Robert Johnson Licks Guitar Lesson

Chapter 1: (05:15) Robert Johnson Style Licks The licks taught in this lesson were popularized by blues legends such as Robert Johnson, Willie Brown, and Son House. Over the years, these types of riffs and licks have found their way into the playing of countless guitarists such as Eric Clapton and Jimmy Page, and Keith Richards, and Rory Block. .

G7 Chordal Riff

This riff is comprised of an open G major chord played against a melody line on the first string. The melody notes G, F, and D function as the root, b7, and 5 of a G7 chord. Try using this riff over the I chord when playing a 12 bar blues in the key of G.

Riff 2

Hawkeye demonstrates this riff in a quarter note triplet rhythm. Various different rhythms can be applied to the riff to fit the musical context that you are playing in. For example, you may want to play it in steady eighth note triplets to create a busier rhythmic style. Riff 2 as it is listed under the "Supplemental Content" tab presents a slight variation on the basic G7 riff. Riff 2 combines eighth notes and eighth note triplets.

This riff can be played by strumming the top five strings with a pick. It can also be played fingerstyle. Under "Supplemental Content," the riff is notated in a fingerstyle fashion. When playing the lick in this manner, Hawkeye plays the bass notes with his thumb pick. He uses the index and ring fingers to brush up on the first and second strings. He alternates these two fingers in order to play the riff at rapid tempos.

Variations

Since the fourth string and the first string are both tuned to the note D in this tuning, the melody line from the G7 Chordal Riff and Riff 2 can be transferred from the first string to the fourth string. You can even play the melody on both strings at the same time. Compare and contrast the sound of these riffs and variations. How would you describe the differences?

Lick 1

Lick can be played with or without a slide. When playing with a slide, slide into the Bb note on the third string instead of bending it a quarter step.

This lick contains notes from both the G minor pentatonic scale and the G major pentatonic scale. Frequently the minor third (Bb) and major third (B) of the key are used together in licks to create a distinct blues sound. The spelling of these two scales is listed below.

G Minor Pentatonic: G, Bb, C, D, F, G
G Major Pentatonic: G, A, B, D, E, G

Combinations of these scales are frequently used over dominant and major chord types to create a bluesy sound. The b3 of this scale (Bb) rubs nicely against the major third (B) within a G7 or G chord.

Note: For more information about these scales, please visit the JamPlay Scale Library. This site feature can be accessed through the "Teaching Tools" button on the left side of the home page.

This lick is especially effective when used at the end of the G7 chordal lick or any of its subsequent variations.

Lick 1 Variation

Lick 1 can be transposed down an octave. This variation can be used as a tag at the end of the G chord riff that features the melody line on the fourth string. Chapter 2: (09:31) Alternate Licks Riff 3

Riff 3 is another riff that can be used over the tonic chord of a blues in G major. It must be played finger style. Similar to the riffs in the previous scene, the bass notes are plucked with the thumb pick. The index and middle fingers brush up on the three treble strings. Alternate these fingers to keep the rhythm consistent.

During beats 1 and 2, a G7 chord is played with a G bass note. On beat 3, an F#7 chord is played with a G bass note. This chord can also be analyzed as a Go7 chord. Since the notes in this chord are located a half step below, the chord is quite effective at embellishing and dressing up the sound of the G7 chord. This technique is referred to as chord planing. Chord plaining occurs when a particular chord voicing is slid up or down chromatically.

Similar to the riffs discussed in the previous scene, Riff 3 can be combined with a number of Robert Johnson-esque licks. You can tag on a chordal lick played at the 12th fret. Combine this idea with Lick 1 from the previous scene.

Riff 4

Riff 4 is another Robert Johnson riff that can be used over the tonic chord of a blues in G. The riff is especially effective since it can be transposed to any location on the fretboard. By transposing the lick to the keys of C and D, you can play an entire 12 bar blues progression in G major. Hawkeye demonstrates how to transpose the lick to the IV and V chords at 05:38. Pay careful attention to how these chords must be re-fingered. Also, due to the re-fingering, the fifth of the C and D chords must be played in the bass instead of the root note.

Once again, apply the same right hand fingerings to the lick as demonstrated in the previous licks. This lick has a steady triplet feel. Consequently, it is typically notated in 12/8 time.

In 12/8, the eighth note is counted as the beat. There are 12 beats in a measure. Eighth notes are subdivided into four groups of three. For more information about this time signature, please visit the following lessons: Steve Eulberg Phase 1 Lesson 15, and Dennis Hodges Phase 2 Metal Lesson 8. In this signature, the drummer typically plays the triplet rhythm on the high hat or ride cymbal. This is usually a good indication that a compound meter such as 6/8 or 12/8 is being used.

Putting It All Together

Hawkeye demonstrates how all of the materials from this lesson can be combined together in a practical musical context. He adds them and combines them together at 05:14. He uses these riffs and licks while singing "Crossroads" by Robert Johnson. 06:18.

Final Thoughts

Playing blues guitar is like speaking. The more developed your vocabulary is, the more interesting your speech will be. Guitar is the same way. As you learn more licks and riffs, you are free to add a more spontaneous element to your playing.

Also remember that lead guitar licks in open G can be transferred to open D if you move all the notes down one string. Licks from D can be played in G if each note is moved up one string higher.

Member Comments about this Lesson

Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.