Today I would like to show you some blues licks you can play on your acoustic guitar. However I also want to take it one step further, and show you how to connect these licks together to create a really cool acoustic blues solo. It will sound like you have a bass guitar playing along with you. This kind of stuff really impresses!
Learning to play blues on the acoustic guitar can sound great, especially in the key of E. The reason why is that it allows you to use a lot of open strings in your blues licks. The open strings will have your licks resonate more than if you were in a key that had mostly fretted notes.
For this lesson, it is assumed that you are already somewhat familiar with the 12 bar blues progression. Here it is, in the key of E, if you need a refresher:
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Knowing and having this progression in your ear is a very important part of learning how to play blues on your acoustic guitar.
Lets get started by running through the following blues licks. Each lick will relate to a certain part of our 12 bar blues.
The lick above will be used for the E7 chord in our blues. It will be slightly varied each time it is used.
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This is a classic blues turnaround lick. It will be used in bars 11 and 12 which is commonly referred to as the turnaround. The purpose of the turnaround is to turn the tune back around to the start again.
Each blues lick above sounds great on its own, and can certainly be used in this way. However, we can also connect these licks together to have a more complete sounding blues on our guitar.
You may have noticed that each acoustic blues lick above started with an open string. The great thing about a blues in E is that you can use the low E and A open strings of your guitar to sound the root notes of the E7 and A7 chords.
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Learning to play your blues licks in this way sounds awesome! It gives the impression that there is a bass playing along with you, and has a much more complete sound about it. For best effect, you want to make sure that the open string rings out or drones as you play the lick.
Here is the resulting blues you get when connecting your acoustic licks together, while taking advantage of the low E and A open strings where possible:
In the example above, I have used the same basic blues lick idea for the E7 chord in bars 1 - 4 and again in bars 7 - 8. There are some slight variations each time, and in bars 7 - 8 the lick is played in the upper octave from the 12th fret.
Acoustic Blues Licks
Every other lick remains the same or very similar to when it was first introduced. In addition to the low E and A open strings ringing through, I have also added some notes to create a better sounding bass line to go with our blues licks.
The above is just one example of how to play a blues on your acoustic guitar. You can modify and simplify it however you like. It’s the use of the low open strings, to give a more complete sound, that I want you take away from this lesson.
Be sure to take your time with these ideas. Get them down as they were first introduced in this lesson, and then work on connecting them together. You should also have a go at creating your own blues licks and solo’s using this approach.Many guitarists talk about finding their own voice on the instrument. This is a noble concept, but how does one go about doing so? Producing something unique out of thin air can seem like a daunting task. However, it’s a blues tradition to combine licks and phrases from other players to produce personalized musical statements. If you look to the masters for inspiration—without copying them note for note—you can produce blues verses and solos that sound fresh and exciting. The more sources you can quote, the more original you will sound.
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Weekly Workout is a series of monthly guitar exercises made up of interesting technical workouts that will get your fretting- and picking-hand fingers working in different ways, and offer musical studies that will help you visualize and explore the fingerboard.
In this lesson we will use the classic 12-bar blues form in the key of A major to explore phrases from players like Robert Johnson, Mance Lipscomb, Lightnin’ Hopkins, and Big Bill Broonzy, as well as ideas constructed from scales and chord shapes. Putting the phrases in this context will not just provide great guitar workouts but spur your exploration of blues tropes.
The structure of the 12-bar blues can be seen as three distinct four-bar sections. In the simplest form of the first four bars, the I chord is the foundation. The second four measures offer a combination of the IV and I chords, and the final four introduce the V to the mix. This week, we’ll focus on the first four bars.
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Example 1 lays out a very basic two-string shuffle rhythm that should sound very familiar, as it has been played by countless blues and rock guitarists over the years. Play this pattern—as well as the other examples in this lesson—with a swing feel: Think of each beat as having a long-short feel to it, where the first eighth note of the beat is about twice as long as the second.
In a different direction, Example 2 shows how Robert Johnson approached these four measures on songs like “Preachin’ Blues, ” “Kind Hearted Woman, ” and “32-20 Blues”—all of which used a similar style of rhythm. Pay attention to the decreasing distance between the A7 and Adim7 chords as the section progresses.
Inspired by the work of Mance Lipscomb, Example 3 shows how the Texas bluesman often used a monotonic bass in conjunction with a long A chord shape, fretted with the first finger barring the top four strings and the fourth finger reaching up to the fifth-fret A on string 1. This phrase involves lifting the fingers off the strings and placing them back down and sliding into the chord shape.
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In Example 4, a series of dyads (two-note chords) is used to negotiate the A7 chord. The first dyad consists of the notes C# and E; this shape is moved chromatically down the fretboard until it reaches the second fret, landing on the A–C# dyad, which you might recognize as a fragment of an open A chord.
Beginners’ Tip #1 Make sure to listen to as many blues guitarists as you can and copy their moves. Then, try combining phrases from different players in the same song.Week Two: Finishing the 12-Bar Blues
This week, you’ll work on the second section of the 12-bar form (bars 5–8), which features the IV chord (D7) for the first two measures and the I for the last two. Since you have already practiced several different ways of handling the I, the examples focus on bars 5–6; to form the complete second section, just borrow two measures of any of the approaches from the previous week to play after the D7 bars.
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The pattern of Example 5 is identical to that of Ex. 1, but transposed up a fourth, or shifted over one string pair, for the D7 chord. In Example 6, which is inspired by Robert Johnson and other blues guitarists, placing the D7 chord’s third (F#) in the bass lends a cool flavor. I recommend wrapping your thumb around the neck to fret this note, freeing up your fingers for embellishments.
With a more lick-based approach, Example 7 is inspired by what Mance Lipscomb played on his song “Captain, Captain!” Fret the D chord with your second and third fingers on strings 1 and 2, respectively, leaving your first finger free for the quick hammer-on/pull-off move on the high E string. In this and other D chord examples in this lesson you will notice that the bass note is A rather than D. Many blues players used the fifth (A) in the bass for D-chord sequences, perhaps because the open A string has a little more thump to it than the open D.
In Example 8, which is inspired by Lightnin’ Hopkins, the third is once again played as the lowest note, with triplets above based on the D7 chord’s flatted seventh (C) and fifth (A). End the week with Example 9, similar to the pattern you learned for the I chord in Ex. 4, but played higher up the neck with dyads that imply D7.
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Beginners’ Tip #2 Identify several different ways to play a I–IV–V progression in a given key. If needed, consult a chord dictionary for some new shapes to incorporate in your playing.Week Three: Harmonizing the 12-Bar Blues
The harmony moves more quickly in the last section of the basic 12-bar blues form (bars 9–12): V–IV–I–V, one chord per measure. The last two bars of this section
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