SRV - The House Is Rockin' Guitar Lesson

Chapter 1: (05:16) Lesson Introduction Now that DJ has taught you some basic rhythm and lead tools, he will begin to apply them to a practical musical context. In this lesson, he will demonstrate how to apply concepts from previous lessons to "The House Is Rockin'" by Stevie Ray Vaughn.

The Introduction

To play the bulk of this song, you must have mastered the Chuck Berry version of the blues shuffle pattern. This particular shuffle is played with a quick straight eighth note rhythm feel. The shuffle pattern utilized in 'The House Is Rockin' is a slight variation on the Chuck Berry pattern. Within this variation, the pinkie moves throughout the pattern to fret various melody notes. This creates a harmonically more complex version of the shuffle pattern. Watch closely at 01:35 as DJ demonstrates this variation. Throughout the remainder of the scene, you have several opportunities to play this introduction segment along with him.

Key of the Song

DJ demonstrates this song in the key of B major. On the original recording, Stevie Ray Vaughn played in the key of C major. However, Stevie almost always tuned his guitar down a half step. Consequently, the recording sounds as though it is played in B major. If you wish to play along with the recording, it is essential that you are aware of these details.
Chapter 2: (03:34) Chorus The chorus section immediately follows the eight bar introduction. The chorus lasts for 8 bars. A new variation is applied to the Chuck Berry version of the shuffle pattern throughout the chorus section. The same pattern is transposed from the I chord to the V chord. Here is a measure by measure breakdown of the chord changes in this section:

Measures 1-4: I chord (B)
Measures 5-6: V chord (F#)
Measures 7-8: I chord (B)

Note: Tablature and notation to all musical examples presented in this lesson can be found under the "Supplemental Content" tab.

You have several opportunities to practice the chorus section along with DJ in this scene. He gradually increases the tempo as the scene progresses. Chapter 3: (03:46) Verse The verse section is comprised of a 12 bar blues progression. This progression utilizes the "Long V" variation that DJ discussed in lesson 4 of this series. Here's a quick review of this variation:

Measures 1-4: I chord (B)
Measures 5-6: IV chord (E)
Measures 7-8: I chord (B)
Measures 9-10: V chord (F#)
Measures 11-12: I chord (B)

The verse is played with the shuffle variation that DJ demonstrated in the previous scene. This basic pattern is transposed to each of the chords in the 12 bar blues progression. Watch carefully at 01:43 as he demonstrates the verse. Once you have mastered this rhythm figure on your own, return to the lesson video and play along with DJ. He demonstrates this rhythm slowly at first. At 02:40, he provides an example of the tempo played on the original recording from In Step. Chapter 4: (08:42) Solo Part 1 The Harmony

When playing any solo, it is absolutely essential that you have an awareness of what chord you are playing against at all times. This will allow you to highlight key resolutions within the chord changes. If you do not highlight these key resolutions, you run the risk of playing melodic lines that sound random and out of place.

This song features two solos. A piano solo comes first, followed by Stevie Ray Vaughn's guitar solo. Underneath the piano solo, the guitar plays the same 12 bar blues pattern employed during the verse sections. However, during the guitar solo, the rhythm progression changes. The first eight bars of the guitar solo contain the same changes as the 12 bar blues progression. The next eight bars of the chord progression feature the V chord. The dominant V chord is repeated for an extended four measures to build tension at the end of the solo section. Here is a measure-by-measure breakdown of the chord changes under the guitar solo:

Measures 1-4: I chord
Measures 5-6: IV chord
Measures 7-8: I chord
Measures 9-16: V chord

String Bends

Like many blues solos, the solo to "The House Is Rockin'" features numerous string bends. If you are new to this technique, read through the guidelines listed below. This information is taken from David MacKenzie's Phase 1 lesson pertaining to bending.

A. Set-Up Tips for Comfortable Bending

The way in which your guitar is set up will have a profound impact on string bending. A guitar's set-up typically refers to the gauge of strings used, the tuning (standard tuning, down a half step, etc.), and the action height.

Most rock players prefer to play with lighter strings (usually 9 or 10 gauge) because they are easier to bend. The tone of smaller gauge strings is also more appropriate for this style. When it comes to blues, country, and jazz however, most professionals prefer a heavier gauge set (usually 11's or higher). Heavier strings are more effective for producing a biting, "twangy" sound.

The disadvantage to playing with heavy gauge strings is that they are much more difficult to bend. Most players recommend starting with a lower gauge string and gradually working your way up to a larger set. Also, it should be taken into consideration that some people simply have smaller, weaker hands than others. If bending the strings causes any discomfort or unnecessary fatigue, it's definitely a good idea to switch to a smaller set. Many players in the 80's injured their hands as a result of bending large strings. Stevie Ray Vaughn popularized using very large strings (13 gauge) to create his signature tone. What people didn't realize was that Stevie had absolutely massive hands and tuned his guitar down a half step.

Note: If you decide to change to a new string gauge, a new set-up must be performed. Some intonation, action, and minor truss rod adjustment may be necessary. Have this work done by a reliable professional.

B. Proper Technique for Bending

As a rule, it is always important to play with good classical technique. Solid left-hand technique is contingent upon several factors. First, the thumb must be perpendicular to the neck, resting approximately halfway up it. The rest of the left-hand fingers must be perpendicular to the fingerboard. They must be arched and bent at each individual finger joint.

Left-hand technique for bending is the only exception to this rule. In the context of the bend, it is highly beneficial to allow the thumb to come up over the neck. This enables you to have better leverage on the string. Using classical technique, you are relying solely on the strength of your fretting fingers to perform the bend. By bringing the thumb over the neck, you are combining its strength with your fretting fingers.

C. Bending Direction

The direction in which the string should be bent (towards the floor or towards your face) is dependent upon which string you are playing. Generally, the bass strings should be pulled downward, and the treble strings should be pushed upward. Otherwise, you run the risk of running out of room on the neck. There are some exceptions to this rule however. Due to the fingering of certain musical lines, there are some instances when it is easiest to pull the G string downwards. You might also find the need to push the D string upwards.

The direction in which you bend a string especially those located in the middle of the fretboard is mainly a matter of personal preference. If you watch JamPlay instructor Mark Brennan for example, he likes to bend many notes on the G string towards the floor. Dave MacKenzie typically bends notes on the first through the fourth strings in an upward motion (towards the ceiling). He prefers to bend notes on the sixth and fifth strings towards the floor.

D. Pitch Control

To ensure that your bends are in tune, first play the fretted note of the pitch you are bending up to. For example, if you want to bend the 7th fret of the G string up a whole step, first play the note "E" on the 9th fret. This will give your ears a reference as to what the bend should sound like. Be sure to practice bends of different intervals. Half step and whole step bends are the most common. However, bends of larger intervals such as a step and a half as well as 2 step bends are also common.

The Solo

The solo begins with a string bend played at the 9th fret of the G string. This bend alternates with a common double stop played within the B minor pentatonic pattern. A "double stop" is formed by playing two notes simultaneously. Make sure that the bend does not ring as the string is returning down to its resting point. The string should only ring as you are performing the initial bend. Watch DJ at 05:46 for an example of what to do and what not to do. Chapter 5: (11:04) Solo Part 2 DJ walks you through the next phrase of the solo in this scene. A full transcription of the solo can be found under the "Supplemental Content" tab.

Mixing Scales

The major pentatonic scale is frequently mixed with the minor pentatonic scale throughout the solo. This technique is quite common in the blues genre. For more information about the major pentatonic scale, please visit lesson 4 from Matt Brown's Phase 2 Rock series as well as the JamPlay Scale Library.
Chapter 6: (10:19) Closing Riffs DJ progresses through the solo and teaches you the licks played over the final eight bars. All of these licks are played over the repetition of the V chord that DJ discussed earlier in the lesson. Notice how an F7#9 is played over the final two bars. The inclusion of this chord brings the solo to a dissonant and exciting climax.

At 09:35 DJ provides you with an opportunity to play the entire solo along with him at tempo. Chapter 7: (06:12) Finishing Lick The ending of the song closes with a tag. A tag is a brief, repeated portion of music that occurs at the ending of a song. In this case, the V chord is repeated for an extra two bars as Stevie sings the line, "the house is rockin', don't bother come on in." Then, some guitar licks that imply the tonic chord, B7, are applied to the final measures. Finally, a bII9 to I9 chord change closes out the song. This chromatic walk down is a very common ending motif in the blues and jazz genres. Notice how the root notes are omitted from these final two chords. The guitar does not need to play the low root notes since they are covered by the bass player.

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