personal preference regarding what notes you play, and when
and how you play them. Everyone’s taste is unique so make sure you understand yours!
There is no right or wrong. No matter what you decide, there will always be people that like it and people
that don't. As long as you like what you play, you are on the right track. Finding an audience that likes
your style is better than having to adapt your style or taste to an audience.
Have Fun!
The amazing thing is that finding variations is a never-ending journey. Even after a lifetime of playing, the
great musicians still enjoy learning and are always adding new ideas to their playing.
The most crucial point of all is to enjoy your journey and have fun!
79
Sussex, TN6 1JF
Lead Guitar Part Two – Tackling the V chord

Beginners tend to ignore the individual chord changes in a blues tune: They pick a scale like the minor
pentatonic and solo over the complete chord progression without varying their note choices. This is not
what is typically done in Chicago Blues. Each chord is often treated as an individual entity and the soloist
highlights the chord’s most important tones. This chapter will teach you some useful approaches for
soloing on the all-important V chord.
Every lick is demonstrated on the V chord and then played two frets lower so it works on the IV chord
too. (Bars nine to ten of a standard blues progression). These licks will also fit on the IV chord in bars five
and six, so also try playing them there.
This first lick is a Chicago Blues trademark; once you know it you will hear it everywhere. It can be
moved to the I chord, the IV chord and the V chord and it always sounds fantastic. It has been notated
over all three chords for your convenience:
Example 7a:
Check example 9a to hear this lick in a complete solo.
Here is another lick in the same fretboard region:
Example 7b:
Next comes a classic Chicago Blues lick with a chromatic run up from the minor 3rd to the 5th in bar two.
80
Sussex, TN6 1JF
Example 7c:
Check out example 9c to hear this lick in a complete solo.
Here is an idea that uses chord tones exclusively:
Example 7d:
The following idea has very little tension and could be used to bring the excitement down at the end of a
solo. Note the slight variation during the repetition on the IV chord.
Example 7e:
Here is another lick for a blues shuffle. Note that the fingering here is nearly identical to example 8a, but as
it has moved to a different location it has different notes giving it a unique sound. On the IV chord, the ♭5
‘blues note’ is added for a cool chromatic effect, just like in the previous example.
81
Sussex, TN6 1JF
Example 7f:
Next is a classic Chicago Blues lick that can also makes a musical accompaniment.
Example 7g:
The next example is played in the same fretboard area and starts on the same note but this time it
descends.
Example 7h:
This shuffle lick contains chord tones only.
82
Sussex, TN6 1JF
Example 7i:
In a minor blues, the progression in bars nine and ten sometimes contains a bVI – V chord sequence. Here
is a lick that works perfectly over these chords. It’s basically an F7 arpeggio.
When the chord progression of a song features any unusual chord playing an arpeggio is always a good
starting point.
Example 7j:
The solo in example 9f features this lick.
Mix and match these licks by playing different ideas on both the V and IV chords instead of repeating the
same idea over both. Create your own licks to fit these chords and your vocabulary will quickly increase.
83
Sussex, TN6 1JF
Lead Guitar Part Three – Turnarounds, Intros,

Endings
Turnarounds
The simplest turnaround idea is to double the bass one or two octaves higher.
Here is an octave doubling of example 5b:
Example 8a:
This doubling technique has more of a modern or blues-rock sound. To hear guitar doubling in this style
listen to Layla (Derek & The Dominos).
The next turnaround is a classic. It’s harmonically interesting and moves in the opposite direction to
example 8a.
Example 8b:
This descending turnaround creates a lot of tension when played against the upward movement of the
lower guitar.
The following turnaround is in the same position as the previous one but creates more rhythmic interest.
84
Sussex, TN6 1JF
This time the example features chords instead of single notes. Experiment by playing example 8c with
single notes and do the same with examples 8a and 8b with ‘7’ chords, like in this example.
85
Sussex, TN6 1JF
Example 8c:
Finding more variations
Compare this turnaround with example 5h. Notice that the chromatic line from G to E is the same but
played in a different octave. You can create many variations of turnarounds by playing in different
octaves.
The following example is similar to the previous one but uses the upper chromatic note F instead of the
lower chromatics D and D# to approach to E. Compare them so you can hear the difference and determine
which you think is more effective.
Example 8d:
The previous turnarounds featured a chromatic line from the b7 (G) to the 5th (E). Now let's use another
chromatic line: 5th (E) to major 3rd (C#).
86
Sussex, TN6 1JF
Example 8e:
Fill in the second bar on your own!
This next turnaround is in the key of E and features some open strings in the style of Muddy Waters. The
steady bass with the thumb in bar one shows the Delta roots of Chicago Blues.
Example 8f:
The following turnaround in the style of Junior Wells is usually doubled by the rhythm guitar (one octave
lower) and the bass (another octave lower).
Example 8g:
87
Sussex, TN6 1JF
Notice how this turnaround is repeated on the audio recording. Play it three times and then add an E7 or
E9 chord to create a strong ending.
Intros
You have been learning some incredibly versatile turnarounds for lead guitar. Now let’s use them to create
some classic introductions.
The following intro consists of two bars on the I chord followed by a turnaround. A similar idea is used in
Sweet Home Chicago by The Blues Brothers and High Heel Sneakers by Tommy Tucker. You already
know the turnaround because it was used in bars three and four of example 5j.
Example 8h:
Next is a four-bar intro that starts with a V – IV followed by a two-bar turnaround. As always, listen
carefully to the articulations and alter them to your tastes.
88
Sussex, TN6 1JF
Example 8i:
Here we have an intro that stays for four bars on the I chord without a turnaround. This is similar to Pride
& Joy (Stevie Ray Vaughan) and sounds great in medium tempo songs with a shuffle feel.
Example 8j:
In bars one to three, let the notes ring into each other and use the second finger for all notes on the B-
string.
Bars one and three feature the root note exclusively but played with some exciting phrasing. As I’ve said,
it’s more about how you play then what you play!
Other examples of this kind of intro that stays on the I are Don't Burn Down the Bridge (Otis Rush) and
Nothin' From Nothin’ Blues (Big Joe Turner).
89
Sussex, TN6 1JF
A variation of the previous example would be playing a groove over the main riff without any lead parts
over it. Listen to Green Onions (Booker T & The MGs) and I'm Ready (Muddy Waters) for how this
sounds.
Create your own ideas by mixing and matching the lines you have learned so far.
Endings
Turnarounds need to be modified only slightly to create an ending; all we need to do is end on chord I
instead of chord V.
Here are two examples:
This first ending works perfectly with the lower register guitar part from example 5t.
Example 8k:
Finally, the last example in this chapter is a typical ending for a blues rumba.
Example 8l:
90
Sussex, TN6 1JF
Lead Guitar Part Four – Complete Solos

Building Cohesive Solos from Licks
You have now learned some authentic licks and intros along with many turnarounds and endings.
Additionally, you know different ways to tackle the IV- and the V-chord. Of course, you could string all
these licks randomly together and it wouldn’t sound too bad. But you’re not striving for 'not bad', right?
You want to sound great. This chapter will teach you how to link these licks together so that they become
a compelling story.
The following solos concentrate on presenting and developing strong musical motifs to guide your
listeners on a journey.
The main points to consider are:
• repetition
• variation
• building tension and excitement
• reaching a climax and ending a solo
A good solo is like a good story
1. A good story includes an introduction of the main character and a setup of the plot.
2. The story is developed and tension created until it reaches a climax.
3. Finally, there is an ending that resolves the tension to leave the reader with a feeling of
completeness.
Here are some ideas how you can build tension and excitement in a solo:
• playing faster or longer phrases with less space

• adding new notes one by one
• playing higher notes
• playing louder
• using repetition
• different combinations of the above
Analyse the following solos to understand how these techniques were used.
91
Sussex, TN6 1JF
Solo One
Open Position Solo in the style of Muddy Waters (Key of E)
The first eight bars of this solo are played in the open position in the key of E, much in the style of early
Muddy Waters. There is no bass, just drums and a second guitar.
Example 9a:
92
Sussex, TN6 1JF
Analysis:
Bars one-two: These two bars are the lick from example 6d.
Bars three-four: The first lick is repeated but ends on a chromatic move that leads up to the IV chord.
Bars five-six: The melody clearly moves to the IV chord by using many tones from the A7 chord.
Bars seven-eight: The IV lick has been transposed to the I chord and weave the solo together. The
chromatic movement from bar four is repeated, but this time an octave lower.
Bars nine-ten: Here, a new idea arrives. The V chord is usually the climax of a blues solo. In this solo, the
climax combines the highest notes in the solo with the fastest notes.
Bars eleven-twelve feature a classic turnaround.
Conclusion:
This solo contains only three ideas: Eight bars of outlining the underlying chords with arpeggios, a climax
with a nice V lick (repeated on the IV) and a turnaround.
93
Sussex, TN6 1JF
Solo Two
Major solo in the style of B.B. King (Key of A)
While the first solo sounded ‘old school,’ the following has a strong major flavour and is very much in the
style of B.B. King. The accompaniment features a full band with bass guitar, drums and a second guitar.
This solo starts with just two notes. In bar two a third note is added and in bar three a fourth. In the chord
change another note is introduced (the semitone bend). This highlights the change in the underlying
harmony.
Example 9b:
94
Sussex, TN6 1JF
95
Sussex, TN6 1JF
Analysis:
Bar one: The main motif is introduced. It has only two notes: The major 6th and root of the underlying
chord (the I) – a strong target note without tension.
Bar two: variety is introduced to the main motif with the inclusion of a third note.
Bar three: The tension starts to build by introducing higher pitches while moving the focus note from the
root to the major 3rd (the bent note) – another strong target note. Note that the original two pitches are still
included. You are not playing something completely different, but just adding to the original idea.
Bar four develops the solo by rhythmically varying the previous idea.
Bar five repeats the idea from bar three and four, but ends on a different target note. This one small
alteration makes a huge difference; even without accompaniment the chord change can be heard.
Bar six repeats the motif from bar five, but with some added rhythmic interest.
Bar seven-eight add more excitement with a new highest note. This is the climax of the solo.
Bar nine reduces the tension because the solo is preparing to end.
Bar ten includes a transposition of the motif from bar nine over the IV chord.
Bars eleven - twelve show you that a turnaround is not always necessary in every solo.
Conclusion:
This solo sounds more modern than the previous one. It's faster and more restless with the first real break
in bar eight just after the climax. This solo would be a tight ending for any song as it brings the music to a
natural conclusion.
96
Sussex, TN6 1JF
Solo Three
Medium Shuffle (Key of A)
This solo uses just two motifs and a turnaround. It is often used as an instrumental theme to start a jam.
The Muddy Waters band played live jams like this throughout the ‘70s in many of their shows.
The backing track is the same as in the previous example but the guitars are different. It's amazing how
different these two tracks sound, isn't it? This shows you how much power you have with your guitar to
control the overall band sound!
Example 9c:
97
Sussex, TN6 1JF
Analysis:
Bars one and two introduce a two-bar motif that you already know.
Bars three and four repeat the motif.
Bars five and six transpose the motif to the IV chord.
Bars seven and eight repeat the motif on the I chord once again.
In bars nine and ten the second motif starts on the root of the V chord. Then, notice the chromatic run
from the minor 3rd to the 5th. The whole lick is then transposed to the IV chord.
Bars eleven and twelve contain a turnaround that is a variation of example 7c.
Conclusion:
This solo demonstrates how simple a cool Chicago Blues solo can be with three cool licks and tons of
repetition.
98
Sussex, TN6 1JF
Solo Four
Blues Rumba (key of A)
This is a typical two-chorus solo over a Blues Rumba.
Example 9d:
99
Sussex, TN6 1JF
100
Sussex, TN6 1JF
Analysis of the first chorus:

Pickup bar to bar one: The first bar is a long pickup and the lick ends on beat one of the first bar.
Bars two and three repeat the motif.
Bars four and five transpose the motif to the IV chord by changing only the target note.
Bars six and seven repeat the motif on the I chord once again.
101
Sussex, TN6 1JF
Bars eight and nine: This is the only solo chorus where the V chord does not feature a completely new
motif.
Bars ten and eleven: This solo doesn't have a turnaround, but starts with the long pick-up bar into the next
chorus.
Analysis of the second chorus:

Pickup bar-bar one: The lick is like the one in the first chorus, but by playing the first and the final notes
as a double-stop there is more density and texture.
Bars two and three repeat the motif with a little variation (slide instead of hammer on). The spaces
between the licks are filled with another idea for the remainder of the chorus. This adds intensity to the
solo.
Bars four and five adjust the motif to the IV chord by changing only the target note.
Bars six and seven repeat the motif on the I chord once again.
Bars eight and nine begin with the main motif but a new motif is introduced featuring 6ths.
Bar ten features a funky double-stop lick with bends. A true classic!
Bars eleven and twelve make up a typical Blues Rumba ending.
Conclusion:
This solo demonstrates once more how much mileage you can get out of a few licks and ideas. Also, you
can see how a second chorus gets more exciting by simply creating more density (playing double-stops
and filling the spaces) while still staying close to the original idea.
Multi-chorus solos
Don't forget to practise improvising solos with more than one chorus. You need to build the excitement
slowly because if a climax is reached at the end of the first chorus it becomes difficult to maintain interest
later.
However, it is possible to reach a temporary climax then drop the volume and energy before slowly
building to another climax later.
Study live videos and recordings from Buddy Guy. He is a true master of dynamics and long, exciting
solos!
The next solo is in the style of All Your Love (I Miss Loving) by Otis Rush and the intro to Red House by
Jimi Hendrix.
Solo Five
102
Sussex, TN6 1JF
Using chords for soloing
Changing from single notes to chordal playing is a great way to build a solo. You could use either rapid
strumming (think Buddy Guy, Stevie Ray Vaughan or Jimi Hendrix) or a picking approach. For this solo
we will use picking.
Minor Blues (Key of Am)

In this example, the bass guitar plays a blues rumba while the lead guitar arpeggiates chords. Note how the
guitar and bass alternate; an example of ‘question and answer’ phrasing.
Here are the chord shapes:
Example 9e:
103
Sussex, TN6 1JF
Let the notes ring for a fuller sound. Before the chord changes to Dm and Em, one note is omitted and the
final note is played short. This allows time to change to the new chord.
Analysis:
The solo begins with a pickup that is almost a full bar.
Pickup bar-bar one: Note that the picking pattern is repetitive but is still interesting as it’s something that
the listener doesn't hear often.
Bars two and three repeat the motif with a slight variation.
Bars four-five: The lick starts on Am but ends on Dm (IV chord).
Bars six and seven lead back to the I chord.
Bars eight and nine contain a nice chordal move that also works as a climax. The 1/4 note triplet may take
some practice.
Bars ten and eleven contain a cool bending lick that brings the solo home again to the root.
Bar twelve is a rest. If you repeat this solo or start a second chorus this is where the pickup would be.
Conclusion:
This solo is constructed for the most part around one small idea and shows some neat usage of chords in a
solo context.
Creative ideas:
1. Use different picking patterns.
2. Use different inversions of the chords.
104
Sussex, TN6 1JF
Solo Six
Minor Blues (Key of Am)
In the following solo, notice the strong interaction between the bass line and the melody. This can be
considered another example of ‘question and answer’.
Example 9f:
105
Sussex, TN6 1JF
Analysis:
Pickup bar-bar one: The solo starts with a two-bar motif with a long pickup.
Bars two and three repeat the motif.
Bars four and five contain a transposition of the motif to the IV chord.
Bars six and seven repeat the motif on the I chord again.
Bar eight is based on an Am arpeggio.
Bar nine contains an arpeggio of the F major chord.
Bar ten introduces a new motif with the same notes as the opening motif.
Bar eleven brings the solo to a close.
Bar twelve: If you repeat this solo (or start a different one) this is the place where the pickup begins.
106
Sussex, TN6 1JF
Congratulations
Congratulations on finishing this book! Now you have discovered the elements of Chicago Blues and
picked up the building blocks and musical concepts to help you to get creative.
You have learned how to play rhythm guitar and how to add a second rhythm guitar part to these basic
rhythms, for moments when playing with another guitarist. You know how to play fills (when to play and
what to play) and some trademark Chicago Blues licks. Finally, the solos that you practised in this final
chapter serve as a starting point for your own musical journey. The next step is to start making music with
other like-minded musicians. Go to jam sessions or put a band together and show off your new-found
skills!
If you have any questions or want to share your opinion with me about this book, feel free to contact me
through my website – I’d love to hear from you! Now go play The Blues and have fun!
107
Sussex, TN6 1JF
Appendix One: Listening Recommendations

CDs
Muddy Waters
• Rollin' Stone 1948-1952 (Hip-O-Select, 2 CD-Set) => Out of print, buy as download.
• Hoochie Coochie Man 1952-1958 (Hip-O-Select, 2 CD Set) => Out of print, buy as download.
• Hard Again
Little Walter
• The Complete Chess Masters 1950-1967 (5 CD Box) => Out of print, available to download.
Howlin' Wolf
• Smokestack Lightnin' – The Complete Chess Masters 1951-1960 (Hip-O-Select, 4 CD Set) => Out
of print, buy as download.
Elmore James
• The Ultimate Collection
Junior Wells / Buddy Guy

• Hoodoo Man Blues
• Play the Blues
Otis Rush
• The Essential Otis Rush – The Classic Cobra Recordings 1956-1958
• Ain't Enough Comin' In
Koko Taylor
Any album is good, these classic recordings are a good starting point:
• What It Takes – The Chess Years (Expanded Edition)
Sonny Boy Williamson II (Rice Miller)

• His Best
Paul Butterfield Blues Band

• The Paul Butterfield Blues Band
James Cotton
• Best of The Verve Years
• Best of The Vanguard Years
Earl Hooker
• Simply the Best
Magic Sam
• West Side Soul
• Black Magic
108
Sussex, TN6 1JF
Jimmy Rogers (Not to be confused with the country legend Jimmie Rodgers)
• Chicago Bound – The Complete Solo A's & B's
• Chicago Blues Masters Vol. 2 – Complete Shelter
Johnny Shines
• With Big Walter Horton
• Masters of Modern Blues
Billy Boy Arnold

• Back Where I Belong
• Eldorado Cadillac
Bob Margolin
Any album from Bob is good, I like his first two most ('The Old School' & 'Chicago Blues', both out of
print).
Fleetwood Mac
Be careful! Fleetwood Mac was originally an amazing Chicago Blues band. After a few albums, their style
changed drastically and they started playing incredible pop music.
• The Best of Peter Green's Fleetwood Mac.
Tomi Leino Trio

This is a band from Finland that I love. I stumbled upon them by accident, got hold of their two CDs and
they are fantastic. Melodic, tasteful, authentic – if you can make a perfect Chicago Blues record today
these guys know how to do it. Check them out: www.tomileino.com.
• Get on Down (2013)

• Hip Shootin' (2016)
Various Artists
• Chicago / The Blues / Today! Vol 1-3
DVDs
• American Folk Blues Festival Vol. 1-4
• The Famous Lippmann & Rau Festivals Vol. 3 – Legends of American Folk Blues Festival
• Muddy Waters – Classic Concerts
109
Sussex, TN6 1JF
Andi Saitenhieb (Professor Snake Oil)

As well as a pursuing a career as a European bluesman under his stage name ‘Professor Snake Oil’, Andi
Saitenhieb is a highly-respected educator with his bestselling Blues guitar book 'Garantiert Bluesgitarre
lernen' leading him to become Germany's best-known Blues guitar instructor.
Andi specializes in authentic, old-school blues like acoustic delta and country blues from the '20s & '30s,
and electric Chicago blues from the '50s. He also plays other instruments like Cigar Box Guitars, Bass,
Bluesharp and Ukulele - and makes them all sound really bluesy!
Andi studied with jazz guitar masters like Phillippe Caillat and Michael Sagmeister and learnt the Blues in
person from Blues legends such as Little Toby Walker, Steve James, Tomi Leino & Daddy Stovepipe.
Andi has over a decade of teaching experience and taught thousands of musicians both privately and
within countless workshops.
Andi is available for private lessons (in his studio and via Skype) and workshops - in English or German.
If you love the Blues and really want to improve your musical ability, please contact him at
https://AndiSaitenhieb.de.
Get Andi’s music and book him for a concert at https://ProfessorSnakeOil.com.
References
• Jazz guitar study at the prestigious MGI (the German version of LA’s GIT and California’s MI),
where Andi studied in person with jazz guitar masters as Phillippe Caillat and Michael Sagmeister.
• Shared the stage with Little Toby Walker (USA, NY Blues Hall Of Fame inductee), Steve James
(USA), Eleanor Ellis (USA), Steve James (USA), Rainer Wöffler (Germany), Matchbox
Bluesband (Germany), Black Patti (Germany), Daddy Stovepipe AKA Carl Bludts (Belgium),
Tomi Leino (Finland, Sweden Blues Hall Of Fame Inductee), David Evans (USA, Blues Hall Of
Fame Inductee) to name a few. Andi also recorded with Marcel Römer, the drummer for German
hit band ‘Juli’.
• Opened for some of Germany’s best-known bands like ‘Juli’ and ‘Klaus Lage’.
• Tour-support for Little Toby Walker (USA, NY Blues Hall Of Fame Inductee) in 2015 and 2016.
• Played concerts and gave workshops all over Germany: Thomann, Musicstore Köln, Blues Schmus
Apfelmus Festival, Batschkapp (Frankfurt), Topos (Leverkusen), Musikmesse Frankfurt
• Andi’s band won ‘Deutscher Rock & Pop Preis’ and was featured on German public broadcast
television and on numerous radio stations.
Publications
• ‘Garantiert Bluesgitarre lernen’ (2012 Alfred Music Publishing). Amazon-No.1-bestseller

(category guitar books on amazon.de), Germany’s best-selling blues guitar book since 2012.
• ‘Garantiert Akustik Bluesgitarre lernen‘ (2014 Alfred Music Publishing). Bestseller.
• DVD ‚Playing Cigar Box Guitar – The Complete Guide‘ (2016)
• Author for Germany’s biggest selling music mags ‘Gitarre & Bass’, ‘guitar’ and ‘guitar acoustic’.
• Andi’s song ‘Total tierisch’ was featured on the CD ‘Blues News Vol. 8’ and his song ‘Düsseldorf
am Rhein’ was featured on the CD ‘Blues News Vol. 9’. These CDs are samplers published by
Germany’s great Blues magazine ‘Blues News’.
110
Sussex, TN6 1JF
Other Guitar Books from Fundamental Changes

The Complete Guide to Playing Blues Guitar Book One: Rhythm Guitar
The Complete Guide to Playing Blues Guitar Book Two: Melodic Phrasing
The Complete Guide to Playing Blues Guitar Book Three: Beyond Pentatonics
The Complete Guide to Playing Blues Guitar Compilation
The CAGED System and 100 Licks for Blues Guitar
Fundamental Changes in Jazz Guitar: The Major ii V I
Minor ii V Mastery for Jazz Guitar
Jazz Blues Soloing for Guitar
Guitar Scales in Context
Guitar Chords in Context
Jazz Guitar Chord Mastery
Complete Technique for Modern Guitar
Funk Guitar Mastery
The Complete Technique, Theory and Scales Compilation for Guitar
Sight Reading Mastery for Guitar
Rock Guitar Un-CAGED: The CAGED System and 100 Licks for Rock Guitar
The Practical Guide to Modern Music Theory for Guitarists
Beginner’s Guitar Lessons: The Essential Guide
Chord Tone Soloing for Jazz Guitar
Heavy Metal Rhythm Guitar
Heavy Metal Lead Guitar
Progressive Metal Guitar
Heavy Metal Guitar Bible
Exotic Pentatonic Soloing for Guitar
Voice Leading Jazz Guitar
The Complete Jazz Soloing Compilation
The Jazz Guitar Chords Compilation
Fingerstyle Blues Guitar
The Complete DADGAD Guitar Method
Country Guitar for Beginners
Beginner Lead Guitar Method
111
Sussex, TN6 1JF
The First 100 Chords for Guitar
112

Untitled

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Untitled

Uploaded by

Copyright:

Available Formats

Steve.Wright5@hotmail.Co.

uk 7 Martlets Court, Montargis Way, Crowborough, East

The Chicago Blues Guitar Method

The Chicago Blues Guitar Method

Copyright © 2017 Fundamental Changes Ltd.

The moral right of this author has been asserted.

Cover Image Copyright: Pixabay Thomas-Eichentopf / Shutterstock Petr Malyshev

Other Books from Fundamental Changes

100 Classic Blues Licks for Guitar

Beginner’s Guitar Lessons: The Essential Guide

Complete Technique for Modern Guitar

Fingerstyle Blues Guitar

Guitar Chords in Context

Guitar Finger Gym

Guitar Fretboard Fluency

Guitar Scales in Context

Jazz Blues Soloing for Guitar

Sight Reading Mastery for Guitar

The CAGED System and 100 Licks for Blues Guitar

The Chicago Blues Guitar Method

The Complete DADGAD Guitar Method

The Complete Guide to Playing Blues Guitar Compilation

The Complete Technique, Theory & Scales Compilation for Guitar

The First 100 Chords for Guitar

The Practical Guide to Modern Music Theory for Guitarists

Delta Blues Slide Guitar

What You Should Already Know

• How to hold and tune your guitar.

A Few Common Terms Explained

Chord / Chord Change

Chord I, Chord IV and Chord V

Chord I is C, Chord IV is F, and Chord V is G.

In this book we will be working primarily in the key of A Major:

Chords I is A, Chord IV is D and Chord V is E.

Get the Audio

1) Play all the following progressions using a simple rhythm.

Example 1a: Simple 12-Bar Blues

Example 1b: Standard 12-Bar Blues

Example 1c: Quick Change

Example 1e: 24-Bar Blues

Example 1f: 8-Bar Blues

Example 1g: 8-Bar Blues

Example 1i: Minor Blues 2

Example 1j: One-Chord-Groove / One-Chord-Vamp

Let's get started!

Rhythm Guitar Part One

Boogie Shuffle Variations

Playing Technique: The Palm Mute

It is important to hear these ideas in action, so go to www.fundamental-changes.com and download the

Playing Technique: Slide

The audio example demonstrates different variations of slides:

Here is one more variation featuring a bluesy 'minor-to-major’ move:

The Box Shuffle

The audio example demonstrates different variations of pull-offs.

Playing Technique Hammer-Ons

The audio example demonstrates different variations of the hammer-on:

Tip: At faster tempos - play fewer notes.

Playing Technique: String Bending

• The Thrill Is Gone by B.B. King (Funky Slow Blues)

Rhythm Guitar Part Two

Here we have the shapes for the A7, D7 and E7 chords:

• Start or end on an offbeat (one of the 'ands').

Now invent some rhythms yourself!

The result may sound like this: