These next examples are a mixed bag.

They use different intervals taken from the blues scale (first position) and mix them up with intervals taken from the mixolydian scale.

Move them up 5 frets and 7 frets to get the corresponding IV and V chord riffs.

The sliding up to and hammering on to the major third of the scale (6th fret of the 3rd string) makes it sound very bluesy.

As you can see in bar 5; on the D7 chord you move the whole contraption up the neck to where you would play a barre D7 at the 10th fret.

Same thing two frets up for the E7 chord groove.

(Example 1 is in the Swing- and Jump Blues Guitar e-book)

If you want to sound smart, you’ll use Inner Logic and you end up with this groove.

On the IV chord D7 you remain in the 1st Blues Position and target the b7 of the IV chord on string 3 and the ninth of the chord on string 2.

You slide into those two notes to keep the groove symmetric and give it a bluesy edge.

The two notes that precede the slide are the major third and the root on the 7th fret.

The groove on the V-IV progression in bars 9 and 10 use the exact same approach.

Look cool, sound cool and play it with your eyes closed!

Here’s another lick in the 1st Blues Position

By using Inner Logic you can again remain in and around that first Blues Position.

On the IV chord D7 you start by targeting the root and perfect fourth (both out of its Mixolydian Scale).

Next up are the root and major third (same) and the flatted seventh and ninth (same).

For the V chord E7 you move the whole groove up 2 frets.

(Example 4 is in the Swing- and Jump Blues Guitar e-book)



One with a particularly mean interval at the beginning.

To add tension, give it a twist by pushing both fingers up a bit.
This is the blues.

Play it through a Blues Progression and you end up with this.

(Example 6 is in the Swing- and Jump Blues Guitar e-book)