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Table of Contents
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Playing E-based barre chords .............................................................63
Playing A-form barre chords...............................................................65
Combining forms ..................................................................................67
Taking Advantage of Versatile Power Chords.............................................68
Chapter 5: Positioning the Right Hand for Rhythm and Lead . . . . . . . .71
Strumming Along............................................................................................71
Stroking down . . . .................................................................................72
. . . And stroking up ..............................................................................72
Combining down and up .....................................................................73
Striking to a beat ..................................................................................73
Mixing Single Notes and Strumming............................................................75
Separating bass and treble: The pick-strum .....................................75
Playing common pick-strum patterns................................................76
Shuffling the Beats with Syncopated Strumming.......................................79
A bit of notation: Dots that extend and ties that bind.....................79
Syncopation: Playing with dots and ties ...........................................79
Stopping the String Ringing (Just for a Sec) ...............................................81
Muting the sound between two chords (left hand) .........................82
Simulating syncopation with left-hand muting.................................82
Muting the sound of a note (right hand)...........................................83
Copying the Classics: Plucking Fingerstyle Blues......................................84
The Right Hand’s Bliss: Different Rhythm Styles to Play ..........................85
The shuffle groove................................................................................87
The driving straight-four .....................................................................87
The slow 12/8, with groups of three...................................................87
The two-beat feel..................................................................................94
The slow and funky 16 feel..................................................................95
Chapter 6: Blues Progressions, Song Forms, and Moves . . . . . . . . . . .97
Blues by the Numbers ...................................................................................97
Recognizing the Big Dogs: Primary Key Families and Their Chords .......98
The Structure of a Blues Song, Baby ...........................................................99
Playing the 12-bar blues ....................................................................100
Slow blues ...........................................................................................103
The 8-bar blues ...................................................................................106
Straight-four (or rock blues) .............................................................106
Applying Structures to Keys.......................................................................108
A move with many chords: The Jimmy Reed move.......................108
The sound of sadness: Minor blues .................................................111
Accessorizing the 12-Bar Blues: Intros, Turnarounds, and Endings......114
Intros....................................................................................................114
Turnarounds .......................................................................................115
Endings ................................................................................................116
High Moves ...................................................................................................117
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