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Chapter 6: Blues Progressions, Song Forms, and Moves 109 Shuffle (qr=qce) E5 E6 E5 E6 E5 E6 E5 E6 E5 E6 E5 E6 T A B 2 2 4 4 2 2 4 4 0 0 0 0 0 0 0 0 2 2 4 4 2 2 4 4 0 0 0 0 0 0 0 0 2 2 4 4 2 2 4 4 0 0 0 0 0 0 0 0 E5 E6 E5 E6 A5 A6 A5 A6 A5 A6 A5 A6 2 2 4 4 2 2 4 4 0 0 0 0 0 0 0 0 2 2 4 4 2 2 4 4 0 0 0 0 0 0 0 0 2 2 4 4 2 2 4 4 0 0 0 0 0 0 0 0 E5 E6 E5 E6 E5 E6 E5 E6 B5 B6 B5 B6 2 2 4 4 2 2 4 4 0 0 0 0 0 0 0 0 2 2 4 4 2 2 4 4 0 0 0 0 0 0 0 0 4 4 6 6 4 4 6 6 2 2 2 2 2 2 2 2 A5 A6 A5 A6 E5 E6 E5 E6 E5 B5 Figure 6-8: The Jimmy Reed move in E. 2 2 4 4 2 2 4 4 0 0 0 0 0 0 0 0 2 2 4 4 2 2 4 4 0 0 0 0 0 0 0 0 4 4 4 4 4 4 4 2 2 2 2 2 2 2 2 0 Jimmy’s move in G If you had to play in the key of G, and you wanted to throw in the Jimmy Reed move from earlier in this section, it would look like Figure 6-9. This move has a different character and is a little easier to play than the same move in E (in the previous section). The chord diagrams in the figure are presented above the staffs, so you can view the move as either a new chord inserted between the ones you already know or as just simply moving a finger over to play a previously open string on beats two and four. TEAM LinG
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- Page 228: Chapter 6 Blues Progressions, Song
- Page 232: Chapter 6: Blues Progressions, Song
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- Page 258: Track 25 Shuffle (qr=qce) A5 A6 A5
- Page 262: 114 Part II: Setting Up to Play the
- Page 266: Figure 6-15: A two-bar turnaround w
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- Page 282: Track 32, 0:00 Figure 7-4: An eight
- Page 286: The 5-6 riff is a blues-rhythm hall
- Page 290: Track 34 Shuffle (qr=qce) A 3 T A B
- Page 294: Intro, turnaround, and ending riffs
- Page 298: If the double strikes in the bass g
Chapter 6: Blues Progressions, Song Forms, and Moves<br />
109<br />
Shuffle (qr=qce)<br />
E5 E6 E5 E6<br />
E5 E6 E5 E6<br />
E5 E6 E5 E6<br />
T<br />
A<br />
B<br />
2 2 4 4 2 2 4 4<br />
0 0 0 0 0 0 0 0<br />
2 2 4 4 2 2 4 4<br />
0 0 0 0 0 0 0 0<br />
2 2 4 4 2 2 4 4<br />
0 0 0 0 0 0 0 0<br />
E5 E6 E5 E6<br />
A5 A6 A5 A6<br />
A5 A6 A5 A6<br />
2 2 4 4 2 2 4 4<br />
0 0 0 0 0 0 0 0<br />
2 2 4 4 2 2 4 4<br />
0 0 0 0 0 0 0 0<br />
2 2 4 4 2 2 4 4<br />
0 0 0 0 0 0 0 0<br />
E5 E6 E5 E6<br />
E5 E6 E5 E6<br />
B5 B6 B5 B6<br />
2 2 4 4 2 2 4 4<br />
0 0 0 0 0 0 0 0<br />
2 2 4 4 2 2 4 4<br />
0 0 0 0 0 0 0 0<br />
4 4 6 6 4 4 6 6<br />
2 2 2 2 2 2 2 2<br />
A5 A6 A5 A6<br />
E5 E6 E5 E6<br />
E5<br />
B5<br />
Figure 6-8:<br />
The Jimmy<br />
Reed move<br />
in E.<br />
2 2 4 4 2 2 4 4<br />
0 0 0 0 0 0 0 0<br />
2 2 4 4 2 2 4 4<br />
0 0 0 0 0 0 0 0<br />
4 4 4 4 4 4 4<br />
2 2 2 2 2 2 2 2<br />
0<br />
Jimmy’s move in G<br />
If you had to play in the key of G, and you wanted to throw in the Jimmy Reed<br />
move from earlier in this section, it would look like Figure 6-9. This move has<br />
a different character and is a little easier to play than the same move in E (in<br />
the previous section). The chord diagrams in the figure are presented above<br />
the staffs, so you can view the move as either a new chord inserted between<br />
the ones you already know or as just simply moving a finger over to play a<br />
previously open string on beats two and four.<br />
TEAM LinG
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