Product Description
Another must-have Red Dog Music Book by Larry McCabe. This book contains a goldmine of 101 authentic electric blues rhythm patterns that can be applied to thousands of real songs. Each pattern is recorded note-for-note on the companion CD, and written in standard notation and tablature. Supplemental articles cover blues progressions and rhythm pattern types. The book will help any early-intermediate or intermediate guitarist acquire well-rounded blues rhythm guitar skills. Ideal also for pro reference and teaching studios. It is a book for guitarists who are familiar with, and enthusiasts of, urban blues and other forms of non-commercial music.
The patterns are in the urban blues style heard on recordings by artists such as Muddy Waters, Howling Wolf, Jimmy Reed, Elmore James, Eric Clapton, Buddy Guy, Junior Wells, James Cotton, Little Walter, BB King, Albert King, John Hammond, Anson Funderburgh, Hubert Sumlin, Little Ed and the Blues Imperials, Pinetop Perkins, Willie Dixon, R.L. Burnside, Butterfield Blues Band, Otis Spann Charlie Musselwhite, Lonnie Mack, Boozoo Chavis, Ry Cooder, Gatemouth Brown, Freddie King, Sonny Boy Williamson, Robert Lockwood, Lonnie Johnson, and similar musicians who recorded for Chess Records, Delmark Records, Sun Records, Alligator Records, Arhoolie Records and other labels that focus on roots music performers and Afro-American music. Prospective buyers are encouraged to use the Search Inside Book feature to examine the contents and music pages prior to purchase.
101 Razor-Sharp Blues Guitar Rhythm Patterns in the Electric Urban / Chicago Style
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Popularity: 2%
November 23rd, 2009 at 6:23 am
I’m an intermediate guitar player and prior to ordering this book I was stuck in a rut playing the basic I/IV/V 12 bar blues over and over using chords like G,C and D and I didn’t really know how mix it up or make my chord progressions more interesting. This book solved all those problems immediately. By applying these patterns into my progressions they make me sound like I am a far more advanced guitar player than I really am. The patterns in this book are amazingly simple but pack the power of a sledge hammer. Out of the 101 patterns in this book there were only 4 or 5 that didn’t do much for me but the rest are pure Gold! The CD is also a great tool in making sure my timeing is correct. The Appendix in the back of the book is a great addition and is loaded with information and arranging tips. An excellent choice for anyone wanting to expand his or her rhythm playing. Many thanks to the Author!
Rating: 5 / 5
November 23rd, 2009 at 6:46 am
I will keep this brief, but this book is stellar. I put the CD into my Itunes and ripped away for a few hours. It has great tablature and notation that can help expand the minds of people still learning to play the blues. The beginning of the book has a guide for all of the notation that will be used for everybody new to tabs and standard notation so it is very user friendly. Also, I will add that after ordering fro Amazon I originally received 25 Razor-Sharp Blues and Boogie Solos instead of this book. When I contacted RedDog, they were very understanding and sent me my original purchase and let me keep the other book FREE OF CHARGE!!! I highly recommend these books to anyone looking to learn a little more on the guitar.
Rating: 5 / 5
November 23rd, 2009 at 8:33 am
This book makes the third blues book of Larry’s I have used, and it is another winner. In fact this book is likely the most useful to me on one of my current gigs – playing rhythm behind a “local legend” player.
As with Larry’s other books, the examples are written in standard notation and tablature. A well recorded CD of all examples is also included, with the bass guitar on the left and the six string guitar on the right so one can isolate either. All the examples are written in C, and there are a variety of tempos and styles.
While playing through the examples I would often find myself pausing to expand on the examples, adding strings or additional notes of my own. Many of these examples are great springboards for creating your own patterns. Anyone who has listened to blues guitar music, particularly Chicago style, has heard many of these patterns in practice already. This book would be a great start for the beginner wanting to learn blues, or the intermediate player who would like to delve deeper into the blues genre.
And the learning does not stop with the example rhythm patterns. The appendices are also a wealth of knowledge. There is a great section on chord patterns and fragments for both minor and dominant chords. Standard 12-bar and 8-bar progressions are also written out in every major and minor key. There are also open charts provided so students can write their own patterns over various chord changes. And like Larry’s other books, a great suggested listening section is also included.
On a final note, I will echo the thoughts of Larry in his introduction. Far too often blues players (and guitar players in general) focus on lead playing and have rhythm playing skills that are, well, somewhat lacking. This book is a great way for the beginner or intermediate blues player to beef up those very important rhythm skills.
Rating: 5 / 5
November 23rd, 2009 at 11:16 am
I have used Larry McCabe’s instruction books for years with my music students, with good results, so I picked up a copy of this new book last month to use in my teaching studio. My students are enjoying the book very much and so am I. It is quite a nice book and CD, unique in format and impressive in its instructional design and educational goals.
As the product description mentions, these are the patterns that are played on authentic blues recordings. I have not seen as complete a collection of blues guitar rhythm patterns in another book. This is a comprehensive manual of urban blues rhythm patterns.
The book is designed in a workbook/reference format that encourages the participation of the user in transposing, and applying, the patterns to standard eight-and twelve-bar blues chord progressions.
Each pattern is demonstrated on the I, or tonic chord, in C major. Clear instructions are included that encourage the user to apply the pattern to other root tones, and also to “entire” blues progressions (I7-IV7-V7), such as the blues progressions found in real songs.
One great thing about this book is that it motivates the user to form decisions regarding appropriateness of application, or use, in real blues songs. It is not a book for the lazy person who expects spoonfeeding, or a beginner who is satisfied with note-by-note copying of someone elses playing. To put it more bluntly, this book might not be useful for guitar students who fall into the “dumb” category. The format is designed for the guitarist who wants to learn to think for himself or herself, and who wants to learn by doing.
I am showing my better students how to apply the patterns to real songs, and more importantly, I am teaching them to teach themselves how to apply the patterns to real songs, which is the overall instructional objective of the material.
The patterns cover many positions on the fingerboard, up to the twelfth fret. Each pattern is written in the same key, C, for ease of analysis and comparison. It is a smart idea to present the material this way, again, because the user is encouraged to learn to transpose the examples to entire progressions, various keys, and songs having different types of rhythms.
Even though most urban blues rhythm patterns are fairly easy to play from a technical viewpoint, this book would not be appropriate for a beginner. A beginner’s focus is necessarily on mastering basic technique, not original application. This book encourages creative thinking and decision making. It is a book for ambitious students having early intermediate, or better, skills.
A player with light experience, or lack of motivation, or inability to read instructions, might be confused by this book’s goals. The exercise of musical application requires original thought, motivation, and experimentation. Thus, this is not a book for uninspired folks whose ability, ambition, and conceptual grasp is limited to copying note-for-note guitar licks and patterns.
The professionally mixed CD is clearly recorded, and remarkably, contains every pattern, each recorded at a moderate tempo. Commendable effort.
The book also contains a valuable appendix covering Basic Types of Blues Rhythm Patterns; 12-Bar Progressions in the Major Keys (with variations provided); 12-Bar Progressions in the Minor Keys (with variations provided); Open Charts for Application of Patterns.
I highly recommend this impressive and useful book for any emerging guitarist who wants to “learn by imitating-and then doing.” Fellow teachers with motivated guitar students, take a look at this one. Five stars.
Rating: 5 / 5