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Blues Guitar Lessons: Super Shuffle 3

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[LAUGH] What the heck was that?
I love to play that kind of stuff.
It makes me feel like I've got
the whole band in my hand,
if you want to call it that.
I can hear the base pattern,
I can hear the chord changes, and
the little accents, and what not.
And what I just played for
you there is a third variation on
what I call the Super Shuffle.
The Super Shuffle is like taking that
Boogie Shuffle and just blowing it up.
So we've got Pride and Joy, we've got the
Pride and Joy sound played in other keys.
So you're covering the bottom and
the top and simultaneously.
In this case,
it's a style that I was inspired to
play by listening to records
from Chicago like Little Walter.
His first hit record was in 1952,
I believe was called Juke.
And Juke was a shuffle in E and
it just had the coolest sound.
The way it bounced.
And it was a huge hit record,
by the way, everybody dug that.
The rhythm and the feel and
his harp playing and
everything just gelled all of a sudden.
It was just one of those magic moments.
So the part that I'm playing there is
not the part that's played on Juke,
but it's a representation of the vibe and
the ingredients that I've
kinda gelled together.
So I'd like to just show it to you
as another variation on how you can
combine ingredients, to come up with
something that's a little bit different.
And turn that one guitar part into two,
which is a nice touch.
It makes you a more valuable player
when you have that kind of range.
The idea here is the same as in Pride and
Joy, and in playing
the Compound Shuffle in other keys, but
the technique is a little different.
And the technique in this case,
instead of a big,
wide open bass pattern,
where you mute the strings and slap.
In this case, you're gonna pick and
you're gonna mute with the heel of
your picking hand, so like this.
It's the opposite of Pride and
Joy in terms of the dynamics.
The reason is, I'm sort of imitating
the sound of an acoustic bass playing,
a thump a dump a dump a dump a dump.
Kinda a walking line that you
would here those guys play.
Often, on those records, you really
could hardly even hear the bass but
you sort of feel it,
shuke a duke a duke a duke.
It's kind of a percussive quality to it.
Now the pattern
is a standard walking line.
And now I add the color
on the high strings,
using hybrid picking.
Picking the low notes.
Fingers on the high notes.
And the effect is like this.
I'll speed
it up a little
bit later, but
the idea there is
that you've got
the bass pattern.
And I'm also, in some cases,
when my fingers available,
I'm popping the note with my thumb.
I'm sorry,
the fingernail of my middle finger here.
plicking the high notes
with the middle and
index finger, or
middle and ring finger,
I should say.
And then alternating the bass pattern
between the pick and the middle finger.
Muting in the heel of the hand,
and the little accents and so on,
I'll show them to you.
It's nothing really too fancy, but
it takes a little time just to get it to
feel like they settled down and
make sense, musically.
Real slowly.
The idea's like this.
Now that's
like Pride and Joy.
So it's just kinda
stripping it down a little bit.
Like the Robert Johnson feel that we used
on the Boogie Shuffle earlier.
some stuff going
on inside there
that needs a closer
examination on
the A chord.
I'm sort of bouncing back and
forth between the bare fingers and
the bass pattern played with the pick.
And on the five chord,
in true Chicago Blues style,
playing the B7, open D7, and
just snap the chord a little bit.
And play
the turnaround.
Okay, now let me put that all together for
you, I'll demonstrate it and
then we'll talk about playing it.
Okay, one,
two, a one, two,
And so
on, and
so on.
I'm improvising a bit, [COUGH] but
the foundation is always the same.
Which is that
percussive walking line and accents.
This is a somewhat specialized part,
but it takes ingredients
that we've already learned,
how to play the walking line, how to mute,
how to play accents using bare fingers.
And it sorta constructs
it into a bigger sound,
where you've got the effect of
two guitars playing at once.
Traditionally, it would be one
guitar playing that pattern.
And the second guitar.
So by combining
the two together,
I become two guitar players.
And if I'm playing in a band
where I'm the only guitar player,
suddenly nobody's missing the other guy,
because I've got both parts covered.
So, [COUGH] think of this again
as kind of an embellishment
of a Classic Blues rhythm pattern.
Now, I'd like to play this with the rhythm
section, with the rhythm track.
And show you how it sounds in context,
played with a bass player, and a drummer.
So check this out.
More like
the Pride and
Joy style.
that tempo,
it's just
kinda slow.
You really have to lay it back,
and just find your pocket.
Relax, listen carefully to the drummer,
and the bass player, and
try not to get ahead of the beat too much.
So the first chorus I played
that muted Chicago style, and
in the second chorus I switch over
more to the Pride and Joy style,
the bigger slapping
the strings kind of thing.
And you can hear the contrast
between the two and
the difference in the dynamic levels.
So they're both cool
patterns that you can apply,
based on just you're perception
of what the song needs.
So mess around with that, I know this is
maybe getting you a little bit out of your
down the middle zone in
terms of playing rhythm, but
these are important variations
to understand and to listen for.
It also shows you how you can take
the materials that you learned from me and
from other sources, and start to just
sorta put them together in your own way to
create a style that suits your
own personality and taste.
So it's a lot of fun when
you get it together and
you can feel that rhythm start
to unfold onto your fingers.
Mess around with it and
I'll see you the next time.