00:00hi it's richard barrett for guitarist magazine welcoming you to another blues headlines
00:04i'm doing some more rhythmic playing today and we'll have a look at that
00:08and then i'll be back to talk you through it
00:48so
00:49so the player that inspired this more than any other really is steve ray vaughan though i'm not
00:54pitching this as an srv type lesson i do owe him a bit of a debt of gratitude for the
00:59ideas though
01:00so let's have a look at example one there are two things at play in this first example and one
01:06is
01:06the uh not fretting hand the picking hand i'm doing
01:13that kind of bouncy shuffle so with the down stroke i'm playing the slightly muted um chord shapes
01:25i'm muting the d string in the middle because otherwise it gets a bit
01:30it gets a little bit too dissonant it's a matter of taste i'm not saying that that's wrong but i
01:35chose not to do that so each down stroke is a chord and the upstroke is much more just a
01:43rhythmic
01:44hit of the top strings
01:52so you can find those with e a or d chords
02:01i've drawn the chord vocabulary from that and i forgot to say that i've started with
02:08which i think is very easy thing to do but it's a kind of real statement of confidence somehow
02:17it puts me in the right mindset to do that kind of loose groove playing so that's up and down
02:22the e
02:23chords um and then i've finished with
02:31that's the idea and i've really dug in and gone for that
02:36in the way that you will hear srv doing and i just wanted to hear that slight slap back against
02:41the fret and
02:41the brightness that comes from that in example two i've taken a similar approach broadly speaking and
02:48using different types of a chord and i've given myself a full four bars to play with um so is
02:56how
02:56we came out of example one and then i've gone in with an open a string because that's the root
03:02and
03:03that's given me a bit of time to move physically up to the next shape um before i play anything
03:10else
03:10actually i'll point out that the these were played as one continuous take rather than four examples
03:16so the edit points are quite severe but you'll see how it all joins up open a
03:23and that's a d tried but it's over the a bass note
03:30so that's a pretty standard
03:37okay but i've come in with
03:45play it right a little bit of pentatonic linked in there um and then i've gone for another favorite
03:51lick of mine and it's sort of a bit stevie ray vaughness
04:01so you've gone for the same kind of idea where the down stroke is giving you the chord and the
04:06upstroke
04:06is giving you the rhythmic shuffley feel in between
04:14and then i think i'm leading into example three with
04:20so there's an edit point before i get to the b
04:24example three i'm sticking a little bit more with the standard chord shapes and playing less flowery
04:30embellishments
04:35i mean the backing track doesn't actually push so i've gone with pushes over over this which i think
04:41is completely fine everything can't be together all the time you want a bit of syncopation of sorts
04:51i might have gone
04:54still be aware of that kind of detail is what i'm really getting into here rather than
04:58what i specifically played
05:02and then there's another version of b
05:09i think of those as the wind cries mary chords instead of
05:15it's basically inverted so you've still got the triad on the top
05:20and i'll often
05:22it's just a nice embellishment and it's a bit like the caged
05:25it is a caged pattern
05:34okay well the last phrase of this linking into example four it's a little bit thrown away
05:39starts with an upstroke
05:43now by the time i actually hit that low e we are into example four so i'll just play that
05:48again
05:49it really is you know don't be too studied
05:55so it can be messy it can be fluky it can be different every single time i think that that's
06:01a positive aspect rather than it being um the same every single time which could sound a bit too
06:07deliberate and not very funky um okay we're ready for example four this final example is a classic
06:14blues riff really and i'm cycling around the chords ea and b and holding the b ready to kind of
06:20resolve
06:21to turn around back to e and and theoretically start again so i've gone with this unison type sliding up
06:28to
06:28e on the b string
06:34it's between shapes one and two of the e minor pentatonic and i think that again it's more about
06:40knowing what's available to you and improvising within that context so i played something like
06:51i could have played
07:03i think it's important to keep a little bit of spontaneity there as i was saying on the last
07:07example um so having done that run i'm staying pretty much with the b7 chord
07:19and that's the kind of are you looking for trouble blues riff to finish right to speak briefly of tone
07:25i've just gone through the middle pickup here which is a standard vintage output single coil
07:31i did actually have a couple of goes through with the neck and middle because that's what i associate
07:37with srv and i thought that might be nice but i found it wasn't quite strident enough
07:46and then i tried
07:49and in the track it just poked through and it seemed like it was a little bit more pleasing to
07:54the ear
07:55and clearer for everyone to hear so uh the amp is the studios vox ac 15 just set on a
08:03slightly pushed
08:04setting so that can kind of stop it being too spiky gives you a little bit of natural compression and
08:10stain all that stuff so absolutely clean tone would probably be a little bit hard on the ears right
08:17so with all these points in mind let's have another listen to the original sort of solo parts and i
08:24hope
08:24you enjoy it see you next time
08:28so
08:35so
08:41so
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