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

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

teacher avatar Scott Perry, Creative on Purpose

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (1h 5m)
    • 1. Intro To Class & Your Guitar Guide

    • 2. Class Outline & Project

    • 3. The Blues Changes, Structure & Form

    • 4. The Chord Shapes

    • 5. How To Play a "Straight" Shuffle

    • 6. Right Hand Techniques

    • 7. Our First Turnarounds

    • 8. How To Play "Hi-Heel Sneakers"

    • 9. How To Play the "Hi-Heel Sneakers" Intro

    • 10. How To Play "Johnny B. Goode"

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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 straight or rock shuffle into it's essential elements and presents them in 6 clear, step-by-step lessons. This is the sassy and bouyant sounding rhythm guitar groove heard in the playing of the legendary Chuck Berry.

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 Hi-Heel Sneakers by Tommy Tucker. 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 Chuck Berry's Johnny B. Goode 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!

Meet Your Teacher

Teacher Profile Image

Scott Perry

Creative on Purpose


Scott is a compass helping advancing difference-makers lead themselves and live their legacy.  He's Creative on Purpose's Chief Difference-Maker and author of the Amazon top-sellers Endeavor and Onward. Scott is also the head coach for Seth Godin's Creative and Freelancer Workshops.

Scott is a husband and father, goes for a cemetery run every day, and quotes Marcus Aurelius more often than he should. 

For over thirty years, Scott found and spread joy as a professional musician and guitar teacher while maintaining a happy marriage, homeschooling his sons, and taking care of business.

Want to connect? Click here to contact Scott.


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1. Intro To Class & Your Guitar Guide: baby because we go in out. Put on your rager is baby way. Wear some boxing gloves, Get some food. The shuffle rhythm is the heartbeat of American music. If you can't play a 12 bar blues with an authentic and convincing sounding shuffle, feel or groove well that you just can't play the blues and makes it mighty hard to play jazz, country and rockets well. But here's the good news. You can learn this essential rhythm guitar technique in just six easy step by step lessons here and Shuffle School one a one a rock shuffle, A primer for guitars, Hegang, Scott Perry here, Binnish Blues guitars and creator Got a Guitar lessons dot com. For over a decade, I have taught hundreds of aspiring and advancing guitarist how to play 12 Bar Blues on a rock shuffle, rhythm and essential rhythm guitar technique. And in really excited to bring those lessons here and to show you in just six easy lessons , how to master this rhythm guitar style at the end of this course. By the end of six lessons, you're going to be able to play the tune High Heel sneakers, a hit for Tommy Tucker in 1963. A really fun tune to play, but it's also really just a template for hundreds of other tunes that use the blues form and the rock shuffle Feel. If you don't familiar with what that sounds like, think any song by the great Chuck Berry, and you'll know exactly what is gonna be presented this course and what you're going to learn how to do in a very short period of time. 2. Class Outline & Project: Let's take a quick look inside Shuffle school. Here's what will cover in Shuffle School 101 a rock shuffle. First thing is we're gonna look at the 12 Bar Blues. The core changes the lyrical form, and the structure will also look at three variations to the form that will enable you to play literally hundreds of not thousands of your favorite blues rock tunes that use this rhythm will Then look at the court shapes in the key of a This is the A D and e chord. What we're gonna be doing looking at are the power cord shapes, very simple to play, very simple to get under the left hand. And then we'll show how to at this sixth and the seventh so that we can create a rock shuffle rhythm. We then get right into how to play the straight or rock shuffle. Rhythm will go ahead and lesson four and add some right hand techniques that will give are playing a really authentic sound and make a sound like one of the guys or gals. It really knows what they're doing when they pick up the guitar and play a rock shuffle. These techniques include right hand muting, employing up strokes and stop time rhythm to create engagement and exciting and are playing . We're gonna learn three different ways to turn around a song. When we're getting ready to play another course of the blues, we start the very simple turn around and then look at two other alternatives. And then Lesson six, we get right into the tuned high heel sneakers. So much of six short lessons you're going to be able to play this really popular fund tune Ah, hit for Tommy Tucker in 1963 High Heel sneakers. And again, this is just a template for hundreds or thousands of tunes, and you can play using the court changes and the structure and the rhythm that is taught in this course. Then there's some bonus lessons. I'm going to show you the high Heel sneakers intro. It's a really easy to play and fun sounding introduction to the tune, and then just approve that the material talk here can be applied to hundreds of not thousands of other blues rock tunes. I'll show you how to play the hit I Chuck, Mary Johnny B. Goode. This course is designed to be taken at whatever pace suits your schedule and your current playing level. If you're an aspiring or beginning guitar player, start with Lesson one and make sure that you practice the material every day, 10 or 15 minutes, preferably a couple times a day. Very short practice sessions could be very effective. And are I actually prefer toe longer sessions? You'll soon find yourself at the end of Lesson six. Having a great time playing the tune High heel sneakers. If you're in advancing deterrence, you may find that going through the lessons of this class in order give you a little bit more insight and deep in your understanding into the concepts that you're already familiar with and help improve the tools and techniques that you're already using. But you're also welcome to just poke around and look at the lessons that appeal to you. Every lesson in this class provides a discussion area. You can ask questions and get immediate answers from me and your classmates. That will help may help you make progress quickly through the lessons in this course. No matter what you're playing level. The most important thing is that the end of Lesson six that you go ahead and record yourself performing the tune High Heel sneakers or just a 12 bar blues and A with a rock shuffle rhythm and loaded up to your YouTube channel, your soundcloud account for your Vimeo account or any other platform that will allow you to share a link to that performance. If you want feedback, simply ask for it. And I will be happy to provide some feedback as well your classmates and you'll get support and encouragement from all the fellow travelers pursuing a guitarist journey here in this course, really excited to be offering this class here and can't wait to see you inside and to hear your performance and see how you progress using the material in Shuffle School one. A one a The Rock Shuffle rhythm. A primer for guitars C inside. 3. The Blues Changes, Structure & Form: music is made up of just three basic elements. We have rhythm, which is the foundation on which is layered harmony or the court changes. And then we have melody, the words that we say. So when we are talking about this shuffle rhythm, which we're here to learn about, most frequently gonna find ourselves playing that over what's called a 12 bar blues. Now that is a song structure that comes with a certain set of expected court changes in a certain type of lyrical form that we expect to hear. So let's take a look at this really quickly. So a 12 bar blues, as you can imagine, is 12 measures long, and I like to think of it as being broken up into three sections. We have four measures, followed by four more measures, and then we wrap it up with four more measures. Now the essential core changes. We have four measures of the one chord, followed by two measures of the four chord to measures of the One chord and in the last section, two measures of the five chord, followed by two measures of the one chord Now in the key of A, which will be working in. That would be four measures of a Two Measures of D two measures of a Two Measures of E Two Measures of A. There are three common variations that will see to this form that are very frequently used when playing a blues, or a rock or country tune that uses the 12 bar blues song structure. And the first variation is just affecting the Final Four measures. And what happens there is instead of two measures of E and two measures of A, we have a measure of the than a measure of D and then two measures of base of the egos through the D chord to get to the accord. The second variation would affect on Lee the 1st 4 measures, and that's something called Quick to the four. So there we would see in the 1st 4 measures measure of a followed by Measure of D and then back to two measures of a. The third variation simply combines those two, so we have a measure of a measure of D two measures of a in the first section. The middle section remains unchanged for every variation. It's two measures of D two measures of a and in the final section we have our measure of the going through a measure of D to get to the final two measures of a now over that rhythm . And over that harmony we have a certain expected type of lyrical form called an a B lyrical structure. And that simply means that the 1st 4 measures we have the A line set of words that we expect to hear repeated in the 2nd 4 measures. And then in the last four measures that last section, we expect to have some sort of response or answer to what was said, the first in the 1st 2 sections. Now there may be a slight variation between the first day in the second. A. Sometimes it's simple is just putting an oh yeah, our baby or Lord Lord that, but they are largely, lyrically the same. So let's take a look at how all of this plays out in a tune that we're gonna get to at the end of this course called Bright Lights Big City by Jimmy Reed eso in that this particular blues we're gonna have four measures of a followed by two measures of the two measures of a two measures of the last section to measure it. Sorry measure of the going through a Measure D to get to the last two measures of a in the lyrical form will sound like this. Now you'll notice that in the lyric, there's plenty of pause is. Usually the lyric has at least a measure at the end of each section, that is, that has left open for some sort of either vocal or instrumental response to what's being said. So the first line of Bright Lights Big City sounds like this starting on the bright lights Big City Gone to My baby's head Oh, bright lights, Big City to my baby's head when I tried Teoh Don't believe thing, I said. So hopefully that gives you a basic understanding of the essential 12 bar blues form. The three variations, the core changes that you can expect to see and the lyrical form that is often used to sing over a 12 bar blues. Now let's dive into the shuffle rhythm itself 4. The Chord Shapes: Now that we understand the basic 12 bar blues structure, the three variations and the courts, we expect to see in each of those. Let's look at the very specific court shapes that we're going to be using toe execute the blues shuffle rhythm. We're going to be using some court shapes that are built off of what are called power chords. In the case of A, it's going to be called an A five chord because it's an a ministering, open sounding with the second threat of the fourth strength fitted with the first thing you know eyes a big throughout the rest on the third string, I only want those two strings of fifth and fourth to sound. That's an A power quarter or a five court, very powerful A. C. Because that is one of the most of intervals. The first and the fifth sounded together. Now I chose the key of Aid to build its course on because in for each of the court shapes, the fingering and fretting is going to be exactly the same. They're just gonna occur on different string sets, So my D five chord is the fourth string open, sounding with the second fret of the third string. First finger spending on the second string there, and the five Ford is going to be the open six string sounding with the fifth credit at the second. Fret with First Finger. I'll rest on the fourth. That's my knee. Five chord Now eat Teoh. Get the shuffle. Rhythm were going toe. Also, you need to know an E six core. I'm sorry, sixth chord and 1/7 court. So my a five going to my A six is going to be my third finger, fretting the fourth fret of the fourth string. It's a 6/4 and anyone know with the six degree of that scale have sharp. Now you'll notice that that if I alternate between a five and a six, has 1/2 1,000,000,000 sound because that's a six involves another really cost minute interval pair, the one and the six, the major six. Now the A seven chord involves using the pinky to friend, the fifth fret of the four strength, and that's a flatted seventh of on a major scale Gino. So when I sound those two together that a with the G, we'll hear that it doesn't sound quite as constant, so that provides a little bit of a tougher or maybe a little bit of swagger to the sound. So if I alternate between a five a six a seven back to a six, you hear that it's a very different sound that just going and by six. So my d five going to my D six again. I just have to use my third finger. Front fourth fret of the third string on my D seven d flat seven involves my pinky fretting at the fifth fret of the third string. And then might E five going t six t 76 So those of the court shapes that we're going going to be operating with. And now with all of those tools now we have our song structure. We have our harmony. We know the exact shapes that we're gonna use. We understand how the lyrical form works. Now we're ready to dive into an actual shuffle rhythm 5. How To Play a "Straight" Shuffle: our first shuffle rhythm is what's called a straight or rock shuffle. I've also heard it called a straight four, and sometimes it's even referred to as a straight eight feel. And what it means is that are the essential component of this shuffle is that in 12 bar blues were typically in 44 time, which just means four beats per measure. We're taking those beats and dividing them exactly in half, so that each beat is an eighth note pair and they sound exactly even so. If I would just do that over a five on a power forward, it sound like this one and two and three and Gore in one into a three. And for him now, another component of any shuffle is that we want accent the second and fourth beat these air sometimes called the off beats. And by accenting the second and fourth beat, we are establishing something called the back beat. So if I were to do that over my a five chord, it sounds like this one and two and three and four and one and two and three and four. And now, if I were to play that over the entire basic essential 12 bar blues form and changes. It would sound like this. I'm just going to use my A five. My deep five in my E five 12 Ready go! 123 Pork Into Two and three and Vorgan 32 in three and pork and Pork and two and three. I'm going to be five and two and three and six and two and three and a seven in two and three and four and two and three feet on two and three and four and two and three, in fact, 11 and two in three in four in 12 and two and three in Born again. Now it's starting to sound a little bit more recognizable on this rock feel or this rock shuffle. If you think of anything recorded by Chuck Berry like something like Johnny B. Goode or Nadine, that is exactly the way that the straight shuffle or the rock shuffle is supposed to sound . Another good example is the Georgia satellites to keep your hands to yourself. There's a whole host of of rock blues that are associated with this kind of shuffle, and it's a shuffle that is not frequently found in a traditional kind of Delta or Chicago type of blues. Um so in addition to having the accent on two and four and toe having the even eight sound the rock shuffle is going toe Want toe Have an alternate alternating set of court. So the first thing that I'm going to do here is we're gonna often between my a five in my hey, sex. So every measure is gonna go a are whatever court I'm on It's gonna go five to the six to the five to the six. Oh, in two and three and four and two in two and three and four and three into in three and four and four and two. I'm going to take five in two and three and four and 60 in two and Three and and seven Act A Breed and four and the ugly. The first variation e to Teoh 234 back Teoh. So now it's starting to sound even more recognizable. And so and that also gives you a sense of how all staying just between the A five in the A six, the defect in the B six and the E five in the East. Six gives a kind of Jonty happy, brilliant sound to the shuffle because of those nice constant intervals. If I were to, then start adding in the the seven chord on every measure, I'm gonna go from a five chord to a six chord to 1/7 quarterback to a six court that completes a measure. I'll go through the third variation on this example, so I'll be going a measure of a a measure of D two measures of a then to measure CD to measure survey and then a measure of the measure of the measure to measures of a 12 ready go one and two and three and four to D and to end free on or in fact, a two. And the thing is better. Four into and three down back to a D court from it survives and sinks into and three back to a seven in two and three and four and eight into that E nine and two and three and D 10 into in three and a 11 into and breathe in for in 12 into in three and four. Now, what I would suggest here is you have four different ways of playing a 12 bar blues. You of your essential first variation, your second variation. Your third variation. Take these changes all the way through each of those. The each of those forms, the the original and the three variations. Do it with just salt name between the five and the sixth version of the cord, and then 567 back to six version of the court in each measure. And if you want to, you can record yourself doing this. You can post it on YouTube or some other platform and then put a link in the comments section. And if you do, that would be happy to check in, and we'll see how you're doing with playing the straight shuffle. And in the next lessons, we're going to talk about some right hand techniques that are going to really give us unauthentic sound to our blue shuffle. Playing are the straight shuffle playing, and then we'll look at a couple of easy turnarounds, and then we're ready to get to our first full blown tomb, which is Tommy Tucker's high heel sneakers. 6. Right Hand Techniques: So in just three very short lessons, we already have ourselves playing what sounds like a pretty convincing in a pretty authentic sounding straight or rock shuffle. Now going to look at three right hand techniques that are going to allow us to inject a little of our own personality into the way that we play What may seem so far to be a fairly predictable or formulaic type of song. And I think the easiest thing to do will be I'll go ahead and play through the course of the tune that will get it leading up to high heel sneakers. I'm going apply these three techniques, and then I'm gonna break each one of them down so that you can have a way of of practicing them and bringing them in it into your own, playing in the way that you feel that feels most natural and intuitive to you. So here we go. Put on your red dress, baby, because we're going. That's nine. Put on your red dress, baby, because way, way better where some boxing close K, some pool on started flying. Oh, okay. So the first tool that I want to go over is what I was doing with right hand muting. And just as the name implies, that means that we're going to dampen down on the string so that they don't sound. They don't bring out the way that we've been doing so far, so here's with no muting on. So the muting usually involves laying your hand down on the nut of your guitar or somewhere close to the bridge, and you want to experiment with how far up the strings you want to go, so you really you're going to be laying down the heel of your hand. And here's start off with trying to do just a just a tiny bit of music. Just in time I e. I get a tiny or so you can see that you can actually get like, almost completely percussive or you could get just a very light amount of meeting. What I would suggest that you do is that you just experiment again, starting with no muting and started the net of the guitar, and they kind of work your way up and down and just get a feel for the sound of of the muting. And there's by no means do you want to just latch on toe one type of muting, whether it's really dead or barely audible muting. You want to play with that because what you're playing with is the percussive quality that we have as guitar players and also the dynamics or the loudness or softness of the sounds that we're making. And oftentimes what I found myself doing is I'm looking at singing, say, three or four courses of a 12 bar blues. I might want to start off with a lot of muting. And then, as I get from the second course into the third course, and certainly by the third course, I probably am going to ease up on the muting and get the volume level up a little bit, get the energy level up a little bit just to create that sense of excitement so that the story that that the song is telling that I'm singing has some sort of art to it now, in addition to the right hand muting, I also started employing an upstroke or actually a couple of up strokes. What I was doing there in general, I think that just down strokes work, asked 12 and three and four and commuting there. You could conceivably go, I think the down, up, down, up, down It just doesn't have the same drive. The same power, the same authentic feel that I'm looking for when I play a shuffle rhythm. So lots of down strokes, all dams rubs. What I want to do is in addition to making sure accent the two in the four that we've talked about to establish the back beat. I also always want to make sure I'm aware of where the one is, one of each. The first beat of each measure. This is called the Downbeat. It is the most likely paid place for a accented word or syllable in the song lyrics or melody. It's still most likely place for a court change and, uh, one way that we can kind of heighten our awareness of where the one is to put what I call a little hiccup stroke in the fourth measure. So that's gonna be something like this 12 and three and four and one and two and three and four, so you'll see that that for even and, uh, it's down, down doesn't come up on that last one. I'm releasing back to the 85 court on two and three and four. Yeah, three on So that stroke and you don't have to put the hiccup stroke on every fourth beat of every measure. You don't have to put it in at all. It can be a little bit tricky. The count is one and two and three and four and, uh or you could just think of it is down, down, down, down on down, down, down. And with one and two and three and four, you just wanna build that. So with anything that has to do with rhythm, rhythm is the most visceral element of music. It's what we feel it in our bodies and our bodies respond to it, Which is why we tap her foot to music. We tapper, we clap our hands, we snap our fingers or the way that we danced to music all has to do with the way that were responding to the rhythm of the music. Because it's so physical, so visceral. We really have to kind of put it in our bodies before we can execute it in our storming pattern. So you could just dead string practice doing that. Practice it just over one core. And the more you practice it, the more in your body it will be and the more instinctual and intuitive and just kind of natural that will come out in your playing. And the more you listen to great shuffle players, you'll hear that this is a pretty common practice with the right hand technique. Final technique was the stop time that happened and the very beginning of the 10th measure . So stop time is just a way of literally stopping playing and creating a little bit of drama or heightening thing excitement, creating some expectations. So it heard as we were transitioning from Measure nine to measure 10 years. Measure nine. Better put on some boxing gloves. That's the first bit of Measure 10 right there. So it's 19 and two and three and four and 234 11 in two and three and so so that with the lyric it's one and two and three in court case. Full Mom started five back, so get timing wise. Mr 93 and four and 23 going to A. That's a fairly straight forward technique. It happens in lots and lots of blues tunes. Whether it's a shuffle, rhythm or swing rhythm, it's just a great way of creating little drama, a little excitement and helping to hopefully further tell your story through your rhythm, playing in the lyrics with the melody that year that your singing or playing so those Air three primary I think those of three essential right hand techniques that will really help personalize the way that use play a shuffle rhythm. I think it's really important. Just says we all have our own distinctive us speaking voice and singing voice we wanna are when we're making music. We are also speaking a language, and we can do that inner rhythm playing by really concentrating. I just adding some of these right hand techniques. So have some fun with that go through. All the various 12 are blue blues structures that we've talked about so far, and in the next lesson we're gonna talk about one last element, which is the turnaround. I'll also mention how toe toe we can use the same patterns to play another keys, and then we're going to get to playing our first tune, the complete version of Tommy Tucker's high heel sneakers 7. Our First Turnarounds: So the last thing to address before we get to our first tune is the turnaround, and the turnaround is literally a way that we turn around and play another course of the 12 bar blues. So it occurs and measures 11 and 12 in most blue 12 bar blues progressions, and there are many, many ways to turn up blues around. We're gonna look at two really easy ways, and one way that's not that much more difficult that will sound even more authentic and convincing. So if I am on Measure nine in my last 44 bars here, one way that I can turn things around is to simply go to the e chord, which is the turnaround court, because that e chord and the key of a has a strongest pull towards the one chord A, which is the first chord of the first measure. And so if I'm on Measure nine, that kind of turnaround was some. Like this. I 234 gonna go to the D to not my measure 11 11 234 that I go back to eat back to the top of the form. So they're The pattern remains intact. It's very easy. All I'm gonna do is I'm gonna plug an E chord in that pattern in the 12 measure and it's going to bring the not only the listener, but any musicians that I'm playing. What they're gonna understand that we're gonna do this again. Now, another thing that we could do is to actually put a full 87 board in that 12 measure and that court shape looks like this. It's the second finger. Second fret fifth string, third finger 2nd 4th string, first finger first spread third string Pinky third fret second string Gonna hit all the strings and I can walk into that court. So if I'm measure 11 11 and two and three in more and hit the A five on the first beat of the 12th measure that I'm gonna hit home and fourth woman our first fret of the fourth and then I'm gonna lay the court found on the second fret of the four string and then strike. So timing wise from again, measure 11. It sounds like this. 11 in two and three and four and 12 and two and 34 and one and two back to the beginning. I could also dress that up a little bit with some other strokes on that full court. So here it is again for measure 11 11 23 and four and 12 to back to the beginning. So those air to fairly simple ways, another way that we can do it that will sound a little bit more like maybe what you've heard other players do on it's really not that much more complicated is we're gonna do a kind of a walk down on the A the a pattern. If I'm in measure out to play it and then I'll explain it. So here I'm Measure nine. My e chord Measure 10 will be on my d chord measure 11 here. Cops. So what happened there was and measure 11 I hit the five B one. Then I went to the A seven to a six on beat three on. Then I call this a flat at six. I guess walking it down dramatically from the fourth fret the third fret. Fourth friend, Dirt friend. A five chord. And then I did the same walk e seven chord one more time from Mr 11 11 and two and three and four and drug Teoh for back to the beginning. Now, in terms of the walk up again, I used all down strokes Could be down I again whenever I can just prefer to use dance strong, play the entire the entire 12 bar blues progression through one time and then with with the turnaround and then I'll play it through another time and ended on the a chord. So here we go. 12 Ready? Go! Hey, to measure 34 I'm gonna go to my day special Five or six. You go too deep for 10 comes around 11 and two and three and four and 12 012342 to 3 to 34 for two, 342234 or 6 to 34 back to a 234823 DS nine. These measures 10 now with turnaround could be a very complicated thing are very difficult thing. T get mastery of start with the easy turnarounds once you have those playing smoothly could try to get to that that slightly more sophisticated turnaround and there's many other ways to turn it around. We're gonna get to some of those a little bit further along in the course. But now that we have all the components that we need, we understand the 12 bar blues structure. We know what courts were going to be playing. We know what court shapes were going to be using. We know how the lyrical form works. We have some right hand techniques to personalize the way that we play aunt to make create a more authentic sounding rock shuffle. And now we have a way of turning around and playing course after course, were ready to jump into the tune High heel sneakers real quick before we get to the tune High Heel sneakers. I just wanted to point out a way that we can use thes same shapes to play in other keys. Because, in fact, the original recording of Tommy Tucker's high heel sneakers was in the key of C. I chose to show you how to play everything in the key of a because the patterns are all exactly the same for all three courts. It's a really easy key to get going and get started playing a really great sounding, authentic 12 bar blues shuffle rhythm So in order to play, for instance, in the key of C and use those same same shapes that we've been using, I simply put my Cabo at the third fret. I place what looks like my a five shape. Two frets up that at the second fret and now sounding in the key of C, even though I'm playing what I think of as my a five, a six a seven shame. It's also pretty common. If you're going to be playing a blues in the Key of D, you would just simply take that Cabo and play and place it at the fifth fret and again, a familiar shapes of 85 a six, a seven now sounding and key of D. So that's just a quick aside. There are other ways to do this by using our chord shapes. We're not gonna get into that in this particular lesson, Siri's. But now let's go ahead and get to Tommy Tucker's high heel sneakers 8. How To Play "Hi-Heel Sneakers": All right, let's dive into our first tune in the tuneup. Chosen is Tommy Tucker's high Heel sneakers, which was, I think, originally recorded in 1963 for the Checker label. I've included two versions of the song in the description of this lesson, and I'm going to be playing something that sounds very similar to the first version, although Tommy Tucker's playing in the key of C and we're gonna play in the key of a If you want to play and see, just slap your cape Oh, on the third fret. And there are some elements of this performance that I want to talk about, but I'm gonna do that after I play through the tune. The tune is mostly based on the very first version of the 12 Bar Blues Shuffle that we looked at four measures with 12 measures of the 42 measures with 12 measures of the 52 measures, the one and there is a stop time in the first verse. There is on instrumental section that's actually based on the changes of the first variation, where in the last four measures ago from the four start from the five to the four to the one. Uh, we have not yet talked about intros and Metro's And this tune does have an intro. Although the Outro is just they fade out. So since we haven't, we're going to get into that in the future lesson. But I'm going to do something called a vamp at the beginning, we're basically I'm just going to start playing my rock shuffle rhythm on the one chord and that's to just get myself in the groove and get the If I was playing with the band, get the band with me and then I launched into the tune whenever I'm ready, so you have a chart that you can look at. You can play along with me if you like, but this is mostly just for demonstration purposes, for how you could use everything we've learned so far to play this particular tune. High heeled sneakers. So here we go. Put on your baby because we're going out tonight. Put on your red dress, baby, because we're going out tonight. Wear some box close, Okay? Some fool won't start. Put on your high. You Zegers put Joe week ahead on your head. Put on your high sneakers put way hat on your head and I'm pretty sure now, baby Lord, you know you're gonna be dead. Here comes in. It's metal lip. First variation 54 way hands on your head. Hi, Sneakers way. Now, you know, you are realize I pretty sure you're gonna Nagle Teoh. So let's talk a little bit about learning to play tunes and maybe share a little my philosophy about playing music in general, the guitar on especially playing the blues. This course is not designed to teach you note for note transcriptions of any song. Frankly, I think that kind of exercise is really boring. The world doesn't need another perfect, perfectly copied version of Tommy Tucker's High Heel sneakers. What would be way more interesting is your interpretation of Tommy Tucker's high heel sneakers and, uh, so this. I use this tune to illustrate how you can play a tune with everything that we've learned so far. But you could, in fact, play hundreds of other tunes you could. You use the same techniques to play by just slowing down the tempo. You could be playing Jimi Hendrix's Red House a slightly faster tempo. You could play many of Chuck Berry's great rock n roll Hits A Z. I mentioned, I think, earlier there's a tune from my childhood called Keep Your Hands to Yourself by the Georgia satellites. It could use this everything you've learned so far to play along with. And I would encourage you to learn this this tune and learn dozens of other tunes before you proceed through the lessons in this course, because the object is for you to develop the tools and the techniques to play hundreds of tunes and to do it in a way that reflects your own distinct musical personality and artistic instincts. So, uh, you could decide to play this with the third variation, you could do stop time every time. You could add a turnaround every time to illustrate all this. Listen to the versions of the tune that I include with this lesson, because you'll hear Number one that the blues doesn't have to be perfect to be effective. The ensemble that's playing along with Tommy Tucker is very, very loose. They don't hit the stop time in the 1st 1st together, there's times when the guitar seems to be trying to get toe play a turnaround when the rest of band is not really behind him. To my ear and the instrumental section, they actually drop a measure to and the court changes and, you know, and it's just it's it's not perfect, but the blues is not meant to be perfect. The blues is meant toe connect. So in order to do that, it's more important that you get enough right that you can get get the story or the message or the emotion across. So just take some time to play through high heel sneakers, take some time to place through some of the other tunes that I mentioned. Take some time to play through, some to investigate and play other tunes and when you're ready, will get to the second section of the course, which is gonna be where we investigate a different shuffle rhythm. What I think of is being the more authentic are traditional blues shuffle rhythm could learn a bunch more tools and techniques to really make sure that percent on like the real deal, I'm gonna use another very familiar tune by a great artist to illustrate how to use all that material. But again, the object is to just assemble the tools and the techniques and the tips that will enable you to play thousands of songs using and play them in a way that that reflects your preferences, your musical sensibilities, your musical personality. So with all that said, have fun playing high heeled sneakers. Place more tunes and when you're ready, I'll see in the next lesson. Hey, one more thing. I would really love it if you took everything you've learned so far and after you've practiced. If you would record yourself playing high heel sneakers or some other song that uses the rock shuffle feel and allow us to see that performance by sharing a link to whatever platform you were. You recorded are uploaded to upload it to YouTube and send us a link it could uploaded to your video account or any of another other platforms. But record yourself performing tune. Share it with us if you would like for me or others to comment or answer questions than indicate that when you post it, it's important to me that we share our performances, that we help each other out when we can, and that most importantly, that we all support each other as we're going through, you know, engaged in this journey toe. Learn how to become better blues players by learning the shuffle rhythm. So be brave. The generous record yourself playing this tune. Share it in the comments section. I really look forward to seeing and hearing your performance. 9. How To Play the "Hi-Heel Sneakers" Intro: in this video, I'm going to show you the actual intro that is used in the hit version of High Heel Sneakers by Tommy Tucker. But before we dive into that, I'm going to show you another way to introduce the song. That's super easy. And if you want to do something other than the band that I demonstrated in the actual teaching of the sound, you could use this. And it is actually just employing the turnaround, one of the turnarounds that we used in or learned one of the previous lessons, And that just is gonna You're just gonna take your 1/4 turn around, walk upto this e no on the fourth string open 1st 2nd and then you're gonna hit full E seven chord and that's, uh, your middle fingers on a beano. Second fret fifth strain your third fingers tucked underneath that on the fourth string. Second fret, and then your first finger's on the first part of the third string, and you can add your pinky toe the third set of seconds, and that's your E seven chord. And so again, that would sound like this. This'll baby. So that's just a super easy one that you could use A Z. You're starting to work on this other one. This is the actual intro. I'm gonna show you two different positions to play him. So what we're gonna do is at the beginning of the lich, we're going to end up with our first finger at the eighth fret of the second string in our second finger at the ninth fret of the third string. But we're gonna slide into that from two frets below. So my fingers on the seventh Right now I'm just using down up picking waas. Then come grab the fifth fret of the third string with your first finger, whom you're gonna grab the seventh fret of the fourth string with your third finger, and then you're gonna go to the fifth fret of the fourth string walking down. Get this, You know, the second fret and they were gonna put in this ninth Corps 09 going from f nine e nine. And that's just a little mini bar across the top three strings at the seventh Fret. Your first finger's gonna grab the sixth fret of the fourth string and then, if you want, you could put your first finger on this seven. Threat of the fifth string on, you're gonna start one foot higher on That's your E nine court. Your turnaround court. So at tempo, that would sound like this. This'll baby. Okay, now, maybe another position. Teoh Try. This would be on the 1st 2 strings. First finger at the third fret. First string, third finger at the fifth fret of the second string and same notes way. Uh, so there's the sliding into that person. Third fret. First, better second string. First fret. Third string. Second fret with the middle finger, the fourth string. Third fret second fret, and so that one more time This'll, baby. Now, if you're beginning a Doppler, that might be something that you work on for fair period of time before you master it. But if you're intermediate guitar player, that little bit of instruction should get your playing the intro, high heeled sneakers. It's a great little intro. It's it's kind of iconic in a great way to introduce the tune. And so I hope you enjoy playing around with that. If you want to leave a link to you performing the tune with the intro and the entire two. That would be great, too. So enjoy that if you're game going to the next bonus lesson, which is going to teach how to play checkers hit Johnny B. Goode. 10. How To Play "Johnny B. Goode": in this bonus lesson. What I wanted to do is just show you and illustrate how, with just the material that you've learned in these six lessons, you now have all the tools and resources you need to play hundreds of not thousands of your favorite blues and rock tunes that employed both the rock shuffle rhythm and the 12 bar blues and the basic changes or variations that we've talked about. So what I'm gonna do here is first I'm going to demonstrate by playing you the tune Johnny B. Goode by Chuck Berry. And then I'm gonna come back and I'm gonna walk you through how to play this tune and I could be a few more. Resource is so if you want to go deeper and further with this tune, you can. But at this point, if you get this far and you're playing this song as well, then really you have a lot of material to work with and all the tools and resources that you need to continue on your guitar playing adventure with the rock shuffle rhythm. So let's begin with a demonstration of Johnny B. Goode by Chuck Berry Way back up in the booth, so I provided a pdf that has what looks like a kind of ultimate power type chart for this tune. And this is typically that type of things that you'll find when you're surfing the Internet and trying to find court changes in their ext. ITunes. So the complete set of lyrics is there just a couple notes before we get started. Chuck Berry places Tune and B flat. He played in a lot of odd keys for guitar players, played an F and B flat quite a bit because his piano player was a jazz piano player used to playing with horns. Chuck Berry often played with horns and B flat. Never just really horn friendly keys and not is common for Guitarist, who are generally more happy to play in just C G D A. Any. But you can very easily achieve playing in the key of B flat by just putting a cable in the first threat. You could also, if you know them, use bar chord shapes, which is what Chuck Berry was doing. And, um, the tune itself is kind of interesting in that he uses a 12 bar blues song structure to create a burst chorus verse chorus verse chorus format. This is sometimes called on a B song structure, so the words to the verses are different, although there some to the same melody. The words and the melody of the course is exactly the same. Um, so couple of things just to get you started on this tune, I'm not gonna teach you the intro here. I played it just cause I've been messing around with it. I am going to include a link that will show you how to play the intro and also show you that little like I was doing in between the Versace that I was singing in the chorus. But what's what's interesting about check? Barry's way of playing the blues shuffle is he does use down, and upstroke sits on eso. You want to get really tight with that? If you're gonna try it that way, you could still do all that, but it's really sounds more like Chuck Berry. When you do that down, you'll be employing some muting. I kind of pushed down. You want to get a little familiar with that style of playing a blues shuffle with your right hand if you want to try to play it like like Chuck Berry. But the other thing is the only alternates between the A five Chord and the A 64 which is gives the his style of music just joyful kind of bullion sound. Because the A five on the A six air so constant there's none of that toughness or swagger that comes with adding the flat at seven. Other than that, everything else is pretty self explanatory. You're going to simply go through the basic changes for bars of a two bars of D two bars of a two bars, a V two bars of A as you play through the versus in the course of courses of the of the tomb. So just play instrumentally for you once just kind of illustrate so. 12341234 up Thio Thio n 3432 and 34 into three and four empty 2346 to 3 e r a. Or eight 234 to 3 Actor Johnny Johnny. So just a few last closing notes here. First of all, obviously, Johnny B. Goode has played a pretty bright tempo kind of up type of feel, but that doesn't mean that you have to start trying it at that temple or right away. You're only comfortable playing about that tempo. Then, by all means, just play the whole tune as slow as you need to on. Then, over time, as you you can start at the temple that you're familiar with, just makes it up, eyes going, and eventually you'd be able to start the tune at the temple that you desire again. You can learn. I've got some links where you can go to some other instruction and learn how to play the intro and toe. Add the link to the chorus, but you can do with this tune just like we've done with others. You could just intro with just a turnaround on, and you never have to do things exactly the way that they were recorded. In fact, I think it's always more interesting to hear what people bring to these tins from their own musical sensibilities in their own musical abilities, rather than trying to carbon copy the artist who wrote the tomb. So I hope that helps helps you realize that with everything that you've learned in this course, you've got access toe hundreds of tunes, if not thousands. I definitely plan on following up this course with another course on how to play a blues shuffle, which is a slightly different animal. And but I would love to hear from you. You can leave comments in the discussion section you can email me at Scott got a guitar lessons dot com. And if you're interested in other instruction, obviously Goto got a guitar lessons dot com. There's lots more horses and lessons out there, including some free stuff, such as the Monday Morning Blues Courses, which is a weekly A new class added every week on playing blues guitar. So I hope that you would have enjoyed taking this class. As much as I've enjoyed teaching it, I hope that we bump into each other somewhere along the way, as we're all travelling our own musical journey and until next time we'll just keep on, keep on shuffling