eal Rock Guitar

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Real Rock

uitarAlassc Roc Bl of t '60s ad '70s

by Kenn Chipkin

Eitor; Aaon SgC Dg Ja rrra

WARNER BROS PUBLCIONSWaer Music Grp

An OL Tim W Coy

A: 5800 NW 8 venue Mimi FL 3314

INRNIN USI PBIO IED

N: GRIFI HOUE,16 MMMT RAD LONN WS SB

© 9, Rvsd 2 WER BRO. PUBLICTN Ri Re

ny duplc, dto o amn o h mnd n s n qr t wit of b

o p o th bok ooco o d in pUnhzd r a ifnm of US. Co da J



CONTENTS

Page # CD Tack Page # CD Tacl

TODUCION .......4 PART RFS

Intro Music.................1ng Notes . 2

T YTH AS

e Booe Pate 5Example 1 5 3Exampe 2 6 4

The Power 5h Chor 8Example 3 , 8 5Example 4 9 6Exampe 5 0 7Example 6 1 8Example 7 1 9

Mjor s, Dinnt 7h n

on 9h ChsMajor Tras 2

Example 8 2 0Example 9 .3 1Example 10 4 2

Dmnant 7th Chords 6Exmple '1 16 3Example 12 17 4Example 13 19 5Example 14 20 6Example 15 2 7

Domant 7t (3)....2

Exampe 16 2 8Example 17;22 9

e omnat 9th Chor . 23Example 1823 20Example 19.: ...21Example 20 25 22

The omnan 7 (#9) Chor Exampe 21 26 23Example 22 .. 27 24Exampe 2..................28 25Exampe ..29 26Exampe 25 30 27

Example 26 3 28The Mnor rad 33

Exampe 27 33 29Example 28 34 30Example 29 35 31Example 30 36 32mple 31 3 33Exampe 32 38 34Example 33 39 35Example 34................. ....36Example 35 4 37

Petao Mino42Exmple 36 42 38Exmple 37 43 .39Exmple 38.................4 ......40

Exmpe 39 46 4Exmpe 40 ................. ...42

Blue Se Rf ......48Exmpe 4 48 43Exmpe 42 49 44Exmpe 43 49 45Exmpe 4 50 46Exmpe 45 5 .47

RiChord Comos 53Exmpe 46 53 48Exmpe 47 54 49Exmple 48 55 50

Exmpe 49 55 51xmple 50 57 52Exmpe 5 58 53xmpe 52 59 54Exmple 53 60 55Exmpe 54 6 .56Exmpe 55 6 57Exmpe 56 62 .58

ble Sp R Baed On Texyd e ...................64

Exmpe 57 64 59Exmpe 58 64 60

Exmpe 59 65 6Exmp 60 .66 .62

ll L/OCK GUITAR

he Penton Mo Sce 67Exmple 6 67 63Exmple 62 68 64

e Pentoni Major Sae .70Exmple 63 70Exmpe 64 70Exmple 65 . 7 65

Te xl de ............7

Exmpe 66 7 66

PART IV: GUITAR GREATS, US. T U.K.

Te Alm rother... 72 67Jef Beck ...... 77 68Er Capton ..8 69Jmm Pg .............. 85 . 70Jony Wner .90 . 71Bly Gbons ZZ Tp) ..............94 72Jm Henx . 98 73e Rol l Soes ..106 .. 74

Appedx I....................

12Appex 11 .......................13

Gtar Tb Gay .8



4

INRODUCION

Th blues/rock gita y i apa y it fin f w ad vy din gn: and . Th

pin g, B had a ay and namd and " Thi i a a and whi tamn'-itay

Te gan a mi payd y and f a ny (p nt th a '60 and R & B w md

a mi and w mad ny a a adn va a" d a mi t and adi an)

t want ni th 1950 that a m am ppa wih whi adin (fn id hgh wh

at haviy nfnd y a mi Evi Py Bi Hay and n ding th ta wa f

ppa (whi) and (a) mi gan t m R an i a ta aatn (h

gia hd f a awhit nn) and fm i inpn and mift and ahing wh

miia hav n wing haviy fm h p nintnna fgng a nw y

A hd an ma it pant whav ngh h whi imany fndng wn pah n

azng t dntty Apan had ih way tmay and Tha why

/ i dntfia a havng i w paa dntty.

Th ifn ha had n i a ndnia a i advantag Th ma advanag ing h ay

f xnd vn v t ngtaihd n th angag wh i mainaing

adin appa � w a th nt and t f mian hmv

A mpain f h /" maia pnd n th at f h adtna p f

gai h a TBn Wa BB Kng Kng wi immdaty hw a dvding in wn

h y* mazngy / ha hd a v nnta ff n many f h ga gia wh

w h igna mpt f th nw mia fm Mddy Wat ad Jhnny Win h n and h w

fn payd and dd tgh in h a ya f Wa f BB Kg Kng Bddy Gy and

Cin hav a ng hgh pai f i Capn and Stv Ray Vaghan-and h d

mian hav fnd th m and vn h paying afftd y th nw f y /. Cmpa

d and nw dng f h gtai mnind and y w ha h mdizd"

The U.S to UK. Connction

thgh pmay a BaAman m fm / i a ta and nnna

phnmnn By h '60 a mi had ay d v n th Amian manam Many hit

man w nt ny nnd y a m w havy nvd n h and R&B B

h ay '60 Amian m n hw a dvding n twn pp and R&B I anw gan f yng wht ngh mian wh had gwn p nng Amian a t

aay f h tw fm tgth Thy jnd h ng and f f h d R hnn

Mddy Wa wn Wf B.B Kng Fddi Kng and Bddy y wh h vm ngy and aid f

h gnan. t fm h niq awh man/Bh nn ha and h Yadd

h ing Sn Ld Zppin Cam Dp Pp and vn h Ba w n

Knn Chipn

Aan Sang

(S Ra B Ga pihd y Wan B Patn In f a f aminatn f ga)



5

PART 1: RHYTHM PARTS

hs section deals w he foundaton of the blues/ock style: hh g yg The foowig exampes ae

eved om the musc of many wel-nown goups and playes, and are n many cases ideniiabe as the main ust

behind mportant songs. These examples rate e common theads tha weae tough e bues/ock stye

The Boogie Patter

The boogie patte may be the singe most dentfiabe feature of the bues dating back to he Deltabue stye of

gutas/singer Robert Johnson Ts patten is commo to irtualy a syes of mus ic, and s especiay

coneced o he guitaris man adocate

Chuck Bery s wdey nown to hae expoited he booge paern a geat deal n he eay stages of ock ad

roll Berry's aggessve approach to guiar payng has had a pofound effect on all hose who hae foowed He

basialy too the booge paen a blues stape changed t from a shufe to a straghteghth fee and pu a fe

under Once huc got it cooking hee was no way to urn bac down The ame contnued o gow hotte

as e fee connuously grew moe aggressve and loud

Amost al of he exampes n ths secon make use of the booge figu

E h wopar example demonsrates a basc booge fgure a a huc ery played first n a shue fee, ten

(wthou change of tempo) n a sragt fee hs s payed n he ey of E and uses ony wo chods o doube

stops) ES (power 5 and E6 (power 6h Practce swtchng from feel o fee at w

r'.

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Example 2Tis example makes use of a few different wer 5h an wer 6h oube-so o iere srig grops i e

coex of a 12bar ues progressio i E. Cosde his a pmer for he exampes hat wl folow. Noe e

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8

The Power 5th Chord

gitists cght o o Chck Berry's sod d tttde, he door oeed wider d wider, so h by e

erly 6s the ower 5h she beg o crve s ow th, breking ee from he yic 1b bues

progession and forging wfod hmoic dicio New oot movmnt uiizg thi h-not bg

limite o oy he I IV d V chords-ere ow beig exploed Betwee domesic heigs he oslght

of the Biish Ivsio" combed wih mximm disortio d my ew d exime efecs, he ower5th sh ws on its wy to becomig the ower chod" s we ow ow it, d rock d ol" beg o lose

the d ol" is lid the fodio or hevy metl

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s exme he syle of Led Zepe, begis s owe 5 chord he key o A brching o o ower

6h d owe 7h chords s we e chord progessio sds s pefec mode of 1-br blues w

ist e V (D chod i br 5 is oowed by srg of chomtclly coected ower 5th chords esovig

bc to he I (A chod Afe the V (E chord i br we come o Fss2 F beg the roo of the

chod commony foud chod be/rock ogressos

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9

E no -ba bu wi a wi," ti aou yt pa in tyl o i W o Motain a ot V a V o all pow 5t yp) appoa by a l o a pow t o a wol tp bowTs put ga pai o ou" o bing a ty all on ownbat T two out o a t�S an �ll (G5). wo oot �7 a bJ) a ga pia o bu/o pogion a ay b

ot iiiabl poo o o' ontibuion o blu om ngl-in li tat a bwn pow o a iv o pntatoni no al ( G A B D) wit pto o C," wi iv o t A pato ino al (A C D G

oi ow pa i gvn to G �3) an D �7) ov ( o an C �3 an G �) o A(V o. S os

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Exape 5Tis ap, a a o Was s obviousy ispi by o bus tus ik a Ma by Muy Wats,

w t a of t u is a ptiv ik wit a sow pig suff f pay btw y pass of

so opig soy T opig fou bas i is ap big ta suaio o i wit us of 5 a

(V) op positio figgs i t ky of

boogi figu bigs otu ags fo V( a A to (5 a 6 i foowig as,

g pas wit ga stss o t V (B5) pow o bas 1 a 12. T xap s wit a o

ov of D ajo to 5 wit a pa bow. Tis suppso of a a, bui o t 7 o s

y ow o by ok ta bus. ot iusio of bogi pa o E5 a 6 os

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i i a ocked p Texa Shle in the tyle of ZZ Top A Texa Shuffe puts gea emphai on he pbea

a hufe goove deoted hee by he accens on he A we chd The C ad D note py he peece

o C II and D V majo chod-mmonly ond n blues/rock progressions.

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Ts Jimi Hndix ythm pat lay heavy on e we t chors of (0 and �I(BS) n h ey of a.

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12

Major Tiads, Dominant 7th and Dominant 9th Chods

Mjor Triads

A a iad cnsiss e , 3d and scae degees a a ke paed sianes a

cd. ee ae an as aange vice a iad n e gua Heve, ased n accessii and

snd caaceisics, cean cn vicngs pevai in uesck

e ccene ads in uesck as in e cunues se e deep s e pu e

iad u e dinan akes a e g-eaed sipe eeing e ing exapes s

e a iad can e cned i gie iges, dinan 7 cds and e ike ngng cnas

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a F a as Lnd knd sng e ave is ga pa c edies ee vesins e cd

pessin VV (D-G) in e ke G e s -a pase is paed pen psiin cdsang se pen sings Csus is a cn ssiue C in ck e seen ne ck is deved e G penanic a scae G A B D E) cpiening e sipe a cd caace e sng e

ne ua pase ves e V and V cds p e neck aking se e s nvesin vcing D ad C

e s invesin D h e 3d R e d in ass t 9 i s nvsin as is

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G c e ina ua pase is e gd d gie paen paed e a ee cds i an ineesng

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16

Dmnant 7th Chors

Th dominan 7h (o 7) chod is a mao tiad hat ncudes the 7h (a no th fom he oot).

xampe: C7 = C E G .

3 5 7

Ofn, h dominant 7th chod appas withou a oot o a fifth Th cucia nots ae the 3d and the 7th

Povidd th titon th ineva twen the 3d and 7h) is had, the ea tends to f in" h mssng nos

Th dominant 7th chod s one of ock's songest ies o lues

In bues, h I, IV and V chods a usually domnant ypes o mpied to such and heefoe when head n

ock conxts on tnds o call lues immdiaey. The eampes that foow stabish vaid uss of h hod,

anging fom full lown vocings o he occunc of th 7h dgee without he mao 3d

Eample

Th boogie pa s the backbone of hs Beales hythm pat n A Whil tiads (G/A, D/A) and sing nes

pay a mpotant oe, the domnant chods (A and D, dnoed by h asteisk *) ae the musica hook, not to

menion h mos fun o pay

The openng ids (G/A and D/A) ae common nveson typs found on th 432 sing goup Th ass gia

pdas A eow h to chods he snge ine f fond in he 1s and nd endings is asd n he mos

common position of A penatonc mao (A B a E H) bu substes 0 fo a upon th nd. The A and D

voicngs ae payed hee as ripe-sops on he 3-- stng goup. No ha A7 s a nd nveson typ (h 5h E

n he bass) withou a oot, whe the D s a oo posion type wihouta

5th (A) The sngl ine that pecds

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m rs om the 5th o the 6th of each chord change Giar 2 begs almost exactly alike, bt hen its big h

fo each change. Tis example aemps o emuae te orignal wi a revoluionay amon o distoion; e ossible by plugging directy no e mxing board and posely overdrvig e dayligs out o

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9

m 3Tis emple is chock-l of ge bles/rock hythm stuff not to menion being eg rio o ply s p

comes o s cotesy of Joe Wsh Is min signte bits re fond in e opening two bs: fist is theA

mmeed o A fom nd second is the D/A (2nd invesion D d) hmmered to the G/A st inversion

d)

Looing t he A chord yo cn se th whie he minor 3d () is hmmeed to the mjor 3d 0), ny othe

otes hit ong with the mst be hed fter hmmering On be 3 of b he notes ( E d A) re

ed wih the st finger s yo hmmer o he 0 pyed with the nd finger Te sme echniqe ppies o he

mme fond fom D/A to /A O be 1 of b hee noes o the D/A chord re plyed wih vro

Mke se yo fret hnd is id coss s sngs when plying the "ded his (denoed by he x's) In

ddion o brief modtion to B b 9) this empe so fers powe 5h chords (AS nd B) nd n

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Both combinaions ae found as tione doule-stops on two diferent strng paiings. Te ist is and ( eat

1 ad he seod is the iverse, ad H (ea 3) Noe ha eah ae appoahed y he same shae usig o

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his Beates' gitar hoo i has he I, I ad hords deieated as th hod apeggios with additioal otes

Eah hord has its 3rd sspeded to a 4h (ie 7 = B p to C) as well as idig its 9th (ie 7 has A This

ne u a grea hook that Jim Hendx couldn't rest worg i io his sogs i oert

D7sus C7u C

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The Dominant 7th N 3rd: 7�

his is a oony sed sod i bles/rok Is vey ae is as abigos as its sal harater I ave said

that te ajor 3rd ad he �7 are the wo ria oes i deteiig a doia hord How a it be oiaito the 3d he? Wel, it is' ealy I a e heard as belogig to the doat aiy (ao) o the

ior 7 faily depedig o he ex I es ad esrok syes, howeve this hod sally iplies

he doia sod ad that is why ajo key sigatre is sed Despie the presee of this eqivoal hord,

y isteig arod i," to he volist, solois, e, yo a deteie fo yo eas whehe i is lose to

oia or ior.

Fo aoher assi Beates' e we fid he do7J i atal habiat Used here as a hook i he ey o

it's had o

the ovea oaity ti the oogie pae sats i ba 5 orig it as oe doiat tha

o, sie he oogie patte is iheety doiat

D.)

ho- hold- ! hold I hld -- I



22

A

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o o ; ; o ; ;

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= = =

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ike ame 3, this oe eqes tha al oes ayed ogehe ms e held afe he hamme I his cse he

hamme becomes a ti (a seies of hammes ad ulls), makig it a littl trickie to allow a otes of h chod

o ig With you s fige, fid the ae sitio that wi eabe the A ad to ig while you ti o he wh yu 2d o 3d) ge. he ow B oes ae est ayed with he thumb. his is a ea sefu device fo a

kds of tes at ay temo Robi owe is cedited wih this aby

(B7) tr� tr�

Play4 ties

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3

The Domiant 9th Chord

Ta

a

s s a sond a edael evokes bles, R&B and f sles ends o brn anoher evel o rok, and

s been sed b eveone fro Zeppeln and Hendrx o Exree and he Red Ho Chl eppers. Te von

s fond n he follown exaples srn rop 543, Roo795) s far he os poplar o s

nd and s paked wh sa hso

Ex

8 ·.

Ts se of Jonn Wner s a sor of psop-epo-onbles/rokfnkphenoenon s n e ke

B and eans heavl on e B9 von n s poson Sppon hord B9 ae soe slk B penaon

nr B D E F A) ks arlaed w haers and plls o open srns Chek o ow alhoh never

ed as a ord, e IV E7 s aded o wh o dferen snle lne lks bars 7 and 2) a aen e

a

r hrd/ajor hrd (GVGi) reaonshp wn he E7 ord More on s o folow shorl Ths exaple s

nneed al o e les he arond fre ond n he ennn ars and ) and end arsco

and ).NC.

hold - - � hol- - hol- - w/wh wh

>



24

(E) ()

�

q=i

= r:

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=

q

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hod - � hold - � hld- -

T

r

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g

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I eve hee w re crver r, w See R V, kw fr lue we f c Th

hh p he ke f B d d evdece h cve edece I wh que chd

e pe r blue luece: e I B IV E) chd; d e pe ck

pe E peac r E G A B D br 7 l drw f f de f R& B wh h

ecke b pled wh he h crd

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5

Exa

20Ou

i

as iat 9 exae i E a a te Rlig Ses aay lses te 7t egree e 7t s ly

le i te V Aa9) r, as te iervals A), E), 30) a 9B) are sprea iely apart rg a

que a useu r viig. e gie pater rvaes te eire exape. Epy sute a mutig

< = J l )B5 B6 B5 A(9)

P.M - - - - - I

B A(9)

PM I PM

� - - - - - - - 1PM- -

A(9)

PM - - - - - I

The Domnant 7(#) Chord

A(9)

re aigs ta e m s e 7) a smilarly, e geera use he 3 aka #9) i mat

i

r

re

the

r ree siuatis he mit 79) s a ese a ea-sers sig r. Alug it s f te

ia persasi a s tehia erive rm a ajr tria, tes t su eaer a yur average

r r Gitar payers aeiatey a i e Prpe Haze r, ig Herx's stat se f it,

e espeialy fams as te sigaure r i s sg Prple aze." Is arater is ieifie y te

see f h he ajr 3r a e ir 3r The fat ta t 3rs are ruig tgeter is a auses l

i Of rse te 3r i te mst lue te" We playe ver a mia 7 tye

te

r its ee is sg eil S it y makes sese at i te sl<s a statly se tis te

i as ly a mater ie efre it eame m t a it te r vig



26

Ceck t the urpe Haze chd": I sls m lw t high E (1) Q (3 D 7) ad 3 aka 1). Dmian

7() vigs requently deee the 5th (BE7(�9 )

. ,.EGD G( 1 3 7 3)

hs ty f icig the �3 is eeed t as a 1" rder t sepaate i frm the 3 echcay speakig the

* a E7 chd shud e speled as F dule sharp t i cmmn se it is say preeable spell the

crd wh bh and Udesadg this will help yu in eckg with the mysery hw ad why the

3 is s acepted as a meldic e whe ead ve a dminant chrd dominat impied (ie gie pae)

siai By medic te" mean a t a ead giaist sge might hit. ee wil be me his ahead

BesRck Lead Giar" but he meaime, think f any mi 3d payed in a dminant chrd cext as

aa kind gf m he bes t rc ad rl

a 2Speakg f rck and rl Jmmy Page heped make this ype f Chuck Ber-inspired hyhm playg a staple

les/ck early wih his ghy ietia bad Ld Zeppein

Ts is a 1-ar bes m i A and i dircs yur ea staly t e coas f 3ds fist maj the mi

each case the 3 (r1, ight?!) is acceed ad ent sighty 7s s D7s is and E7's s G

�

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2

22

ere s nhe 2b bues a J e h he rle ze hd s the sehed ts rhth

r n he ke E Ntbe e brs 1 nd 5 here he hh en stns e led th vn bass lne

. n b 1 the bss veent nves the I (E hrd r t sn (E5 t s nversn (E

vn the th n the bss E/A n n 2nd nvesn (E/B The bss utr jns hs lne rern

te need ne the hds n su n br 5, he se de s nssed he IV (A hd, brnn

h t nher se hd nvesns ln he en B nd E ntes bve he vn bss In br , e

e B r B� nd nsed e n sed tentve: (B hh s nnll lkened

B(� e thn n h Th rressn ends th bes turnnd Pe, sn the E entn

nr sle (E G A B D n 12th stn th ssn tnes D#( nd A� 0.

E5 E/G� E/ A E5/B E7(�9) E E/G� E/A EJB

E7(#9) Asus2 A9)fC Au2/D Au2JE3

E5 E/G� E/A E5/BE7(�9)

t

h

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f f f f f f f

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xap

s tea-working guiar part in e styl of Ec Capon s ere to usae ow strking e o7(#) son

n be wen use spaingly a ey oets. We are now in te ey of A Notce ow te I co s paye as a

staigt A ajor tria ba cor (wit ublg on te root an 5t bar 5 D7V) is foun as a typca

ominant cor voicing. owever bas 9 an 10 ae e ot spos E7(# s on fo te V, an a nexpece7(# i se or e IVtrange brew is eape is a pilae 1-ba bes/oc pat in spect o e

conssten placeent of e cor canges are by an accene co on beat 2 an by e A penaonc no

A C DEG lick tat ns trog every bar > >

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29

a Hee comes a soud agai. Oce moe, he (�) stads as the masay to his rhythm pat a la Hedri

ia 2 pays a pecussve ad suppotve ole o Guia which uses impe petatoic mo ( G B )

lis at pu gea stess o he � (Q. Te voicig foud i a 9 for he V ( chord is a ypica Hedsm:

implied dom(� hord without the 3rd. his ase, the0 s os as te py ige as oq ad 0 (9th re

thed fige pays the (th fret a he thum fres the ow (h fe. Lie i eample , he dom(�

ype s used as a susttute fo the pai omiat? V chord

• E(�

Gtr. 2 )P). " J J (Cont. rhy simile)

G. l

• Gt 2 olow Gtr 1 voicngs thoughout.



3 0

E7�9

J �

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k

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f

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xape 25s sands as an even stonger exampe o te mpied dom7( on e I and IV ods in A, a Ia Jim endrx.

e so-aed A7( (I ord is missng ts d (0 as te 7( aso deetes its rd . Bot ae voed and

fngeed exaty ie Exampe 26 wt a ow oot noes eted wi te tumb. Ba 7 as a oo tiad move

were a C iad sdes to a D triad and etus. e C tiad (C E G is a ommon sbstiuion o a dom7( and

eans eaviy towad Am7 A C E G. e D tad D A represents e presene o te IVD ord Note teE7( ord movg romatiay to 76 beore te I od in a 1. See e sggested et-and fngeing

or te A pentatoni mnor (A C D E G at te end; e position anges an be a t triy.

t

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3

A�9)

Eap 2J

a

mi ha h fia od on dm7#9) and h haviy d �3 n hi ki]lin xaml f a "hyhm pa' fn

yd on a knon bu cv un Rhyhm pa? Hadly ypicl of h kind f hyhm uia m

ld lay hi backin p hi o ad vocahich a h ca ih hi on Thi 12ba bu fm

in h a iid 8ba ino bad n h (A7(#9)) hd H and huhu h xaml, h mhai i

on anic mi (A C D E G h h mino 3d #9) i ibly inn A a ma f fac, alhh h

ypcal dominabad bu, n a nl majo 3d 0 om uD had n h , i' ou a

Int:NC (A 7(�9)

1/4 1



32

C �

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33

The Minor Triad

e pue mino hod 1 3 is somewhat are in this gene t has sti made is mak Te mino tiad has its

in fok and cony lues syles and is decidedly less "uran ad mode n its msca eect than the

r 7th chord.

r

mo

Example 2Here

aj

s a well-known exampe of mino les/ock hythm guita a a Caros Santana In the key of G mnor, the

r IV chod (C) tends to lighten he atmosphee a good dea whereas if the naltered mnor IV Cm) were

the effect wold be mch darke Tis example consis of four deent phrases that show what Caos

t do wth te mino sound. Te last phrase ofes a common Santaa move that extends te trad to a mnor

ed

h

"

momentaily as the 5t D) raes p to the �7(F y way of the 6 (E

'

j

I

'

Om

•

•

Om c Om c Om

c m m c

m

Om c

m c



34

'

Ex mple Her i vey oigin proeon uing minor hord Hendix end o e dr nd ueoiened n herefoe rien in he ey of E. One gn he Purpe Hze voiig E) i he I hord he her of it.

Four ime hroughou he exmpe hi hord i ppohed fom eo y ide ening he ) on nd o 4

The me hfep onneion i ed preeding he I m d Bm hod ih G�m nd •m

eivey m i hrmoniy renmed B in i deend dond oA

7(9 1(#9 (#9

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m m m [(9 (9 m m [#(#9 (9

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35

x 2

i i ret emple of ow he booie ptte be mtted to ui mior chord. I e key o m the

ered booie ptter ivove te 3()of e () chord ied of e l ue of te 5th d 6th. e E7

d he bV chord d pper a domi od witout he 3rd). e ocome i mode tme

e l Stevie R Vuh.

f

'•

(= J )

G�m) 7) G�m

G�m F�7)

7) G�m)



6

Exle 30? s he hme ase fr this a classic Jhnny Winter gitar part t maes se thee diferen pen strings

and an be played in 2nd siin throght while reaching p t he 5th fe fr theA? dble-st (ar 2)

Ths is the ind f rhyhm part that an spr endless variains s rmmend mh experimenatn i hs

gve and syle f playing

S!A Am7 1/i

l

j

4

I

A

I

A

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ho----11

1

{

hold -I

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f

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G5/A A7 /4

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hok - - - - hoLd - --I

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37

xample 3

s hty insid y Mtin f Jth T is din by if tht s hmniy fx ng yd in dminn 7 nx s s ts sg in mi Sin d s hd n sngih y On h hng h I Gm7 g mn 7 qy is sssd T s n h

s bs 711) ms s f ssin hds mmy nd n Dm nmng h m

iy

3 3

3

3 3

3 3

3

o

- I ho

3

3

3

p

ho hold - I

(Dm)3



38

m 32 ZZ p i wel kw fr pi te mir ie ver dmit ii. De i pr em, te mir r h beme tpe f rk' ribti be fm I th e l iy Gibb Gm ldhrd te G mjr ey i r f trdized Te hfe tht et d del f t p m he

ie ptte pyed ll the hrd he , IV d . i 12b ble fm ed with td be

trd mve: the V(9 hrd i pphed frm hlftep bve {9).

•

l

,

n

n

,< = J P >am7

=

=

=

PM- - � M

.

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M

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am7

=

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1.

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c C6

b

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M M .M. - --I M M

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q p

M - - - - - - - - - - - - - - - - - - - - - - - ·

.

.

s

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f

a a6 a- a6 a E D9

=

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.

v



39

Ea At ZZ To md, tis siiy i Gm (o t ky sigat), ustting to guia pas okigt, s a d spos ft Ts t s a b payd by o guita i imit iffuty

fis pas s Guit 1 ying a mio t oiig no as ommo foud bus and as it is in ja

sys t ss (fm o t ig) G B�. F, i is ppd m af-stp b i si I

pos, Gui 2 as i pat at is bas n ubstos usig sngs. T x s at ss amp is basd o Gui 2 at, y bt guis py fig tgt. Ts is sm a ,-ba suff a you an k i mny Gm ytm a yu .

Gm

G. 2

os Gm/B cs Gm/B G Gm/B CGB�B gts

Q G/B C5 G/B G



E 3s o iks i amior low (E) of t od is payd as a op E ad ris a ot of aiss

to tis rytm part by Robi owr m7 is atay ad o a of 4" (ars 1 ad positio

s baryp of oii o ss 4 s t most ommo mio 7 uar oii i ls/ok Aso

iisi to t styl is t s of a V ord w its 5t i ass, s s as wi #50

sod pas of is xampl xds a sto ord prosso of B( V to G (V) to A (\V) o B (\VII)rsoi to m aai Most otabl a t qik mos from low roots of G A ad B ords t

sr to t doub sops at omps t 5t ad d of a ord Ma tis as a as possb wio

aowi watd op stis to ot.

�

A

t

a

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B7(-9)

cs

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Play 4 times

p�s;c• c�m7

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=

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hol- - hol--1

A B

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1xapl 5

as xal h a c ss - 3 s cucal ay blu uaW a w ky B aa syl b w, a all ss a w 's a

shw s yu f a us u cafuly Ically, u was u a yu u t

ass u ss wll v f wc s sabl a ay su pas uss B pac

(B D E ca sp lc

Bm7 E/B

N.C. (Bm7)



42

PART II: RIFFS

A riff is ommoy udersood o e a repeiive sigle-ie idea I beig te mai ths beid lues/ok he

guitas ole outside of ai bakgoud ytm playg is o ead te ad wt sigle-le rifs a er oe

iude ods as well.

I fomative yeas, bues/ok groups were ofte oegitar ads ad te sige guita payer woe both ead ad

ytm ats o fil te musi out Ifluee a be raed to semia lues guiaist/sige oert Joso

bakig is oa wit asi ooge paes wile hrowig i sigle lie iffs tat detied te sogs. Where

blues may ted to pay dow riffs puttg tem a eve keel wit othe musial elemes, lues/ok eds o

gloify ad explot riffs as meodi ooks Tis seto deas wt guitar pars makig use of eveytig from

smpe epetitive sige ies, o diffil lies iterspersed wih sm ad lage hod voiigs I ay ase he

is d oiigs foud i te examples tat follow are fudameta to is guitarorieed style ad should be

asored ad sed as oos for uidig your ow impovised guitar pts.

Pentatonic Mnor: he Sale That Rules he Sound

Bues/ok would surely be os witout the petaoi mio sae. A vast majoiy of the most lassi

reogizale riffs are ued diretly fom it Everyoe fom e Yardbids o Stevie Ray Vauga is ideed o,

ad i an epter o te famous ive ievals 1 J3--�7 Ti i ieva fomula o e cae ad a

you ve see fom Part I, tese ievals ae te roo of outless ord progressios art III will over te

sae i a its gory fie positio foms For ow, let's just ue io te soud y payig a peao

se losed ad ope posiios oe otave apart

Op sio 1 sitio

•

.

1 � 3 4 5 7 1 � 3 5 � 1 1 �3 � 1 � 4 5 �7 1

A

_ . A

I

A ,

A

O

A

-

M

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apl 3I e key of E is his early Led Zeppei r pipoitg te uio of lues ad rok wi a ass lie douled by

guitar oe oave hige ad payed wih a sue fee Tis is a good iusatio of how i te hads of ok

musas, a bakoud as lie figur s eigteed to maihook statusr>, n = J >

(E7)t

I

ay me

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-

43

Emple 3Jimy Pae aain wih a en n wn a iar mey" fr a 12bar bewhich incentay w be

ear mibe an anima t fin i raiina bue We reman in he ey f E E pentatnic mir E G

AB D) a the ba. Hwever thi r me a minr key be" by vre the aeaae A etac

i A C D E G paye the chae the IV in bar 5 The heavine f h f e i pa t the w

en piin it' aye in, makn e f fr en trn.

B



44

a 38Ritchie acoe o Deep Pupe ae is essible fo his cool eae i C Aogh e chod chage

ipicatos ae decepive the eat o is based o F tatoic io (F A� C E ad C taoic

o (C F G ) which obviousy shae ay coo oes The oeig eigh bas aeate betwee

d C aoic io wth a passig toe ba 4 The ext 12 bas (afte the doube ba ie) stad as

aothe 12-ba bues guita eody The ipied bes chages ae oud i paethesis Note e sides i bas

1 12 1 16 ad 7 to be played wih e 3d ige o aeuveabiity The ipied V chod (07, ba

bgs i a patial se o G taoic io G C D F), showig at bles/oc ote akes use o tee

diffee petatoic io scales based o e oos o e I IV ad V chds Is safe to say os adoa

blues sic ses he oic (I) petatoic io scae oy

.

NC (p7) C)

-

. -

.

4

+

.

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,

"

;

(p7)

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p �

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q

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n

C7)

j

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p �

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--

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',

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4

PM------------- -I

(F7)

PM PM - - - - - - - - - - - - - - - -

C7) as

PM. - - 1

l



46

xample 3Te noes a hs Hed e ae but o ae ecusvey E peaonic mino E G A B D) Te rff saddeso forms of e scae 5 ad h posios.Make e posio sfs smoo ad se a wa wa peda o epeac you ga o speak Hedrxese

N (E7�9)

�

�

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.

.

1:�

.

•

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L

-

w/wah ah. _

�

;

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l

Example 4

s ri a a Jony Winer makes se of several A penaonic mino (A D E G) posios open 5, 12 ad1 he oex of a 12bar bes in A Te is ee bars ae payed e open posion, expoiing e openD and G srings wi fas ammeros Tp: Say on op of e ime wen laying ese sixeen-noe ipes m

bar 4 a vaiaon of e f is played 8va, i 5 posion Te famia boogie paer rers i bas 5 and 6 fo

e cage o e IV (D7) cord Aoe vaiaio of e signae r is en played 17 posiio ba 8e o cod played f ou is E (E B D) in bar 9. Ceck o e ip raoud ick i ba 10 ove e IV(D a eads back dow o open posion w a fas and dffc wose bend fom 0 o E n ba 1 1 Ba 11

is miad 8va in ba ad bo vesios sneak i a qck � ), wic wen added o e fiveoe peaonicmno sae makes "e bues scae, or nex sbjec

A7

3 31/4

•

- - -

q

•

·

� 1 4

_

"

f

f

f

'

-



(

•

T

D

1-

4

r

h

1/4 t

1

. . .

.

�

os D7 D6 c D5 D7(3) D 14

(7

. .

: :

f

.

8va- ,1

l

Jrh

1 11

J

/

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f

.

(A7 /

f7

:

q. .

E7loco

>

hold---- - - - - - - i

:

�

= .

A

\

1

(D7)f

/

1

b

1

·

47



8

Blues Scal Rfs

s sca ads a sh n nanic sca h b r N h sca ss: 1 b3 4 bS b7.

ncsin f is n s a naa ccnc in s and and can ac ca incins ay

us sns uiass d d "nbtn-hn s a n appah ths " n h

nds nd ss mia

Example is fs amp f ad b5 n s rm a Hnd amp in a a hs Band Gyss ays fis

sin is bs sca ( F G b � f s in O siin an s ay fr s n sin is

rn yhmicay ping ga srss n sa f h s b5 in 3rd psin.

T

.

C

.

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1

e

j

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K

.

(D7)

.

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n

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,

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q

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f

A

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f

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_

49

xmp e 42

H

In

N

i

i o woul- li i op y gu i ock ul l Roi Kig o oo

y of E, E lu cl E A B D) i u iy Kig ply io S wiou pick

the pick(ess) bad muting on the pen sing, iil o py' proc T i ly

o cfu o c o yicy .

,

f = )NC. (E7

PM

•

•

x

e

PM

•

•

qi i i E l Mi B of J Tull o oy A#) E eoic io u b6 0)

DI) wll; ivig cl pll E A A B C D n ui 2 ly wo- if ii of o wil u 1 o- ck xcuivly o E oic io.

Gt. 1

G 2

.

•

•

•

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E

•



50

Ea 44s is a es/rock gitar tor de orce i the stye o Johny Witer. n he ey o his exampe icorporaes

hree-note wer chords o he I, l and V A5 C5 and D5) with a A ues scae A C D B G) rif in 5h

sitio (ar 2) and o siion (ar 4) a wihin the first or ars

In br 8, a variatio o he bes scae ri is hamozed sig A mixydia A B D E R G. e boogiepate is payed for te bV 5/F6 and b G5/G6) chords in a 9 Te douestop hs in ar 10 (beats

and 4) sod real heavy o these sigs Noe: the predomat shape for dobestops o he gitar s he 4th,

and you shod harmonize the entire pntatoc minor scae n ths n a posiios becase as you can hear they

are very seul

For e V (E7 chord Johnny ofen aes use o he so o move fond n bas 12 and . he target chod

ones o the E7 ae (3 and D 7), ad they are sld to from a half-sep eow his doubestop is he ineva

oa tioe ad wi be dea with i uher deai shotly in he secion on the mxoyda scae

�

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J �

•

t

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05

= =

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v

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C5 os cs .C

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l )

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ps p ps as G6 as

= =

I

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A

(E7)

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v v

v v

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v v v v v v

v

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l/4

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ps p6 ps C

_ q

=

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.

5

s last bues scale exampe s n he unlkey key ofF, a la Rche Backmore. A sgnature of Blackmore's s

te bend whou vrao as heard n ars 27, w/ ben o F e F lues scae (F A B B� C crops u n ars

5 and 6 and al notes are pcked no surs)another Blackmore trademrk. Bar 9 mpes a change t he V C7)

hord as the F ues scale s contne

Wereas nne tmes ou o en he1�5 noe n a ues scae resoves ether up or down a hastep o the � or q5, a

very orgnal excepon s heard n bar , where the Bq) s folowed y a 3 A) retung to he eoreay resovng on the �4 ) on bea Bar 2 agan stresses he le note, hs tme as a typcal pasng one

p the th C) and down to he th ). The fnal 4 ars mark he begnnig o a decidedy Engsh reatment

o a 12-bar bues shue before he ade out,, J J l >

N.C 7))

,

v

-

T

A

4

g



52

I

J

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) )

(C7)

,

4

4

4

4

(F7)

I

e

�-b

P

7 +

=

�

.PM--

"' "' ' "

Fadeout

I

e

?

-

1

1

1

PM.----- -------- PM tc ,

-

g



53

RfChr Cmbos

he oowin exames ae as divese as he blues/ok ia syle sef he ommon hread s te dua

funtons tey sevefishin a une wth an inventve u hook whle aso funonin as a rhyhm ar

he hords fond in this seton ane om ae ave vons to wonote doblesos sed fo unuaion

he msia envionmens hese rifhod ombos are lled fom rane in sye fom E Caon and the

eales to Lynyd Skynyd andZZ To To whaeve exten the ia as jon e rhyhm seton o say "ofront i the end it's a ood ms.

e al fntion is sonified fely in Exame 23 a la Claton I's not nlie a yial Moown iuation

whee wo o even three uitar laye lay otay diffeent arts whe he sum total sounds ike one imossibe

uita art.

x 4tayi wth the Claton syle we ome o this deidedly ok take on a 12bar bes D a la Ceam Te

brazen se of the

(0) fo e imied I hord is obviosly lihthearted and are in bles/ok The man i

whih is also nssed to e IV 7) in bas 5 and 6 is based on no ala sale athe, it has eah hord

one oahed by a half-ste below: D F and A ae oeeded by non-hod tones a R and In ba 6

eres a nove doble-so li that invoves a seimosed F tiad (F A C) side to a G tiad (G B )the

e essene of ok meein blues The taround tha beins in bar 9 s more fttin of bues usin ommon

iao-sye itar voiins le he A6 and he A( (for V) to G6 to ( (for V).

N. (D7)

G)

A9(3 A6 Q6 Q9(3 6 07

·



54

Exampe This one is a ock ake on the standard of bues sandards va Eric Caton by his heo Robet Johnson. The

signae ri A is caed out o A penaonic mino (A C D E G) in bars 1 and 2. Bars and hamonize e

ri wit doube-sop 3ds borowed om A penaonic mao A B E F. Te cange to D7 IV i bar 5

bings to mind he Detastye origins o e song by picing te notes of a basi on D7 chord ahoug it

woud ave taken hundreds of Deta acousic guitars to match he voume Ec used o pay at).

Stdy the ic payed ove te tuarond bas 10-12 this s cassic gh-poeed lapon bues Noe e

sength of the 0 bar 10 he �7 o he D7/ cord) resoing to 0 beng te major 3r o he A7 cho in he

next ba.

N C (A 1/4 1/

�

) )

1/4

•

'

=

q

=

1/4P.M--

1/4 /4T

A A ;

D

1/4 D7

� =

),. r -

,

1/4 •

q

• •

-

•

=

q-

1

4

hod - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 11

{

A

. .

D

(A7 / 1/4 (E)

)

•

=

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f

4

hold - - hold - - - -

f

f

/

I

1

(0/F�) (E7)

y

4

,

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55Example 8

H h o-gi i i Cm by y o ZZTop. u ps i moig by boucig o doubl-sops

4hs o lo m C o o h h sig Th is obsop b 2) c b cosidd a FC l

b 3) is Cm7 (B d E Gi pys pssi hi o o sigs simp h

ompims ui 1.

Gt. 2

F5fC m7 /

I I

P l ay 3 Ff

og lil h s i s y mb i yyq Syy This is moi blus

o sblsh by h mpid V d V chos. T is g bs y ou h i bsd o poic

io C D G ih occsol (7) pssig o b h s sh o D poic mi D F

C). T doub sop 4s u li o sod bigg h y y Upo V E7),

h scl shs o poic mio B D) s h d is sposd o

C (A7)tr

•



56

I

:

I

:

T

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e

"

A

" "

" "

"

"

(D7)

�

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P.-I

p

.

(A (E

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:

PM

T

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f

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( (A7

"

•

7



57

ml 50Tis Skynyd i pcks p wh Exape 49 ft o. lso n A is i akes e doubestop 4ths a few seps

rhe stng p h chod changes wi soe cool connctions on beats 3 and 4 of bars 4, 5 and 6. og

e lmns o is or t IV and V chods a basd on A, D and E pntaonc nor respecivel what

ges p h sond ar majo 3rds payd on th A a, bas -4 and the E7 bars 9-2) Te a is

orowd omA penaonic majo (A B a E

Fand om E pntaonic major E

a.

•

t

a

.

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t

\

5 G

=

= =

•

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=

" "

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f f f

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r T

; ;

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(07)

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(E7)

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p.

P.M - - - - � PM

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PM --·-- PM PM

:

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= =

PM

I

PM

"T= +

_

pT

•

P.M.

D5 C5

PM



58Example 5Hndi was faous for his constant us of th doinant 7(�) sound h Pur Haz chord) in vagu tona

sitaons hat as n bus, hav ajor (doinant) and ior ayd siuanousy. This a howvr, is ar-ct c of a inor ky 0 inor Thr a o doant ctons hs havyyhd-12-ba

s so th doubsto for O7 and 7 a ntdd as nor chrds for a chang! You don't gt uch

hir han th 0 ntatonic inor (0 F B) ck n bar wih 3 ayd as an on 6h sing Th ck ansosd u to th 7 by sy ovng vrything u a sng: th ick now in ntatonic no

A ) and th 3 s ayd as an o 5th sig Th 1/ ton nds n bars 9 and 1 shoud b ayd sigh

and tghtdont ovr bnd hos nos

C�m7

> >

-

-

=

T

I

hod- - -1 hod- ·

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A

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l

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=

h -I ho hold- - -I

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a

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=

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+ .

.

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.

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(G�m7 C�m7/*

)

_f

··:·

_ >1/4- - - - - -- --,

- - - - - - - - - - - - -

I

I

+=

++

1/4- ---- ---- --,/ -, hod- .

_j

.

-

/

/

/ /

. .

o

.

H

A

Ba



59a 52He is anoe child o Jimi's one he loosely adopted om blesman Mddy Wates e main difeene

between the wo ppoaches is ta endx played it thousands o imes oude wih the accent on a cushin

eainess ominous soundn E ntatoni min G B D in pn sitin is t e cnt f i .

onal feelin is o E7) especially i bas 7 and 8 E73) D and B) and A and A) ae paied down o

doblesops and layed ove an E bass eda in bas 6 and 7 Bas

9and 1 do somethin Mddy obably

eve did: use VI C73)) and VI 73) n he chod oessona saple o blesck Noe tha te VI

nd bchods ae payed only in at as specia wonoe doublesops of oo and 7( 7�)

»�

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=

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11

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k

=

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ad

fip toggs

J



60

pe 3ow ohr hyrockg gr pr A l Jony Wt s o ss sml dob-stop trons,

mdm powr 5ts, A nd 5 d lrg o E cods s wll s opl of s to g t bsy, yt

sold sond

rs 1 d 2 show A tonc mjor A E R lck th conts th A d 5 cords ot th �IIIC cord coctng d A n br rton dobl-stops fo I IV d V r fond i brs 5 6 nd

l or occrrcs o th trton th ky chord ons ht dfn A, d E t d nd th of ch

Tr yr bs to od wtd sng nos r mmrg o h oblsops ow roos o t 6t

sng c b dclt to y clnly Usng yor mb s yor bst b

: :

•

-

I

"

"

A

"

v v

f f

, , , ,

/ D c

, }

/

1

=

l

-- ho- - - - - I hld- - 1

/

/

1

v

n

,

, , , , , ,

7

I

f

1

L

•

M- - - M- 1 M- - 1 PM PM.---- M PM.--1

R

,

_

7 D7 cs

I

l J

u

J

r

q

M- - - I M---- M M

,.

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r



6

Exml 5Here is a sho one in the style of Crea. In the key of , this slow riff s yet another exaple of how blues/rock

mbines both major and mino thirds to o a sond that is nique to bles derived msic

N.C (C7)

xml 55Aoth good example of tritone doblestops is this one in D a a Steie Ray Vaughan A song conast is

sck beween the �3) octaves n a 5 and eR3) fond in e tone doube-stop wi 0 7 in ba 6

Altogh e whole rif is faling unde the abe N.C. 7," the speriposed G ad notes (G B D) play aey impotant role in sspending te R p to G oentariy The singe note icks ar based on D natonic

inor (D F G

NC (0

wy ig 1 G , tmeG 2 q

* pisd G iad e

ho-�



62

•

•

f f

·

=

·

=·=·

:

1

:

•

_

\

D

• •

�

l

4

grad. bend

f

L L

�

D7()Repeat andfe

t t t t M t t t t t t t M t

t

•

i i i i i i

i i i i i i i i

: :

; v

D

xap 5Ti iod omo in E i 5/5 plit twn inl lin n o ou o you y t Bts. Bs 6 m o E pnton mino (E G B D wi n dd H Bs 7-1 find ooi ivin

oon of IV A5/A6) VII (5/6) n V (B5/B6 T lon ypl of-ntmt shfts

voit of Jon Lnnon ot ow t sin in is o m o ns.

(E7

» �

>

. . .

.

f � I

y

.

.

.

f

.. ...

. ..

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a



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AS A

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-

s D6 s D6 D

• • • • •

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f

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*( (G

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= f=

A

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--

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Double-Stops/Riffs Based On The Mxolydian Mode

The moyian moe is vey mh lie he majo sale Only one noe s ieen b ha one noe maes al

he ieene in he wol. The noe is he 7h egee. ao saes ae see: 1 2 3 4 5 6 7. The mxoyian

sale slls: 1 2 3 4 7. O hie mtane is he elaonshi betwen tha 7h an the majo 3 We've

een g abou an laying exames o his elaionshi wih the ione obleso.

l 5Hee is a gea ase in oin o mixolyan sage a la he Beales The key is E an he noes ae fom E

mxolyian (E F• 0 A B 0 D exe o he ae 3 whh hes emhasize he majo ( This one

seas o ise.

I

��

•

•

ml 58

�.< (7)

. q

_

·

•

Robbie Kiege o the Doos is eie wh this ula shle-eel i in E using E mixolyian (E F A B

aD The 0 (he 3 is the ey noe i he i esite tha is tille om he (3. Ohewise,F anaae he only noes missng om he E mioyan sae

( [ J )��

"

�

tr

Ply4tetr

tr

•



65

x

ape 5P

L

c

e

e

r I will ow coe wit wo fi MixoLeoMcCtey exme. T oe i E i umiied

o blue Te ed uie i 14 i bed o E pettoic mior E G B D d i et

ccompied wt te 4t e o t ret d te er 2d fet Te 68 mpe te

od ce G to Cplyed wit ile ote. Te ext (8/8) i e ot pot were te B7 cord i

preed wt coo doubletop 6 c. tdrd blue roud ed te pe retui o e ote

i te beii

E7(�) E5 AS B5

m I 1 1 1

E7@ (� E' '

. � m ;, ' . � m ;, '

Gr 2

tG (C)

1 1

ass g. pays tImplied chords fom Gr2

® f B G 5 c� E5 B5

) ) )



6

Example 0Lst but ot least is his memorale lie from the Beales, ced from A mixolydian (A B D E G ars 1-4)

ad tasposed to D (D E F G A B C ad E mixodia (E f A B D) on the chages to IV and V

restively. Note the lower part G. 2 harmoizes the melody y addig to t the root ote o the chod i

qesto Gutar 1 plays he melody 8a thoghot ith hammers and eds

N.C. (A)G

'

.

l

r

t

v

p

� " t -G 2

f

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,

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l

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67

PART III: BLUES/ROCK LE GUITAR

Can blues ope pay rock? Can oc people play bues Te answers lie only with you and your feelings about

mus. On one hand, e two syles nnue to infuene eah oher and gutar players lie Sevie Ray Vaughan

Johnny Winter Robert Cay and eve Buddy Guy a arry a torch or eah n the othe hand some payes

wll always be umd n one camp or he oter being as it is so hard o do both equay well And o ourseer's nohing wrong wi being "lumd-te styles wil aways oexist See Apndix I or an examination

o ter dstincons om musical orms to nuber of amps

You could say blues/rock guitar soos are like bues soos only payed aster louder and with a rock and roller's

phrasing ariulaions and attitude but hee is more to i than just that The deepseated easons for heir

divergene enompasses ators like isory ehnoogy and hangng tends and astes This part of he boo

am o exse the bare bones hat use the wo ogeher-he vertebrae ha make up e spine of blues/rock i

you will The songes oce is o curse the ntaoni mino scale (nd added notes) which will be deal wh

in exploed view' fashion Also of mrtance is the use o the naoni major and mixolydian sclesputfot in a contextual way

Te enaonic Minor Scale

Tis scale is �ihou uesion he oundaion beneat singeine playing in bluesoc The inteaic formua of

he fvenote sale is 1 �3 4 5 b7 (ie pentatoni A C D G) and has been around hundreds of yeas before

Chu Berry and he electri guita were bon The sae has is orgins in ancient Chinese and Indian fo

musi cear on the oter side o the word

is mran o undersand that no mae how muh you see a guiarst's e hand moe up and down the ne

when playing this sale only five noes ae being payed n oher wods ive eter names (ie A C D E G) ae

epeated by playing the same exact ptch on up o six diferen stings in six dieent paes on the nek or by

payng up o fou dieen ocaves o he five noes The en al o dierent sting goupings positions and

ingerings are ininite although ceain possibiities have emained most ommon amog an ene wod

pulation of guitar players

dscussed eaer the ntoni minor scale an be superimposed over a major key siaue and e mino

3rd the sae mixes with the oen head major 3d ound in he hords of a song n noating musi where is

ous the majo ey sgnaure is mananed despie how mino he musi may sound and adeas e us

where he blue notes like the 3 bS nd �7 are payed For example e ey o A is based on he A maor saewhich spells: A B D E R O A When he A penaoni minor scale is used (A C D E G) we mus ale o

C and Oto G

Example 61

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Cnneing Te Five Pentni Min

For pracical purses, thee is a fgeig for hat coves all sx stigs based o ad sg om each oe of

the five otes (hec "ta) of te scale. t is essetia hat all guiaists ae itimately famlia wit tese

form-piy mpvi T m divid t nt guit k ito iv "aas tat ah in i

ow ig ca ispie tousads o gita solos Each form arages the otes diffeetly ad teefoe eels

uiqe. Some licks payale i oe fo ca be vialy payable i ote. Alhough i is commo pacticeor bues/ockers to se all ive fors i agmes (2 o 3 sigs a time, it is impota to ow a ve

igengs iimately

From his poi o, he fe fos wil e ide fied y the scae toe fod o he 6 sig Fom I = roo,

Form II = �3, Fom I = 4, Form IV = 5 ad Form V = b7. We wil beg o the owes oo o orm I i G ad

asced hrog a five oms uti eachig he highes oe of Fom I agai, oe octave highe, the reverse he

woe pocess, edig o the oigial ow oot Pay cose aetio o he idicaed posiio shifs tha oec

he oms, as this is your key to asposig he execise o ay ad al oher eys Fgeigs will iey vay i

acua payig situaios he suggesd figerigs eable you to conect the oms smoohly Alteae pickigbeg o a dowsoke shold be appied trogot

mp 62

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The to Mo Sl

I mood, this scle conasts the seiousness o its countepat wih a ligh-heated counry-like eeling hence it

is commonly known as he "couny-blues scale ts intervaic fomula s 2 3 (aso a fivenoe scale.) The

chie conas lies in its possession o the majo 3rd vesus he mino 3d o the pentaonic mino he d an

t deees lso bring i closer n kinship he majo scale. Actually it can be hough of as a mao scale (1 3

) wihou the th and h deees

staed earlier, combining the qualiies o boh scaes is a stape of he blues/rock sound and appeal Payes

ike Eric Oapton Leslie West and Dicky Bes ae enowned fo their extended usage o pentaonc maor as

we as their abiities o combine the two lyicay

xample 3 (Not recorded)

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Because blues/rock guitriss do not end to lean on his scae as hard as counry guitists extensive use of ts

five oms originang on each scale deee ike ntatonic minor) are no oen ound Howeve the ive forms

are shwn here in sequence allowing you to compare the previous ve minor orms o these five major ormsNoice ha he major and minor orms lay out idenically difeing ony by their saring noe (o exmple:

Maor I and Minor I are the same pae wih difeen sating tnes)

xample (Not recorded)

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PAR IV: GUITAR GREAS, US O UK

Ths son s desed as a colecon o chaacter sdes Each pece brngs together a partclar playe's most

denabe ademak a ey woud pay them, n he conex o a vamp assocaed wt each muscan Tsolos are based on extensve eseach o each payer's style hrogh vaed sources, pesenng msca deas ha

are ansplanted rom the eels and empos they wee ond n o work n hs abcated suatonUndesndaby hs pocess (whch I ca "makng monses) nds o guta greas n a somewha unaal

ght where pasng decsons and the ke ae no enrely her own I menon hs so you wl onsder ha

musal ascts such as ress and motc deveopment nherent to a player's style were sometmes compromsed

or the sake o prodcng a condensed yet nensve chaacter stdy I tred my best to reprodce each stye wh

pansakngly epetve pacce and aenon o deal-notably where acatons toch and hythm are

coned. Exrmenton wh gas and amps commonly used by a gven paye aowed me o come whn

reasonabe ange o he known sond Use te transcrpons and yo eas equally, dges ck by lck, seon

by secton, and yo wll have years o e mos eveed muscans' wok n your own hands

Allmn ot

he Allman Brothes Band s an mercan nsttton wth a long hsory datng back to ther 1969 debut They

ae aountbe or bg olde blue and R&B sounds to he attento o mansream rock audences. A ea

pt o teir so�nd s due o Dane lman's sde gutar playng n on E Athogh he oftn adeply played

sndd tuned gutar wthout the slde hs warm, humbcke pckup slde guta sound was hs trademark Hs

selpoessed nuences wee obet Johnson Blnd Wle ohnson and Muddy Wates Duane s largey

resnsble or brngng sde gtr om the bes to he oegound o rock we rasng ts voce wth e help

oexeme amp wattage he grop's othe garman, Dcky Betts, wa a rec ol to Duane, wh h sond

ing bgt and agessve comng mosly rom te brdge and mddle son of a Gbson Les Pal. Dcky'splayg has a strong country nluence rnnng though marked by log lowng legato phrases and extensve

use o penaonc major.

Duane lln

Dane y made a lo of a ttle. Open E nng doesn offer many comot zones n whch o get arond easy

Note hat he postons coered n ths solo show he neck aeas n whch he spen most o hs me Tanspose

hese posons o othe keys n ode o dgest the deas Ths solo s in the key o C and leans heavy on C

mxoydan C D E F G AH wth nod o C naonc mnor C F G

A ave move o Danes was to emhasze the majo 3rd (E) by suspendng o the 4h (F and esovng

back. Many deren rhyhmc phasngs o hs can be ond houghou Noe tha when hs aleraton occus

on sepat sngs, here s a slgh beed whch combned wh he downwad slde to the F note gves a

ta ease. Ceck ou how e chnges to the IV chod n the 2nd chors are srongy suped by the

g not, boowed om te C penao mno scale, as t goes back o fo he e to I C7) nother

lass Allman trademark s the sot o cky nson ck head n bars 10 and 1 o he nd chous Agan, h

ease s made by he sldes bleed and the general mpeec ntonato that occurs n he quck movement he

slde mus make connect he F noes on the derent sngs



73

e ett

Diky's sy is makd by qik shits bwn hao us of th blus sal (in his as h C bls sca: C

F G B) and pnaoni majo C C D E GA). H is a smoo opato wh onnions btwn wo

a ondhk o opning th bas fo xamp Bs ofn is on slids, plls and hamms

whn makg hs ontions saly withn th ontx o hytmiy piiv not goupngs. Anoth

imts bhind his fluidity and phaps his mos ognizab tradma is his onstan us of a msi grmthat ivovs 3 nos with a pll-o wh th owst not as as a pivo poin Th ida is foun in pain viw

in ba 9 bginnng wit F, C and bo moving on to vaiations involving ot 3-not goupings. This is a

sapl of his impovisaional styl and points towads oy and buass inun in its ontinos owing

nat as dos ommon oun of pntatoni majo liks nvoving th 2nd (D) bnt to th 3d (E Ths

sot of thing is not unlk pda stl and sid guita ptoihk out bas 4 and fo xampls

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77

f Beck

Although Jff c has log b rputd as a musica chamoa guitarist abl to chag his styl, soud

ad approach to dly suit most a situatio-thr s a udiabl harlt flig of th blus ruig

trough his varied efots. Jef's ineet n lue dat bac to hs musca roots as a tag blus bu i

Eglad. c's mrgc bga wh his mmbrship i h Yardbirds whr his assocatios with ric

Clapto ad immy Pag wr prdictd o a mutual lov ad rsct for Amrica blus Jf c Gro(whch icudd Rod Stwart ad Ro Wood) was formd i 1967 ad th albums "Trth ad "cOa

srhadd th attac of ritish blus/roc

c is a trifically uprdictabl soloist wth gat tchica command of his istrumt it a Stratocastr

lcastr or a Ls Paul H is most rowd for his amazig cotol ad toatio of bds umistaabl

vibrato, ad mastrul trmlo bar worot to mtio his wholyorigia touch surpassd oly by his

rmarabl istics and tast

rst chorus of this hrchous solo i G is ddicatd to his "ruth days whr h umistab (ad

glish soud of a Gibso s Pau st to bridg pic up payd thrugh a Marshal amp is hard. al about

US o UK! G tatoc mior (G C D F) form I is at th hart of mattr throughout with a touch of th G

bus scal G C D . Js amazig cool of h "ghost bd (prbd is illusatd i bas 5 ad 6.

A now c admar is th quc ad rtitiv bd to th root (G via th �7 (F) followd by t uiso

G i bar 9 ad Th scod chorus switchs to a Satocastr-whrby som of cs pattd ad origial whammy ar atics

ar rplicatd. Fashy ils of al sorts ar slas o iovaios by s Paul himslf- of Js biggst

ispiraios Anothr s Paul bag at c mad his ow ar th fast pull o lics to op strigs li i bars 9

ad of this chorus ad bars ad 2 of h third chous Aotab c ait is h hld bd lic i bars 7 ad8: th oly way to achiv th sparatio dd at this fast sd is to go icss (as Jff oft dos) ad lay

th bt G ad frttd bw h thumb ad aothr figr c is aso fod of payig doubstops

wihout th picd os hat sip v 2 sigs (3rd chorus bar ar ot ucommo to his solos

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81

lapCapon's guia playing aree is as log and diversied as the line of giarists and musiians he has inened

Like e Bek, he was fonate ome o prominene at an eary age wih The Yadbirds while also in awe of

mean blues Moe han a blues b Eri was a selfpofessed blus snob" and was quoed as saying If i

wasnt blak I wasn ineesed. This attitude of his fomative yeas had kept he bues close o his heat despite

he many sages his musial life has seen s feaed guitaist with John Mayas Bluesbreakers and shotyaeads he guitaplaying third of blues/ok supergroup Ceam Ei Capton is unquestionably a undng

fathe of the blues/ok sound

Ei style is at one sonal and unvesal Not withou a heathy suppy of hops Capon is well knwn for

his eseedness and endeny towads simpliity as a solois. His soos ae disingished by a foundation o

balae, auhoiy and staeiness Generally, Capton favoed Les Paus during his Bluesbeake period

Fiebids, 335s and SOs wi Ceam and Staoases pstCeam

This soo is payed over a vamp in E, wih a iplet eel a la Cream. The E penaoni minor (E G A B D) oms

ange om I in open position o I and I an oave higher at the 12th fe and above and his sale is he mpesbehind the solo Ei has ong been a maste of combining and balaning he moods of penatoni mio and

mao. Look fo he phases tha use E penatoni majo (E F G B i.e bars 10, 14 9 and 20) along with E

natoni mino is abiiy o play phases tha swing om major to minor in a natural and lyrial way is one

of his stonge�t ademaks Anohe Eri Clapton rai is the seamlessness o position hanges hat urthe

omplent the smoohness of his phrsing: hek ou bars 5 hough 22 for evidene of tis. Duing hi Cream

days, Ei affetionaely named the sound hat ous when al he one is roled o of the hyhm pikup

woman oneand has sine become a pat of the guita payes veauar This sound is head in bas 19

though 2 he solo ends with a smokng penaoni mino ik with pus and hammes tha ae haateisi o

Clapon's faste, legao playing: 3 slured notes foowed by a piked nte in suession. He has been known obegin his noe idea fom other inteas o he sale suh as he oo 3rd r 7h-his one begins on the 5h.

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Jimy Page

Page was regarded as a top-notch Londo sessio player te md60s bacg such acs as he Rong Stones, e

K and Doova befoe joiing he Yadbrd a er bassis. After he swichg to gia Jimmy ad Je Bek

shared ead gui rsnsbies for a sho me before e oup disbaded 1968. Page's ove of Amecn p

ad bue muic served his guiar paying ad songwitg wel ad wh a good amo of ineres and exrien

reord prodco unde hs be, he formed d Zeppen late 968. Alog wt a hghly orgnal and weronddgiar sye inued by bues ounry ad inteaoa fol msc Jimmy Page has he gd disinco of beig

oe of he mo respeced d ieni sogwrers i he hisoy of rc musc. Mch of Led Zepplns ely

maei ws bsed on he bes and he hads e ow hypeamplfed bes foms began o sa he e of

bus/roc om he U o he US Page is now for hs use of viage Les Pauls ahoug e has used Telecastes

(ie al of Led Zeppein I ad he soo n Saway to Heave) Dan Elec models and Saocases

Tis oo is played over a famos Le Zppein vamp in A which leans owads a besy A7 sod Te gus of

he solo are basd o A peaoic mior A C D E G) bu A penaoic major (A Q E ) plays an impoat

roe rougho Page is happy o oc ou using sandard pentatoic mo lics ie e oe bars 3336 42 ad

3 o ues Scae (A C D � E G) st ie te ine n bars 23 ad 2 oweve Jimmy ends o how a goodde moe majorqaiycounrygirispired ideas tha feow Egismen ie ec Taylor acoe o

Glou e opeing ic i bars hogh 5 are somewa sadard "couy/bes ype moves for ampe

bae o penaonic majo. Aohe ue sage of peaonc majo is found i bars ad 29 before swichig

gea o A eoic mino i bars 0 nd Lie lpton Page is vey we cqined with is so o e

phra ha occurs in bars 7 roug 1. A quic sudy of e noes will show a baa of sess o peaonc

mior oes 3) D () ad G 7) ad peaonic major noes Q (3) and F• (6) Displayig he peoc

majr/mor reaiosh eve more sccicty is a ic hat is a classic age ogo in bars 6 ad 17. The noes B

A-F-Arepese peaoic major wle he oe adA sggest peaoc mor

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WTexas-bo Johy Witer helped pioneer the bues/ock soud from the mid '60s through the 70s with abig sprit hat was ustoppable. He was famous for pumpig ock ad oll atitude ad volumouses iovitae blus umbr, mt ofte wth s irebid itar ca ia la with hi a muiciahp. Attis wrtig Johy has retued to payig saigh ahead bluesmataig a syle a his ow This s a guitar

player who has truly "crossed over fom the blues roos of hs debu and secod albums to the area-izedock of his ext few abums up to the mid-70s where his wokig elaioship with bues grea Muddy Watesbrough hm ful circle to pure blues oe agai. Johy Witer is somehig like "the Chaie Paker of bluesad rock i esct o his vitosity a abiliy to wok a massive repeoire of great licks ad tus of phraseio ifite combiatios ha sui ay siuaio

Johy has a wicked oewo-pch of tatoic mio ad major as his mai weaos This vamp is set i ad the majority of what s heard wll be A peatoic mior (A C D E G) with esse use of A atoic majo B Q E A this solo ceay shows Witer is a prolific Form I petaoic mo usemay gea licks

are foud i 5h ad 17th positio comprised of he orm I oes uaulteraed. Key eemes of Jonyssoloig style are ostat beds followed by a fas sigig vibrao uio beds bas 6 34 ad 35 doublestos (bars 9-11 18 ad 27 fast trills bas 3 ad ), use of he #45 DI-bas 2 1 17 ad 20 d apassio for blazig hrugh fast phrases that cram large umbers of oes together a ove he pace! Checkt he majo toaty ideas like i bar 8 A tatoic major over the 7 chord or bars 911 whee B7 ad 7 hords ar feshed out with doubsto fom B mixolydia (B Q D E GA C mixolyda C D E A& and A mixolydia A B Q D E escvely C

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B1ly Gibbons (of ZZ Top)

Bily and "a lile ol' bad from Texas were payig wha was kow as psychedelic blues/roc i 1969 ad

their colloquial soud reached beyod the Texas bode y 972. Billy Gbos has bee hadlig all he guita

busiess i he bad sice is icepio wh his broad ad juicy oe that eeds o help i lig he guita s

Bilycose bues as he bedrock of his guiar syle fom his eeage yeas ad is we ow for his cch rock

sla o sadard bues fees. He is also epued as a auhoiy ad owr/orao o guitars ad amplifiers ofall tys ad maages o so heavey oe om his may combiaos Gibbos brgs he feelig of he

bues o Zs oe commercially oietd p-oc apal with his asy, eseed appoach to sooig ad pat

playig.

The key is Gm ad he 8-ba vamp leas towards the bll ad V F) chods This is a commo so of

stompig groud for Billy as he favos usg aoc mio i this case: G C D F) or the mos part

or he chage o he IV (Cm7) chod a sh o C peaoc mor (C B G is woked i o complime the

S foud i he Cm7 chord The G Blues Scale (G C F) is aso a favorie o his ad you wi id may

�5s (s houghout. Gibos ges a o o mileage ou of ew otes by acceg asty s of prase wihsuble viratos sides ad beds tegra o hs soal syle are egao slides ad held oes played wihou he

pick ars 7 ad 3) o stg uage (bars 3 ad 2) ad of coue his pich harmoc rademak see

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exHe may be the most iuetil electric gtarist tht ever lved. Athogh his msic ad plyig re most

sogly elt i ll rock d p msic tha olowed him, Jm's ow ences were the deep blues o rist

like Muddy Wtes d lter by rhyhm d bueswhch is where hs creer s proessio beg Betwee

196 d 966, "Jimmy James was i demd as a sidem or may top torig R&B ops icldg James

Bros Fmos By lte 966 edx moved rom the shadow to the stlight where he bega atact et del o ttetio New Yok City as a ot ma-siger-gitarist who was dog vey augty

tgs o stge wth his gitarot to mentio plyig the pts of o it With hs bes ad R&B gta roo

higly developed he ws usy pioeerg ew soic territores wth hgh volume cotoled eedback

aggessie whmmy bar atics combied with ersome techcal prowess d old showmaship. Jimis

repuatio gew quickly ad y the me the Jimi edrix Expeece bega to gai populariy Eglad where

te oup ws fomed, reowed Eglsh gtarists le Ec Clpto, Jef Beck ad Pete Towsed wee dg

hemselves blow way by Jimi's plyig style which ws so obviousy rooted i Americ bles. Ts s te

gy who siglehdedy roght the Feder Statocster to a heghteed leve of worldwde appeciato as

well poeerig odbrekig exploitto o eect lke the wah wh, octavia, rg modto d uvie

The eelig o the bles rs deep through is music d gitar approch, nd beside the prood impact of hs

sate licks ad rhythm plyig towers edrix gigtic cotributio to he odtio o the blues/rock

soud.

Ts k lues vap E s he peect setup or brry o gret edx licks tht mke use o tatoic

mior ( G A B D) ad major (E G B Q, e E blues scle (E G A N D), s well s bits o E mixoyda

(EF A B Q D) i varios positios of the eck. Jmi vored pettoic Fom I, d whie he ote veed

to fgmes o fve oms, overwhemig majority of hs greatest sttemets are made with the otes o

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It the 12th sitio s mlked quite lot (e bs 6-24) whle ome u of a o

posto om I is od i brs 36-39. Study how the E pettoc prases re coected wth smooth

comatos of hammers, ps d beds (rs 22-24, 43-50 etc. A edrix trdemark s oud rs 8 d

9 where a 4h (A) s bet p to the 5th (B s other iger holds dow the (D) d/or the 3 (G) At high

volmes tis c soud lke a Mack uck Jmi was fod of doule-stops, ad ars 4-6 show a series o triplets

that colletively use the otes E # G A B B ad D whch ca e thought of s a comatio of al he

aforemetoed scales except for te clusio o te mjor 3rd, G

Cassc edx lues scle ck ae hed i bar 18-2, 48 d otly bs 3 d 24 where dcult

phse t volves bedig otes (D ad G) whie llowig other otes to slip uder the ige re od

Ote stadot momes iclude:() phses which add tatoc major otes G (3) ad Q (G) to pettoc mior (s bars 262 ad r

45);

(2) he vrtually legto phrse tat ses E F G A B Q ad D otes, edig with a G (bs 38-42) acheved y

edg he o G to Gbehid ta t trck o Jms

(3) pctclly pe ttoic mjor sage (bars 3-35), ad a bewldeig comato o hammer/pull licks

eected y the whmmy bar ad wh wh tht close the soo.



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Th Rolling tons c Taylor ad Keit icads)

he Rollng Sones are hugey resnsible for imrting America's own domestc sonds lues R&B and rock

and ro) ak o a wider Amerian audien y he mid-sities no before ptting teir own skffe edge to it

eir bles-ornted repetoire was raw ad hard in comparison to that of the Beales, who were te char kngs

of he day The conast was de n part o e less lished gity gitar playing ad sonds of he RolngSones sharing cener stage wih heir infamosly explicit yrics and socia commenary. From he ands

inception, Keih Rchards pmped its lifeblood with his solful and invenive rhythm paying which of corse

ed to classic rock songs His ack for paying solos hat drive a song by way of doubesops and simple

ntatonc lines n a worker-ee style (ofen reminiscent of egend Chuk Bery) conrasted with he more

indvidaistic soos of Mick ayor, who was busy filling Eric Claptons shoes in John Maya's Bluesbreakers

in 1969 when he was invited to be a Sone Micks paying is indeed in he tradition of he od and aggressive

English ead syle that proaly egan wih Clapon's nooriey in he es/rock vein His Ls Pau/Marsha

ominaion is big and warm sounding and his presence in the music is strongy fel hrough sofu soos and

part paying which eminate sophisciation in tase and och.

Mik Talo

hese two soos are payed over a esy ock vamp in C a la vintage Roing Stones. Mick Taylor is up s,

and is mmedately idenified y he hick Les aul neck pckp one he is own for aylor's giar syle is

bold and aggessive and his soull, worldclass vibrato is among the greatest ever recorded he opening icks

are demonstraive of Mick's penchan for interesting sring ends and ed notes wihin pentatonic mior

sitons. The lion's share of his harmoni approach ends to be sraigh C natonc minor (C F G wih

added notes like 7 (B ar) 9th (bent D note ar 14) and he 6h (A, ar 5) for spice Legao phrasing ased onbends, hammes plls and espciay sides are a sape of Micks improvisaions He is easily pegged by his

endency owards sliding many noes after a single pick attackthis prhaps inspired y Jimi Hendrx. See ars

6 nd 8 for this approach. Aoher nie egato phasing exampe is in rs 1 hrog 6

i Riads

It is safe to say ha Keih Richards' rhythm giar innovaions have heped sha e sond of rock msic for he

past 25 years. These innovations invove hs world famous use of open G uing (6=D 5=G 4= 3=G 2=B 1

which n some cases epiomzes the Rolling Sones sond Altough what he plays in this oning ranges fomchord to singe noe lls, his extended solos are played on a sandard tned Teecster for he mos pa His

solos e marked y a righter harder-edged tone tan Mick Taylor's an his more modes echnique ends

oward a rock and roll pocket groove that is decidedly ess ouspoken an more teamworking His ovious

menor is Chck Berry and mch of wha he plays delivers a rootsofrock-androllfeeling, orowing from and

uidg on tock from huks waehoe o gita itoy Hi main ingediens are pnatonic minor

siton I (C S F G , 8h fre sition) wih mch sess on he roo/5 ar of the B and E sings, ars 45 and

6 for example)ends and slides o the 5th (G) bars 3335, 390, and 5-6) and varios 2-noe double-stops

ha empoy a sligh /4 step bend (ars 428) eith aso ses pentaonic maor C D E G A) for aanc and

he lick bars 6 and 62 oers natonic major wi a conry les avor



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