
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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Lutefish, the real-time music collaboration device and platform, is excited to announce a suite of new features designed to simplify setup, streamline collaboration, and offer more flexible subscription options for Lutefish Stream users. These latest updates, Audio Presets, Automatic Session Recall, Improved Scheduling with Contact Visibility, and a new Yearly Subscription Plan, are all about making it easier than ever for musicians to jam together, no matter where they’re based.
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This option is now available within the Lutefish app and web platform, and current monthly users are eligible for a discount with an upgrade to a yearly subscription.
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The veteran Florida-born metalcore outfit proves that you don’t need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).