Editor: Aaron Stang Additional Text by Aaron Stang Transcriptions by Dave Hill Cover Design: Joann Carrera Photography: Pages 26 & 49 by Daniel Shea All Others Courtesy of Jeff Rivera Copyright © 1993 Beam Me Up Music, c/o CPP/Belwin, Inc. International Rights Secured Made In U.S.A. All Rights Reserved——aAV————EEEEEE CONTENTS Parti: Scales For BI Example 1: G Minor pentatoni Exomple 2: Solo Demonstration over a G7 Vamp .. Exemple 3: G Minor Pentatonic with the Added t5th (the Blues Scale) . Exomple 3A: Five Fingerings for the G Blues Scal Example 4: Solo Demonstration of the Blues Scale Exomple 5: _G Minor Pentatonic wih the Added 6! Exemple 5A: Five fingerings for the G Minor Pentotoni Example 6: Solo Demonstration of the G Minor Pentotonic wi Exomple 7: Sole Demonstration Using All Throo Scale Example 8: The Blues Progression Example 9: Blues Solo In BF B the Added 6th Becki NSeoo Parti: Fingerings Exomples 10 & 11. Example 12 Part lll: String Bending Examples 13 & 14 7 Example 15: Blues Scale Bends 8 Exomple 16: Bending to the 6th 9 Exomplo 17: Bending Between the Minor ond Major Thi 29 Part IV: 12 Bar Blues Solo Exomple 18: C Minor Pentatonic Fingerings.. 30 Example 19: C Minor Pentatonic with the Added 6t! 31 Exomple 20: C Minor Pentatonic with the Added ¥5th .. 32 Example 2 Bluos Licks . 33 35 Example 22: The Complete Blues Solo in C... Part V: Slo-Mo Blues Exomple 23: Part Vi: Chords and Comping Example 24 Exomples 25 & 2 Example 27 Five Chord Volcings for the Blues Example 28 Examples 29 & 30... Example 31: Comping Demo over a C Blues Example 32: Comping Demo over o Bt Blues Example 33: Four More Voicings for the Blue Example 34: 2nd Comping Demo over a Bt Blues Guitar Tab Glossary...INTRODUCTION Welcome to Playin’ the Blues, This Bock covers all the basics of contemporary blues guitar style. Some of the things we will be looking at inthis book are traditional blues progressions, chord voicings, rhythms used in comping, string bending, picking techniques, scoles used in blues soloing and many blues licks. For more advanced material refer to my book The Blues and Beyond (REHBKOO1) available from CPP Media.Example 1: G Minor Pentatonic —_—_— The first scale we are going to examine is the G minor pentatonic scale. All pentatonic scales contain 5 tones os opposed to the diatonic (7 tone) and chromatic {12 tone) scales. The notes in the G minor pentatonic scale ore: G, B,C, D, &F (Ist, '3rd, 4th, Sth, & +7th degrees of the major scale.) Here are the two fingerings that Robben demonstrates: Example 1A: Example 1B:Example 1¢: Five Fingerings for G Minor Pentatonic This example shows the five most common fingerings for the G minor pentotonic scale. Notice thot because no open strings are used, each of these fingerings is moveable to ony position or key. The root of each scale i indicoted with « box. (Exomple 1B is the some as Fingering #1 ond Example 1A is a combination of Fingerings 5 ond 1.) Fingering #1: ) Ml Fingering #2: Fingering #3: Fingering #4; Fingering #5:ET Blues Sol Example 2: Solo Demonstration over a G7 Vamp (Often, when playing the BF (*3rd), Robben bends it slightly shorp, geting it right in between the b3rd and 83rd (bors 3 ond 12). This is © very common blues device and adds « hard-edged blues quality tothe solo. Blues shuttle (9 = 53) a —._>:[3 Part t: Scales For Bwes Soloing Example 3: G Minor Pentatonic with the >5 Added It is vory common fo edd the b5 (#11) fo the minor pentatonic scale. The b3rd, 7th and Sth ere known as “blue notes.” The minor pentatonic scole, with the added 5, is often called the “Blues Scale.” In the G minor pentatonic scale, the added note is Dr. Here is the “blues seale” fingering as demonstrated by Robben: Example 3A: Five Fingerings for the G Blues Scale Fingering #1: Fingering #2:Fingering #3: Vu Fingering #4: ing #5:rar TET? Example 4: Solo Demonstration of the Blues Scale The following solo demonstrates the use of the blues scale over o G7 vamp. The basic rhythmic feel of this vamp is called a shuffle. In a shuffle, each beat is subdivided into groups of three (triplets).Example 5: G Minor Pentatonic with the Added 6th The third scole we ore going fo learn is another variation of the basic pentatonic scole. In this variation the 7th (F) is replaced by the 6th (E). Here isthe fingering Robben demonstrates: Example 5A: Five Fingerings for the G Minor Pentatonic with Added 6th Fingering #1: Fingering #2: J 0/0/90 < eo00 e@Fingering #3: vil Fingering #4: Fingering #5: |14 rr ENO Example 6: Solo Demonstration of the G Minor Pentatonic with Added 6th You will notice thet this seale hes « brighter, more uplifting sound than either the minor pentatonic or blues scoles. Both Robben ond B.8. King use this scale quite a bit, giving them a “sweet * sound. By contrast, Albert King ond Stevie Ray Vaughan both lean heavily on the blues scale with it’s characteristic “harsh” quality. Blues shumme (7 = 53)aE THAML TEST Example 7: Solo Demonstration Using All Three Scales This example uses all three scales. You will find mony examples using the bSih and 6th. Especially note how the 6th (E) is used. This note adds e wonderful quality to the solo but is often overlooked by guitarists coming from o rock background. 4, IPN %AEE EEExample 8A: The Blues Progression This example shows how the notes of the G minor pentatonic scale relate to each of the three chords in a “G Blues.” It would be a good idea to record these chords and proctice playing the scale over each. Get familior with how each note of the scale sounds when played against the G7, C7 and D7 chords. a o D a 4th #5th 67th Root #9th 4th ” be * & She = Root 3rd 4th Sth 67th Root Sth $7th Root 9th 4th Sth Example 8B This example shows how the notes in the G blues scole relate to each chord o o > yore abe Root! 3rd 4th Sth Sth +7th Root Sth 7th Root }9th 9th 4th Sth 4th #5th+7th 7th Root 3rd 4th Example 8¢€ This example shows the relationship of the G minor pentatonic with added 6th to each of the three chords. a a pb? Rooth3rd 4th Sth 6th Root * ‘Sth - > 47th Root 9th 3rd Sth =r > 4th #Sth +7th Root 9th 4th20 Part I: Scales Fe Example 9: Blues Solo in B> Here Robben demonstrates how he integrates oll three ofthese scales into his playing. The key has boon changed to Bb, so make sure you can transpose all of your fingerings from G to Be. Drum intro: BT aBTVery often on artist's own idiosyncratic techniques figure very heovily into their style, feel ond sound — helping to set them apart from the crowd. Wes Monigomery, who played with his thumb, and Djengo Reinhardt, who because of an accident wos limited to using only two fingers of his left hand, both developed very individual styles. Robben often uses just the Ist and 4th fingers of his left hand. The 4th finger is reinforced by the 3rd ond sometimes 2nd fingers. This fingering syle helps give Robben his characteristic “ft” sound and vibrato. Example 10 This example shows Robben’s left hand fingering for o common blues lick, Freely 7) wage Fingering 1p Example 11 This “two finger” technique actually developed out of Robben’s desire to begin using his 4th finger. Like mony guitarists, Robben used to use only his frst three fingers. As he begon fo develop the 4th finger he would support it with his 3rd and sometimes 2nd fingers to give it strength and support. This combination of several fingers on o ‘note adds power to his sound, giving him a very thick, rich tone. Freely) eo be =Se Example 12 Note how Robben “slips and slides” around the neck when using this “two finger” technique. Although this is not ‘he most economical fingering, it adds to the power and feel of his soloing style. ERR 2 2 As Robben points out, portant to develop all of your fingers, especially for other styles of music. But itis interesting to note, that for each different style of music there are many techniques that, while not considered “proper,” help to deliver the right feel for that style. Regarding Robben’s vibrato, many blues guitarists prefer fo bend a note with the 3rd or 2nd finger and then add vibrato, By contrast, Robben usually adds vibrato on notes that aren't bent. Using the technique of supporting the 4th finger with the 3rd and 2nd, Robben bends the string down slightly (towards the floor) and pivots his entre hand from the wrist fo create a rich, vocoHike vibrato.a7 The art of bending notes is a very important ingredient in the blues style of playing. The notes can be bent many different intervals, from a half step to as much as a perfect fourth. Something that really adds to the character of blues guitar are the “in between” bends, like quarter and three quarter-step bends. Example 13 This exemple demonstrates some typical whole step bends. «en —, =f vee Example 14: Pentatonic Bends You can bend any note of the pentatonic scale up to the next note in the scale. The follo shows how you can bend each of the notes of the G minor pentatonic écale. "dio i J™ cc ” nH -% ¥ bExample 15: Blues Scale Bends These examples incorporate the lated fith. Notice thot these are the First examples incorporating « halfstep bend. Example 15A: Example 158: Freely (en) Example 15C:Example 16: Bending to the 6th This exomple highligh the bend from the Sih (0) tothe éth (E). Note hat this example also includes the 67th and +Sth. @ Example 17: Bending between the Minor and Major Third ‘A common technique of Robben’s, which he attributes to playing with Miles Dovis, is the moj3rd/min3rd bend. Listen for how the bend to the major 3rd “brightens” and adds an element of surprise fo what could have been @ predictable blues scale lick. Sea f = ig hes ss30 Here, Robben breaks down a complete blves solo in C, lick-byslick. Before beginning, let's transpose the fingerings for the three different types of blues scales to C. Example 18: ¢ Minor Pentatonic Fingerings Vill VilEE EET Example 19: ¢ Minor Pentatonic with the Added 6thExample 20: ¢ Minor Pentatonic with the Added > 5th villExample 21: Five Blues Licks The following blues solo is broken down into five licks. Each lick covers on important transition in the blues progression. Lick 1 shows the pickup into the I chord, and Lick 2 the transition from the IV back to the I. Licks 3 nd 4 highlight the change from the Ifo IV and back fo I, and Lick 5 covers the change from V to IV. Licks 1&2 Uck 1 is based on the pentatonic scale, including the flatted fifth (G+). Lick 2 is based on the minor pentatonic with the odded sixth (A). wick #1 Z licks 3&4 This next lick works over the transition to the IV chord (F7) and back to the I chord (C7]. Notice the use of the 6th Al ever the IV chord. The A is of course the 3rd of the F7 chord. ick #3art IV: 12 Bar Blues Solo Lick 5 This lick finishes off the 12-bar blues solo. Notice that both the G7 and F7 changes are highlighted by minor 3rd to mojor 3rd blends lick #5Example 22: The Complete Blues Solo in € Here we have the complete solo as played on the accompanying recording. ick #1 Z Lick #5~ b, woa7 Example 23 Here, Robben plays slow blues solo, using oll of the scales and techniques discussed so far. The slow tempo should make it easier to absorb many of these licks ond phrases. a FI| | | a a—-15 F 275(OREro —-] = Pree A a eee CT CyB FIA Favar Ate Mrer “etree oldExample 24 This section exomines comping ond chord voicings. Firs le’s look at the C mixolydian scale. (The mixolydian cole is the some as a major scale with a +7th) The fretboard diagrams indicate the C mixolydion scole in five fingerings up the neck. C Mixolydian Scole:(xcExample 25 Here, the C mixolydian scale is harmonized in sixths: Example 26 ‘Meny background figures (and leads) are derived from the interval of © sixth. This example shows how you can use these sixths fo form background patterns ever @ C7 chord vamp. tr. Tate EN area]RTE[46 Part Vi: Chordsand Comping Example 27 In this exomple, Robben uses sixths fo create comping patterns over @ 12-bar blues. Each pattern is repetitive in that once a pattern is established for the C7 cherd, the somo pattern is then transposed to the F7 and G7 chords.c cr co iY) urs ae + oe Fs —o 3Example 28: Five Chord Voicings for the Blues These C7 ond F chord voicings work especialy well gether, as shown in he following transcription. This pattern is commonly used over the I7 chord in a blues progression. cr F x x xXx co 108,Example 29 This example uses @ more sophisticated chord voicing for the C7 change, C13. The 13th is the same scale tone os the éth (A in the key of C); because it is considered an extension, added on top of the basic chord ones (1, 3, 5, &47], it is considered the 13th rather than the &th. cB x x 13 1342 cB Fo cB Example 30 This example shows two F9 voicings. The fist contains the 3rd, 67th, Sth, and Sth. The second voicing is ployed with « 1st finger borre and contains the 47th, 9th, and Sih. Notice that this voicing has no 3rd. The following music example shows a common thythm pattern using this second voicing. ¥ P Pp Xxx me rit POOP52 Part Vir id 7 Example 31: Comping Demo over a C Blues In this example, Robben demonstrates how to utilize the previous five chord voicings to create blues comping paterns. Notice that the patterns are repetitive, This repelition is on important aspect of blues comping. It helps establish a groove that the soloist can then work over. Shute (59 = 53) 7oeExample 32: Comping Demo over a B! Blues In this example, Robben shows how the some five chord voicings con work in another key, over o dierent thythm feel. In the 2nd and 3rd choruses he introduces some ofthe riffs ond patterns first discussed in Exomples 23 ond 24.ERAT TT)RKTT BT BiELAR ETT Example 33A - D: Four More Voicings for the Blues Example 33A: This is © very useful voicing for the dominant 7th chord. If the chord looks unfamiliar, hy sliding it down to 1st position where it would become a C7. Notice that the root is doubled on the top and bottom (2nd and Sih sings) of the chord. ie. 3241 a Exomple 338: This is © variation on the previous chord. Here, the Sth sring root is replaced by placing F (the Sth of the chord) on the Ist string. Me 2244 = Example 33C: This form of the 7th chord has the root in the bass and the 3rd on top. 324 a Example 33: This voicing for £57, with the 47th on top, has a very funky blues sound. Of course, by sliding it up two frets you get the F7 (V7] chord. = = ss.Example 34: 2nd Comping Demo over a B> Blues In this exemple, Robben uses the four new voicings, pls @ few ofthe previous, to comp over on up le=po, funky blues feel. Bin al Me Ee BR BS AT BiT Bi aa a BI ER Bi7 ageBH BT ane Bi ea FI Fag. te, BT ae FRR pitGUITAR TAB GLOSSARY ** TABLATURE EXPLANATION READING TABLATURE: Tablature illustrates the six strings ofthe guitar. Notes BEND AND ‘and chords are indicated by the placement of fret numbers on a given string(). RELEASE: Play the note ‘and gradually b bend to the xt pitch, E then release tothe original ‘note. Only the first note i attacked. eT a 6. sine © HRM Fret BENDS fvouNa tone BENDING NOTES rane paar Sond sng wurstereay | OF stich eno “pe oyna trots ittcetnes Pay wie paving an adios vend ip ove freveteon fates on acer tnt Up ‘al Sieg” sana ‘additional note(s), causing original sie oe rasomd woe Stet senos fvoun STATIONARY vote ster presen nores:Pay Pye steane (Chet er noted bend ean on Soatote vend over Sion Sreced i, pach en etn sg Rn whe reas beis indexed at ho sain ne econ 0, wots srep bneaeNo AND vuison ADAWALE RELEASE Cod BEND:Po Piper and fresg nyt bom veweings terres on oy wrote stepand eral te ined ‘aha lower note to besunepich wo sters: REVERSE BEND: ovate Prien oné Pye eesy OTE BEND: bending wo bousui en Poysot ites ines do rend tered ete vena ams *Anall step is the smallest interval in Fie nea np a Western music; it is equal to one fret aC ee ee A.whole step equals two tets. tnamaionaCopyrgn Seared “MademUSA. AERGMEResaned “By Kenn Chiphin and Aaa StangRHYTHM SLASHES Fret. sort BOARD GUISSAN- : Pl ° sum arrina 0: Pay Joa) se rane eee J Lai rote and sein ey indicated specified rom bye with direction at , ; inger ofthe pick hand, then pull the as possible moment ‘The chord voicings are found on a be tatpag cite vanerpion atthe fotowing ntl bye underneath he song tie © 2 OO oicaTING ma = pick 282 S92. SS] AGF “cca SINGLE TAP SLIDE: s SLIDE: NoTes rear a; ae d 22 usiING fretboard past odgect 900 RHYTHM tapping, but the pick SLASHES: Ceara Very oten, notes id single note ae incorporated into randomly a mythm part The note name is wee cesihlendh cli indicated above the hythm slash {retboard, then pulled off 0 the across the length ofthe sringts witha ret number anda sing folowing note. indication. ured ARTICULATIONS ene Ai STRINGS: TH A ‘TECHNIQUE: percussive HAMMER ON: Play note and toundis. Play lower note, bende de by ened laying tne interval While frethand rote wih another holding bend, ‘across all six stings while pick finger Ony the tap ono note indicated. hand stikesspeciied area (ow, fretnoteis. img, high stings). stacked Lcaro PALM MUTE: LEFT HAND SUDE: The note or HANMER: Play note notes ae muted Hammer on side to by te palm of the fist note the the pick hand played on following by ihty tach sting roe. (Only touching the with the tet first note stings) near hand. tacked). the bridge. tong PULL OFF: TREMOLO Faeipernan cuss Fetes e then “pull off" to % Play ‘note or notes rote and ° lower note with ress are picked as note inger an, as possible. Only the fest note se — attaches for the full cB a{and the grace note, oe ACCENT: Notes or chords are to be played with added ARTIFICIAL HARMONIC: (ror upstroke ( vo the pick. VIBRATO: The pitch ofa note is varied by a pan rapid shaking ofthe fret hand: finger, wrist ‘and forearm. The first tad number is tretted, then the pick hand produces the harmonic by Using a finger to lightly touch the ‘same string atthe second tab ‘number (in parenthesis) and is then picked by another finger. aS aS amma the pick prodyoes the harmonic by squeeting the pick frm whe using the tip ofthe index finger in the pick ‘tack. parenthesis are found ‘round te feted note, doesnot ‘sound No parentesis means both the freed note and AH. are heard ‘simutaneoush. ‘SPECIFIED INTERVAL: Thepiich ota. note orchard Is lowered a specified Interval and then may or may not return tothe original pitch. The ‘activity ofthe tremolo bar is ‘graphically represented by peaks ‘and valleys.Wee and the Yellowjackets. Robben is currently touring with his new group, The Us In Playin’ the Blues, Robben lays out all the basics ~ the scales, chords, licks and phrases that are the foundation of mode aire pares and contrasts three variations on the blues seal Pete i vibrato and string-bending a shows his favorite chord forms and comp- ing patterns. All music is written in standard notation and tablature. We a Re od ee ee co WN | | REHBKC