Funky rhythm, as already stated, can adapt to multiple musical types, and one of the most common is surely the blues. It's therefore logical to start working on the technique seen in the previous pages developing them into a context that we can call funky blues, considering the fact that you already know the fundamental rules of the blue, which you review in the appropriate section.
The example that we will work with, called Funky one blue, is basically a 12 beat blues, in which the harmony is constructed of this chord succession:
It's easy to see the simple harmonics of the chord succession. On each of the three chords we work with single note riffs, composed of the root (I°) and seventh minor (VII°b). Furthermore we can harmonize the structure of each chord by adding, for example, a pair of minor triads that come from the VI° and V° of that same chord, and also characterize the chord if combined to the root. To understand this better, we will use the chord of E as an example.
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The first part of the measure relates to the single note riffs played, if desired, with palm-muting to obtain a more percussive sound. We work on the fifth string, using the index and ring fingers of the the left hand (therefore in the fifth position). Make sure you play each note, which will give each note its effective value of 16th without being connected to each other. This can be done by releasing the pressure of the finger immediately after the note is played, without leaving the string but remaining just above it. |
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The second part of the measure relates to the chords, which harmonize the base chord of E. The fingerings, identical in form, are moved two frets down. The harmonization, as stated above, directs a chord of 13a (in the specific case of E13) followed by a 7/9 chord (E7/9). |
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In the second measure of the chord, be sure to add a note to the riff, another seventh minor (VII°b), while two 16th are added to the first of the two chords, in order to fill the space left by the octave.
The harmonic structure of the root chord is maintained also for the remaining two chords of A and B, just as the fingerings are kept the same in their relative positions. The only variation is found in the twelfth bar, where the chord of B6/9 is played in sixteenths for the length of that bar, with the last octave in rest.
We can now see and listen to the song.
Funky one blue
Written and performed by: Steve Farinoli - © 2000
This is the end of the first section dedicated to funky blues rhythm. Remember that its possible to use just the base to experiment with the rhythm proposed in the song, or to even build your own rhythm.
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