Country Blues Lick (Guitar Lesson)
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Country Blues Lick
Eric Madis explains a country blues lick he calls the "Country Blues Double Wham."
Taught by Eric Madis in Electric Blues with Eric seriesLength: 6:35Difficulty: 2.0 of 5
In the previous lesson, Eric introduced a cliche blues lick he calls the "Country Blues Double Wham." Remember that this basic idea can be played with three different endings. You can resolve the double wham to the open E and B strings, the E note at the 5th fret, or the E note at the 9th fret of the third string. The way in which you should end the lick is dependent upon where you want to go next in the solo. Watch and listen Eric transitions from each ending option to a new lick.
Fingering Tips
Always finger licks in a manner that will you to hit the ground running. When learning scales, play them with the "proper fingering." However, when it comes to playing a solo, you will need to adjust these fingerings to support the lines that you play. Make sure that the physical act of playing the guitar doesn't hinder your artistic voice.
Country Blues Double Wham 2
Note: Tablature and standard notation to all musical examples presented in the lesson can be found under the "Supplemental Content" tab.
"Country Blues Double Wham 2" is also a signature Lightnin' Hopkins lick. Basically, the double wham from the previous lesson is moved up three frets. Similar to the previous double wham, quarter step bends are played to the Bb and D notes to produce an edgy, gritty blues sound. A tonic E note is played at the 12th fret of the first string to conclude the lick. Although it contains different notes from Double Wham 1, the new double wham can also be played over an E or E7 chord. Or, if you are playing by yourself, combine the lick with a pedal tone played on the low E string.
Varying the Rhythm
Eric demonstrates a rhythmic variation on Double Wham 1 at 03:38 in the lesson video. The G and B notes are now picked separately. This rhythmic variation can also be applied to Double Wham 2.
Bending Review
Remember the proper bending techniques discussed in the previous lesson. Bring the thumb slightly over the top of the neck for extra bending leverage. This allows you to generate the bending motion from the wrist instead of the weaker finger muscles.
Video Subtitles / Captions
Hi.
Eric Madis from JamPlay.com, again.
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I am picking up where we left off in our last lesson in which we worked on the country blues double wham.
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It's a very common lick.
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Again, it was on the seventh and eighth frets of the first two strings and we had three different endings for it.
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One in which we played the open strings which gave us the option of course of going anywhere on the fret board.
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In other words, if I do this…
It allows me time to be able to move.
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The other one that was for playing downward on the neck was one in which we dropped down the index finger, down two frets.
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In other words, we dropped down in this case to the fifth fret but still on the second string like this…
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And this is especially good if you continue to go…
Down.
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So that is one other strategy and in the third strategy is where we stay where we are in third position.
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Positions are something we are going to talk about more in upcoming lessons.
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So in some cases the way that you end the lick will allow you to continue moving and one of the things we find in any style of music
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but this is true in blues is when it comes to improvisation you want to be able to use fingers
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and place your fingers in places where you can always hit the ground running.
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Where you can continue to play.
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Where the physical act of playing the instrument does not impede with your mental processes and that's very important.
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I've known a lot of students who can play the notes the right way and get the sound but then way they finger it paints themselves into a corner.
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In that case they end up having to regroup, having to reposition their hand in order to be able to continue on with their ideas
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and that momentary lapse is enough to stop the flow of thoughts.
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You want to be able to improvise so that however you think at that moment, you can go.
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Anyway, let's pick up where we are on that.
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If we take that same blues double wham and we move it up three frets to the tenth and the eleventh frets, respectively, of the first two strings.
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And resolve it on E.
In other words, the top E.
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In other words, we use our ring finger and we strike the twelfth fret on the first string.
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This is another really nice lick for E.
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So this is double wham number two and a lot of these ideas I got from Lightnin Hopkins, as I've mentioned in the past.
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So we have double wham number one.
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Number two.
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Now you can do some nice things with these licks too that you might want to think about.
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For instance here's kind of like a harmonica like approach to that double wham number one.
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Now the way that you can do that is by first place you have to vibrato it
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and in other words, vibrato-ing, again is what I've said before it's you need to have the thumb on the side of the neck, not over the top of the neck
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too much but some so that the joint here presses against the side of the neck
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and then allow the wrist to turn like you're turning a door knob backwards.
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Then while you do vibrato-ing , you pick between the second and first strings.
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So down, up, down, down, up, down, down, up, down, down.
Using your right hand technique.
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Or if you're fingerpicking, alternate with your two fingers.
Like that.
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Either way you can accomplish the same thing.
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Same thing can be done with double wham number two.
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So these are both really nice, authentic blues licks that you can add to your repertoire
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and you can develop more and more really authentic country blue licks.
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Now you may have noticed by now that before I play the lick, I always strike the tonic string, the low one.
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Now there's a reason for this.
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First place I'm not fingerpicking where I keep a constant bass on.
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It's good to develop the habit of being able to strike the bass string before you play a lick.
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Now that doesn't mean that you would do it every time or even every other time
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but a bass note played strategically in the right place when you're flatpicking is a very effective way
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of being able to accompaniment yourself when you're playing solo
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and when you're flat picking solo you need everything that you can to be able to fill the sound up and make the sound as bottom heavy as you can.
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Since you're not fingerpicking steadily like you would in a piedmont style or Texas style of blues.
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So it's a good idea every time you do a lick, as you practice them, to hit that low E or that low A or whatever the tonic string is
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and use that to fill in behind you and it'll not only help you to blend your licks in better but it will help you as you start improvising freely
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to be able to insert that bass note whenever you have time and you see fit to make the sound fuller and more bottom heavy.
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Thanks.
This is Eric and I'll see you in the next lesson.
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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Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.Eric, going thru your Electric Blues lessons and having a great time. Very precise and helpful.
Sorry I dropped the E. I meant to say "They all end with these tasty licks to the E."
Eric, I started with your blues shuffle. And I learning a whole new way to play. Now I am into the double whamies. All of you lessons have these great runs. I love your runs. And they are so tasty! But it's super hard for me to follow them. Like the country double whamie... the tabs only show the 8-7 - 10-11. Do you have tabs available for those runs you do down the neck? They all end with these tasty licks to the . I am totally into the E shuffling slow blues runs now. thanks for the lessons. -Shawn
Eric- I love your lessons, but will you be showing us how we can use them to improvise at the end of the course. I am using a backing track, and can improvise using the pentatonic scale, but don't know how to tie in the shuffle or the licks you are teaching us. Ross
Hi Eric your lessons are lifelong learning and I countinuously go thorugh them and each time I can see improvement in my playing. Per Scene 1 at 1.21 minutes " we can stay where we are at 3rd position and play some lick in E". However, we learned in lesson 22 second position and lesson 25 third position both are in A key. I believe we can use the licks here as key of E . Is this correct. Eric will you also teach us licks or positions 2 ,3 ,4 for key of E Regards Rama
Yes, Rama. These licks are executed identically in any key on the fretboard of the guitar. The only variation would be in E, which has open strings, and so some licks would use different fingers than the "closed" keys (the other 11 keys).
sorry for the typing error: " continuously , through
Those double Whams: Are you pulling slightly for those bends, or pushing?
I am pushing them. If you pull them, you will probably pull the 1st string off the fretboard. However, since the bend is so slight (not even a half-step), then you may try both and stick with what works for you.
Eric, is there any way to slow down parts of this lesson? I can't seem to grasp the lick you do from about 1:05 to 1:11- you roll through that so fast that no matter how many times I "loop" it I can't quite capture the notes. Thanks, Greg
Sorry about that! If it is ever possible for you to tune in to my weekly lesson (question and answer) on Monday, I will show that to you as slowly as you would like. Thanks!
Hi Eric, thanks for the lessons, really helping me get to jists with the "feeling" of blues. Just wanted to know if theres a document with all the licks on it, since it will cost me a lot in paper to print, and i'm getting a wee bit tired writing the tablature down. Thanks again Eric, very cool.
Hi Bob, I don't have one document with all those likcs on them, but I do have an outline that I use for teaching workshops that contains mostly all of what I have presented. However, none of that has tablature. Sorry, about that. The way I went about learning these things generally was hearing them on record and then working to acquire the technique, its timing and its application. -- Best regards--Eric