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Premier Clinic: Blues
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“Come On” Rhythms
from Joe Deloro’s Blues Rock Road Trip
This month’s lesson is based loosely on different versions of Earl King’s, “Come On (Let The Good Times Roll).” That is, the rhythm parts are reminiscent of Jimi Hendrix’s cover version on his Electric Ladyland album. The parts we’ll be looking at could be used as a possible rhythm part for a Verse or Chorus – make sure to head online to premerguitar.com to study the corresponding solos for these rhythms. Solos over this rhythm section will generally be based on the E pentatonic minor scale, but you can also work with the major 3rds of the I and IV chords (G# and C#), as well as chromatic passing notes. To truly understand these rhythms, make sure to listen to the sources mentioned above, and if you’re not already familiar with it, Stevie Ray Vaughan’s version as well.
This part of the song utilizes a sort of call and response structure – we’ll be strumming while the vocalist sings, and playing fills in between those lines. Let’s start from the beginning of the tune, first with the measure-long lead-in. We’re in the fifth fret area, which you can think of as a C-shaped E7 area, where we have a pentatonic minor fingering. We’re working it on the bass strings, and move that pentatonic minor shape down to the lowest position in the course of the intro measure.
After the quick intro vamp, we move back to that C-shaped E7#9 chord, coming in on beat two. On the upbeat of beat four we use a nice leading voice, which prepares us for the change to A7, but keeps using the same amount of strings. After a few strums of the A7, we hit our first fill between vocals. You’ll really want to practice your transitions here, between the single line fills and chord comping, to make sure that you can move quickly and seamlessly between the two.
After returning to the E7#9 chord for some more strumming, we’ll move back down to our lower pentatonic minor shape, utilizing a couple of pull offs and varying it rhythmically – at this point, by using a bit of vibrato. In measure 9, we are going to begin our approach to the V chord. We’ll do this by outlining E7 and then walking chromatically up to the V, which is B7#9. More specifically, we’ll play the minor 7th on the fifth fret, the 3rd on the third fret, the 5th – this time on the second fret – and another bend of our minor 3rd before the chromatic walk to the V chord.
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