How To Play

Blues Ukulele
From HowToPlayUkulele.com
Page 1
Contents
Contents
Introduction
Page 3
1
1
Blues Chord Progressions
Blues Chord Progressions
Page 4
2
2
Blues Ris
Blues Ris
Page 23
!
!
Intros" #utros and Turnarounds
Intros" #utros and Turnarounds
Page 30
$
$
Blues %oloing Techni&ues
Blues %oloing Techni&ues
Page 38
'
'
Blues %oloing
Blues %oloing
Page 46
(
(
Putting It )ll Together
Putting It )ll Together
Page 74
Click the chapter titles to get to the page.
Page 2
Introduction
Introduction
"Blues on the ukulele? Don't e ri!iculous."
"hat's the reaction #ou're likel# to get $ro% %ost people. Don't listen to
the%. "here's a long histor# o$ lues ukers $ro% 'Papa' Charlie &ackson
through 'ait (use to pla#ers like &ason )ri%oto to!a#. (ore
i%portantl# than that* it !oesn't %atter +hich instru%ent #ou're pla#ing
the lues on , or e-en +hich notes #ou're pla#ing , ut +h# #ou're
pla#ing the%.
. +as !iscussing the issue o$ lues on the ukulele +ith "o!! (aul!in ,
singer/guitarist +ith "he 0ellusters an! keen uker , an! he 1uote!
Cornel 2est's response to eing aske! i$ he +as opti%istic aout the
$uture3
".'% a lues %an. ) lues %an is a prisoner o$ hope. 0ope +restles
+ith !espair* ut it !oesn't generate opti%is%. .t 4ust generates
this energ# to e courageous* to ear +itness* to see +hat the en!
is going to e. 5o guarantee* un$inishe!* open,en!e!. .'% a
prisoner o$ hope. .'% going to !ie $ull o$ hope."
)n! "o!! a!!e! to this3
") lues %an +ith a ukulele is # !e$inition a prisoner o$ hope...
hope that this little instru%ent +ill e ale to e6press the soul o$
%an. . encourage #ou to approach the lues +ith #our instru%ent
+ithout apolog#... #ou %a# e 7nglish* #ou %a# e $ar re%o-e!
$ro% "the lan! +here the lues egan" an! o$ !i$$erent econo%ic*
social an! racial strata than so%e lues e6ponents* ut that isn't
re%otel# i%portant... since clearl# it resonates +ith #ou at a !eep
ele%ental le-el* as it !oes +ith e-er#o!# +ho has the lues*
+hich is e-er# li-ing hu%an. "he $ree!o% an! reellion +orke! $or
#ou. 8oo!9 (e* it's the spiritual si!e* the attle o$ goo! an! e-il in
the hu%an heart an! soul. :o%e 4ust !ig the rh#th%. 2e o+n it all
in this art an! +hen #ou kno+ the "+h#"* #our in!i-i!ual* speci$ic
particular "+h#"* then the "+hat" is eas#."
:o once #ou'-e $igure! out +h#* the rest o$ the ook +ill help #ou out +ith
the eas# part o$ +hat to pla#.
Page 3
1
1
Blues Chord Progressions
Blues Chord Progressions
"he li$e o$ a lues %usician isn't an eas# one. ;our +o%an !one le$t #ou.
;ou ain't got nothing le$t to lose. ;ou +ake up in the %orning an! ha-e
to search roun! $or #ou shoes. But one thing #ou !on't ha-e to +orr#
aout is is co%ing up +ith chor! progressions.
"he %a4orit# o$ lues songs are ase! on a -er# si%ple t+el-e ar
pattern containing 4ust three chor!s. .n this chapter* +e'll look at ho+ to
pla# this pattern* -ariations on it* ho+ to stop it getting oring an! a
-ariet# o$ other progressions use! in st#les that gre+ out o$ the lues
such as countr# lues an! 4u%p lues.
1.1 1.1 %hule Rhythm %hule Rhythm
1.2 1.2 12 Bar Blues 12 Bar Blues
1.! 1.! *ariations on the 12 Bar Blues *ariations on the 12 Bar Blues
1.$ 1.$ The Blues %hule The Blues %hule
1.' 1.' #ther Blues Chord Patterns #ther Blues Chord Patterns
Click the titles to e taken to each section.
Page 4
1.1
1.1
%hule Rhythm
%hule Rhythm
"he %ost i%portant rh#th% in lues is the shu$$le rh#th%. "his is a
si%ple !o+n,up stru% ut the !o+n stroke <the $irst part o$ the eat=
lasts longer than the up stru%. "his pro!uces a kin! o$ holing rh#th% ,
usuall# re$erre! to as s+ing ti%e.
Co%pare the soun! o$ the $irst part o$ 76a%ple > <+hich #ou can $in! in
the $ol!er %arke! '(P3s'= +ith the secon!.
"he $irst part is a plain !o+n,up stru% +ith no s+ing. .n the secon!
part* the sa%e chor! is pla#e! +ith a shu$$le rh#th% gi-ing it a %uch
%ore interesting soun!.
"echnicall# speaking* the $irst part o$ the eat shoul! e t+ice as long as
the secon! part <so the $irst note takes up t+o thir!s o$ the eat=.
0o+e-er* it !oesn't help to think in these ter%s +hen #ou're pla#ing it.
.t's %uch easier 4ust to get into the groo-e o$ it.
.n ta* #ou can tell a song that's pla#e! in this +a# +hen #ou see this at
the top o$ the ta sheet3
)l%ost all the e6a%ples in this ook are pla#e! using the shu$$le rh#th%.
Page 5
1.2
1.2
12 Bar Blues
12 Bar Blues
"he -ast %a4orit# o$ lues songs <an! rock an! roll songs= are ase! on a
t+el-e ar pattern +hich is repeate!. ?-er ti%e there ha-e een %an#
-ariations on this pattern.
1.2.1
1.2.1
12 Bar Blues in C
12 Bar Blues in C
"he si%plest t+el-e ar lues looks like this in the ke# o$ C3
76a%ple 2
@ C @ C @ C @ C @
@ A7 @ A7 @ C @ C @
@ 87 @ A7 @ C @ C @
?nce #ou get to the en! o$ the pattern* #ou can go straight ack to the
eginning or $inish up +ith one stru% o$ the root chor! <in this case C= as
. !o in this e6a%ple.
.'-e gone +ith the CB chor! shape $or C. "his gi-es the chor! %ore
a%iguit# +hich suits the lues# soun!. But going +ith the usual C chor!
+ill also soun! right.
Page 6
1.2.2
1.2.2
12 Bar Blues in )
12 Bar Blues in )
"his pattern can e pla#e! in an# ke#. Aor e6a%ple* it +oul! look like
this in the ke# o$ ).
76a%ple 3
@ ) @ ) @ ) @ ) @
@ D7 @ D7 @ ) @ ) @
@ 77 @ D7 @ ) @ ) @
1.2.!
1.2.!
12 Bar Blues in )ny +ey
12 Bar Blues in )ny +ey
;ou can use this pattern to pla# a t+el-e ar lues in an# ke# #ou +ant.
)ll o$ the% use 4ust three chor!s +hich #ou can insert into pattern like
this3
@>st chor! @>st chor! @>st chor! @>st chor!
@
@2n! chor! @2n! chor! @>st chor! @>st chor!
@
@3r! chor! @2n! chor! @>st chor! @>st chor!
@
:o in the ke# o$ C the $irst chor! is C* the secon! chor! is A7 an! the
thir! chor! is 87.
.$ #ou are $a%iliar +ith chor! theor#* #ou'll recognise this as a .,.C,C3
@ . @ . @. @. @
@.C7 @.C7 @. @. @
@C7 @.C7 @. @. @
.$ #ou're not into chor! theor# an! that %akes no sense to #ou* ignore it9
Page 7
"he chor! sets in each ke# are3
1st Chord (I) 2nd Chord (IV) 3rd Chord (V)
C A7 87
CD AD7 8D7
D 87 )7
7 )7 B7
7 )7 B7
A B7 C7
AD B7 CD7
8 C7 D7
8D CD7 DD7
) D7 77
B 77 A7
B 77 AD7
:o i$ #ou +ante! to pla# in the ke# o$ 83
@>st chor!E8 @>st chor!E8 @>st chor!E8 @>st chor!E8
@
@2n! chor!EC7 @2n! chor!EC7 @>st chor!E8 @>st chor!E8
@
@3r! chor!ED7 @2n! chor!EC7 @>st chor!E8 @>st chor!E8
@
:o #ou'! get
@8 @8 @8 @8 @
@C7 @C7 @8 @8 @
@D7 @C7 @8 @8 @
Page 8
1.!
1.!
*ariations on the 12 Bar Blues
*ariations on the 12 Bar Blues
?-er ti%e the t+el-e ar pattern has een shi$te! aroun! an! a!!e! to
in a huge -ariet# o$ +a#s. 0ere's one possile -ariation3
76a%ple B
@ C @ A7 @ C @ C @
@ A7 @ )!i% @ C @ C @
@ 87 @ A7 @ C @ C 87 @
"his contains three popular -ariations3 the A7 in ar 2* the ) !i%inishe!
chor! an! the 87 <C= chor! in ar >2. Aor the last ar* .'% stru%%ing
!o+n once on the C chor! e$ore pla#ing the 87. .t a!!s an e6tra it o$
rh#th%ical interest.
Page 9
"he %ost co%%on place to $in! -ariations in the >2 ar lues pattern is
in the turnaroun!* i.e. the last t+o ars o$ the progressions. 0ere's a
turnaroun! . like to use in the ke# o$ )3
76a%ple 6
@ ) @ D7 @ ) @ ) @
@ D7 @ D7 @ ) @ ) @
@ 77 @ D7 @ ) )7 D D% @ ) A7 77 @
"here's a lot going on in the last t+o ars o$ that progression. .t creates
a great run o$ !escen!ing notes* an i!ea +e'll co%e ack to +hen +e
look at turnaroun!s in %ore !epth.
"he stru%%ing pattern $or the last t+o ars is 1uite trick#. 0ere it is3
;ou can %i6 an! %atch an! pla# aroun! +ith the patterns an! co%e up
+ith #our o+n -ariations.
Page 10
1.$
1.$
The Blues %hule
The Blues %hule
2ith a single chor! lasting $or up to $our ars in a t+el-e ar
progression* it can eco%e a little %onotonous. "o spice things up a
little* it is co%%on to use 6th an! 7th chor!s.
Aor e6a%ple* t+o ars o$ C %ight e pla#e! like this3
76a%ple 7a
Page 11
)n! t+o ars o$ A3
76a%ple 7
2hen .'% pla#ing this one* .'% stopping the 8 string $ro% ringing #
ringing %# thu% o-er the neck an! resting it against the 8 string.
Ainall#* t+o ars o$ 83
76a%ple 7c
Page 12
"hro+ these into the >2 ar chor! pattern an! #ou get this3
76a%ple 8
Page 13
"he sa%e thing can e !one in an# ke# , #ou can $in! a $ull list o$
patterns in the $ol!er %arke! ')ppen!i6'. Aor e6a%ple* it +oul! go like
this in ).
76a%ple F
Page 14
"here are plent# o$ -ariations o$ this pattern aroun!. Aor e6a%ple* #ou
coul! s+itch ack to the original chor! et+een the 6 an! 7 chor!s like
this3
76a%ple >0a
?r change the stru%%ing pattern. "his ne6t e6a%ple creates a little
4u%p in the rh#th% # %issing out one o$ the !o+n stru%s.
76a%ple >0
"his ne6t e6a%ple uses a triplet stru%. Aor this one* . stru% !o+n +ith
%# in!e6 $inger* !o+n +ith %# thu% then up +ith %# in!e6 $inger. ;ou
can see a !e%onstration # Gil 'e- here.
76a%ple >0c
Page 15
1.'
1.'
#ther Blues Chord Patterns
#ther Blues Chord Patterns
"he tra!itional t+el-e ar has !e-elope! o-er ti%e* %i6ing +ith
!i$$erent st#les an! i!eas an! changing as it goes along. "his section
takes a look at so%e o$ the +a#s the >2 ar lues has een a!apte!.
1.'.1
1.'.1
, Bar Blues
, Bar Blues
5ot all lues songs are arrange! into >2 ar sections* %an# are 8 ar
progressions. )gain* there are %an# -ariations on this* ut here's %#
$a-ourite.
76a%ple >>
@ ) @ )7 @ D7 @ )!i% @
@ ) AD% @ B%7 77 @ ) D7 @ ) 77HB @
Page 16
1.'.2
1.'.2
BB +ing %tyle Blues
BB +ing %tyle Blues
"his chor! progression in the st#le o$ BB Iing has a $e+ si%ilarities to
the >2 ar pattern ut has a %ore 4aJJ# soun! to it.
76a%ple >2
@ C% @ C% @ C% @ C% @
@ )7 @ )7 @ C% @ C% @
@ )7 @ 87 @ C% @ C% @
1.'.!
1.'.!
Country Blues
Country Blues
'oert &ohnson's They're Red Hot <co-ere! # 'e! 0ot Chilli Peppers=
an! Your Southern Can Is Mine. <co-ere! # "he 2hite :tripes=.
76a%ple >3
@ C @ )7 @D7 87 @ C @
@ C @ )7 @D7 @ 87 @
@ C @ C7 @A @ )!i% @
@ C @ )7 @D7 87@ C @
Page 17
1.'.$
1.'.$
-um. Blues
-um. Blues
&u%p lues is an upte%po st#le that co%ines the lues +ith 4aJJ* s+ing
an! ig an! %usic. .t ha! a ig re-i-al in the F0s +ith an!s like "he
Brian :etJer ?rchestra an! the 'o#al Cro+n 'e-ie+.
0ere's a $airl# si%ple take on a 4u%p lues -ersion o$ the >2 ar lues.
76a%ple >4a
@ C @ C @ C @ C7 @
@ AF @ AF @ C @ C @
@ 8F @ AF @ C AF @ C7 )F 8F @
.'% using a Lust for Life inspire! rh#th% an! it's a little trick#.
"he stru% pattern stretches across t+o ars. "he pattern starts +ith
three !o+n stru%s. ;ou +ant to keep these stru%s $airl# short. )$ter
#ou'-e stru%%e!* release the pressure on the chor! until it stops
soun!ing <ut #ou're still touching the string= to gi-e it a staccato soun!.
Page 18
)$ter the three !o+n stru%s* co%es three up stru%s. "hen #ou're !o+n*
up* !o+n* up until the en!.
76a%ple >4
"he last $e+ ars are stru%%e! like this.
76a%ple >4c
.n the secon! ar* #ou ha-e to sli!e !o+n the entire chor! shape $ro%
)F to 8F.
)n! +hile +e're on the su4ect o$ interesting rh#th%s...
Page 19
1.'.'
1.'.'
Bo /iddley Blues
Bo /iddley Blues
.$ #ou think ha-ing onl# three chor!s in a song is a it %ini%alistic* #ou
shoul! check out Bo Di!!le#. :ongs like Hey, Bo Diddley and Bo Diddley
are %a!e up al%ost e6clusi-el# o$ one chor!. "he onl# %o-e in those
songs is the occasional %o-e !o+n t+o $rets $or a ar or less. 0e coul!
get a+a# +ith it ecause he ha! so%e $antastic rh#th%s.
0ere's an e6a%ple o$ the Bo Di!!le# st#le rh#th%
76a%ple >B
2hen #ou're stru%%ing this* it's i%portant to keep #our stru%%ing han!
%o-ing in a stea!# up,!o+n rh#th%. "he up arro+s are !o+n stru%s an!
the !o+n arro+s are up stru%s <it's con$using* . kno+=.
Aor the rests <the !iagonal line +ith a couple o$ !ots sitting on it=* #ou
stru% ut !on't hit the strings. Aor the !ea!ene! notes <the ro+s o$ Ks=*
#ou stru% ut rest #our $retoar! han! on the strings so the# 4ust %ake
a 'chunk' soun!.
.t !oesn't %atter too %uch i$ #ou pro!uce 'chunk' +here a rest shoul! e
or -ice -ersa. But %ake sure #ou create the $ull chor!s in the right place
to %ake the s#ncopate! rh#th%.
Page 20
Bo Di!!le# +oul! o$ten thro+ in the sa%e chor! higher up the $retoar!
an! create so%ething like this3
76a%ple >6
Put the% oth together an! #ou get e6a%ple >7 <on the ne6t page=.
Page 21
76a%ple >7
Page 22
2
2
Blues Ris
Blues Ris
)s the lues !e-elope! it eca%e increasingl# co%%on $or lues songs
to e ase! on ri$$s <short* repeate! %usical phrase= rather than chor!s.
Blues %usicians such as (u!!# 2aters an! &ohn Gee 0ooker , +hose
st#les +e'll e co-ering in this section , e6tensi-el# use! ri$$s in their
songs an! +ere a huge in$luence on the %usicians o$ the lues re-i-al in
the >F60s. :o %uch so that an!s re+orke! ol! lues songs +ith ri$$s ,
the %ost success$ul o$ these eing Crea%'s electri$#ing retake o$ 'oert
&ohnson's Crossroads .
"his chapter takes a look at a nu%er o$ !i$$erent ri$$s an! sho+s ho+
#ou can co%ine ri$$s* stru%s an! the >2 ar pattern $or the ulti%ate
lues acco%pani%ent.
2.1 2.1 0uddy 1aters %tyle Ri 0uddy 1aters %tyle Ri
2.2 2.2 -ohn 2ee Hooker %tyle Ri -ohn 2ee Hooker %tyle Ri
2.! 2.! Bo /iddley %tyle Ri Bo /iddley %tyle Ri
2.$ 2.$ %te3ie Ray *aughan %tyle Ri %te3ie Ray *aughan %tyle Ri
Click the title to e taken to the section.
Page 23
2.1
2.1
0uddy 1aters %tyle Ri
0uddy 1aters %tyle Ri
"his ri$$ is a lues classic an! has een use! an! a!apte! a %illion ti%es
# all sorts o$ an!s. ?ne notale e6a%ple is )C/DC's Whole Lotta Rosie.
)t its si%plest* an! in the ke# o$ C* it goes like this3
76a%ple >8
"his is a guitar st#le +a# o$ pla#ing it e6cept . use %# thu% rather than
a pick.
Aor a -ersion that suits the uke %ore* #ou can a!! so%e chor! notes to
$lesh out the soun! such as this -ersion in 83
76a%ple >F
"his -ersion also contains !ea!ene! notes <the crosses=. "hese are
pro!uce! # resting #our $retting lightl# on the strings <4ust hea-il#
enough to stop the strings ringing= so that it creates a 'chunk' rather than
a note.
"o pick this one* . use %# thu% to stru% !o+n on the 8 an! C strings
an! %# in!e6 $inger to stru% up on the 7 an! ) strings.
Page 24
2.2
2.2
-ohn 2ee Hooker %tyle Ri
-ohn 2ee Hooker %tyle Ri
"his ri$$ is si%ilar to the (u!!# 2aters st#le ri$$ an! uses the sa%e set o$
notes3
76a%ple 20
)gain* .'% using %# thu% to pick this one. But this ti%e .'% also resting
the un!ersi!e o$ %# stru%%ing han! against the string to !ea!en it
slightl#.
2.!
2.!
Bo /iddley %tyle Ri
Bo /iddley %tyle Ri
)s +ell as his tra!e%ark chor! st#le* Bo Di!!le# also use! ri$$s in songs
like 'oa!runner.
76a%ple 2>
"his is one o$ the $e+ e6a%ples in the ook not pla#e! +ith a shu$$le
rh#th%.
Page 25
'i$$s can e arrange! into the stan!ar! >2 ar lues pattern # shi$ting
the% up to %atch the chor! changes.
"o create a >2 ar pattern $ro% this ri$$ in C* #ou'! nee! to %o-e it up
$i-e $rets so it's in A3
76a%ple 22
)n! an! up se-en $rets $or 83
76a%ple 23
"here are a couple o$ +a#s #ou can pick these patterns !epen!ing on
ho+ $ast #ou +ant to pla# the%. "he eas# +a# is to use #our thu% $or
all the notes. But i$ #ou +ant to pla# it at a high te%po* #ou'll ha-e to
use #our in!e6 an! %i!!le $ingers alternatel# <%aking a 'running %an'
t#pe %otion +ith the%=.
Page 26
Putting all the patterns together in a >2 ar $or%at +oul! go like this3
76a%ple 24
Page 27
2.$
2.$
%te3ie Ray *aughan %tyle Ri
%te3ie Ray *aughan %tyle Ri
:te-ie 'a# Caughan o$ten use! ri$$s si%ilar to the one +e look at in the
pre-ious e6a%ple as the asis $or his songs such as Pri!e an! &o#. "his
e6a%ple is an e6tension o$ the last one +ith the ri$$ ascen!ing in the
$irst ar* then !escen!ing in the secon!.
76a%ple 2Ba
(o-ing it up $i-e $rets gi-es #ou the pattern $or the A part o$ the >2 ar
lues.
76a%ple 2B
Page 28
'ather than 4ust pla#ing the ri$$ in each ke#* #ou can %i6 things up a
little # s+itching et+een the ri$$ an! the chor!s like this.
76a%ple 26
Page 29
!
!
Intros" #utros and
Intros" #utros and

Turnarounds
Turnarounds
"he# sa# e-er# no-el nee!s a eginning* a %i!!le an! an en!. 71uall#*
e-er# lues song nee!s a eginning* a %iserale an! an en!.
Guckil# $or us* lues eginnings* %i!!les an! en!s are prett# %uch
interchangeale. ;ou can take an intro an! use it as a turnaroun! or*
+ith a slight a!4ust%ent* as an outro.
.n this chapter* +e'll e looking at a $e+ intro an! turnaroun! options
$ro% the likes o$ 'oert &ohnson an! :te-ie 'a# Caughan* u%pteen
!i$$erent +a#s to use chro%atic notes $or #our intros an! the %inor
change #ou ha-e to %ake to turn these into outros.
!.1 !.1 %te3ie Ray *aughan %tyle %te3ie Ray *aughan %tyle
!.2 !.2 Ro4ert -ohnson %tyle Ro4ert -ohnson %tyle
!.! !.! /escending Turnarounds /escending Turnarounds
!.$ !.$ Turnaround To #utro Turnaround To #utro
Click the titles to e taken to each section.
Page 30
!.1
!.1
%te3ie Ray *aughan %tyle
%te3ie Ray *aughan %tyle
"his is a $airl# si%ple turnaroun! ase! strongl# on the chor!s in the last
$our ars o$ a >2 ar progression in ).
76a%ple 27
"he last chor! in ars one an! t+o soun! -er# !iscor!ant on their o+n.
But in the conte6t* an! +hen pla#e! 1uickl#* the# a!! %o-e%ent to the
progression.
)t the en! o$ this phrase #ou can either go straight ack to the
eginning o$ the >2 ar pattern or #ou can pla# an ) chor! to turn it into
an outro.
Page 31
!.2
!.2
Ro4ert -ohnson %tyle
Ro4ert -ohnson %tyle
?ne o$ the %ost co%%on $eature o$ turnaroun!s is a series o$
!escen!ing chro%atic notes. .t's a trick 'oert &ohnson use! regularl#.
"hese t+o ars take the place o$ ars >> an! >2 in the >2,ar lues.
.n the ke# o$ A3
76a%ple 28
"his -ersion #ou can pla# 4ust stru%%ing. Aor the !oule! notes .
stru%%e! all o$ the% !o+n+ar!s +ith %# thu%. "hen use! %# in!e6
$inger $or the !a%pene! notes an! the $ull chor!s.
Page 32
'oert &ohnson use! e6tensi-e $ingerpicking $or his pla#ing* +hich +oul!
translate to so%ething like this on the uke3
76a%ple 2F
0ere .'% using %# thu% to pla# the notes on the C string an! %# in!e6
$inger to pla# the notes on the 7 string. "hen . s+itch to stru%%ing $or
the chor!s.
Page 33
!.!
!.!
/escending Turnarounds
/escending Turnarounds
"here are a huge nu%er o$ -ariations on the chro%atic !escen!ing i!ea
in e-er# ke#. 0ere's a asic one in the ke# o$ )3
76a%ple 30a
;ou can pla# this e6a%ple in the ke# o$ C 4ust # %o-ing e-er#thing up
three $rets.
76a%ple 30
Page 34
"his stru%%e! -ersion can e a!apte! in %an# +a#s an! pla#e! $inger,
picking st#le like this3
76a%ple 3>
.n or!er to pick these e6a%ples* .'% using %# thu% on the C string*
in!e6 $inger on the 7 string an! %i!!le $inger on the ) string $or the $irst
hal$. Aor the 77 chor!* . %o-e each $inger !o+n a string <so the thu% is
on the 8 string* in!e6 $inger on the C string* %i!!le $inger on the 7
string an! ring $inger on the ) string=. .$ #ou nee! a re$resher on notation
$or $ingerpicking* #ou can $in! it here.
)nother popular -ariation is this3
76a%ple 32
Page 35
"his -ersion opens up the possiilit# o$ creating a little %elo!# on the
top string alongsi!e the !escen!ing pattern.
76a%ple 33
"his is a little trick# to pla#* ut it's -er# e$$ecti-e so +ell +orth
practicing.
Lsing the re,entrant string* #ou can pla# this -ariation o$ e6a%ple 2F
76a%ple 34
0ere #ou are pla#ing the sa%e notes on the 8 string as #ou +ere on the
) string an! lea-ing the 7 an! ) strings to ring open , creating a slightl#
!i$$erent $eel.
Page 36
;ou can a!apt this $or $ingerpicking like this3
76a%ple 3Ba
!.$
!.$
Turnaround To #utro
Turnaround To #utro
"he turnaroun!s +e'-e looke! at so $ar can e -er# easil# turne! into
outros. )ll #ou ha-e to !o is replace the open en!e! C chor! at the en!
o$ the phrase <77 +hen #ou are pla#ing in )= +ith a %o-e to the C chor!
then ack to the ho%e/. chor!.
:o* #ou coul! trans$or% e6a%ple 3Ba into an outro like this.
76a%ple 3B
Page 37
$
$
Blues %oloing Techni&ues
Blues %oloing Techni&ues
.t's no secret that the %ost i%portant aspect o$ lues soloing is the $acial
e6pressions. ) length# stu!# o$ BB Iing +ill gi-e #ou $ull kno+le!ge o$
such ge%s as the 'hang!og'* the 'oh* that tickles'* the 'punche! # the
in-isile %an'* an! the 'ikini +a6'.
"his chapter goes o-er so%e o$ the less essential techni1ues use! in
lues soloing such as en!s* -irato* ha%%er,ons* pull,o$$s an! sli!es.
$.1 $.1 Blues Bends Blues Bends
$.2 $.2 *i4rato *i4rato
$.! $.! Hammer5#ns 6 Pull5#s Hammer5#ns 6 Pull5#s
$.$ $.$ %lides %lides
Click the titles to get to each section.
Page 38
$.1
$.1
Blues Bends
Blues Bends
:tring en!ing is an integral part o$ lues guitar pla#ing. :tring en!ing
can e use! to recreate the soun!s o$ the hu%an -oice +hether it's
+ailing an! screa%ing or %oaning.
Ln$ortunatel#* en!ing !oesn't trans$er too +ell to the ukulele. "he
n#lon strings !on't take to en!ing as +ell as steel strings !o <#ou'll
ne-er hear ent notes in classical an! $la%enco pla#ing +hich also use
n#lon strings= an! the narro+ neck o$ the ukulele !oesn't lea-e #ou %uch
roo% $or en!s. But it's such an i%portant part o$ lues* that #ou ha-e
to at least hint at it.
Ben!s are pla#e! # picking a single note as nor%al* then pushing the
string up to+ar!s #our hea! +ith #our $retting $inger <%aking sure that
#ou !on't slip onto a !i$$erent $ret=. "he# are tae! like this3
)t the top o$ the arro+ is a nu%er. "his in!icates ho+ %uch #ou shoul!
en! the note. >/2 %eans that #ou en! the string up > $ret. .n the
e6a%ple ao-e* #ou pick the note at the se-enth $ret as usual* then
en! the string until it is the sa%e pitch as a note pla#e! at the eighth
$ret. "his takes a $air it o$ practice to get right* particularl# on the
uke. 0ere's a co%%on lick +ith en!s in the ke# o$ C.
76a%ple 36
Page 39
.n lues* #ou'll o$ten hear ent notes along +ith stale notes.
.n e6a%ple 37 #ou pla# oth the 7 an! ) strings at the se-enth $ret an!
en! 4ust the 7 string.
76a%ple 37
76a%ple 38 is si%ilar ut #ou pla# the 7 string* en! it* pla# the ) string
<+hile the 7 string is still ent=* then pla# the 7 string again an! release
the note.
76a%ple 38
Page 40
$.2
$.2
*i4rato
*i4rato
Cirato is a tre%le that is a!!e! to notes* particularl# at the en! o$ a
phrase. "he %ost co%%on +a# to pro!uce -irato is to repeate!l# en!
an! release a note. "here's a -i!eo o$ )lert Collins e6plaining his
-irato techni1ue here.
Cirato is sho+n in ta # a +a-# line ao-e the note.
76a%ple 3F
Car#ing the a%ount o$ en! an! the spee! +ill gi-e #ou !i$$erent $or%s
o$ -irato. BB Iing* $or e6a%ple* has a -er# rapi! -irato.
)s +ith en!ing* controlling -irato on n#lon strings is %uch %ore
challenging than steel strings. )n alternati-e +a# o$ creating -irato is
to rock #ou $inger on the string creating a s%all %o-e%ent +ithin the
$ret. "his creates a %ore sutle $or% o$ -irato.
Page 41
$.!
$.!
Hammer5#ns 6 Pull5#s
Hammer5#ns 6 Pull5#s
0a%%er,ons an! pull,o$$s are +a#s o$ changing $rets +ithout re,picking
the string.
76a%ple 40
.n this e6a%ple* #ou pla# the 7 string at the thir! $ret as usual then
ha%%er !o+n #our in!e6 $inger at the $i$th $ret.
76a%ple 4>
Pull,o$$s are the e6act opposite. Airst #ou pla# the higher note +hile
$retting the lo+er note as +ell. "hen take #our $inger o$$ so the lo+er
note soun!s.
.$ #ou pull the string !o+n -er# slightl# +hen #ou release it* #ou can
pro!uce a little e6tra -olu%e in the string +hich %eans #ou can keep a
series o$ ha%%er,ons an! pull,o$$s going in!e$initel#.
Page 42
76a%ple 42
0a%%er,ons an! pull o$$s are o$ten use! as grace notes i.e. -er# short
notes e$ore the note itsel$. "he# are tae! like this3
76a%ple 43
Page 43
$.$
$.$
%lides
%lides
:li!es %ake a goo! sustitution $or en!s on the uke. "he# are pla#e! #
picking one note* then sli!ing #our $inger up or !o+n the $retoar! to
the ne+ $ret. "his can take a it o$ practice e$ore #ou accuratel# sli!e
to the $ret #ou are ai%ing $or. (ake sure #ou ha-e a $ir% grip on the
neck o$ the uke.
:li!es are tae! +ith a !iagonal line et+een the t+o notes.
76a%ple 44
.n e6a%ple 44 there is a sli!e et+een the thir! an! $i$th $ret.
:li!es are o$ten use! as grace notes in lues at the start o$ a phrase like
this3
76a%ple 4B
"his is a sli!e in '$ro% no+here'. "he sli!e is so 1uick* it's not clear
+here it starts. ;ou pla# it # starting to sli!ing $ro% t+o or three $rets
lo+er than the target note as soon as* or e-en slightl# e$ore* #ou pick
the note.
Page 44
2ith en!s eing trick# on the ukulele* sli!es %a!e a great sustitute.
Aor e6a%ple* the large en! at the en! o$ e6a%ple 36 is 1uite trick# an!
coul! e replace! +ith a sli!e to %ake this3
76a%ple 46
Page 45
'
'
Blues %oloing
Blues %oloing
)l%ost all lues solos are i%pro-ise!. 0o+e-er* the# are i%pro-ise!
+ithin tight oun!aries. "he %ost con$using insult .'-e e-er recei-e!
+as* ""hat's not i%pro-ising* #ou're 4ust %aking it up as #ou go along." )s
o6#%oronic as that see%s* there is a truth in it. .%pro-ising isn't 4ust
pla#ing an#thing at all. "o e e$$ecti-e* it has to e %ore $ocuse!.
"he lues $or% is one o$ the %ost restricti-e there is. (ost lues solos
contain no %ore than si6 notes* an! %an# 4ust $i-e.
7-er# lues pla#er has a set o$ licks <short %usical phrases= that the# can
pull out !uring a solo an! create -ariations on. "his chapter takes #ou
through three !i$$erent scales #ou can use as a asis $or #our i%pro-ising
an! gi-es #ou plent# o$ licks ase! on these scales.
'.1 '.1 0inor Pentatonic %cale 0inor Pentatonic %cale
'.2 '.2 Trans.osing the Pentatonic %cale Trans.osing the Pentatonic %cale
'.! '.! Im.ro3ising Ti.s Im.ro3ising Ti.s
'.$ '.$ %el )ccom.anied Blues %el )ccom.anied Blues
'.' '.' 0inor Pentatonic %econd Position 0inor Pentatonic %econd Position
'.( '.( 0inor Pentatonic Third Position 0inor Pentatonic Third Position
'.7 '.7 0inor Pentatonic Fourth Position 0inor Pentatonic Fourth Position
'., '., 0inor Pentatonic Fith Position 0inor Pentatonic Fith Position
'.8 '.8 Using the Re59ntrant %tring Using the Re59ntrant %tring
'.1: '.1: The Blues %cale The Blues %cale
'.11 '.11 0a;or Pentatonic %cale 0a;or Pentatonic %cale
Page 46
'.1
'.1
0inor Pentatonic %cale
0inor Pentatonic %cale
"he pentatonic scale is the %ost use! scale in lues %usic. )s the na%e
suggests* there are onl# $i-e notes in the scale.
Gike all scales* the pentatonic scale is set up accor!ing to the !istance
et+een the notes starting on the root note o$ the scale <e.g. C is the
root note +hen #ou're pla#ing in the ke# o$ C=.
"he C,%inor pentatonic scale looks like this in ta3
76a%ple 47
?n the %p3* an! +ith all the scales patterns* . start out +ith the root
chor! <in this case C= to set the tone $or the scale.
)n! this on the $retoar!3
.n this !iagra%* the re! s1uares in!icate the notes that $all +ithin the C
%inor pentatonic +ith the $ille! in s1uares eing the root notes. Gater
on* it's going to e i%portant that #ou kno+ +hich notes in the scale are
the root notes.
Page 47
;ou can use an# o$ the notes in this pattern to solo o-er a chor!
progression in the ke# o$ C <#ou can use the acking tracks in the (P3
$ol!er or recor! #our o+n=.
Aor e6a%ple* here's the sort o$ lick #ou coul! pla# using these notes3
76a%ple 48
Page 48
)n! here's an e6a%ple o$ a turnaroun! using this pattern
76a%ple 4F
Page 49
'.2
'.2
Trans.osing the Pentatonic %cale
Trans.osing the Pentatonic %cale
?nce #ou'-e got the pattern $or the C %inor pentatonic un!er #our
$ingers* #ou use the sa%e shape to pla# o-er a lues progression in an#
ke#.
"he i%portant thing to note is +here the root note o$ the scale is.
0ere* the root note <C= is the $irst an! last note o$ the pattern.
"o pla# o-er a chor! progression in D* all #ou ha-e to !o is shi$t the
pattern up t+o $rets so the root notes are no+ Ds <C string secon! $ret
an! D string $i$th $ret=.
.$ #ou +ante! to pla# in A* #ou'! %o-e the pattern up so the pattern
starts on the $i$th $ret.
Page 50
"o illustrate the i!ea* take this -er# si%ple <an! oring= lick using the C
%inor pentatonic scale3
76a%ple B0a
.n the ke# o$ D* e-er# note in the lick +oul! e t+o $rets higher3
76a%ple B0
)n! in A it +oul! e3
76a%ple B0c
;ou can $in! ta $or the %inor pentatonic scale in e-er# ke# in the
appen!i6.
Page 51
'.!
'.!
Im.ro3ising Ti.s
Im.ro3ising Ti.s
'.!.1
'.!.1
<uestion and )nswer Phrasing
<uestion and )nswer Phrasing
)lthough #ou can noo!le these notes to #our heart's content* it's use$ul
to gi-e #our i%pro-ising so%e structure. ?ne co%%on techni1ue is to
arrange phrases into 1uestions an! ans+ers.
2hen people ask a 1uestion* their -oice naturall# raises to+ar!s the
en! o$ the sentence. 2hen %aking a state%ent* the intonation ten!s to
e !o+n+ar!s <hence :tephen Ar#'s consternation at the )ustralian
Muestion .ntonation , starts at aroun! 8 %inutes=.
(i%icking these traits can %ake lues phrases $eel like 1uestions an!
ans+ers.
76a%ple B>
Page 52
'.!.2
'.!.2
%hort Phrases
%hort Phrases
2hen #ou're i%pro-ising* it's est not to let #our phrases ra%le on an!
on. ) goo! gui!e is to keep the% aroun! the length o$ a spoken
sentence.
'.!.!
'.!.!
Final =otes
Final =otes
"he notes chosen in the e6a%ple also contriute to the 1uestion an!
ans+er $eel. "he last note in the 1uestion is a B. B is not in the C
chor!* so the the phrase soun!s un$inishe!. "he ans+er* on the other
han!* en!s in a C note , the root , so it gi-es the phrase a $ir% en!ing.
.t's a general rule that i$ #ou +ant a strong en!ing to a phrase $inish on a
note in the chor! <particularl# the root note=. :o i$ #ou're pla#ing in the
ke# o$ C* pla#ing a C note at the en! o$ the phrase +ill gi-e the solo a
strong $inish.
Page 53
'.$
'.$
%el )ccom.anied Blues
%el )ccom.anied Blues
:o $ar these licks ha-e een ai%e! at pla#ing against so%e sort o$
acking. But it's 1uite possile to incorporate these lues licks into a
solo piece.
"o %ake sure that the piece !oesn't start to lose $ocus* al+a#s keep
track o$ the chor! progression in #our hea!.
.n e6a%ple B2 on the ne6t page* there's a t+o ar intro then a stan!ar!
>2 ar lues.
"o %ake sure the chor! changes are clear* . a!! in little snippets o$ the
chor!s. Aor e6a%ple* the $irst notes o$ ar >> are part o$ the 8 chor!
an! the $irst notes o$ ar >2 are part o$ the A chor!.
.t's not al+a#s necessar# to e 1uite as e6plicit as this* ut #ou !o ha-e
to e clear in #our hea! +hereaouts in the t+el-e ar progression #ou
are.
Page 54
76a%ple B2
Page 55
'.'
'.'
0inor Pentatonic> %econd Position
0inor Pentatonic> %econd Position
"he %inor pentatonic pattern +e ha-e een looking at so $ar is kno+n as
the $irst position , as it starts +ith the root note o$ the scale.
(o-ing up the $retoar! an! starting +ith the secon! note o$ the
pentatonic scale* #ou get a +hole ne+ pentatonic pattern3
76a%ple B3
"his pattern contains the sa%e notes as the $irst pattern +e looke! at
ut +ith the notes in a !i$$erent position on the $retoar! e.g. the $i$th
$ret on the C string is the sa%e as the $irst $ret on the 7 string.
"here's a slight !i$$erence et+een patterns an! scales. :cales al+a#s
start an! en! +ith the root note* +hereas this pattern , an! the ones
that $ollo+ , contain the notes o$ the scale in an# or!er. "he i!ea is to
ha-e these patterns in #our %in! as #ou're i%pro-ising an! select notes
$ro% the%. Because the pattern itsel$ !oesn't start or en! +ith the root
note* #ou nee! to e care$ul to e%phasiJe the root note , the ones that
are locke! in re!.
Page 56
Pla#ing +ith the secon! position patten opens up ne+ soun!s an! ne+
licks. .t is proal# the %ost popular pattern $or pla#ing lues licks as it
is the $irst position o$ the scale on the guitar.
76a%ple B4
?n the %p3 #ou can hear it pla#e! slo+l# on its o+n* then up to spee!
+ith a acking.
76a%ple BB
)n! #ou can co%ine notes $ro% this pattern an! the $irst position
pattern. 0ere's a si%ple e6a%ple going $ro% the secon! position to the
$irst3
76a%ple B6
Page 57
)n! here's another* slightl# %ore in-ol-e!* one going in the opposite
!irection3
76a%ple B7
Gike the $irst scale shape* this one can e %o-e! up an! !o+n the neck
to $it +ith the ke# #ou're pla#ing in.
:o D +oul! e t+o $rets higher like this3
Page 58
"his shape is particularl# han!# +hen #ou're pla#ing in the ke# o$ ) since
#ou can pla# an# o$ the strings open.
:o #ou can use it to pla# licks like this3
76a%ple B8
?r this3
76a%ple BF
Page 59
'.(
'.(
0inor Pentatonic> Third Position
0inor Pentatonic> Third Position
(o-ing up to the ne6t shape* #ou get this3
76a%ple 60
(# $a-ourite trick to pull out in this position is a set o$ ha%%er ons.
76a%ple 6>
Page 60
0ere's an e6a%ple o$ a transition $ro% the secon! position to the thir!
position.
76a%ple 62
"he en! in this e6a%ple is slightl# !i$$erent as it is !one +ith the in!e6
$inger. "his is a little tougher to !o an! %ight take a little practice.
Page 61
'.7
'.7
0inor Pentatonic> Fourth Position
0inor Pentatonic> Fourth Position
"his scale pattern !oesn't $all too easil# un!er the $ingers* so it's not one
. use -er# o$ten.
76a%ple 63
0ere's a turnaroun! i!ea using this pattern.
76a%ple 64
Page 62
'.,
'.,
0inor Pentatonic> Fith Position
0inor Pentatonic> Fith Position
"he last %inor pentatonic position an! one o$ %# $a-ourites to use.
76a%ple 6B
"his pattern +orks +ell in the ke# o$ D +here #ou can use plent# o$ open
notes.
76a%ple 66
Page 63
0ere's a lick in the ke# o$ D using this pattern.
76a%ple 67
"his pattern $its +ith the original* $irst position pattern to gi-e #ou this3
:o #ou can pla# licks that %i6 these t+o patterns together such as this.
76a%ple 68
Page 64
'.8
'.8
Using the Re59ntrant %tring
Using the Re59ntrant %tring
:o $ar +e'-e een $ocusing on using the C* 7 an! ) strings. "he lues +as
!e$initel# not !e-elope! +ith the ukulele in %in!* ut . like to use the
the re,entrant string to pla# interlocking 1uestion an! ans+er phrases
such as this.
76a%ple 6F
.n this phrase #ou ha-e the '1uestion' en!ing on the ) string +hich is
sustaine! o-er the ans+er pla#e! %ainl# on the reentrant string.
Page 65
'.1:
'.1:
The Blues %cale
The Blues %cale
Don't panic* #ou !on't nee! to learn a +hole ne+ scale. "he lues scale
is 4ust the pentatonic +ith the a!!ition o$ one e6tra note. "his note
crops up et+een the thir! an! $ourth note o$ the pentatonic scale. "his
note is the $lattene! $i$th <si6 $rets ao-e the root= an! is o$ten re$erre!
to as the De-il's note.
.n the ke# o$ C* the e6tra note is AD. "his %akes the $irst position C lues
scale this3
76a%ple 70
0ere's a lick using this pattern3
76a%ple 7>
Page 66
"he e6tra note $its into so%e o$ the positions %ore co%$ortal# than
others , #ou can $in! a $ull list o$ lues scale patterns in the appen!i6. .t
$its into the $ourth position nicel#.
76a%ple 72
)n! here's a lick using this pattern
76a%ple 73
.n the sa%e +a# +e !i! +ith the %inor pentatonic in 76a%ple B3* #ou
can use the t+el-e ar lues an! the lues scale together to create a
solo lues piece such as this. )gain* it's a t+o ar intro $ollo+e! # a >2
ar lues pattern.
Page 67
76a%ple 74
Page 68
'.11
'.11
0a;or Pentatonic %cale
0a;or Pentatonic %cale
Blues is %ostl# associate! +ith %inor scales* ut the %a4or pentatonic
scale !oes get a look in. .t is -er# co%%on $or lues phrases to contain
notes $ro% oth the %a4or an! %inor pentatonics.
Gearning the %a4or pentatonic scale is e-en si%pler than learning the
lues scale. ;ou !on't ha-e to learn an# ne+ shapes or notes. )ll #ou
ha-e to !o is re%e%er that the %a4or pentatonic scale is the sa%e as
the %inor pentatonic scale $or the ke# three $rets lo+er.
Aor e6a%ple* #ou +ant to pla# o-er a chor! progression in the ke# o$ C.
"hree $rets elo+ C is ). :o the C %a4or pentatonic is the sa%e as the )
%inor pentatonic.
:o #ou can use this ) %inor pentatonic shape
)s a C %a4or pentatonic shape.
76a%ple 7B
"he sa%e is true all the +a# up the neck. )n# o$ the ) %inor pentatonic
patterns +ill +ork as a C %a4or pentatonic.
Page 69
Proal# the %ost $a%ous lues song $eaturing the %a4or pentatonic is
Hideaway # Are!!ie Iing an! later co-ere! # the 7ric Clapton era
Bluesreakers.
0ere's so%ething in a si%ilar st#le.
76a%ple 76
Page 70
?nce #ou're $a%iliar +ith oth the %inor an! %a4or pentatonic scales*
#ou can tr# co%ining notes $ro% oth o$ the% into a single phrase.
"his gi-es #ou plent# o$ notes to choose $ro%. 0ere's one pattern in the
ke# o$ C3
)n! here's a lick using %ost o$ these notes.
76a%ple 77
Page 71
Chuck Berr# regularl# use! notes $ro% oth %inor an! %a4or pentatonic
scales in +a#s like this.
76a%ple 78
Page 72
.'% $inishing o$$ this chapter +ith one o$ %# $a-ourite +a#s to $inish a
song* here's an outro , in the ke# o$ ) , +hich uses notes $ro% the %a4or
pentatonic* %inor pentatonic an! lues scales. .t's one o$ the %ost
ri!iculous licks .'-e e-er pla#e! an!* there$ore* a +hole lot o$ $un.
76a%ple 7F
Page 73
(
(
Putting It )ll Together
Putting It )ll Together
5o+ that #ou'-e got the skills to pa# the ills* #ou'll +ant to put
e-er#thing #ou'-e learne! together. "his $inal chapter o$ the ook takes
a look at a single piece , 76a%ple 80 , that co-ers so%e o$ the licks*
scales an! chor! progressions +e'-e looke! at.
"he piece kicks o$$ +ith 76a%ple 33 use! as an intro. "hen it %o-es into
a slo+ >2 ar lues. "his part uses the sel$,acco%panie! lues i!eas +ith
chor! stru%s $itte! in et+een solo licks. "o $inish o$$ this section*
76a%ple 3Ba is use! $or the turnaroun!.
)$ter that* the te%po kicks up an! it goes into a lues shu$$le. Gike the
e6a%ples +e looke! at in part >.4* it contains )* )6 an! )7 chor!s ut
this ti%e arrange! into a t+o ar pattern. "he stru%%ing $or this part is
4ust up* !o+n* up* !o+n... $or the $irst eight ars.
.n ars 23 an! 24 there's a slight !i$$erence in the A7 chor!. .'% 4ust
%o-ing the 77 chor! shape up one $ret +hich creates a lues# an!
!iscor!ant A7%a47.
)t ar 27 there's the stru%%ing pattern +e co-ere! in 76a%ple >4 +ith
the chor!s transpose! , an! slightl# a!apte! , into the ke# o$ ). "he
turnaroun! $or this section %i6es together the turnaroun!s $ro%
76a%ples >4 an! 6.
Aor the $inal >2 ar section +e return to the shu$$le pattern +ith a $e+
-ariations thro+n in an! 76a%ple 7F use! as the ig $inish.
"he piece cra%s in %ore i!eas than #ou'! usuall# +ant to put together*
ut hope$ull# it gi-es #ou so%e i!eas $or uil!ing #our o+n pieces.
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