Blues Riff in Open E

[Allman_Fan]

Brief Description

The following illustrates a manner in which a standard blues riff may be played in Open E tuning. The riff consists of triads played with three fingers (of the fretting hand) on the highest three strings. This approach may be broadened to include other three string combinations in the Open E tuning. Additionally, this concept may be applied to other tunings, including standard.

The “Standard” Riff, etc.

Consider the blue/rock rhythm lick (in standard tuning) that is played by using only the two lowest strings.

e|---------------------
B|---------------------
G|---------------------
D|---------------------
A|-----2----4----5----7
E|-----0----0----0----0

We'll call this "the riff" and it will be played as the I Chord (or E chord) in a standard blues progression.

Often, only the first two “diads” are played, and then repeated. Many times the first three are played and repeated. The fourth diad presented here is a resolution back to the tonic chord of E. (Note: usually this fourth diad is not played in these type riffs, however, playing them in reverse order, the 4th, 3rd, 2nd and 1st is sometimes used as a “walk-down” into the IV chord of the blues progression.)

In what follows, all four are presented as an exercise/example: when playing a particular song, some of these (especially the fourth one) may not be played.

Fattening the Riff (Triads)

First, we’ll “fatten” these up to three string “triads” (or chords) and play in Open E tuning. (I use E to be consistent with the riff above, but it also applies to Open D or any 1-5-1-3-5-1 tuning.)

What are the triads associated with the diad in the tab above? They are E, A, Bm and E. To get sound of the chordal riff, play these chords on the highest three strings (in standard tuning). By playing the higher strings, you can hear the sound of the flatted third(D) in the Bm chord which IS the flatted 7th of the E chord.

Open E –The I Chord

We want to apply this to the Open E tuning. Here we will assume the player is a slide player with the slide on the pinky. Therefore, the triads will be made by using the index(i), middle(m) and the ring(r) fingers. (Note: if you play slide on another finger, I believe you can still use the frets: obviously, with a different fingering.)

Here is the same riff as the original (E, A, Bm and E).

e’|-----0------0--------2(i)------4(m)
b |-----0------2(r)-----3(r)------5(r)
g#|-----0------1(m)-----3(m)------3(i)
e |-----------------------------------
B |-----------------------------------
E |-----------------------------------

1. It’s pretty clear we are staying on the highest three strings. These are true triads; each is formed by three distinct notes.
2. Also, note that the second triad is formed by using the middle and ring finger and the index finger frets NOTHING.
3. But the most important fact in getting the “feel” for this riff is that the ring finger remains on the 5th (b) string. It is your anchor; you slide it, but never remove it. Also, note the pattern the ring finger makes: the same 5th note, to 6th note, to flatted 7th, to (octave) root as in the initial (standard) riff (on the A string).

Open E –The IV Chord

Now, why not use the index finger when forming the second triad in the riff? Because when you play the IV chord in the blues progression, you move your entire hand up to the 5th fret and use your index as a bar (on highest 3 strings) to form your IV chord. When you form the second triad (in the riff), use the same fingers (ring and middle) on the g# and b strings and use your index finger on the e’ string. Thus, your hand movements are virtually the same. (See tab below.)

e’|-----5(i)-----5(i)------7(i)-------9(m)
b |-----5(i)-----7(r)------8(r)------10(r)
g#|-----5(i)-----6(m)------8(m)-------8(i)
e |-------------------------------------
B |-------------------------------------
E |-------------------------------------

Summary and Beyond

Why are we doing this?

We want to generate a fuller (triad vs. diad) sound, but are limited to our use of three fingers. You can also form the same triads in this riff by using the e, g# and b strings (this will be the same fingering used in Open G on the top three strings). Next, figure out the riff on the B, e and g# strings. (Using the bottom 3 strings may be difficult to form “true” triad, i.e., those with 3 distinct notes.)

When you have those down, consider playing the riff on the 3 highest strings when in the I chord, but utilize patterns on the lower strings when you play the IV chord (& V) chord. This will allow your pitch to remain more constant as you play the “higher” chords. (It may also alleviate boredom in long drawn out jam sessions!)

[Ryler]

I love it when you musically astute types post exercises and lessons like this. It truly helps us less-learned folks to branch out. For instance, I've never played a thing in open tuning, and now I will try it just because it's here in my face begging me to do so. Thank you.

[Allman_Fan]

Standard Tuning

Here is tab for the first three triads (E, A, Bm) of the riff in STANDARD TUNING.

e|-----------------------
B|-----------------------
G|--1(i)----2(i)----4(i)-
D|--2(r)----2(i)----4(i)-
A|--2(m)----4(r)----5(m)-
E|-----------------------

(I’ll let the reader decide how to make the fourth triad; remember, you will most likely leave that one out when playing a song.)

When you’re playing with the I chord in the blues progression (in E), you can let the low E string ring free. When you go to the IV(A) chord, you move everything up to the appropriate place on the neck: similarly, for the V(B) chord. However, on these two, you probably don’t want to let the E string ring free.

Origins and Applications

I came upon these “triads” because I was looking for something different to play when doing blues jams. Also, I do these chord chops in addition to (and rather than) scales as a warm up or when I’m feeling uninspired!

If you listen closely to the Stones “Brown Sugar” and some others, you can hear an acoustic guitar following closely to the main electric guitar rhythm riff. I think the triads shown above could be used in a similar manner; with the electric rhythm playing the original two string riff and an acoustic player strumming these triads in the background.

Homework!

Figure out the same for the Blues in A (in Standard Tuning) by using triads on the D, G and B strings.

I sure wish I understood what you are demonstrating here. Seems like an odd way to play the blues!

[Alexrkstr]

Very cool, thanks for posting this.

[Allman_Fan]

Here is the answer to the “homework.”

Playing the same riff in standard tuning on the D,G and B strings beginning with the A chord.

e|-----------------------------
B|--2(i)----3(m)----5(r)----5(i)
G|--2(i)----2(i)----4(i)----6(m)
D|--2(i)----4(r)----5(m)----7(r)
A|-----------------------------
E|-----------------------------

Here, I included the 4th/resolution chord.

Now, you can play this form of a blues progression by moving ONE of the two patterns (E & A) up and down the neck, OR by mixing and matching the two.

Back to Open E?

It should be noted that this uses the exact same shapes used in open E tuning when you play it on the B, e and g# strings (with the E chord, in the E blues). That is,

e’|-----------------------------
b |-----------------------------
g#|--0----1(i)----3(r)----3(i)--
e |--0----0-------2(i)----4(m)--
B |--0----2(m)----3(m)----5(r)--
E |-----------------------------


HarleySpirit wrote:

1. I sure wish I understood what you are demonstrating here.
2. Seems like an odd way to play the blues!

The Best I Can Come up With:

1. Consider a familiar riff, run, walk-up/down, etc. that is done on one (or maybe two) string(s). Is it possible to make that riff richer or fuller, etc. by turning each individual note into a chord? If so, what notes should be added?

2. I’m not sure what this means but let me give two possible responses.
a. I add the Bm chord instead of the D chord (in the E riff) because I think it “sounds” better.
b. The blues are a minimalist art form and I am over-complicating things. If this is what you mean, all I can say is EXCELLENT POINT!

[ELK]

Personally, I like your ideas, especially for when there are multiple guitars playing and you want to do something different than what the others are playing. Many blues artists try to find different sounds by using "parts" of chords or different voicings. Consider the opening chord shapes used by the Allman Brothers in "Stormy Monday" - definitely not what Chuck Berry would have played!