Post on 19-Jan-2016
transcript
How To Use This Book
page 2
1 - 14 Chord Riffs in A and A Minor
pages 3 -16
15 / 16 Chord Riffs in C
pages 17 / 18
17 - 24 Chord Riffs in D and D Minor
pages 19 - 26
25 - 38 Chord Riffs in E
pages 27 - 37
39 - 50 Chord Riffs in G
pages 37 - 48 8/9Frith~~
257 Park Avenue South, New YOl1c, NYI
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e 4
* 4 1
This book features 50 different chord riffs (progressions) which are independent of each other. Each "Chord Riff' contains the
chord patterns used, the order in which they are played and whether they are strummed or plucked.
This is written on the "Rhythm & Sequence Track".
RHYTHM & SEQUENCE TRACK
The rhythm & sequence track is written in tablature form (each line represents a string). The numbers (j) @ @ written above the rhythm and sequence track indicate a particular version of the
chord to be played.
* 2
CHORO RIFF EXERCISE
For this exercise simply strum each chord down and up to a count of four. The i indicates a downward strum and
the t indicates an upward strum. Use a pick (or plectrum) to strum.
Am 07
RHYTHM & SEQUENCE TRACK
Am 07 G
t * *
t + + t ! and 3 4 and 1 2 and 3
G o o o
! :11 4
e as strumming chords, the individual notes of a chord can be struck with the pick or played with thumb and finge
e - V V
o e t:he note means strike down with the pick. e t:he note means strike up with the pick.
e m a
4 ~~-tt-~~~~~~ 4-7+-~~~~~~~~
t above (or below) the note means thumb i above (or below) the note means índex finge r m above (or below) the note means middle finge r a above (or below) the note means ring finger.
o Am
X O O
• 1 ------- ·~
Fmaj7 X X O
o Am ·
This riff could be played with
a plectrum but 1 think it's much
easier with the fingers.
CIG X O O
E7 O X X
RHYTHM & SEQUENCE TRACK
EIG#(addC) CIG
-.., _ --. r 1
\,.; - ""
091F# X O O
e Am
X O
09IF#
a a Ll O b lg Ll D D lg Ll O b lg U O b 1 t i m r m i m i etc. e e
Fmaj7 E7 Am Am
li
F13
Jazz players often join chords chromatically - i.e. they play passing chords one semitone (one fret) above and below the main
chords. Notice that the first five chord shapes are the sarne.
A~13 G13
p
3
A X O o
E o o o
A D
4
* * * t 4 ~
This lick has been used in hundreds of tunes, particularly
rock 'n' roll songs of the late SO's and early 60's. Listen to Buddy Holly, Eddie Cochrane, etc.
RHYTHM & SEQUENCE TRACK
A
BUDDY HOLLY
E *
* 1 * t * tJ t * t :li ~ ~ ~ ~
Go back to the start of this sequence and play it again.
4
EYERL Y BROTHERS
A D
* 777~ i + -!!
.q
L-J L.......J
Using these three chords, this riff makes use of the 'ripple'
strum. Make sure to start the ripple immediately after the first
down strum.
X O
RHYTHM & SEQUENCE TRACK
E A
! 1 * 777~
A
i L.......J L.......J
D o X X O
E o o
E D
! ~ :11
1
A X O o
E7 X o o
This chord riff connects three simple chords - A, D and E,
and makes use of quasi-chords using open strings.
C#m/A X O O
F#m X o o
RHYTHM & SEQUENCE TRACK
A Bm/A C#m/A D
~ i 1i 1 i1 i li 1 i
A E7 F#m E F#m
i 1 i 1 i 1 t 1 t 1 i
D X X O
E o o o
C#mlA Bm/A
i i
E7 A
CHORO RIFF IN
6
JOAN ARMATAADING
A Bm/A
4
* * * 4
Here's some modern sounding chords which are often used in contemporary folk/rock music
by players like Joan Armatrading, The Eagles and Tracy Chapman.
RHYTHM & SEQUENCE TRACK
C#m/A
* * * 1 * * ~ ~ ~
A X O
Bm/A
í * ~
ROCK (PICK)
Bm/A o X O
C#m/A X O O
C#m/A
í * * : ·1 L......J
o
Many jazz chords use only 4 strings. lf you're using a plectrum it 's important to be able to damp out the unwanted strings. This is
usually done by the left hand touching but not fret ting the string.
A6 Adim X X X X
0 6/A X
4 ~'-'t"-~~--Lp,,~~-----.Lf-'~-.t'--.L.J-'----~-+t----Lµ-~~~~~~L__+-~~~___:+I 4 r----:t-~~--a-~~__,r--r--~--I-~-+---t------if--~-+-+-~~----'--+-~~~~---=--+I·
1st t ime
A X O X X
Bm/A X O X
This riff features a descending bass line. Look for notes in
common between the chords, e.g. in chords Bm, Bm/A E7/G# and E7. The 2nd and 4th fingers
remain in the sarne place.
AJG# F#m X
E7/G# X X
, RHYTHM & SEQUENCE TRACK
Bm X
E7 O X X
A AJG# F#m Bm Bm/A E7/G# E7
t i m r etc. ar use plectrum
X
-
This chord is really Dadd4 (DaddG)
over an A bass note. lt is called sus for simplicity.
x 0 Dsus X
e Am7
X O X
o Am7
4 - -2 4 t:J
Dsus
EJ - - 4
t:J
Try this mysterious riff. lt's really very simple.
lt sounds a bit like -The Doors, Suzanne Vega, -
New Age etc.
RHYTHM & SEQUENCE TRACK
e Am7
[j 1
- - 5
t:J EJ
THE DOORS
Dsus
- -4
t:J [j :li
.....
10
X O
X O
o A
e A
This riff features a pedal note and has a Genesis - Phil Collins feel about it. By varying the picking pattern and
speed you can get many different effects.
X X O
X X O
o E/A
e E/A
O X X O
X X O
D/A X
E9/A X 9th r--T----.---...,----,--, 9th r--T----...~~--. 11th ,----..,~~-.----,
fret 1--t-+--""!"'~-1 fret 1-----1---"" ~~---j fret
RHYTHM & SEQUENCE TRACK
o o o A E/A D/A A A E/A E9/A A
r t i m etc. or use plectrum
1
X O
X O
This is a sad sounding riff. Watch the timing on
this one, don't play on the third beat.
o Am Em
X O X O O X
X X O 5th r--r--.---::;....--::....--: .....
fret 1---+--+-~-"""--"'!"'"
/ 4 ---.-''---~~~-A-.<l<--Y-~-Y-~--~~~~----~~~~~---fb'-/~__,.___~_..,_~~~~~~~•H
4 -tt~r---c=r----+--t---.r-t-~~~---H~r----r-r----+--t-~~~----tt
r r m m
12
KEITH RICHARDS
This riff covers a lot of styles, from Dire Straits to the Rolling Stones. Hold the half barré for
the first two bars, don't lift your 3rd finger in bars 3 and 4.
X O
X
RHYTHM & SEQUENCE TRACK
DIA
CIG o
A X X O X
G X X O O O X
.,
D/A A DIA A D/AA CIG G CIG G CIG G
4 4
Am X X
Fmaj7 X X
Here's some well known changes in A minor used in
many songs e.g. -Stairway to Heaven, lf,
Something, etc. Change the R.H. pattern if you want to
get a different sound.
E71G# CIG X X X X
E~ G X X X X
RHYTHM & SEQUENCE TRACK
r- - - ...... .. ,:, ""' -
091F# X X
c X o
Am E71G# CIG 09IF# Fmaj7 E~ G C
14
- ---
o A7
This eight bar sequence uses an
A7 riff plus a D7 riff.
Play with a swing feel.
Osus e A7
-
X O O O X O O O o o o
o A7
iÍ
o 07
t
o 07
X X O
e Dsus A7 Osus
i iti w
e G/D 07 G/D
t ti t w
G/O X X O
RHYTHM & SEQUENCE TRACK
o o o o e
e 07
X X O
o o o A7 Osus A7 Osus A7 A7 Osus A7 Osus A7 Osus A7 Osus A7
lilitJlt li i ili lililJli 1
WWW w L..J w
o o o o o o o 07 G/D 07 G/D 07 A7 Osus A7 Osus A7 Osus A7 Osus A7
1 t X t l í X í 1 i i i l i 1 t l t IJ l t li w w w L..J
-- :; '
ln this riff each main chord is approached chromatically
from 1 fret above or below.
86/9 C6/9 A7 X X
09 F#7 G7 X
RHYTHM & SEQUENCE TRACK
86/9 C6/9 A#7 A7 0#9 09 F#7 G7 86/9 C6/9
t 1 li: 1 t t ! 11 t 1 t 1:11 í~fl li
16
e X
e 4 [] d 4
r m
o
Here's a 'cool' riff in the key of C. lt makes a good
introduction to many old standards. The F/G - G7 ~9
change can be used in many songs where only G7 is
indicated.
X X Dm7
X X O
F/G G7~9 X X X X
, RHYTHM & SEQUENCE TRACK
C#º Dm7 F/G
[j 1 [] 1 o § ,. m
- 1 -- r::"" -
G7~9
1 :li ,. m i
4 4
JOHN DENVER
o
Although we've seen this D - A7 riff before, the addition
of the clawhammer style makes it sound more interesting.
Make sure to change exactly where indicated.
D X X O
Dsus X O X
RHYTHM & SEQUENCE TRACK
X X O
o A7
e A7
X
o D A7 DsusA7 D A7 Dsus A7
u o a 2 1 u u u ~ 1 u o a 2
1 u a u : :11 m t t m t t m
t t m t m etc. t
--
18 This riff in D major is typical of
many styles of music -
George Harrison, The Edge,
etc. Keep your 2nd finger
down as long as possible.
Dsus2
RHYTHM & SEQUENCE TRACK
06 Dsus2 Dsus2/4 DaddE A7
~ LJOOLJ I GEJ
--
Dsus2/4
• 1
e D
- - 1
19
o
This is an extended A7 - D r iff. Notice that there 's only two different shapes until the final D chord. Try it w ith different
rhythms and strums.
X O
e A7
o X O 5th fret 1--t--+--+---+--<
e A7
X O X X O 9th ~~~~~ 12th .--r----:;;;m;;.---;=~-,
fret r---t--+--r-.......,.-1 f ret f---+---""'~~-l
A
/ D
X X o-
o G6
4·-'-f"~-=:--~+--v-~-+-~~--t#'--~-t---t----;r-----t~~~t---r--~-+-~--t---,-/ -+---t-~+----t-~-H / '
20
D X X O
G o o o
D DIC#
4 ± ~ t~ 8 4 4
u u
This is a well known sequence linking D to Bm to G to Em. Try arpeggiating it instead of
strumming. Make sure to use a half-barré for the first D chord.
DIC# Bm X X X
GIF# Em X O O O o o o o
RHYTHM & SEQUENCE TRACK
Bm Bm/A G GIF#
12 + ~ + ~
13 + ~
8 2 u u u
Bm/A X O
A7 X O O o
Em A7
+ J 1 + ~ ± J :li 8 8
u u u
4 4
o D
1 - "-"
ln this easy riffs using a 'pedal' bass note, a single bass note keeps ringing while the chords change above it.
o D
e D
X X O 1 Oth r--r----.----,--:;;,,
fret 1-----+---+-~
o A/D
o A/D
X X O
o -G/D
X X O
G/D X X O
7th ,----,-----.-----.-::--.-...... fret 1-----+----+--'~=-"""""
RHYTHM & SEQUENCE TRACK
o G/D
e /t\/D
X X O -
A/D X X O
9th r--r----.--~r-:;;;io,,. fret f--t---+--'~~
A/D /
o
/
t 1í1~11í1111íu1í11 e ~ ~ L._j / L.j o ~ ~ D G/D A/D D
i1iU1í1111111 1 11
22
Dm X X O X
THE ROLLING STONES
Dm Dm/C
4 + 4 8 3
R.ock-a-billy, Spanish, Classical, 60's Rock, yes everybody's heard this one. Watch the
fingering for Dm. Nine times out of ten it's better to use your 4th finger for the 2nd
string, that way the 3rd finger is free to move elsewhere.
Dm/C 8~7 X
RHYTHM & SEQUENCE TRACK
8~7
+ ~
A7 X O o o
A7
+ + :li e
- -
3
A/D X X O
G/D X O O
Here's a riff using a pedal note. Note the 'gap' on the third
beat, this helps to emphasise the first string.
•
-
2
D X X O
o D Dsus D
4 + * 8 4
e
This D - A? riff is used by many folk guitarists.
This is it in it's simplest form.
o Dsus
X X O
Dsus e A7
X O o X O
RHYTHM & SEQUENCE TRACK 1
o o o Dsus D Dsus D A7
+ * + * 1 * ~ *
X O
o
o A7
o
e Dsus
~ * l-.J l-.J
o
e A7
* :li
E7 O X X
12th t--t--:;;;;~t--:;;;;~
f ret 1--f--""pE-::;I~~
5th fret
A7
The first bar is a descending chord riff - (the sarne chord shape moving down). The last three chords ascend -
(the sarne chord shape moving up). Play with a swing feel.
07 O X X O X X
9th
E
1 Oth r--t--::;;~t--::;;i!E"-1
fret 1--t----"'~~""--l
fret 1--l---31'<--""!!'<-"'!..__.
11t h 1-----t-----=&.------t---..O~
fret
6th fret
RHYTHM & SEQUENCE TRACK
7th fret
87
E7 E~7 07 E A7 A#7 87
E- -- .
~ ==u =t==J==1[j=:1[j===I LJ===-[J=~EJ====l....J=' li
26
7th
ROCK 'N' ROLL (PICK)
E
fret 1-----"1~-----l---l-------<
Quasi A
Sth ~-+--+--+--l------1
f ret ~--1--+--,,b..--+-----J
4 ~t===~-L=,~~~~;;jJ 4~+--~--~-+-~---------l~~
E O X
t t t t
o o o o w w
28 WAL TZ (PICK)
Now lets try a waltz using two standard chords E and A connected by two quasi-chords.
Play with a slight swing feel.
E o o o
A
RHYTHM & SEQUENCE TRACK
E F#m G#m A
f=1=*=*=11=1=11=1 1
w w
l 1. 11 2. F#mG#m E E
t * * 1 t t 1 r 1:11rrn 11 w w
(FINGERS ) This one can be played with a plecrrum ·::·s ez.s Br
using the fingering given below. T ry dampr g - : ~ strings with the right hand to give a 'coo! e.=ac::..
E C#m7 o o
AaddB B X O X X O X
RHYTHM & SEQUENCE TRACK
E C#m7
4
J D 6 ~l 4 t:J i
r r t m t t
AaddB B
tJ [j 4
t:J [j r m t t
r m
-
30
ED D IE COCHRANE
E A
This 'Eddie Cochran Style' lick uses simple barré chords. Note the fingering for the E chord.
o
RHYTHM & SEQUENCE TRACK
l 1. B E
--
E o o B
A
112. B E
4 4 t 11111 t 11 t 1 ] 1 ] 1 ] 1:11 ] 1 ] 111111
w w L..J L..J L..J L..J L..J L..J
--
3
e E
X X X o o
Blues turnarounds and endings.
Here is a simple but
recognisable turnaround.
Play with a swing feel.
Edim X X X O
C9 X
RHYTHM & SEQUENCE TRACK
E~dim X X X O
e I E Edim E~dim E C9 89
~~
/
~==t==f =f==f =f==f =f==f===*==*==*=·=*===ll
32
E7 X X X o
E X X X o o
E7 Edim
4 I J I J ~ l 4
- 3 - - 3 -
This blues outro can be played either with the fingers or a
plectrum. Make sure to damp the Sth string on the F9 chord by touching but not pressing it
with the left hand.
Edim X X X o
F9 X
RHYTHM & SEQUENCE TRACK
E~dim E
1 j J 1 l - 3 -
-'-"'-"---
E~dim X X X o
E9 o
F9 E9
l t li
33
o E
O X X O O
o E
7th fret
e E
X X
E7/G# A
This is an ascending outro to be played with a swing feel. Y ou can make the shapes
simpler if you use your L.H. thumb to fret the 6th string! Hold the final E7 shape while you play the 6th string open.
E7/G# A X X X O X
f 7 X X
RHYTHM & SEQUENCE TRACK
A#dim e E
"': = :- -._ _ -
A#dim X X
5th fret ~-+---+---o.o..--:'~.i..
E7 o o
F7 E7
li
COU NTRY /FOLK/ROCK (PICK OR FINGERS)
This well-known progression can be played either with a plectrum or with the fingers. Damp the bass
strings with the right hand.
RHYTHM & SEQUENCE TRACK
E Eaug E6 Eaug
4 u Ois o Ll 1
4 ô s s E Eaug E6 E7
tJ Ll tJ Ll Is Ôs Ll li
4 4
COU NTR Y /FO LK/ROC K (PICK)
This simple riff uses some modern 'spacy' type chords. These quasi-chords, using lots of open
strings, are used in many types of modern music
e.g. Joni Mitchell, Susanne Vega, etc.
E Quasi F#m o o o X O O
RHYTHM & SEQUENCE TRACK
E F#m
i ! t * * * ~ ~
G#m F#m
* * * * * til ~ ~
36
o
o
4 4 e B
1 1
t
/
o E7 X
e E7 X
o E7
j 4
r 3
r
X O
X X
4
r
/
Edim
J s
1 3
A good ending to a blues song. Slow the tempo at the very
end. lf you are using a plectrum and fingers together, use the
plectrum and middle finger for the pinches, use ring finger
for the 1 st string. Play with a triplet feel.
Edim X X X O
A X O X
RHYTHM & SEQUENCE TRACK
e E~dim / E7
~ ' i ' 1 ~ 3
i t
X
A
! J
e 1
r m
/
X
e E7
X O
/
e E7
U=ã li ....__....,
slow strum
37
E o o o o
A7 X O O O
E Em E
4
* * 4 e
A7
+ t e
L......J
This riff has a real rock-a-billy
flavour, if you can get it going
fast enough.
E6 o
A13 X O O
RHYTHM & SEQUENCE TRACK
E6 Em
* * * * e e
E
* ~ ~ ~
A13A7
t + t * * e e L......J L......J L......J
CHUCKBERRY
E6 E
* * * 1 e ~ ~
A13A7
t + t :li e L......J L......J
-· -
38
Em
ROCK (P ICK)
Here's a haunting type of sequence in E minar. Make sure
not to hit the 1 st string. The
drag strum can last as longas you like.
A/E
RHYTHM & SEQUENCE TRACK
Em A/E
4
* + 4 o o ~
Em7 A/E
~ ~ o o o
Em7
o o ~
o ~ ~
4 4
:li
ROCK-A-B ILLY (FINGERS)
The ulitmate ro ck-a-billy lick. There 's really just o ne shape,
slide it up two frets. Many playe rs use a plectrum and
the ir middle and ring ftngers to play this one. Play it as fast as
yo u can.
G13 A13
RHYTHM & SEQUENCE TRACK
G13 A13
~ ~ 15 § ~ g 3 SL 5
m m m t t t i t t t m
~ 1 5§ g ~ = 5 5
G13
= 5 3
s_
t t e··
5
--
40
4 4
Gmaj7 X X
8m7 X
Gmaj7 G#º
r t i m etc.
X
X
Am7
This long ascending and descending riff can be used for
many old standards, 'I Got Rhythm', 'Lets Call The
Whole Thing Off ', etc. Watch the L.H. fingering and try to move as smoothly as
possible between chords move.
X
8~7 X X
RHYTHM & SEQUENCE TRACK
8m7 8~7
. --
X X
A~7 X X
Am7 A~7
41
G X O O O
CIG X
G
4 + 4 3
1....--l
This riff shows how many players spice up a two bar sequence in G major by inserting the CIG chord on beat 4.
Play with a light shuffle feel.
PAUL SIMON
RHYTHM & SEQUENCE TRACK
CIG G
* + * + 3 3 3 * 1 ~
;: 1
CIG G
+ ~ li L.......J
G/B X X
A7~5 X X
o
ln th is descending riff the left hand fingering is designed to make it easier to slide from
one chord to the next. Watch out for the blocked
strings as well.
o B~dim Am7
X X X
e Am7
X
RHYTHM & SEQUENCE TRACK
Am11 X X X
013 X
G/B B~dim Am7 Am11 A7~5 G/B e
B~dim Am7 013
~ i i i t li i t i 1 i i i i 1 í í í l l li
l....J
43
Dsus X X O
Here's the o ld G - Em - C - D chord change w it h some
different shapes. Sounds a bit like the Eagles, James Taylor etc.
Em7 o o
•
-'-
44 Notice how the 'slash' chords
and the suspended chords give an 'airy' sound. This is really just a G - Em - C - 07 chord
change, but by picking the right shapes we can make it sound
much more interesting.
GIF# X X O
07sus 07 X X O X X O
RHYTHM & SEQUENCE TRACK
:: 1
C/E X X O
G G/F# C/E 07sus
- 1 ...
07
- -
X
G/B X X O X O
G GIF# Em
This riff features a descending bass line, and a high 'G' held
almost throughout. Be careful to avoid hitting any strings not
indicated.
GIF# Em O X (0) O O
Am7 07sus o X X O
RHYTHM & SEQUENCE TRACK
e G/B
e X o
D
07 X X O
Am7 07sus 07
46
E7
Here's a real Albert Lee/Jerry Reed type of roll using just 4 shapes.
Get your R.H. sorted out first!
A7 X O X
4~~~------,r---+---t~--a-A-~-----fr-~--'---Y-~-t-'T-r--9-~-9----4 4 ~~---t-~~-t--.1i'-----t--t-----.r-t----~~-y-tt-t-~--t--1ct-t-----r--tt:--i--t-t-T-ti----r--t--tt--+----i
1 t
47
G o o o X X
G/O X X O O
G G7 C/E
i t + * + * 4 4
L.....J L.....J L,__J
Don't let the strange chord names in this turnaround
confuse you. This riff really just moves from G to D.
Play with a swing feel.
G7 C/E o o X X o
C#7
RHYTHM & SEQUENCE TRACK
E~7 G/O C#7
+ t 1
+ i L,__J L,__J L,__J
E~7 X X o
07
07 :;:> <:::
li ~ * L,__J L,__J
-
48
7th
This 8 bar riff is based on a 'banjo' roll. lf you use a plectrum and fingers p ay -prm prm prm pick etc. Note that shapes 1 and 2 are almost the sarne. Just t Ht t.he first finger o
the 1 st string. The sarne goes for shapes 3 and 4 , and 5 and 6.
X X
o G
X X G6
o X X
o C9
X X
e C9
o
fret f---+--+-~~"I""
7th l--t-t-~-1----' fret 1--t~~.a..---1
o G
07 X X O
5th 1--t--+~-+-c;;;il;.
f ret .___.--+-~--+------'""""
G6 o G
09 X X O O
6th r--+-+-~-+--1
fret f---+----+-~-+--
RHYTHM & SEQUENCE TRACK
G6 o C9
e C9
X
7th
e G
fret f-----+-+-~~~
o C9
e C9
t 5D8 S1 8 D 8 315D8SILl8GS1 t m . i t m i t i etc.
o o e G G6 07 09 G G6 G
4
E9 X X X X
E9
This 'roll' really only uses two shapes. E9 and D9 are the
sarne except that they're on different frets. The sarne goes for A6 and G6. So the shapes
are easy. The trick is to get the R.H. up to speed!
A6 09 X X
A6
- - - -~ -=.., -
/
ª 8 3 5 IG G 3 51 Ll 8 8 S l s s s-s li
// /
50
G
Riffs like this one are used a lot in country and rock-a-billy.
Practise the strumming pattern using just the G and D chords, then add in the extra chords.
G CIG X O O O X
D ~ X O
1-
4 ~~~-=--t-~~~~-tt.------+-=--ttr~+-~~~=r-~~---j'----tlr-~-f----A+,,---! 4~~-----,7~~---~~~~--t--~~-=----T~~----,~--;
D
• •
-1----0&0000
933026 i=>-.:t:J!ÕC;maas Order No. AM90239