rockabilly

I’ve employed this chord sequence as a musical and versatile approach to embellishing the potentially mundane sound of a one-chord vamp.

Chops: Intermediate
Theory: Intermediate
Lesson Overview:
• Understand the basic elements of playing in the style of Freddie Green.
• Learn how to play three-note major and dominant chord voicings.
• Apply these shapes to different styles such as Gypsy jazz and rockabilly.

Click here to download a printable PDF of this lesson's notation and MP3 examples.

This is my first offering in my lesson series called Orange Guitar. I thought I’d demonstrate an idea that is easy, but sounds evolved. My favorite! I’ve used these chord shapes in every musical style imaginable, and they continue to be the staple of rhythmic swing-based playing. Let’s call it the “Freddie Green Walk-Up.” I’ve employed this chord sequence as a musical and versatile approach to embellishing the potentially mundane sound of a one-chord vamp. Best of all, it’s easy and I think it sounds great.

First, let’s learn the first two starting chords shown in Fig. 1, G7 and G6. One important thing—make sure your fingers approach the chord at an angle or a slant. This will mute all the open strings without any effort or thought. If angling your hand is uncomfortable then make sure the guitar is not parallel with your body. The guitar neck should be pointing out a bit from your body. The plus side is your fretting arm has more room to move and is more relaxed. The minus might be losing some visual access to the fretboard. But give it a try, as this allows for a relaxed strumming technique you might not attain holding the back of the guitar firmly against your chest. Now that we are comfortable with G7 and G6, let’s learn the walk-up. You can start with either G6 or G7, depending on genre and mood. For a more "bluesy" feel use G7; for a more major sound, use G6.



You can see in Fig. 2 how the walk-up works over two measures of G7. We take the shape that appears on beat 2 of the first measure and move it up chromatically. Now, let’s transpose the walk-up from G6 to C6, and then D7 as shown in Fig. 3. Again, it helps to angle your fretting hand so it naturally and easily mutes all the unwanted open strings. 



Remember, you can create many tonal variations through the placement of your picking hand. Notice that when you pick in the center of the guitar (above the soundhole on a standard acoustic), you create a rounder, mellower sound than if you pick by the bridge, where the sound becomes thinner and more metallic. Repositioning your picking hand is a technique that can be used to create dynamics and drastic changes in tone.

Next, here are some approaches for the walk-up that allow for genre hopping. The first is a Django-style swing feel using G6, C6, and D7 walk-ups. The strumming hand moves from your collarbone to your belt—it’s a large strum that might feel ostentatious or unnecessary. But it is necessary. Using a big motion, you can get a strong rhythmic punch that can drive a groove like a drummer.

Incidentally, this kind of rhythm style is based in the 4-string plectrum banjo, and it’s precedent comes from jazz-guitar pioneers like Eddie Lang and Carl Kress. For an overview of this era, I recommend the album Pioneers of Jazz Guitar, which features guitar greats Eddie Lang, Carl Kress, Lonnie Johnson, and more. This wonderfully satisfying era is where amplification and recording methods allowed players to put down their banjos and play the more dynamic 6-string guitar. In my opinion, this is a “must have” CD that anyone can enjoy.

Last but not least, let’s take an extreme genre hop and use the Freddie Green walk-up in Fig. 4—which might be how the great Merle Travis might have played it. Be sure you start slow and build up to a rapid-fire machine gun of peace-loving music. Attack the 6th string with a flatpick, the 3rd string with the middle finger, then the 4th string with the pick, and finish by striking the 3rd string with the middle finger.


You can use this when playing solo guitar or as a Scotty Moore-style rockabilly pattern. Again, start slow and adhere to the specific picking pattern I’ve suggested. If you take the extra five minutes to play it correctly, you’ll play it great the rest of your life!

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In this month''s lesson we will beef up a Travis picking rhythm guitar part with bass fills.

Print it!
Click here to download a high-resolution, printable PDF of the notation.
Chops: Intermediate
Theory: Beginner
Lesson Overview:
• Learn the basics of Travis picking.
• Move basic patterns through the I, IV, and V chords.
• Create interesting bass fills that lead into the next chord.
As some of you may know, in rockabilly circles the term "doghouse" refers to the upright bass. That giant wooden box that you've crammed into the Ford Taurus on top of the rest the band because it can't be replaced by its travel-friendly electric cousin. Although it can't be replaced, we can echo it's unique sound on guitar. In this month's lesson we will beef up a Travis picking rhythm guitar part with bass fills. This will allow us a break from the monotony of Travis picking and also help pull the listener into the next chord or phrase.

The Travis picking part is pretty basic. Taking its moniker from one of the great country pickers of all time, Merle Travis, this is a style of playing that consists of an alternating bass line played with the thumb or flat pick and melody notes played with the fingers. Scotty Moore was Elvis' guitarist on the Sun Record's recordings and relied heavily on Travis picking for his rhythm guitar work. If you're having trouble refer back to my lesson called Rockabilly Rhythm Basics.

First, let’s take a look at the bass fills. When an upright player slaps you get two attacks: the note followed by the slapping of the string. On guitar we could imitate this by either double picking each note or by using a single repeat delay or "slap back.” If you're having trouble with double picking this fast, feel free to play each note just once. It won't be the same effect but it will still sound good.

In Fig. 1 we are applying the Travis picking pattern over an E6 chord. The bass line alternates between the 6th and 4th strings while the melody is played on the top two strings. Some melody notes are on the downbeat and some are on the upbeat. Go slow and make sure you have the right sequence. When the pattern is complete we start our bass fill. We'll be double picking down an E Mixolydian scale from B back to the root.





We use the same pattern in Fig. 2 except this time our bass fill is designed to pull us into the A7 chord. The fill here starts on E.





For Fig. 3 we move to the A7 chord and use the same rhythm along with a double stop on the top two strings. My alternating bass line goes between the open 5th string and E on the 4th string. I play the double stop by grabbing the top two strings with the middle and ring finger.





We use a chromatic fill to lead into the B7 chord from E6 in Fig. 4.





For the B7 chord in Fig. 5 I'm using my pinky to help with the descending melody. The bass line alternates between the 5th and 4th strings. The fill walks us back to the E6 chord.





Everything comes together in Fig. 6. I'm using some slap back echo but I'm not using any reverb, just the sound of the room. The reverb can really wash out your slap back and make it sound like The Ventures covering rockabilly.




Try incorporating bass fills with tunes you already know. If you're playing with a bassist you'll need to make sure your fills are working together or it could be a mess. Good luck!

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