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Blues Guitar Lessons: Super Shuffle 2

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Have you been driving
the neighbors crazy with Pride and
Joy for the last three weeks?
[LAUGH] It's a lot of fun once you get it,
like I say, you feel like a complete
musician, because you're covering
the whole range of the guitar.
It's pretty cool.
I'm gonna show you a couple other ways
to use that sort of an approach and
adapt it to different settings and
one is to use it in other keys.
Stevie played it in open position,
but believe it or not,
you can actually [SOUND] use virtually
the same effect in any key you want.
Now I should say that if you
wanna play in other keys and
use it without having to come
up with a new technique.
Just get a capo and
clamp it on there and now,
you can do it in the key of G and
so forth.
And I've said it before, I'll say it
again, that's a classic blues method for
solving the issue of how
do I play a different key?
Just clamp it down.
The downside is that the farther
up the neck you go with the clamp,
the more you sort of lose
the rest of the instrument.
So I'm gonna show you a way to play
that same sound without using a capo and
doesn't have to be in a key in which
the open strings make any sense,
we've already discovered that
doesn't seem to be an issue.
So let's play [SOUND] Pride and
Joy in A-flat.
[SOUND] All right.
Your singing, you're playing with
a singer that has a high voice.
I'd like to do Pride and Joy, but
I can't sing it in that key down there,
so [SOUND] let's do it up here.
Well, it might sound something like this.
Man, that's
a tricky little
number right
[SOUND] But believe it or not, you can
actually use that from time to time.
Now, it's the same principle as Pride and
In other words, I've got the bass pattern.
[SOUND] Now you can vary that bass
pattern, it's a walking line and
so Stevie had his version
of the walking line.
It isn't like that's cast in stone, so
you're just really playing A quarter note
based pattern that follows
the rough outline of the chord,
which is what a walking line is.
[SOUND] So here's the idea.
Here what's going on here.
And it's the same kind
of development processes
as in open E,
which is I'm playing bass pattern.
Now on a technical note, [SOUND] I
play the root, whatever key I'm in.
So here, A-flat.
I play with my thumb.
Now what that does is allow me to
at the same time play the chord and
kinda isolate the bottom and
the top, [SOUND] so
that it doesn't sound to overwhelming,
if I play just a typical bar chord.
[SOUND] To me,
it has a little bit to much information.
So I prefer to have that
bass note separated and
the top four strings on their own.
Putting that aside for the moment,
I've got my bass pattern, which is.
That's a typical pattern.
For the four chord.
[SOUND] Typical bass line.
I can get creative with the bass line.
And I can start to actually,
stretch the line out a little bit,
but in its essential form.
Now once I get the bass
pattern together and
I'm able to play the notes isolated.
And I can brush the strings and
not worry about it.
Now I can add the cord
access in as I did in E and
in this case, I can use chord.
then when I move up the bass pattern,
I'm not going to use the chord anymore.
In effect, I'm gonna [SOUND] use
those open strings again, but
I'm not really,
because I'm [SOUND] kinda letting my hand.
Grab a hold of the string so
quickly that you don't hear the pitch.
If you did, [SOUND] that's awful.
You don't hear those notes.
You just hear the, [SOUND] right?
The percussion.
So that's the principle of the idea is
that you create that down, up, down, up,
down, up, down, up.
The down is a bass note, the up is
a percussive response and getting
the balance is what it's all about,
it's getting your two hands coordinated
[SOUND] and getting the attack, so
that it feels clean and consistent.
Now I threw in a few embellishments into
that mix there, which I'll explain to you.
That's the same as.
All right.
[SOUND] All the wrong notes [SOUND] and
then back to the A-flat again.
All right?
Magically, it just works,
don't ask me why.
Then I go to the four chord,
[SOUND] half step.
Now that's a little embellishment
that I picked up from listening to.
How Albert played rhythm.
He would [SOUND] play a little two note
harmony in there, which is kind of cool.
So four chord.
So I go up the bass pattern [SOUND] and
then [SOUND] add that harmony,
which is not essential.
It's just a color,
it's something you add that sounds cool.
Back to the one chord.
Now that idea of hitting the five
chord sliding up and back again.
Again, that's just a color.
A rhythmic embellishment,
this is kinda cool and
you want it to be laid-back and relaxed.
And there.
I'm using the bass pattern as just
a connecting line to get me back to
the other change, if that makes any sense.
I guess the point I'm trying to make,
maybe not being that articulate is that
there's a lot of improvisation that's
involved in patterns like these.
Once you come up with the idea,
you can vary the ingredients in ways that
just strike your fancy at the moment.
So the essential components
are you gotta have
a steady quarter note
pattern underneath and
you gotta hit those chords
on the downbeat, but
you can [SOUND] set up those changes and
embellish [SOUND] and
when it comes to the next chord.
Here comes the five, embellish.
And so
Now [COUGH] again, this is not the go
to number one shuffle rhythm technique
that you're gonna use most of the time.
What we worked on in the intermediate
lessons was really kind of the heart
of the blues rhythm style in terms of
building on the fundamental boogie
shuffle, the upbeats, the horn section
style and those are gonna be the parts
you'll use most of the time but consider
these to be kind of specialty parts.
And what they do is expand your range and
allow you to use more of the guitar
[SOUND] when you're playing rhythm and
I find that in the band I play in,
I'm the main guitar player.
The other guy who plays guitar,
his parts are very low in the mix.
So I have to fill a lot of space.
And so I actually do this the same
pattern almost identical to that,
I use it on a blues that we do in
the key of F and it sounds.
So I do actually use that part and
in the context of that particular song,
it gives it what I feel is the right
kind of power and range to sound good.
Now I wouldn't use it on every shuffle,
but for that shuffle, yeah,
it's kind of nice and it'd feel good
to have that extra oomph available.
Now other people that would play that song
would automatically capo at the first
fret and just play a standard open
position pattern, which is fine too.
So just consider this to be
another tool in your toolbox.
Now mess around with that idea, this is is
a little bit of a side trip I suppose, but
its gonna set us up for another version of
this kinda compound shuffle, where we're
creating two guitar parts in one that I'm
going to talk about in the next unit.
A really interesting rhythm style,
it's sort of the Chicago Boogie Shuffle.
All right?
So I'll see you then.