Memphis Blues Lead Guitar Lesson
Memphis Blues Lead
In this lesson Eric talks about playing basic lead in the Memphis Blues style.
Taught by Eric Madis in Electric Blues with Eric seriesLength: 10:37Difficulty: 1.5 of 5
Memphis Blues Overview
The Memphis blues style was pioneered in the 1920s and 1930s by the likes of Furry Lewis, and Frank Stokes. Guitar based blues bands were most popular at this time. However, jug bands were also quite popular. Gus Cannon's Jug Stompers and the Memphis Jug Band were two of the most popular bands of the time. The guitar based bands were influenced by the Delta blues and other popular southern folk styles. Jug bands combined the syncopated, terpsicorian elements of jazz with folk music.
The electric guitar became extremely popular among Memphis blues musicians around the late 40s and early 50s. Legends such as Howlin' Wolf, B.B King, Willie Nix, and Ike Turner frequently played on Beale Street - the center of the Memphis blues scene. These players left a lasting influence on the Memphis music scene that can still be heard today.
Descending Double Stop Pattern
The descending lick that Eric demonstrates is based on the E Mixolydian mode. Diatonic sixth intervals descend through the mode. This lick works well over the tonic E or E7 chord of the blues progression. The Mixolydian mode is an excellent scale choice when playing over dominant seventh chords. Even if the rhythm guitarist is playing E or E5, an E7 chord can still be implied by the overall sound of the band. Play the lick over an E bass note and you'll hear a distinct E7 chord.
Implying Chords with Double Stops
The E Mixolydian is the fifth mode derived from the A major scale. A diatonic triad can be built from each note in the A major scale. Each of the double stops used in the descending lick implies one of these triads from the A major scale. Eric translates each of the diatonic triads into diatonic sixth intervals at 05:11.
Note: Notation and Tablature to the diatonic triads in the key of A major can be found under the "Supplemental Content" tab.
Articulation and Picking
Slide into the first note to enhance the overall feel of the lick. Employ an alternate picking pattern throughout the lick. Pick the low note with a downstroke. Play the higher note with an upstroke. If youar fingerpicking, Eric suggests using the index and ring fingers. This leaves the thumb free to play optional bass notes.
Intervals
When double stop is comprised of two notes notes that are a fret apart, a minor sixth interval is formed. A major sixth interval occurs when both notes are played at the same fret.
Chromaticism
Towards the end of the lick, some chromatic notes outside of the E Mixolydian mode are used. The notes Bb and G are played at the third fret. These notes imply an Eo7 chord. Since this double stop is used on a metrically weak beat, it functions well as a passing chord between double stops implying E major and D major.
Left Hand Fingering
Many of the double stops can be fingered in a few different ways. Experiment with the fingering options that Eric demonstrates in the lesson and determine which is most comfortable for you.
Practical Applications
The lick can be split in half to create two separate licks. Isolate the first four double stops from the remaining double stops. The first segment begins and ends with diadic shapes that imply an E7 chord. At 07:40, Eric demonstrates this one measure idea.
The second segment begins with the double stop at the fourth fret that implies either E major or G#m. Both of these chords contain the notes B and G#. Eric demonstrates this segment at 08:35. You may have learned this lick as a popular turnaround in Hawkeye Herman's Phase 2 Blues Series. This lick can also be played backwards in an ascending fashion. So, you get two licks for the price of one with this segment. The ascending version can be used in the middle of a solo or as part of a turnaround. However, the descending version is a slightly more effective turnaround.
Learning these segments will give you more choices when playing a solo. Both licks can be used over a one measure segment. Or, the entire lick can be played over a two measure segment.
Now, you have a total of four new licks:
Descending #1
Descending #2
Ascending #2
Descending #1 + Descending #2
Unfortunately, the first segment does not sound appropriate when played in an ascending fashion.
Rhythm
All four of the licks listed above can be played in a swung eighth note pattern or in triplets. Eric provides an example of the triplet variation at 07:57. Pay careful attention to the picking pattern he uses to play this variation.
Preview of Next Lesson
Eric demonstrates how the licks from this lesson can be transposed and used over the IV and V chords (A and B).
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 Only
Memphis Blues Lead
In this lesson Eric talks about playing basic lead in the Memphis Blues style.
Length: 10:37 Difficulty: 1.5 Members Only
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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Funny close to Wanted Dead or alive
I have a question about your guitar. Did you custom order that ES-175 because I tried to find it on the Gibson site and i could only fine one with full sized Humbuckers not the mini ones.
why should I not use my thumb, it feels so natural.
ERic why do you play 12 & 13, !0 & 11 instead of just playing 12 & 12, 10 & 10 frets
does it have to do w notes in the scale
Hi Eric. Thanks so much for your awesome approach and instruction. I was wondering if it is a bad habit to ise one finer to accommodate the minor aspects of this run. i.e., 1st ans 5rd strings on the same fret ...Is it a bad habit or if it works no worries etc.? your opinion is important to me. MT
Hi Matthew, Actually, I don't think it matters, except that you may want to be more careful then with your picking hand, so that you don't hit that 2nd string, unless it is your intention to do so....Otherwise, no problem. Many use their 2 and 3 finger on the minor, rather than the 1 and 2 as I do. Their way is good also.
DearEric, At 2.52min ,you said "back to the minor version". I understand that A is the 5th of E scale. However, for the purpose of the scale of E I got : E D#m C#m B A G# F#m E instead of the E D C#m Bm A E7 D# D7 E. Is it correct to say that for the purpose of playing the sets of four that you are splitting the series between ( Playing in E) E D C#m Bm and then between (Playing in A) A E7 D# D7 E. Thank you and will continue practicing regards Rama
Hi Rama, What you learned there was the E7 Memphis diads. That is, these diads relate to the E7 chord (which of course is the V7 of A major). Therefore, there are 7 diads per chord, except that for the purpose of bluesy chromaticism, we had one more diad as a passing diad (the Gm). So in E7, we use the following diads (descending) Emaj, Dmaj, C#m, Bm, Amaj, G#min (actually diminished...the same first and 3rd), Gm, F#m. That is all eight. all of those, with exception of Gm, are part of the A major scale, but relate directly to its V7 chord (E7), which we are now using as a I chord in an E blues. Does that make sense?
REPOST: Hi Eric. Thanks so much for your awesome approach and instruction. I was wondering if it is a bad habit to use one finger to accommodate the "minor" aspects of this run. i.e., 1st and 3rd strings on the same fret ...Is it a bad habit or if it works no worries etc.? your opinion is important to me. MT
hey, can anyone give me some examples of songs that use this type of thing? I want to ingrain it into my playing.
Nate, Also, check out Shuggie Otis' work with his father (Johnny Otis)....it's got a lot of Memphis leads.... Eric
Hey Nate, Although examples abound in the blues with these diads, one example of this in more popular music are the beginning of "Fortunate Son" by John fogerty (Creedence Clearwater Revival).
Also, the intro to Janis Joplin's "Piece of My Heart" uses something very similar.
Hi Eric. Thank you so much for these lessons. I love your aproach. I've been playing for about a year now, but it wasnt untill i started with your lessons that my licks began to actuallly sound a bit bluesy.
These Memphis Blues licks are the obvious inspiration to the Bon Jovi Wanted Dead or Alive openning lick.
Those Memphis licks are all over the place! They are very versatile, simply because they are related to chord changes and keys....they are used in blues, jazz, rock, country, etc. Thanks, Eric
Hi Eric. I agree with Stu. You and Hawkeye - Guitar heaven! Keep up the wonderful lessons they put a smile on my face every day.
Hey There Chris, Thanks for the nice comments. We recorded a lot of lessons, going into all kinds of electric blues and utilizing all kinds of traditional and modern soloing concepts. I hope you enjoy them all. Best wishes, Eric
Hey Eric, I love these new lessons, gonna try and do your lessons in tandem with Hawkeye's, as well as Fingerstyle stuff. Loving the first few so far!
Thanks!
Sure, there are some Albert King things coming up, because I recorded them with Jeff. I know that Jeff (and the whole JamPlay team) is working overtime to get those lessons up and online. I would like to do a whole Albert King series sometime. I suspect that my T. Bone Walker series will be really soon, followed by some Albert King and then a bunch of BB King also.....Plenty of Freddy King thrown in throughout the latter part of my series.
Can you please do some lessons on Albert King?