Funky Blues Rhythm Guitar Lesson

Chapter 1: (08:44) Funky Blues Rhythms In the previous lesson, DJ introduced you to dominant ninth chords. The bII9 and I9 chords are commonly used to end a blues song. DJ explained how to play these chords with a common, rootless voicing. Remember that the root is frequently omitted from dominant ninth voicings, especially when the bass player in the band covers this note.

In the current lesson, DJ demonstrates how dominant ninth chords can be applied to the 12 bar blues progression.

Most Common Voicing for Dominant Ninth Chords

DJ demonstrates the most common voicing used for dominant ninth chords. He applies this voicing to a D9 chord. This voicing is a movable shape that can be transposed anywhere on the fretboard.

Most guitarists struggle with this voicing at first. The third finger must perform a barre across the three treble strings. Then, the middle and index fingers must fret the root and major third respectively. As you first begin to practice this chord shape, lay the barre down before adding the middle and index fingers. Once the barre is held securely in place, add these fingers to the chord. Pick each individual note within the chord to ensure that you are not accidentally muting any of the strings.

Music Theory

By now, you are probably familiar with dominant seventh chords. All dominant chords function in the same way. The dominant ninth chord simply adds the ninth scale degree to a dominant seventh chord. This extra note adds extra color to the voicing. To spell a dominant ninth chord, follow the guidelines listed below.

1. First, determine the root note when spelling any chord.

2. Spell the major scale beginning with this root note. For this example, we will spell a D9 chord. The D major scale is spelled as follows: D, E, F#, G, A, B, C#, D.

3. The formula for dominant ninth chords is 1, 3, 5, b7, 9. The ninth scale degree is the same as the second scale degree, just one octave higher. As a result, the root note is D. The third is F#. The fifth is A. If the note C# is flatted, it becomes a C natural. Finally, the ninth of the chord is E. Thus, a D9 chord is spelled D, F#, A, C, E.

12 Bar Blues Progression

DJ applies the new dominant ninth chord voicing to a 12 bar blues progression in the key of D. Take a quick moment to review the chord changes within this progression.

Measures 1-4: I (D9)
Measures 5-6: IV (G9)
Measures 7-8: I (D9)
Measure 9: V (A9)
Measure 10: IV (G9)
Measures 11-12: I (D9)

Note: The V chord is frequently substituted in measure 12 to create a stronger resolution back to the top of the form.

Simply slide the ninth chord discussed earlier to the appropriate root notes when playing through this progression.

Rhythm of the Progression

DJ applies a heavily syncopated "scratch" rhythm that is frequently used in funk music. A scratch rhythm is a syncopated guitar figure that features muted chord strums. To mute the strings within this figure, relax the pressure applied to each of the strings. Play this rhythm very slowly at first along with a metronome. Then, memorize the rhythm. Once the rhythm is memorized, gradually increase the tempo.

Notice how DJ frequently improvises the rhythms that he plays. As long as you keep a steady sixteenth note rhythm going, you are free to experiment with the placement of strummed chords and muted chords.

The ii V I Progression

The ii V I progression is frequently used as a turnaround at the end of 12 bar blues progressions. This is especially common in the jazz form of the 12 bar blues. In bar 9, substitute the ii7 chord for the V chord. In the key of D, the iim7 is Em7. Remember that lower case Roman numerals are used to indicate minor and diminished chords. The ii7 chord is followed by the V chord in bar 10. Next, the I chord is played in bar 11 like you would normally expect. For measure 12, DJ opts to play the V chord to create a strong resolution back to the beginning of the form.

Play Along

At 07:25, DJ provides you with an opportunity to practice the funky version of the 12 bar blues along with him. Keep in mind that he is improvising most of the rhythms. Do not get discouraged if you are not placing the accented chords in the same locations.

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