So basically what’s going on is… So that’s the rhythm
that we’re using here for this. This particular rhythm
involves, again, muting is a very important part of
rock ‘n’ roll and the blues. Since we’re rocking the
blues, I want to talk a little bit about that.
We’re in the key of B and we’re doing this figure here,
which is a classic rock-blues figure. Now, if you were
in the blues, it would sound something like this. But
as we know, when the blues had a baby and they called
it rock ‘n’ roll, you sped it up, put four on the floor
and it ends up sounding…
Now, that has a distinct Texas, Stevie Ray Vaughan kind
of feel to it, doesn’t it? But it started way back before
that, back in the ’50s.
We’re doing a 1-4-5 progression. What I’m doing on the
lead side of it, I’m doing these kinds of Chuck Berry
licks. That’s very identifiable, isn’t it? It’s an old
rock ‘n’ roll kind of riff.
Let me break that down for you and then we’ll go over
what I did, piece by piece. So you’re in your B position
here on your 7th fret. You’ve got your Chuck Berry position.
And then what you’re doing is — it’s a great, old lick.
You’re bending — you’re coming in with your 7th fret,
B lick, and then you’re coming over here with your third
finger. So you’re hitting that E position and then a half
step up, which we’ve used so many times. So if you put
those together with kind of a — you’ve got kind of a
funky stop. Then I get into a… So it’s kind of a swing feel.
So what I’d like to do now is go back to the track and
kind of disassemble some of the leads I did. Here’s a
good one. Just following the chord. Up to E and then to
your F sharp. That’s how I did my turnaround. I went from
an F sharp and then… It gets you right back to your B,
or your root.
