John Lee Hooker Licks (Guitar Lesson)
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John Lee Hooker Licks
Eric teaches a few licks inspired by the great John Lee Hooker.
Taught by Eric Madis in Electric Blues with Eric seriesLength: 7:43Difficulty: 1.5 of 5
John Lee Hooker Biography
John Lee Hooker (1917 ? 2001) was one of the most influential blues musicians of the post-war era. Hooker was born in Mississippi, but spent most of his career in Detroit. His music was primarily influenced by the early Delta blues. Hooker created his own unique blend of blues by combining a boogie-woogie piano style with driving rhythms. Similar to Lightnin' Hopkins, Hooker is known for his half-spoken singing style.
Essential Listening
Check out the songs "Boogie Chillen" (1948) and "Boom Boom" (1962) for examples of John Lee Hooker's signature sound. Chapter 2: (01:03) John Lee Hooker's Bass Lick Hammer-On Note: Tablature and standard notation to all licks taught in the lesson can be found under the "Supplemental Content" tab.
This lick is quite similar to the Lightnin' Hopkins bass lick. Bass licks are absolutely essential to improvising a blues in the key of E major.
The first position pattern of the E minor pentatonic scale is used. The lick concludes with a trill performed between the notes D and E on the fourth string.
Pay careful attention to the left hand fingering that Eric uses to play all licks. These are the fingerings you should use when learning the lick. The second finger is the strongest, so it will enable you to play the trill at maximum speeds. However, when improvising, you may need to alter the fingering to accommodate the lines that you are playing. Chapter 3: (01:13) John Lee Hooker's Basic Sliding Lick The "Basic Sliding Lick" features several slurs played together on the third string. It begins with two slides. Then, a pull-off is performed. The lick utilizes the E minor blues scale. Remember that this scale adds a b5 "blue note" (Bb) to the minor pentatonic scale. Chapter 4: (01:23) John Lee Hooker's Big Bad Sliding Lick This lick is a variation on the lick taught in the previous scene. Now, the open high E string is played as a sustained pedal tone against the lick. Use the ring finger to pluck this note. Play the other portion of the lick with the pick. This technique is referred to as hybrid picking.
Note: For more information about hybrid picking, check out lessons 5 and 6 of DJ Phillips' Phase 2 Country Series.
Feel free to experiment with variations on this lick. Stevie Ray Vaughn among countless others used this lick regularly. Use the variations Eric demonstrates in the lesson video as a springboard for your own ideas. Chapter 5: (03:31) Country Blues Double Wham #1 The "double whams" are staple double stop licks used in the blues genre. Double Wham #1 is played out of the seventh position pattern of the E minor pentatonic scale. The notes E and B are played simultaneously with a slight quarter step bend.
Ending the Lick / Transitions
Double Wham #1 can end in various ways depending on where you wish to go next in your solo. Watch the lick that Eric demonstrates at 02:14. This provides a perfect example of where to go after the initial lick is played. You can resolve it to the open B and E strings or to any variety of E notes on the fretboard. Playing a fretted E note will allow you to perform a vibrato.
Preview of Next Lesson
Eric demonstrates some new country blues licks in lesson 5. Stay tuned for more electric blues action!
Video Subtitles / Captions
Hi, I'm Eric Madis from JamPlay.com and I'm here working with blues with you.
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On the E blues that we've been working with for a while.
The E shuffle.
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The last few lessons we've worked on licks that all work over the chord of E.
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They'll also work over the A and the B chords to, but they're especially good for E.
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What we're going to do today is we're going to do a little bit of John Lee Hooker ideas.
So the first one we're going to learn is John Lee Hooker's bass lick hammer-on.
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This is very similar to the Lightnin Hopkins one except that it doesn't use the major third hammer-on.
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Here's how it goes…
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So what you're doing here is you're playing the open E, fretting the G on the sixth string and then hammering-on the E on the fourth string.
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Notice I'm using my second finger because I try to use one finger per fret and also because the second finger has the most strength.
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Ok, so let's try this lick.
E, G, E.
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Why don't you go ahead and try it now.
What we're going to do now is we're going to do another John Lee Hooker lick.
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This is going to be his basic sliding lick.
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The basic sliding lick is very, very simple.
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We're just going to strike the third string by fretting with our second finger at the second fret. Ok, we're going to strike that with an upstroke.
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And bring it up a fret and then down a fret.
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Then pull-off this note so in other words, pull it off in a direction toward towards the high e.
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Yes, pull it out towards your palm.
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And transfer that note, that finger.
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Transfer that finger over to the fourth string.
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So again, slide the second finger up one fret, bring it back a fret , pull it off and transfer it over to the fourth string.
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Why don't you go ahead and try that now.
Alright that's great.
So John Lee Hooker's basic sliding lick was this…
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Or you don't even have to strike that third note.
You can just go…
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If you're playing it quickly.
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You just use the pull-off to create the sound.
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Ok, now we're going to do John Lee Hooker's big bad sliding lick.
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It becomes big and bad by striking the first string with an upstroke at the same time, you'll see what I mean.
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Kind of nasty, I know.
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So what we're going to do is strike the first string with an upstroke, use any of your fingers that you want.
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At the same time that you do the third string lick.
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You can do variations of this too.
You can go…
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Things like that.
Depending on what kind of expression you want to have.
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Ok, let's try that once more on our own, the John Lee Hooker big bad sliding lick.
So now what we're going to do is the country blues double whams.
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These are two more licks in E that are essential country blues licks, urban blues licks if you're playing in E.
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The double wham number one is accomplished at the seventh and eighth fret of the first two strings.
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What you're going to do is use your index finger and second finger and you play them like this…
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Now notice after I play these, one, two, three, four, I play the two strings the two top strings open.
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You can only do this in the key of E, any other key you'll have to fret.
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So let me show you the fretting notes that you'll want to know for E, for any other key.
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Ok, so you can follow through by going down to the tonic or in this case the E, by coming down to the fifth fret of the second string. Like this…
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Notice I'm vibrato-ing again when I play any note and I want it to sustain or have a vocal quality, I can do that.
01:15.691 --> 01:27.126
And remember the turn of the knob, always turn backwards, turn the wrist.
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You can also play with your ring finger the ninth fret of the third string…
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Now there's a reason for your use of any one of these three variations on this double wham.
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Whether you play it open.
Whether you drop down to the fifth fret.
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Or whether you stay up in the position where you're at.
01:57.423 --> 02:02.183
That has a lot to do with where you're going to go afterwards, what are you going to play after that.
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As we learn more licks you'll have a stronger idea of how you want to play that lick whenever you want to play it.
02:09.776 --> 02:19.714
Like for instance, say I wanted to drop down to the fifth fret, I could do this.
02:19.714 --> 02:28.723
If I stay where I'm at…
02:28.723 --> 02:37.035
If I play it open…
02:37.035 --> 02:41.772
It just facilitates playing different ideas.
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So as you make your decisions, as you're improvising your strategy that you use, the techniques that you use are all related to each other.
02:52.406 --> 02:57.056
Let's run through the country blues double wham one more time.
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Ok, seventh and eighth fret.
One, two, three, four, open.
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Or index finger, fifth fret, second string.
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Or ring finger, third string, ninth fret.
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Let's try that again.
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These are three variations.
Why don't you go ahead and give those a wing right now.
03:26.822 --> 03:30.793
Until next time this is Eric Madis at 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.Thanks Eric your teaching style is very thorough and easy I have really enjoyed it thus far as BB King is my all time favorite, these are nice sounding licks.
Thanks. Progress is great fun when it's shown in a logical progression. :)
There is some meat on the bone here. This is where it started. Signature. At this point in this study any new blues player is bound to get excited. Startin' to sound like somethin'
thanks you again Eric, I love this style of playing
Thank you for your support of music, the blues and guitar! Eric
Thanks a lot for this lesson Eric. I have an issue with the double wham, I can't seem to find the right timing when to bend the string up, it always sounds pretty detuned to me. Maybe you could add a section to the lesson which explains the timing of the bends a bit more so one could start slowly and then work up speeds once the timing is right.
Thanks for your comments and question. The double wham usually will come on the next beat. So if the timing is 1-2-3-4, and the low tonic note (in this case, the low e string open) is 1, then the double wham falls first on the 2. Also, be careful to not bend either of the strings too much. This is less of a bending technique than it is just putting a little tuning tension on a two-note diad to make it sound funky. - Eric
Would it be possible for you to do a series on Albert king? That would be a nice addition.
Oh yeah.....well, actually there is some Albert King coming up in future (more urban blues styling) lessons, so hang in there.
Thanks for this lesson Eric. Licks in the style of my idol - what more could i want? All we need to do now is sing like him - hmm - maybe just stick to the guitar part! Any advice you have in future lessons as to how to sustain interest in playing for long periods on one chord, a la John Lee Hooker would be gratefully received. Interesting how blues makes people happy - you smile nearly as much as Hawkeye - nice tonic at the end of a working day.
Thank you! One-chord harmony is interesting. It is what you put into it that makes it happen for you. It is the embellishment that keeps you intrigued and the variations that keep you challenged. Keeping the groove, but learning more and more ways to creatively add ideas (as well as emotion) to what you do makes that approach interesting. Still, one of the things that make Hooker unique was his timing.....he always lagged way behind the beat in his vocals, and sometimes he would actually lag behind a measure or two.....he realized that rhythm and emotion are two essential ingredients of music that can often substitute for more sofisticated technique or concepts.