PRIVATE LESSONS

S GUITAREssential Progressions,

Patterns, and Styles

by Steve Trovato

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Variation 1 Moled Bass NotesThis may be the most commonly played blues rhythm. It sounds best when:

It is played using all downstrokes with your picking hand.'. ' '

It is muted using the heel of your picking hand close to the guitar bridge (P.M.).

It is played staccato by lightly bouncing your fretting hand just after each pickstroke to achieve a "dot, dan-dat, dah-dat, dah-dat" sound.

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Variation 2Chord SlideThis rhythm is played by fretting a sixth chord, playing it, and slidinig the entire shape downa whole step (two frets). It sounds best when:

You use downstrokes only.

You slide each chord without loosening fret pressureso the chord you'resliding to rings clearly over two beats.

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Variation 3a la Led ZeppelinHere is a great rhythm part based on a dominant-seventh chord shape. It sounds powerfulwhen doubled by a bass. For the turnaround, slide into the B9 chord from a half step above.It sounds best when:

It is played using strict alternate picking. (The actual notes are played using down-strokes, and the upstrokes are ghost notes.)

A slight amount of distortion is added to the sound.

Each note is held for as long as possible before playing the ghost note.

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Variation 4Single-Note ShuttleHere is another extremely common and popular rhythm that sounds great when doubled bythe bass. The turnaround is played by sliding into the B9 chord from a half step above. Itsounds best when:

Each note is played staccato. This is done by releasing pressure on the frettednote just after it is played.

It is played by muting the strings using the heel of your picking hand just infront of the bridge (P.M.).

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2luck Berry Style

Chuck Berry has been a major contributor to American blues music. His style of blues/rockis so recognizable that the phrase "Chuck Berry style" instantly brings to mind a certain gui-tar sound. This style of rhythm guitar has a driving, rock edge. Chuck has written and record-ed such great songs as "Roll Over Beethoven," "O' Carol," "Rock and Roll Music," and"School Days," but is perhaps best known for his classic tune, "Johnny B. Goode." "JohnnyB. Goode" is the epitome of the Chuck Berry-style of rhythm and should be an integral partof every guitarist's repertoire.

I've written these examples and variations in the key of Bl>, the original key for "Johnny B.Goode."

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

It is played using only steady downstrokes.

It is played in the lowest register for any given key.

It is played using a slightly distorted rock sound ......... ................................................

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Variation 2This variation is a chord slide rhythm that is mean? to be played by itself or in conjunctionwith variation 1. The use of ninth chords gives it a bluesy sound.

The Bi>9 chord is voiced on strings 5, 4, 3, and 2. This perhaps unfamiliar ninth chord voic-ing is a very important one to know; it will enable you to play all the chords in the progres-sion within close proximity and in the same register. This lends a consistency to the overallsound. It sounds best when:

It is played using alternate picking, beginning with a downstroke.

Each chord of the slide is picked in a quick down-up motion.

You keep your picking hand moving in strict time with the music.

You play it using a clean, thick, rhythm tonenot too rnuddyT

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Variation 3Here's another "in the pocket" rhythm variation for the basic feel. It sounds best when:

You keep your picking hand moving in strict time with the music.

It is played using the designated pick strokes.

You play it using a clean, thick, rhythm soundnot too muddy.

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Variation 4 Double StopsThis is one of my favorites. It has an unusual but potent sound.

The first double stop you play is not the same chord you are playing over. For example,

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

Close attention is paid to the staccato markings.

The picking hand is kept moving in strict time with the tempo of the song.

Up and down pick strokes are closely adhered to.

You use a clean,

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CHAPTERSThe Uptown Swing a la B.B. King

The uptown swing (or "jump" blues) is a fairly sophisticated feel. It is usually played quite fastand is reminiscent of B.B. King's "Everyday I Have the Blues." Other artists that have popu-larized this feel include Duke Robillard, Bugs Henderson, and Hollywood Fats.

The basic feel is set up with the drummer and bass player playing quarter notes on the down-beat. The drummer will play the quarter notes on the kick drum, and the bass player will dou-ble it, playing a boogie-woogie rhythm part. The guitarist plays staccato chords on theupbeats. I recommend practicing this rhythm style using a metronome to establish a greatsense of time because even the most experienced players have a tendency to rush this rhythm.

Variation 1 Upbeat RhythmBecause this style is a bit more sophisticated than many other blues rhythms, we'll comple-ment it by playing chords more sophisticated in sound. For the upbeat rhythm, we'll begin byusing ninth chords. It sounds best when:

It is played using sharp, staccato upstrokes.

You keep your picking hand constantly moving in time with the tempo. For thedownbeats, which are notated as rests, you should actually use a downstroke,and lightly play the muted chord by loosening your grip. For the upbeat, snapyour wrist upward, playing the indicated chord.

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Variation 2Horn Punch Rliytlimimagine a four-piece horn section playing togefher and driving B.B. King's big band to afeverish pitch. The idea of the "horn punch rhythm" is to simulate this effect. The larger chordvoicings provide a slick uptown sound. It sounds best when:

Picked using short, brassy, staccato stabs.

Played using a clean, trebly tone similar to a trumpet.

The bridge or treble pickup is used.

Fig. 13

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Variation 3Horn Pencil VariationThis is an "in the pocket," relaxed variation of the previous example. Again, the chord voic-ings are larger to provide a jazzier sound. It sounds best when:

It is played using staccato downstrokes.

The pick attack is sharp and definitive.

A brassy, trebly tone is dialed in, and the bridge or treble pickup is used.

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Variation 4The Frisky TrumpetHere is yet another variation of the horn punch rhythm. This one incorporates larger voicingsfor ninth chords. These voicings are typical of the voicings that an actual horn section mightplay.

In this example, the top voice moves like a lead trumpet in a horn section. The movement isexecuted by pulling off with your little finger. The lower note of the pull-off is played on thefirst string using a first finger barre across the top two strings. Ninth chords are used through-out the entire example, but notice how the voicings change during the turnaround. Here, theslide is from a half step below (Ei^ -E?). It sounds best when:

A sharp, percussive attack is used.

A clean, brassy tone is dialed in, and the bridge or treble pickup is used.

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CHAPTER 4Kansas City Jazz Swing

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

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Variation IChunk Chord;;The term "chunk chords" refers to the style in which the chords are played: quarter-notechords played on each beat. This type of rhythm guitar is also sometimes called "FreddieGreen style." Freddie Green was the great rhythm guitarist with the Count Basie bar.d.

I've made all of the chords dominant ninths with each chord being approached from a halfstep above. Half-step approaches are common in blues rhythm and give a forward-drivingmotion to the feel. It sounds best when:

A clean rhythm guitar sound is used.

It is played using a relaxed, lazy strum.

It is played using all downstrokes.

You play every chord and don't slide from one chord into another.

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Variation 2Expanded Chord VoicingVariation 2 uses the same quarter note "chunk".rhythm as variation 1. The difference is theuse of much larger-sounding chord voicings. The dominant thirteenth chord is one of theswing blues player's favorite sounds. It lends a big-band quality to a small combo. Pay closeattention to the chord shapes when playing this example, and you'll be rewarded with anextra bonus: a melody produced by the top note of these chords moving in minor third inter-valsvery bluesy! It sounds best when:

A clean rhythm guitar sound is used.

It is played using a relaxed, lazy strum.

It is played using.all downstrokes.

You play each and every chord and don't slide from one chord into another.

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Variafliii 3Walking Bass KitesThis one will make you sound like an entire band! Pay close attention to the notation and tab-lature to ensure that you have the correct chord voicings. In many cases, there is actually adifferent chord being played on each beat. I recommend you play this example using ahybrid picking style; using your pick along with your middle and ring fingers to pluck eachnote simultaneously. This avoids the sounding of unwanted strings. You can use a pick alone,but you'll need to mute any unwanted strings. It sounds best when:

It is played using a clean guitar sound.

It is played in a relaxed, lazy feel.

You let each chord ring as long as possible before moving on to the next one.

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Variation 2Small Chord TripletsThis one is frequently played by guitar or piano. It is a subtle variation and should be playedlightly, or it can sound overbearing or distracting. Although this is not a quick change blues,the notes in measure 2 imply the IV chord. It is not necessary for the other instruments in theband to follow; it is quite common for the guitar to imply the IV chord while the rest of theband stays with the I chordtry it.

In measures 5, 6, 9, and 10, I've relaxed the rhythm by using a chord slide. I believe this isnecessary to relieve the monotony of the driving eighth-note triplets. Measure 11 has an inter-esting three-note chord turnaround that should be added to your repertoire. It sounds bestwhen:

The triplets are played evenly.

Lightly picked upstrokes are used to play the triplets.

The downbeat of each beat is accented to sound slightly louder than the otherbeats.

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Variation 3Stormy MondayHere is the progression for "Stormy Monday" blues. The addition of a ninth chord and otherpassing chords gives it an almost jazzy sound. Measure 11 features yet another turnaroundlick, this one using an open third string. The last measure uses an arpeggiated D augmentedchord as the V7 chord. It sounds best when:

The chords are played strongly and deliberately, as they are meant to work inconjunction with the melody of the song.

A thick, clean rhythm sound is used.

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CHAPTER 6The Mambo Feel

The mambo feel is a straight eighth-note feel reminiscent of "Crosscut Saw" by bluesmanAlbert King. I've written three separate rhythm parts for this feel. Each part stands on its ownand may be played by itself. Variation 2 may be played simultaneously with either of theother variations if you have a second rhythm instrument in your band, such as a keyboard orsecond guitar.

- Variation 1This is a single-note line that sets up the mambo feel. It sounds great when the bass playerdoubles it and the drummer plays a rhumba or ch'a-cha beat. It sounds best when:

You play it with a clean, percussive guitar sound.

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Variation 2Chords on the BaekbeatThis one is played on the backbeat (beats 2 and 4 of each measure). The part should soundlike a sharp, percussive "chick." Use only the lop three or four strings.

Since this part is essentially doubling the snare drum, it should approximate the sharpness,duration, and timbre of a snare. It sounds best when:

You use a clean sound.

You use the bridge pickup of your guitar.

You play the part with your pick, using an upstroke.

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Variation 3Chord SweepsThis is a great variation of the single-note line because of the chord sweep. The chord sweepis meant to emulate the sound of a snare drum playing a mambo or cha-cha beat.

To play the sweep, fret each chord first and drag your pick upwards across the strings even-ly. It will take some practice, but the reward is worthwhile. It sounds best when:

It is played using a clean rhythm guitar sound.

The sweep notes are played staccato and not permitted to bleed into one an-other.

The sweep is played by dragging the pick upwards across the strings evenly.

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Variation 2This example is similar to variation 1 with the addition of single-note bass notes as pickupsinto each chord. It sounds best when:

It is played using a clean, glassy rhythm tone a la David Gilmour.

It is played using a medium-gauge pick rather than a heavy-gauge pick.

It is played using a loose-wristed picking motion.

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VariationsThe addition of chord extensions and alterations gives this example a more sophisticated,uptown sound. I've added the ninth degree to the Dm7 and Gm7 chords. I've also added thet5 degree to the Bl>7 and the 15 to the A7 chord. Watch the fingerings for these chords if theyare new to you. It sounds best when:

A clean rhythm guitar tone is used, so the larger chord voicings do not becomemuddy and indistinct.

A slightly chorused or pitch-shifted tone is used.

You use a barely audible delay of about 350 milliseconds with reverb.

A medium-gauge, somewhat flexible pick is used.

A bit of compression is addedr

Fig. 30

I = 92Dm9

i

Gm9 Dm9

Bb7b5 A7j(5 Dm9 A7}(5

M3.'-QS. .* m

33

Variation 4This one is reminiscent of Stevie Ray Vaughan's "Cold Shot." It is a strong rhythm that soundsgreat in all keys. Remember to play it only on the indicated string setall the single notes areon string 4 and all the double stops are on strings 3 and 2. Be sure to play the single notesand allow them to ring for an entire quarter note (a full beat). Do not play the single notesstaccato. The last chord (A7I9) adds a real Stevie Ray touch. It sounds best when:

It is played only on string groups 4, 3, and 2.

It is played using a circular picking motion. To pick this way, imagine a dot cen-ered between your pickups (on a two-pickup guitar), and pick in a circularmotion around the dot. Stay about three inches from the dot as your hand trav-els around in a small circle. Each beat should account for one complete revolu-tion around the imaginary dot.

' It is played using a slight distortion or crunchy guitar tone.

1 All downbeats are played using a-downstroke, and all upbeats are played usingan upstroke.

1

Fig. 31

Dm

_p f _^? LJ- ir r r i^ d r r r -LJ =picking: R H fl fl V cont- simile

T 1* m. I* 18A r 10 rD

1? ini? in

1? m 1?19 m1? m

1? m 1?

1 mr 10

r 10 r

Gm Dm

I A li

B

' !

3

I 0

6 .

\ ' ft

' ' "

f ai

I "I I f~""S \J '-m * p F

f a -JB 3 6

T* F 1* r r '

' 1* in15 101? m 1?

1 1* * ' + r r ~\O -n ,-vin 11 1^ -^ *^ iM8 r

G7D7

^f "l=i==l===i==i=>- ^ p M-^j .. iii .. -^ 1 I I 1 1 1 L 1 J ^ |^t * 6 6 6 6 6 ~ 6 7**7*$^7'?fifi^

. a 4 s

43

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

RHYTHM SLASHES are written above thestaff. Strum chords in the rhythm indicated.Use the chord diagrams found at the top ofthe first page of the transcription for theappropriate chord voicings. Roundnoteheads indicate single notes.

THE MUSICAL STAFF shows pitches andrhythms and is divided by bar lines intomeasures. Pitches are named after the firstseven letters of the alphabet.

TABLATURE graphically represents theguitar fingerboard. Each horizontal linerepresents a a string, and each numberrepresents a fret. 4th string, 2nd fret

D D E G open 3fr

Notes:

f f lMStrings:

rl

*

AB ;

,

a

* _...-

*8

0a

1st& 2nd strings open D chordopen, played together

DEFINITIONS FOR SPECIAL GUITAR NOTATIONHALF-STEP BND: Strike the note afiir bend WHOLE-STEP BEND: Strike the note andup 1/2 step. bend up one step.

GRACE NOTE BEND: Strike the note andtend up as indicated. The first note doesnot take up any time.

hJM-ff

A

i .. ..1/2/

_ s'

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

BEND AND RELEASE: Strike the note andbend up as indicated, then release back tothe original note. Only the first note isstruck.

1/2

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

full

PHE-BEND AND RELEASE: Bend the noteas indicated. Strike it and release the bendback to the original note.

full

UNISON BEND: Strike the two notessimultaneously and bend the lower note upto the pitch of the higher.

full

m

B-

VlBRATO: The string is vibrated by rapidlybending and releasing the note with thefretting hand.

WIDE VIBRATO: The pitch is varied to a HAMMER-ON: Strike the lirst (lower) notegreater degree by vibrating with the fretting with one finger, then sound the higher notehand. . . . (on the same siring) with another finger by

fretting it without picking. '

WVVWWWV'

vwvwvww

PULL-OFF; place bom liuyers on iiie nulesto be sounded. Strike the first note andwithout picking, pull the finger bit to soundthe second (lower) note. '

LEGATO SLIDE: Strike the first note andthen slide the same fret-hand finger up ordown to the second note. The second noteis not struck.

r -. 9

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

(t 1*T1 7A

TRILL: Very rapidly alternate between thenotes indicated by continuously hammeringon and pulling oft.

TAPPING: Hammer ("tap") the fret indicatedwith the pick-hand index or middle fingerand pull off to the note fretted by the frethand.

-tt-