Hey, Sonic Junction,
it's Rick Estrin back again and this week I'll be breaking down verse 3 of "The Lockdown Shuffle". This lesson features a fairly explicit explanation of how to produce one type of tonal contrast. We'll also be working again with the push/pull, blow/draw technique that's essential to creating the feeling of buoyancy we want to achieve in this piece. There're also some partial chords, and conjunctive devices, that are indispensable to the overall effectiveness of the song, but need to be executed in an offhanded, semi-casual way. On the V chord, we'll be continuing to work with the half step and whole step bends on holes 2 and 3 that reoccur throughout the song. I also explain a little about the purpose and value of using a recurring lick for continuity - In this case, it's a signature "tag" lick. There's a lot of stuff in this lesson, but it's all good stuff that you'll be able to draw from and apply to whatever you play in years to come.
Have fun, and I'll see you next week.
Rick
Topics and/or subjects covered in this lesson:
Chicago Blues
Print Chords & Tab
A Harp in the Key of E.
Loop 0:00 First Three Verses
Loop 1:54 3rd Verse Acoustically
Loop 2:30 I Chord Breakdown
Loop 6:50 IV Chord Breakdown
Loop 10:48 V Chord and Turnaround Breakdown
Loop 13:54 Practice Loop
Loop 15:03 Closing Thoughts
Comments
Log in to leave a comment
This tune is really amazing and the more you get into it not so easy that's what I like about it. I'm working on this tune. And trying to pick out Little Walter's Sad Hours needing some help just takes time. Love the lockdown shuffle
Thanks Boyd! I'm real glad you like it! Also, Sad Hours is beautiful - There's a lot of great things you can pick up from Sad Hours!
You're so right that this tune is loaded with musical ideas. I love this lesson. It's definitely changing and deepening my playing. Tongue blocking the 1 blow and draw (which i never used to do). The Lockdown Shuffle is such a fun groove. Thank you so much for the time you're putting into it, attention to detail and patience in spelling it all out. Cheers!
Thanks George! I'm real glad you're enjoying it! I cover a lot of little, idiomatic details that seem important to me, and it's always gratifying whenever somebody else appreciates their value.
I think that word is perfect. It relates to your idea that the playing should be conversational and make sense. If you took the conjunctions out of a sentence it wouldn't make sense. A conjunction links ideas together. Brilliant.
Mary Beth - google Thelonius Monk 25 tips. There are some real touchstones there. I think I first heard about them when Rick did the Chicago Shuffle lesson, way back when.
Hey Rick,
I had to look up "conjunctive" but now I think I know what you're talking about :) You've quoted Monk's about how it's everyone's job to make the drummer sound good. This performance makes me think of another of his 25 tips: When you are swinging, swing more! I'm digging it!
That's another one of my favorite Monk quotes. And by "conjunctive" (hopefully I'm using it the right way - I've been using that description for years) I mean the little supportive devices between the licks that seem to hold things together and propel the piece foreword. A conjunctive device could be a casual, barely audible partial chord, or it could be a little lick that leads into a bigger "statement" - What I call "conjunctive devices" might sometimes, on the surface seem inconsequential, but to me, they're often the glue holding things together and they help to create the impression of buoyancy that can make a particular lick or verse feel alive
That is a great quote!! I have to remember that one, thank you!! When you are swinging, swing more!! :-) Perfect!!