The more movement you have within chord grooves and the thicker
the chords are, the more you're gonna be in everybody's face. Which isn't bad
if you intend it that way.
Look at these next grooves. Use them as part of a solo, for instance, as a climax at the very end.
They can also be played in the background, but be careful.
Turn your amp down and/or turn the treble on your guitar down. It also helps
to not really dig into the strings but gently stroke them.
Stay out of the way of the soloist.
Accompaniment or Solo Ex 1 - CD 40 (mp3 click : )
TAB Acompaniment or Solo Ex 01
This one is played on the first four bars of a blues progression.
It is a walk up from an A9 via an A11 and A9#11 to another form of A9.
The next example deals with a moving chord; a 6th. This form can be moved around using the blues scale as a marker. Sounds weird? Watch it, it works.
Accompaniment or Solo Ex 2 - CD 41
TAB Acompaniment or Solo Ex 02
The top note is the tonic of the chord. It moves up and down the A blues scale, keeping the form of the chord the same. Explaining this would take a rocket scientist a few hours, so just play it.
Call and response. If you use this blues concept in your accompaniment you might end up playing something like this. It uses the I chord in different forms and places on the neck.
Accompaniment or Solo Ex 3 - CD 42
TAB Acompaniment or Solo Ex 03
You might follow it up with this for the IV chord.
Accompaniment or Solo Ex 4 - CD 43
TAB Acompaniment or Solo Ex 04
You could play a different chord on every beat. Listen to someone like Freddy Green from the Count Basie Band pull this off. More of a jazzy way of playing accompaniment though. (See also accompaniment Solo 12).
Accompaniment or Solo Ex 5 - CD 44
TAB Acompaniment or Solo Ex 05
Moving up and down the mixolydian scale, harmonizing it in three note chords. Tough not to notice it, so be careful using it as an accompaniment. Play the same forms on the IV and the V chord using their mixolydian scales.
Swing Blues Lessons Home Page