Sliding off the individual b3 and b5 is also an effective device to add some crunch and dissonance to our right hand licks. Many blues licks involve a lot of rolling, where we play a series of notes in quick succession. We can incorporate the b7th to get some more interesting sounds and patterns. This basic concept can be used to create some groovy right hand licks. In the lesson on comping, we explored inner harmonic movement outlining the I and IV chords over static harmony. Our right hand is playing full triplets against the bass line where we omit the middle note of the triplet. This lick has an interesting rhythmic placement against the left hand. ![]() We can play this lick with either the 5th and the root, or the b7th and the root also works well. ![]() ![]() Perhaps the most used and common lick in the Chicago Blues style is the hammered 8th note. This lesson will inspire you to build your own vocabulary that you can use to improvise when playing the 12 bar blues. Welcome to this lesson on Chicago blues licks and riffs.
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