Blues Call and Response Pattern
Here is a common pattern of call and response which is found in many Blues songs. There are lots of variations, but memorising this pattern will enable you to play call and response very effectively with other musicians or singers. The first two responses are played over chord 1, while the third response is a turnaround. A good example of this format is the song “Sweet Home Chicago”.
Another useful technique is to play call and response with yourself when you are soloing, or to use a call and response approach to create a guitar part which fits with the rest of the band. This is particularly common in Funk. The following example demonstrates this technique, with each chord being answered by a lick.
Class Sessions
1- Playing Over Turnarounds
2- Dominant 7th Arpeggio Forms
3- Minor Pentatonic Scale Forms
4- Major Pentatonic Scale Forms
5- INTRODUCTION
6- Blues Scale Forms
7- Open Position E Form Blues Scale
8- Endings
9- 6ths and 3rds
10- Combining Scales and Sounds
11- Licks Derived From the E Form
12- Fretboard Diagrams
13- Intros
14- E Form Licks (Blues Scale)
15- Left-Hand Fingers
16- Triplets and Swing Eighth Notes
17- Combined Scales Solo
18- Licks Using 6ths
19- Licks Derived From the D Form
20- Stops
21- D and C Form Licks (Blues Scale)
22- Licks Using 3rds
23- Tablature
24- Call and Response
25- Solo Using 6ths and 3rds
26- Tablature Symbols
27- Licks Derived From the C Form
28- A and G Form Licks (Blues Scale)
29- Blues Call and Response Pattern
30- Blues Scale Solo
31- Licks Derived From the A Form
32- Guitars and Amplifiers
33- Licks Derived From the G Form
34- Dynamics
35- Licks Moving Between Forms
36- A Final Solo
37- Summary of Scales
38- Playing in all Keys