Guitar: The Blues
Blues Guitar: overview
The Blues has been the greatest force in the direction of popular music for the last 100+ years. Every song in most genres have been influenced by the style and form of the blues. This effect couldn’t be more visible than in guitar playing. The way in which guitar is played in a band with solos, rhythm playing, and lyrical inflection (bending, sliding, hammer ons and pull offs) all come from the blues. Even the language that is used in rhythm and solo playing comes from the blues. Studying the blues is one of the most important things that a player of any level can do.
Read about the history of the blues, listen to the greats, learn how to play a blues bass line, chord part, and solo, and even write your own blues below.
History
Blind Lemon Jefferson
A Brief History Of The Blues by Ed Kopp
Muddy Waters
It is impossible to talk about the blues without first learning about its history. The following from an article by Ed Kopp. The original published article can be found on THIS PAGE.
The blues has deep roots in American history, particularly African-American history. The blues originated on Southern plantations in the 19th Century. Its inventors were slaves, ex-slaves and the descendants of slaves—African-American sharecroppers who sang as they toiled in the cotton and vegetable fields. It's generally accepted that the music evolved from African spirituals, African chants, work songs, field hollers, rural fife and drum music, revivalist hymns, and country dance music.
The blues grew up in the Mississippi Delta just upriver from New Orleans, the birthplace of jazz. Blues and jazz have always influenced each other, and they still interact in countless ways today.
Unlike jazz, the blues didn't spread out significantly from the South to the Midwest until the 1930s and '40s. Once the Delta blues made their way up the Mississippi to urban areas, the music evolved into electrified Chicago blues, other regional blues styles, and various jazz-blues hybrids. A decade or so later the blues gave birth to rhythm 'n blues and rock 'n roll.
No single person invented the blues, but many people claimed to have discovered the genre. For instance, minstrel show bandleader W.C. Handy insisted that the blues were revealed to him in 1903 by an itinerant street guitarist at a train station in Tutwiler, Mississippi.
During the middle to late 1800s, the Deep South was home to hundreds of seminal bluesmen who helped to shape the music. Unfortunately, much of this original music followed these sharecroppers to their graves. But the legacy of these earliest blues pioneers can still be heard in 1920s and '30s recordings from Mississippi, Louisiana, Texas, Georgia and other Southern states. This music is not very far removed from the field hollers and work songs of the slaves and sharecroppers. Many of the earliest blues musicians incorporated the blues into a wider repertoire that included traditional folk songs, vaudeville music, and minstrel tunes.
Without getting too technical, most blues music is comprised of 12 bars (or measures). A specific series of notes is also utilized in the blues. The individual parts of this scale are known as the blue notes.
Well-known blues pioneers from the 1920s such as Son House, Blind Lemon Jefferson, Leadbelly, Charlie Patton and Robert Johnson usually performed solo with just a guitar. Occasionally they teamed up with one or more fellow bluesmen to perform in the plantation camps, rural juke joints, and rambling shacks of the Deep South. Blues bands may have evolved from early jazz bands, gospel choirs and jug bands. Jug band music was popular in the South until the 1930s. Early jug bands variously featured jugs, guitars, mandolins, banjos, kazoos, stringed basses, harmonicas, fiddles, washboards and other everyday appliances converted into crude instruments.
When the country blues moved to the cities and other locales, it took on various regional characteristics. Hence the St. Louis blues, the Memphis blues, the Louisiana blues, etc. Chicago bluesmen such as John Lee Hooker and Muddy Waters were the first to electrify the blues and add drums and piano in the late 1940s.
John Lee Hooker
Today there are many different shades of the blues. Forms include:
Traditional county blues: A general term that describes the rural blues of the Mississippi Delta, the Piedmont and other rural locales;
Jump blues: A danceable amalgam of swing and blues and a precursor to R&B. Jump blues was pioneered by Louis Jordan;
Boogie-woogie: A piano-based blues popularized by Meade Lux Lewis, Albert Ammons and Pete Johnson, and derived from barrelhouse and ragtime;
Chicago blues: Delta blues electrified;
Cool blues: A sophisticated piano-based form that owes much to jazz;
West Coast blues: Popularized mainly by Texas musicians who moved to California. West Coast blues is heavily influenced by the swing beat.
The Texas blues, Memphis blues, and St. Louis blues consist of a wide variety of subgenres. Louisiana blues is characterized by a swampy guitar or harmonica sound with lots of echo, while Kansas City blues is jazz oriented—think Count Basie. There is also the British blues, a rock-blues hybrid pioneered by John Mayall, Peter Green and Eric Clapton.
New Orleans blues is largely piano-based, with the exception of some talented guitarists such as Guitar Slim and Snooks Eaglin. And most people are familiar with blues rock.
If you are interested in learning more about the history of the blues, there is an excellent two part video series on the history of the blues that was produced by the BBC.
Part 1 | Part 2
Listen
BLUES VOICES
Every blues guitar player has their own voice which has developed from listening to and copying the greats that came before them. Become familiar with the voices of blues guitar by listening to these playlists. Discover a player that you like and dive deep into their discography. Find a favorite solo of that artist and try to memorize it. Be able to sing the solo first and then work on playing it. With enough listening and copying, you will be on your way to becoming a blues great yourself.
THE Essential Tune List
Listen to the list on Spotify →
There are songs that are known by most blues artists called standards. There are countless recordings of these songs, and they are commonly called at jam sessions. Learn a few of these songs by listening to the original recordings and play them with other musicians.
This list was generated by one of the top call blues drummers in Chicago, Joel Baer.
Hoochie Coochi Man- Muddy Maters
Smokestack Lightning- Howlin’ Wolf
Got My Mojo WOrking- Muddy Waters
Everday I Have The Blues- B.B. King
All Your Love (I Miss Loving)- Otis Rush
Born Under A Bad Sign- Albert King
Stormy Monday- T-Bone Walker
Sweet Home Chicago- Magic Sam
Hideaway- Freddie King
Sweet Little Angel- B.B. King
Pride and Joy- Stevie Ray Vaughn
Style
BLUES STYLE
The sound of the voice can be mimicked by combining pick attack with bending, slides, hammer on's/pull offs, and vibrato. These tools are used to make something sound “bluesy.” Blues style can be used with any genre of music to play single note lines and solos.
Picking
Adjust the velocity of the pick to change the character of the sound.
Bending
Change the pitch of a note by bending the string up or down.
Vibrato
The rhythmic oscillation of a note makes it sound like it is being sung.
Slides
Quickly change the pitch of a note by sliding the fretting finger up or down the fretboard.
Hammer Ons/Pull Offs
Change the pitch of a note without re-articulating with the pick by using hammer ons and pull offs.
Form
BLUES FORM
The blues form has evolved over the past couple hundred years. There are many different types and variations of the blues, but most are twelve measures in length. The following terms are used when navigating the blues form:
Chorus: One repetition of the twelve measure form
Top: Beginning of a chorus
Turnaround: The last measures of the chorus. A turnaround can be used as an intro or ending.
The blues form that is presented on this page is known as a I, IV V blues. A blues can be played at different tempos and in different keys. To play a blues in a different key, substitute the Roman Numerals for the I, IV, and V in your desired key →.
FORM LISTENING
Practice identifying the different parts of the blues form by listening to the blues in A backing track and/or selections from the listening section.
Chords
BLUES CHORDS
Chords accompany the voice or a solo instrument when playing the blues. There are different chordal roles for blues guitar that can be achieved with different voicings. The following chord shapes are given for a blues in A. Learn each shape with the video and practice playing the shapes along with the backing track. Always focus on playing with good time and tone when playing blues chords.
Roots Only
Work on mastering the blues form by playing only the roots of chords on the E and A strings.
Power Chords
Adding the fifth to the root of a chord thickens the sound of a chord.
Power Chord Shuffle
Playing the downbeat with the last triplet subdivision helps tie the guitar part to the drums.
Power Chords With The Sixth
Alternate the power chord shape with the sixth of each chord creates the boogie woogie sound.
E String Dominant
This chord shape can be played with the root on the low or high E string. Focus on the ↓7 and the 3rd when playing this shape.
A String Dominant
The 9th of the chord is adding to this shape with the root on the A string.
E and A String Dominant Voicings
Combine the E and A string dominant voicings to play comping rhythms like the Charleston.
Stop Time
A stop time chorus can be used behind a vocalist or a solo. The band plays on beat one of every measure in stop time.
PRACTICE
Practice playing the different blues chord shapes along with this backing track.
Bass
BLUES BASS
The bass is the backbone of the blues rhythm section. The different bass lines presented on this page represent only a small fraction of what a bass player can play on a blues. Each line should be mastered before moving on to a new line. Always remember to keep the form and to lock in with the drummer or a metronome when playing any line. Stay consistent with the beginning of each note and adjust the ends of notes to give the line more bounce.
Roots Only
Work on playing in time and keeping the form by using only roots on the E and A strings.
Modified Jump Blues
The jump blues bass line is played in many different styles. It can be modified to play at different tempos.
The chord tones for the traditional jump blues are:
| R 3 5 6 | ↓7 6 5 3 |
The modified jump blues uses these chord tones with an eighth note triplet on beat four.
| R 3 5 653 |
Roots And Fifths
Add in the fifth of the chord on beat three to create a two step feel.
Walking
Walking bass lines are played smooth and connected with each beat fulfilling a specific role. Usually the Root is played on beat one, the third or seventh is played on beat two, the fifth or a leading tone is playing on beat three, and the sixth or another leading tone is played on beat four.
Here is an example of a walking bass line:
| R 3 5 LT | R ↓7 6 LT | R 3 5 6 | r ↓7 6 5 |
| R ↓7 6 5 | R 3 LT LT | R 3 LT LT | 5 ↓7 6 LT |
| R 3 5 LT | R 3 LT LT | R 3 LT LT | r R LT LT |
r is used to show an octave root
Adding The Sixth
The R 6 5 6 bass line is a great option for the blues. Keep these notes smooth and connected.
PRACTICE
Practice your bass lines with this backing track. Focus on time and feel whenever you are trying out a new type of line.
Solo
PLAYING A BLUES SOLO
The blues solo is an opportunity to express feeling and emotion through an instrument. Learn what to play in a solo by listening to solos from the greats, copy licks from the call and repeat page, learn licks from the lick library, and use notes from the modified blues scale. When constructing your solo use the DRILLS framework.
Dynamics: play with different note volumes
Repetition: repeat licks and motifs
Intent: all notes should have purposeful rhythmic meaning
Language: use licks from the masters
Length: play long and short notes
Space: sometimes its what we don’t play that makes a solo great
CALL AND REPEAT
The best way to get the style and sound of blues soloing is by copying licks with your ear. Learn some of the licks by playing along with the call and repeat video. Using the limited range of notes in the video along with style and rhythmic intent will make your soloing sound great. Don’t try to learn all of these licks at once. Give yourself time to let the licks enter your playing by repeating them with the video and by applying them along with the backing track.
BLUES SCALE
There are some notes that sound great when played over a blues. These notes also happen to fit really neatly in a position on the guitar. Think of these notes as letters to be used to put together to create licks or words. DO NOT PLAY THESE NOTES AS A PATTERN FOR YOUR SOLO! Practice listening to the sound each note makes over a blues and learn how to put these notes together in a musical context with this video..
LICK LIBRARY
The lick library has lick categorized into three difficulty levels. Learn a lick by watching the video by clicking on the lick number. Modify each lick by altering the note duration, rhythms, pitches, and note choices to get the most out of each lick. Connect licks together through repetition and modification. It is OK to play a pre-planned solo; figure out which licks you are going to use and how you are going to connect them. With enough practice, you will be able to craft a solo in real time.
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Lick #1: | Single note line that resolved to the root.
Lick #2: | Single note line that highlights the six. This is a great line to start a solo with.
Lick #3: | Basic single note line using the root, lowered third, and fourth.
Lick #4: | A simple single note line that uses higher range notes.
Lick #5: | Descending double stop slide.
Lick #6: | Simple single note line that can be used before stop time breaks.
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Lick #1: | Faster single note repeating line that uses the flat five.
Lick #2: | Double stops using a barre with over the B and G strings.
Lick #3: | A double stop lick inspired by Jimi Hendrix
Lick #4: | A single note line that uses ascending and descending slides.
Lick #5: | A single note line in the style of B. B. King.
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Turnaround Lick #1: | Simple double stop lick. Play this as an intro, ending, or on the last two bars of a solo. .
Turnaround Lick #2: | Double stop lick that spans multiple strings. Play this as an intro, ending, or on the last two bars of a solo.
SOLO MULTITRACK
The Soundtrap file below has the drum, chord, and bass part on different tracks. Practice a solo along with the track and record it. Listen back to your solo and give yourself honest feedback.
Write
BLUES LYRICS
The lyrics of the blues are usually about something that the songwriter feels sadness about. Topics might include; loss, relationships gone bad, poverty, or anything else that could make someone feel sorrow. The lyrics in a blues sometimes follow an AAB repetition pattern for each twelve bar chorus where the first two lines are almost identical and the last word of the final line rhythms with the first two. Here are some examples:
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First Chorus
A) Everyday, everyday I have the blues
A) Ooh everyday, everyday I have the blues
B) When you see me worryin' baby, yeah It's you I hate to lose
Second Chorus
A) Whoa nobody loves me, nobody seems to care
A) Whoa nobody loves me, nobody seems to care
B) Well worries and trouble, darling, babe, you know I'll have my share
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First Chorus
A) They call it stormy Monday, but Tuesday's just as bad.
A) They call it stormy Monday, but Tuesday's just as bad.
B) Lord, and Wednesday's worse and Thursday's all so bad.
Second Chorus
A) The eagle flies on Friday, Saturday I go out to play
A) The eagle flies on Friday, Saturday I go out to play
B) Sunday I go to church, yeah, gonna kneel down and pray
STOP TIME
Some blues songs have stop time choruses where the band plays a figure to set up the beginning of each measure, then stops playing to leave space for faster moving lyrics. Stop time usually only happens during the first four measure, the second and third line resume the AAB structure. A great example of stop time is in Sweet Home Chicago by Robert Johnson
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Chorus two
A) Oh, baby, don't you want to go?
A) Oh, baby, don't you want to go?
B) Back to the land of California to my sweet home Chicago
Chorus Three (Stop Time)
ST) | Now one and one is two | Two and two is four | I'm heavy loaded, baby | I'm booked, I gotta go |
A) Crying Baby honey, don't you want to go?
B) Back to the land of California to my sweet home Chicago
WRITE YOUR OWN BLUES
Write the lyrics to your song with the Blues Organizer →.
Find which key works best for the vocalist’s range using the Major Scale Chart →
Practice your song with a bass player and a couple guitar players with the drums only backing track.
RECORD YOUR BLUES
Change the project tempo to fit your song.
Reorder the drum clips to fit your songs form.
Record the bass part, chordal part, solo, and the vocal part.
MORE RESOURCES
