TRACKS 35-40

3S.Introdvct•on 36. Example I 37. Example 2 38. Example 3 39. Example 4 40. Example 5

<!> 2002 Widdie Mu~c

GT RATING MODERATE

IIIII II W ill improve your: • Dexterity • Rhythm skills • Fingerplcking

"The left hand is quite simple, but

t he right-hand techniqu.e

may requwe practice ."

Acoustic 12-bar need not be perfunctory plunking! Eric Roche offers some killer t ips for making your box'd blues less boring ...

SPRUCE UP YOUR 12-BAR BLUES!

I hope you enjoyed GT's Tommy Emmanuel masterclass last month. Many of the examples were quite challenging so, I've made things a little easier this month! Rather than look at at

another musician, I've designed my own blues fingerstyle lesson \\~th var ious examples of rhythms. You won't need a plectrum for these examples, although you may choose to use a thumbpick. All examples are in the blues-guitar-friendly key of E.

70 Guitar1ochniques suMMER 2002

.. WORKSHOP

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ACOUSTIC BLUES 12-BAR EXAMPLE I

EXAMPLE I is a straightforward 12-bar with a swing/shuffle feel. A 12-bar is just what it says on the tin: a 12-bar chord progression. However, it is not just any I 2-bar chord progression. 8xample I is four bars of E, 2 bars of A, 2 bars of E. These are followed by a single bar of B, a bar of A and 2 bars of E to finish - 12 bars in all. In our example this pattern is played through twice with a final E chord to finish. This is a fairly standard 12-bar. There are some slight variations of this progression that we will discuss in the following examples.

Technically, the left-hand is quite simple, but the right-hand technique may require some practice. By slightly muting the three bass strings with the right hand you can achieve a tighter rhythm and tone - the rhythm becomes more defllled. The tecluuque involves resting the heel of the hand on the strings just slightly past the bridge. Check out the CT CD to hear the correct tone and rhythm.

The feel of the piece is distinctly swing. The recording on the GT CD will give the most useful demonstration. Just tlUnk triplets l+a, 2+a, 3+a, 4+a etc.

-3-

Wilh swing feel 1J = J )> J = 178 RH muling 1hroughou1

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E 8 G 0 A E

E 8 G 0 A E

5

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4 ~ 4~ 4 5 4 2 4 5

suMMER 2002 Guitar'!Wmiques 71

ACOUSTIC BLUES 12-BAR EXAMPLE I CONTINUED

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E 6 G 0 A E

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17

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ACOUSTIC BLUES BLUES 12-BAR EX AMPLE 2

EXAMPLE 2 is a more elaborate version of the first example. The pattern is harmonised in si>:ths. The feel is the same as EXAMPLE I. I've included some left­hand fingerings in the standard notation.

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72 GuitarTechnique; SUMMER 2002

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2- 5 0

ACOUSTIC BLUES 12-BAR EXAMPLE 2 CONTINUED

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7 7 7 7 7 7 7 9

ACOUSTIC BLUES 12-BAR EXAMPLE 3

EXAMPLE l is a further development of the patterns played in the first two examples. Here I've used some t riads to flesh out the ha1mony. ln this example I've included a variation in the chord progression. In BAR I 0, I've played the B chord for a second bar rather than return to the A chord. Other possible variations would be to play the A chord in BAR 2, and the B chord in BAR 12. Once you are more familiar with the patterns in these examples why not try to include some of these variations?

-3-Wilh swing feel JJ = J )>

e 2-3 2 2 B 2-3 2 G 2-4 2 2 0 A e

5

2-3 2-4 2-4

- 1

2---1- ~---<1 4 2- f-----{2

2-3 2-4 2-4

suMMER 2002 Guitar11rl\niques 73

ACOUSTIC BLUES BLUES 12-BAR EXAMPLE 3 CONTINUED

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~ t .. .. .. .. .. .. .. J ............ ~ ~ .. ~---! i .. ~ ---! i .. ~ ~~

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2 3 3- ,__ E 8 G 0 A E

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1 1 - 1 1 1 1 2 2

21

ACOUSTIC BLUES 12-BAR EX AMPLE 4

EXAMPLE 4 is not a 12-bar, although it has many of the harmonies and phrases associaLed wiLh a I 2-bar. I've added a few non-standard chords at the end of the pattern (what we call the 'turnaround') to spice it up. This originally appeared in a lesson I wrote for a Guitarist magazine Acoustic Special two years ago, called 'A Little Guitar Yoga'. Again, I've included some left-hand fingerings for you as a guide.

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7.21

74 Guitar'l'echniqua> SUMMER 2002

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ACOUSTIC BLUES 12-BAR EXAMPLE 4 CONTINUED

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28

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tJ

31

TRACK 40

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4 -2

TRACK 40 on the CD is a combination of EXAMPLES I and 3 played as a duet. Practice playing EXAMPLE 3 alongside EXAMPLE I on the CD and vice versa. IBJ

@ PR011P

USINGTHETE.CHNIQUE$AND PHRASES ecplored In this momhs lesson try co pllt diem In ...... ..,.such a A. G. D llld _,..,.lib C llld F. 1)ils wMI help Ill ilw1lapq ~ 111MIII1t11Mirw of die JU1ar flnaerbovd • Mil It~· FOd ~IMir'clle.

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suMMER 2002 Guitar Techniques 7 s