
Many say that Cream was Clapton's peak. Here's a quick guide to how to get some of Slowhand's most esteemed licks under your hands.
Intermediate
Intermediate
● Discover blues rock rhythms and how to get a huge sound even when you're in a trio.
● Unlock some of Clapton's signature lead guitar techniques.
● Learn to use a wah pedal to get psychedelic sounds.
When it comes to Eric Clapton's guitar style, there is no shortage of masterful guitar techniques to dive into and study. In this article we'll focus specifically on his guitar style during the mid- to late-'60s around the formation of the band Cream.
At this point in the '60s, Clapton had just left his earlier band, the Yardbirds, and was moving on to change the course of his career forever. Cream was founded in London in 1966, and this was where they sparked a sound rooted in rock, blues, and psychedelia. While Clapton was adept at playing many styles of music at this time, the core of his playing was deeply rooted in the blues.
Clapton has always been passionate about incorporating the blues into whatever he is creating. His style is an evolution influenced by some of the greatest blues musicians of all time. His top influences are artists like the three Kings of the blues: Albert, B.B., and Freddie King, as well as Robert Johnson, Hubert Sumlin, Muddy Waters, Big Bill Broonzy, T-Bone Walker, Chuck Berry, Jimmy Reed, Otis Rush and more.
Clapton’s Blues-Rock Rhythms
Let's dive into Ex. 1 where we'll look at a 12-bar blues in the key of A. We are going to use a bass-note chord stab combined with single-note pentatonic playing and hammer-ons.
Ex. 1
Right away you'll notice the use of a "quick IV" chord in the second measure. This is a staple of the blues. A quick four is where you immediately change to the IV chord in the second measure of the chord progression. Here, Clapton would typically play a dominant 9 chord shape. Using the dominant 9 conveys a "Stormy Monday" Walker-style guitar influence.
However, in contrast to Walker's guitar style, Cream-era Clapton would be using much more distortion on his guitar tone.After the initial two eighth-notes played as a bass part, you have the chord stab on beat 2. This short staccato hit creates a backbeat feel like a snare drum hit. From there, Clapton would often continue with a repetitive riff similar to the one played in beats 3 and 4 of every measure of this example.
This type of guitar part is ideal for playing in a trio with just one guitarist. Flipping between chords and single-note lines creates the illusion of two guitar players. Clapton employed this concept extensively, and it was an underlying element to Cream's full band sound, despite it only being a trio. Examples of this style of playing can be heard in tunes like "Badge," "Lawdy Mama," and "World of Pain," among others. Clapton would often add a little bit more bite to the progression with the altered dominant E7#9 and D7#9 chord shapes. This is a sound Hendrix was also very well known for.
Ex. 2 doesn't follow the standard 12-bar blues chord progression. Instead, we are playing a vamp. Often, Cream would create these short sequences of chords. In this example, we are moving from the I chord to the IV chord in the key of A.
Cream's vamps created a hypnotic quality to their sound and gave the musicians a platform to solo over, and perform extended versions live when the studio versions just faded out. Notice the same use of the short staccato backbeat hit, but now it also incorporates hammer-ons and double-stops. This type of guitar part showcases Clapton's seamless ability to blend rhythm and lead styles.
Ex. 2
Unison String Bends
Ex 3 and Ex. 4 explore the concept of unison string bends. This is a sound used extensively by countless blues greats. It started with players like Walker, Berry, and Rush. Later, this technique continued its path straight into rock music. In contrast to those earlier players, Clapton would use more distortion and evoke a much more searing aggression to his sound with Cream.
Ex. 3
Ex. 4
In Ex. 5 we'll play the same thing as Ex. 4, but this time add in a wah pedal. By combining the use of the wah pedal and techniques like unison string bends, Clapton created a signature vocal quality to his guitar sound. This made his solos really stand out.
Ex. 5
Clapton used a wah pedal extensively with Cream, however he didn't just reserve it for lead guitar parts. There are many examples of chordal and rhythm guitar parts he played with the wah pedal too. For these types of guitar parts, Clapton would use the wah pedal in more of a fluttering style to achieve psychedelic sounds.
Ex. 6 showcases a Cream-style psychedelic chord progression with the wah pedal sweeping back and forth. Also note the subtle time signature change. Cream had many songs that had more complex time signatures and rhythmic variations. For example, have a listen to the opening section of "White Room" for a taste of some classic rock in 5/4.
Ex. 6
Double-Stops
Another essential technique for Clapton in his lead and rhythm styles is the use of double-stops. Ex. 2 demonstrated how Clapton might play double-stops combined in a rhythm guitar part. Next, we'll explore how he would use those same techniques for soloing.
Ex. 7 shows a double-stop technique like the unison string bends, but this time we'll be bending both notes of the double-stop.
To do this, Clapton would typically use his fretting hand third finger to bar down and cover the notes on the 3rd and 2nd strings. With this technique he would bend them up and then release them back down. A great example of this can be heard in the solo for "Sunshine of Your Love."
Ex. 7
Ex. 8 shows a way Clapton would use a partial double-stop in a solo to build energy and excitement through a repetitive figure. Here this riff is played on the higher strings, but Clapton would also use similar phrases on the middle strings as well. You can hear examples of this type of lick in the live version of "Crossroads," and also in the ending solo for "White Room."
Ex. 8
Ex. 9 demonstrates Clapton's blending of blues and rock while using double-stops. This type of triplet phrase combined with the double-stops is a staple for many blues musicians. They'll often use this as a turnaround lick. Clapton continued to play this type of phrase in many of his popular tunes and solos throughout his career.
Ex. 9
Arpeggios
Another must-know Clapton technique that he employed throughout Cream's catalogue is arpeggio picking. Ex. 10 demonstrates a descending Clapton-style chord progression with arpeggio picking. This type of guitar part can be heard in tunes like "Dance the Night Away," which was played on a 12-string. Clapton continued to develop this style throughout his career, and this type of picking through chord changes is prevalent in some of his most famous guitar parts.
Ex. 10
Often Clapton would use this type of playing for descending chord progressions. Ex. 11 shows another use of this style with a very common classic-rock chord progression.
Ex. 11
These influential techniques have paved the way for generations of new musicians. Whether you're just starting out in this style, or you've been playing it for years, returning to some of these core concepts and applying them in your own music will surely pay off in years to come.
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Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piere’s
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |
A sample page from the author’s analog log.
Seasonal changes are tough on your acoustic. Here’s how you can take better care of your prized instrument.
As you read this, spring is in bloom in most of the US, or maybe it has been for some time. I’m timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for what’s coming. It’s never too soon, and time flies. Before you know it, we’ll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. I’m here to encourage a decidedly old-school approach to preventative guitar maintenance, and yes, it starts now.
Why, you ask? Well, as the lead luthier at Acoustic Music Works, I can tell you that in my nearly 15 years in this position, this was the worst winter ever for preventable repairs on acoustic guitars. Fret sprout, bridge lifts, top sink, soundboard cracks, back cracks, loose binding, general malaise… These hit us very hard in the winter that spanned 2024 and 2025. Am I complaining? On the one hand, no. This is part of how we make our money. On the other hand, yes! Repair schedules related to dryness and humidity issues can stretch into weeks and even months, and nobody wants to be without their favorite instruments for that amount of time. With a little thoughtfulness, however, you might get through next winter (and every one thereafter) without hefty repair bills or time apart from your musical companion.
Our preparation is going to start with an unlikely but very important guitar accessory: the humble notebook. Plain, lined, grid, day planner… it doesn’t matter. We all need to actively participate in our instrument maintenance, and in my experience, fancy apps that track humidity via Bluetooth breed a kind of laziness, a feeling of safety that might prevent us from actually physically looking in on conditions. Better we keep an analog, well, log, so that we know where things stand, and I suggest checking in daily.
“This was the worst winter ever for preventable repairs on acoustic guitars.”
Track your relative humidity, both in the case and in the room where your instruments mostly reside, but also take notes on your action height, top deflection (StewMac has some great tips for measuring this) and anything related to playability that you believe you can observe empirically.
Dryness is the root cause of most guitar issues that manifest in the fall and winter months. Symptoms of dryness include sharp fret ends, falling action and dead frets, sunken top around the sound hole, and cracks and bridge lifts. With your trusty notebook, you’ll get a feel for the sensitivity level of your instrument, and that knowledge is power!
A few other basic implements will not only assist you in your observations, but may also satisfy your need to buy guitar-related things (at least for a minute). Getting quick and comfortable with a fret rocker is a great skill to have, and is invaluable in diagnosing buzzes due to high frets or frets that have come unseated due to dryness. A well-calibrated relief gauge might seem luxurious, but it can prevent you from making unnecessary or extreme truss rod adjustments. A string action gauge, or even a simple machinist’s rule or set of feeler gauges, will help you keep track of your action. Get a three-pack of hygrometers so you can average their readings, rather than depending on one.
Lest we forget: A guitar can not only be too dry, it can also be too wet. By beginning your maintenance diligence in the spring/summer, you’ll also be able to tell if your instrument is the victim of a too-humid environment. The signs of over-humidification are subtle: Your action may rise from a puffed-up top, and in extreme cases, glue joints could begin to fail. In my experience, an over-humidified guitar will suffer from dulled tone, almost like a sock in the sound hole. If you’re sensing a lack of clarity in your guitar all of a sudden, start with new strings. If it persists, it might be due to over-humidification, and you may want to introduce a desiccant to the case for a time. The more lightly built your guitar is, the more sensitive it will be to seasonal changes.
By getting into these habits early, you’ll be empowered by knowing your instrument more intimately. You’ll understand when and why changes in tone and playability might have occurred, and you’ll hopefully save on repair bills year-round. Feel free to reach out with any questions. Who knows? I might just send you a notebook with an AMW sticker on the cover!