Rhythmic Variations On The Doublet Pattern
The following rhythm patterns break certain beats into two parts. These rhythms, and variations built upon them, will be used to play blues and rock songs in later lessons. Although a number with a timing slash is meant to be played as one entire beat, it is acceptable to play it as a half or short note, and catch a quick breath during the rest of the beat, if desired.
This variation is simpler to play than the original doublet rhythm, since it leaves one entire beat during which to breathe at the end of each bar. Do not omit the silent beat, represented by the slash without a note. This silent beat must be tapped out, mentally or with the foot, before repeating the pattern.
This is another rhythm that can be used with the blues. Once again, do not fail to count the silent beat.
It will be very helpful later on if you have practiced both Blues Style Rhythm Patterns above on the 123i chord. If you plan to work seriously in the blues genre, then practicing these patterns on the 2i note by itself will also be useful. Re-read the end of Lesson Three if you find this difficult, which you probably will, at first.
Using the doublet rhythm with the note sequences that you have already practiced allows you to create some interesting sounding riffs, like the following.
This pattern is a basic version of what is probably the most popular rock and roll rhythm. Try to emphasize the notes that fall on the second and fourth beats, as indicated by the explanation points on the tonguing. Play this one using the 2i, as well as the 4e.
Often used in blues and rock music, the stop time rhythm is one of the most subtle of the doublet rhythms, due to the fact that it begins on an up part of a beat. The following practice rhythm will prepare you for the stop time rhythm. Say the first "ta" as your foot rises after tapping the third beat of the count, and the second "ta" as your foot taps down for the fourth beat.
It is easiest to begin playing this rhythm when it is preceded by a count-off of three beats, for reasons that will become clear in a later lesson.
Then play it, if possible, repeatedly without repeating the initial count. When that begins to be comfortable, play the stop time rhythm on the 123i chord.
Now do it with single notes, as follows. This is not easy, but once you have mastered the timing you will be able to use it to create some of blues and rock music’s finest vocal accompaniments. If you cannot easily obtain single notes, play the 1i singly, and the rest of the notes as chords.
Chords, Slides and Second Verses
As mentioned previously, the use of chords in the place of selected single notes, and of slides between two non-neighboring notes, is up to the player.
You will notice that on the recording, many of the twelve bar blues solos are presented twice. When this is done, the second verse will often feature more use of chords and slides, and other tonal variation effects, which you may wish to begin to incorporate into your own playing.
