Clapton-style Acoustic Blues - Page 7
by Jim Burger
Bars 3-4 simply utilize the G# hammer-on move discussed above. Sounds good, doesn't it? Let's not forget that good bluesmen know when to keep things simple -- we don't need to show off how fast we are and how many scales we know at every opportunity. That's why we play blues, not jazz or rock!
Bars 7-8 use a nice run up and down the blues scale (adding the 2nd fret of the 2nd string from your A chord) which once again resolves using our G# hammer-on. It then leads into measure 9 by walking up the 6th and 5th strings leading into your B note (the V of your I-IV-V progression).
Bars 11-12 use our E7 triplets as discussed previously, followed by a slide down the third string into another G# hammer-on, finally resolving into a B7 chord turnaround. The turnaround in measure 12 sounds tough but it's mostly played out of a B7 fingering, so it's no strain on your fretting hand.
I know this is quite a mouthful to digest at once, but that's it... Any questions before we move on to take a look at a Clapton solo? Good, then let's turn the page!