To hear the audio file for each lesson, click the
normal" or "slow" link for either the MP3 or WAV version
at the beginning of each example.   

Denis Taaffe From Bloomington, IN is a guitarist in search of unique guitar sounds and unusual approaches to guitar to enhance conventional guitar playing. He has been playing guitar for the last 24 of his 31 years. He also teaches at Vance's music in Bloomington, IN. He focuses on perfecting his unique multi layered guitar style and has just released his new CD "modern rock guitar Vol. II 'Alien Guitar'. Visit http://www.dtguitar.com for more info. Past audio examples can be found at www.musicianshotline.com/practice_up/index.htm.

Applying Fills to Your Playing

Welcome to this month's practice up column. Many times, when I was playing with bands, I found myself playing simple power chord progressions, which left much to be desired harmonically. I always thought there must be a way to add some color to these lifeless power chord progressions perhaps by adding files or hooks if you like. In fact, many well-known rock songs are familiar because of some of hooks or fills in between the chords. Using notes from the associated scale can make a simple power chord progression much more interesting and memorable. So let's get started:

Example 1 
We will begin by focusing on the power chord positions of the E blues scale. The E blues scale is made up of the notes E, G, A, a#, B and D. If we use a power chord for each note in the E blues scale, we end up with the following E, G, A, A#, B and D power chords (see ex.1) Using these power chords you can create many different power chord progressions by rearranging the power chords as in ex1A which is a E, G, D and A power chord progression. Pretty simple and common power chord progressions, but keep in mind that the A# power chord should be used sparingly as it is a passing chord and you should always be used in conjunction with another chord form the scale.

Example 2  wav: [normal/slow]  
Let's work with our E, G, D, A chord progression in ex.1a that we made using the power chords from the E blues scale. This progression is as generic as they come really and imagine having to play that all night with a band haha. Well, there must be a way to give this chord progression some color and some individuality to make it not as common or generic. Something must make it more unique and recognizable. The chords come from the E blues scale right? So, one way to do this is to use notes from the E Blues scale in between each chord to create fills and riffs that will make the power chord progression sound more interesting. To do this, we will begin by focusing on an E blues scale position that is close to most of the chords as in ex.2. Remember, that the E blues scale can be played all over the neck, so we are using one of the not so common E blues scale positions. Though the most common fingering and position is at the 12th fret which is E, we will start with the E blues scale position on the 5th fret which is A. It is as follows:

E------------------------------5-6-7----------------------------
B-------------------------5-8--------8-5-----------------------
G--------------------4-7------------------7-4------------------
D-------------5-7-8---------------------------8-7-5-----------
A--------5-7-----------------------------------------7-5--------
E-5-6-7--------------------------------------------------7-6-5--

Example 3 
Taking the E blues scale position above, let's choose 2 notes from the scale and lets play those two notes in between each power chord in our E, G, D, A chord progression from ex1a. In this case, we will add 2 notes from the E blues scale position in ex.2, let's say, just A and B on the sixth string as in ex.3. What you end up with is a much more colorful power chord progression as in ex.3a:

Example 4 
Well, this is the basic idea and it can be as complex or as simple as you choose it to be, however, keep in mind that the rhythm changes as you add notes and it must be played in time to fit the original progression. Remember these are to be played between the power chords, so the rhythm of the original power chords remains constant. Well, lets try a 3-note example using the same E blues scale position from ex.2 and the power chord progression form ex1a:

Example 5 
Here is the same example as above only this time we are using 4 notes form the E blues scale position found in ex2. The four note sequence has one note per string from the E blues scale.

Example 6 
Again, using notes from the E blues scale in ex.2 in between the power chords of Ex1a. We can create some complimenting fills. In this case we will use some double stops and slides (indicated with a >symbol) in between the chords. This creates a fluid and interesting effect that gives the progression a very smooth sound. Use your first finger to fret both notes on the A and D strings ad to slide quickly between the two double stops:

Example 7 
Let's add a chord rather than a double stop this time. Again, using notes form the E blues scale in between the power chords of Ex1a. We can create some chords that give the progression. You are not limited to just one chord or triad and in fact you could add as many as you have time. For this example, we will use only two chords, which are an Eminor and Gmajor triads just to demonstrate the concept. The thing to remember, is that you want to choose notes that will compliment the original chord progression (ex1a) and that do not change the overall progression sound too much. It still has to be recognized as the original progression:

Example 8 
In this example, we again use two chords to add to the original progression from ex1a. Both triads are using notes from the E blues scale in ex2 and are played between the original power chords. This can give a really interesting variation on the power chords and depending on the rhythm and speed of the original progression, you can decide how long to sustain each triad or perhaps just make it a quick burst between the power chords:

Example 9   wav: [normal/slow]  
Up until now, we have been using the same idea in between each power chord in ex.1a and that does work very well. However, it is of real interest to explore adding a different riff in between each power chord that compliments the chord you are playing and the one you play after the riff as well. It is here that things get really interesting as you can make a power chord progression very smooth or very rough and really give a uniqueness that is not quite as generic and can really make a progression interesting. So let's try this, by adding just simple riffs form the E blues scale in ex2. in between each power chord in ex1a):
E------------------------------------------------------------------
B---------------------------------------8^5------------------------
G-------------------------------------------7----------------------
D--9-9--7^5--------5-5-----------7-7---------7^5-------------5----
A--7-7------7------5-5------5^7--5-5--------------7-7-------5--5---
E-------------7----3-3---5^7----------------------5-5---5^7--------

Example 10   wav: [normal/slow]  
The same idea as example 9 can be applied using chords instead or riffs in between each power chord in ex1a. So here you are adding a different chord or series of chords to ex1a. Adding a different riff in between each power chord that compliments the chord you are playing and the one you play after the riff as well. It is here that things get really interesting and just try not to lose the original focus of the power chord progression, but rather compliment it.
E-------------------------------------------------5----
B-------5-5----------8-------------------------5-5---
G-------4-7----------4----------7-----------5-7-7----
D--9-9----5---5-5-------7-7--5---5------7-5-7--
A--7-7--7-7--5-5--7----5-5------5--7-7-7-------
E--------------3-3-------------7--7--5-5-----------

Ok, well we have run out of space and time for this month, however I wanted to leave you with a few thoughts. Granted the examples in this column are rather simple compared to some of the other practice up columns, but it is to demonstrate concepts that can be applied to many other scales and chord progressions. We have concentrated on only one position of the E Blues scale and do realize that there are other positions all over the neck, which can be used with these concepts. The main idea is to embellish and add to simple chord progressions to make them more interesting. Also, the E blues scale is a rather limiting scale to work with as it contains only 6 notes and one of those is a passing note. So next time, we will take a look at these concepts using 7 note scales that are more melodic and allow for more possibilities using these concepts. I hope you will work with what you already know and apply some of these concepts to your own playing, as there are no limits to what you can create!!! See you next time!!!

Be sure and visit Denis Taaffe's website at http://www.dtguitar.com.

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