The Art of the Blues Shuffle - A Guitarist's Guide | Scott Perry | Skillshare

The Art of the Blues Shuffle - A Guitarist's Guide

Scott Perry, Author of Creative On Purpose

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10 Lessons (1h 18m)
    • 1. Intro To Class, Your Guitar Guide & Class Project

      5:13
    • 2. The Blues Changes, Structure & Form

      6:51
    • 3. The Chord Shapes

      6:09
    • 4. How To Play a "Straight" Shuffle

      10:33
    • 5. Right Hand Techniques

      13:00
    • 6. Our First Turnarounds

      8:07
    • 7. How To Play "Sweet Home Chicago"

      8:31
    • 8. More Turnarounds

      5:45
    • 9. How To Play "Big Boss Man"

      6:15
    • 10. How To Play "Bright Lights, Big City"

      7:10

About This Class

Learn everything you need to play 100s of your favorite blues & rock songs!

The shuffle rhythm is the heartbeat of American music. It's the keystone of country music's "boom chuck" rhythm, the basis of swing in jazz and provides rock & roll with it's energy and drive. A guitarist that can't play an authentic and natural sounding shuffle rhythm just plain can't play the blues!

The Art of the Rock Shuffle breaks down the "swung" or blues shuffle into it's essential elements and presents them in 6 clear, step-by-step lessons. This is the tough and swaggering sounding rhythm guitar groove heard in the playing of the legendary Missississippi Delta and Chicago Blues players like Robert Johnson and Jimmy Reed.

Along the way you'll learn right hand techniques, turnarounds, intros and outros and much more, including how to play the classic 12 bar blues tune Sweet Home Chicago by Robert Johnson. However, with the tools and techniques taught here you will be able to play 100s, even 1000s, of your favorite blues and rock tunes! A bonus lesson reveals how the same 12 bar form and changes can be used to play Jimmy Reed's Big Boss Man and Bright Lights, Big City using the same techniques.

Beginning guitarists will find these lessons accessible, easy and acheivable. Advancing guitarists will find they deepen their understanding of this rhythm guitar style and enhance their execution of it with additional techniques. Vocalists and other instrumentalists are encouraged to complete the class and project by playing along with one of the available backing tracks!

You'll also be able to share your performance vids and ask questons and get immediate feedback from your guide, Scott Perry - founder of GuidedGuitarLessons.com!

Transcripts

1. Intro To Class, Your Guitar Guide & Class Project: don't you wanna go see? Oh, back to California Sweet Home Shuffle Rhythm is the heartbeat of American music, whether your guitar player, other instrumentalists or even a vocalist. If you don't understand where you can't play a 12 bar blues with a solid, authentic and convincing sounding shuffle groove, then you just can't play the blues. And it makes it really difficult to play country, rock and jazz as well. But here's the good news. You can learn to play this essential rhythm in just six easy step by step lessons here and The Art of the Blues Shuffle, a guitarist guide, Hegang Scott Perry here finished loose guitars and the creator of Got a Guitar Lessons dot com. For over a decade, I have helped hundreds of aspiring and advancing guitar players Master How to Play a 12 Bar Blues shuffle. I'm really excited to bring those lessons to you here in this course The Art of the Blue Shuffle, where I present in six easy, step by step lessons that have been time tested. How toe play this essential guitar style and absolutely no time at all. By the end of this course, not only will you have the ability to play the blues anthem Sweet Home Chicago, as well as to other Jimmy Re tunes that are taught in the class. But you'll have all the tools and techniques that you need to play hundreds, even thousands of blues tunes and the blues and rock idiom that used the same changes in the same rhythm. Let's take a look at what we'll learn in The Art of the Blues Shuffle. The first lesson will cover the 12 Bar Blues Court changes, the lyrical Foreman structure and the three most common variations. Lesson number two. We cover the court shapes in the key of E. These were the E A and B power cords to which will add the sixth and seventh unless number three we learn how to play. Ah swung or Blues shuffle Rhythm. Lesson number four. I provide you with some right hand techniques that will give your playing an authentic sound and enable you to personalize your approach to playing a blue shuffle. Less Number five. I teach some very easy and basic turnarounds, and in less than six we get to our first tune, Sweet Home, Chicago, a veritable blues anthem very popular jam sessions and played on stage is all over the world. Most are going to include three bonus lessons. There's a bonus lesson on turnarounds. Another tune, Big Boss Man by Jimmy Read this employees the straight or rock shuffle rhythm taught in the previous class and then a final tune, Bright Lights Big City by Jimmy Reed, which uses the blue shuffle rhythm but used the court shapes taught in the previous class. Thescore could be taken at your pace in whatever way fits into your schedule. It's also designed for guitar players of every playing level. If you're an aspiring or beginning guitar player, you want to take the lessons in order. And what you want to do is practice the tools and techniques that are taught in each lesson until you can play them with the degree of competence and confidence before moving on to the next lesson. If you're an advancing guitar player than going through, the lessons in order made deep in your understanding of some of the concepts may help improve. Your technique may provide you with more ideas on how to use the the material, but feel free to go ahead and took around and watch the lessons that appeal to you. If you're vocalist or play an instrument other than guitar, there's still plenty of useful information here, and you can play or sing, along with any of the many backing tracks that accompanied the lesson on how to play Sweet Home Chicago regardless of what instrument you play and regardless of your playing level, the most important thing is that when you've completed Lesson six and you can confidently play or sing the tune Sweet Home Chicago record yourself doing so and then posted to your YouTube channel, your video account, your soundcloud account or any other platform that allows you to create a link that you can share in the discussions of Lesson six. If you want some feedback, I'll be happy to provide that, and you'll receive plenty of encouragement and support from the community of fellow travelers here in this class. This course cost less than a single half hour private less with may, Yet it delivers more information than you receive, and a dozen of those lessons get over 60 minutes of video instruction. You'll have multiple MP three play along tracks, and you'll have pdf core charts and song charts. In addition to all that, I'll be here to answer all of your questions and give you feedback on your progress, and you can take this course absolutely risk free for 30 days. Buy it, try it. If you don't like it, simply ask for your money back and you'll receive it right away. Every penny, no questions asked. So what are you waiting for? Go ahead and click the green purchase button and I'll see you inside the heart of the Blue Shuffle. 2. The Blues Changes, Structure & Form: sweet homes. All right, so in that excerpt of the tune that we're gonna learn in less than six, I presented the three basic elements of music and the song structure that they are hung on and organized on. And let's just make sure that we have a basic understanding of all this before we go on to learn the court shapes. In the next lesson, music is made up of three basic elements. You have melody, the words that I saw you have harmony, which are the cords that I'm playing. And then you have rhythm, which is the rhythm that was the blue shuffle rhythm that I was playing with the right hand . Now you already have an intuitive understanding of melody and rhythm because you I'm sure that you can sing hum or whistle of song. And I'm sure that at some point you understand you've demonstrated your understanding of rhythm by tapping her foot, clapping your hands or dancing. So you already know a little bit about this and instinctively. But we're gonna dive a little bit deeper and in this lesson, and then in the subsequent lessons were learned. The court shapes the harmony and Then we're gonna learn the specific blue shuffle rhythm and then put it all together in our first tomb. So a 12 bar blues, as the name implies, is a song structure made up off 12 measures, and those 12 measures make up one chorus of attune. And there may be several courses of the blues in any particular blue song, and they will often use the same set of changes the same basic melody line, but with different words each time. So let's look at the essential blues changes in any 12 bar blues we expect to see three quarts. They are the one before and the five of whatever key we happen to be him as guitar players . We had a kind of easy because in whatever key were in which is most likely going to be C G D. A. Or in the case of this course were in the key of E. We confined the 14 and five by simply counting on our fingers. So if e is the one chord that names the key that were in, I simply go count or continue up my musical alphabet, E f g a A is gonna be my four chord and then as they continue on B is gonna be my five chord. Now, in a the essential form of the blues, we have 12 measures broken up into four measure sections. So there's three of those. And in the essential changes we expect to see four measures of the one, followed by Two measures of the 42 Measures of the 12 measures that 52 measures of the one So in the Key of E which were in That's Four Measures of a Two Measures of a Two Measures of a Two Measures of B two Measures of A Now that is not the most frequent set of changes for a blues tune. But it's very frequently the set of changes in a rock or Country tune written in the blues song structures. The 12 bar blues song structure, more common in a blues tune, would be the first variation which is going toe Onley affect the last four measures and there we expect to see the be a measure be Going toe, a measure of a followed by two measures of E. Uh, the second variation would only affect the top four measures, and this is sometimes called quick to the four. And what happens there is we have a measure of a going to a measure of a before returning to two measures of bay and then continuing through the form. And the third variation, which happens to be the most common one you found in a blues song, combines the first and second variation. And so we would have a measure of the fell by a measure of a fell by Two measures of E. Then we would have to measures of a two measures of the that remains unchanged through all the variations. And then in the Final Four measures, we have a measure of be followed by measure of a ending in Two Measures of A and what will find in Sweet Home Chicago is that it uses both the first variation and the third variation now over the structure, the song structure, the 12 bar blues song structure and over the changes There are There's a melody that's played or works that are sung to that melody and in a blues tune, the most frequent lyrical form. It's gonna be what's called in a B and I just demonstrated it in Sweet Home Chicago. The A line is Come on, baby, Don't you want to go that somewhere? The 1st 4 measures that line is largely repeated in the 2nd 4 measures. Now there may be an interjection of some sort or a slight change to the lyric, but essentially they're the same lyric. And then, in the third set of four measures, we have the B, which is. Sometimes it's a response to what was said in the to A sections. Sometimes it's a continuation of the story that was repeated in the 1st 2 sections, but in some way it's a for it's a different different set of words. So we had Come on, baby, don't you want to go? That's the A. And then we said, I said, Come on, baby, don't you want to go? So the a repeated with a slight variation and then the third line that be back to the land of milk and honey is sweet Home Chicago, and you'll note that the B section sometimes is more, is longer than the A sections, and regardless, all those sections leave some space at the end, and this is often where some sort of either vocal or instrumental response might might happen. So that gives you a basic understanding of the 12 bar song structure gives you a basic understanding that the changes you expect to see and it gives you a basic understanding of the form that the lyric that the lyrical form is is sung. And and so now that we have that out of the way, let's go to the next lesson and learn the court shape so that we can then get to the shuffle rhythm and then get to our tune. 3. The Chord Shapes: If you're a graduate of Shuffle School one a one a the rock shuffle rhythm. Then you actually know the one in the forecourt already in the key of E. And that's the E chord grips and a court grips. And the only one that you need to grab from this lesson is the be court grip. But for the better benefit of those of you that have not graduated from that course, I'm gonna go through all of them. We're looking at court groups that are based on power chords and these air just to note chords or not, technically, court because the court has had three notes, but they're two chords that are two notes that sound together and have just a really powerful sandwiches, whether called a power court. So the first court grip is E. And this is gonna be a E five court because it's the room. No, in the fifth of Unease, scale the perfect Beano and you'll note that that's played with my first finger at the second fret of the fifth strength. And I'm gonna sound those two together. You'll note that I do that with right hand by just going through the sixth on a string and resting on the fourth. And so those two notes sounding together does have a very powerful these sound. Now the four quart is an a five power chord, and that's this. The basis of the A grips. And that's the fifth string open. And the first fret at the first finger at the second fret at the fourth string, which is, uh, you know, on again, I'll play through five and four rest on three. That gives me that big, powerful a sound. Now the next court grip is a little bit tricky. We're gonna go back to the first finger at the second fret of the fifth string, and with our third finger, we're gonna grab the fourth fret of the fourth string. And this is a B know the root note of the five court B and the fifth of the B scale just f sharp. Together, they have sound together and have a big a big be sound because we have e way we need in a shuffle rhythm. We need to alternate between at least two different grips and sometimes three different groups, So I'm going to show you the three Grips Now in E eso years, making power for the first script. The second grip is going toe involve playing the sixth that major six of ah, any scale. And that's the third finger at the fourth fret of the fifth string. C. Sharp. So here's my E five years 96. Now it's possible I could just alternate between those two court grips Teoh play a shuffle with them. But I'm gonna also show you that at what happens with me at the flat at seventh. And that's going to be the pinky playing the fifth strip threat of the fifth strength. That's Dino. So here's my T five years 96 on Here's my E flat seven or usually just called eso. Here's ultimatum. Just between five and six, both really constant intervals gives it a slightly kind of happy sound. If I go from revived E 60 e 76 then I that flat at seven you'll know does not have the same please and quality that five or six does a slightly more distant, uh, interval. It will provide a bit of swagger, tough quality to the sound of a of A shuffle E Do the exact same thing for my a grip. So there's a five in the fourth. Fret. There's my A six, then Lot 77. Now that B is gonna be a little tricky. So here's the good news. The good news is that you can as out demonstrate when I get to the shuffle with Just hang on this script here and will provide the sound of the five board toe alternate twin to eat B five and B six script. I got to stretch my pinky to the sixth, Fred OK, and that could be challenging. Uh, that's a G sharp. No, the way you move your thumb more to the middle of that position so that it's kind of on the opposite side of the neck of your third finger. Here. It could be a little bit easier, also kind of poster fingers into the front board. Now the B seven is you means you have to stretch even one fret further to the seventh fret . So here's B five B six on the flat and seventh B seven. Now that could be very challenging, especially for young guitarist or guitars with small, small hands and again the good news is you can just hang out on this corn. You can just alter between B five B six. But if you can get it, it's great to have access to that be set. Okay, So those are the court groups that we're gonna use to play through the blue shuffle rhythm , which we're gonna get to in the very next lesson. 4. How To Play a "Straight" Shuffle: - We now have a basic understanding of the blues form in the most frequently seen variations, and we have some court grips to put under our left hand. Now we just need to put this blue shuffle rhythm in our right hand. So let's dive right into it. And in the blues, it's written in 44 time. It's just simply means that there's four beats per measure for the purposes of demonstration. Just gonna be using on E five court right now, and so four beats per measure is 12342234 So on now, in a straight shuffle rhythm that we that we looked at in the one on one a shuffle school that would be each beat would be subdivided into 21 and two and three and four and one into three and core. But in a blue shuffle, each beat is actually subdivided into three, and this is called a triplet, and triplets are counted one and a two and a three and a four in it. So I demonstrate that on the eat five quartets one into two and three and four. Now a blue shuffle is played with what's called a swung eighth feel or a shuffle feel, And that just means that we're going to use this thing called a Gap triplet. We're gonna take the middle beat of the triplet and take it out. We're only gonna play on the first and third beats of each triplet set, so that sounds confusing. But let me demonstrate and you'll hear, so I'm gonna hit on one in three. The beats one and three of each triplet beat in each beat. So that's the one. That number beat 1234 and the word us. So it's 123 of four. Here it goes. 1234! 1234 Now it's starting to sound a little bit like what we know as a blues shuffle rhythm in a blues. We have an accent on the second and fourth beats. This establishes something called the back beat in 44 time, the first beat that is called the Downbeat, and that's the most important beat. That's the beat that starts each measure. There's frequently and accented syllable or word of a lyric. There. There is most that's the most place for a core change to occur. And if we exit one and three things sound really straight. 12341234 When we accent two and four things start to swing a little bit. One upside. 123412341234 So that combine my triplet, my gap triplet feel with accenting two and four. It sounds like this one Do three of or 1234 Okay, now, finally, we're going to start alternating between grips. So we had the e five grip, and right now I'm just gonna alternate between e five and e six. That's gonna sound like this. 12341234 Now the shuffle rhythm is sometimes I've heard it called the flat tire of them because it has that kind of dump dump. Dump the dump sound and you can hear that when you start Alternative. 12341234 I can continue by alternating alternately putting the G five to the east, six to the E flat seven back to the east. Six. That will make up one measure. So that's not like this 123422343234234 Now, at the beginning of this lesson, I played through a course of the 12 bar blues using all the grips. Now, one quick note here about the five court that be a lot of people have difficulty even getting just that core. Damn. Okay, you remember that you're coming into that cord from the e 1234 And then when you're getting ready to go to the B, you simply drop that finger, that third finger down to the next string, leaving your first finger at the second fret of the fifth straight. And that's what you can play for the five court. So we played the very basic essential changes of the 12 problems with shuffle rhythm. Right now, I'm just got ultimate between the E five and E 68 5 on the A six. And on the B, I'm just gonna keep it on the B five 12 Ready? Go. 1234 to a to a three of war. 234423452346 to 3 of 4723412349234 10 to 3 for 11 234 12 234 Now, if I were to add in the flatted seventh on my defy, our my my E and a grips on and if I were just able to accomplish getting that from the B five b six, it would still send OK, I'll play the first variation where I go from the B to the A to the two weeks at the end. 12 ready? Go one onto a three of 4 to 1234 A 32344234 by 3462347 2348 2349234 10 to 3 for 11 234 12 234 Okay, so that is how to play the blues shuffle. And you can. I think the easiest way to get any rhythm going is to first put it in your body. Rhythm is the visceral element of music. It's organizing element, and it's the one that we feel in our bodies. That's why we respond physically. We clap our hands, tap our toes or dance to music because we feel the rhythm in our body. In order for us to express that through our rhythm guitar playing first have to kind of internalize it. So spend some time just walking through each of these steps first, just playing the beats. 1234 Then re acquaint yourself with the blues rock. Feel the straight four or just one into and one into in three. Import into two Theun Go for that gapped triplet. Feel the flat tire rhythm. 1234 You'll notice that even when I'm playing a shuffle, my body is moving a little bit because that's I just spent so much time playing that rhythm , and I feel in my body. My body wants to respond to that. Um, you can also just do it dead strings. That's a really effective exercise for just getting that flat tire feel. Dump that about 1234 and what I would do is start with your basic changes. Try to just play alternating between the five and the six of each chord, and if you can't do that on the B, don't worry about it. Just simply play the Be five chord, then try adding the seventh in and then go through all the variations. The blues for the tune that's coming up. Sweet Home Chicago. You're going to want to be able to play Variation one and Variation three. Take us much times. You need to really get those rhythms down and make those changes happen in time. Started a slow tempo. Work yourself up to a faster tempo. Working with the MIT Metrodome is something that most people just never want toe. Never want to do. But it's really the most effective way of building good time. And so you get a free app on your phone or device and be playing along with the Metrodome, and that will really help you're playing. But regardless, practice that every day, short sessions assumes you have it down. Then you're ready to go to the next lesson where we'll talk about some basic right hand technique and turnarounds. And then it's time to get to our tune. Sweet home Chicago. So enjoy. And we'll see in the next lesson 5. Right Hand Techniques: So now it's time to get personal. I'm gonna give you some right hand techniques. They're gonna allow you to really express yourself. Your own individual personality is a rhythm guitar player. Music is a language, and Justus, we speak are are spoken language in a very personal individual way that is recognisable by the people we can also, as rhythm guitar players play a blue shuffle in a way that is personalized, self expressive and recognizable to other players. And the three devices that I'm going to give you our right hand muting on upstroke approached that I call the hiccups stroke and stop time. So I'm gonna break each one of those down individually as we go. But let me first just demonstrate the three concepts that I'm thinking about here. 12 123 I said, baby, don't you wanna go back to lay in California on sweet home Chicago wants to do is full Hey , baby, no, baby Oh, back to land California sweet homes Okay, so this first talk about the right hand muting so right hand meeting is just what the name implies. I'm taking my right hand the heel of my right hand, and I'm resting it on the bridge of my guitar, and I can get the level of muting I want by either pushing it forward up the string sets or by backing it off and taking it off entirely if I want to. So here's no muting I e. If I rest my heel on the on the bridge and just keep it just just barely on the strings. I have just a very light level of meeting way up strengths and have almost dead string approach. Of course, everything in between and the level of muting may changes. The song goes on, usually at the beginning of a song, employ, Ah, lot of muting and really just focus on putting the energy into the vocal. But as the courses continue on and I'm trying to kind of build to some sort of climax in the storytelling of the multiple courses of the blues, Um, I'm using, I will get off. I will mute less unless never to the point where I'm not meeting at all. There's always gonna be some muting occurring, but I'll allow the muting to be backed off so that the volume level of the rhythm playing comes up over time, and so that's just really the best way to get started with. This is simply rushed your hand there and start experimenting with moving her hand around and then find a level of meeting that sounds good to you now. The other thing I was employing was this hiccup stroke, and it occurs in the fourth beat of every measure. We talked about how accenting the two and the four help create this thing called the back beat. It gives a sense of it's the beginning of creating a sense of swing or Syncopation in our rhythm guitar playing. So the 123 now the hiccups stroke helps us keep track of the first beat, which we talked about already is being the downbeat. And even though we are accenting to afford to create the downbeat, the one is still the primary beat. And that's because there's often going to be a stressed syllable or word of a lyric there that is the most frequent place for a core change to occur. In fact, in a 12 bar blues, they were going to see that there. Whenever there's a court change in your basic blues changes. It always happens on the first beat the downbeat. Now the hiccup stroke is gonna help us. Accent that. So here's the shuffle rhythm. One, 2341234123 So that upstroke is happening. Everything is down Up to that 0.1234 that, uh is an upstroke on the fourth beat the the right before 11 2341234 And so that's really help helping us keep track of that first beat. And so it's just something that you wanna. You don't have to necessarily do that on every fourth beat of every measure, but it's ah, it's a way of just keeping track of the one. And it's something that you'll hear Ah, lot of rhythm guitar players to 3 to 3 Wait. Last thing was stopped. Now, in Robert Johnson's version of the song where you could really hear him accenting the two in the four. He does not employ any stop time. What he does instead is he has this little elected he placed before it gets to the turnaround, which we're gonna get to in just a minute But if you listen to the Blues Brothers version of the song, which is in the lesson with where we learn Sweet Home Chicago they have this really great stop time that happens during the math lessons of the lyric, which is where they'll say one and one is due to into his war on Heavy Load a Baby, a book about Go to Into his 44 to 6. He bought a monkey around gonna get your business in a fix and so on and so forth. So stop time is literally just stopping the time so they'll coming out of the back to the same please. Sweet Home Chicago Want him on is 2 to 2 is four Davey looted baby No todo Hey, so you literally are just hitting on the first beat and then stopping one and one is 22 and two is four heavy loaded baby. You know I'm booked and have to do, and I like to do that. Walk up to the a bass note that's going to begin in measure over the 1/4 measure five. So it's just one to the second fret. First finger three second figure 30 or keeping that shopping and the a chord. So in time, coming again out of the last four measures of the opening verse back to the same Copely sweet home Chicago, There's a little turnaround we'll learn soon him on is to to into his four deluded baby, you know, Hey, baby, don't sort of so far. Another way to do that stop time is to put the four chord right before the one court. So I'm here on the E and my forecourt. Is that a right below it on the fifth and fourth strength, fretting the 1st 2nd part of the fourth string with my first Baker circle on. So that's hitting the A five court and on. And then I come up hitting just kind of dead string the fourth and fifth on an upstroke and then coming to them on the five court demonstrate. Coming out of the turnaround in the previous lyric sweet home Chicago little turnaround on is 2 to 2 is four, maybe loaded, Baby, I'm sorry. Um, I'm about to go trying. Hey, three idea. So it's just that's timing was coming on the four. The fourth beat 41234 4123123 So forth. Do it one more time in time just to demonstrate here back to the same table. Plea. Smooth. 2 to 4 baby. So those Air three techniques, I would say, in order of importance, really important to get some beauty happening right away that gives the Blue Shuffle in particular a real kind of drive. A really energy, a little bit of toughness and swagger. The stop time is a great effect, especially if you're playing playing the tune live and it's a jam. It's like the stop time. Always add some energy and some expectation, a little bit of drama. And, of course, those up strokes keeping, helping you keep track of the one Well, that's just essential for kind of keeping keeping organized and keeping your place as you're going through the 12 bar courses over and open, or were getting and making sure that you make the changes at the right time. But it's These are things that will take some time there. Everything that happens in terms of rhythm guitar is happening on a visceral physical level . It has to be in your body before it could be expressed through your playing, so you can just really take your time, spending some time going through the basic changes and trying each of these techniques in isolation and then start putting them together on when you're ready. Then go to the next list, where we're going to talk about the turnaround and after that will be ready for our learn the actual tomb. The other thing I wanted Teoh drop here was as I was playing through those examples, you'll note that sometimes I was just alternating between the five and the six version of a court grip it. Sometimes I went all the way through toe flat in seventh, and and it's really mix and match you can. You can play those. You can play it all e five e six You can add in the East, the flat seven sometimes, or the flat seven version of whichever cord you're on, but its its again, a way of expressing your own unique personality as a rhythm guitar player. So have some fun with that. And if you have any questions, obviously just drop something in the comment section will be happy toe help you up further , and when you're ready, go on to the next video and we'll talk about the turnarounds 6. Our First Turnarounds: We're really close now to getting toe our 1st 10 sweet home Chicago. We just have one more thing to address, and that is the turnaround. The turnaround is literally a way that we signal to our listeners or to our band mates that we're going to turn around and play another course. The blues, it happens, usually measures 11 and 12 in the 12 bar pattern. One of the reasons for this is if you were playing the very, very basic changes, you could conceivably have the last two measures of E leading into the 1st 4 measures. Also, being you would have six measures of being a row could be difficult to maintain your place if you're when you're keeping track of the time in the changes as a player. But it's also once you've kind of mastered the basic changes and the shuffle rhythm. It's kind of boring to just hang on that equalled forever. So the most common way to turn a tune around is to go to the five Chord in the very last measure, and in the case of the 12 Bar Blues and E, we're goingto be looking at going to R B chord. So taking it from measure number nine or I'm gonna be court, I could turn around like this. Growth a 10 Measure 11. I stand the measure 12. I simply go with me that I'm back to the top of the before, so that's really easy. Nothing's really changed. Other than I just stuck in the the bee pattern in that 12th measure. I could do it the same thing with the flat at seventh beginning. Another way I could do it is I could walk up to a B seven chord and that's this'll board here. This my middle fingers at the second fret of the fifth string my first fingers at the first bit of the fourth string. My dirt finger is stacked on the second threat off the third string and my pinky is stack on the second fret of the first strike to spring from the fifth string down. What I'm gonna do is I'm gonna walk into that court on the on the fifth string Been first finger first, right, sounding her second red with rust. Make more down. I'm gonna strike down. So that would sound like this for measure 11 12322 11. And so what is happening in Measure 11 is I go all the way through my D pattern on a measure 12 that first be, I'm gonna hit the five chord. I could just walk to that and they come back in on the one of Measure number one or could throw in a couple of strums on the B seven. So that would sound like this from Measure 11 12. So, again, what I did there was I walked away down strokes. So this is a measure or beat number one of Mr 12 1 and 12 or on Dio 123 Now those air both fairly easy ways to turn blues round, and either one of those will work and you can jump right into the tuned. But there's really there's 1/3 way that I could turn out. There's actually dozens of ways to turn around 12 part blues, just giving you the most common for beginning people just beginning toe learn how to play a blues shuffle, and this one is really not any more difficult, actually, is probably the one that sounds the most sophisticated inauthentic coming out of measure nine again. 10 11 Beat number one on the E five. And then I'm gonna take my pinky to the fifth fret of the fifth string Third finger to the fourth fret second, bigger the third fret and then I'm gonna strike the five again. And then I walked that B 7/4 gets So it time It sounds like this three. There it is. So all that is pretty straightforward and pretty easy again. You don't need to master all those turnarounds right away to get to the tune. You could just choose the one that you want to work on. What you've mastered, that you're ready to go forward with the sweet home Chicago. We're going to just address one more thing, which is how, with the court grips that we know in the key of E, we can play in other keys by just using a cape. Oh, so stay tuned, and we'll get to that in just a second. So one of the reasons why I chose the key obey for the Shuffle School one of one day and the key V for Chef school one a one B is that by learning how to play 12 Bar blues in these two keys, we can actually play a 12 bar blues in any key, but most importantly in the five most frequently used keys amused by guitars, which are C G, D A and E. So I've got my trusty cape over here on the first fret of the guitar here, and I'm gonna place what looks like an E five shape. Two frets above that. So I just kind of look at the cape. Oh, now is being the net of my guitar. And now this is not a frequently played key in roots music, but it's a very frequently played key and jazz, and I were to play my shapes here. I'm playing effectively in the key of F, So I got a my 85 becomes f my If I becomes B flat in my beef, five becomes see if I go up to the third fret now I'm in the key of Jean, very common key to be playing in a rock country or or even blue setting. If I go to frets higher, I have now in the key of a which is what I taught you, how to play in the key in chef school. One a one a. So probably would not want to go that high with Cape of You. Just simply go back and use your open position shapes they learned in the last class. But you could conceivably continue up if you wanted to play and be flat. Another jazz key. You could just put the Cabo on the sixth Fret B would be the seventh Fret. See would be the eighth threatened, Really, definitely not. Want to go any any higher than that with the cable, Just sound a little bit too, too bright. So there's a way that you can play 12 12 Bar blues and really any key that you want to but most importantly in those five guitar friendly keys. So now that we've got our 12 bar blues form and all the variations and we have all of our core groups, we have some right hand techniques that are making everything sound really awesome, and we have a way of turning around and playing multiple courses. The Blues. It's time to get to our first tune, Sweet Home, Chicago 7. How To Play "Sweet Home Chicago": all right now we have everything that we need to play our first tune in E sweet home Chicago, and the song is most frequently attributed to Robert Johnson, but it's very much based. His version is very much based on a tune by scrapper Blackwell called Coco Blues. There's elements of the song that could be found and even earlier recordings by female vote blues vocalists from the classic blues period. And so it's really more of a traditional tune that Robert Johnson's just happened to have a really popular version of So I'm Going toe use the lyrics that he he's saying, and I'm gonna add elements from other versions that included several different versions. In this lesson. One of things I'm going to do is add a stop time and the 3rd 4th and 2nd 3rd I'm sorry. 3rd 4th and fifth versus, and that's just gonna be hitting an E five. I'm going to Chicago. I'm going there to stay. Somebody tell me that you need my hips and a crying. So just hit that five of the first speed of measures 12 and three, and then I get back into the shuffle and measure for or measure for. I could also do a walk up, going to Chicago, go in there to stay Somebody tell me that you need my hips and big right and I'm doing there is hitting an open E second fret First finger, third for second finger, third finger I'm doing that Could be a neat way toe walk into the, you know, getting back with shuffle Groove I'm going to start this tune by just playing the turnaround And I'm gonna end the tune with another stop time hit five Sweet home Chicago Turn around I'm gonna play this e nine Shape toe Close the tomb as just a final chord And all it is is my third finger laid across the top four strings on the sixth Threat on my first finger on the fourth I'm sorry. 33 strikes here on and on the fourth straight my first figures fronting it at the fifth Fret Latin nine and slide it up to 89. That signaled the close of the song. Just a quick note about the type of variations that are used in this song. So the 1st 2 verses really service like a chorus and that's where it just it says, Come on, baby, Don't you want to go? I said, Come on, baby, Don't you want to go the same old place? Sweet Home Chicago or the Land of California Sweet Home Chicago That's uses the third variation so measure the measure of a two measures of a two Measures of a two Measures of the measure Be Met Ray. Two measures of eight, all the subsequent versus after the first to use the first variation where it's four measures of the followed by two measures of a two measures be measured. The measure bay two measures of B. So with that, we're going to go ahead and jump into the tune I'll count in and just you can listen to the this version to get started as you practice it and are getting getting it up to tempo. If you want to come back and play along with With Me a sweet play through this version, that's fine. And it's just really fun song to play again. I've included some other performances of this tune. In addition to Robert Johnson's, It's a tune where you can make up your own versus It's just really fun. Great jam tune and it goes just like this. 1212341 baby, Don't you want to go see? Oh, Back to California Sweet home Don't sweet home to 2 to 4 eluded baby. You know I have to go right. Teoh Sweet home to 4 to 6. Keep bond market around. Going to get your business and picks right? Sweet home 62 was a a Tuesday. Pull your one time. She's showing again, right? Smooth way to get Stay. Somebody tell me that you need my help So big, right? Hey, maybe oh, back to sweet home Chicago You may have heard and seen that my performance was not perfect . And there's a really good reason for why I am just leaving it as it is. And that's because when you have practiced this tune and you feel like you have it up to tempo and you're able to play and saying the the whole tune, I'd love it if you would record yourself doing so uploaded to YouTube or Vimeo or soundcloud someplace where you can then create a link and share your performance in the comments section of this course And if you want constructive criticism than by all means, just ask when you post your leg and I'll be happy toe. You know, obviously point out the things that you're doing right. And if there's anything that that needs attention, I'll be happy to give you some assistance with that. But music is never perfect on and or at least the music worth making is, is never is never perfect in Music is about communication, so you can't communicate. If you're going to just play these tunes and kind of hot in your bedroom, playing and singing your guitar in order communicate, you have to sure your your your performance with other people. And in this environment, at least in this course, it's all about support, encouragement of everybody's guitar playing adventure. So there is no need toe. Be fearful that you might be unfairly criticized. It's definitely not gonna happen, And the the way to get better is to continue to perform and share what you're the progress that you're making. So, um, again, as I just demonstrated doesn't need to be perfect. To be shared just has to be good enough, and I'm sure whatever you post will be that and mawr, I'm really looking forward to hearing you play and sing Sweet Home Chicago 8. More Turnarounds: I want to go over to other variations of the turnaround that are really, really common. One of them comes directly from Robert Johnson's recording of Sweet Home Chicago, and the other is just the number one stock turnaround that I've seen used in the key of a So let me show you that one first. So we're in The last four measures were gonna be today Then we're in Measure 11 hitting Beat of E And then I'm gonna take this What looks like a d seven chord I'm gonna shoot it up Two frets to the fourth fret with the two stacked fingers Here be nine So let me play it again and kind of count the Tom, um in measure nine here 234 10 to 3 for 11 Teoh for so again, I'm just simply gonna hit one beat of the E five court on one of Measure 11 that I'm going to take the d seven shape That's my their middle finger. Rather, on the third string for threat and my third finger on the first strength for fourth fret. And then my first figure comes down on the third fret of the second string. And even though I'm not really gonna hit that second strongly like to keep it down 11 Teoh cord and Form is going to what is effectively a B nine court. Just like e night. I showed you earlier, only fingers resting across three strings at the second fret. And then my first fingers on the first fret of the four string. I could put my middle finger down on the fifth string. Second. Don't have to. I could just play just this much. So one more time in time. 9234 10 June 3. Really, really common. Not very different from now. The Robert Johnson turnaround is a little bit trickier because you have to go way up the neck. But what he does is he hits again E five or recording the first speed of Measure 11 on. And then I'm gonna come way up here. I'm gonna bar four strings with my first finger, the ninth fret, and I'm gonna extend my pinky all the way to the 12th fret of the first string e major chord. And it's Some people call that the long A for long. And now here's the tricky part my third finger is gonna extend all the way to the 12th fret of the four strength Theo. That's the turnaround. So third finger at the 12th fret on three. Now you have choices here. Robert Johnson goes Teoh B seven shape. It's just a first finger is part of the seventh right now. Across four strings in my middle finger comes down on the third string at the eighth. Fret. Wait, Go back to the top or I could be Oh, that Be nine court. Let me do both options. So coming out of Measure nine now that Robert Johnson turnaround is pretty tricky at a fast tempo. But if you're playing something slower, it's a really effective, and it just shows that you're one of the guys or gals it knows knows their stuff when it comes to the the blues, turnarounds, another and another bonus us. We're going to take that same type of turn around and put it in the key of a, which we covered in Shuffle school. One on one A. And it's a lot easier. Teoh practice there, But again, I would definitely spend some time once you've kind of mastered the basic turnarounds and a tune or two. This this that turnaround is just always, always used in a blues knee and another keys as well. So hope you enjoyed that bonus lesson and up spending some time practicing that and if you care to the next couple, bonus lessons are gonna feature some new tunes. 9. How To Play "Big Boss Man": if you've already taken shuffle school one a one a the rock shuffle then you have access to another shuffle rhythm and another key The key of a But we can apply that shuffle rhythm to the changes that we've learned here in shuffle school one a one b and play a rock shuffle with the changes from the key of E and have access to a whole bunch of other great tunes. I'm gonna play for you right now in one of them which is Jimmy reads Big Boss man. It's one of my favorite songs. It's one of the one of the probably most played jam tunes at Open mic or blues jam Let me play for you first and then I'll break down What's going on? Can't you hear me When I call Big boss Man Can't you hear me? And when I call When you ate so big you just told that you got me working Boss man working around the clock Cool, drink water But you Well, then, this stop big buzz man Can't you hit me when I call Where you wait So being you just told battle way gonna get me a boss man, I'm gonna treat me right I worked hard in the daytime Won't let me rest easy at night Big bows, Man, Can't you hear me when I call? When Wayne So being you just Oh, that's so the shuffle Those rock shuffle just takes the blues shuffle where we're going 1234 And it straightens it out Place even eights one and two and three and court or one of the 234 There's a blue shuffle with the seventh one and two and three and four and point into and three and four if you need to slow it down to get started. No problem. You'll notice that the changes in the chart that I've included revealed that we're just playing the first variation. The Blues were playing four measures of the two measures of a two measures of a measure of Be a measure of a and then two measures of either is not really a turnaround in this tune until the last measure where you walk up to be the B seven chord with we've demonstrated and I put some stop time in there occasionally on a measure number 10 Just for fun you just told that you can do that or you couldn't leave that out. You have all the tools, and the techniques that I've laid out in this course are things that you can cherry pick from. You can decide to use them, said not to use them. And it will help just personalized and individualized your approach to playing to a classic tune like Big Boss Man. I did an intro that was just really trying to emulate the recording. Basically, it's this d seven chord that were using it on, and I took it all the way here to the ninth. Fret deadening the second string, and I'm just there the ninth fret again. At the seven. I slipped from the third to the four that I did that again. Second that I strongly warned. And then I did the turnaround. I just walked to a B seven or, in this case of B nine corn, which is just like that, the nine I showed you earlier at the second fret. So one more time, Theo thing. I just jumped into the two. So with the tools that you've learned in this class and adding the tools that you learned in the chef school? One A. One A. You have access to a lot of other great tunes like Big Boss Man that employ the key of e changes. But use that rock shuffle rhythm. So I hope you enjoy learning that tune. That Jimmy Reed is just a great resource for great shuffle tunes that employed both the Blue Shuffle Feel in the rock shuffle Feel you should listen to lots of Jared, Jimmy Reed and, uh and, you know, feel free Teoh Steel liberally from his repertoire. It's a great repertoire on If you want to check out one more tune, we're gonna investigate Bright Lights Big City by Jimmy Reed in the next bonus lesson. 10. How To Play "Bright Lights, Big City": in this bonus lesson. I'm gonna take the changes that we learned in Shuffle School one a one a The rock shuffle and I'm going to apply them or play over that Them with the shuffle rhythm that we've learned in this course one a one b some playing a blue shuffle over the key of a changes The two I'm gonna use as an example is Jimmy Reed's Bright Lights Big City I'm gonna play it for you and then I'll break down What's happening? Big City Gone to my baby's head Big city Got my babies Where I don't believe a thing I say is a pretty baby My day It's all right, baby, You're gonna have some day you're gonna wish you hadn't This is some of those things as pretty baby, Not yourself. Go ahead, pretty baby. Not yourself. That your baby. But I don't know what it's all the way. Okay, So what is going on? There is the shuffle rhythm. 1234 But I'm playing it just over the a five and a six chord. So it's just one in five a 65 a six. So that's one unique characteristic of this Jimmy Reed performance of the tomb I'm playing over the very first variation of the blues weren't playing Four measures of a Two Measures of D two measures of a a measure of the A measure of D and Two Measures of Day. And I actually played three different turn around. So the well that the first turn on AIDS was this I taught you in the last class. In last course, I also used the kind of the stock Chicago Blues turnaround that I showed you in the bonus lesson. The first bonus lesson. But I just did it in the key of a which means I'm here playing that D seven shape at the ninth. Fret just walking down the oh, and that's just a little mini bar. You know, a F court. It's an F chord at the fifth and sixth right there, but it's just a little mini bar on the fifth fret 2nd 1st string and then my my middle fingers on the six threat of the third string thing. I walked up to E nine court, which we talked about already in this class, and then the final turnaround was the Robert Johnson turnaround, but I did it in the key of a instead of the key of e, which is where I how I taught it to you in the very 1st 1 That's how I ended the two. I think the original version just kind of fades out. So instead of faking a fade out, I just turned it around that I walked up to a nine chord. Um, the intro. So all I did was I took that turn around the Chicago Blues kind of turnaround. I just played parts of it. I played the night friend seven way back to the night way, that little Bard of shape accord that I did the entire Turner intro again. 97987 seven 36 fret and then Theo into two. So that's, Ah, rendition of the tune that's got a lot of similarities to the original by Jerry Reed or Jimmy Reid. Sorry, but I applied some other things, like the Turner, different turnarounds and things like that. Just just it's what came to me in the moment and again. The per point of having all these different tools and techniques is so that you can kind of mix and match. There's not much point for me anyways and performing tunes exactly as they were performed by the original artist. You might as well just listen toe the original artist on YouTube or Pandora or Spotify or Heaven forbid you have LP's. But if you have all these different tools, whether it's different, applying different shuffle rhythms or applying different turnarounds, adding stop time, taking away stop time all those types of things will just help keep things fresh for you as a player and also help help you develop your own individual way of playing these tunes. So I hope you've enjoyed taking this course with me. And if you have any questions, obviously just ask, and I'll be happy to get back to you. I usually get back to people within 48 hours, and it's been a blast teaching these two classes together. I hope you've enjoyed them both. If you've come toe Chef school one a one B and don't know about Shuffle School one a one a . Please go check that out. And, uh, just have ah lot of fun playing this great American musical form that is the foundation of all the music. American music anyways, that comes after it. And we look forward to seeing you in another course somewhere down the road. Thanks a lot.