How to play blues like the early electric guitar masters
As the guitar “got electric,” its potential as a solo or feature instrument – especially in the context of a band – was stretched wide. A new generation of players, including John Lee Hooker, Hubert Sumlin and Sister Rosetta Tharpe, began to take advantage of these different possibilities and sounds, which were later expanded upon by Chuck Berry, Buddy Guy and Jimi Hendrix.
What I want to capture in these examples is a snapshot of when people started cranking up their amps and discovering how loud it could get!
As you’ll see, I tend to rely on shrill ringing open strings rather than individual “soli” per se, but the electric guitar is very front and center. With a bit of ingenuity it would be possible to incorporate bass notes and make these ideas stand without a backing track (see example 1 for some hints on how to do this), although arguably that would be a throwback to the previous era rather than a bold move forward…
If we go forward if we pull a rough timeline of tracks like Howlin’ Wolf Chimney Lightning (with Hubert Sumlin) to Jimi’s Voodoo Chile and SRV’s scuttle buttin’you will see how this approach has established itself over the decades.
Rather than playing a full solo, I’ve opted for four examples that could still be assembled into a complete piece, with example 4 offering an alternate recording of the last four bars.
I decided to use a pick for a strong attack and push the Studio Vox AC15 into natural overdrive. However, using hybrid picking could also yield some punchy, albeit slightly softer, results.
Ultimately, from today’s perspective, you can treat these ideas as “vocabulary” and apply them to a wide variety of musical situations – the only limit, as the saying goes, is your imagination.
I hope you enjoy exploring these ideas and see you next time!
example 1
In contrast to the later examples, This phrase could be played unaccompanied thanks to the support of those ringing bass notes.
I slide between positions 1 and 2 of the E minor pentatonic scale and place a lot of emphasis on the open 1st and 2nd strings – another way to fill out the sound for a solo guitar arrangement.
There’s also a hint of Chuck Berry/50’s rock ‘n’ roll in bar 3 with that double stop that also includes the 6th (C#).
example 2
On the IV chord (A) I use a voicing of A7 which is very popular in this style and means I can start the phrase heavily with an open fifth string as the root.
As we’ll see a little later, this shape is moveable when you have a bass player to fill out the low end – and even if you don’t, there are positions where this can be worked around. I’ll end with a few more vocabulary ideas from the E minor open pentatonic scale.
Example 3
Stray the fretboard further up into “lead” guitar territory, I think this set demonstrates a platform upon which many later styles were built. You’ll hear some characteristic quarter tone bends (especially on the minor 3rd/G) and the characteristic 6th (C#) also makes an appearance.
At the end of the phrase, I play a run down on the third string, alternating with the open first and second, to fill out the sound and push the guitar forward.
example 4
As an alternate variation on the last phrase, I’ve chosen to use the same “7th” pitch as in example 2, starting with B7 (the V chord) and then shifting down two frets back to A (IV).
The final phrase is inspired by a mix of SRV and Sister Rosetta Tharpe, with some quick chromatic hammer-ons (you could try shifting this too) between forms 1 and 2 of the E minor pentatonic scale, ending as we on the open sixth cord.
Hear it here
Howling Wolf – The definitive collection
Already on the first track moaning at midnightyou can hear Hubert Sumlin’s edgy, slightly driven guitar with the kind of phrasing I highlighted. Chimney Lightning almost doesn’t need to be discussed because it’s such a classic – but it’s always worth listening to.
spoon shows the guitar leaping from chord-based licks and fills to outright solos. It’s easy to see why Hubert Sumlin was such a huge influence on young Jimmy Page and Jeff Beck.
John Lee Hooker – king of the boogie
Another compilation but this gives a great overview of the evolution of John Lee Hooker’s style and blues guitar playing in general. Sally Maeunderlaid with acoustic guitar (which sounds like open G or A tuning with a capo), establishes a baseline that continues to develop Stuttering blueswhich goes right into the area we have covered here.
After all, who could forget that boom boom?. Very similar to Chimney Lightning but in a faster context.
Sister Rosetta Tharpe— gospel train
Although Sister Rosetta Tharpe was known primarily as a singer – and a formidable singer at that – this album, released in 1956, contains many of the very latest styles and techniques.
Check out her snappy tone and harmonically adept soloing rays of heavenCan not No grave holds my bodyand 99½ doesn’t work. There’s also some wonderful footage from their performance in the UK in the early ’60s that’s worth searching online for.