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Track 34<br />

Shuffle (qr=qce)<br />

A<br />

3<br />

T<br />

A<br />

B<br />

2 2 2 2 2 2 4 2<br />

0 0 3 4 0 0 0 0<br />

2 2<br />

0<br />

5<br />

0<br />

4<br />

0<br />

2<br />

0 0<br />

2<br />

3 4<br />

2<br />

2 2 2 2 2 2 4 2<br />

0 0 3 4 0 0 0 0<br />

3<br />

D<br />

2<br />

2 2<br />

0<br />

5<br />

0<br />

4<br />

0<br />

2<br />

0 0<br />

2<br />

3 4<br />

2<br />

2 2 2 2 2 2 4 2<br />

0 0 3 4 0 0 0 0<br />

5 2 4 5 4 2 2 2<br />

0 0 0 0 0 0 3 4<br />

A<br />

3<br />

E<br />

2 2 2 2 2 2 4 2<br />

0 0 3 4 0 0 0 0<br />

2 2<br />

0<br />

5<br />

0<br />

4<br />

0<br />

2<br />

0 0<br />

2<br />

3 4<br />

2<br />

2 2 2 2 2 2 4 2<br />

0 0 3 4 0 0 0 0<br />

Figure 7-10:<br />

A<br />

progression<br />

fusing<br />

chords,<br />

single notes,<br />

and doublestops.<br />

D<br />

2 2 2 2 2 2 4 2<br />

0 0 3 4 0 0 0 0<br />

128 Part II: Setting Up to Play the Blues TEAM LinG<br />

A<br />

2 2 2 2 2 2 4 2<br />

0 0 3 4 0 0 0 0<br />

E7<br />

0 0 0 0 0 0<br />

1 1 1 1 1 1<br />

0 0 0 0 0 0<br />

2 2 2 2 2 2<br />

0 0<br />

High-Note Riffs, the Bridge<br />

to Lead Guitar<br />

A high-note riff is very close — in words and in music — to a lick (see “Basic<br />

Single-Note Riffs” early in this chapter for more on these two terms). So,<br />

just forget the whole idea of strictly defining terms in such a forgiving and

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