Examples 1-3

Example 1: Rhythm Guitar Part

Billy HAs always been a composer of catchy-yet-cool guitar parts. His rhythm playing is always really groovy and as such offers a reference that’s well worth learning. In this example, things kick off in bars 1 to 4 with shuffled and fairly staccato ‘5’ chords that are interspersed with diads and a short walking bass used to connect to the IV chord C7. The following section in bars 5 and 6 has the 5 (G), 6 b7 b) (A), and (B notes added to the C chord, but not in a typical ‘blues

Example 2: The Turnaround

A very typical turnaround lick – with a twist! Bar 11 is a descending bass line that is alternated with G note pedal tones. This is best played using either hybrid picking as I have, or with fingerstyle technique. The following bar contains the twist. Usually, you either

Db, play a chromatic (C, D) walk up to the V (D) from the IV (C), or

Eb9 you play the (#V) to D9 (V) chords as the end of the turnaround.

Example 3: Tone Intervals

THis is one of Gibbons’ favourite moves. It’s simple idea, but it b7 works wonderfully well. What is happening is that the (F) and the root (G) of the G7 chord are being alternately sounded and then

shuffle’ way. Here, they’re all played as a melodic line on the G string. It’s essential to mute the D string with the underside of the fretting hand finger that’s holding down the C as you play this section. Bars 7 and 8 are the same idea as already seen in bars 1 to 4, and the final section in bars 9 and 10 descends from the V chord (D7) to the IV

Db7 chord (C7) via a passing chord. Pay close attention to the muted notes (marked with ‘x’s) here – they’re vital to the ‘feel’ of the part.

Sometimes you get both at the same time played as separate guitar parts – as in the ZZ Top classic Tush. Here is the version I personally use where you play both at once on a single guitar – it’s great fun. b Notice how tense the E 9/C sounds! This isn’t wrong or a problem, though, as it quickly gets resolved by the upcoming D9 chord in a classic example of musical ‘tension and release’.

allowed to ring into each other. It’s the slight clash of the tone interval that occurs between the two notes that makes the idea sound so cool. This same idea also works fine on m7 chords.