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Lone Star, Continued
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Tab 1: PDF - PTB
from David Hamburger’s Blues Architect
This month we will be taking a look at the rhythm part for last month’s installment of Blues Architect. The guitar is essentially doubling the bass part, but the added, non-melodic rhythmic elements differentiate the guitar from the bass.
Muting is key to the effective use of percussive elements within a rhythm part, with the majority of the responsibility falling on the left hand. Laying fretting fingers across unused strings while using a wide pick stroke helps, and don’t be afraid to hang the thumb over the low E string for muting chores. For example, in the first measure mute the strings with the flattened part of your ring finger while striking the first non-chord jab, then use it to mute the A string while playing the open E. This will also set you up to hit the next note – the octave E on the A string, seventh fret. Next up is the B on the E string, seventh fret, all covered by the ring finger. The first finger then frets the final note in the phrase with a D, the fifth fret on the A string. Continue with the muted rakes in-between the fretted notes to keep the swing feel going. Also look for the walk up to the A9 in the ninth measure.
The same phrase is moved up to the IV chord in measure ten, but this time we fret the root on the fifth fret of the low E rather than strike the open A string. Fretting the note makes muting easier, but try substituting the open string once the technique becomes more familiar. Measure 16 sees the phrase move to the B9 chord and uses the same pattern as the A9 phrase.
To get a better handle on some of these techniques, check out Duke Robillard, who may currently be the most well known practitioner of jump blues and swing guitar. He was the original founder of Roomful of Blues and has worked with pianist and bandleader Jay McShann and jazz guitarist Herb Ellis – be sure to visit him online at dukerobillard.com
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