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Chapter 6: Blues Progressions, Song Forms, and Moves
117
Figure 6-18 is an ending that’s typical for medium-tempo shuffle tunes.
Track 29, 0:13
Figure 6-18:
A two-bar
turnaround
in a shuffle
feel.
Shuffle (qr=qce)
A5 A6 A5 A6
T
A 2 2 4 4 2 2 4 4
B 0 0 0 0 0 0 0 0
A5
A
1 3421 1
5
6
2 7
0 7 5
5fr.
High Moves
All the moves that are covered in the rest of this chapter have taken place on
the lower strings. But you can play moves on the higher strings, too. These
strings often involve the same notes that are played in the lower strings (the
fifth and sixth of the chord featured in the Jimmy Reed move — covered in
“Applying Structures to Keys” earlier in this chapter), but when played up
high, it sounds more like a riff than a chord figure. This creates a bridge
between chord figures and riffs and licks, which are explored in Chapters 7
and 8.
Think of these new, higher moves as chord forms added to your basic eighthnote
strumming. As you play these added chords, notice that the sound produces
a melodic motif. Figure 6-19 shows the first high-note move in the key
of E. The two added chords are E7 chords with your fourth finger of the left
hand playing notes on the second string.
E7/6
E7
Figure 6-19:
Two added
chords
in E7.
2 1 4
2 1 4
TEAM LinG