LA School of Guitar

Art of Classic Rock/Blues Rhythm Guitar

Art of Classic Rock/Blues Rhythm Guitar

Here are the tabs for seven classic rock riffs that are based in the language of the blues.  Each riff is an excellent example of how to take a simple bluesy idea and build an entire song from it.  Working through these examples will help your sense of rhythm and groove especially if you can play along to the recording.  There are also some great guitar technique skills to take away from these riffs as well.  I’ve included Youtube links for each song so you can listen and practice along with the original.

Mistreated - This is a very simple riff based around the root of the key (F#).  It’s relatively straightforward to play but a lot can be learned about groove by trying to play exactly along with the recording.

La Grange – As with all of these riffs, for sale it’s best to start this one slowly and perfect the rhythm before you try playing it at full speed.  The first open ‘A’ note is played on the downbeat of the bar and then each of next 5 strums of the A5 chord should be played as upstrokes on the upbeat. Another important technique to making this riff sound right is cutting your strums short by muting the strings with your palm in-between strums. It takes a bit of practice, patient but the general idea is to use the fleshy part of your palm on your right hand to dampen the strings.

Midnight Rambler - For this example you’ll need a capo on the 7th fret. This riff incorporates the classic “honky tonk” shuffle riff that is used in so many songs including “Come Together” by the Beatles.  You’ll recognize it when you hear it. In this song you’ll alternate between the E5 and A5 chords with a “D” used in between as a connecting chord.  The “D” is played on the upbeat so it’s important to play it with an upstroke with your right hand.

Back in Black - I love this one.  It may sound complicated, shop but if you learn it one phrase at a time it’s not too difficult. The key to executing this riff correctly is to make sure that you don’t allow your strums to ring out.  You’ll want to use your palm to dampen the strings after the last strum of each chord. It starts with some basic strumming between the E5, D and A5 chords. The first turn around phrase is a classic E minor pentatonic descending lick. It’ll give you a chance to work on your pull offs and bends. The chords repeat again and then you have the second turn around phrase which is a fun rhythmic walk up played on the lowest two strings.

Oh Well - This riff based on the E minor pentatonic scale is full of hammer on’s and pull off’s.  Work on it slowly one phrase at a time.   Make sure when you are pulling off or hammering on to a note that the note is placed correctly with the beat. Pay close attention to which notes are on the downbeats and which notes are on upbeats.

Black Dog – This one sounds so class!  AND it’s relatively easy to pull off.  It’s based on the E minor blues scale – notice the use of the chromatic b5 blues note.

Voodoo Chile – Here is a riff that has been passed on through generations of guitar players.  I believe Muddy Waters played it before Jimi Hendrix, but Jimi clearly makes it his own. One important note – this is not the opening of the song – it starts a few seconds in after the wah-wah intro. As you can hear, Jimi starts with the basic pattern I’ve written out but then adds endless variations and embellishments. See if you can pick out some.

Songwriting Part 2: Understanding Chord Progressions

Songwriting: Part 2
Last week’s post was about understanding key centers and the 7 chords that are within each key.  This week I’ll build upon that knowledge by discussing how we take the chords from a key center and turn them into a usable chord progression from which to build a song.   First we’ll look at some examples of common chord sequences and then I’ll give you some tools to start building your own songs.

What chords and  in what order?
The right sequence of chords will give your song a sense of movement and highlight the emotional content of your lyrics.  Choosing the right chords will help you build points of tension and release at the appropriate moments.   How do you know what chords to use and what order to put them in?  Let’s answer that question by looking at the unique character of each chord in the key of ‘C’ and start understanding how they go together to create musical flow.    

Let’s review the 7 chords from the key of ‘C’ as outlined below:

C major | D minor | E minor | F major | G major | A minor  | B diminished

In music theory we refer to each chord in a key by assigning it a roman numeral (major chords are capitalized and minor chords are lower case):

C major | D minor | E minor | F major | G major | A minor  | B diminished
I                  ii                 iii                 IV                V               vi                    vii         

The reason for the numbers is so that we can remember patterns of chords even if the key changes (more on this later).   For the rest of this article I’ll be referring to each chord by its letter name and its number.

Chord Families
Each chord in the key can be grouped into one of three different chord families: Tonic, online Sub-Dominant and Dominant.  These families help us to better understand how each chord functions within that key center – this is important to deciding what chord comes next in the progression.

Tonic: C major (I), E minor (iii), A minor (vi)
These three chords fall into the “tonic” family. They tend to be the most stable and restful sounding.  Typically you would start and end your progression with one of these chords because they establish a strong feeling of key center.  These are your release or resolution chords.

Dominant: G major (V), B Diminished (vii)
These two chords are in the “dominant” family. They hold the most tension of all the chords in the key and they usually want to resolve to a tonic chord (see above).  The G major is often played as G7 in the key of C, which gives it a more dissonant or “tense” sound.  To get an idea of this tension and resolution try switching back and forth between G7 and C and also B Diminshed and C. 

Sub-Dominant: D minor (ii), F major (IV)
These two chords are in the “sub-dominant” family. The ii and IV chords are the “in-between” chords. On the spectrum of tension (dominant) and resolution (tonic) they fall somewhere in the middle.  They are useful in transitioning between tonic and dominant chords as well as when you want to move away from the sound of the key center (tonic) but not as far as a dominant chord would take you.

In a nutshell you can break the chord families down like this:
Tonic: Least Tension
Sub-dominant: More Tension
Dominant: Most Tension

Now it’s time to pick up the guitar and actually start applying some of this theoretical mambo-jumbo.  Here are some common chord progression examples:   

I – IV – V (C – F – G) is by far the most common chord sequence in music.  It is the basis for rock, country, folk, pop, classical and most other forms of popular music.  If you apply the theoretical knowledge from above, the chords gradually build tension as they progress.  Tonic – Sub-Dominant – Dominant

Two songs that share this progression are Twist and Shout and La Bamba. 

| C major | F major | G major | F major |  repeat…
        I                IV                 V                 IV

I – V – vi – IV (C – G – Amin – F) is a very recognizable pop chord progression used by everyone from Green Day to Matchbox Twenty. We can analyze this progression by noticing that it has two tonic chords (C and Amin) and that the G (dominant) and F (sub-dominant) are functioning as transition between C and Amin.  As with the first example we see the pattern of establishing the sound of the key with a tonic chord and then pulling your ear away from that sound through the use of dominant and sub-dominant chords.

Matchbox Twenty’s How Far We’ve Come

| C major | G major | A minor | F major |  repeat…

Let me show you one way to start exploring with these concepts and hopefully come up with your own ideas.  For each chord in a progression, you can substitute another chord from the same chord family as the orginal.  For example, if you have an F chord in your progression, you can try substituting the other chord from the same sub-dominant family: Dminor.  Let’s use the Matchbox Twenty progression to explore this concept.

| C major | G major | A minor | F major |    switch the F major to D minor (sub-dominant family) and now we have this:

| C major | G major | A minor | D minor |   let’s try switching out the A minor for E minor (tonic family):

| C major | G major | E minor | D minor |  let’s do one final change – G major to B diminished

| C major | B  diminished | E minor | D minor |   now we have something that sounds nothing like the original song

You’ll have to use your ears and own musical taste to decide what sounds you like best.  Try applying this concept to other songs you know by analyzing the chord families and then using the substitution method as shown above.



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