Goode” and also “The House Is Rockin’,” as famously recorded by the late, great Stevie Ray Vaughan.Įx. Although blues progressions and rhythm patterns can be played in a variety of keys, for the sake of continuity and comparison here, all of the examples in this lesson are presented in the key of G.Īdditionally, they’re all performed with a swing-eighths, or shuffle, feel, which is based on an undercurrent of eighth-note triplets, but alternatively, each example can be played with an even-eighths, or “straight-eighths,” feel, like that heard in the Chuck Berry blues-rock classic “Johnny B. Ultimately, the choice of how to attack a note is up to the individual player, and the subtle differences in touch and textures make a deceptively simple style ever interesting and exciting.ģ. The pick-hand palm muting instructions (P.M.) and staccato markings (those little black dots below some of the note heads, which tell you to reduce the note’s duration by 50 percent) are articulation suggestions that offer a starting point.įeel free to use little or no palm muting at all, and experiment with normal (non-staccato) articulations and various accents. Each of these two-beat patterns would typically be played twice across a bar of 4/4 meter.Ģ. For the purpose of economizing space, the first five examples are presented back to back, or side by side on one line, and in 2/4 meter with repeat brackets.
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