MEL BAY PRESENTS

BAD BONEBLUES 6UITAR

RHYTHM PATTERNSCD CONTENTS

Tuning [:30]#1 [:221#21:22]#3 [:22]#4 [:23]#5 [:22]

#21 [:20]#22 [:20]

J #23 [:20]#24 [:20]#25 [:20]

J #26 [:20]

i:i #43 [:19]

EJ #44 [:19]

LI #45 [:19]#46 [:15]

J #47 [:12]#48 [:13]

IJ #63 [:181E1 #64 [:18]El #65 [:19]EI #66 [:18]E1 #67 [:15]EJ #68 [:14]

#83 [:17]

J #84 [:181#85 [:13]#86 [:13]#87 [:13]#88 [:12]

#61:231#7 [:22]#81:20]

J #27 [:20]

J #28 [:20]#29 & 30 [:44]

l!J #49 [:13]

@: #50 [:231I1 #51 [:181

1l #69 [:22]1 #70 [:15]

#71 [:26]

J #89 [:13]E #90 [:12]

I #91 [:12]OI #9[:20] #31 [:21] EI #52[:14] E!J #72 [:15] J #92 [:131

#10 [:20]#11 [:25]#12 [:20]#13 :211#14 [:20]#15]20]

ai #16 [:20]#17&18{:46]

#32 [:20]#33 & 34 [:42]#35 [:20]#36 [:19]#37 [:19]#381:19]

EI #39 [:19]#40[:18]

EIJ #53 [:16]#54 [:191

EI #55 [:19]

1J #56 [:19]#57 [:19j#58[:18]#59 [:18]

IJ #60[:18]

#73 [:19]L1 #74 [:20]

#75 [:20]#76 [:20]#77 [:20]

F1 #78[:11]#79 [:13]#80[:13]

#93 [:12]#94 [:14]

EI #95 [:20]

EI #96 [:20]#97 [:20]

J #98[:17]#99 [:17]#100[:13

#19 [:20]#20 [:201

:i #41 [:19]#42 [:19]

FI #61 [:18]

J #62 [:18]I!1 #81 [:13]

#82 [:17]IJ #101 [:16]

Credits

BYLARRYMcCABE

BassGuitar and photosRecording engineer..

Randy BarnhiilLarry McCabeFred Chester

' 1999 BY MEL BAY PUBIJCATIONS, INC.. PACIFIC, MO 53069.ALL RIGHTS RESERVED. INTERNATtONAL COPYRIGHT SECURED. B.M.I. MADE AND PRINTED IN U.S.A.

No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic,mechanical, photocopying, recording, or otherwise, without written permission of the publisher.

Visit us on the Web at http://www.melbay.com- E-mail us at email@melbay.com

Mel Bay Titles by Larry McCabeTitulos de Mel Bay por Larry McCabe

BLUES GUITAR* Blues, Boogie, and Rock Guitar* Blues Band Rhythm Guitar* 101 Blues Guitar Turnaround Licks* 101 Mississippi Delta Blues Fingerpicking Licks* 101 Dynamite Blues Guitar Fill-In Licks*

* 101 Bad-to-the-Bone Blues Guitar Rhythm Patterns* 101 Dynamite Slide Guitar Licks in Open E Tuning*

* 101 Essential Blues Progressions* 101 Red-Hot Jazz-Blues Guitar Licks and SolosROCK GUITAR

* Anthology of American Rock and Roll Guitar Styles* 101 Dynamite Rock Guitar Rhythm Patterns*

* 101 Dynamite Rock Guitar Riffs*

FINGERSTYLE GUITAR* 101 Fingerstyle Guitar Accompaniment Patterns*

* 101 Mississippi Delta Blues Fingerpicking LicksCOUNTRY GUITAR* 101 Nashville Style Guitar Licks* Country Lead Guitar* 101 Kickin’ Country Rhythm Guitar RunsSLIDE GUITAR* 101 Dynamite Slide Guitar Licks in Open E Tuning*

SWING GUITAR* 101 Red-Hot Swing Guitar LicksBLUES BASS* 101 Blues Bass PatternsROCK BASS* Anthology of American Rock and Roll Bass Style* 101 Dynamite Rock Bass Patterns*

LATIN BASS* 101 Dynamite Latin Bass Patterns*

JAZZ BASS* 101 Anzazing Jazz Bass PatternsCOUNTRY BASS* Country Bass Made Easy

SONG WRITING I THEORY* You Can Teach YourselfTM Song Writing

* Text in both English and Spanish I Libros en Ingles y EspaflolDescriptions of these book/CD sets can be found in the Mel Bay catalogue 1-800-8-MEL BAYMore Larry McCabe books will be available from Mel Bay soon.Visit Mel Bay Publications on the Web at http://www.rnelbay.com

2

CONTENTSIntroduction 4

How to Use This Book 5

FOUR-BEAT PATTERNS

Four-Beat Dominant Chord C7 Patterns 9

Four-Beat Minor Chord Cm7 Patterns 16

Four-Beat Vamp Patterns for C7 and Cm7... . 17

EIGHT-BEAT PATTERNS

Eight-Beat Dominant Chord C7 Patterns 19

Eight-Beat Minor Chord Cm7 Patterns ... 28

Eight-Beat Vamp Patterns for C7 and Cm7 29

Appendix 1. Basic Types of Blues Rhythm Patterns 31

Appendix 2. 12-Bar Blues Progressions in Major Keys 34

Appendix 3. 12-Bar Blues Progressions in Minor Keys. 36Appendix 4. 8-Bar Blues Progressions in Major Keys 38

Appendix 5. Open Charts for Application of Patterns 40

3

INTRODUCTIONWith a minimum amount of effort, any beginning guitarist can quickly learn rudimentaryaccompaniments to hundreds of simple songs. Problem is, the relative ease of acquiring suchbasic skills often lulls one into the false belief that rhythm guitar playing is a limited kind ofmusical amusement.’

Indeed, it seems that many guitarists-apparently oblivious to the healing balm of creativeexploration-are lucklessly destined to forever walk a dark, narrow, one-way rhythm guitar streetfilled with creepy alleys, one-eyed cats, hungry rats, windowless dives, and untrustworthy peoplewho also do a little lying, cheating, and stealing on the side.

When we discuss those who fail to appreciate the art of rhythm guitar playing, fairness dictates thatwe not assign this state of deprivation exclusively to the grinning, naive beginner who hopes tosomeday play ‘as good as Gene Autry did in the movies.’ To get closer to the point, it would be astatistical error to omit from the present discussion those presumptuous hot-shots who are intent ongiving everyone within earshot an aural pistol-whipping. With their bWlet-like bursts of rapid-fireblue notes crackling away like annoying little explosions of thunder, such guitarists often know asmuch about rhythm-section playing as Adolf Hitler knew about the Golden Rule.

With my hand on my heart, I testify to you that I have seen many blues guitarists hopelessly snaredin the cold steel jaws of the lead guitar trap. Take Benny not his real name, for example.Bending the strings, tossing off hot licks, scanning the audience for hero-worshiping chicks, andoblivious to his rhythm section, Benny is scarcely aware that his scowling bass player has abarely-suppressed hankering to take out a big butcher knife and chop off Benny’s Slinkys.2

I’m not being coy about this. This is merely an attempt to provide you with some decent, honest,friendly, low-cost information. . . the kind of information that may someday help you avoidhaving your guitar strings or something else chopped off by an irate bandmate. Because peopledo chop things off these days. It’s in the newspapers all the time.

Firm in the belief that you are now unalterably convinced of the necessity of acquiring well-rounded rhythm guitar skills, I sincerely hope that you enjoy-and profit from-this new collectionof 101 Bad-to-the-Bone Blues Rhythm Guitar Patterns.

Larry McCabeTallahassee, Florida

I. There are, of course, some guitarists who believe that the Crown of Virtuosity should be placedon their head every time they perform the six open-string chords they learned to pick out by ear"in 1965. But I won’t talk about those people here, because they are not buying this book anyway,and you and I believe in due process, and they are not here to defend themselves.

2. "Slinkys" are a popular brand of guitar strings. You probably knew that.

4

HOW TO USE THIS BOOKThe Written Music1. Each rhythm pattern in this book is based on either the C7 chord or the Cm chord. This formatprovides a consistent point of reference and facilitates ease in theoretical analysis and comparison ofexamples.

2. Each example is written in both notation and tablature exactly as it is recorded.

FingeringsSuggested fretting-hand fingerings are provided in the notation staff. The recommended fingerings arenot absolute, and you may modify a particular fingering if you have a better idea.

1 = First index finger 2 = Second middle finger 3 = Third ring finger 4 = Fourth little finger

Patterns 1-101The 101 musical examples are divided into two basic categories: four-beatpatterns and eight-beatpatterns see the Table of Contents. Like the majority of blues songs, most of the patterns are in 12/8time. However, I have also included several patterns in 4/4. Many of the 12/8 patterns can he convertedto 4/4 ‘straight time’ and vice-versa.

Each basic category is divided into three sub-categories: Dominant patterns C7, minor patterns Cm7,and vamp patterns which include both C7 and Cm7 patterns.

In blues music, a vamp pattern is played repeatedly for the entire length of a song. A vamp pattern isalso called a monochord pattern. One-chord songs are not rare in the blues; in fact, most blues bandshave at least one monochord tune in their repertoire.

The Companion CD1. Several ‘A" tuning notes are provided on the first track of the companion CD.2. The CD, recorded in stereo, is mixed as follows: The drums are in the center

The bass guitar is on the ifiThe rhythm guitar is on the tight

3. If you wish, you may remove either the rhythm guitar or the bass by turning down the appropriatespeaker.4. Most of the examples are assigned an individual track. Because the current technology allows only 99tracks, a few tracks contain two examples.5. Most of the patterns are recorded at a moderate tempo. Feel free to adjust the tempo as desired for liveperformance.6. Each four-beat pattern is played four times; each eight-beat pattern is played twice.

ProcedureAlthough it might be easiest to start with the four-beat patterns, you can work through the patterns inany order. If you encounter a pattern that is too difficult, try another pattern and return to the morechallenging example later.

Application of Patterns to Actual SongsThe patterns in this book can be applied to thousands of "real" blues chord progressions see Appendices 1-5 for supplementary information. We will now learn the fundamentals of applying the rhythmpatterns to blues progressions.

5

Application of Pattern 1 to the Basic 12-Bar Major-Key Blues Progression

Example 1 shows how to play rhythm guitar to an entire blues song by applying pattern 1 the firstfour-beat pattern in the book to the basic 12-bar major key blues progression.

The basic 12-bar major-key blues progression is discussed on pages 34-35.

Ex. 1 Rhythm pattern #1 applied to the basic 12-bar major-key blues progression

C7 C7 C7 C7a -. a P.

ft ft : H5 3 5 3 5 3 5 p-T 5 2- 5 3 3 3

A

k liftJ

___

H10 5 10 5 3 5 310 8 10 8 5 3 5 3

A 10 8 10 8 5 3 5 3

B

Application ProjectsWhen you feel that you are ready, work on the application projects in Appendix 5 pages 40-44. Theseprojects will help you learn to apply the rhythm patterns to a variety of standard blues progressions inseveral keys. I

6

C7 F7

Pattern ModificationsSometimes a rhythm pattern must be modified-or replaced with a new pattern-to fit a context that isdifferent from the original context.For instance, pattern 1 Ex. 2, a four-beat pattern, is played to four beats of C7. Because Ex. 3 is ameasure of two-beat chords, the rhythm pattern in Ex. 2 will have to be modified to fit the chords in Ex. 3.

Ex.2 Ex,3

C7

One possible solution is shown in Ex. 4. A less-active possibility is demonstrated inEx. 5. Here, the technique of anticipationplaying a chord before the heat is appliedto F7.

Ex..4 Ex.5

C7 F7 C7 F7

Example 6 shows a turnaround progression in the key of C. A turnaround is a two-bar chord progressionat the end of a section of music. The turnaround in Ex. 6 is often found in the last two bars of a major-keyblues progression see appendices 2 and 4.

There is no precise formula for modifying a given rhythm pattern to fit a new musical context. However,a committment to active listening, study and experimentation will help you become proficient at this skill.For an exhaustive treatment 165 pages of blues rhythm guitar styles, chord fingerings, and modernharmonic substitution and embellishment, see Mel Bays Blues Band Rhythm Guitar.

C7 F7

Apply the rhythm pattern in Ex. 4 to the chord progression in Ex. 6 the first measure of Ex. 6 will be thesame as Ex. 4. Hint: to transpose the C7 pattern to G7, move it up seven frets.After doing this, apply the pattern in Ex. 5 to Ex. 6 the first bar of Ex. 6 will be identical to Ex. 5YEx.6

C7 G7

7

Four-Beat Patterns‘Whenyou see me leavin, bangyour head and cry."

8

Four-beat patternsDominant chord patterns C7Each pattern can be used for the C7 chord

1 2-.- S

TF: –

5 3

3 4

ii p33 3 3 3 3 3 8 11 8

10 8’10 8 9

54 5 4 5 iF 8 11 8

101B

5 6

4 II Liiir I !z %JLi:ii3 3 2 3 8 8 6 53 3 2 3 10 10 8 5 1-1

A 3 3 2 3

B

7 4 8Sfl

I11 12 11 t0 8

A 1Z 11 10 9

________________

5 5 3 5

B

9

Four-beat patterns.. . continuedC7 patterns. . . continued

9 10I 1

-- 4 St at

WI -‘ 1EP–PIP - PTh]

8 8 8 6 8 10 88T 5 5 5 8 8 10 11 10 8AR

Block the G and D strings with the first finger

6 8 8__10 8 688 1011 10877 912 97 5 55 5-5 5

1- 5 57 75 5 5B

1r’’3 3 3 3 3 3 3 5 3

A 3 33 33 3-3 5 3I-’ -5 35 5

3

15

HI C3 +--L8 10 10 11 11 10

3 5--.310[910 1012 12 10

10

Four-beat patterns. . . continuedC7 patterns continued

17 18

-

13 1

Ir’!’iiiiiiilj.

53 1A 5 3 3 5 3 II

_____________________________________

2 5

I 1J

66 5 388 5

__

A 5

__

I-’ 5 5

__

B 3 3

11

C7 patterns. continued

25

Four-beat patterns. . . continued

26

jJ 1T

1AJR 13 2

2 25 5 5

35

27 28

2-

iUj.-.-1

IT

IAB 8

5 13 M3/ 587 87

29 30" kJ! ILiiJ J -i

-

T 8 8 8 6 6 8 8 I 65 5 5 5 5 5 5

6

AB

5

31 32

12

C7 patterns, continued

Four-beat patterns. . . continued

33‘k.

34

% -.-

1

8f’ F 3 3589 I 3 3 5

53

4 * St 110 8 6 8r 6 45 3 -- 3 3

37 38

39 40

1rffff

________

8 8 6 6

[10

8 t8 88 IHo 10

A

13

Four-beat patterns.. . continuedC7 patterns.. . continued

41 42

12is_ r’ r ii - I ‘ i

T 55

55

53 5 11 H 10 108’A

B5 5 12 1210 108-9

4 - ‘TA

-/%.

35

35

57

5 7 757 8 87

5 57 7

5 7 97 8 810 10

78

78

B

‘

Tm m

"Finch the notes as follows:Middle finger m plays the top note CThe F note is played with a downpick

T 53 3 1AR

5 3 2

Number 45 is played using the pick and fingers’ technique. You will find this pattern easy to playif you relax and follow the performance markings and suggested fingerings.

If you enjoy this book, you will also enjoy Mel Ray’s 101 Blues Guitar Turnarounds by Larry McCabe.

14

Four-beat patterns. . . continuedC7 patterns in 4/4 time

46 47V

_____________

IIA II 5

H

48 49 This pattern can also be thought of as a Bb to C pattern

1 13 1 HIV

8 8

A 7- 9

g 1180 1O-

10

50 V 51 Pinch" the intervalsm mm V V

__________

V___

____________

mJ

6 6 8 8 6

_______

5 5 55 5I5 5 5 53 3A 35 -5 35

B ii

52

5 5 3 4

15

Four-beat patterns. . . continuedC minor patterns Cm, Cm7, etc.

53 5411*1 *-*-t-1

4 I**

*1 J a. I ‘ fl’ 1

10 810 1

rY 1

18 9 10

TAR

1 1 -i:18 I

Sometimes the major chords C Cpattern 53.

Eb F are played to

55 56

4 ! I4 4-6 8

A 5 5-7 86 47 5

10

1010

88

10R

Patterns 54 and 55 can be played in harmony.

Discover the roots of the VaughanlClapton/Hendrix styles with Mel Bay’s Blues, Boogieand Rock Guitar by Larry McCabe. This greatbook/CD teaches 25 full-length blues solos. 25full-length blues rhythms. and blues scale’and ticks. otes, tahiature. and diagrams.

16

Four-beat patterns. . . continued‘Vamp" patterns for the key of C

IT-A 5 -5 5 3-’5 10 8

-5--- 5 3-5 1 0 1 0-B

4A 5 31- -3-- 5 5

Some blues songs "Smokestack Lightning" have only one chord C7 or Cm in the key of C or riff pattern.A repeated playing of a single riff is called a vamp. Patterns 57-60 can be used in one-chord blues songs.

The harmony for one-chord blues tunes is sometimes ambiguous and does not lend itself to a ‘strummedchord. Decide for yourself whether you prefer the C7 chord, the Cm or Cm7 chord, or no chord for eachof the above examples.

17

Eight-Beat Patterns"The blues ain’t notbin’ but a good inanfeelin’ bad."

is

Dominant chord patterns C7Each pattern can be used for the C7 chord

61

Eight-beat patterns

* 1

I’

1

35 5

_______________

8

62

+-3 3 3

3 pA 3 3 I 3 3

______

B

64

_____ ___

I,’ :i

________________

/ .7. .

8’ 8 5 4-A-- 8 9 4 5 4 111111

19

C7 patterns.. . continued

Eight-beat patterns.. . continued

66i.____._1 .

% ‘II iti 1II ‘ Lii3 5 5 5 8 5 6 5-T 35 5 5 5 5 5 5

AB

_______

67

L! vri-T 8 8 10 10 11 11 10 11 10A 9 9 9 9 9 9 9 9 91- 10 10 1-0 10 110 10 10 10 10

____

B

_______

68i –TE 18

-A- 1-0 89

B

__________ ___

65

20

Eight-beat patterns. . . continuedC7 patterns., continued

1IEJ!I-4:

p

___________

12 12 11 10

A 12 12 11 10 9

70 This pattern can also be played to Cm7

$ L’

8 10A 10 10 0 10 10 10 10

71. -,----.,-

3 3-,__5 -,-

3 3-53

[ii i t

21

Eight-beat patterns.. . continuedC7 patterns.. continued

73

tiiii4

84 5

- -IIIA

74". j3 ff

_____ __

I8 8 8 8

8A

____

-B-

__

75

".

__

8 8 8 8 8 88 8 8 8 8

76

4

_____________

8’ 10 l8 10 8’A 89 1089 89 1089

10 10 10 10

22

C7 patterns. . continued

Eight-beat patteriis. . . continued

77I

‘L iLJ9–

F .!IIII-

78

79 m

_________________

3r 3 3

_____________-

4 5

_______

A 5 5 5 5 - 5

_______

I-’ - 5 5 5 5-

80

6 6 6 6 6 68 8 8 8 8

A

23

C7 patterns. - . continued

81

Eight-beat patterns.. . continued

82

j:.

T 10 1O-8 I 10 10-8ALB

10 1O8 10 1

8333f : :

4

TAa

11-101i1o 8 io 88

88

$84

‘

4:’ I j -

T 810

68

55

33

AB

7 5 3

24

Eight-beat patterns .. . continuedC7 patterns.. . continued

85

H

____

8 8 8 6 88 8 8

_____________

5 5 5__---------35 5 5__-3

_ __

-T 5 5 5_____----3

_________________________

A 5 5 5-3 3---5 3I-’ 5 3 5EL

___________

3R_III

8

25

Eight-beat patterns.. . continuedC7 patterns. . . continued

89

-

if--- 1

I 5 3 5 3 5 3 55

B

90

4j jTH

_

3 5 3 5 35 3 5 3 1A 3 5 5

B 3 1-

8 6 ‘8 6 85

_______

A 5

92

I 811 11 11 11 1-I 11

A

26

Eight-beat patterns. . . continuedC7 patterns. continued

93

!‘ - 116 6 6 65 5 5 5

-AB I -_______

9449

__ __

8 10-11 8 10 8 10A 10B

___________

For an in-aepth study of blues rhythm guitar styles, see Mel Bay’s Blues Band Rhythm Guitar by Larry McCabe.This 165-page book teaches all aspects of blues rhythm guitar playing from basic blues to chord substitution.modern jazz-blues progressions, eight-bar blues, minor blues, and more.

Eight-beat patterns. . . continuedMinor chord patterns Cm. Cm7, etc.

963

3 33

fl-i

1-3- 11 10 813 11 10 8

A 12 10 8 812 10 8 8

B

.

3 3 5 -3 10 83 3 4 3 11 83 3 5 3 12 8

-

Mel Bay’s 101 Dynamite Blues Guitar Fill-in Licks reveals the secrets of playing lead blues fills. Theinnovative format of this book/CD set allows you to "sit in" with a full blues band while learning toplay professional fill-in licks behind a singer. Learn "Midnight Special," "House of the Rising Sun.""St. Louis Blues," and other fun songs while rounding out your blues skills.

If you are would like to learn slide guitar, Mel Bay’s 101 Dynamite Slide Guitar Licks in Op en E hi,iingis a great way to learn. Using the same format as 101 Dynamite Blues Guitar Fill-in Licks, this hookmakes it easy to learn slide guitar.

28

Eight-beat patterns.. . continued‘Vamp" patterns for the key of CPlease see the comments following example 60 page l7concerning one-chord songs and vamp riffs.

98 C7 or Cm7

100 C7orCm7

1

10 10 t0 10 10 10 10 10 108 9

101 C7#9

t- 3rp rsEIE

*

____________________________________________________________

1 0 8’10 8 10 8 10 10 8 9

10p

29

Appendices"Pull down your shade, mama, turnyour lamp down low...

30

Appendix 1Basic Types of Blues Rhythm Patterns

Blues rhythm patterns can be classified into four basic types: I Monophonic; 2 Doublestop; 3 Chord;4 Combination.Each of the four pattern types is discussed below.

MONOPHONIC PATTERNSA monophonic pattern contains oniy individually picked notes Ex. 1. Monophonic guitar rhythms, adefining element of the early 1950’s Chicago blues style, are often adaptations of piano boogie-woogiebass figures. Although most monophonic patterns are played on the lower four strings E-A-D-G,monophonic rhythm "licks’ are occasionally played on the two high strings B-E.

Ex. 1 Pattern 18 is a single-string pattern

C7

11

TA 53

B 3

DOUBLESTOP PATTERNS

Monophonic patterns in this book:Numbers 17, 18, 20, 22, 23, 25,27, 28, 37, 39, 46, 47, 48, 53, 58,59, 60, 61, 70, 73, 74, 94, 99, 100.

A doublestop pattern contains one or more two-note intervals Ex. 2. Most doublestop patternsare played on neighboring strings Ex. 2, but there are exceptions. See if you can locate a fewdoublestop patterns played on non-adjacent strings in the "patterns" section of this hook.

Ex. 2 Pattern 8 is a doublestop pattern played on adjacent strings

C7

k flJ

-T-- 5 5 3 5-A 5 5 3 5

Doublestop patterns in this book:Numbers 2, 3, 7, 8, 9, 10, 15,31, 33, 35, 42, 43, 44, 49, 52,54, 55, 57, 64, 66, 69, 72, 82,83, 86, 88

Doublestop patterns are an example of polyphonic playing. Polyphony is the simultaneous sounding oftwo or more musical notes. The next rhythm pattern type-chords-also fit into the polyphonic categoryyou are playing polyphonically every time you play a chord.

31

CHORD PATTERNSA chord is produced by the simultaneous and therefore polyphonous sounding of three or morenotes. Chord patterns Ex.3 can contain either complete chords or chord fragments. A chordfragment is a partial chord many doublestops are 2-note chord fragments. For example, thenotes C-E-A are a fragment of the C13 chord, which contains the notes C-E-G-Bb-D-A.

Ex. 3 Pattern 1 uses chord fragments

Chord patterns in this book:1,5,6, 11, 13, 24, 29, 30,36, 38, 41, 50, 62, 63, 65,67, 71, 77, 78, 80, 84, 91,93, 95, 96, 97.

Example 3 is played to a C7 chord. C7 is a dominant chord; this type of chord is made from the l-3-5-b7tones of the scale. For C7, these tones are C 1, E 3, G 5, Bb b7. A dominant seventh chord C7. D7,etc. can be extended by adding a ninth tone, a thirteenth tone, or both the ninth and thirteenth. Exception.the ninth is usually flatted when the dominant seventh chord functions as V7 in the minor keys. The ninthof C7 is D, and the thirteenth of C7 is A. Both D and A are used to extend the C7 chord C-E-G-Bb inpattern 1.

The next two examples show a number of dominant and minor chord fragments on the guitar fingerboard.

Example 4 C7, C9, and C13 chord fragments

3 5 6 6 8 6 8 101212 12 l5iiT 1 3 5 5 8 8 10 10 11 11 11 3 5 5 5 8 B 10 11 11 13 13 13A 3 3 3 7 7 9 9 9 9 12 12 5 5 7 7 9 9 9 12 14 15 15

5888810101214B

Example 5 Cm7 and Cm9 chord fragments

3 8 8 8 10 8 10 10 11 11 11 ii1 3 4 4 4 4 8 8 11 11 13 15 15 4 4 8 8 8 11 11 11 11 13 131

A 3 33 5 5 7 8 8 8 12 12 12 15 5 -5 8 8 8 8 8 12 12 12 15 II1 1 5 5 8 8 8 10 1013t3 13 13

BII

The minor fragments in Ex. 5 are made up of the following tones: I C, b3 Eb, 5 G, b7 Bb, and the 9thtone D, which is an extended tone.Minor chords can also take the 4th tone the fourth tone of Cm7 is Fl. The 13th tone is also used thethirteenth tone of Cm7 is A. However, caution must be exercised when using the 13th; in some songs,the 13th tone sounds better if it is flatted b13. The flatted 13th of Crn7 is Ab.

32

COMBINATION PATTERNSA combination pattern Ex. 6 contains at least two of the previous patterns. Although any blend of thepatterns is possible, most combination patterns are made up of individual notes combined with doublestops.

Ex. 6 Pattern 19 is a combination pattern

C7

I-

T 53

A 53

B 3

Additional Comments on Rhythm Patterns

Combination patterns in this book:Numbers 4, 12, 14, 16,19,21,26, 32, 34, 40,45,51,56,68,75,76, 79, 81, 85, 87, 89, 90, 92, 98,101.

Harmonically speaking, all accompaniment patterns are primarily influenced by the tones of the prevailingchord this same principle is true for bass lines, solos, and vocal harmonies. Non-chord tones, known aspassing tones, are sometimes used as "stepping stones" to move from one chord tone to another.

Example 7 pattern 13 is played to the C7 chord symbol, but the chord fragment contains the ninth tone, D.This is an example of chord extension. Can you find the chord extensions ninths and thirteenths in Ex. 8?

Most guitarists learn to play rhythm guitar by strumming fixed chord shapes Ex. 7. To be effective in therhythm section, we must eventually learn to mix up our rhythm patterns. A good rhythm player is capableof setting the harmony in motion Ex. 8.

Ex. 7 Pattern 13 is a typical fixed-chord pattern Ex. 8 Pattern features harmonic motion

C I2 2 2

3 3 33 3 3 3 88 8-9_ 3 3 3 3 3 3 88 1011tO 86

108A 3 3 33 3 33 77 912 97

R

33

Appendix 212-Bar Blues Progressions in Major Keys

Example I shows the Roman Numeral arrangement of chords in the basic 12-bar major key bluesprogression or simply the basic blues progression. This popular progression is the most commonchord progression in blues music. 12-bar blues progressions are also used for thousands of rock,country, jazz and folk songs.Ex. 1 The basic 12-bar major-key blues progression This progression is used for ‘Johnny B. Goode" and many other songs17 17 17 17 1V7 1V7 17 17

_____V7

1V7 17 17

____

7i’7P-71rExamples 2-9 show how to apply the Roman Numerals in Ex. 1 to several different keys.LThe time signature for each example could be either 4/4 or 12/8.Ex. 2 The basic blues progression in C major

Ex. 3 The basic blues progression in G major

G7 G7 G7 C7

Ex. 4 The basic blues progression in D major

Ex. 5 The basic blues progression in A major

Ex. 6 The basic blues progression in E major

HEx. 7 The basic blues progression in F major

F7 F7 F7 F7 B" B’ F7 F7 C7 B1’ F7 F7

4 I I

_

Ex. 8 The basic blues progression in Bb major

B7 P7 B’ 7 F7 7 B’ B’

_ __

7ii 7Ex. 9 The basic blues progression in Eb major

EV1 P7 P P7 P7 A’ P

__

E777: 4J7t

:ii:C7 07 G7 D7 C7

t1

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VARIATIONS ON THE BASIC 12-BAR MAJOR KEY BLUES PROGRESSIONHarmonic variety can be achieved by modifying the basic blues progression Ex. I above. Examples 10-17show several common variations on the basic 12-bar major-key blues progression.

Each variation is first shown in Roman Numerals, then in the key of C. The Roman Numeral I, IV, etc.shows the scale position of the chord root. Letters m, aug., etc. andlor numbers 7, 9, etc. identifythe chord type.

For best results, transpose each of the four variations to the following keys: G, D, A, E, F, Bb, and Eb.Ex. 10 12-bar major key variation #1

17 17 17 17 1V7 1V7 17 17 V7 1V7 17 V7

I- L

Ex. 11 Variation #1 in the key of C

F F CCGF C

Ex. 12 12-bar major-key variation #2

17 1V7 17 17 1V7 1V7 17 17 V7 1V7 17 17

¶ tH Th- 1

Ex. 13 Variation #2 in the key of C

7 FC CFFC CG F C

Ex. 14 12-bar major-key variation #3

17 1V7 17 17 1V7 1V7 17 17 V7 1V7 17 V7

+"F;-LII

Ex. 15 Variation #3 in the key of C

+"

CC F F CCG +1Ex. 16 12-bar major key variation #4 The chord progression in mes 11-12 is called a turnaround

17 1V7 17 17 1V7 1V7 17 17 V7 1V7 17 1V7 17 V7

F

EL 17 Variation #4 in the key of C

C7 F7 C7 C7 F7 F7 C C7 G7 F7 C7 F7 C G- I I

....; L I I I li1L‘V

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Appendix 312-Bar Blues Progressions in Minor Keys

Another type of blues progression is the 12-bar minor-key progression. Example I shows the RomanNumeral arrangement of chords in the basic 12bar minor-key blues progression.Minor chord Roman Numerals im, ivm, etc. are written in lowercase letters.

Ex. 1 The basic 12-bar minor-key blues progression

im7 im7 im7 im7 ivm7 ivm7 im7 im7 V7 ivm7 im7 im7

iamples 2-9 show how to apply the Roman Numerals in Ex. 1 to a number of minor keys. The tirnisignature for each example could be either 4/4 or 12/8. JEx. 2 The basic blues progression in C minor

Cm7 Cm7 Cm7 Cm7 Fm7 Fm7 Cm7 Cm7 G7 Fm7 Cm7 Cm7

___ ______

Ex. 3 The basic blues progression in G minor

Gm7 Gm7 Gm7 Gm7 Cm7 Cm7 Gm7 Gm7 D7 Cm7 Gm7 Gm7

LEx. 4 The basic blues progression in D minor

Dm7 Dm7 Dm7 Dm7 Gm7 Gm7 Dm7 Drn7 A7 Gm7 Dm7 Dm7

I

______

Ex. 5 The basic blues progression in A minor

Am7 Am7 Am7 Am7 Dm7 Dm7 Am7 Am7 E7 Dm7 Am7 Am7

I I IEx. 6 The basic blues progression in E minor

Em7 Em7 Em7 Em7 Am7 Am7 Em7 Em7 B7 Am7 Em7 Em7

___________

I

____

Ex. 7 The basic blues progression in B minor

Bm7 Bin7 Bm7 Bm7 Em7 Em7 Bm7 Bm7 FV Em7 Bm7 Bm7

Ex. 8 The basic blues progression in F# minor

Fltm7 Fm7 Fm7 Fm7 Bm7 Bm7 F1m7 Fm7 C7 Bm7 Fm7 Fm7

II I LH -

Ex. 9 The basic blues progression in C# minor

A cm7 Cm7 Cm7 Cm7 14m7 Fm7 Cm7 Cm7 Fm dm7 Cm7

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VARIATIONS ON THE BASIC 12-BAR MINOR KEY BLUES PROGRESSIONThe basic minor-key blues progression Ex. I on previous page is often modified for the sake of harmonicvariety. Examples 10-17 below show several common variations on the basic minor-key chord progression.Each variation is first written in Roman Numerals; it is then written in the key of C minor.For best results, transpose each of the four variations to the following minor keys: Gm, Dm, Am, Em, Bm,F#, and C#m.Theory note: In the major keys, any dominant chord 17, IV7, V7 can be extended to the ninth tone. To relate this concept toblues accompaniment: a C7 chord could, when played in a blues progression in C play a rhythm pattern that includesa ninth tone D is the ninth tone of C. However, in the rninsr keys the V7 chord almost always takes a flatted ninth tone, especiallywhen that chord progresses to the tonic minor im. Thus, the G7 chord, when played in the key of C minor, can be extended toG7b9 G-B-D-F-Ab, but it is seldom extended to G9 U, B, D, F, A. General Rule Flat the 9th tone for V7 in a minor blues.

Lx. 10 12-bar minor-key variation #1

ivm7 im7 im7 vm7 ivm7 im7T

im im7 im7 im7 ivm7 im7

IF Iifim IEx. 11 Variation #1 in the key of C minor

Cm7 Cm7 Cm7 Cm7 Fm7 Fm7 Cm7 Cm7 Gm7 Fm7 Cm7 Cm7

if ifLx. 12 12-bar minor-key variation #2 In the minor blues, V7 or V7b9 is used more often than vm7

im7 ivrn7 im7 irn7 ivm7 ivm7 im7 im7 V7 0r vm7 ivm7 im7 V

- ififEx. 13 Variation #2 in the key of C minor

Cm7 Fm7 Cm7 Cm7 Fm7 Fm7 Cm7 Cm7 G7 or Gm7Fm7 Cm7 G7

I LLx. 14 12-bar minor-key variation #3 This progression has a im7-ivm7-im7-V7 turnaround in measures 11-12

im7 ivm7 im7 im7 ivm7 ivm7 im7 im7 V ivm7 im7 ivm7 im7 V7

Ex. 15 Variation #3 in the key of C minor Optional chords for measure 10: V7sus / V7b9 /

Cm7 Fm7 Cm7 Cm7 Fm7 Fm7 Cm7 Cm7 G7 Fm7 Cm7 Fm7 Cm7 G7

Ex. 16 12-bar minor-key variation #4

im7 ivm7 im7 im7 ivm7 ivm7 im7 im7 VIMaj im7 im7

IEx. 17 Variation #4 in the key of C minor Listen to B.B. King’s The Thrill is Gone’ in B minor

Cm7 Fm7 Cm7 Cm7 Fm7 Fm7 Cm7 Cm7 A1’maj Gt’ Cm7 Cm7

I I - ifiif -IIL

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Appendix 48-Bar Blues Progressions in Major Keys

A third type of blues progression, the eight-bar blues, is almost always played in a major key. You mayalready be familiar with several 8-bar blues songs, such as "Key to the Highway, "Stagger Lee, and‘Midnight Special.Example 1 below shows the universal chord progression for the basic eight-bar blues progression

Ex. 1 Basic 8-bar blues progression This progression is used for ‘Key to the Highway’

J7 y7 1v7 iv Ti V7 J7 V7

-1

______

rExamples 2-9 show how to apply the Roman Numerals in Ex. 1 to several different keys.LThe time signature for each example could be either 4/4 or 12/8.Ex. 2 Basic 8-bar blues in C

__

G7

Ex. 3 Basic 8-bar blues in G

____

CC7 DGD_

Ex. 4 Basic 8-bar blues in D

__

AGG D

___

Ex. 5 Basic 8-bar blues in AAE DD AE

_____

Ex. 6 Basic 8-bar blues in E

____

AE BEB7

Ex. 7 Basic 8-bar blues in F

__ _______FC7EC

Ex. 8 Basic 8-bar blues in Rb

B F7 E" EL’7 F7 B’ F7

Ex. 9 Basic 8-bar blues in Eb

______

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VARIATIONS ON THE BASIC 8-BAR BLUES PROGRESSION

Like the blues forms discussed previously, there are a number of standard 8-bar blues progressions.Examples 10-17 below show several common variations on the basic 8-bar blues progression.

Each variation appears first in Roman Numerals; the Roman Numerals are then transposed to the key of C.After you learn these progressions, transpose each of the four variations to the following major keys:G, D, A, E, F, Bb, and Eb.

Ex. 10 8-bar blues variation #1

J7 IV IV J7 V7 J7 IV J7 V

__ __ ___ ___

f -‘Ex. 11 Variation #1 in the key of C

_ ____

–Li

Ex. 12 8-bar blues variation #2

j7 J7 IV 1V7 J7 J7 V7

Ex. 13 Variation #2 in the key of C

C7 F7 7 C7 C7 G7

E-L HH’Ji LI-- L1Ex. 14 8-bar blues variation #3

1V7 IV J7 V7 V J7

Ex. 15 Variation #3 in the key of C

F7 C7 C7 G7 G7 C7 C7

_L i H

__ __

Ex. 16 8-bar blues variation #4 The last two bars can also be played 17 I 1V7 I 17 / V7 / 1

J7 j7 IV 1V7 V7 V7

____

I -

__

Ex. 17 Variation #4 in the key of C

_____ ____IiI-fi

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Appendix 5Open Charts for Application of Patterns

The following charts will help you learn to apply patterns from this book to standard bluesprogressions in several keys. As you become more proficient playing the patterns in various keysand song forms, your imagination will develop, and you will eventually become a versatile andcreative rhythm-section player.

Example 1 12-bar blues in G

Arranging TipsThe time signature for this project can be either 12/8 or 414. Most blues rhythms are in 1218.1. Choose any four-beat C7 pattern that you can play well. Apply this pattern to the above chartas follows: a To transpose from C7 to G7, you have the option of moving the C7 pattern up 7

frets, or down 5 frets. Always choose the option which is the most practical.b To transpose from C7 to D7, move the pattern up 2 frets, or down 10 frets.

2. Next, apply another four-beat pattern to the chart. Although patterns can sometimes be mixed,it is best to use only one pattern per song at first.3. After you are comfortable applying a variety of four-beat patterns to the 12-bar blues in G, tryto apply an 8-beat C7 pattern to the progression. An eight-beat pattern will require modificationwhen a chord is played for only four beats see "Pattern Modifications on page 7.

G7 G7 G7

C7 C7 G7 G7

D7 C7

To play a simple ending: return tothe first measure and strum thetonic chord G7.

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ExampLe 2 12-bar blues in A

E7 D7 A7 E7

Airanging TipThe time signature for this project can be either 12/8 or 4/4.1. Apply any C7 pattern to the above chart as follows:a To transpose from C7 to A7, you have the option of moving the C7 pattern up 9 frets or down

3 frets. Choose the option which seems the most logical for the pattern you have chosen.b To transpose from C7 to D7, move the C7 pattern up 2 frets or down 10 frets.c To transpose from C7 to E7, move the C7 pattern up 4 frets or down 8 frets.

2. Next, work with other four-beat patterns. Arrange at least six choruses, using six different patterns.3. After you are comfortable transposing four-beat C7 patterns to this chart, work with eight-beat

patterns. Again, arrange at least six choruses, using a different pattern for each chorus.4. Remember, an eight-beat pattern will require modification when it is applied to a four-beat chord.

If this is difficult for you, see a qualified instructor.

A7 D7 A7 A7

D7 A7 A7

Always end the song on the tonic chord:Play measures 1-12 as many times as youwish, then end on an A7 chord.

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Example 3 12-bar blues in C minor

Cm7 Cm7 Cm7 Cm7

Fm7 Cm7

Cm7

Arranging TipsThe minor chord patterns in this book are in 12/8 time.1. Select a four-beat Cm7 pattern see page 16. Apply this pattern to the above chart as follows:a To transpose from Cm7 to Fm7, choose either of the following options: Up 5 frets or down 7 frets.b Transpose from Cm7 to Gm7 by moving up 7 frets or down 5 frets.

2. After you complete this basic project, experiment with several other four-beat minor patterns. Use onlyone pattern per chorus for now a chorus is the entire length of a given chord progression; the bluesprogression on this page could be called a 12-bar progression or a 12-bar chorus.

3. When you are proficient at applying four-beat patterns to the blues in C minor, work with some eight-beatminor patterns page 28. Again, your imagination will be needed to modify an eight-beat pattern to fit afour-beat chord.

Are you listening to a lot of blues recordings? This is essential if you really want to improve your playing.Be sure to listen to bass players, keyboard players, and horn players as well as guitar players.

Fm7 Cm7

Gm7 Fm7 Cm7

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Ex. 4 12-bar blues in G minor

Gm7 Cm7 Gm7 Gm7

Arranging Tips1. Choose a four-beat Cm7 pattern page 16 to transpose to Gm7.2. To transpose from Cm7 to Gm7, choose either of the following options: Up 7 frets or down 5 frets.3. Choose a 4-beat C7 pattern to transpose to D7b9. For best results, choose a C7 pattern that does not

contain the ninth tone, D. If you use a C7 pattern that has a 9th tone, flat the ninth for the minor blues.4. Transpose from C7 to D7 measures 9 and 12 by going up 2 frets or down 10 frets.5. After you complete this basic project, experiment with several other four-beat patterns. Use only

one pattern per chorus for now.6. When you are proficient at applying four-beat minor patterns to this chart, work with several eight-beat

patterns. However, apply only four-beat C7 patterns to the D7b9 chord for now.

Hint: Some minor patterns especially those with a natural 13th tone can be changed to dominant by raisingthe third tone a half-step. For example, if we raise the Eb b3 tone in the Cm7 chord to E 3, the patternmight work for the C7 chord. Patterns 55 and 97 can both be converted from minor to dominant quality.

Cm7 Gm7

Play the 12 bars as often as youlike, then end the song on Gm7.

43

If you have successfully completed the projects on the previous pages, you know the procedure. Hereare a couple of eight-bar blues charts for you to work with.Ex. 5 8-bar blues in D

Ex. 6 8-bar blues in E

G7

C7 to E7 is up 4 frets or down 8 frets.C7 to A7 is up 9 frets or down 3 frets.C7 to B7 is up 11 frets or down 1 fret. Db C# Eb D# Gb = F# Ab = G# Rb =

D7 A7 G7

A7 D7 G7 D7 A7

C7 to D7 is up 2 frets or down 10 frets.C7 to A7 is up 9 frets or down 3 frets.

E7 E7 A7 A7

E7 B7 B7 E7

1asy Transposing Chart: Count the distance from one tone to another.CDbIEbEFGbGAbABbBCDbDEhEFGbGAbABbBC

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About the Author

Larry McCabe was born in Kansas City, Missouri. He studied music with a number of teachersincluding Eldon Shamblin, legendary swing guitarist and arranger for Bob Wills. Deciding on afreelance music teaching career, Larry received his degree in education from the University ofArizona in 1979. Since graduating from college, Larry has taught over 30,000 private musiclessons as well as classes on the history of American popular music and jazz.

An experienced blues guitarist, he played in the Gulf Coast Blues band, wrote a Living Bluesmagazine column called "Blues Box,’ and is currently on the nominating committee for the annualW. C. Handy awards. Larry’s vast experience in private teaching has given him a uniqueunderstanding of the educational needs of the typical music student. Beginning with Blues,Boogie and Rock Guitar in 1984, he has written a number of Mel Bay books on various subjectsincluding guitar, bass and song writing techniques.

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