As guitarists we love to solo over the blues, it’s exciting, creative, and there’s something about digging into a blues solo that just feels right. But, the reality is that we spend most of our time playing rhythm guitar when jamming with fellow blues musicians. Because of this, you need to make sure you’re prepared with enough riffs and chords to be creative and interactive with your rhythm blues playing.
This lesson helps you move beyond open and barre chords, as well as teaches you an essential blues rhythm riff to add to your blues playing.
Have fun with these riffs and chords, then take them to your next blues jam to take your rhythm playing to the next level.
Blues Guitar Backing Tracks
To begin, you learn the shapes used to create the rhythm riff in the G blues study below. Start by playing up and down these shapes in each key to become familiar with how they sit on the fretboard.
Use only your index and ring fingers to play these notes, no need to use your pinky here, as it’s your weakest finger.
Here are all three chord shapes from the G blues used in the two studies later in this lesson. Play through each one to become familiar with these shapes, and notice that they don’t contain a root note (or the root isn’t the lowest note).
Blues Guitar Rhythm Techniques
Notice that the D7 uses a D7#9 sound (the Jimi Hendrix chord), to add tension over that bar in the progression. Using a 7#9 chord over a V7 is a common way to create tension and resolution in a blues chord progression. If you like that sound, take it out of this study and add it to your playing over other blues tunes.
The progression is a basic G blues (I-IV-V), but you can apply this riff to any variation of the blues progression you want to play.
Start by playing the study without tempo to get your fingers around the shapes and transitions between chords. Then, play along with a metronome until you get it up to speed and can jam it along with the track.
Master Blues Guitar
The chord shapes aren’t overly difficult to get down with a little practice, but the rhythms can be tricky. Because of this, count along, work these shapes slowly with a metronome at first, then build up to playing the study with the track below.
Now that you have the two parts worked out separately you bring them together for a call and response type rhythm part.
By doing so you mix the two textures in your accompaniment, creating variety and inspiration for a vocalist or soloist playing over your rhythm part.
A Comparative Study Of Rhythm Guitar Styles
Go slow with this study, as it takes time to bring both parts together. While you can play the riff and chords on their own, it’s the transition between the two that takes time to smooth out in your playing.
Then, when you can do that, play along with the audio example below before playing the study on your own over the backing track.
The chord shapes aren’t overly difficult to get down with a little practice, but the rhythms can be tricky. Because of this, count along, work these shapes slowly with a metronome at first, then build up to playing the study with the track below.
Now that you have the two parts worked out separately you bring them together for a call and response type rhythm part.
By doing so you mix the two textures in your accompaniment, creating variety and inspiration for a vocalist or soloist playing over your rhythm part.
A Comparative Study Of Rhythm Guitar Styles
Go slow with this study, as it takes time to bring both parts together. While you can play the riff and chords on their own, it’s the transition between the two that takes time to smooth out in your playing.
Then, when you can do that, play along with the audio example below before playing the study on your own over the backing track.
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