Basic Blues Shuffle Guitar Lesson
Basic Blues Shuffle
In this lesson, Eric introduces himself and his Phase 2 lesson series. He also teaches a basic blues shuffle in the style of Jimmy Reed.
Taught by Eric Madis in Electric Blues with Eric seriesLength: 17:35Difficulty: 1.0 of 5
Series Overview
This series covers a wide variety of different blues styles such as country blues, urban blues, swing / jazz blues, etc. The series begins with what is commonly referred to as "country blues." However, as you will soon learn, country blues concepts frequently transfer over to the urban style of playing. Blues elements such as the shuffle pattern are common to all styles of blues. In this lesson and several of the following lessons, Eric explores the basic shuffle pattern in the key of E major.
Note: Biographical information about Eric Madis will soon be added to the Instructors and Staff section of the website. This section can be accessed from the left hand side of the homepage. Chapter 2: (01:12) Blues Shuffle Introduction Note: Some of the following information is taken from lessons 1 and 4 of Hawkeye Herman's Phase 2 Blues Guitar Series.
The Blues Shuffle
The shuffle rhythm is one of the most commonly used rhythm figures in the blues genre. A shuffle is a rhythmic motif in which the duration of the first note in a pair of notes is longer than the second. A swing or shuffle rhythm is the rhythm produced by playing repeated pairs of notes in this manner.
Usually a shuffle rhythm is indicated at the top of a musical score. This indication tells the musician that pairs of eighth notes should be "swung" or shuffled. Thus, a pair of eighth notes should be played as a quarter note triplet followed by an eighth note triplet. In a jazz lead sheet, this swing, shuffled eighth note feel is always implied unless noted otherwise. Often a portion will be labeled "straight eighths" if the shuffle rhythm is to be suspended momentarily.
Watch at 00:27 as Eric demonstrates a basic shuffle pattern in the key of E major. This type of shuffle was popularized by guitarists such as Jimmy Reed. The shuffle pattern can also be played with single notes instead of 2 string power chords. Eric demonstrates this variation at 00:34. These are by no means all of the possible variations. As you continue your blues guitar training, you will soon learn that the possibilities are endless. Chapter 3: (05:28) Jimmy Reed Shuffle The most common form in the blues genre is the 12 bar blues. This is a chord progression consisting of 12 bars. This chord progression usually repeats for the entire duration of a song. The 12 bar blues is usually played in 4/4 or 12/8 time.
Chord Changes
The most basic form of the 12 bar blues progression consists of the I, IV, and V chords. If you are unfamiliar with Roman numeral analysis, don't worry! It's a relatively simple concept to grasp. These chords can also be labeled by the way in which they function. Respectively, the I, IV, and V chords are referred to as the tonic, subdominant, and dominant chords. In a major or minor key, each chord carries out a specific function. Tonic is often compared to home base. This chord is very stable. The subdominant chord or IV chord tends to lead back to tonic or to the dominant chord. The dominant chord wants to resolve back to tonic or home. Eric applies these concepts to the key of E major. The tonic or home chord is E major. To find the subdominant chord, count up four letters in the musical alphabet including the note E. The subdominant chord is A major. The dominant chord is five letters up from E. Thus, the dominant chord in the key of E is B major.
Applying Chords to the Form
The chord changes for the complete 12 bar form are as follows:
Bars 1-4: Tonic (I)
Bars 5-6: Subdominant (IV)
Bars 7-8: Tonic (I)
Bar 9: Dominant (V)
Bar 10: Subdominant (IV)
Bars 11-12: Tonic (I)*
*The V chord is often used in bar 12 to create a stronger resolution back to the top of the form.
Playing the Shuffle Rhythm
Note: Standard Notation and Tablature to the shuffle pattern in the key of E major can be found under the "Supplemental Content" tab.
A. The I Chord
The shuffle evolved from rhythm patterns played in the left-hand by boogie-woogie piano players. Imitating this basic rhythm figure on the guitar is quite simple. The first chord in a 12 bar blues progression in the key of E is the tonic chord, E. Instead of playing a full E major chord, start with a basic, open E5 power chord voicing. Play the low E string open. Play this note in conjunction with the note B at the 2nd fret of the A string. This chord figure alternates with a chord voicing that implies an E6 chord. The E6 chord consists of the low, open E string played in conjunction with the note C# on the 4th fret of the A string. The third finger frets this note. When switching between these two chord figures, it is not necessary to leave the first finger planted at the second fret. Holding the first finger down for the duration of the measure may result in unnecessary fatigue.
Watch at 03:15 as Eric demonstrates the Jimmy Reed style shuffle with the I chord.
B. The IV Chord
To play the shuffle rhythm over the IV chord (A), simply shift this chord shape down to the A and D strings respectively.
C. The V Chord
In order to play the V chord (B), a different left hand fingering must be applied. A B5 power chord can be played by fretting the note B with the first finger at the 7th fret of the E string. Then fret the note F# at the 9th fret of the A string. To reach the major sixth interval above the root, the pinkie finger must stretch up to the 11th fret of the A string. Stretching the pinkie up to this fret poses problems for some beginners, especially those with small hands. Practice finger dexterity and stretch exercises such as those found in Dennis' Metal series to improve your reach. Then, return to this chord. Chances are that you’ll find it slightly easier. Leave the first and third fingers planted throughout this measure.
Since Eric plays the V chord in seventh position, he elects to play the IV chord in fifth position in measure 10. It is much easier to slide the shape of the V chord down two frets when playing the IV chord. Otherwise, you must jump all the way back to second position. This movement is neither economical nor pleasing to the ear.
Right Hand Technique
Eric plays the Jimmy Reed style shuffle with all downstrokes. This produces a chunkier, more deliberate sound. Compare and contrast the sound of consecutive downstrokes and alternate picking when applied to the shuffle pattern.
Palm-Muting
Frequently, the blues shuffle is played with light palm muting. To perform this technique, lightly rest the heel of the palm just to the left of the bridge. The term "palm-muting" can be quite misleading. The strings are not actually muted. Rather, the right-hand palm muffles the strings to create a deeper, more "punchy" sound. Listen to Eric as he palm-mutes. Then, imitate the sound that he produces. Be careful not to slide your palm too far from the bridge. This will result in a completely muted, dead sound. Chapter 4: (08:54) Playing the Shuffle Switching Between Chords
Before you begin to practice the entire 12 bar blues form, practice each of the individual chord changes. Make sure the rhythm remains constant and even through all of the chord changes. Always practice with a metronome! Start with the metronome set to a very slow tempo. Once you can play through the changes perfectly in time at this tempo, begin to increase the tempo one metronome setting at a time. Also, as an exercise, practice switching chords after every bar. This will enable you to drill the chord changes in a more efficient manner.
Once you have mastered the individual chord changes, practice playing through the entire 12 bar blues form. Practice in a wide variety of tempo ranges.
Adding a Turnaround
The turnaround is one of the most essential elements in blues music. A turnaround is a brief section (typically two measures) that harmonically leads back to the beginning of the form. In most 12 bar blues tunes, the turnaround occurs in bars 11-12. The static rhythm of the basic shuffle pattern is contrasted by the rhythm of the turnaround as well. This rhythmic contrast also pushes the harmony back to the first bar of the 12 bar blues form. At 00:35, Eric provides an example of a common turnaround lick in the key of E.
Playing the Turnaround
The turnaround lick must imply the I chord in measure 11. To accomplish this, Eric begins the turnaround with a low, open E bass note. Then, the bulk of the lick is played over this open E pedal tone. A pedal tone is a note that remains constant while changing material is played overtop of it.
By now, most of you are probably familiar with the "open" D7 chord shape. By removing the open string note (D) from this chord, a movable shape is created. If you slide this basic shape up two frets, a rootless voicing of and E7 chord is formed. This is the tonic chord of a 12 bar blues in the key of E. Notice how a pedal tone on the high E string is played with this shape. The shape continues to descend in half steps while the high open E string remains constant. A triplet rhythm is played throughout the measure.
Pay careful attention to the left hand fingering that Eric uses when playing the lick. The second and first fingers are used on the G and B strings respectively. This fingering will set up the left hand for the material that occurs in the following measure.
In measure 12 of the form, the turnaround lick concludes with notes derived from the E minor blues scale and the E major pentatonic scale. These two scales are frequently blended in blues improvisation. Then, a final B7(#9) chord is used to establish an effective resolution back to the I chord that occurs in the first bar of the form.
Note: Tablature and standard notation to the E minor blues scale in first position can be found under the "Supplemental Content" tab.
Playing the Entire Form
Watch as Eric demonstrates the entire 12 bar blues form including the turnaround at 05:30. Then, practice through the form on your own with a metronome. For extra practice, Eric provides you with an opportunity to play the form along with him at 07:36.
Adding Variety
Instead of playing the bass note in conjunction with the 5th, 6th, and b7 of each chord, these notes can be played individually within the context of the shuffle pattern. The bass note of each chord is played as a pedal tone against a changing melody that involves the 5th, 6th and b7 of each chord. Watch carefully as Eric demonstrates this simple variation at 06:29 in the lesson video.
The Rhythm
The rhythm of this variation can be slightly tricky to master at first. The first bass note of each chord is played as a pickup note. Each chord change in the 12 bar blues form is anticipated by an eighth note. Check out the tablature provided under the "Supplemental Content" tab for help with the rhythm.
Preview of Upcoming Lessons
In the next several lessons, Eric demonstrates some classic blues licks that can be used over a 12 bar blues in E major. He breaks down signature licks from Ligntin' Hopkins, John Lee Hooker, and others. Stay tuned for more electric blues action on JamPlay.com!
Supplemental Learning Material
Electric Blues with Eric
Found in our Beginner Lesson SetsThe blues is a distinctly American style of music. Many popular genres such as jazz, rock, and country music draw upon basic blues concepts. Consequently, it is advantageous for any guitarist to study the blues.
Lesson 1
Basic Blues Shuffle
In this lesson, Eric introduces himself and his Phase 2 lesson series. He also teaches a basic blues shuffle in the style of Jimmy Reed.
Length: 17:35 Difficulty: 1.0 Members Only
Licks by Lightnin' Hopkins
Eric teaches a few popular Lightnin' Hopkins licks. These licks can be played over the blues shuffle from the previous lesson.
Length: 11:46 Difficulty: 2.0 Members Only
More Lightnin' Licks
Eric covers a few more essential licks in the style of Lightnin' Hopkins.
Length: 7:42 Difficulty: 2.0 Members Only
John Lee Hooker Licks
Eric teaches a few licks inspired by the great John Lee Hooker.
Length: 7:43 Difficulty: 1.5 Members Only
Country Blues Lick
Eric Madis explains a country blues lick he calls the "Country Blues Double Wham."
Length: 6:35 Difficulty: 2.0 Members OnlyLesson 6
Memphis Blues Lead
In this lesson Eric talks about playing basic lead in the Memphis Blues style.
Length: 10:37 Difficulty: 1.5 FREE
Using the Memphis Blues
Eric demonstrates how the Memphis blues licks taught in the previous lesson can be used over various chords.
Length: 5:52 Difficulty: 2.0 Members Only
12 Bar Memphis Blues
Eric demonstrates how to construct a full 12 bar blues solo by using the Memphis blues licks he taught in previous lessons.
Length: 7:25 Difficulty: 2.0 Members Only
Applying the Memphis Blues
In this lesson, Eric applies the Memphis Blues Lead to a practical blues context.
Length: 4:06 Difficulty: 1.5 Members Only
Learning A Licks
In this lesson, Eric Madis teaches two licks that can be used over an A chord.
Length: 12:16 Difficulty: 1.5 Members Only
IC Blues
In this lesson, Eric Madis teaches a type of blues shuffle that he calls the "IC Blues."
Length: 12:45 Difficulty: 1.5 Members Only
Simple Blues Lead
In this lesson, Eric talks about playing blues lead using licks you already know.
Length: 8:58 Difficulty: 1.5 Members Only
Play Like T-Bone Walker
Eric Madis begins to explain T-Bone Walker's style of playing the blues.
Length: 7:48 Difficulty: 2.0 Members Only
T-Bone Walker Lick
Eric Madis teaches a classic T-Bone Walker lick and talks about several different variations you can play.
Length: 10:56 Difficulty: 1.5 Members Only
Exploring T-Bone Walker Licks
Eric Madis introduces several new T-Bone Walker licks and explains the ways they can be used.
Length: 10:21 Difficulty: 1.5 Members Only
T-Bone Walker Licks Continued
Eric continues his exploration of T-Bone Walker licks and techniques.
Length: 9:22 Difficulty: 2.0 Members Only
T-Bone Walker Licks Wrap-Up
Eric wraps up his overview of T-Bone Walker licks and techniques in this lesson. You will be applying what you've learned in the next lesson, so be sure to practice.
Length: 10:10 Difficulty: 2.0 Members Only
Swing Blues in A
Eric teaches a swing blues progression. He teaches the progression in the key of A and explains how licks from previous lessons can be played over it.
Length: 14:17 Difficulty: 1.5 Members Only
Stormy Monday Blues
In this lesson, Eric Madis teaches the blues progression to "Stormy Monday Blues." This progression is played in the style of T-Bone Walker and Earl "Fatha" Hines.
Length: 9:49 Difficulty: 2.0 Members Only
Stormy Monday Blues Introduction
In this lesson, Eric returns to the world of "Stormy Monday Blues" to teach an amazing introduction segment.
Length: 7:21 Difficulty: 1.5 Members Only
Transition Licks
Eric Madis teaches a series of licks that can be used to transition from one pentatonic pattern to another.
Length: 9:31 Difficulty: 2.0 Members Only
Second Position Licks
In this lesson, Eric Madis demonstrates popular blues licks within the second pattern of the minor pentatonic scale.
Length: 16:50 Difficulty: 2.0 Members Only
The Thrill is Gone
In this lesson Eric talks about one of the classic blues tunes, "The Thrill is Gone," by B.B. King.
Length: 10:43 Difficulty: 2.0 Members Only
Third Position Playing
In this lesson, Eric Madis introduces the third pattern of the minor pentatonic scale. This pattern is used frequently by the likes of B.B. King.
Length: 11:27 Difficulty: 2.0 Members Only
Using Third Position
Eric Madis once again talks about third position and how it can be used. He also introduces a slew of new licks.
Length: 12:19 Difficulty: 2.0 Members Only
The Fourth Position
In this lesson Eric Madis talks about the fourth position of blues playing.
Length: 10:04 Difficulty: 1.0 Members Only
Playing Strategy
In this lesson Eric talks about "strategies" to use while playing and improvising.
Length: 7:11 Difficulty: 2.0 Members Only
Alternative Blues Shuffle
Eric Madis introduces the alternative blues shuffle, which is particularly useful on guitars featuring humbucker pickups.
Length: 14:31 Difficulty: 2.5 Members Only
Freddie King Style Licks
In this lesson Eric Madis teaches licks in the style of Freddie King.
Length: 9:38 Difficulty: 2.5 Members Only
Aeolian Mode
In this lesson Eric talks about the differences between the minor blues and the "dominant" blues. He also introduces the modes, beginning with the Aeolian mode.
Length: 10:43 Difficulty: 2.5 Members Only
Locrian Mode
In this lesson Eric Madis introduces the Locrian mode and talks about how it can be used in blues.
Length: 6:58 Difficulty: 2.5 Members Only
Dorian Mode
Eric continues his series on modes. This time he covers the Dorian mode and its relation to the blues.
Length: 7:16 Difficulty: 2.5 Members Only
Modes & Minor Key Blues
Eric continues his discussion on modes in relation to the minor key blues.
Length: 9:31 Difficulty: 3.0 Members Only
Minor 7th Arpeggios
Eric Madis teaches a handful of minor 7th arpeggios in this lesson.
Length: 10:34 Difficulty: 3.0 Members Only
Dominant 7th Arpeggios
Eric demonstrates dominant 7th arpeggios in this lesson.
Length: 7:27 Difficulty: 3.0 Members Only
Applying Dominant 7th Arpeggios
Eric discusses dominant seventh arpeggios and how they can be used in blues licks.
Length: 6:58 Difficulty: 2.5 Members Only
Diminished 7th Arpeggios
Eric talks all about diminished 7th arpeggios and gives five exercises to practice.
Length: 10:20 Difficulty: 3.0 Members Only
Applying Diminished 7th Arpeggios
Learn how the diminished 7th arpeggios from the previous lesson can be applied to the blues.
Length: 12:13 Difficulty: 3.0 Members Only
You Don't Love Me
Eric teaches the catchy blues song "You Don't Love Me."
Length: 14:27 Difficulty: 3.0 Members Only
Freddie King Variation
Eric teaches Freddie King variations on T-Bone Walker licks.
Length: 7:53 Difficulty: 3.0 Members Only
Lick Exercise
Eric provides an exercise that uses previously learned licks from the 1st, 2nd, 3rd, and 4th patterns of the minor pentatonic scale.
Length: 12:45 Difficulty: 2.5 Members Only
Introduction to Modes
Eric starts you off on the right foot with an introduction to modes.
Length: 28:09 Difficulty: 2.0 Members Only
Mode Application
In this lesson, Eric explains some common blues applications for the modes of the major scale.
Length: 12:43 Difficulty: 3.0 Members Only
Mode Application Continued
Eric Madis continues his discussion on mode application concepts.
Length: 18:30 Difficulty: 3.5 Members Only
Major Pentatonic Scale Ideas
Eric Madis discusses major pentatonic scale ideas.
Length: 6:09 Difficulty: 2.5 Members Only
More Lick Ideas
Eric shares some more great lick ideas that you can incorporate into your playing.
Length: 10:25 Difficulty: 2.5 Members Only
Ending Licks
Eric shares ideas on ending licks, turnarounds, and tags in this lesson.
Length: 12:41 Difficulty: 2.5 Members Only
Fill-in Licks
Eric Madis teaches some great filler licks for your bag of tricks.
Length: 14:13 Difficulty: 2.5 Members Only
Bass Lines
Eric Madis talks about some common blues bass lines that will spice up your playing.
Length: 13:43 Difficulty: 2.5 Members Only
More Ending Licks
Eric Madis teaches some classic ending licks.
Length: 16:01 Difficulty: 2.5 Members Only
Swing Blues
Eric Madis introduces the swing style of the 12 bar blues.
Length: 8:03 Difficulty: 2.5 Members Only
Classic Minor Blues
Eric Madis introduces the basics of the classic minor blues and talks about how this progression can be spiced up using simple blues techniques.
Length: 18:35 Difficulty: 2.5 Members Only
A Minor Blues in 8/8 Time
In this lesson, Eric Madis teaches a popular blues progression in 8/8 time. This rhythmic feel gives the progression a funkier or more rock-like feel than the traditional blues.
Length: 7:04 Difficulty: 2.5 Members Only
Descending Minor Blues
Eric teaches a classic blues progression he calls the "Descending Minor Blues."
Length: 11:15 Difficulty: 2.5 Members Only
Modern Block Chord Minor Key Blues
Eric Madis teaches an interesting minor blues progression he calls the "Modern Block Chord Minor Key Blues."
Length: 7:40 Difficulty: 2.5 Members Only
Detroit Chicago Funky Blues
Eric Madis teaches an amazing blues progression he calls "The Detroit Chicago Funky Blues."
Length: 9:49 Difficulty: 2.5 Members Only
Jimmy Nolen's Funky Groove
Eric Madis moves on and teaches an astonishing blues progression he dubs "Jimmy Nolen's Funky Groove."
Length: 8:41 Difficulty: 2.5 Members Only
The Bump Shuffle
Eric Madis introduces a blues style called "The Bump Shuffle."
Length: 7:27 Difficulty: 2.0 Members Only
The Bump Shuffle #2
In this lesson Eric Madis teaches a second way to play the classic blues progression "The Bump Shuffle."
Length: 4:41 Difficulty: 2.5 Members Only
Chicago Bass Groove
Eric Madis teaches a bass oriented blues progression entitled the "Chicago Bass Groove."
Length: 6:50 Difficulty: 2.0 Members Only
Blues Bass Groove
Eric Madis teaches another powerful bass groove he has extracted from the world of blues.
Length: 3:55 Difficulty: 2.5 Members Only
Blues Bass Groove #3
Eric Madis teaches another useful bass groove for blues guitar.
Length: 5:47 Difficulty: 2.5 Members Only
Blues Bass Groove #4
Eric Madis teaches another valuable blues bass groove.
Length: 4:43 Difficulty: 2.5 Members Only
Wolf's Groove
In this lesson, Eric Madis teaches a blues bass groove inspired by Howlin' Wolf.
Length: 4:31 Difficulty: 2.5 Members Only
Minor Progression Major Chords
In this lesson, Eric Madis teaches a valuable blues chord progression that he calls "Minor Progression Major Chords."
Length: 11:28 Difficulty: 2.5 Members Only
Sliding Ninth Groove
Eric enthusiastically presents a new chord progression he calls the "Sliding Ninth Groove."
Length: 5:43 Difficulty: 2.5 Members Only
Tribute Blues Shuffle
Eric pays tribute to Memphis Slim and Jimmy Reed in something he likes to call the "Tribute Blues Shuffle."
Length: 8:48 Difficulty: 2.5 Members Only
Chicago Style Funky Blues
Eric Madis teaches a blues chord progression inspired by the Chicago style of blues playing. This progression has a funky rhythmic feel.
Length: 9:51 Difficulty: 2.5 Members Only
About Eric Madis
View Full Biography
Eric Madis is a guitarist, singer and composer, a versatile artist whose playing and compositions reflect his diverse and thorough background in American music. Whether performing in an ensemble or as a soloist, he exudes a love and a mastery of the blues that have been refined by years of experience in jazz, country, rock, and even Hawaiian music. What results are performances that include authentic renderings of old rural blues, personal interpretations of modern urban blues and jazz standards, and original music that defies strict categorization, but that draws heavily from these traditions.
Eric lives in Seattle where he leads his own ensemble, performs as a solo act and performs in the Seattle Swing Trio. He has released four CDs on Luna Records, and is currently working on a fifth. He is on the faculty of the National Guitar Workshop and Dusty Strings Music and teaches guitar privately.
Eric lived his formative years in Colorado with a family that was musical (his mother was an accomplished opera singer), and began his music study on the piano at the age of nine. He began performing shortly after picking up a guitar at ten years of age. By the age of sixteen, he was performing in Chicago-area coffeehouses. He has accompanied artists as diverse as bluesmen Big Walter Horton, Sunnyland Slim, Deacon Jones, Hawaiian luminaries Irmgaard Aluli, Kekua Fernandez, Emma Sharpe and author/poet Nikki Grimes.
He has led bands in Illinois, Texas, Colorado and Washington. He has opened shows for Robben Ford, James Cotton, Little Charlie and the Nightcats, Mem Shannon, Hawkeye Herman and author Sherman Alexie. Eric's four albums have received critical acclaim, including regional airplay and nominations from NAMA and Washington Blues Society (WBS). He has received 16 Best Blues nominations from WBS, was a finalist in the New Folk Awards at the 1981 Kerrville National Folk Festival, a finalist in the 1991 Seattle Guitar Starz competition, and has music featured on five film soundtracks. Eric has taught guitar classes at Denver Free University, University of Washington's Experimental College, Northwest Folklife Festival, National Guitar Workshop, and Canada's Guitar Workshop Plus.
Whether performing in a group or as a soloist, at a concert or a small club, teaching privately or a large workshop, Eric is a dedicated professional, with commitment to the quality of his art and to his audience.
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Member Comments about this Lesson
Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.Your teaching style is great! Thanks for the lesson!
Hi Eric, nice lessons and great presentation. I just found it quite hard for me to remember the licks if without application, so do you have any suggestion or I need to practice them everyday. How can I know if I have practised encough and can move to next level? Cheers.
That is one Sexy Beast of a guitar you have Eric, Love your playing!!!
Thank you very much, Tom. That is a Gibson ES-135, and I just have Seymour Duncan SH-3 mini humbuckers in it.
Great start to your lesson series, Eric! Let the fun begin!!!
Hey Coffeenut! Thank you!
Great lesson Eric and I am excited to pick up this series. Quick question for a beginner guitarist. How much time should a beginner like myself (7 mos) spend on each lesson before moving to the next? I have a tendency to move from one song to the next trying to learn a new song every couple of weeks but would like to really put the time and focus into learning the basics of blues guitar. Any guidance is greatly appreciated!
Take your time and learn each song well before moving on. It is alright to be working on several things at once, but try to make each song listenable and performable before adding too much more. Thank you!
Hello Eric I have been learning for 6-9 months now and practice a lot each day. I don't go to a tutor, instead I subscribed to the Lick Library and now Jamplay and I've got to that stage where all my practice has suddenly paid off, in that I can do with reasonable competence all the techniques I have been practicing, but now need to know how to put it all together. I recently got myself Classic Vibe CV50 Telecaster and decided to work through the blues lessons in a complete series. Is it advisable to work from lesson one through them all in order - I do lack discipline in that I tend to flit from one thing to another and that's the reason I can play parts of several songs, but nothing all the way through. Many thanks Andy
Hey Andy, It would be a good idea to go through the lessons in order. However, make sure that you also learn new tunes. I would say learn at least one new tune (or chord progression) for every two lesson in technique that you do. Good luck and best wishes, Eric
just logged on to yr lessons, what guitar are you playin
Hey, thanks for taking the lessons. I am playing a Gibson ES-135 in all of those lessons.
Good lesson, but the tabs for the "turn around" section are wrong. Your video says to fret the strings at the 3 and 4th frets, while the tabs show fretting at the 2 and 3 frets. Other than that, it was a fun lesson.
Thanks for the kind words. It is possible that, when the written lesson I submitted was put on the computer tab, an error was made. I usually make up all my lesson tabs by hand.
Hi Erik, Can the techniques taught in this lesson series be accomplished using a acoustic guitar. Sam
Hi Sam, Oh yes, definitely. There comes a point in the series in which an electric guitar (or at least an acoustic with a cutaway) would make the series easier. However, much of the series can be done well on an acoustic guitar. Thanks for asking and for tuning in. - Eric
REACHIN WITH THAT PINKY ON THAT B7 AND A7: Try this. When doing that B chord and A chord, Let the middle finger come off. Instead of the B7 and A7 chords they become power chords, and letting the middle finger come off makes it easier to reach that pinky up and hit that 5th fret up much easier. Well, it helps me anyway. P.S. LOVE THESE LESSONS!
I like the way that you are thinking and interpreting for yourself. That is what makes a great player. - Eric
Love the simplicity of the turnaround - but so effective. Thanks
Thanks for the feedback. Anything can be a turnaround, as long as the timing is correct. So, that turnaround is just one of many, and after a while, you can just create your own. Take care! - Eric
I am a beginner and I'm happy for your lessons thank you
Good luck with your guitar playing and thanks for saying hello. - Eric
Thanks erci for this lesson
Thanks for the nice comment, and your are most welcome! - Eric
Hi Eric. Just noticed this film of Jimmy Reed on YouTube and thought it might inspire beginners to enjoy this laid back 12-bar style: http://www.youtube.com/watch?v=BhRZha7ULWg Enjoy!
Thanks for sharing that cool video. Eric
I am a new student, have been sampling the selection of subjects and instructors. I have learned a lot in a short time. I have settled on Eric's blues class to work through start to finish. Erik, I am having trouble making the reach from the second position to the 4th and 5th fret with ring and pinky fingers, especially the pinky, without moving my index finger on the second fret. Are there some exercised that will help?
Hey Strick, Good question, and without seeing you play, it is hard for me to say for sure. However, several things: never rest your elbow or arm (of your fretting hand) on your lap; allow your arm to move freely to compensate for certain angles necessary to accomplish your goals. Also, thumb position is important. Most of the time, it needs to be behind the neck (for chording, scales, etc.). For licks, you need to use your thumb to accomplish bending and vibrato. To develop more flexibility and reach, practice your scales and modes s-l-o-w-l-y. Good luck and thanks. - Eric
Hi Eric. By pure chance I landed in your set of lesson and I confess I got hooked by your didactic, clear and appealing approach to teaching electric blues. As one of the other fellows wrote, in your first lesson I have found some difficulties to play clearly notes with my 4th and 5th fingers. I hope this will be solved with more practice and by relaxing my left hand. Guitar neck is not a problem; my PRS is the sweetest thing one can imagine. One question. For several reasons when practicing I do prefer holding the guitar body between my knees as the classical and flamenco players do. Has this position any disadvantage for following your lessons? Best regards from Madrid - Spain
Hey Tony, Sorry it took me so long to reply. No reason at all why you can't hold the guitar in a classical/semi-classical position between your legs. I do it all the time with some of my guitars. It makes complete sense. Good luck and stay in touch. - Eric
Hey Eric, that was absolutely fantastic lesson & considering it is the 1st in your series I can't wait to see the rest ! Was listening to everyword you said & every note you played - played along with you mostly got hung up a bit on the turn around a bit but i'll get it down before i view your next lesson, once again Fantastic mate !
Thank you, Marshall. Sorry it took so long for me to reply. Good luck with the series and stay in touch. - Eric
just really starting again after playing at secondary school 51 years ago!! your clear and relaxed style has motivated me into really believing this will be a good hobby for me -even at 67! good luck in everything you want for yourself Eric
Thanks so much for your positive feedback. Good luck. Sorry it took so long for me to reply. Eric
Great Lessons, love them, looking forward to all that heads my way. I think there is a mistake in the Tabs for the turnaround, you start on the 4th fret and the tab starts on the 3rd, it messed me up alot until I rewatched the video,, I thought my timing was lost,, lol,, whew, thank goodness for video,, love it,, thanks so much, Jeff
Hey Jeff, Thanks for letting us know. If I am correct about the turnaround you are referring to, yes, the first and second fingers should be playing the 3rd and 4th frets of the 2nd and 4th strings respectively. -- Eric
Hi Eric, I ahve been taking some lessons from Hawkeye which have really helped,but I was Intrigued by what is called ":Country Blues" Thanks for you help as I will continue on with waht you have to offer. Thanks,Dennis
Hey Dennis, Yes, much of what I play on acoustic is country blues. That is, it is essentially the Western style of blues (from Mississippi to Texas), with a monotonic bass line and a loping rhythm. Some of that style can be played with a flatpick also, and some of the early urban blues was still country blues. Therefore, I refer to the licks that I teach in the beginning (the ones from Lightnin' Hopkins and John Lee Hooker, etc.) as "country blues" licks and some of the basic shuffles as country blues. However, hopefully I will be teaching some Piedmont Blues in the near future, and that is also considered by many as a style of "country blues". Eric
Hi Eric,One more question. O presently do not have an Electric Guitar and have noticed you play a Gibson,but I can't make out the model. I have a feeling it may be a little pricey for me at this time. I own a Epiphone Acoustic Electric AJ500 series and would like to buy a good Electric .Any suggestions of a Fender over a Gibson or even a Epiphone? Thanks,Dennis
Dennis, Actually, the guitar that I used for the lessons is a Gibson ES-135, which is no longer made. I have seen them used for anywhere from $700-1500, depending on pickups and condition. Good luck! Eric
Eric, Ive been back to the guitar 2 years now, after a 40 year lay off, and Ive learned so much more in your first three lessons. Great job explaining things. I can play rhytem very well but will I ever be able to really play lead well with my shorter fingers? If you play golf I wear a cadet Med. glove so you'll know my fingers are short. Bob
Hi Bob, The length of your fingers won't keep you from excelling at guitar. You will learn to position your arm and wrist properly to gain the reach that you lack in your finger length. Please do not think of your finger length as a limitation. It simply dictates to you the approach you must use to gain your reach. Also, you may wish to choose a guitar with a somewhat rounded, thinner neck, if you are flatpicking. There is always a way to do this, provided that you are patient with yourself and agree to have a good time along the way. Have fun and good luck. Thanks very much for your kind words. -- Eric
You're such a fantastic teacher! You're giving beginners something to practice but also show us possibilities to add something new.
Thank you for your kind comments! - Eric
Hi Eric, Geat Lessons!!!! I'm curious! If I may ask, what amp are you using? I have the 09 Les Paul Traditional and the Fender Blues Jr. I love the Les Paul!!!! I'm just not happy with the amp. Thanks, Davis
Thank you for the kind compliments! -- Eric
Hi Davis, The amp I used at JamPlay was an amp rented from a backline company, and it was a Peavey Classic 30. It had microphonic tubes and made noise, so it had to be eq'd very trebly in the mix. The backline company sent us new power tubes immediately, so most of the later lessons (after about lesson 10) are with new tubes and much better. Personally, I use two amps regularly in my gigging: a Fender Vibrolux Reverb (for medium rooms) and a Fender Deluxe Reverb (for smaller rooms) and I use them both for larger rooms. I wish you could hear those--they are much nicer. But the Peavey Classic 30 (the amp I used for these lessons) is a good amp for the money. -Eric
Is the turnaround just for the end of the tune or can you go back into playing the shuffle after it? The B7 #9 seems like an ending chord.
The 7#9 chord (in this case, the B7#9) chord can be used on any and all turnarounds. In some cases, you may want to limit its use, in order to preserve its impact, but there are other alterations that you can do to the V7 chord also. In fact, the last chord of the song would most likely be a form of the I chord (in this case E7).
The turn around occurs each time you do a 12-measure chorus. However, you can vary the turnaround, and at the end of the song itself, you have to have more of a conclusion tag. - Eric
Great lesson, Eric! I was wondering: Are you gonna cover some SRV as well?
Hey Lucas, Thanks, man! Oh yes, we will be covering lots of that Texas based thing....including T.Bone Walker, Freddy King, SRV, Johnny Winter, etc.
Hooray. An instructor playing a Gibson! Loved your first lesson Eric. Please don't go down the SRV route as others (BJ and Matt) already covering it. How about some Albert Lee, BB King or Bo Diddley?
Hi Chris, Thanks for the kind words. Hang on to your hat, because after about 15 lessons, the material really starts taking off. Oh yeah, I will show you techniques from BB, Albert, Freddy, T.Bone, Buddy, Mick Taylor, Peter Green, Robben Ford, Larry Carlton, and many, many others. Best wishes, Eric
just started your lesson set and i am enjoying it very much, keep up the good work!!!
Thanks, William! Eric
Great lesson. Easy to follow and love your guitar! One minor detail: I think there is a mistake on the tablature printout for the turnaround. In your playing, you start the turnaround from the 4th fret but the print shows it starting from the 3rd fret.
Thanks, Stelios! Yes, you are correct about the 4th fret. I believe that I mentioned that in the lesson, but iwhoever tabbed it out made that simple error. We will have to point out that discrepancy to Jeff and ask him to have that changed. Best, Eric
A bit late, but still a warm welcome from me as well. I'm really enjoying your lessons - I began with the blues to help me play lead gitar better. The 12 bar progressions are a great tool to practice since you can play 'm in any key. Now all I need is excercise my hand more so my pinky can follow suit when hitting the fourth fret ;)
Thanks for writing, Francisca. You're right.....12 bar blues is a great way to develop musicianship. The structure and familiarity makes it easy to learn to improvise off of chord changes....which applies to all types of music. Best regards, Eric
I like the sliding thing you did! Sounds kind of R&B-ish...
WELCOME ERIC WHEN WILL LESSON 2 BE COMMING?
Thanks!
Can you please add some more lessons and keep the format you have now. I like the lessons so far your presentation of the techniques are very clear. Thanks. Also, it would be great if you gace lessons on music theory since your presentation is easy to folows.
Thanks, and I would love to do some lessons on theory.
Most likely on Friday!
Hey Eric! Looking forward to your series!
Thank you!! I can't wait to return and do more.
Eric, I must also add a great big WELCOME! I'm very excited to follow your lessons. No sleep now. Come on, keep taping!
Thank you!!! I will look forward to your comments.
Welcome Eric.I have been taking classic rock lesson`s and wanted to do some blue`s so since your starting out on Jamplay I will start with your lesson`s.Thanks
Thanks for the post! Have fun and stay tuned!
So many comments in such a short time. Good to see da blues are popular.
Definitely! No matter what style(s) of music you are into, the blues are unavoidable. They are one of the standards by which musicians measure themselves, and they are common ground for most improvising musicians. Even if you are not a diehard blues fan, you usually at least enjoy a good blues. So, I agree.
Good stuff...nuff said!!
Thank you!
so how come there are 2 phase 2 electric blues lessons? are they going to cover different things? and yes, that is a ridiculously cool guitar, and the tone is very crisp.
I chose to use the middle setting for most of the lessons, because I often go for a darker tone (especially on my Fender amps). Those guitars (ES-135) are good guitars. I've had 4, sold the first 3 to private students of mine, and always regretted it afterward. They are versatile and warm.
We really look more for the quality of the teacher then of their style, so overlap will occur every now and then. Teaching styles are so different though that I believe even if you had two teachers presenting the exact same material the student might get something different out of both of them. But Eric's series will be quite a bit different then DJ's :)
Welcome Eric. Nice to see another Blues enthusiast on the site - I've been eagerly going htrough Hawkeye's lessons and have reached the last one today so your arrival is great timing - two sets of lessons unfolding to keep me occupied. As everyone has been saying that's a great guitar and tone you've got - I'll not say it too loud or my Hagstrom Viking will get jealous and sulk! Love the sound of a good semi acoustic for blues.
Hey Viking, Thanks a lot! The tone gets better later in the series, after Jeff and I put a set of matched JJ EL-84s in that Peavey Classic 30.
yep,yep,yep....I know I'm going to love your lessons....You have a calm , none rushing voice...witch I appreciate very much as a student..cann't wait to see more...Thanks for joining the JamPlay instructors..
Thank you for tuning in and for using this great service/site. It is you who I need to thank for giving me this opportunity to do something I love doing.
Hi Eric. Welcome to the jamplay.com. 'team.' Good to have you aboard. ;-)
Hey Hawkeye, Thank you my friend!! I am looking forward to seeing you again before long.
Hey Hawkeye! Thanks so much, my friend. Looking forward to seeing you again before long.
haha.. even hawkeye hits this up!!!!
Oh, man....Hawkeye is just making sure that I did a good job and carried on the tradition!
Eric Madis is a longtime friend. We have performed and jammed together over the years. I referred Eric to jamplay.com I hope you enjoy his lessons!
That's right. Really, you have Hawkeye to blame (or thank) for my presence here. He and I are old friends and have done numerous shows together, as well as having many mutual friends.
Indeed, a big thank you to Hawkeye for getting us in touch with Eric :)
Welcome, Eric! I'm looking forward to your lessons. Only one lesson in, and I already like your humble personality! I'm looking forward to your next lesson!
Thank you, mi amigo! Stay in touch and best of luck with the guitar pickin'.
AWESOME AWESOME AWESOME AWESOME!!!! What kind of amp are you using, Eric? Chris
Well, actually I usually play through either my old Fender Vibrolux Reverb or my Fender Deluxe Reverb. However.....I could not fly to Colorado with one of my amps, so I rented a Peavey Classic 30 when I was there. It sounded pretty good, but after putting in a set of matched JJ tubes (later in the series), that amp sounded really good....so stay tuned!
Hey this guy's really cool, like his style. thanks awesome lesson!
Thank you, my friend, for tuning in!
awesome! i loved the lesson and your style! keep up the great work!
Thanks, Brad! Take care and best wishes.
Hi Eric, welcome to Jamplay. I really loved this lesson, it's very useful for me since I've just started with the guitar a few months ago and I'm now trying to get a basic understanding of playing Blues and Jazz songs, this lesson certainly helped with that, thanks a lot! Looking forward to the next lessons.
Thanks, Bro. I am really looking forward to teaching jazz and swing guitar, when we can schedule the time. Best of luck with your guitar playing, and don't get discouraged. We all do that, but it does us no good!
Good lesson Eric. I had a couple of comments on your hand positions for this shuffle. You are fretting the barre B7 and A7 in a way that is awkward for a player with smallish hands. I need to fret the 9th fret with my index finger or else I can't reach 11 and 12 with my pinky. Is there a reason to fret those strings that aren't actually played? Looking forward to more of your lessons.
Thanks, my friend. To answer your question, "No, for sure there is more than one way to skin a cat!". As a player, you have to adapt to your physical strengths and limitations, and make the most of those. If you have not already done so, you will in time find that there are some things that you can do that no one else can do (or can figure out why you did them that way). My only advice is that, however you fret the guitar, make sure that you always "hit the ground running". That is, always make sure that your hand position does not limit your creative thinking because you have to regroup after executing a certain technique.
and thats one sexy guitar!!!
Thanks a lot! Gibson does have some nice designs, doesn't it?!
it does and some of those guitars have great sound too. if i d 4000euro i d be very much caught between a gibson hollowbody and a gretsch... ha ...awesome about the john lee hooker
Welcome to the site, Eric!
Thank you, Nessa!!
Welcome to Jamplay :D
Thanks much! I had a great time doing these lessons. It was a whirlwind week!
Hey Man Welcome to the show!!!
Thank you, my friend!
yay more blues for my shoes I GOT THE BLUES IN MY SHOES BABY, AND I M WALKIN THE TOON!!!!
Keep a shufflin' along!
Eric will you be doing any john lee hooker style ?? it certainly confuses me haha. many thanks
Yes, there are some John Lee Hooker things coming up in the soloing section. However, on this trip to Colorado, I did not do any John Lee Hooker boogie-type tunes. If I know that you want that, I will do that on the next trip. Thanks!
Great kick off. I look forward to more of your lessons. Welcome.
Thanks, I hope you enjoy them.
Welcome Eric. Sounds like we're in for some interesting lessons.
Thank you and I hope so!!
HI Eric: Glad to see some more great blues lessons. OMG is that a Byrdland?
Thanks Sylvia. No, that is an ES-135, but it does sort of look like Byrdland. The ES-135 is semi-hollow (has a balsa wood block), has a laminated maple body and the neck meets the body at the 16th fret. But I am with you, Byrdlands are nice!
Welcome to the team Eric! Great lesson! Your tone is amazing.
Welcome Eric!
Thank you much!
Welcome to the site, Eric! Love your way of teaching, and love that stunning guitar!
Thanks a lot! That is my 4th ES-135. The first three are in the hands of former student of mine!!
Welcome Eric! That was a great lesson... I look forward to see more of your lessons.
Thanks a lot! Oh, we recorded a lot of material. This is just the beginning!
Looking good Eric, your guitar sounds great...welcome to JP.
Thanks, Vinnie!
Welcome Eric!
Thanks, DJ!