Jim Gleason’s GUITAR ENCYCLOPEDIA

Rhythm Guitar
By Jim Gleason

Version 1. 0
© 1994-2006 Rock Performance Music. All Rights Reserved

www.guitarencyclopedia.com
PAGE 2
 CONTENTS PAGE 3

Page Real Time

Video*
Fretboard Diagrams ................................................................................................................................................ 3
Tablature ........................................................................................................................................................... 5
Abbreviations & Symbols Used In Chord Names .................................................................................................. 5
PART 1: RHYTHM GUITAR TECHNIQUE
Chapter 1: Techniques Of Strumming and Picking
A. Techniques of Strumming ........................................................................................................................ 7 ....... 0:01:06
B. Counting Rhythm ..................................................................................................................................... 9 ... 0:05:08, 1:20:00
C. Flatpick Technique ................................................................................................................................. 11 ....... 0:07:56
D. Arpeggiating Chords .............................................................................................................................. 15 ....... 0:11:20
E. Fingerpick Technique ............................................................................................................................. 16 ....... 0:12:13
F. Combined Flatpicking and Fingerpicking .............................................................................................. 18 ....... 0:13:20
Chapter 2: Left Hand Technique
A. Fretting Techniques ................................................................................................................................ 19 ....... 0:14:05
B. Slurs ........................................................................................................................................................ 20 ....... 0:16:15
Chapter 3: Muting
A. Left Hand Muting ................................................................................................................................... 21 ....... 0:21:23
B. Right Hand Muting ................................................................................................................................ 22 ....... 0:25:15
PART 2: RHYTHM GUITAR STYLES 23
Chapter 4: Hard Rock Rhythm Guitar Examples
Aeolian ......................................................................................................................................................... 24 ....... 0:29:03
Dorian ......................................................................................................................................................... 26 ....... 0:30:49
Major ......................................................................................................................................................... 27 ....... 0:31:29
Mixed Minor.................................................................................................................................................. 30 ....... 0:33:47
Mixolydian .................................................................................................................................................... 31 ....... 0:34:47
Parallel Fourths .............................................................................................................................................. 34 ....... 0:38:45
Parallel Fifths ................................................................................................................................................ 36 ....... 0:39:54
Parallel Major Chords ................................................................................................................................... 37 ....... 0:40:45
Chapter 5: Metal Rhythm Guitar Examples
Aeolian ......................................................................................................................................................... 39 ....... 0:41:47
Dorian ......................................................................................................................................................... 40 ....... 0:42:58
Mixed Minor.................................................................................................................................................. 42 ....... 0:44:45
Mixolydian .................................................................................................................................................... 43 ....... 0:45:34
Parallel Fourths .............................................................................................................................................. 43 ....... 0:46:00
Parallel Fifths ................................................................................................................................................ 44 ....... 0:46:52
Chapter 6: Blues Rhythm Guitar Examples
Parallel Fourths Blues ................................................................................................................................... 47 ....... 0:48:07
Simple Sixth Chord Blues ............................................................................................................................. 50 ....... 0:51:02
Sixth Chord Blues With Chromatics ............................................................................................................. 51 ....... 0:52:49
Seventh Chord Blues ..................................................................................................................................... 52 ....... 0:54:35
Delta Piano Blues .......................................................................................................................................... 54 ....... 0:57:28
Basic Connecting Chord Blues...................................................................................................................... 55 ....... 0:58:49
Minor Blues ................................................................................................................................................... 58 ....... 1:05:14
Blues With Walking Bass.............................................................................................................................. 60 ....... 1:09:10
Chapter 7: Alternative and Soft Rock Rhythm Guitar Examples
Aeolian ......................................................................................................................................................... 62 ....... 1:11:00
Dorian ......................................................................................................................................................... 63 ....... 1:11:54
Major ......................................................................................................................................................... 64 ....... 1:13:12
Mixed Minor.................................................................................................................................................. 66 ....... 1:16:23
Mixolydian .................................................................................................................................................... 66 ....... 1:17:21
Mixed Mode .................................................................................................................................................. 68 ....... 1:19:20
Parallel Major Alternative ............................................................................................................................. 68 ....... 1:19:40
* Set the real-time counter (if available) on your video cassette player to zero (0:00:00)
at the first appearance of the Copyright Notice.
 PAGE 4 SYMBOLS AND DIAGRAMS

FRETBOARD DIAGRAMS

this diagram......

vertical lines are strings

(numbered above diagram)

represents this view

horizontal
of the fretboard
spaces are frets

the actual metal fret is indicated by the

horizontal line at the bottom of each space

Dots in these diagrams indicate

fingered notes. Chord tones are
fingered simultaneously. Scale or
arpeggio tones are fingered
individually.
unmarked strings a circle above a string “T ” indicates a
are not sounded indicates it is played note fretted with
open (not fretted) the left thumb.

The barré is a group of notes all on the same fret of two

or more strings fingered with a straight portion of one
finger. It uses the classical wrist position. Finger (fret)
the barre with the harder edge of your finger when you
can. Avoid the creases opposite your knuckles, since
they can mute notes.
 PAGE 5

Left-handed guitarists. Interpret references

to the right hand as left hand and vice versa. All
diagrams must be imagined in “mirror image”:

A roman numeral above the top right of the

diagram indicates the number of the top fret on
the diagram:

Dmaj. chord II C Lydian Scale VII A chord root is the note after which a chord is named (“D” is the root
of a D major chord). A tone center is the note after which a scale is
named (“C” is the tone center of a C Lydian scale).

Movable diagrams have no movable movable

roman numeral on their upper
right and therefore have no
specified top fret number. They
may be placed anywhere on
the fretboard according to their
chord root(s) or tone center(s).
If notes on a diagram are named after named after
indicated by dots, a circled or
enlarged dot indicates the chord root or tone center.

The numbers 1, 2, 3 and 4 within diagrams indicate When numbers higher than 4 are used in a diagram,
left hand fingers. The finger number on the chord all of the numbers indicate scale, chord or arpeggio
root or tone center may be circled. tones.

fingers
 PAGE 6 SYMBOLS AND DIAGRAMS

READING TABLATURE, FINGER NUMBERS AND SLUR MARKS

This system of notation is a graph of the
guitar strings from the perspective of looking
down on the guitar as you’re playing it. The
tablature indicates where each note is fretted.
Numbers on the strings indicate frets and are
written from left to right in the sequence they are
to be played. In this book, tablature is written
below all music notation. The row of numbers

ÊÈ Ç Ç Ç Ç ÊÈ
above the tablature indicates suggested fretting
fingers.

===========================
slur marks
left hand finger numbers
î Î . Ïj K|Ï Ï ÏK Ï Ï Ï k\Ï ú

l
l
l
3
B2

3
H

1 3 1
Ç 3
H

1 3
C C C S C C S C

===========================
===========================
chord & scale tone indicators ll

Slur Symbols (shown below music notation)

B1 = bend an interval of 1 fret (a half step or one semitone).
B2 = bend an interval of 2 frets (a whole step or two semitones).
R = release bent note (note: all bends have a silent release unless “R” is indicated).
(B1) = bend 1 fret before picking. Note was bent 1 fret previous to the current note
(B2) = bend 2 frets before picking. Note bent 2 frets previous to the current note
S = slide.
H = hammer on.
P = pull off.

ABBREVIATIONS & SYMBOLS USED IN CHORD NAMES

7 = seventh chord (dominant) 9 = ninth chord
7#5 = seventh sharp five chord (dominant) 9#5 = ninth sharp five chord (dominant)
7b5 = flat five chord (dominant) 9b5 = ninth flat five chord (dominant)
7#9 = seventh sharp nine chord (dominant) °7 = diminished seventh chord
C = C major chord Cm = C minor chord
6 = sixth chord (major sixth chord) m6 = minor sixth chord
6/9 = sixth add nine chord m6/9 = minor sixth add nine chord
∆7 = major seventh chord m7 = minor seventh chord
∆9 = major ninth chord m9 = minor ninth chord
/9 = major add nine chord m/9 = minor add nine chord
m7b5 = minor seventh flat five chord sus. 4 = suspended fourth chord
m(nat.7) = minor (major seventh) chord sus. 2 = suspended second chord
n3 = no third
n5 = no fifth
 CHAPTER 1: TECHNIQUES OF
STRUMMING AND PICKING
A. TECHNIQUES OF STRUMMING
Holding the pick. There are many ways to hold a guitar pick. In the most traditional method, hold the
pick between the side of the tip segment of the index finger and the flat surface of the thumb (opposite the
thumbnail). Try to extend the tip of the pick 1/4" or less from the thumb for fine control (many players prefer
less than 1/8"). Bend the first finger so its tip points toward the base of the thumb. Holding the pick in this manner
should allow light pressure between the thumb and first finger.
The position of the pick in relation to the strings. To produce the purest string tone, cause the strings
to vibrate parallel to the frets, providing maximum clearance and minimum buzzing. Make sure that the pick
is held in a plane perpendicular (90°) to the surface of the strings (or to the guitar top), to avoid “catching” the
string on upstrokes. Pluck the strings with the tip of the pick. Keep the flat surface of the pick almost, but not
quite parallel with the length of the string. Allow the tip of the pick to protrude just barely past the underside
of the string (nearest the guitar body).
Right wrist and hand position. The shoulder, forearm, wrist and hand should be loose throughout. Apply
light, evenly-distributed muscular tension throughout these parts of the hand and arm to support the pick
“effortlessly”.
The wrist should be slightly bent unless you are using part of the hand to mute. The upper forearm should
serve as an “anchor” point against the upper edge of the guitar. The fingertips, side of hand (from the base of
the little finger to the wrist), heel of hand, and side of the thumb can touch to judge distance, but don’t anchor
them. As you develop your personal technique, you may find yourself touching with various parts of the hand.
Analyze your technique to make sure the habits you develop contribute to your control of the pick.
Many players rest the “pinky” side of their hand (between the little finger and the wrist) on the bridge
while picking. While this provides stability for the right hand, it sacrifices the tone variation usually available
by picking closer to the neck for bass tones or closer to the bridge for treble tones.
Right wrist sweep. A sweeping, continuous down-up motion of the wrist is used for strumming chords.
Here is an exercise to familiarize you with this motion:

• Move your hand side to side with the same movement as if your hand were palm-down on a table.
• Mute the strings with your left hand and strum down-up alternately on two or three strings as a group;
as you would a three note chord.
• Gradually widen the stroke until you are strumming on all six strings.

Note that when strumming alternately down-up on four to six strings, the wrist movement is so wide that
it involves a distinct forearm rotation (view the protruding wrist bone nearest the thumb). The weight of the hand
will aid the motion of the hand in strumming.
 PAGE 8 CHAPTER 1: TECHNIQUES OF STRUMMING AND PICKING

Strict Down-Up Strumming

In strict down-up strumming, each series of continuous notes is strummed strictly (1) down-up-down-
up, etc. or (2) up-down-up-down, etc. If you start with a downstroke, the picking order is down-up-down-up,
etc. Starting with an upstroke would use the picking order up-down-up-down, etc.
You often pass the strings before strumming them to strictly continue the down-up motion. In theory,
the wasted motion is acceptable in order to allow an uninterrupted continuous rhythmic motion.
Down-up strumming exercise. Count evenly: “one - and - two - and - three - and - four - and,” as you strum
down on the downward arrows and up on the upward arrows.

Rhythmic Selection.
Many accompaniment and melodic rhythms can be played easily when your right hand assumes a
continuous motion but you select when the pick contacts the strings. This may be applied to playing single notes
or strumming chords.
Rhythmic selection. Miss the strings where no arrow is shown.

Exceptions to Strict Down-Up Strumming

Consecutive downstrokes or consecutive upstrokes provide emphasis and a consistent tone.
Consecutive downstroke exercise. Consecutive upstroke exercise.
 COUNTING RHYTHM; TECHNIQUES OF STRUMMING PAGE 9

B. COUNTING RHYTHM
All rhythms can be thought of as selected pulses from a continuous pulse. Continuous pulses are grouped
by twos and threes or combinations of twos and threes.
American dance music, including Jazz, Blues, Rock and Metal, usually suggests a special continuous
pulse called the “beat.” Listening to dance music, you would commonly tap your foot on each beat. The torso
of a dancer usually surges in time with the beat. The simplest bass drum part would involve one note on each
beat.
Two, three or more pulses can occur during each beat. These are subgroups or parts of a beat. So the
beat is the main pulse, and can be divided into shorter pulses. The beats are counted with whole numbers “1 -
2 - 3 - 4” and so on.
When there are two pulses per beat, the following symbols are used: “1 + 2 + 3 + 4 +” and so on. Syllables
for these symbols are pronounced “one - and - two - and - three - and - four - and.”
When there are three pulses per beat, the following symbols are used: “1 T L 2 T L 3 T L 4 T L” and
so on. Syllables for these symbols are pronounced “one - trip - let - two - trip - let - three - trip - let - four - trip
- let.”
When there are four pulses per beat, the following symbols are used: “1 e + a 2 e + a 3 e + a 4 e + a ”
and so on. Syllables for these symbols are pronounced “one - ee - and - uh - two - ee - and - uh - three - ee - and
- uh - four - ee - and - uh.”
Syncopation.
When notes are not played on the beat, they are said to be played on the “offbeat.” When a note on an
offbeat is followed by (1) a silence, (2) a sustain, or (3) a markedly lesser accent on the next downbeat,
“syncopation” occurs.
The following example illustrates syncopation caused by silences on the beat (the numbers).
Syncopation strumming example.

Pulse groups: subdividing the beat into two, three or four parts.
 PAGE 10 CHAPTER 1: TECHNIQUES OF STRUMMING AND PICKING

Here are twenty five fundamental rhythms that involve two, three or four parts per beat by choosing
pulses. These are shown below with counting symbols and direction of strumming.

Examples 1 through 27 below are played TWICE at the end of the Rhythm Guitar videotape:
examples 1-27 at moderate tempo, then examples 1-27 at slow tempo.
Examples 1 through 9 involve two parts per beat. Count: “one-and-two-and-three-and-four-and,” strum-
ming where indicated.
Example 1 Example 2 Example 3

Example 4 Example 5 Example 6

Example 7 Example 8 Example 9

Examples 10 through 17 involve three parts per beat. Count: “one - trip - let - two - trip - let - three - trip -
let - four - trip - let,” strumming where indicated.
Example 10 Example 11 Example 12

Example 13 Example 14 Example 15

Example 16 Example 17

Examples 18 through 27 involve four parts per beat. Count: “one - ee - and - uh - two - ee - and - uh - three
- ee - and - uh - four - ee - and - uh,” strumming where indicated.
Example 18 Example 19 Example 20

Example 21 Example 22 Example 23

Example 24 Example 25 Example 26

Example 27
 TECHNIQUES OF STRUMMING; FLATPICK TECHNIQUE PAGE 11

C. FLATPICK TECHNIQUE

Flatpicking Single Notes

Most players pick single notes by bending the wrist with a slight forearm rotation. At the fastest rates
of picking single notes, most players use a controlled muscle quiver in the forearm rotation.

Alternate Picking
In alternate picking, each series of continuous notes is picked strictly (1) down-up-down-up, etc. or (2)
up-down-up-down, etc. If you start with a downstroke, the picking order is down-up-down-up, etc. Starting with
an upstroke would use the picking order up-down-up-down, etc.
You often pass a string before picking it to strictly continue the down-up motion. If you were to pick
down on the fifth string immediately before picking a note on the fourth string, you would move the pick slightly
past the fourth string before picking it, so it can be picked in an upstroke. In theory, the wasted motion is
acceptable in order to allow an uninterrupted continuous rhythmic motion.
Alternate picking exercise. The most significant disadvantage of down-up picking is having to pass a string
before picking it. On the exercise below, every string has to be passed before picking. Using all open strings,
pick in this exact order of down ( ) and up ( ) strokes.

Exceptions to Alternate Picking

Consecutive accented downstrokes. These provide melodic emphasis and are often used in Blues
guitar.
 PAGE 12 CHAPTER 1: TECHNIQUES OF STRUMMING AND PICKING

Rhythmic Selection. Many accompaniment and melodic rhythms can be played easily when your right
hand assumes a continuous motion but you select when the pick contacts the strings. This may be applied to
playing single notes or strumming chords.
Rhythmic selection. Miss the string where strokes are in parenthesis.

Sweep picking, another method of changing strings, makes use of every stroke. It is more efficient in
that respect, but requires an uneven picking movement. Left hand fingering patterns must accommodate the
needs of sweep picking.
Sweep picking is a single note technique and doesn’t apply to rhythm guitar playing. In sweep picking,
you still alternate-pick on each string. When you change strings, however, you pick in the direction you were
already moving to approach the new string. This should not be done randomly. If you are going to employ sweep
picking, work out a predetermined set of picking strokes for each scale and melodic pattern. Frank Gambale has
worked out a very refined system of sweep picking. If you wish to pursue that unique style of picking, I highly
recommend his books and videos on the subject.
At first, sweep picking is more prepared than alternate picking. After you sweep pick for a while, it will
become automatic. With sweep picking, upward scales or melodic runs are predominantly upstrokes and
downward scales or runs are predominantly downstrokes. Look through the examples that follow to see this
tendency. A scale or melodic run which contains notes on the first, second, then third string is a downward run.
A scale or melodic run using notes on the fifth, fourth, third, then second string is an upward run.
Sweep picking provides a great advantage when you can adapt your left hand fingering patterns so that
there are odd numbers of notes on each string when picking through a consecutive sequence of strings in the same
direction. Picking notes on the first, second, third, then fourth strings is a consecutive sequence in the same
direction.
Sweep picking a descending scale.
 FLATPICK TECHNIQUE PAGE 13

Picking notes on the fifth, fourth, third, then second strings is another consecutive sequence in the same
direction:
Sweep picking an ascending scale.

When you change direction in your movement through the strings, sweep picking requires that you use
an even number of notes on the last string before changing direction. If you picked notes on the first, second,
third, and fourth strings before moving to the third string, you would be changing direction after the fourth string:

Sweep picking a descending scale changing to ascending.

Picking notes on the sixth, fifth, then fourth strings before moving to the fifth string would involve
changing direction after the fourth string:
Sweep picking an ascending scale changing to descending.
 PAGE 14 CHAPTER 1: TECHNIQUES OF STRUMMING AND PICKING

Sweep picking requires an odd number of notes on each string when picking through a consecutive
sequence of strings in the same direction and an even number of notes on each string where you change direction
in your movement through the strings. If you’ve played for a while without strict sweep picking, you probably
have a tendency to sweep pick, but haven’t always used fingering patterns which lend themselves to it.
Melody picked down-up, with unprepared left hand fingering . The down-up picking is strict during
rhythmically continuous notes, not where there is a pause in time.

Melody with left hand fingering prepared to accommodate sweep picking.

sweep picking slow enough to
not require sweep picking

È È È È È È È ÈÇ Ç Ç Ç Ç Ç Ç È È È È È È È È È È È È È È È È
Flatpicking Two Note Chords
Two note chords are usually picked with the sametechnique as single notes. They are often picked with
all down-strokes.
Boogie Woogie Blues With Two Note Chords. Play with all down-strokes.
D7 G7 D7

## 4 Ï Ï Ï Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ·
l& 4 Ï Ï Ï
===========================
Ï ÏÏ ÏÏ ÏÏ Ï l lÏ Ï Ï Ï Ï Ï Ï Ï lÏ Ï Ï Ï Ï Ï Ï Ï
l l l l
l 4 l l l
·
ll===========================
4 ll
=========================== ll ll
 È È ÊÈ Ç ÊÈ
FLATPICK TECHNIQUE; ARPEGGIATING CHORDS PAGE 15

Power Chord Rhythm Guitar Part With Two Note Chords. Play with all down-strokes.

4 ä Ïj ä JÏÏ ä Ïj w
l& 4 Ï Ï Ï Ï l
==========================
Ï Ï w
l l
l l
4
l 4 l
l==========================
========================== l

D. ARPEGIATTING CHORDS

Arpeggiating Fingered Chords

D VII A VII D/C VII G V
R 5 R 3 3 R 5 R R 5 R 3 3 R 5 R

ÇÇ Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç
# # 4 Ï Ï _Ï _Ï Ï Ï _Ï _Ï Ï ÏÏ Ï Ï Ï
4 1 1 1 2 1 3 4 2 1 1 1 2 1 3 4

Ï Ï Ï n Ï Ï n Ï Ï Ï
lÏ Ïú l
l& 4 Ï Ï lÏ
========================== l Ï
l l l l l
l 4 l l l l
ll 4 ll ll ll
========================== ll
==========================
C/Bb V F III Bb/Ab III G7 III
R 5 R 3 3 R 5 R R 5 R 3 R 5 R 3

È È È È
ÇÇÇÇÇÇÇÇ ÇÇÇÇÇÇ ÇÇÇÇÇÇ Ç Ç Ç Ç Ç
2 1 1 1 2 1 3 4 2 1 1 1 2 1 1 1

# # bÏ n Ï Ï Ï Ï Ï Ï n Ï nÏ Ï Ï b Ï Ï nÏ Ï Ï ÏnÏ Ï Ï Ï Ï ú
l& Ï lÏ
=========================== Ï Ï bÏ l Ï l
l l l l
l l l l
l===========================
ll
===========================
l ll ll
 PAGE 16 CHAPTER 1: TECHNIQUES OF STRUMMING AND PICKING

ÇÇ Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç
ÇÇ Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç
Fingering the Notes of A Chord One-At-A-Time.
# # 4 D Ï Ï _Ï _Ï Ï Ï A/C# Ï Ï _Ï _Ï Ï Ï D/C n Ï Ï Ï Ï Ï Ï G/B Ï Ï _Ï _Ï Ï Ï
Ï lÏ Ïl
l& 4 Ï
========================== Ï lÏ Ï lÏ
l l l l l
44
l========================== l l l l

È È È È È È
l========================== l l l l

l& b Ï
ÇÇÇÇÇÇ ÇÇÇÇÇÇ ÇÇÇÇ Ç Ç Ç
# # C/Bb Ï È È
nÏ Ï Ï Ï Ï Ï ÏnÏ
F/A

===========================
l
n Ï _
Ï Ï È È
Ï Ï bÏ Ï bÏ Ï n Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
Bb/Ab

l
G7

l
l l l l
l l l l
===========================
l===========================
l l l
E. FINGERPICK TECHNIQUE

Classical Guitar Technique

In Classical guitar technique, the thumb is positioned nearly parallel to the sixth string, tipping downward
slightly. The other fingers are used nearly perpendicular to the strings, their tips leaning slightly toward the
fretboard. The fingers (excluding the thumb) are parallel to one another, nearly touching. All plucking should
be performed with little movement of the back of the hand. The back of the hand should remain relaxed. There
are two basic strokes:
The rest stroke follows through to the next string and comes to rest on it. When the rest stroke
is used by the thumb, the smaller adjacent string is muted. When the rest stroke is used by another
finger, the larger adjacent string is muted.
The free stroke curves away from the adjacent string as it follows through. Adjacent strings are
not muted at all in using the free stroke.

Travis Style Fingerpicking

Travis fingerpicking is a the most common style. Named after its creator, Merle Travis, it uses all free
strokes. Bass notes are plucked once-per-beat, entirely with the thumb. The bass notes are usually on the fourth,
fifth and sixth strings, but occasionally can be on the third. The index, middle and ring fingers pick quarter notes
and eighth notes on the first, second and third strings rarely on the fourth.
Usually, the index, middle and ring fingers are each assigned to a particular string. They pluck notes other
than the bass notes, usually on the offbeats (the last half of each beat). The index finger is assigned to the largest
string (of the non-bass notes), the middle finger to the next largest, and the ring finger is assigned to the smallest
string of the fingerpicked guitar part.
 ARPEGGIATING CHORDS; FINGERPICK TECHNIQUE PAGE 17

Here is a brief lesson on Travis style fingerpicking:

First, memorize the chord fingerings.
G I C I G I D I
R 3 5 R 5 R 5 R 3 5 R 3 R 3 5 R 5 R 3 5 R 5 R

ÊÈ ÊÈ ÊÈ ÊÈ ÊÈ ÊÈ ÊÈ ÊÈ ÊÈ ÊÈ ÊÈ ÊÈ ÊÈ ÊÈ ÊÈ ÊÈ
2 1 0 0 3 4 3 4 2 0 1 0 2 1 0 0 3 4 2 0 0 3 4

Next, practice the bass line. “T” represents the right thumb.

# 4 G C G D

l& 4 _
===========================
_ Ï _
_ Ï l _Ï Ï _
_ Ï l_ _ Ï _
_ Ï l_ _ Ï _
_ Ï
l Ï Ï Ï Ï Ï _
Ï
lT T T T lT T T T l T T T T _
Ï

ÈÊÈ È È È ÊÈ ÊÈ È È È È ÊÈ ÊÈ È È È È ÊÈ ÊÈ È È È È ÊÈ
l 4 l l l
T T T T

ll 4 ll
===========================
=========================== ll ll
Now, add a few notes on the upper strings. “i” represents the right index finger and “m” represents the right

ÊÈ È ÊÈ È ÊÈ È ÊÈ È È È
middle finger.

# G Ï Ï
C
Ï Ï
G
Ï Ï
D
Ï Ï
l & _ Ï _ Ï l _Ï Ï _ Ï l _ Ï _ Ï l _ Ï _ Ï
===========================
_Ï _Ï _Ï _Ï _Ï _
_Ï _
_Ï
l l l l
l l l l
T T m T m T T T m T m T T T m T m T T T m T m T

l l
=========================== l l
l l
=========================== l l

ÈÈ ÈÈÈ ÈÈ ÈÈÈ ÈÈ ÈÈÈ È È È

The complete example. “a” represents the right ring finger. In Spanish, anular means ring around the sun, hence
the nameanular for the ring finger.
G C G D
# Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
l& _ Ï
Ï _ Ï
Ï _Ï Ï
===========================
l Ï _ Ï Ï l _ Ï
Ï _ Ï l_ Ï _ Ï
l _
Ï _
Ï _
Ï _
Ï _
Ï _
_
Ï _
_
Ï
la T i T m T i la T i T m T i lm T m T i T m
l lT lT lT
a T i T m T i
T

l l l l
===========================
l l
=========================== l l
 PAGE 18 CHAPTER 1: TECHNIQUES OF STRUMMING AND PICKING

F. COMBINED FLATPICKING AND FINGERPICKING

In this style, the flatpick is usually assigned to the bass part or to the larger strings. By holding the flatpick
between the thumb and index finger, the middle and ring fingers can be free to pluck the smaller strings.
Pick and Pluck Chords. This often imitates pedal steel guitar, as illustrated with the bent note on the last chord.
Flatpick the notes on the third string. Pluck notes on the second string with the right middle finger. Pluck notes

Ç ÇÇÇÇÇ Ç ÇÇÇ Ç ÇÇÇÇÇ ÇÇ ÇÇ

on the first string with the right ring finger. Of course, the same technique may be applied to other sets of strings.
A7n3 V D V A V G III A V A7n3 V D V A V

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and with the heel of his hand. This muting brings the tone of the flatpicked notes closer to that of the plucked

È È È È ÊÈ ÊÈ ÊÈ È È È È ÊÈ ÊÈ ÊÈ È È È È ÊÈ ÊÈ ÊÈ È È È È ÊÈ ÊÈ ÊÈ
notes (which are softer because of the skin). Flatpick all of the notes on the sixth string and pluck the remaining
pairs of notes with the right hand middle and ring fingers.
D VII A VII D/C VII G V C/Bb V
R 5 R 3 3 R 5 R R 5 R 3 3 R 5 R R 5 R 3

4 1 1 1 2 1 3 4 2 1 1 1 2 1 3 4 2 1 1 1

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C/Bb V F III Bb/Ab III G7 III
R 5 R 3 3 R 5 R R 5 R 3 R 5 R 3

2 1 1 1 2 1 3 4 2 1 1 1 2 1 1 1

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 CHAPTER 2: LEFT HAND TECHNIQUEP AGE 19

A. FRETTING TECHNIQUES.
Fret notes with the fingertip pressing the string up against the left edge of the metal fret. Exert just enough
pressure. Contact the string to the fret at precisely the same time the pick touches the string, so that by the time
the pick follows through, the note is clearly fretted.
In playing single notes, keep the left hand fingers both relaxed and spread out. Keep the fingertips hovering
close (within a quarter inch) to four consecutive frets on the same string in line with points at which you would
fret notes. Lay the first (index) finger’s middle knuckle over to the left, giving easier access to the notes one fret
to the left. Although you won’t be able to stretch as far, lay the little finger in a similar way to the right.

Classical Wrist Position.

For wide spans in scales, arpeggios and chords, use the classical guitar wrist form. With the ball of the
thumb on the center of the back of the neck (opposite the third and fourth strings), bend the wrist to turn the left
palm towards the forearm and spread the fingers.

Position For Bending Notes.

Bend the left wrist to move the back of the hand towards the forearm slightly (30° to 45°). Keep the base
of your first finger touching the neck and your thumb wrapped around the neck.

Compromised position.
Use a compromised position for passages involving wide spans mixed with bent notes. Keep the thumb
fairly high on the back of the neck and the base of the first finger close to or touching the neck. Bend the wrist
to move the back of the hand toward the forearm slightly (fifteen to thirty degrees). “Fan” your hand out so that
the little finger is straightened and pointing towards the bridge, and the middle knuckle of the first finger is
pointing toward the head of the guitar.

The Barré.
The barré is a group of notes all on the same fret of two or more strings fingered with a straight portion
of one finger. It uses the classical wrist position. Finger (fret) the barré with the harder edge of your finger when
you can. Avoid the creases opposite your knuckles, since they can mute notes.

Chord Cancellation Exercise.

This exercise can train you to fret all notes of a chord at once, as they usually should be. Use this exercise
when you find yourself “breaking up” a chord fingering.
• Finger the notes of the chord as slowly, making sure all of them will sound simultaneously;
• Keeping your fingers in place, relax all the fingertips or barring portions of the fingers, all at once;
• In five steps, move the fingers progressively further from their chord formation, first 1/4 inch away,
then 1/2 inch, etc., until the fingers are fully straightened. Return and sound all notes simultaneously
after each of the five steps.
 PAGE 20 CHAPTER 2: LEFT HAND TECHNIQUE

B. SLURS
Slurs are groups of two or more notes sounded in one picking of the string. In order from loudest, most
percussive attack to softest, they are: hammer-on, pull-off, slide, bend and tremolo bar bend.

Hammer-On.
A hammer-on is a slur executed by smashing a string onto the fretboard with a fingertip against the fret
as with a normally fretted note. This is done where a lower-pitched, fretted note or open note on the same string
is already sounding. To minimize the distance from which your finger must start to hammer, place the fingertip
accurately and move it quickly.

Pull-Off.
A pull off is a slur performed by fretting and picking a note and then applying a downward tension,
scraping and plucking the string as you leave it with the left hand finger. Curve the path in which the finger leaves
the fretboard to avoid sounding an adjacent string as you pass by it.

Slide.
A slide is performed by playing a note and sliding up or down the string to another fret while continuing
to apply enough pressure to sustain the string vibration. “Slide from an indefinite point” indicates that the
beginning point of the slide is not important, since it was not distinctly started from any particular scale or chord
tone.

Bend.
The left hand and wrist position for bending was discussed earlier. Contact the string near the fingertip.
The tip segment of your finger should be at an angle about forty five to sixty degrees from the fretboard. Bend
the fifth and sixth strings down (toward the floor), the first and second strings up, and the third and fourth strings
either way.
Muting bent notes. It is essential that you accomplish the techniques for right and left hand muting of
bent notes, which are covered on the pages that follow.
Tuning bent notes. One of the most common problems for the beginner is in the tuning of bent tones.
Part of the problem is ear training, but judging the correct tension while bending is also important. With the silent
bend, you will have to bend the string to the correct pitch before you hear it.
A blue note is a slight bend toward, but not to the pitch of the note one fret above. It is an expressive
technique, and the degree of bending is up to the player.

Vibrato.
Vibrato is a controlled, repeated bend. Selected notes of a phrase, or entire phrases may be played with
vibrato.
Stationary Vibrato. In applying the vibrato to stationary (unbent) notes, use very slight bending so the
listener won’t hear a noticeable change in pitch.. In applying the vibrato to stationary (unbent) notes, use very
slight bending so the listener won’t hear a noticeable change in pitch.
Vibrato on bent notes involves a quickly repeated series of minute bends and partial releases.
 PAGE 21
CHAPTER 3: MUTING
A. LEFT HAND MUTING
Silencing single notes.
To stop a sustaining note, relax the finger that is fretting the note. If your finger is relaxed enough, the
string will straighten and will be muted by the finger.
In a single note passage, a note may be muted with the finger that frets the next note if the next note is
fretted by another finger to your right on the same string or on the next larger string.

“Rolling” technique.
Rolling is used to play two or three notes on the same fret of consecutive strings. Play the first note, then
mute it as you play the next note. Instead of lifting the finger, the fingertip is tilted or “rolled” after playing a
note so that it releases pressure but still touches the first note and fully frets the next one on the adjacent string.
This requires prepared placement of the finger so that only the tip of the finger touches the largest string involved.

Muting chords.
To mute a chord, relax all the left hand fingers at once. If there are open strings in the chord, lay one or
more left hand fingers across all the strings in the chord. In muting at the 5th, 7th, 12th, 17th and 19th frets, use
two or more fingers, since unwanted open string harmonics can easily be produced when muting with one finger.

When you need to move rapidly to another note or chord after muting with the left hand, the muting and
movement to a new fingering must be made in one smooth action. Try to leave the strings in a path perpendicular
to the fretboard without any friction (which would sound open strings). Then, immediately curve the path of
the fingertip(s) back toward the fretboard to take the shortest possible path to the next fingering.
Skimming.
In skimming (also called “raking”), you pick a one-note-per-string arpeggio in all downstrokes or all
upstrokes. The final string may have two or more arpeggio tones. An easy application is playing the notes of
a diagonally-fingered chord in quick succession with one stroke of the pick, muting each note as you go.
Muting bent notes with the left hand.
Lay your fingers on unused strings as much as you can with your left hand. This will prevent unwanted
open strings from sounding as you bend notes and brush against strings adjacent to the one(s) you are bending.
To mute adjacent strings while bending notes, keep the left hand fingertip at the correct angle. If the fingertip
segment is too parallel to the fretboard, the pad of your fingertip can trap the next larger string and sound it while
releasing the bend. If the fingertip segment is too perpendicular to the fretboard, the fingernail can catch on the
next larger string and sound it.
With all fingertips that are bending the string, you should push the next larger string out of the way.
During the last stage of the release, the fingertips with which you are bending should leave the adjacent strings
without friction.
 PAGE 22 CHAPTER 3: MUTING

B. RIGHT HAND MUTING

Right hand full chord muting.
Keep the side of your hand between the little finger and the wrist consistently touching the strings slightly
to your left of the bridge. It helps to use the base of the little finger to feel the point where the first string meets
the bridge. Muting farther away from the bridge will mute the pitch more and more until it is not discernible.

Right hand single note muting.

To mute single notes or notes on adjacent strings, keep the right elbow low and the right hand fingers
parallel to the strings. Mute with the heel of the hand (near the hairless inside of the wrist). Consistently mute
with the heel of the hand, sliding it just to the left of the bridge to cover the strings you intend to mute. Changing
strings while muting with the right hand is easier for most guitarists if the guitar head is lowered to where the
neck is almost parallel to the floor.
Five techniques of muting when playing bent notes:
(1) Left hand muting, as described earlier.
(2) Right hand single note muting, as described above.
(3) Trapping with the pick. Immediately after picking a note which you intend to bend for longer
than a second or so, lay the pick against the next larger string to trap it and mute it. Take the
shortest possible path with the pick.

(4) Muting with the right thumb and heel of hand. When bending notes, keep the right thumb and/or
heel of hand close to the strings to be ready for muting. When the left hand can’t mute the larger
strings, the right hand can. Often, this can be done while picking. When trapping with the pick, mute
the next larger strings with the side of the thumb.
(5) Trapping with the middle and ring fingers can assure that the smaller strings won’t sound. Rest
against, or “trap” the smaller strings with your free fingers. This technique is essential when the
guitar is very “live” and the strings sustain very easily, such as with slide guitar. Any good pedal
steel player has mastered this technique. Watch one, if you get a chance.

Combinations of right and left hand muting can silence all strings except the one you are bending.
 PAGE 23

PART 2:
RHYTHM GUITAR
STYLES

CHAPTER 4. HARD ROCK

CHAPTER 5. METAL
CHAPTER 6. BLUES
CHAPTER 7. ALTERNATIVE & SOFT ROCK
 CHAPTER 4:
HARD ROCK RHYTHM GUITAR EXAMPLES
AEOLIAN HARD ROCK RHYTHM GUITAR EXAMPLES
Aeolian (altered) Hard Rock Example 1. All “B” Aeolian, except “B” Dorian on the “E” chord.. Repeat and
end on the Bm chord.

Aeolian Hard Rock Example 2. “C” Aeolian. Repeat and end on the Cm chord.

Aeolian (altered) Hard Rock Example 3. Scales for improvising are shown in parenthesis above the chords .
This is in 6/8 time, so count “1, 2, 3, 4, 5, 6.” Pick the strings indivually, as shown below. Repeat and end
on the fourth note of the last chord.

(D Aeolian A har. min. F mel. min. D har. min.)

COUNT 123456 123456 123456 123456 123456

STRINGS 4 3 2 1 2 3 432123 432123 532123 532123
 AEOLIAN HARD ROCK PAGE 25

Aeolian Hard Rock Example 4. “C#” Aeolian. Repeat and end on the first C#m chord.

Aeolian Hard Rock Example 5. “C#” Aeolian. Repeat and end on the C#m chord.

Aeolian Hard Rock Example 6. “F” Aeolian. Repeat and end on the Fm chord.
Read the music notation or tablature, using the chord grids to learn the chord fingerings.
 PAGE 26 CHAPTER 4: HARD ROCK RHYTHM GUITAR EXAMPLES

DORIAN HARD ROCK RHYTHM GUITAR EXAMPLES

Dorian Hard Rock Example 1. “G” Dorian. Repeat and end on the G chord.

Dorian Hard Rock Example 2. “E” Dorian. Repeat and end on the E7#9 chord.

Dorian Hard Rock Example 3. “E” Dorian. Repeat and end on the Em7 chord, or for a deceptive cadence,
end on the A chord..
 AEOLIAN HARD ROCK; DORIAN HARD ROCK; MAJOR HARD ROCK PAGE 27

MAJOR HARD ROCK RHYTHM GUITAR EXAMPLES

Major Hard Rock Example 1. “E” major. Repeat and end on the third E chord (the one in IV position).

Major Hard Rock Example 2. “E” major. Repeat and end on the last E chord.
Read the music notation or tablature, using the chord grids to learn the chord fingerings.
 PAGE 28 CHAPTER 4: HARD ROCK RHYTHM GUITAR EXAMPLES

Major Hard Rock Example 3. “E” major. Repeat and end on the first E chord.

Major Hard Rock Example 4. “G” major. Repeat and end on the G chord.

Major Hard Rock Example 5. “D” major. Repeat and end on the D chord.

Major Hard Rock Example 6. “C” Major. Repeat and end on the C chord.
 MAJOR HARD ROCK PAGE 29

Major Hard Rock Example 7. “G” Major. Repeat and end on the first chord.
Read the music notation or tablature, using the chord grids to learn the chord fingerings.
 PAGE 30 CHAPTER 4: HARD ROCK RHYTHM GUITAR EXAMPLES

MIXED MINOR HARD ROCK RHYTHM GUITAR EXAMPLES

Mixed Minor Hard Rock Example 1. “D” Aeolian, except “D” Dorian during the last six chords. Repeat and
end on the first chord.

Mixed Minor Hard Rock Example 2. “D” Aeolian. Repeat and end on the first chord.
 MIXED MINOR HARD ROCK; MIXOLYDIAN HARD ROCK PAGE 31

MIXOLYDIAN HARD ROCK RHYTHM GUITAR EXAMPLES

Mixolydian Hard Rock Example 1. “A” Mixolydian, except “A” harmonic minor mode V during the Dm
chord. Repeat and end on the first chord.
The following example is played with a combination of strumming and fingerpicking. The downward
arrow indicates a downstroke, which should be performed with the right thumb. The right thumb should be used
on the fourth string, the right index on the third string, and the right ring finger on the second string.
The “+” symbol represents the syllable “and.” Count “one - and - two - and - three - and - four - and”
evenly while plucking the strings indicated below the counting symbols. For example: Strum down on the first
beat; play nothing on the “+” aftter the first beat; pluck string four on the second beat; and pluck the third string
on the “+” after the second beat.

Mixolydian Hard Rock Example 2. “A” Mixolydian. Repeat and end on the A chord.

Mixolydian Hard Rock Example 3. “E” Mixolydian. Repeat and end with a deceptive cadencce on the D chord.
Read the music notation or tablature, using the chord grids to learn the chord fingerings.
 PAGE 32 CHAPTER 4: HARD ROCK RHYTHM GUITAR EXAMPLES

Mixolydian Hard Rock Example 4. “A” Mixolydian. Repeat and end on the last A chord.

Mixolydian Hard Rock Example 5. “E” Mixolydian. Repeat and end on the last note as written below.

Mixolydian Hard Rock Example 6. “E” Mixolydian. Repeat and end on the first chord.

Mixolydian Hard Rock Example 7. “F#” Mixolydian. Repeat and end on the last chord.
 MIXOLYDIAN HARD ROCK PAGE 33

Mixolydian Hard Rock Example 8. “E” Mixolydian. Repeat and end on the first chord.

Mixolydian Hard Rock Example 9. “C” Mixolydian. Repeat and end on the second chord.
Read the music notation or tablature, using the chord grids to learn the chord fingerings.

Mixolydian Hard Rock Example 10. “E” Mixolydian. Repeat and end on the last chord.
 PAGE 34 CHAPTER 4: HARD ROCK RHYTHM GUITAR EXAMPLES

Mixolydian Hard Rock Example 11. “A” Mixolydian. Repeat and end on the A chord.

Mixolydian Hard Rock Example 12. “A” Mixolydian. Repeat and end on the second A chord.

PARALLEL 4THS HARD ROCK RHYTHM GUITAR EXAMPLES

Parallel 4ths Hard Rock Example 1. “C” Dorian. Repeat and end on the last chord.
 MIXOLYDIAN HARD ROCK; PARALLEL 4THS HARD ROCK PAGE 35

Parallel 4ths Hard Rock Example 2. “A” Dorian. Repeat and end on the first chord.`

Parallel 4ths Hard Rock Example 3. “B” Dorian. Repeat and end on the last chord (deceptive cadence).

Parallel 4ths Hard Rock Example 4. “B” Aeolian. Repeat and end on the first Bn3 chord.
 PAGE 36 CHAPTER 4: HARD ROCK RHYTHM GUITAR EXAMPLES

Parallel 4ths Hard Rock Example 5. “A” Aeolian. Repeat and end on the second chord.

PARALLEL 5THS HARD ROCK RHYTHM GUITAR EXAMPLES

Parallel 5ths Hard Rock Example 1. “E” Dorian. Repeat and end on the last chord.

Parallel 5ths Hard Rock Example 2. “C#” Aeolian. Repeat and end on first C#n3 chord.
 PARALLEL 4THS HARD ROCK; PAR. 5THS HARD ROCK; PAR. MAJOR HARD ROCK PAGE 37

Parallel 5ths Hard Rock Example 3. “B” harmonic minor mode V. Repeat and end on the B chord.

PARALLEL MAJOR CHORDS HARD ROCK RHYTHM GUITAR EXAMPLES

Parallel Major Chords Hard Rock Example 1. “D” Mixolydian and “E” Mixolydian, as marked. Repeat and
end on the last chord.

Parallel Major Chords Hard Rock Example 2. “E” Aeolian, except “E” Mixolydian during the E and Esus4
chords. Repeat and end on the last chord.
 PAGE 38 CHAPTER 4: HARD ROCK RHYTHM GUITAR EXAMPLES

Parallel Major Chords Hard Rock Example 3. “C” Aeolian, except “C” Dorian or “C” Mixolydian during the
C and Csus.4 chords. Repeat and end on the last chord.
C XII G XII C V F V C V C XII G XII C V F V C V
3 5 R 5 R 3 5 R 3 3 5 R 5 R 3 3 5 R 5 R 3 5 R 3 3 5 R 5 R 3

3 1 2 1 1 1 1 1 1 3 1 2 1 1 1 3 1 2 1 1 1 1 1 1 3 1 2 1 1 1
 CHAPTER 5: PAGE 39

METAL RHYTHM GUITAR EXAMPLES

AEOLIAN METAL RHYTHM GUITAR EXAMPLES
Aeolian Metal Example 1. “A” Aeolian. Repeat and end with a deceptive cadence on the last chord.

Aeolian Metal Example 2. “E” Aeolian. Repeat and end on the first chord.
Read the music notation or tablature, using the chord grids to learn the chord fingerings.
 PAGE 40 CHAPTER 5: METAL RHYTHM GUITAR EXAMPLES

Aeolian Metal Example 3. “G” Aeolian. Repeat and end on the Gm chord.
Read the music notation or tablature, using the chord grids to learn the chord fingerings.

DORIAN METAL RHYTHM GUITAR EXAMPLES

Dorian (altered) Metal Example 1. “E” Dorian. Repeat and end on the first note.
The “Bb” and “Fn” act as blue notes.

Dorian Metal Example 2. “A” Dorian. Repeat and end on the An3 chord.
Read the music notation or tablature, using the chord grids to learn the chord fingerings.
 PAGE 41

Dorian Metal Example 3. “D” Dorian. Play “D“ Dorian or “D” Mixolydian on the D chord. Repeat and end
on the D chord.

Dorian Metal Example 4. “A” Dorian. Repeat and end on the second An3 chord.

Dorian Metal Example 5. “A” Dorian. Repeat and end on the first chord.
 PAGE 42 CHAPTER 5: METAL RHYTHM GUITAR EXAMPLES

Dorian Metal Example 6. “G” Dorian. Repeat and end on the second chord.

MIXED MINOR METAL RHYTHM GUITAR EXAMPLES

Mixed Minor Metal Example 1. “A” Aeolian, except “A” harmonic minor during the last chord. Repeat and
end on the first chord.

Mixed Minor Metal Example 2. “A” Aeolian, except “A” Dorian on the D/F# chord. Repeat and end on the
first chord. Read the music notation or tablature, using the chord grids to learn the chord fingerings.
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MIXOLYDIAN METAL RHYTHM GUITAR EXAMPLES
Mixolydian Metal Example 1. “E” Mixolydian. Repeat and end on the E chord.

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PARALLEL FOURTHS METAL RHYTHM GUITAR EXAMPLES

Parallel Fourths Metal Example 1. “F#” Aeolian. Repeat and end on the last chord.

Parallel Fourths Metal Example 2. “F#” Aeolian. Repeat and end on the third chord.
 PAGE 44 CHAPTER 5: METAL RHYTHM GUITAR EXAMPLES

Parallel Fourths Metal Example 3. “G” Dorian. Repeat and end on the sixth chord.
Read the music notation or tablature, using the chord grids to learn the chord fingerings.

PARALLEL FIFTHS METAL RHYTHM GUITAR EXAMPLES

Parallel Fifths Metal Example 1. “F#” Aeolian. Repeat and end on the last chord.
 PAGE 45

Parallel Fifths Metal Example 2. Key of “E” minor. Improvise with the scales as marked. Repeat and end
on the third chord.
At the beginning of the second bar, the low “E” to “F#” is a combination hammer and slide.

Parallel Fifths Metal Example 3. “E” Phrygian, except the Bbn3 chord is blue notes “Bb” and “ F ”. Repeat
and end on the last chord.

Parallel Fifths Metal Example 4. “E” Phrygian, except the Bbn3 chord is blue notes “Bb” and “ F ”. Repeat
and end on the last chord.
 PAGE 46 CHAPTER 5: METAL RHYTHM GUITAR EXAMPLES

Parallel Fifths Metal Example 5. Key of “G” . A weird one!! In improvising, use “G” harmonic major IV (G
- A - Bb - C# - D - E - F# - G), except use “G” Dorian (G - A - Bb - C - D - E - F) on the Cn3 and Bbn3 chords.
Repeat and end on the first chord.

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 CHAPTER 6: PAGE 47

BLUES RHYTHM GUITAR EXAMPLES

ÊÈ È È È È È È È È È È È È È È È È È È È È È È È È È È
PARALLEL FOURTHS BLUES
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l& Ï_Ï_________ÏÏ Ï n Ï l _ÏÏ _ÏÏ _ÏÏ _ÏÏ _ÏÏ _ÏÏ _ÏÏ l __ÏÏ__ÏÏ__Ï__ÏÏ__ÏÏ_ÏÏ Ï n Ï l _ÏÏ_________ÏÏ ÏÏ n n ÏÏÏ l _ÏÏ _________ÏÏ ÏÏ n n ÏÏÏ Ó{ __ww
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l _Ï_Ï_Ï_Ï l l l _Ï_Ï_Ï_Ï l _Ï _Ï _Ï _Ï Ó _w
l l l l l Ó
l l l l l Ó
l
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 ÊÈ È È È È È È È È È È È È È È È È È È È È È
PAGE 48 CHAPTER 6: BLUES RHYTHM GUITAR EXAMPLES

Parallel Fourths Blues Example 2. “G” Dorian. Repeat between the repeat signs and end on the last chord.

£ £ £
G7
1
# 4 î ä
l& 4 ÏjÏ ÏÏ ÏÏ b ÏÏ Ò { ÏÏ _ _ _ _ ÏÏ ÏÏ ÏÏ b ÏÏ l ÏÏ _ _ _ _ ÏÏ ÏÏ ÏÏ b ÏÏ l
==========================
l Ò _Ï _Ï _Ï _Ï l _Ï _Ï _Ï _Ï l

È È È È È È È È È ÈÈÈÈÈÈÈÈ È ÈÈ ÈÈ È È È È È È È È È
l Ò l l
l 4 Ò l l
4
l==========================
========================== Ò{ l l

£ £
C7
4
# Ï Ï b ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï b ÏÏ
l & ÏÏ _ _ _ _ Ï Ï
==========================
Ï Ï l Ï _ _ _ _ Ï
Ï Ï Ï l _Ï _Ï _Ï _Ï _Ï _Ï _Ï _Ï l _Ï _Ï _Ï _Ï _Ï Ï Ï l
_ _ _ _
Ï Ï Ï Ï _ _ _ _
l l ÏÏÏÏ l l l

È È È È È È È È È ÈÈÈÈÈÈÈÈ È ÈÈ ÈÈ È È È È È È È È È
l l l l l
l l l l l
==========================
l l
========================== l l l

£ £
G7 D7 C7
8
# Ï Ï b ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï b ÏÏ
l & ÏÏ _ _ _ _ Ï Ï
==========================
Ï Ï l Ï _ _ _ _ Ï
Ï Ï Ï l Ï Ï Ï Ï Ï Ï Ï Ï l _Ï _Ï _Ï _Ï _Ï Ï Ï l
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l l l l l

È ÈÈÈÈÈÈÈÈÈÈÈÈÈÈÈÈ
l l l l l
l l l l l
l==========================
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l l l l

£
G7
12
# Ï Ï b ÏÏ Ï Ï b ÏÏ w
l & ÏÏ _ _ _ _ Ï Ï
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l l Ó
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l===========================
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l Ó{
 È ÈÈÈÈ ÈÈÈ ÈÈÈÈ ÈÈÈ ÈÈÈÈ ÈÈ
PAGE 49

Parallel Fourths Blues Example 3. “A” Dorian. Repeat and end on the An3 chord.
Sixteenth note swing:
3
xx = ex
A7
1
### c n ÏÏ ÏÏ Ï Ï Å Ï Å Ï Å Ï Å Ï Å n Ï n ÏÏ ÏÏ Ï Ï Å Ï Å Ï Å Ï Å Ï Å n Ï n ÏÏ ÏÏ
l& Ï Ï Å Ï Å
==========================
Ò{ _ Ï Å Ï Å Ï Å n Ï

È È È È È È È È È È È È È ÈÈÈ È È È È È È ÈÈÈ
_ÏÏ_
_ÏÏ __ÏÏ __ÏÏ __ÏÏ _ _ÏÏ _ _ÏÏ __Ï __Ï l _
_ÏÏ_
_ÏÏ _
_ÏÏ _
_ÏÏ _
_ÏÏ _
_ÏÏ _
_ÏÏ _ _Ï l _
_Ï _ _ÏÏ_
_ÏÏ _
_ÏÏ _
_ÏÏ _
_ÏÏ _
_ÏÏ _
_ÏÏ _ _Ï l
_Ï _
l Ò l l l
l Ò l l l
l c Ò l l l
==========================
l & Ò{
========================== l l l

È
D7
4
### I I
n Ï Ï Ï Ï Ï Ï Ï Ï
Ï ÏÏ Å ÏÏ Å ÏÏ Å ÏÏ Å ÏÏ Å n ÏÏ Ï Ï l ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏÏ Ï Ï Ï Ï Ï Ï Ï
Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

È È
l&
==========================
__ÏÏ _ _ _ _ _ _ _ _ n_Ï _
Ï _ _
Ï _ _
Ï _ _ l Ï n_Ï _Ï _ _Ï __Ï _Ï _ _ l

È
È ÈÈÈÈ È ÈÈÈÈ È ÈÈÈÈÈ È
l _
Ï _Ï _
Ï _Ï _
Ï _ Ï _Ï _
Ï l _
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Ï _
Ï _
n_Ï l _
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n_Ï l
l l l l
l l l l
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l&
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A7 E7
7
### n Ï Ï n Ï Ï ÏÏ ÏÏ
l& Ï ÏÏ Å ÏÏ Å ÏÏ Å ÏÏ Å ÏÏ Å n Ï Ï Ï l ÏÏ ÏÏ Å ÏÏ Å ÏÏ Å ÏÏ Å ÏÏ Å n Ï Ï Ï l Ï Ï Å Ï Å Ï Å Ï Å Ï Å Ï n Ï Ï l
==========================
__ÏÏ _

È È È È ÈÈ ÈÈ È È È È È È È È È È È È È È
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ÏÏ ___ÏÏ _
_ _ÏÏ
l l l _ _ _ _ _ _ l
l l l l
l l l l
==========================
l &
========================== l l l
D7 A7
10
# # # ÏÏ Ï Ï Ï Ï Ï I
ÏÏ Ï Ï Ï Ï Ï Ï Ï Å Ï Å Ï Å Ï Å Ï Å n Ï n ÏÏ ÏÏ Ï Ï Å Ï Å Ï Å Ï Å Ï Å n Ï n ÏÏ ÏÏ w ·l
l&
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ÏÏ n_Ï Ï Ï Ï_ÏÏ Ï_ _
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{ w
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l l
l l l Ó l
l l l Ó l
l& ll ll ÓÓ{
l===========================
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 PAGE 50 CHAPTER 6: BLUES RHYTHM GUITAR EXAMPLES

SIMPLE SIXTH CHORD BLUES

Simple Sixth Chord Blues Example 1.

Simple Sixth Chord Blues Example 2 (a non-standard blues progression).

Read the music notation or tablature, using the chord grids to learn the chord fingerings.
 PAGE 51

ÈÈÈÈÈÈÈÈ ÈÈ ÈÈÈÈÈ ÈÈÈÈÈÈÈÈ ÈÈÈÈÈÈÈÈ

SIXTH CHORD BLUES WITH CHROMATICS
Sixth Chord Blues With Chromatics Example 1.
1
A7

### 4
l & 4 __ÏÏ __ÏÏ n_Ï #_Ï __ÏÏ __ÏÏ __ÏÏ n__ÏÏ l n__ÏÏ __ÏÏ __ÏÏ __ÏÏ __ÏÏ __ÏÏ __ÏÏ __ÏÏ l __ÏÏ __ÏÏ n_Ï #_Ï __ÏÏ __ÏÏ __ÏÏ n__ÏÏ l __ÏÏ n__ÏÏ __ÏÏ __ÏÏ __ÏÏ __ÏÏ n_Ï #_Ï l
==========================

ÈÈÈÈÈÈÈÈ ÈÈÈÈÈÈÈÈ ÈÈÈÈÈÈÈÈ ÈÈÈÈÈÈÈÈ

l l l l l
l 4 l l l l
ll 4
==========================
========================== ll ll ll ll
5
D7 A7

###
Ï nÏ Ï nÏ Ï Ï
l& ÏÏ ÏÏ n Ï # Ï ÏÏ ÏÏ Ï Ï l Ï Ï Ï Ï ÏÏ ÏÏ n_Ï #_Ï l __ÏÏ __ÏÏ n_Ï #_Ï __ÏÏ __ÏÏ __ÏÏ n__ÏÏ l __ÏÏ n__ÏÏ __ÏÏ __ÏÏ __ÏÏ __ÏÏ n__Ï #__Ï l
==========================
l l l l l

ÈÈÈ ÈÈÈ È È ÈÈ ÈÈ È ÈÈÈ ÈÈ ÈÈ È È È È È È È È

l l l l l
l==========================
l
========================== l
l l
l l
l l
l
9
E7 A7 E7 A7

### ·
l& ___Ï ___Ï n__Ï #__Ï ___Ï ___Ï ___Ï ___Ï l ___Ï ___Ï ___Ï ___Ï ___Ï ___Ï n__Ï #__Ï l __ÏÏ __ÏÏ n_Ï #_Ï __ÏÏ __ÏÏ __ÏÏ ___Ï l ___Ï ___Ï ___Ï ___Ï ___Ï ___Ï ___Ï ___Ï Ó{ __ww
===========================
l ÏÏ ÏÏÏÏlÏÏÏÏÏÏ l ÏlÏ Ï Ï Ï Ï Ï Ï Ï Ó
l l l l Ó

ÈÈÈ ÈÈ ÈÈÈ ÈÈ ÈÈÈÈ È È ÈÈ ÈÈÈÈÈ ÈÈÈ È ÈÈÈ

ll
===========================
=========================== ll ll ll Ó{Ó
Sixth Chord Blues With Chromatics Example 2.
1
D7

## 4
Ï nÏ Ï nÏ Ï Ï Ï Ï n Ï Ïn Ï Ï Ï
l & 4 ÏÏ ÏÏ n Ï # Ï ÏÏ ÏÏ Ï Ï l Ï Ï Ï Ï ÏÏ ÏÏ Ï ÏÏ l ÏÏ ÏÏ n Ï # Ï ÏÏ ÏÏ Ï Ï l Ï Ï Ï Ï ÏÏ ÏÏ n Ï # Ï l
==========================

È È È
l l l l l

È È È È È È È È È
l ## 4 l l l l

ÇÇ ÇÇÇÇ ÇÇÇÇÇÇ
4
l========================== l l l ll
==========================
l l l l
5

&
## Ï Ï
G7

ÈÈ
Ï Ï Ï nÏ ÏnÏ Ï Ï Ï Ï È È È È È È
D7

Ï Ï # Ï Ï Ï Ï Ï # Ï l Ï Ï Ï Ï Ï Ï n Ï # Ï l ÏÏ ÏÏ n Ï # Ï ÏÏ ÏÏ ÏÏ n ÏÏ l ÏÏ n ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ
l========================== n_Ï #_Ï l
l l l l l

È ÈÈ ÈÈ È È È È È È ÈÈ È È ÈÈ ÈÈ È È È È È È È È È È
l ## l l l l
l==========================
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l ll ll ll ll
9
A7 D7 A7 D7

##
Ï
l& Ï Ï n_Ï #_Ï _Ï _Ï _Ï _Ï l _Ï _Ï _Ï _Ï _Ï _Ï n_Ï #_Ï l ÏÏ ÏÏ n Ï # Ï ÏÏ ÏÏ Ï _Ï l _Ï _Ï _Ï _Ï _Ï _Ï _Ï _Ï Ó{ ww
===========================
_
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_Ï _Ï _Ï _Ï _Ï _Ï _Ï _Ï _Ï _Ï _Ï _Ï _Ï _Ï _Ï _Ï _Ï _Ï _Ï _Ï
l l l l Ó
l # l l l Ó
#
l=========================== l l l Ó
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l l l l Ó{
 PAGE 52 CHAPTER 6: BLUES RHYTHM GUITAR EXAMPLES

SEVENTH CHORD BLUES

Seventh Chord Blues Example 1.
D7 X G7 X D7 X D7 X G7 X G7 X D7 X D7 X
R 5 b7 3 5 R R 5 b7 3 5 R 5 b7 3 5 R R 5 b7 3 5 R R 5 b7 3 5 R 5 b7 3 5 R 5 b7 3 5 R R 5 b7 3 5 R

1 3 1 2 1 1 1 3 1 4 1 1 3 1 2 1 1 1 3 1 2 1 1 1 3 1 4 1 1 3 1 4 1 1 3 1 2 1 1 1 3 1 2 1 1

A7 X G7 X D7 X A7 X D7 X
R 3 b7 R R 5 b7 3 5 R 5 b7 3 5 R R 3 b7 R Repeat. R 5 b7 3 5 R
End with:

3 2 4 1 1 3 1 4 1 1 3 1 2 1 1 3 2 4 1 1 3 1 2 1 1

Seventh Chord Blues Example 2. A modern, “open” sound.

E9 IX E9sus.4 X E9 IX E9sus.4 X A9 IX A9sus.4 XII E9 IX E9sus.4 X
b7 9 3 R b7 9 4 R R 3 b7 9 5 b7 9 4 R R 3 b7 9 5 R 4 b7 9 5 3 b7 9 5 R 3 b7 9 5

3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 4 2 1 3 3 3 1 1 1 1 1 3 2 1 4 2 1 3 3 3

B9 XI B9sus.4 XIV A9sus.4 XII E9 IX B9sus.4 XIV Repeat, E9 XI

R 3 b7 9 5 R 4 b7 9 5 R 4 b7 9 5 3 b7 9 5 3 b7 9 5 3 b7 9 5
end on:

2 1 3 3 3 1 1 1 1 1 1 1 1 1 1 1 3 2 4 1 1 1 1 1 1 3 2 4
 PAGE 53

Seventh Chord Blues Example 3. Strum each chord for one beat.

Section A
C V F/C V C7 V F/C V F I Bb I F7 I Bb I
R 5 R 3 5 3 5 R 3 3 3 3 3 3 5 3 5 R R 3 5 5 R 3 R 5 b7 5 R 3

4 1 1 1 4 3 1 2 3 3 3 3 3 3 4 3 1 2 3 2 1 3 3 3 3 3 3
1 3 2

C V F/C V C7 V F/C V F I Bb I F7 I Bb I
R 5 R 3 5 3 5 R 3 3 3 3 3 3 5 3 5 R R 3 5 5 R 3 R 5 b7 5 R 3

4 1 1 1 4 3 1 2 3 3 3 3 3 3 4 3 1 2 3 2 1 3 3 3 3 3 3
1 3 2
play twice play twice

C V F/C V C7 V F/C V G III C III G7 III C III

R 5 R 3 5 3 5 R 3 3 3 3 3 3 5 3 5 R R 3 5 5 R 3 R 5 b7 5 R 3

4 1 1 1 4 3 1 2 3 3 3 3 3 3 4 3 1 2 3 2 1 3 3 3 3 3 3

play twice

Section B
F I Bb I F7 I Bb I C V C7 VIII C°7 VII Fm6 VI
R 3 5 5 R 3 R 5 b7 5 R 3 R 5 R 3 b7 3 5 R 6 b3 b5 R b3 6 R 5

3 2 1 3 3 3 3 3 3 4 1 1 1 1 2 1 1 1 2 1 3 1 2 1 3

C V F7 I G7 I G7 III
R 5 R 3 R 5 b7 3 b7 R 5 b7 3 5 R 5 b7 3 b7
Repeat sections A and B.
The last time, play section A,
then go on to section C.
4 1 1 1 1 3 1 2 4 1 3 1 2 1 1 3 1 2 4

Section C
F7 I C7 III C9 II F9 II F#°7 IV G7 III Db9 III C9 II
R 5 b7 3 b7 R 5 b7 3 3 b7 9 5 R 3 b7 9 R b5 6 b3 R 3 b7 R R 3 b7 9 5 R 3 b7 9 5
break

1 3 1 2 4 1 3 1 4 1 2 2 2 2 1 4 3 1 3 2 4 3 2 4 1 2 1 3 3 3 2 1 3 3 3
 PAGE 54 CHAPTER 6: BLUES RHYTHM GUITAR EXAMPLES

A7 V A˚7 IV Dm6 III A II D II A7n3 II D II

R b7 3 5 R 6 b3 b5 5 b3 6 R R 5 R 3 5 3 5 R R b7 5 5 3 5 R

Delta Piano Blues

1 2 4 3 2 1 3 1 3 1 2 1 4 1 1 1 4 3 1 2 2 3 4 4 3 1 2

A7 V A˚7 IV Dm6 III A II D II A7n3 II D II

R b7 3 5 R 6 b3 b5 5 b3 6 R R 5 R 3 5 3 5 R R b7 5 5 3 5 R

1 2 4 3 2 1 3 1 3 1 2 1 4 1 1 1 4 3 1 2 2 3 4 4 3 1 2

D7 V D˚7 IV Gm6 III D II G III D9 IV G III

R 5 b7 3 R b5 6 b3 5 R b3 6 R 3 5 R 5 R 3 5 R 3 b7 9 5 R 3 5

1 3 1 4 2 3 1 4 2 3 1 4 4 3 1 2 3 4 2 1 2 1 3 3 3 4 2 1

A7 V A˚7 IV Dm6 III A II D II A7n3 II D II

R b7 3 5 R 6 b3 b5 5 b3 6 R R 5 R 3 5 3 5 R R b7 5 5 3 5 R

1 2 4 3 2 1 3 1 3 1 2 1 4 1 1 1 4 3 1 2 2 3 4 4 3 1 2

E7 II E˚7 II Am6 I E IV A V E7n3 V

R 5 b7 3 R b5 6 b3 5 R b3 6 3 5 R R 3 5 3 5 b7

1 3 2 4 1 3 2 4 5 R b3 6 3 1 2 3 2 1 4 2 1

A7 V A˚7 IV Dm6 III A II D II A7n3 II D II

R b7 3 5 R 6 b3 b5 5 b3 6 R R 5 R 3 5 3 5 R R b7 5 5 3 5 R

1 2 4 3 2 1 3 1 3 1 2 1 4 1 1 1 4 3 1 2 2 3 4 4 3 1 2

A V A7 V A˚7 IV Dm6 III A II E7b9nr VI A7 V

R 3 5 R b7 3 5 R 6 b3 b5 5 b3 6 R R 5 R 3 5 3 b7 b9 R b7 3 5

Repeat. End with:

3 2 1 1 2 4 3 2 1 3 1 3 1 2 1 4 1 1 1 2 1 3 1 1 2 4 3
 PAGE 55

BASIC CONNECTING CHORD BLUES

Basic Connecting Chord Blues Example 1.
A9 IV D9 IV A9 IV A9 IV Eb9 V D9 IV D#°7 V A13 V
3 b7 9 5 R 3 b7 9 5 3 b7 9 5 3 b7 9 5 R 3 b7 9 5 R 3 b7 9 5 R b5 b3 6 R b7 3 13

1 3 2 4 2 1 3 3 3 1 3 2 4 1 3 2 4 2 1 3 3 3 2 1 3 3 3 2 3 1 4 1 2 3 4

¡™£¢ ¡™£¢ ¡™£¢ ¡™ £¢ ¡™£¢¡™ £¢ ¡™£¢¡™£¢

E9 VI D9 IV A7 V A9 IV D9 IV D#°7 V E7#9 VI A13 V

R 3 b7 9 5 R 3 b7 9 5 R 5 b7 3 5 R 3 b7 9 5 R 3 b7 9 5 R b5 b3 6 R 3 b7 #9 R b7 3 13
Repeat. End with:

2 1 3 3 3 2 1 3 3 3 1 3 1 2 1 1 1 3 2 4 2 1 3 3 3 2 3 1 4 2 1 3 4 1 2 3 4 4
¡™£¢ ¡™£¢ ¡ ™ £ ¢ ¡™£¢

Basic Connecting Chord Blues Example 2.

A9 IV D7 V D#°7 V A7 VI A13 V D7 V D#°7 V A7 VI
3 b7 9 5 R 5 b7 3 R b5 6 b3 5 R 3 b7 R b7 3 13 R 5 b7 3 R b5 6 b3 3 3 3 3 3 3

1 3 2 4 1 3 1 4 2 3 1 4 2 3 1 4 1 2 3 4 1 3 1 4 2 3 1 4 2 3 1 4

¡™£¢ ¡™ £¢ ¡™£¢ ¡™£¢ ¡™£¢¡™ £¢ ¡™£¢

A7 V A#°7 V E7 V D7 V D#°7 V A7 VI A#°7 V E7 V A13 V

R b7 3 5 R 6 b3 b5 5 3 b7 R R 5 b7 3 R b5 6 b3 5 R 3 b7 R 6 b3 b5 5 3 b7 R R b7 3 13
Repeat. End with:

1 2 4 3 2 1 3 1 3 2 4 1 1 3 1 4 2 3 1 4 2 3 1 4 2 1 3 1 3 2 4 1 1 2 3 4 4

¡™ £¢ ¡™£¢ ¡™ £¢ ¡™ £¢ ¡™£¢

Basic Connecting Chord Blues Example 3.

E9 XI E13 XI A9 XI A13 X E9 XI E13 XI E9 XI Bb9 XII
1 2 1 2 1 1 1 2 1 2 1 2 1
3 4 3 2 3 3 2 2 3 4 3 3 4 2 3 3

4 4
3 b7 2 5 3 b7 2 6 1 3 b7 2 4 3 b7 2 5 3 b7 2 6 3 b7 2 5 1 3 b7 2
b7 3 6 3
¡2 £4 ¡2 £4 ¡2 £4 ¡23 ¢

A9 XI A13 X A9 XI F9 XII E9 XI E13 XI E9 XI C13 XIII

1 1 1 1 2 1 2 1 2 1 2 1 2
2 3 3 2 2 2 3 3 3 4 3 4 3 3 4 3 4

4
1 3 b7 2 4 1 3 b7 2 3 b7 2 5 3 b7 2 5 3 b7 2 6 3 b7 2 5
b7 3 6 1
b7 3 6 3

¡2 £4 ¡23 ¢ ¡2 £4 ¡23 ¢

B13 XII A9 XI F9 XII E9 XI E°7 XII B7#9 XIII E9 XI

1 2 1 1 2 1 2 1 1
Repeat, 1 2
3 4 2 3 3 3 4 3 4 2 2 3
end on: 3 4
3 4 4

b7 3 6 1 1 3 b7 2 3 b7 2 5 3 b7 2 5 b5 1 b3 6 1 3 b7 b3 3 b7 2 5

¡2£4 ¡23 ¢ ¡23 ¢ ¡234

 PAGE 56 CHAPTER 6: BLUES RHYTHM GUITAR EXAMPLES

Basic Connecting Chord Blues Example 4.

G7 III D9 IV Db9 III C9 II G7 III F7 I F#7 II
R 5 b7 3 5 R R 3 b7 9 5 R 3 b7 9 5 R 3 b7 9 5 R 5 b7 3 5 R R 5 b7 3 5 R R 5 b7 3 5 R

1 3 1 2 1 1 2 1 3 3 3 2 1 3 3 3 2 1 3 3 3 1 3 1 2 1 1 1 3 1 2 1 1 1 3 1 2 1 1

G7 III D9 IV Db9 III C9 II D9 IV Db9 III C9 II

R 5 b7 3 5 R R 3 b7 9 5 R 3 b7 9 5 R 3 b7 9 5 R 3 b7 9 5 R 3 b7 9 5 R 3 b7 9 5

1 3 1 2 1 1 2 1 3 3 3 2 1 3 3 3 2 1 3 3 3 2 1 3 3 3 2 1 3 3 3 2 1 3 3 3

G7 III F7 I F#7 II G7 III C9 II C#9 III

R 5 b7 3 5 R R 5 b7 3 5 R R 5 b7 3 5 R R 5 b7 3 5 R R 3 b7 9 5 R 3 b7 9 5

1 3 1 2 1 1 1 3 1 2 1 1 1 3 1 2 1 1 1 3 1 2 1 1 2 1 3 3 3 2 1 3 3 3

D9 IV Db9 III C9 II use this ending G7 IV C9 II C#9 III D9 IV

R 3 b7 9 5 R 3 b7 9 5 R 3 b7 9 5 every time, R 5 b7 3 5 R R 3 b7 9 5 R 3 b7 9 5 R 3 b7 9 5
except
for the
final ending:

2 1 3 3 3 2 1 3 3 3 2 1 3 3 3 1 3 1 2 1 1 2 1 3 3 3 2 1 3 3 3 2 1 3 3 3

FINAL G7 III F7 I F#7 II G7 III

ENDING: R 5 b7 3 5 R R 5 b7 3 5 R R 5 b7 3 5 R R 5 b7 3 5 R

1 3 1 2 1 1 1 3 1 2 1 1 1 3 1 2 1 1 1 3 1 2 1 1
 PAGE 57

Basic Connecting Chord Blues Example 5.

A..................................... D...................................... A.........................................................................................
A6 VI A˚7 V D6 IV A˚7 V A6 VI A˚7 V Bm7 IV A˚7 V A6 VI
5 R 3 6 b5 R b3 6 b3 b7 R 5 b5 R b3 6 5 R 3 6 b5 R b3 6 b3 b7 R 5 b5 R b3 6 5 R 3 6

2 3 1 4 2 3 1 4 2 3 1 4 2 3 1 4 2 3 1 4 2 3 1 4 2 3 1 4 2 3 1 4 2 3 1 4

D.................................... A.........................................................................................................
D6 IV A˚7 V A6 VI A˚7 V Bm7 IV A˚7 V A6 VI
b3 b7 R 5 b5 R b3 6 5 R 3 6 b5 R b3 6 b3 b7 R 5 b5 R b3 6 5 R 3 6

2 3 1 4 2 3 1 4 2 3 1 4 2 3 1 4 2 3 1 4 2 3 1 4 2 3 1 4

E................ D................. A.........................................................................................................

E9 IV D7 V A6 VI A˚7 V Bm7 IV A˚7 V A6 VI
b7 3 5 9 R 5 b7 3 5 R 3 6 b5 R b3 6 b3 b7 R 5 b5 R b3 6 5 R 3 6

2 3 1 4 2 3 1 4 2 3 1 4 2 3 1 4 2 3 1 4 2 3 1 4 2 3 1 4

Basic Connecting Chord Blues Example 6.

G7 III C9 II G7 III C9 II G7 III Am7 V Bm7 VII Bb7 VI
R 5 b7 3 5 R R 3 b7 9 5 R 5 b7 3 5 R R 3 b7 9 5 R 5 b7 3 5 R R b7 b3 5 R b7 b3 5 R 5 b7 3 5 R

1 3 1 2 1 1 2 1 3 3 3 1 3 1 2 1 1 2 1 3 3 3 1 3 1 2 1 1 2 3 3 3 2 3 3 3 1 3 1 2 1 1

Am7 V Ab∆7 IV G7 III C9 II G7 III Daug. III

R 5 b7 b3 5 R R 7 3 5 For every ending R 5 b7 3 5 R R 3 b7 9 5 R 5 b7 3 5 R R 3 #5 R
except the last:

1 3 1 1 1 1 1 3 4 2 1 3 1 2 1 1 2 1 3 3 3 1 3 1 2 1 1 3 2 1 1

G7 III G9 II C9 II C#°7 III D9 IV Ab13 IV G13 III

R 5 b7 3 5 R 3 b7 9 5 R 3 b7 9 5 R b5 b3 6 R 3 b7 9 5 R b7 3 13 R b7 3 13
Final ending:

1 3 1 2 1 1 1 3 2 4 2 1 3 3 3 2 3 1 4 2 1 3 3 3 1 2 3 4 1 2 3 4
 PAGE 58 CHAPTER 6: BLUES RHYTHM GUITAR EXAMPLES

MINOR BLUES
Minor Blues Example 1.

Minor Blues Example 2.

Am7 V Dm7 V Am V Am n 7 V Am7 V Am6 IV Dm7 V Dm7 V

R b7 b3 5 R 5 b7 b3 5 R b3 5 R 7 b3 5 R b7 b3 5 R 6 b3 5 R R 5 b7 b3 5 R 5 b7 b3 5

2 3 3 3 1 3 1 2 1 3 1 1 1 2 1 1 1 1 1 1 1 1 2 2 2 1 3 1 2 1 1 3 1 2 1

Am V Am n 7 V Am7 V Am6 IV F∆7 V Dm7 V Am7 V E7#9 IV Repeat. Am7 V

R b3 5 R 7 b3 5 R b7 b3 5 R 6 b3 5 R R 3 5 7 3 R 5 b7 b3 5 R b7 b3 5 R 3 b7 #9 End with: R b7 b3 5

3 1 1 1 2 1 1 1 1 1 1 1 1 2 2 2 4 3 1 1 1 1 3 1 2 1 2 3 3 3 R 3 b7 #9 2 3 3 3
 PAGE 59

Minor Blues Example 3.

Cm7 VIII Fm7 VIII Cm7 VIII C7 VIII Fm7 VI Fm9 VI Fm7 VI Fm9 VI
R 5 b7 b3 5 R R 5 b7 b3 5 R 5 b7 b3 5 R R 5 b7 3 5 R R b3 b7 R R b3 b7 9 R b3 b7 b3 R b3 b7 9

1 3 1 1 1 1 1 3 1 2 1 1 3 1 1 1 1 1 3 1 2 1 1 3 1 4 1 2 1 3 3 2 1 3 4 2 1 3 3

Fm7 VI Fm9 VI Fm7 VI Fm9 VI Cm7 VIII Gaug. VIII Cm7 VIII Gm7 III
R b3 b7 R R b3 b7 9 R b3 b7 b3 R b3 b7 9 R 5 b7 b3 5 R R 3 #5 R R 5 b7 b3 5 R R 5 b7 b3 5 R

3 1 4 1 2 1 3 3 2 1 3 4 2 1 3 3 1 3 1 1 1 1 3 2 1 1 1 3 1 1 1 1 1 3 1 1 1 1

Ab IV Bb VI Ab IV Gm III Fm I Gm III Fm I
R 5 R 3 5 R R 5 R 3 5 R R 5 R 3 5 R R 5 R b3 5 R R 5 R b3 5 R R 5 R b3 5 R R 5 R b3 5 R

1 3 4 2 1 1 1 3 4 2 1 1 1 3 4 2 1 1 1 3 4 1 1 1 1 3 4 1 1 1 1 3 4 1 1 1 1 3 4 1 1 1

Eb6 IV Dm6 III Cm7 III Eb VI Dm7 V Db∆7 IV Repeat. Cm9 I

R 3 6 R R b3 6 R R 5 b7 b3 R 5 R 3 R 5 b7 b3 5 R 5 7 b3 5 R b3 b7 9
End with:

4 2 3 1 3 1 2 1 1 3 1 2 1 3 3 3 1 3 1 2 1 3 1 2 2 1 3 3
 PAGE 60 CHAPTER 6: BLUES RHYTHM GUITAR EXAMPLES

BLUES WITH WALKING BASS

Walking Bass Blues Example 1.
Eb9 V Eb9 III Ab7 IV Eb9 V Ab7 IV Ab9 III Eb9 IV D °7
° IV
R 3 b7 9 3 b7 9 R 5 b7 3 5 5 3 b7 9 R 5 b7 3 5 3 b7 9 5 b7 3 b7 9 R b5 b3 6

2 1 3 3 1 4 4 1 3 1 2 1 2 1 3 3 1 3 1 2 1 1 3 2 4 1 2 3 3 2 3 1 4

Eb9 V Ab13 IV Gm7 III Db9 III C7b9 II F#7#11 II Fm7 I Bb7b5 I
R 3 b7 9 R 5 b7 3 13 R 5 b7 b3 b7 R 3 b7 9 R 3 b7 b9 R #11b7 3 5 R 5 b7 b3 5 R b5 b7 3

2 1 3 3 1 3 1 2 4 1 3 1 1 4 2 1 3 3 2 1 3 1 1 2 1 3 1 1 3 1 1 1 1 2 1 4

Ab7 IV Ab9 III Eb9 IV Eb7#9 V Ab7 IV Ab9 III Eb9 IV D °7

° IV
R 5 b7 3 5 3 b7 9 5 b7 3 b7 9 R 3 b7 #9 R 5 b7 3 5 3 b7 9 5 b7 3 b7 9 R b5 b3 6

1 3 1 2 1 1 3 2 4 1 2 3 3 2 1 3 4 1 3 1 2 1 1 3 2 4 1 2 3 3 2 3 1 4

Eb9 V Ab13 IV Gm7 III Db9 III C7b9 II F#7#11 II Fm7 I B9 I

R 3 b7 9 R 5 b7 3 13 R 5 b7 b3 b7 R 3 b7 9 R 3 b7 b9 R #11b7 3 5 R b7 b3 5 R 3 b7 9

2 1 3 3 1 3 1 2 4 1 3 1 1 4 2 1 3 3 2 1 3 1 1 2 1 3 1 2 3 3 3 2 1 3 3

Fm7 I Gm7 III Ab7 IV A7 V Bb7 VI Cm7 III C#7 IV Bb9nr V

R b7 b3 5 R b7 b3 5 R 5 b7 3 5 R 5 b7 3 5 R 5 b7 3 5 R 5 b7 b3 5 R 5 b7 3 5 3 b7 9 5

2 3 3 3 2 3 3 3 1 3 1 2 1 1 3 1 2 1 1 3 1 2 1 1 3 1 2 1 1 3 1 4 1 1 3 2 4

Eb9 V Db7 VI Cm7 ViII E°7 VI Fm7 VI B13 VII Bb13 VI Fb9 V
R 3 b7 9 R b7 R 3 R 3 b7 9 5 R 3 b7 9 5 R b3 b7 b3 R b7 3 13 R b7 3 13 R 3 b7 9

2 1 3 3 3 4 1 1 2 3 3 3 2 3 1 4 2 1 3 4 1 2 3 4 1 2 3 4 2 1 3 3

Eb9 V
R 3 b7 9 5
Repeat and end on:

2 1 3 3 3
 PAGE 61

Walking Bass Blues Example 2.

C7 III Dm7 V D#°7 V C9 VII F9 VII F9 VI Dm7 V Db7 IV
R 5 b7 3 5 R 5 b7 3 5 R b5 b3 6 3 b7 9 5 R 3 b7 9 b7 3 b7 9 R 5 b7 3 5 R 5 b7 3 5

1 3 1 4 1 1 3 1 2 1 2 3 1 4 1 3 2 4 2 1 3 3 1 2 3 3 1 3 1 2 1 1 3 1 4 1

C7 III Dm7 V C9 VII C7 VIII C6 VIII C13 VIII C6/9 VII C7 VIII
R 5 b7 3 5 R 5 b7 3 5 3 b7 9 5 R 5 b7 3 5 R R 3 6 R b7 3 13 R 6 3 5 9 5 b7 3 5

1 3 1 4 1 1 3 1 2 1 1 3 2 4 1 3 1 2 1 1 3 2 4 1 1 2 3 1 1 3 2 4 3 1 2 1

F9 VII F9 VI Dm7b5 V F9 VIII F9 VII A°7 VII Bb6 VI B°7 VII

R 3 b7 9 b7 3 b7 9 3 3 3 3 3 3 5 3 b7 9 R 3 b7 9 R b5 6 b3 R 3 6 R R b3 6 b3

2 1 3 3 1 2 3 3 1 3 2 4 2 1 3 3 2 1 3 3 1 3 2 4 3 2 4 1 1 3 2 4

C VIII C VIII C9 VII C9NRN3VII A V A7 V Aaug. VI A7 V

R 3 5 R 5 3 5 R 3 b7 9 5 b7 9 5 R 3 5 R b7 3 5 R R 3 #5 R 5 b7 3 5

3 2 1 1 3 2 1 1 1 3 2 4 3 2 4 3 2 1 1 1 2 1 1 3 2 1 1 3 1 2 1

Dm7 V C9 VII F9 VII F#°7 VIII G7 VIII G13 VIII C9 VII G9 IV

R 5 b7 b3 3 b7 9 5 R 3 b7 9 R b5 b3 6 R 3 b7 R b7 3 13 R 3 b7 9 5 5 R 3 b7

1 3 1 2 1 3 2 4 2 1 3 3 2 3 1 4 3 2 4 1 1 3 4 2 1 3 2 4 2 1 3 3

C7 III C9 V A7 V C#°7 III Dm7 V Ab13 IV G13 III Db7 IV

R 5 b7 3 5 b7 5 9 3 R 5 b7 3 5 R R b5 b3 6 R 5 b7 b3 R b7 3 13 R b7 3 13 R 5 b7 3

1 3 1 4 1 2 1 4 1 1 3 1 2 1 1 2 3 1 4 1 3 1 2 1 2 3 4 1 2 3 4 1 3 1 4

Repeat, end on: C7 III

R 5 b7 3 5

1 3 1 4 1
 CHAPTER 7:
ALTERNATIVE & SOFT ROCK
RHYTHM GUITAR EXAMPLES
AEOLIAN ALTERNATIVE / SOFT ROCK RHYTHM GUITAR EXAMPLES
Aeolian Alternative/Soft Rock Example 1. “G#” Aeolian. Repeat and end on the first chord.

Aeolian Alternative/Soft Rock Example 2. “A” Aeolian. Repeat and end on the first chord.

Aeolian Alternative/Soft Rock Example 3. “D” Aeolian. Repeat and end on the first chord.
 PAGE 63

DORIAN ALTERNATIVE / SOFT ROCK RHYTHM GUITAR EXAMPLES

Dorian Alternative/Soft Rock Example 1. “A” Dorian. Repeat and end on the first chord. Read the music
notation or tablature, using the chord grids to learn the chord fingerings.

Dorian Alternative/Soft Rock Example 2. “A” Dorian. Repeat and end on the first chord.

Dorian Alternative/Soft Rock Example 3. “F#” Dorian, except “F#” Aeolian during the Asus.4 chord. Repeat
and end on the next-to-last chord.
 ÊÇ Ç È È È ÊÈ Ç È È ÈÇ ÊÈ ÊÈ ÊÈ Ç
PAGE 64 PART 2: RHYTHM GUITAR EXAMPLES

MAJOR ALTERNATIVE / SOFT ROCK RHYTHM GUITAR EXAMPLES

Major (altered) Alternative/Soft Rock Example 1. “E” major .

Ç ÇÇÇ Ç ÇÇ
E B B C#m G#m A

# # # # ÏÏÏ ... ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ jÏÏÏ ä Ï Ï Ï Ï Ï Ï Ï ÏÏÏ ÏÏJ ä Ï Ï Ï _Ï _Ï _Ï Ï
l _ÏÏ _ÏÏ _ÏÏ Ï
l& Ï . ÏJ Ï _ÏÏ l _ÏÏ _ÏÏ _ÏÏ
=========================== __ÏÏÏ l __ÏÏÏ __ÏÏ l
l l l l l
l l l l l
l l l l l
l l l l l
l===========================
=========================== l l l l
Major (altered) Alternative/Soft Rock Example 2. “C” major during the C and G chords; “D” major during
the A and D chords.

Major Alternative/Soft Rock Example 3. “C” major. Repeat and end on the first chord.
The following example is fingerpicked. The “+” symbol represents the syllable “and.” Count “one - and
- two - and - three - and - four - and” evenly while plucking the strings indicated below the counting symbols.
For example: pluck strings five and two together on the first beat; play nothing on the “+” after the first beat;
and pluck the fourth string on the second beat.
 PAGE 65

Major Alternative/Soft Rock Example 4. “G” major. Repeat and end on the first chord.
The following example is fingerpicked. The “+” symbol represents the syllable “and.” Count “one - and
- two - and - three - and - four - and” evenly while plucking the strings indicated below the counting symbols.
For example: pluck the sixth string on the first beat; pluck the fourth string on the “+” after the first beat; and
pluck the third string on the second beat.

Major Alternative/Soft Rock Example 5. “G” major. Repeat and end on the first chord.

Major Alternative/Soft Rock Example 6. “G” major. Repeat and end on the first chord.

Major Alternative/Soft Rock Example 7. “A” major. Repeat and end on the last chord.
 PAGE 66 PART 2: RHYTHM GUITAR EXAMPLES

MIXED MINOR ALTERNATIVE / SOFT ROCK RHYTHM GUITAR EXAMPLES

Mixed Minor Alternative/Soft Rock Example 1. “E” Aeolian, except “E” harmonic minor during the B7 chord
and “E” Dorian during the A9nr chord.. Repeat and end on the first chord.

MIXOLYDIAN ALTERNATIVE / SOFT ROCK RHYTHM GUITAR EXAMPLES

Ç Ç Ç Ç Ç ÇÇÇÇ Ç Ç ÇÇ Ç
Ç Ç ÇÇ
Mixolydian Alternative/Soft Rock Example 1. “D” Mixolydian. The scale is D major at the A chord, but D
Mixolydian can still be used melodically.

ÊÈ ÊÈ
D C G A D C
_Ï _Ï
# 4 Ïk Ï _ÏJ ä \Ïk Ï __ÏÏ ä ä __ÏÏ _ÏÏÏ _ÏÏJÏ _ÏÏKÏ _KÏÏÏ ä _ÏÏÏ _ÏÏÏ _ÏÏÏ _ÏÏÏ Ïk Ï _ÏJ ä \Ïk Ï __ÏÏ ä ä __ÏÏ
l& 4
=========================== l Å Å l l
l S S
l l S S
l

È È
l 4 l l l
ll 4

Ç Ç Ç Ç Ç ÇÇ Ç Ç ÇÇ Ç Ç Ç Ç ÇÇÇ
ll

È
ll
===========================
=========================== ll

ÊÈ
G A D C G D7#9
_Ï
# _ÏÏÏ _ÏÏÏ _ÏÏÏ _ÏÏÏ _KÏÏÏ ä _KÏÏÏ _KÏÏÏ _ÏÏ _ÏÏ _ÏÏ _ÏÏ Ïk Ï _ÏJ ä \Ïk Ï __ÏÏ ä ä __ÏÏ _ÏÏÏ _KÏÏÏ ä _KÏÏÏ
_Ï _Ï _Ï _Ï ÏÏ ÏÏ ÏÏ
l&
=========================== Å Å Å l l Å Ï Ï Ï l

È È
l l l l

Ê È Ê È
S S S S

È È
l l l l
ll

#
l & |ÏK Ï
ÏÏJ Å È
Ïk Ï
ÈÏ
Ï
È
===========================
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ÊÈ Ç ÊÈ
D

ä ÏÏ
===========================
C

Ï
Ï
_Ï Ï l Ï Ï
k
È
Ï
Ï Å
ÇÇÇ
ll

ä Å Ï Ï ÏÏ ÏÏ ÏÏ Ï
G
ll
D7#9
ll

l S
l H S S

l l
ll
===========================
=========================== ll
 PAGE 67

Mixolydian Alternative/Soft Rock Example 2. “D” Mixolydian. Repeat and end on the second chord.

È È ÊÈ ÊÈ È È ÊÈ ÊÈ
G/A

# # # 4 Ï Ï Ï Ï ä jäÏ ÏÏ ÏÏ ÊÈ Ç Ç È È A G/A

ÊÈ Ç Ç È È
Mixolydian Alternative/Soft Rock Example 3. “A” Mixolydian, except use “C“ Lydian on the “C” chord..
A

Ï n Ï Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ ä jäÏÏ ÏÏÏ ÏÏÏ Ï Ï n Ï Ï Ï

È È È È ÊÈ ÊÈ ÊÈ Ç Ç Ç Ç Ç ÊÈ
l& 4 Ï Ï Ï
=========================== Ï Ï Ï Ï Ï
__ÏÏ __ÏÏ __ÏÏ __ÏÏ __ÏÏ __Ï l __Ï l __ÏÏ __ÏÏ __ÏÏ __ÏÏ __ÏÏ __Ï l __Ï l
l l B1 R P
l l B1 R
l P

l l l l l
l 44 l l l l
===========================
===========================
l l l l l

l&
A

# # # Ï Ï Ï Ï ä jäÏ ÏÏ ÏÏ
Ï Ï Ï Ï
===========================
Ï_Ï __ÏÏ __ÏÏ __ÏÏ
_
G/A

Ï
ÊÈ Ç Ç È È
__ÏÏ __ÏÏ l __ÏÏ
Ï Ï n Ï Ï Ï n
l n ÏÏ ÏÏ ÏÏ ÏÏ
F F/9 C

n ÏÏ ÏÏ ÏÏ ÏÏ ä n ÏÏ ÏÏ ww
JÏÏ n_ÏÏ l _ww
l l B1
l R P
l
l l l l
l l l l
===========================
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l l l l

Mixolydian Alternative/Soft Rock Example 4. “A” Mixolydian. Repeat and end on the second A chord.
 PAGE 68 PART 2: RHYTHM GUITAR EXAMPLES

Mixolydian Alternative/Soft Rock Example 5. “E” Mixolydian. Repeat and end on the first chord.

È È È
MIXED MODE ALTERNATIVE / SOFT ROCK RHYTHM GUITAR EXAMPLES
Mixed Mode Alternative/Soft Rock Example 1. “D” Mixoldyian during the “D” , “G” and “A” chords, “D”

È ÈÇ È
Ç È È
ÇÇ ÇÇ Ç Ç Ç Ç
Lydian (“E” Mixolydian) during the “E7/D” chord, “D” major during the “Em7/D.”

Ç Ç Ç Ç Ç Ç Ç È È Ç Ç Ç
D E7/D Em7/D G D A

## 4 Ï Ï
Ç Ï
l & 4 Ï Ï Ï Ï Ï l nn_ÏKÏ # ÏÏ
===========================
l l
Ï Ï Ï
Ï Ï
Ç Ï
Ç
Ï l n ÏÏ
l
Ï Ï Ï
Ï Ï Ï Ï l ÏK
l
Ï Ï Ï Ï Ï Ï
ÇÏ
_
_Ï
l 4 l l l

ÊÈ ÊÈ ÊÈ Ç Ç Ç ÊÈ È È È È ÊÈ ÊÈ ÊÈ È È ÊÈ ÊÈ È È È È
ll 4 ll ll
===========================
=========================== ll

PARALLEL MAJOR ALTERNATIVE / SOFT ROCK RHYTHM GUITAR EXAMPLES

Parallel Major Alternative/Soft Rock Example 1. “D” Lydian during the “D” chord, “F#” Mixolydian during
the “F#” chord.
D F#

#### 4 Ï Ï ÏJ Ï
l& 4 Ï Ï Ï Ï l Ï.
=========================== l _ _Ï Ï _Ï # Ï l # jÏ Ï . Ï Ï Ï _Ï l
_Ï _Ï _ _
_Ï _Ï _
l l l _Ï l l
l l l l l
l 44 l l l l
===========================
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l l l l l