Licks by Lightnin' Hopkins Guitar Lesson

Chapter 1: (01:42) Introduction Welcome back to the Phase 2 Electric Blues series with Eric Madis. In the last lesson, Eric explained how to play a basic blues shuffle in the style of Jimmy Reed. This type of shuffle is used in Reed's song "Baby What You Want Me to Do" as well as countless other blues songs.

Eric kicks off the current lesson with some Lightnin' Hopkins style licks in the key of E. These licks can be played over the blues shuffle that you learned in the previous lesson. Countless blues guitarists have borrowed these licks and used in them in their own music.

Soloing Strategies

There are two different approaches to playing a solo. A brief overview of both approaches is provided below. Eric will cover each approach in greater detail as the series progresses.

Approach A

The first approach involves playing a single scale over an entire progression. For example, the E minor pentatonic scale can be used over an entire 12 bar blues progression in the key of E major.

Approach B

The second approach involves playing off of the individual chord changes. Scale and arpeggios choices change for each chord in the progression. This method allows you to highlight important resolutions that occur between each of the chords. If you are playing by yourself, always use the first method. This method allows you to outline the chord changes with your lead lines. As a result, the listener is able to hear the chord changes even though a second guitarist is not present.

In this lesson, Eric uses the latter approach. The licks that he demonstrates can be used over the tonic E chord. Chapter 2: (01:00) Lightnin' Hopkins' Bass Lick Lightnin' Hopkins Biography

Hopkins was born in Centerville, Texas in 1912. He discovered his passion for the blues at an early age when he met blues legend Blind Lemon Jefferson at a church picnic. At this point, he began to take lessons from his older cousin, Alger "Texas" Alexander. After working as a farm hand and a few unsuccessful attempts at a music career, Hopkins was discovered by Lola Anne Cullum of Aladdin Records. Soon after signing to Aladdin, Hopkins moved out to L.A. where he began his career accompanying pianist Wilson "Thunder" Smith.

In the late 40s, Lightnin' decided to return home to Texas. During the late 40s and 50s he expanded his career by recording prolifically under the Gold Star Records label. He recorded somewhere around 1000 songs throughout his career. Hit songs such as "Model T Blues" were recorded during this time. By the end of the 50s, Hopkins' performance and massive recorded catalog gained him a wide audience with blues fans. Other than the occasional performance in the Midwest, Hopkins rarely performed outside Texas. However, a broader performance schedule was soon to follow.

Folklorist Mack McCormick worked to bring Hopkins' music to a wider audience. McCormack provided him with opportunities to perform for integrated crowds in California and Texas. Hopkins' success continued to grow after a performance at Carnegie Hall on October 14, 1960. Soon after, Lightnin' signed a deal with Tradition Records. Masterpieces such as "Mojo Hand" were recorded on this label. By the early 1960s Lightnin' Hopkins cemented his reputation as one of the most talented bluesmen in the world.

Style

Hopkins' style is characterized by his signature fingerstyle playing. His style includes lead guitar elements, percussive elements, and bass lines played simultaneously with a vocal line. Most of his music follows the standard 12 bar blues progression. However, his guitar and vocal phrasing was very loose. Hopkins sang in a conversational, half-spoken voice.

Bass Lick

Like many blues licks, this lick combines notes from the minor and major pentatonic scales. The basic lick consists of a three note motif derived from the E minor pentatonic scale. In the next scene, Eric explains some additions that can be made to the lick. Chapter 3: (01:12) Adding a Hammer-on An optional trill or hammer-on can be tagged onto the lick. Hammer or trill between the notes G and G# on the third string. G# is part of the E major pentatonic scale. Keep the E note ringing on the fourth string while performing the hammer-on / trill. The whole lick can be concluded with a quick upstroke on the open E and B strings. Eric demonstrates the entire lick at the end of the scene. Chapter 4: (01:36) Lightnin's Sliding Lick This lick uses notes from the E minor blues scale. This scale is formed by adding a b5 "blue" note to the minor pentatonic scale. In relation to the key of E minor, the b5 note is Bb. This note is usually used as a passing tone between the notes B and A in the scale.

Pay careful attention to the left hand fingering that Eric uses to play the lick. This fingering will allow you to play the lick with maximum speed and accuracy. Chapter 5: (02:35) Lightnin's Seventh Chord Setup This lick begins with a similar motif to the lick taught in the last scene. This time around, instead of playing a descending line on the G string to close the lick, the lick outlines a rootless E7 chord. This chord shape is based on the visual shape of the "open" D7 chord. Make sure that all notes to continue to ring throughout the lick.

Vibrato

An optional vibrato can be applied to the E7 chord at the end of the lick.

Note: Some of the following information about vibrato is taken from lesson 22 of Dave MacKenzie's Phase 1 Basic Electric Guitar Series. Refer to this lesson for additional vibrato information.

Vibrato is a technique that adds feeling, expression, and a distinct personal identity to your playing. Vibrato is a pulsating effect resulting from rapid variations in pitch. At this point, you are probably very familiar with string bends. A vibrato can be thought of as a rapid sequence of small bends and releases.

Essentially, when vibrato is applied to a note, a guitarist is mimicking the sound of the human voice. Singers frequently apply this technique to long sustained notes or to the last note in a phrase.

Your Identity as a Guitarist

Vibrato is one of the most important components of a player's individual style. Many guitarists can be identified by their vibrato alone. These players have a very distinct and controlled vibrato technique. There are several ways to perform a vibrato on guitar. Spend significant time practicing and experimenting with each until you find what sounds best to you. Beware! It may take several years before you find the vibrato that is perfect for you.

Vibrato Factors

The two main factors that influence the sound of vibrato are speed and pitch. Speed refers to how quickly the note is pulsating. Pitch refers to how far the player bends the note away from the pitch that the vibrato is being applied to.

Ways to Perform Vibrato

A. Whammy Bar (Tremolo)

A vibrato can be produced with a whammy bar as a substitute for fret hand vibrato. A whammy bar vibrato sounds very different from a vibrato produced by the fret hand.

The whammy vibrato is most easily produced on guitars that feature a floating or locking tremolo system. The Paul Reed Smith tremolo is an example of a floating tremolo. The Floyd Rose tremolo is a double locking system. This means that the strings are locked in place at the bridge and at the nut. Floating and locking systems allow you to raise the pitch up or down. Tremolo systems that do not float above the body of the guitar will only allow the player to lower the pitch with the tremolo bar. Vibrato is possible with this system. However, your options are more limited.

B. Vibrato from the Wrist

Similar to bending strings, performing a vibrato from the wrist requires that you bring the fret hand thumb up over the top of the neck. The strong thumb muscle combined with the wrist provide the leverage necessary to produce a strong vibrato. Shake the wrist back and forth like you are rapidly opening a doorknob to produce a vibrato. Most blues players prefer this method.

C. Horizontal Finger Vibrato

This type of vibrato is used by classical guitarists. Rapidly wiggle the finger back and forth from side to side. Do not move the string up or down! This technique is quite similar to the way that other string players such as violinists and cellists perform vibrato. A much more subtle vibrato is produced with this method.

Types of Vibrato

A. Slow, Relaxed Vibrato

Joe Walsh from The Eagles has a very slow, relaxed vibrato. His solo in "Hotel California" provides some excellent examples of his vibrato style. When Joe Walsh performs a vibrato, it is very subtle. Other players with wider, faster vibratos are far less subtle.

B. Wide, Intense Vibrato

Players such as Angus Young and B.B. King play with a faster, wider vibrato sound. Listen to any B.B. King recording, and you'll instantly hear what Dave is talking about. This style of vibrato is much less subtle. It instantly jumps right out of the speakers. The vast majority of electric blues players prefer this technique. This technique is favored by roughly 3/4 of the rock and roll population as well. B.B.'s hand oscillates back and forth in a motion similar to turning a doorknob back and forth.

If possible, watch a live performance of B.B. King. Notice how wide and exaggerated his wrist movement is when adding vibrato to a note.

C. Zack Wylde Style of Vibrato

Many modern metal players such as Zack Wylde have taken the B.B King style of vibrato to a new extreme. Zack has a very wide and very fast vibrato.

Practicing Vibrato

Make vibrato a daily part of your practice routine. Practice this technique with all four fingers in a variety of fretboard locations. It is much more difficult to manipulate and shake the strings as you move closer to the nut.

Practice vibrato in very small, focused intervals of time. Otherwise, if you practice this technique in large increments of time, you will most likely loose your focus and will not receive the maximum benefit from your practice time. Chapter 6: (03:37) Lightnin's Seventh Chord Arpeggios The lick demonstrated in this scene is often used as a turnaround or an intro to the 12 bar form. The entire lick is played over a sustaining low E pedal tone. It begins with the rootless E7 arpeggio demonstrated in the previous scene. This shape is slid down one half step to form an Eo7 chord. Since E is still ringing in the bass, these notes form an Eo7 chord instead of an Eb7 chord. This lick is used in countless blues songs such as the Hendrix classic "Red House."

The lick is played in triplets in 4/4 or it can be played in 12/8 time in eighth notes. In 12/8, eighth notes are placed together in four groups of three.

Usually, the lick is followed by another lick to create a logical, complete thought. Watch at 02:32 as Eric tags a cliche blues double stop onto the end of the lick.

Member Comments about this Lesson

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