![]() ![]() In its simplest form, the blues has only three chords. As soon as you’re comfortable playing these shapes in rhythm, plug them into FIGURE 1’s 12-bar form.I’ve got some great news to let out of the bag for anyone dying to have some fun at a piano or keyboard right away. Use your fret-hand’s index finger on the root of each chord, your ring finger on the 5th and your pinkie on the 6th. ![]() Played by boogie-woogie piano players and later appropriated by Robert Johnson, the shuffle pattern is in its most basic form a series of alternating 5ths and 6ths.įIGURE 2 outlines the I, IV and V chords as played in a shuffle. There are three basic approaches to blues rhythm guitar: shuffle patterns, single-note motifs and comping (straight-up chordal accompaniment). Each beat is divided into three parts (“one-and-uh, two-and-uh, three-and-uh,” etc.) rather than two (“one-and, two-and, three-and…”), so swing eighths are felt on the beat (1, 2, 3, etc.) and on the “uhs.” Technically speaking a shuffle has a triplet feel. One of the key rhythmic ingredients of the blues is the shuffle feel, which is most easily described as eighth notes played not straight but in a “long-short” manner. Minor blues also has a different turnaround-bVI7–V7-im7-V7 (in the key of Gm, that would be Eb7–D7–Gm7–D7)-which can be heard in B.B. ![]() In the minor variation of the 12-bar blues, minor 7th chords are substituted for the I7 and IV7 chords. The final bars of the 12-bar form constitute the turnaround, named as such because it sends you back to the beginning of the form for another chorus. Another typical substitution involves playing the IV7 chord in measures 1–2 and the I7 chord in measures 3–4. There are variations within the form, the most common being the quick change, where the IV7 chord sits in for the I7 in measure 2. ![]()
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