
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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Few musical acts did more to put their fame and fortune to good use than punk rock icon Wayne Kramer. Known for his enduring commitment to activism, especially in justice reform, his life story embodies the defiant, DIY ethos of punk, directly inspiring generations of bands and musicians who followed. Now, fans and fellow musicians alike can attempt to emulate Kramer’s incendiary sound with the new, limited-edition pedal.
Designed before his death in February 2024, Wayne Kramer—together with friend Jimi Dunlop (Dunlop CEO) and Daredevil Pedals owner Johnny Wator —the pedal features artwork from artist and activist Shepard Fairey (Obey Clothing founder). A majority of profits from the sale of the pedal goes directly to Kramer’s charity supporting the rehabilitation of incarcerated people of all ages, genders, and backgrounds.
In honor of his close friend, Tom Morello—the innovative guitarist behind Rage Against the Machine, Audioslave, the Nightwatchman, and more—demoed the pedal, showcasing its sound and shining light on Wayne Kramer’s incredible legacy.
Tom Morello Introduces MC5 Wayne Kramer-Inspired Pedal For Charity: MXR Jail Guitar Doors Drive
"What they've tried to bake into the MXR® Jail Guitar Doors Drive distortion pedal is not just Wayne's sound but Wayne's attitude, and the grit and the rawness of Detroit and of the MC5," said Morello, one of Kramer’s best friends, during his demo of the pedal. "This is the guitar pedal that was used on the song 'Heavy Lifting' that I recorded with Wayne for the last MC5 record.
"Named after the late rocker's charity—which provides instruments and art workshops to incarcerated individuals as rehabilitation tools—the MXR® Jail Guitar Doors Drive pedal aims to capture all of the high-voltage energy of Wayne Kramer's sound. It features two uniquely voiced gain circuits cascaded together with a singular pot controlling both the output level of each circuit and the overall saturation level of the distortion.
Music makers looking to capture Kramer’s raw, fiery sound can pick up the new MXR® Jail Guitar Doors Drive pedal, exclusively on Reverb via The Official MXR Jail Guitar Doors Drive Reverb Shop for $199, here: https://reverb.com/shop/the-official-mxr-jail-guitar-doors-reverb-shop.
PG contributor Tom Butwin reveals his favorite songwriting secret weapon: the partial capo. Watch how the Shubb C7 and C8 can simulate alternate tunings without retuning your guitar—and spark fresh creative ideas instantly.
Shubb C8b Partial Capo for Drop-D Tuning - Brass
The C8 covers five of the six strings, leaving either the low E or high E string open, depending on how it's positioned.
- Standard setup: Placed on the 2nd fret while leaving the low E string open, it simulates Drop D-style sounds—except you're still in standard tuning (key of E). You get that big, droning bass feel without retuning.
- Reverse setup: Flipping the capo allows the high E string to ring, giving you shimmering drones and new melodic options across familiar chord shapes.
- A flexible tool that lets you simulate alternate tunings and create rich sonic textures—all while keeping your guitar in standard tuning.
Shubb C7b Partial Capo for DADGAD Tuning - Brass
The C7 covers three of the six strings—either D, G, and B or A, D, and G—depending on how it's flipped.
- Typical setup (D, G, B): Creates an open A chord shape at the 2nd fret without needing your fingers. This frees you up for new voicings and droning notes in the key of A.
- Reversed setup (A, D, G): Gets you close to a DADGAD-style tuning vibe, but still keeps you in standard tuning—great for modal, spacious textures often found in folk or cinematic guitar parts.
Use it alone or stack it with the C8 for wild, layered effects and truly out-of-the-box inspiration.
PRS Guitars celebrates 40 years with the limited edition McCarty SC56. Featuring vintage-inspired design and modern innovations, this single-cutaway guitar pays tribute to Ted McCarty and his impact on the industry. With only 400 pieces available, this instrument is a must-have for collectors and performers alike.
PRS Guitars today announced the 40th Anniversary McCarty SC56 Limited Edition. With a classic PRS single-cutaway body shape and carefully chosen specifications, the McCarty SC56 is both a tribute to tradition and a reliable tool for the modern performer. Only 400 pieces will be made.
“The SC56, signifying Singlecut and 1956, model is our most recent tribute to my late mentor Ted McCarty and his impact on the guitar industry. We started with our take on a classic late ‘50s singlecut body. 1956 marks the year that Ted first had guitars made with his newly coined 'humbucker' pickups. It also happens to be the year I was born. Bringing vintage design into the modern era, we loaded this model with our McCarty III pickups, meticulously designed to deliver warm, clear, vintage tone with exceptional note separation and dynamics,” said PRS Guitars Founder & Managing General Partner, Paul Reed Smith.
Anchored by a maple top and mahogany back, the 24.594” scale length and 22-fret Pattern Vintage neck work with Phase III non-locking tuners and PRS two-piece bridge to promote its musical sustain. The PRS McCarty III pickups are controlled by a simple layout — two volume controls, two tone controls, and a three-way toggle on the upper bout.
Single-cutaway guitars are known to be heavier than their double-cutaway counterparts. The McCarty SC56 Limited Edition design incorporates weight-relief, decreasing the weight of the guitar by about 2/3 of a pound, while maintaining several points of attachment between the guitar top and back to eliminate the “hollow” sound of the cavities and promote tone transfer.
With appointments like binding on the fretboard, classic bird inlays, and a vintage-inspired nitrocellulose finish, the 40th Anniversary McCarty SC56 Limited Edition blends heritage and innovation into a timeless instrument.
PRS Guitars continues its schedule of launching new products each month in 2025.
For more information, please visit prsguitars.com.
40th Anniversary McCarty SC56 Limited Edition | Demo | PRS Guitars - YouTube
The Future Impact V4 is an incredibly versatile pedal with an exceptional range of sounds. In addition to producing synthesizer sounds such as basses, leads and pads, it can function as an octaver, chorus, flanger, phaser, distortion, envelope filter, traditional wah-wah, tremolo, reverb, etc., and even has a built-in tuner. It can potentially replace an entire pedalboard of dedicated single-effect pedals.
The very powerful signal processor of the Future Impact V4 is able to replicate the various oscillator, filter, amplifier and envelope generator blocks found in classic synthesizers. In addition, it contains signal processing blocks more traditionally used for processing the sound of an instrument such as a harmonizer block and audio effects such as chorus, distortion and EQ. These architectures complement each other in a very flexible way.
Setting the standard for the bass guitar synth pedals since 2015, together with an enthusiastic community and long line of great artists, the Future Impact V4 is the guitar synth platform for the next decade.