So did you notice that the B seventh and the A seventh were identical?
Remember that I said at the beginning that we would be playing our A here
but when we do our turnaround when we come down from the B seventh chord to the A seventh chord.
It's always more efficient to just continue in that same type of chord voicing.
So when we come down from the B seventh.
Shuffle.
We'll do the same thing two frets down at the A seventh.
Then we'll hit the low E and we'll do our turnaround.
Now before we go into that turnaround and talk about what we've got there.
Why did we hit the low E first?
The reason why is a turnaround always, almost always, takes place on the second beat of that eleventh measure.
In other words it's a: bomb, da dadeely, da dadeely, da deely, dum type of a sound.
So you need to hit that tonic note, in this case E.
Then follow through with something that gives you a turnaround.
Now a turnaround could be anything. It could be this…
Or it could be this…
It can be anything you want. As long as it has that timing it's a turnaround.
We're going to work with a specific turnaround this time.
The turnaround will be fretted with the index finger and the second finger on the third and fourth frets respectively, on the second and third strings.
So as you can see I have the index finger and the second finger here on the third and fourth frets of the second and third strings.
Now with our right hand we are going to be playing what we call a 12/8 time, that means twelve eighth notes.
Don't let that bother you. Basically it's triplet sound.
Da, da, da, da, da, da, da, da, da, da, da, da.
Each da, da, da, each triplet fits perfectly over one of the beats in 4/4 time.
So in other words, it's one, two, three, one, two, three, one, two and that's the type of timing you're going to use.
Now in terms of right hand technique I'm strumming basically or I'm picking down through the three top strings.
First down and on the upstroke I'm coming up and striking the first string and then I'm coming back down on the third string again.
So it's down, up, down, down, up, down, down, up, down
and then the final one is down like this and this is basically almost like an E chord here where you're just fretting at the third fret of the first string
and going down, up.
Notice there's just two there.
So it's one, two, three, one, two, three, one, two, three, one, two.
Ok. Now we put the part at the end of this song, at the end of the twelve bars called a tag.
A tag is in the last measure and it can be…
Or…
Or any of those many things that you've heard.
You can kind of mix and match them and in this case we're going to play a little tag that I got from Reverend Gary Davis.
This one's E, the open low string, fret with your little finger at the fourth fret to get the G sharp, play the A here on the open A,
fret with the index finger on the first fret of the fifth string and then the second finger on the second fret of the fifth string.
From here we're form a new chord.
One that some of you already know, maybe some of you don't know.
This is the B seventh with a sharp nine. Don't let that name scare you or throw you off it's just a simple chord.
Basically what you do is you will fret with the second finger on the second fret of the fifth string, the first finger on the first fret of the fourth string,
the third finger on the second fret of the third string and then we put the little finger on the third fret of the second string.
This chord. A lot of people call this the Hendrix chord because he played it on a lot of different tunes like "Purple Haze" and things like that.
It's a very common blues chord it makes a wonderful chord for a five chord and in this case it is the five chord.
It is the B chord.
So when we tag this song at the end we're going to tag it with this…
Ok, so that's a tag there. So the turnaround is actually this part…
And the tag is…
Ok, so let's take a look at the song again from the beginning.
So we start with the shuffle in E, down strokes remember.
Incidentally if you Gibson players like to go like this…
You can also alternate notes.
We switch to the A…
Now we're back to the B seventh. Down to the A seventh shuffle. Hit the low E and turnaround.
Ok, so that's a twelve bar blues, it's one of many different types of twelve bar blues, a shuffle in E.
We're going to run through that one more time for you.
So again, remember on the right hand you can do a number of different things.
You can alternate the fifth and sixth string. Or you can just strum down.
You can mute or play open but either way we're going to play four measures.
So now it's time to change to the A.
Back to the E for two measures.
Now up to the B seventh at the seventh fret, shuffle that one measure.
Down to the A seventh for one. And hit the low E and turnaround.
Now some of you might say "hey, I noticed you're hammering that, that turnaround there."
Yes, that's another thing that you can do.
So as you're coming out of the turnaround…
You can hammer-on that major third there before you do your tag.
So let's run through it one more time without me talking. Ok.
Time to switch to the A. Back to E.
B seventh. A seventh.
Hit the low E, turnaround.
Ok, so this is a Jimmy Reed style shuffle and we're going to do some different variations on it in a little bit
and I'm going to show you an even cooler one but from here we are going to use this as a vehicle to learn licks.
Our licks will be designed to fit over this kind of a song which is so common.
I'm going to show you a lot of country blues licks.
Things by, Lightnin Hopkins, John Lee Hooker, you know, great players like that and I'm going to show you how to put them into this type of song
and how to play over the chord changes in this song.
Thanks for taking this lesson. I'm Eric Madis with JamPlay.com and I'll see you next time.