TRACKS 35-40

3S.Introdvcton
36. Example I
37. Example 2
38. Example 3
39. Example 4
40. Example 5
<!> 2002 Widdie u ~ c
GT RATING
MODERATE
IIIII II
Will improve your:
Dexterity
Rhythm skills
Fingerplcking
"The left
hand is quite
simple, but
t he right-hand
techniqu.e
may requwe
practice."
Acoustic 12-bar need not be perfunctory plunking! Eric Roche offers
some killer t ips for making your box'd blues less boring ...
SPRUCE UP YOUR
12-BAR BLUES!
I
hope you enjoyed GT's Tommy Emmanuel
masterclass last month. Many of the examples
were quite challenging so, I've made things a
little easier this month! Rather than look at at
another musician, I've designed my own blues
fingerstyle lesson \ \ ~ t h var ious examples of rhythms. You
won't need a plectrum for t hese examples, although you
may choose to use a thumbpick. All examples are in the
blues-guitar-fri endly key of E.
70 Guitar1ochniques suMMER 2002
..
WORKSHOP
-- - --- ----- ----- - - ---- ____ ---
- .. -.- .... --. ..... _ ..
ACOUSTIC BLUES 12-BAR EXAMPLE I
EXAMPLE I is a straightforward 12-bar with a swing/shuffle feel. A 12-bar is just what
it says on the tin: a 12-bar chord progression. However, it is not just any I 2-bar chord
progression. 8xample I is four bars of E, 2 bars of A, 2 bars of E. These are followed
by a single bar of B, a bar of A and 2 bars of E to finish - 12 bars in all. In our example
this pattern is played through twice with a final E chord to finish. This is a fairly
standard 12-bar. There are some slight variations of this progression that we will
discuss in the following examples.
Technically, the left-hand is quite simple, but the right-hand technique may require
some practice. By slightly muting the three bass strings with the right hand you can
achieve a tighter rhythm and tone - the rhythm becomes more defllled. The tecluuque
involves resting the heel of the hand on the strings just slightly past the bridge. Check
out the CT CD to hear the correct tone and rhythm.
The feel of the piece is distinctly swing. The recording on the GT CD will give the
most useful demonstration. Just tlUnk triplets l+a, 2+a, 3+a, 4+a etc.
-3-
Wilh swing feel 1J = J )>
J = 178 RH muling 1hroughou1

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suMMER 2002 Guitar'!Wmiques 71
ACOUSTIC BLUES 12-BAR EXAMPLE I CONTINUED
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4
ACOUSTIC BLUES BLUES 12-BAR EXAMPLE 2
EXAMPLE 2 is a more elaborate version of the first example. The pattern is
harmonised in si>:ths. The feel is the same as EXAMPLE I. I've included some left-
hand fingerings in the standard notation.
-3-
With swing feel IJ = J ]I
J = 176
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ACOUSTIC BLUES 12-BAR EXAMPLE 2 CONTINUED
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7 7 7 7 7 7 7
9
ACOUSTIC BLUES 12-BAR EXAMPLE 3
EXAMPLE l is a further development of the patterns played in the first two
examples. Here I've used some t riads to flesh out the ha1mony. ln this example I've
included a variation in the chord progression. In BAR I 0, I've played the B chord for a
second bar rather than return to the A chord. Other possible variations would be to
play the A chord in BAR 2, and the B chord in BAR 12. Once you are more familiar
with the patterns in these examples why not try to include some of these variations?
-3-
Wilh swing feel JJ = J )>
e
2-3 2 2
B
2-3 2
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0
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e
5
2-3
2-4
2-4
- 1
2---1-
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4 2-f-----{2
2-3
2-4
2-4
suMMER 2002 Guitar11rl\niques 73
ACOUSTIC BLUES BLUES 12-BAR EXAMPLE 3 CONTINUED
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21
ACOUSTIC BLUES 12-BAR EXAMPLE 4
EXAMPLE 4 is not a 12-bar, although it has many of the harmonies and phrases
associaLed wiLh a I 2-bar. I've added a few non-standard chords at the end of the
pattern (what we call the 'turnaround') to spice it up. This originally appeared in a
lesson I wrote for a Guitarist magazine Acoustic Special two years ago, called 'A Little
Guitar Yoga'. Again, I've included some left-hand fingerings for you as a guide.
- 3-
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74 Guitar'l'echniqua> SUMMER 2002
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ACOUSTIC BLUES 12-BAR EXAMPLE 4 CONTINUED
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28
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31
TRACK 40
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-2
TRACK 40 on the CD is a combination of EXAMPLES I and 3 played as a duet.
Practice playing EXAMPLE 3 alongside EXAMPLE I on the CD and vice versa. IBJ
@PR011P
USINGTHETE.CHNIQUE$AND PHRASES ecplored In this momhs lesson try co
pllt diem In ...... ..,.such a A. G. D llld _,..,.lib C llld F.
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suMMER 2002 Guitar Techniques 7 s