The New Orleans rockers show off the gear that powers their energetic live shows.
As usual, there is more to this lesson than the title implies. We will be working with one chord shape at a time, but over the course of the lesson we’ll study three different shapes. The final example in this lesson incorporates all three shapes to demonstrate how a few basic ideas can provide us with infinite possibilities.
It is important to know that for every chord name in this lesson there are countless shapes—also known as fingerings or voicings—available. For this lesson, I chose what I consider to be the most practical and flexible shapes.
A relatively straightforward shape, the A7 form only requires two fingers, and if you can manage to keep the open 5th string ringing and get the G on the 1st string to sound, the rest will eventually make itself heard.
Like all of the examples in this lesson, Ex. 1 is a 12-bar blues using the I, IV, and V chords with a “quick change.” That means we’ll be moving to the IV chord in measure two rather than staying on the I chord for four measures. Both the quick change and non-quick change forms are commonplace in the blues repertoire. Additionally, all examples will move the chord shape(s) up and down the guitar neck, allowing us to play through the entire progression. The real fun begins with modifications you can generate using right-hand rhythmic patterns.
For Ex. 1, merely finger the A7 shape, strum the basic rhythmic pattern, then move the shape from the 2nd fret (think of the barre in this shape as your fret point of reference) up to the 7th fret. Wondrously, the A7 shape now sounds a D7 chord! That’s because even though the shape hasn’t changed, the fretboard position has. A static shape with lots of movement—that’s the secret. To complete the 12-bar blues form, simply move the A7 shape up to the 9th fret for the E7 chord.
Things start to get interesting in Ex. 2, and yes, we do modify the shape ever so slightly. First let’s address the right-hand pattern. You can play this figure using your fingers or a pick (I used my fingers in the audio) as you alternate between the open 5th string and the chord. Meanwhile, your left hand has some work to do as well. You’ll be lifting off your third finger between each A7 chord to allow the 2nd fret notes to ring (with the barre), which creates an A6 chord. This A7–A6 relationship is lifeblood to the blues. This pattern may be noticeably harder for some beginners. If so, don’t concern yourself with moving to the other positions, just work on the A7-A6 movement. Once that is manageable, the shifting shouldn’t cause you too much distress.
Note: When you move to the D7 chord at the 7th fret, you should play the 4th string open for the bass note. Likewise, when playing the E7 at the 9th, play the 6th string open.
Ex. 3 continues our theme with the E7 shape. This might be more challenging than the A7 shape, but stick with it—it’s an essential grip. As with the previous example, this one focuses on the right hand for variety. But unlike the previous examples, I used a flatpick when recording this track. Don’t fixate on getting every single note right, but be loose and aim for the essence of the chord. Missing a note or two isn’t a big deal. Only on the B7 shape does accidently hitting the 1st string imply some non-blues color you might want to avoid … maybe not. I kept a fluid down-up strumming pattern throughout this example, but once you have the basics down, feel free to mix it up.
Ex. 4 stays with the same E7 shape, although now we will be very specific with our right hand. This is a common fingerpicking pattern, with the thumb handling the 6th, 5th, and 4th strings, and the fingers picking the rest. At first, focus more on the picking pattern than the chord movement, as it’s the fingerpicking that’s vital to this style of playing. Note that you do not play the open 1st string on the B7 chord, otherwise the pattern is uniform throughout.
You could argue I should have started this lesson with the D7 shape, as it is probably the easiest shape to play. Consider my saving it for last as a reward for making it this far! In Ex. 5, I’ve gone electric and added bass and drums to demonstrate how these shapes work in any context.
Ex. 5 is two choruses of a 12-bar. The first sticks with our unwavering right-hand picking pattern and left-hand movement up and down the neck. The second proves that, with rhythmic variation, one can create boundless combinations when playing with simple shapes.
Finally, Ex. 6 incorporates all three shapes into two choruses of a 12-bar blues. The first chorus applies the shapes in their most basic forms, the second chorus displays more functionality and complexity.
I hope this lesson has shown you that the modesty of basic chord shapes and the predictability of a chord progression are not a measure of aptitude. A better gauge of proficiency? The capability to imagine and create incalculable variations from a small number of rudimentary concepts.
My years-long search for the “right” Bigsby-outfitted box finally paid off. Now how do I make this sumbitch work in my band?
Considering the amount of time I’ve spent (here and elsewhere) talking about and lusting after Gretsch hollowbody guitars, it’s taken me a remarkably long time to end up with a big Bigsby-outfitted box I truly love. High-end Gretsches are pricey enough that, for a long time, I just couldn’t swing it. Years ago I had an Electromatic for a while, and it looked and played lovely, but didn’t have the open, blooming acoustic resonance I hoped for. A while later, I reviewed the stellar Players Edition Broadkaster semi-hollow, and it was so great in so many ways that I set my sights on it, eventually got one, and adore it to this day. Yet the full-hollowbody lust remained.
I’ve long been more of a single-coil player than a humbucker guy, so the more I thought about it, the more intrigued I was by the idea of a hollow with pickups that weren’t of the Filter’Tron variety. I also liked the idea of a lower-key aesthetic. So in early April, after a bunch of research and listening, I pulled the trigger on a beauty from the other stellar “G” hollowbody brand. With its transparent blonde finish and P-90-esque Franz single-coil pickups, the Guild X-175B Manhattan I picked up ticks both boxes nicely. And for a very reasonable used price, too.
After outfitting it with a set of Thomastik-Infeld flatwound strings, I ended up loving the Manhattan’s woody resonance so much I had to try it with my band. Problem is, I play in a drums-and-guitar duo where my Vibrolux Reverb runs in tandem with a bass amp to fill out the sonic space (two of my main band axes are baritones, and a keyboard goes through the same pedalboard and amp array). As you might’ve guessed, the Manhattan did not initially love the bass amp. When I plugged in with my usual settings, the howling was so rabid I figured the Guild would never work out at band volumes—or at least not in that band.
You can’t ride the wild horsey without widening your entire playing mindset to be much more cognizant of when something … threatens to cause a fit of mad buzzing.
But the more I played the 175B through other amps and at quieter volumes, the more I realized I had to give it another go. The guitar’s acoustic depth and the Franz’s clear-but-mellow, almost Jazzmaster-esque response are so old-school charming but big and bold and vibrant that I decided it might be worth revamping settings for the entire bass-and-guitar-amp rig.
Figuring it all out has been a wild mustang ride. Tremolo and vibrato intensity needed to be increased a tad to yield the same vibes they do with other guitars. But my usual gnarly fuzz tastes are too out-of-control and indistinct with the Manhattan, so fuzz might be off the board indefinitely. The good news is that you can work that howling susceptibility to your advantage and create huge, pulsating sounds that are as bombastic in their own way as a fuzzed-out solidbody.
To bridle the beast, I tried shoving a sock or four through the f-holes. It worked a bit, but it also deadened the sound and killed that “alive” feeling that makes the resonating body so cool to work with in the first place. So out the socks went. Interestingly, bringing down the volume of the Vibrolux—not the bass amp—helped significantly, though I refuse to take it below 3 because it just won’t sound right. Being mindful of how playing positions and proximity to the amps exacerbate the problem are also key. Even so, you can’t ride the wild horsey without widening your entire playing mindset to be much more cognizant of when something—most often it’s simply sustaining a 6th-string note—threatens to cause a fit of mad buzzing. It’s an entirely new world of dynamics, dampening, and muting, with both your fretting and your picking hands.
We’re still experimenting with how all this might shake out in the band, but so far the sounds and overall vibes are so cool we’re considering adjusting song arrangements, instrumentation, and tunings to better coalesce around the Guild’s wonderful sounds. (The simplicity of one guitar, one keyboard, and not too many pedals has its attendant benefits, too, including a streamlined sonic aesthetic and reduced time and technical issues between songs.) Anyway, wish us luck!