These riffs can all be harmonized by adding another note from the mixolydian scale to the top note of the riff.
The note you’re adding is a (major or minor) third above this top note.
Remember to always use the mixolydian scale that goes with the chord you’re playing on.
In example 8 another R.J. Lockwood position is introduced.
All examples can all be played in this position.
The tonic you’re using as a marker is on the A string and is one string up and one fret up from the note you’re sliding into.
Note: all these riffs lead INTO a chord. Always use the beginning of the riff that goes with the chord you’re leading into.
So skip the triplet on the last beat and start playing the next riff.
This way of anticipating a chord in a progression is used a lot in Swing.
It creates tension that is then released when you get to the actual chord. Be sure to use the right riff there or you’ll send your fellow musicians up a creek.
The last accompaniment examples were all quite intense. Because of their nature, you can use them as part of your solo or as a “special chorus”.
These can also form a very exciting part of playing swing and jump blues when mixed in with chord riffs and solo breaks. You will find more of these examples in the Chord chapters.
(Example 7 is in the Swing- and Jump Blues Guitar e-book)