ACOUSTICR&BFOR

MODERNGUITAR
Learn Fresh R&B Acoustic Guitar Chord Voicings, Licks, Fills, Grooves & Tunes

SIMONPRATT
 Acoustic R&B for Modern Guitar
Learn Fresh R&B Acoustic Guitar Chord Voicings, Licks, Fills, Grooves & Tunes

Published by www.fundamental-changes.com

ISBN: 978-1-78933-405-0

Copyright © 2023 Simon Pratt

Edited by Joseph Alexander & Tim Pettingale

The moral right of this author has been asserted.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted
in any form or by any means, without the prior permission in writing from the publisher.

The publisher is not responsible for websites (or their content) that are not owned by the publisher.

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Cover Image Copyright: Shutterstock, Africa Studio

Music Contributed by Kerry “2 Smooth” Marshall

 Contents

Introduction ...............................................................................................................................................4
Get the Audio and Video ............................................................................................................................6
Get the Video .............................................................................................................................................6
Chapter One – Chord Progressions .............................................................................................................7
Two-Chord Progressions ................................................................................................................................... 7
Three-Chord Progressions ............................................................................................................................... 10
Four-Chord Progressions ................................................................................................................................. 13

Chapter Two – Chords, Fills, and Licks ..................................................................................................... 17

Chapter Three – How to Build R&B Guitar Parts (1) .................................................................................. 26
Rhythm Parts ................................................................................................................................................... 26
Lead Parts ........................................................................................................................................................ 30

Combining Rhythm and Fills............................................................................................................................... 32

Chapter Four – How to Build R&B Guitar Parts (2) .................................................................................... 37

Rhythm Parts ................................................................................................................................................... 37
Lead Parts ........................................................................................................................................................ 43

Chapter Five – Kerry “2 Smooth” Marshall ............................................................................................... 48

Acoustic Landscape – Breakdown Licks......................................................................................................... 54

Chapter Six – Playing Solo ....................................................................................................................... 60

Acousticy Taylor .............................................................................................................................................. 60
Baching up the Wrong Tree ............................................................................................................................. 64

Chapter Seven – Rhythmic Awareness ..................................................................................................... 68

Chapter Eight – Arctic Swirl ...................................................................................................................... 79
Chapter Nine – Dual Bliss ........................................................................................................................ 86
Chapter Ten – Giraffe in a Scarf ................................................................................................................ 93
Conclusion ............................................................................................................................................ 101
 Introduction

Welcome to Acoustic R&B for Modern Guitar!

The roots of rhythm and blues (R&B) are found in gospel, soul, Motown, funk, pop and jazz, and the guitar
has always been a key instrument in this music, often creating the backbone for classic tracks via a catchy
hook or funky rhythmic groove.

Over the years, R&B has been on an epic journey…

Throughout the late 1950s into the ‘60s, Detroit was a major hub for R&B and soul artists. It became known
as the “Motor City” because of its connection to the car manufacturing industry, and this was often shortened
to “Mo Town” – which eventually gave its name to the iconic record label. Despite being just one record label,
Motown quickly came to describe an entire genre of music.

Motown’s house band of session musicians were known as The Funk Brothers and played on some the biggest
hits of this era. The band’s nucleus consisted of iconic musicians such as Benny “Papa Zita” Benjamin on
drums and James Jamerson on bass, and they were joined by a host of incredible musicians who made up their
personnel over the years.

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young America”. Acts such as The Marvellettes, The Four Tops, The Supremes, Marvin Gaye, and Stevie
Wonder help to evolve the sound. The other major hub producing R&B was Memphis, which introduced acts
such as Otis Reading, Steve Cropper and Booker T and The M.G.’s, Bill Withers and Aretha Franklin.

There are too many great guitar players from this era to mention them all here, but throughout the early
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Fast forward a couple of decades and we have the emergence of Neo Soul – an important hybrid form of
R&B. The term “Neo Soul” is not a new one, it was ¿UVWFRLQHGE\SURGXFHU.HGDU0DVVHQEXUJ SUHVLGHQWRI
0RWRZQ5HFRUGVIURP ZKHQKHQHHGHGDSKUDVHWRGHVFULEHDJHQUHWKDWHPEUDFHGWKHLQÀXHQFH
of modern electronic musical styles but also acknowledged earlier forms of soul music.

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Along with other critical artists of the early 90s, such as D’Angelo, Lauren Hill and Maxwell, the foundations
of Neo-Soul were laid, and the success of D’Angelo’s 1995 album Brown Sugar was pivotal in bringing the
sound of Neo-Soul to the masses.

Neo-Soul suffered a decline in the mid-to-late 2000s, but since 2010 onwards has enjoyed a massive revival
through artists such as Jill Scott, John Legend, Amy Winehouse, Leela James, Raheem DeVaughn and Mayer
Hawthorne, to name just a few. During this resurgence, the acoustic guitar played a vital role in shaping the
sound.

The guitar has continued to play an essential role in this music, and this has ushered in a new generation of
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wide acclaim to guitar players such as Mateus Asato, Todd Pritchard and Kerry “2Smooth” Marshall. Then,
players such as Isaiah Sharkey, Mark Lettieri, and many more are carrying the torch for this music into
the future.

4
In this book, you’ll learn the techniques and concepts of R&B guitar, old school and modern. You’ll build
your musical vocabulary by learning R&B-orientated chord voicings, triad ideas, and lots of cool licks and
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R&B tunes, and learn useful chord progressions you can use in your own songwriting.

I’ve also included a Spotify playlist of tracks you should know, so before you play a note, kick back with your
favourite headphones and spend some time familiarising yourself with the sound of this great music. You can
check out the playlist here:

https://geni.us/aRnBspotify

,I\RXDUHQHZWRWKLVVW\OH,UHFRPPHQGZRUNLQJWKURXJKWKHERRNIURPVWDUWWR¿QLVK7DNH\RXUWLPHWRZRUN
through each section and make sure you feel comfortable with the material in each chapter before you move
on. If you are more experienced, feel free to dive in wherever you like.

These examples will work equally well on an acoustic or electric guitar, but the audio examples were recorded
on my Taylor acoustic.

Happy Playing!

Simon

5
 Get the Audio and Video

7KHDXGLR¿OHVIRUWKLVERRNDUHDYDLODEOHWRGRZQORDGIRUIUHHIURPwww.fundamental-changes.com. The
link is in the top right-hand corner. Click on the “Guitar” link then simply select this book title from the drop-
down menu.

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there before adding them to your media library. You can then put them onto your tablet, iPod or burn them to
CD. On the download page there are instructions, and we also provide technical support via the contact form.

For over 350 free guitar lessons with videos check out:

www.fundamental-changes.com

Join our free Facebook Community of Cool Musicians

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Tag us for a share on Instagram: FundamentalChanges

Get the Video

We had a lot of fun recording videos for each of the longer pieces in this book. You can access them here:

https://www.fundamental-changes.com/acousticrbvideos/

https://geni.us/acou

Or scan this QR code:

6
 Chapter One – Chord Progressions

Chord sequences on guitar have an integral function in R&B and often act as the main hook of the song.
Because R&B is a fusion of so many other genres (including soul, gospel, funk and jazz), the choice of chords
available for us to draw from is enormous.

This chapter is all about the foundational chord sequences commonly heard in R&B, all voiced to sound great
on acoustic guitar.

This chapter is divided into sections, based on the number of chords in a sequence. In contrast to other styles
of music, many R&B tracks are built on a hook of just two chords. Remember this when you are creating your
own songs, or when you’re jamming. Often, fewer chords played with an interesting approach will get you a
lot further than a complicated sequence.

The ideas here are generally built around a simple “core” progression, for example F Major to C Major. But
then I’ll show you the R&B-style voicings I use to add extra elements to the basic chords. For example, the
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chord tones in order to freshen up the harmony and capture the listener’s attention.

The most important thing to keep in mind when playing this music is that it’s all about the vibe. It’s much more
about how rather than what we play. Even when playing just two chords, we can inject emotion and a feel into
the music that causes people to respond and groove along with us.

In the examples that follow, when you hear an idea or riff you really like, work with it, loop it around and
develop it to make it your own.

Let’s get started.

Two-Chord Progressions
We start with the aforementioned chord sequence based on the movement from F to C. It’s a popular chord
sequence seen in all types of music, from pop-rock to choral sequences. Here, it’s freshened up with an Fsus2
voicing.

The strumming pattern is loose, and the voicings use the middle strings in order to highlight the resolution of
Fsus2 to F to C.

Example 1a

7
When I think about playing any chord sequence, I always have in mind a strummed pattern and a single note
picked pattern, so that I’ve got different textures to use over a track. For example, we could use a strumming
pattern for the chorus and a picking pattern for the verse. This example shows a picking pattern you could use
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idea, the choice is yours.

Example 1b

Alternating between a bass note and other fragments of a chord is an important technique for creating R&B-
type grooves from simple to complex. Example 1c shows a common movement between GMaj7 and AMaj7
(you can easily move these barre chords to any key).

Example 1c

The next popular sequence is F to Am7. You’ve probably played it hundreds of times, but the addition of some
simple embellishments help to turn it into something much more interesting. Here I used muted strummed
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Minor scale.

8
Example 1d

Example 1e uses the sequence of Dm to G. Instead of regular open chords, I’ve used some fun voicings to give
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Example 1e

Minor chords are important in acoustic R&B, since so many tunes use them. The next example shows a
sequence of Am7 – Dm7 that uses open voicings. The single string notes help to glue the chords together and
give the line some movement.

Example 1f

9
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and A Natural Minor scales.

You’ll probably hear a nod to Jimi Hendrix’s Little Wing in this idea. Though known for his rock years,
Hendrix began his career as a sideman for soul and R&B musicians including Wilson Pickett, Sam Cooke,
Jackie Wilson and Ike and Tina Turner – so the R&B vocabulary was always a part of his musical DNA.

Example 1g

Jumping forward in time, this idea is based on Montell Jordan’s mid-1990s hit This Is How We Do It, based
on a groove of Am to Bb.

Example 1h

Three-Chord Progressions
The previous section showed that something as simple as a two-chord progression is more than enough to
build a great tune around, but now we move on to some three-chord ideas.

Example 1i demonstrates an Am – F – G sequence that uses ringing open chords. What I love most about this
is the continuity between the chords created by maintaining the C note in all three voicings. The strategy of
keeping one common note and arranging chord voicings around it is extremely effective, and it immediately
adds a beautiful cohesion to any guitar part.

10
Example 1i

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Minor scale. With a line like this, it’s important to keep the note separation clean and clipped, because this is
a big part of the modern R&B style. (Check out the tunes of India Arie for some beautiful examples).

This means that picking accuracy is paramount, and you’ll also need to apply good picking hand muting to
prevent the strings from ringing into each other.

Example 1j

Dm – G – C is a common sequence in modern R&B. The double-stop (two notes played together) licks in this
example are built from the D Natural Minor scale.

11
Example 1k

This example is built around the sequence Em7 – A7 – Dmaj7. I wanted to use beautiful ringing open chords
to accentuate the acoustic guitar tone and add depth to the music. These are some of my favourite chords and
I recommend you commit this one to memory. The pull-off in the Dmaj7 chord is a nice way to continue the
ringing sound.

Example 1l

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it used predominantly just three chords (Em7 – Bm7 – Am7) I was stunned. My version here doesn’t include
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12
Example 1m

Four-Chord Progressions
Next, we move on to four-chord sequences. One of the most important chord sequences in music is the I vi IV
V progression, which in the key of C Major is C – Am – F – G. This sequence appears everywhere in popular
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The C and Am chords include a simple picked pattern that’s followed by a series of double-stops to create a
call and response phrase. The three-note FMaj7 voicing is popular in modern Neo-Soul circles and a useful
shape to know.

In gospel music, a suspended chord is often used to build tension before a strong resolution. Use suspended
chords sparingly to add interest and an unexpected twist to your music. Here, I play the Gsus4 right at the end
of bar three.

Example 1n

13
You never know when the inspiration and opportunity to transcribe something will grab you. When I was
12, I watched a show called Fame Academy where I heard the song I Can’t Break Down by Sinead Quinn. I
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a much younger me.

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see which you prefer.

Example 1o

Just the Two Of Us by Bill Withers is one of the most iconic R&B tracks of all time. This A – G#7 – C#m7 –
F#7 sequence teaches you how tracks like that can be built.

Example 1p

14
Example 1q demonstrates the sequence Dm – Am – Bb – Gm.

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example quite loosely, so listen to the audio to capture the right feel.

Example 1q

7KH¿QDOVHTXHQFHLVEDVHGRQHappy by Pharell Williams. Although I know the song well, I had never taken
the time to transcribe it until now. I was pleasantly surprised when I did though, as I knew there was something
about it that made my ears tingle. It features the chord sequence of Dbmaj7 – Cm7 – Cm7 – F. It’s the repeating
chord in the middle that is quite unusual. Check out Hey Ya by Outkast for more of the same.

Pay attention to the phrasing of the chords, as there’s a lot of syncopation here.

Example 1r

15
For your reference, here are all the chord sequences featured in this chapter. I’ve included the key and each
chord’s Roman numeral position in the scale, so you can transpose them easily. Remember, you can always
use a capo to play these ideas in other keys – even the ones with open strings.

Chord Sequence Key Roman Numerals

F–C C IV – I
GMaj7 – AMaj7 G I – II (major)
F – Am7 Am VI – i
Dm – G C ii – V
Am7 – Dm7 open chords Am i – iv
Am7 – Dm7 Barre Am i – iv
Am – Bb Am i – bII (minor)
Am – F – G Am i – VI – VII
GMaj7 – Bm – A Bm I – iii – II (major)
Dm – G – C C ii – V – I
Em7 – A7 – Dmaj7 D ii – V – I
Em7 – Bm7 – Am7 Em i – v – iv
C – Am – F – G C I – vi – IV – V
Am – Em – F – Dm Am i – v – VI –iv
A – G#7 – C#m7 – F#7 C#m VI – V7 – i – IV7
Dm – Am – Bb – Gm Dm i – v – VI – iv
Dbmaj7 – Cm7 – Cm7 – F F bVI – vm – vm – I

16
 Chapter Two – Chords, Fills, and Licks

In this chapter we’ll work through a series of examples that take things a step further by teaching how to blend
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create more interesting and melodic guitar parts for modern R&B.

Before we begin, I recommend listening to these following tracks to get into the vibe of this chapter. Although
they are not strictly R&B tunes, they show how this style of playing has a broad application across musical
genres.

• Mark Lettieri – Montreal

• Jimi Hendrix – Little Wing

• Stevie Ray Vaughan – Lenny

• George Benson – $I¿UPDWLRQ

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Let’s begin by decorating some Major 7 chords.

One of the most common chord shapes in R&B is a Maj7 voicing with a root note on the low E string. This idea
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of Jimi Hendrix’s approach in Little Wing.

Example 2a

Example 2b is another G Major scale idea. Gradually move this lick up the fretboard, one fret at a time, to see
how it feels to play it in different positions.

17
Example 2b

In modern R&B guitar parts, it’s common to hear a bar of single notes followed by a bar of double-stops (or
vice versa). This example shows one of my favourite approaches to this technique and is again built around
the GMaj7 voicing.

Example 2c

Let’s move on and look at some ideas you can use to decorate minor chord voicings.

This Am7 chord is followed by a useful A Natural Minor phrase.

Example 2d

18
Now check out the following example. Listen to the audio and note how the sound differs to the previous idea.

Example 2e

What’s different about Example 2e is that it uses the A Minor Pentatonic scale with an added note. Great
players like Carlos Santana pioneered the use of the minor pentatonic with an added 9th, to convert the
pentatonic into a hexatonic (six note) scale that sounds more sophisticated.

If you’ve never tried this idea before it’s worth experimenting with. Below is a fretboard map showing A
Minor Pentatonic with an added 9th (A B C D E G). Make yourself an Am chord vamp and use the map to jam
over it and create some licks.

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19
Example 2f

The next example shows an idea you can use on a dominant 7 chord.

Example 2g shows a funky A7 pattern reminiscent of Cut the Cake by Average White Band. This lick is
heavily syncopated, so I recommend you listen to the audio a few times to hear how I play it. When you’ve
learnt it, jam along with me to nail the phrasing.

Example 2g

A Dominant 7#5 chord is often used to create tension and a slight dissonance in R&B. This lick uses the
A Altered scale and is in the style of the fantastic Chris Payton, an R&B, gospel, quartet, and Neo-Soul
session master.

20
Example 2h

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We’ll begin with this CMaj7 chord voicing, combined with a major pentatonic lick – a common sound in both
R&B and Neo-Soul.

Example 2i

Building on the previous example, this example includes two voicings of CMaj7 and adds a chromatic rundown
onto the end of a pentatonic lick.

Example 2j

21
Here are some fun sliding double-stop patterns around the C Major scale.

Example 2k

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First is a lick based around Dm7 that uses the D Natural Minor scale. Experiment with alternate picking but
if that’s a challenge just use down strokes on the double-stops. Alternate picking is a great way to go with this
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Example 2l

This lick is an absolute staple of my playing and I recommend you commit it to memory. It centres around the
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string at a time.

22
Example 2m

Here’s a funky E Mixolydian line based around a James Brown style E9 chord. Check out Papa’s Got A Brand
New Bag Pt 1 to hear this type of approach in action.

Example 2n

Now we have learned some important chord voicings and seen how to build R&B licks around them, it’s time
to combine them into longer, more musical sequences.

Example 2o uses the progression G – Bm – Em – C, and combines ideas you learned earlier in the chapter. You
can hear how they connect together to create a cohesive guitar part.

23
Example 2o

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double-stops and slides to create a signature modern R&B sound.

Example 2p

24
You may have noticed throughout this chapter that, more often than not, my modern R&B ideas are and built
from four foundations:

• Start from a chord sequence

• Start from a lick or a hook

• Start from a melody

• Start from a rhythm / groove

To end this chapter, my challenge to you is to try and compose different ideas from each of these starting points.

These foundations will help you to write ideas that sound different, because the underlying focus will change.
Every time you feel stuck, pick a different starting point from the list.

You can get going by varying the ideas in this chapter to make your own phrases. Think about altering the
notes, the timing, the order of the chords, or even the time signature to create an original slant.

However, the next two chapters will teach you many more ideas to help create your own R&B guitar parts!

25
 Chapter Three – How to Build R&B Guitar Parts (1)

Now that you’ve had a taste of the potential of modern R&B guitar for creating fresh musical ideas, let’s take
a step back and consider how to go about composing these ideas from scratch. What can we do when faced
with a lead sheet that just has chord names on it?

In this chapter I’m going to teach you how to build tight, effective R&B guitar parts and explain approaches
you can take with both rhythmic work and lead concepts.

All these examples are written to function in a full band setting. My aim is to show you how I approach writing,
to equip you to create your own awesome R&B guitar parts that groove hard. We’ll cover chord voicings, scale
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Before you dive into the material, have a listen to Justin Timberlake’s Cry Me A River for reference. Even
though this tune is primarily keyboard based, the ideas played work equally well on guitar. The examples in
this chapter use a similar chord progression.

That tune’s R&B aesthetic, with a strong beat and a repetitive chord pattern, form the backbone of the track
and make it a modern classic. The lesson here is, don’t just listen to guitar parts for inspiration. Keyboards are
a fundamental part of R&B, so don’t be afraid to steal those ideas. Also, pay careful attention to the bass as it
will teach you how to form strong rhythmic grooves.

The next two chapters are probably the most important for your development as a modern R&B player, so
don’t be afraid to camp out here and dig deep into the concepts. Try to write a few of your own variations for
each idea – it’s a great song writing exercise.

Rhythm Parts
When thinking about creating parts, you need to get deep into the chord sequence that underlies the song.
Going deep is essential, as often R&B tunes revolve around a repetitive sequence, and this allows great
freedom and the potential for development in the guitar part. The more you explore the possibilities, the more
ideas you will come up with for interesting parts.

We are going to use the same chord sequence for the entire chapter to explore different ways of generating ideas.

NB: If the D#/G chord feels tricky, try leaving out the note on the 1st fret and just pluck the other three notes.

Example 3a

26
Playing each chord shape as an arpeggio is a solid beginning and easily creates a classic R&B vibe. You’ll
notice I add a rest between each chord which introduces space in the rhythm part. You’ll hear this approach in
a lot of tracks in this genre. More often than not, it’s what you don’t play that creates the groove!

Example 3b

Now let’s add a rhythmic slap on beats 2 and 4 to create a more percussive rhythmic part. Do this by gently
tapping the strings with the knuckles of you picking hand. You don’t need to move your hand much, so you
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Example 3c

Example 3d shows a strumming pattern used in many modern R&B tracks.

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out the audio to get the groove.

27
Example 3d

Adding different voicings will make your guitar part sound quite different. Here, I introduce two important
voicings for your R&B repertoire: the Minor 11 and Diminished chord shapes. Memorize them now, so you
won’t need to refer back here when you’re jamming later.

Example 3e

Next, let’s move on with a couple of examples that arpeggiate these chords, but not with the straight ascending
pattern we used earlier. Here’s a more intricate pattern that is very effective.

,¶YHLQFOXGHG¿QJHUSLFNLQJLQVWUXFWLRQVLQWKHQRWDWLRQWRVKRZKRZ,SOD\WKHQH[WH[DPSOHXVLQJWKHFODVVLFDO
Spanish naming method:

P = thumb

I = index

M = middle

A = ring

,IWKLVDSSURDFKLVQHZWR\RXSUDFWLFHWKH¿QJHUSLFNLQJSDWWHUQLQLVRODWLRQEHIRUHDGGLQJWKHFKRUGFKDQJHV
Pay attention to placement of the rests.

28
Example 3f

7KHUHVWVOHDYHXVVSDFHWRDGG¿OOVEHWZHHQWKHFKRUGV7KHVOLGHVLQEDURQHXVHVWKH*0LQRU3HQWDWRQLF
scale. The sliding diminished chord shapes in bar two are a common R&B texture.

Example 3g

R&B guitar parts are often all about laying down a solid foundation on which the other instruments can build,
HVSHFLDOO\WKHYRFDOV6RPHWLPHV¿QJHUSLFNLQJDORQHLVQRWTXLWHHQRXJKWRDFKLHYHWKLVVRRQWKRVHRFFDVLRQV
I will use a syncopated strumming pattern like the one here.

Example 3h

29
Lead Parts
/HW¶VPRYHRQDQGORRNDWVRPHW\SLFDOOHDGSDUWVDQG¿OOVWKDWZRUNZLWKRXUFKRUGSURJUHVVLRQ7KLQNRI
these ideas as “adding the secret sauce”. As funny as that sounds, it’s an important thing to remember because
JXLWDULVWVDUHRIWHQJXLOW\RIRYHUSOD\LQJWKHLUSDUWV7UHDGOLJKWO\OHDYHVSDFHDQGGRQ¶WRYHUGRWKH¿OOV

Before we get into the melodic ideas, let me spell out some useful scale patterns used in some of the examples.
You’re no doubt familiar with the Blues scale, but perhaps not used to playing it in G#.

Example 3i shows you the G# Blues scale played from its root note on the sixth string, 4th fret. It’s the perfect
VRXQGWRDGG¿OOVWRD*PLQRUFKRUGVHTXHQFH

Example 3i

1RZSUDFWLFHWKH*%OXHVVFDOHZLWKLWVURRWRQWKH¿IWKVWULQJ

Example 3j

7KLV¿UVWH[DPSOHXVHVDOHDGWHFKQLTXHFDOOHGstaccato legato. The idea is to play a hammer-on or pull-off

without sustaining the note. In other words, once you have hammered on, quickly release the pressure with
\RXU¿QJHUZKLOHWRXFKLQJWKHVWULQJWRVWRSWKHQRWH7KLVLVDPRGHUQ5 %VRXQGDQGLVXVHGE\JXLWDULVWV
like Kerry “2 Smooth” Marshall. Example 3k illustrates this idea with the G# Blues scale.

30
Example 3k

Any performance can be ruined by either poorly executed, or non-appropriate vibrato. Although applying
modern vibrato technique on an acoustic guitar is not common, it can be highly effective when used sparingly.

6OLGHWKHIUHWWLQJ¿QJHUDERYHWKHIUHWWKHQTXLFNO\UHWXUQWRSLWFK5HSHDWWKLVPRYHPHQWTXLFNO\WRFUHDWHD
heavy vibrato.

Example 3l

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LVWKDWLWLVSOD\HGXVLQJVOLGHVRQWKUHHGLIIHUHQW¿QJHUVLQMXVWRQHEDU7KH¿UVWVOLGHSDWWHUQXVHVWKHVHFRQG
¿QJHUWKHVHFRQGSDWWHUQXVHVWKHWKLUGDQGWKH¿QDORQHXVHVWKH¿UVW

Example 3m

Being able to voice a lick in a higher octave is very useful when you need to cut through a mix. Here’s the
previous example transposed up an octave. Make a point of learning all your phrases up an octave on a higher
string set where possible.
31
Example 3n

I often use variations of this G# Natural Minor lick as an introduction before laying down a main groove. Play
WKH¿UVWQRWHZLWK\RXUVHFRQG¿QJHUDQGWKHUHVWRIWKHOLFNZLOOIDOOXQGHU\RXU¿QJHUV

Example 3o

Combining Rhythm and Fills

1RZ WKDW \RX KDYH VRPH UK\WKP SDUWV DQG OHDG OLQHV IRU WKLV SURJUHVVLRQ XQGHU \RXU ¿QJHUV LW¶V WLPH WR
combine them.

7KLVLGHDEULQJVWRJHWKHUWKHOLFNIURPWKHSUHYLRXVH[DPSOHZLWKD¿QJHUSLFNHGYHUVLRQRIRXUZRUNKRUVH
chord sequence.

32
Example 3p

,I ZH FRPELQH WKH *P VOLGLQJ ¿OO ZLWK D ¿QJHUSLFNHG UK\WKP SDWWHUQ LW ZRUNV ZHOO DV DQ LQWURGXFWLRQ
idea. Try combining the ideas in this chapter freely and see what ideas those combinations evoke in your
song writing.

33
Example 3q

To end this chapter, we have a full solo that brings together variations of the ideas we’ve covered. I wrote it
specially to help you work on your soloing skills.

You can watch a video of me playing this piece via the links below. Use the backing track provided in the audio
download to practice this over – and indeed, any of the soloing ideas we’ve discussed.

https://www.fundamental-changes.com/acousticrbvideos/

https://geni.us/acou

34
Example 3r – full solo

35
Well done on completing this chapter. I believe it will be one you’ll return to often. Record yourself playing
everything you’ve learned, as this is a great way to document your progress and notice any areas that need
improvement.

36
 Chapter Four – How to Build R&B Guitar Parts (2)

In this chapter we’ll use a similar process to the previous chapter to create some tight, effective R&B guitar
parts over a new chord progression. The chord sequence and vibe here is inspired by Grover Washington’s
tune Just the Two of Us, featuring Bill Withers on vocals – an absolute R&B/soul masterpiece. If you’ve never
heard it, check it out before diving into the examples.

Rhythm Parts
This time around, the major focus of the rhythm ideas will be how to use simple triads (three-note chords) to
create some tight guitar parts.

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NH\ERDUGVRURWKHULQVWUXPHQWVDUH¿JKWLQJIRUWKHVDPHVRQLF³UHDOHVWDWH´LQDWUDFN+LJKHUYRLFHGWULDGV
that use smaller fragments of chord shapes will help to leave space for the bassist and other instruments, while
still outlining the harmony.

My goal here is to open your eyes to the wonderful possibilities of triad shapes. They will not only change the
way you approach rhythm playing but also open up new ideas for soloing strategies later – especially when
playing more complex sequences.

Example 4a shows our next set of workhorse chords: Bmaj7 – A#7#5 – D#m9 – D#m9. The sequence is played
with barre chords to begin with, just to get the sound of the progression in your head. In the next few examples
I’ll show you how to create triad patterns that outline this sequence.

Example 4a

First, let’s isolate each chord and learn its triad inversions on the top four strings (i.e. all the same notes in a
different order). Let’s begin with the B Major triads.

37
Example 4b

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available embellishment notes around it is an integral part of playing R&B chord and lead parts.

Example 4c

1RZOHW¶VOHDUQVRPH¿OOVDURXQGWKHWRSVWULQJ%0DMRUWULDGVKDSHV

38
Example 4d

Example 4e shows the A#7 triad voicings on the same string sets as before.

Example 4e

7KHUHDUHPDQ\GLIIHUHQWVFDOHFKRLFHVWKDWFDQEHXVHGWRFUHDWH¿OOVRYHUDGRPLQDQWFKRUGEXWKHUH,¶OOEH
using the A# Mixolydian scale and the A# Altered scale.

1RUPDOO\WKHPRVWLQWHUHVWLQJ¿OOVLQPRGHUQ5 %JXLWDUWUDFNVDUHSOD\HGRQGRPLQDQWFKRUGVDVWKH\
can handle more tension. Using the Mixolydian scale creates a traditional jazz/blues feel, while the altered
scale sounds much more dissonant and “out there”. You’ll quickly hear which of the following lines are A#
Mixolydian and which are A# Altered.

39
Here are some ideas for the middle string triads.

Example 4f

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KDYHDPRUHH[RWLFVRXQGVRXVHWKHPVSDULQJO\ZKHQHYHU\RXQHHGWRDGGDPRUHGLVWLQFWLYHÀDYRXU

Example 4g

40
The next set of triad shapes are based around the D# Minor chord. I have used combinations of D#m, D#m7 and
D#m9 chords here to create the kind of variation that’s common in R&B. These chords are interchangeable,
DQGLWLVEHVWWRH[SHULPHQWWR¿QGRXWZKLFKVKDSHVDQGYRLFLQJV\RXSUHIHU7KHWULDGVEHORZDUHP\IDYRXULWH
shapes to play with.

Example 4h

Example 4i shows some ideas around the D#m triad shapes on the middle strings.

Example 4i

And now, here are some ideas based around the triads on the top three strings.

41
Example 4j

Now you have learned some triad licks on each individual chord shape, it’s time to combine them and put them
back into the original Bmaj7 – A#7#5 – D#m chord sequence.

In a normal session, I wouldn’t play so many licks (less is more!) but I’ve written these examples to show how
many possibilities can be created by combining a simple triad shape with a lick.

Example 4k

42
Example 4l shows another way to blend the triads with licks over the full chord sequence.

Example 4l

Lead Parts
Next, I’ve written a solo to help you understand how to use the decorated triad concept in a more musical way.
I’ve broken it down into bite-sized chunks for ease of learning.

When composing the solo, I paid attention to the notes contained in the three chords: Bmaj7, A#7#5 and
D#m7. They are:

Bmaj7 (B D# F# A#)

A#7#5 (A# D F#)

D#m7 (D# F# A# C#)

7KH¿UVWWKLQJ\RXPD\QRWLFHLVWKDWWZRRIWKHFKRUGVKDYHWKHQRWH'LQFRPPRQEXWWKH$FRQWDLQV
a D. Knowing this led me to target that D note when the sequence moved to A#7#5, as it helped to articulate
the chord change.

This simple idea is an incredibly useful tactic when writing a new solo. Write out the notes of each chord, then
see how you can incorporate any obvious changes into your licks.

43
Example 4m

6RPHWLPHVLW¶VQLFHWRWKURZLQDOLFNWKDW¶VDELWÀDVKLHU7KH¿UVWWZHOYHQRWHVRIWKLVLGHDDUHEDVHGDURXQG
WKH'1DWXUDO0LQRUVFDOHEHIRUH%0DMRUDQG&0DMRUDUSHJJLRV¿QLVKWKHSKUDVH

Example 4n

It’s possible to play a diminished arpeggio starting on the major 3rd interval of a dominant chord. I’ve done
that here to create tension over the A#7#5 chord.

44
Example 4o

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+HQGUL[DQG6WHYLH5D\9DXJKDQ7KLVOLFNXVHVWKH(E1DWXUDO0LQRUVFDOHDQGWKH¿UVWKDOIRIEDURQHLV
based around an Eb Minor arpeggio to enhance the jazzy sound.

%DUWZRKDVDGLVWLQFWO\+HQGUL[\ÀDYRXUDQGXVHVDYDULHW\RI(E0LQRU3HQWDWRQLFGRXEOHVWRSVLQWKHVW\OH
of The Wind Cries Mary.

Example 4p

Now that you’ve learned the individual parts, it’s time to put them together to play the full solo. You can watch
a video of me playing the track and see how I approach each part here:

https://geni.us/acou

45
Example 4q

46
As part of your practice routine, create a chord sequence then build rhythm parts and lead parts. Use these to
create a full solo with triads and pentatonic scales. If you make this a regular part of your practice time, you
will quickly develop your R&B skills.

47
 Chapter Five – Kerry “2 Smooth” Marshall

It’s a pleasure to feature a track by Kerry “2 Smooth” Marshall in this book. Kerry has worked with artists
OLNH-DVRQ'HUXOR7RUL.HOO\/HGLVL6HDQ.LQJVWRQDQGPDQ\RWKHUVDQGLVDPRQJWKH¿QHVW5 %VHVVLRQ
guitarists in the world.

Here, he has written an R&B acoustic groove in his signature style. Here is the link to the full video. Be sure
to check it out before you work through the examples below. https://geni.us/acou

Before we look in detail at Kerry’s track, let’s examine some of the ideas that crop up in his playing.

Technique Focus: Breaking Barre Chords

I will never forget the look of amazement on my student’s face as I broke up a barre chord into two-note
fragments. It was like a creative lightbulb lit up in his brain. Since then, it’s been one of my favourite things
to teach.

Let’s look at how we can break a Gm7 barre chord into two-note mini chords. These shapes are foundational
to R&B guitar playing so commit them to memory before moving on.

Example 5a

Next, let’s split the Gm7 into three-note shapes. Some of these break the mould of traditional triad shapes, but
they are equally useful.

48
Example 5b

The next logical step is to break the Gm7 chord voicing into four-note voicings. Although less common than
two- and three-note shapes, these teach you to see barre chords as containing many textures and mini shapes
within them.

Example 5c

One Kerry “2 Smooth” trademark is to take a barre chord and add colour notes that subtly change its mood.

Bars two and three in the example below show some of the tasty note choices you can add to a Gm7 shape.
7KHVSHFL¿FLQWHUYDOVDUHZULWWHQDERYHWKHFKRUG

49
Example 5d

Here is one way to add some of these intervals into a phrase over Gm7. Those of you familiar with modern
R&B guitar will have heard these ideas before in different tracks.

Example 5e

The next example shows some common additions to a GMaj7 chord. Once again, the intervals are written
above the notes.

50
Example 5f

Example 5g is one of my favourite examples in this book. When I started to experiment by adding decorations
to my barre chords, I felt a whole new level of freedom in my rhythm playing and it helped me to break away
from predictable strumming and picking patterns.

Listen to the audio track before playing the example so you can hear the nuance of the phrasing.

Example 5g

Now let’s look at some popular notes used to embellish a G7 chord in modern R&B.

Example 5h

Modern R&B tracks often lean heavily on rhythmic funk ideas, so here’s a super funky G7 groove that uses
some of the intervals in the previous example.

51
Example 5i

I always make sure my students can play patterns and ideas in at least two positions on the guitar. Shifting to
a higher octave can really lift a track, or simply help the guitar to cut through the rest of the rhythm section.

The next set of examples shows Gm7, G7, and GMaj7 shapes with a root on the A string, and the useful note
additions.

This Gm7 shape is a rhythm guitar staple and is famously used in the intro to the Doobie Brothers’ Long
Train Running.

Example 5j

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DW¿UVWEXWWKHEHQH¿WVDUHZHOOZRUWKWKHHIIRUW

Example 5k

52
Now let’s look at some useful additions to the GMaj7 chord shape.

Example 5l

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listen to their R&B work for more inspiration.

Example 5m

Here are some colourful additions to a high G7 chord shape.

Example 5n

The three-note dominant 7 chord fragment is a classic texture which can be heard in many different genres.
Sliding into the chord creates a modern gospel twist. Practice sliding from different distances (from below or
above) to give create nuances.

53
Example 5o

Acoustic Landscape – Breakdown Licks

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VSHFL¿FLGHDVKHXVHVZKHUHHYHU\FKRUGVKDSHLVJLYHQKLVVLJQDWXUHWRXFK

Example 5p shows a popular R&B hammer-on/pull-off pattern on a Gm7 chord.

Example 5p

7KH¿IWKVWULQJ0DMVKDSHLVDVWDSOHYRLFLQJRIPRGHUQ5 %+HUH.HUU\DGGVKDPPHURQVDQGSXOORIIV
on the B string to create a legato phrase.

Example 5q

54
7KHQH[WXVHIXOVKDSHWROHDUQLVWKLV'PYRLFLQJ2QFHDJDLQ.HUU\GHFRUDWHVLWE\DGGLQJD¿OORQWKH%
string which creates continuity with the Maj7 idea in the previous example.

Example 5r

Diminished chords play a vital role in modern R&B music and the four-string voicings shown here are especially
popular. Sliding between diminished shapes is an important technique to add to your chordal repertoire.

Example 5s

This B string hammer-on and pull-off creates a sus4 sound on a major barre chord.

Example 5t

Kerry often adds a diminished chord shape on the top four strings as a passing chord. In Example 5u, he
introduces an F# diminished chord between Dm7 and C.

55
Example 5u

With those techniques in mind, now here is the full G Minor groove that Kerry has named Acoustic Landscape,
played at 66bpm. Don’t forget to check out the video before playing through the track.

Example 5v

56
57
58
To discover more of Kerry’s work visit www.kerry2smooth.com

59
 Chapter Six – Playing Solo

So far, we’ve looked at a range of ideas for modern R&B guitar parts that will serve you well in a band setting.
Now we turn our focus to ideas you can play on your own, without other musicians. To study these ideas, I’ve
written two performance pieces.

:H¶OOGLVVHFWWKH¿UVWWXQHAcousticy Taylor, breaking it down into bite-sized chunks that will help you to
understand my approach. Then you can try the second track, Baching up the Wrong Tree.

I’ve made performance videos of each track, so you can see and hear how I play them. https://geni.us/acou

Acousticy Taylor
We will begin with the main melody to my track Acousticy Taylor, in the key of A Major.

The foundation of this track is a chord loop of A – F#m11 – Eadd9 – DMaj7, which is interspersed with four
typical R&B licks. Learn the licks separately before adding them to the full arrangement. Watch the full video
before working through the following examples.

Example 6a

Example 6b uses double-stopped 6ths on non-adjacent strings. Check out the introduction to John Mayer’s
Stop This Train for a wonderful acoustic use of this approach.

60
Example 6b

([DPSOHFEHJLQVZLWKVRPHPRUHEHDXWLIXOWKVEDVHGDURXQGWKH(0DMRUFKRUG7KH¿OORQWKH)P
chord is a common R&B minor pentatonic idea.

Example 6c

This three-note D6 voicing is a useful shape for modern R&B. It’s followed by a slippery legato run which
uses back-to-back slides on the top two strings. Learn these slowly and make sure each slide is accurate.

Example 6d

61
The chordal side of R&B is one of the major reasons I started to explore the genre and Example 6e shows the
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Keep a guitar journal the chord voicings and patterns that most appeal to you and use them to write your
own tracks.

Example 6e

7KHRXWURLQFOXGHVDORYHO\FKRUGDOUXQXVLQJYRLFLQJVIURPWKHNH\RI$0DMRU7KH¿QDOEDUXVHVslap tap
harmonics on the DMaj7 chord. To perform these, simply tap the fret wire twelve frets above the fretted note
to make the harmonic sound. Watch the video to see how I perform them.

Example 6f

Acousticy Taylor had one of the best responses to any track I’ve released. Someone has even made it their
alarm tone! It’s always useful to keep party pieces like this under your belt, so you always have something to
play when there isn’t a vocalist around.
62
Example 6g

63
Baching up the Wrong Tree
I love to blend musical approaches to create sub-genres, and to create Baching up the Wrong Tree I explored
what would happen if J.S. Bach wrote an acoustic R&B tune! I’ve included this track for two reasons. First, to
teach you a fun party piece, and second to open your mind to the concept of combining genres to create your
own music.

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It’s played with a capo at the 2nd fret.

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Learn this piece at around 60bpm before raising the speed in increments of 10bpm to reach the recorded tempo
of 120bpm.

Example 6h

64
65
66
Now, go and can write some ideas of your own, using phrases and ideas from these two pieces. Pick and steal
phrases, chord sequences and melodies that inspire you. Your R&B piece could be anywhere from a bar long
to a full tune, but set yourself the goal of writing something every day.

A great starting point is the website www.splice.com where you can purchase samples that can become
inspirational building blocks to create backing tracks for jamming out ideas.

67
 Chapter Seven – Rhythmic Awareness

From the sound of a mother’s heartbeat to a crowd chanting at a sports game, rhythm is the continual backdrop
to our lives.

As musicians, we think of repeated rhythms as grooves, but sadly groove is not a well-taught or properly
practiced part of guitar playing. My aim in this chapter is to teach you that groove is the core foundation of
everything you play on guitar.

This time, we will build an acoustic R&B track by focusing solely on rhythm and groove. You’ll learn many
VPDOOUK\WKPEDVHGH[DPSOHVRIFKRUGVDQG¿OOVWKHQFRPELQHWKHPWREXLOGDJURRYHOD\HUE\OD\HU

Using a metronome

Begin by learning each example with a metronome set to 50bpm and make sure every note is clean and
audible. Pay attention to your picking hand to make sure you’re playing the strict “down-up” alternate picking
patterns written.

When you can play an example perfectly three times in a row at 50bpm, raise the speed to 53bpm and continue
this way to a target speed of 80bpm or higher. This type of structured practice means you only increase your
speed once the lick is played accurately.

7KH¿UVWH[DPSOHWHDFKHV\RXDVLPSOH(0DMRUEDVVOLQHWKDWZLOOEHWKHIRXQGDWLRQIRUWKHH[DPSOHVWKDWIROORZ

Example 7a

Example 7b adds a rhythm to this bassline to create a funky feel. Tap your foot when you play it, to help feel
the groove and stay in time.

Listen to the audio, but learn to count the rhythm too. I have included the counting above the notation.

68
Example 7b

Now let’s learn a syncopated rhythm on the chords of EMaj7 and C#m7. This will form part of the groove later.

Example 7c

The four-chord loop of EMaj7 – C#m7 – F#m7 – B7 is a building block of our track. The three-note B7 voicing
is a common shape in modern R&B, so memorize it before moving on.

69
Example 7d

Now I add a three-note passing B7 chord between EMaj7 and C#m7 to introduce some rhythmic and
harmonic interest.

Example 7e

70
R&B rhythm guitar parts are often split between lush barre chords and single note funky lines.

Example 7f shows an example of a single note E Major Pentatonic idea that works around the chord sequence.

Example 7f

1RZ,DGGDQ(0DMRU3HQWDWRQLF¿OOEHWZHHQWKH(0DMDQG&PFKRUGV$JDLQFKHFNRXW+HQGUL[¶VThe
Wind Cries Mary for a vast array of these double-stop ideas.

71
Example 7g

This E Major phrase uses double-stops on the high strings to add interest in a higher register. You can build a
groove using chords, double-stops or single notes, so consider how these different textures affect the feel of a
track when writing your parts. Switching between them is a great way to highlight different sections of a tune.

Example 7h

72
This example highlights a ringing E Major single note line that could work well as a pre-chorus or bridge
section. Again, it’s a simple part but it’s all about the groove.

Example 7i

This idea combines a single note E Major line with a hammer-on pattern based around a C#m7 chord. Barring
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the effort.

73
Example 7j

Double-stops are a texture that sits between single notes and chords. This example uses E Major double-stop
fragments between the 9th and 12th frets. Barre the G and B strings at the 9th fret as you perform the pull-offs.

Example 7k

74
This idea decorates the C#m7 chord with single notes and double-stops.

Example 7l

It’s common to palm mute double-stop licks to introduce percussive textures into an R&B guitar part. Place
your fretting hand close to the bridge and lightly touch the strings with the heel of your hand. The action
somewhat resembles a karate chop.

Example 7m

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own playing after listening to Jack Johnson’s Better Together.

Example 7n

75
R&B guitar parts borrow ideas from jazz, and jazzy chord voicings are a common addition. This example
introduces an F#m9 chord and a B7#5 which resolves to a more familiar EMaj7 shape. Take time to commit
these chords to memory before continuing.

Example 7o

Now you’ve learned various different approaches to using rhythmic textures to create groove, Example 7p
combines them into a single track. It uses full barre chords, double-stops and single note lines to form an R&B
track in the style of Bill Withers and Isaiah Sharkey.

76
Example 7p

77
78
 Chapter Eight – Arctic Swirl

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or chord sequence to a new key can completely change the feel of the track.

Arctic Swirl is a piece I wrote led by this thinking. I have always felt C# Minor to be an emotive key and the
melody seemed to sit perfectly for me here.

Once again, I’ve broken down the key elements and techniques of this track, and we combine them at the end
of the chapter.

We’ll begin with the chords that form the A section of the tune: C#m7 – C#m9 – A – Eadd9 – B/D#. If any of
these voicings are unfamiliar to you, take some time to learn them properly before continuing.

Example 8a

A useful technique is to play higher chord voicings with a root note on the D string. These are particularly
effective at cutting through a full band mix as they allow space for other instruments to sit below them sonically.

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Example 8b

The main melody of Arctic Swirl uses the C# Natural Minor scale and is interspersed by the chords of C#m7,
A Major, Eadd9 and B/D#. It’s my favourite bit of writing in the book and forms part of my daily practice.

Learn the melody line and chords separately before piecing them together.

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Example 8c

Example 8d shows the second part of the A section. The C#m9 in bar one incorporates the open B and E strings
and allows them to ring Try this idea in your own arrangements.

As with the previous example, learn the melody line and chords separately before putting them together.

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Example 8d

The B section of Arctic Swirl opens with the chord sequence A – B – Cdim7 – C#m7. The fourth bar teaches
you one of my favourite blues phrases.

Example 8e

82
The outro is based around C# Minor Pentatonic double-stops. Bar two is one of the most important phrases in
R&B/Neo-Soul guitar playing and is often used in introductions and outros.

Example 8f

Now let’s combine these parts into the full track. Check out the video of me performing the track at https://
geni.us/acou

83
Example 8g

84
85
 Chapter Nine – Dual Bliss

Now for a piece that can be played as a two-guitar arrangement or by using a loop pedal. Dual Bliss combines
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designed to impress!

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hybrid picking. Check it out: https://geni.us/acou

This piece is played with a capo at the 3rd fret. I personally use Kyser capos, although any decent brand will
do. If you don’t have a capo, you can play it without, just remember that you’ll be out of tune with the audio
tracks.

I have included an 82bpm R&B/Neo Soul drum track so you can practice all the examples in this chapter and
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Let’s begin with the main theme of the piece. For each of the chords, a melody line is played with a G string
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Example 9a

The main theme of the piece is built around a call and response pattern. The response to the opening chord’s
call riff is an E Blues idea shown in bar two below.

Example 9b

86
These Em7 fragments are built on the middle strings and often used in guitar quartet and R&B gospel settings.
Bar two introduces some lovely voicings of CMaj6, B7#5, and a Bsus4 that resolves to E Minor later in
the track.

Example 9c

The B7(11) and Em11 chords are useful voicings that live on the jazzier side of R&B. The run-down of E
Minor chord shapes in bar two is also a common R&B device. Try transposing this example to all keys for a
great chordal workout!

Example 9d

Next is the main melody, written using the E Natural Minor and E Harmonic Minor scales. I keep the melody
on the higher strings, so it cuts through above the chords.

The lick that begins at the end of bar three is an E Blues scale idea with some added chromaticism. It contains
two rhythmic groupings of sextuplets, and to play these accurately I say a six-syllable word, such as re-spon-
si-bi-li-ty to keep the triplets in time. Listen to the audio track to hear how I phrase this example.

87
Example 9e

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a chromatic idea around an E Minor arpeggio. If you want to add some jazzy sophistication to your playing,
this line is a great start!

Example 9f

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RXWDZD\WRSOD\LWRQJXLWDU,WZDVGLI¿FXOWEXWLWWDXJKWPHKRZWRFUHDWHWKHVHPRGHUQ5 %1HR6RXO
double-stop patterns.

Here, I pay a small homage to that track by using chromatic double-stops in E Minor. Although playing this
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when you want to play it at a higher speed.

Go and listen to the live version of Velours on YouTube – it’s fantastic!

88
Example 9g

Now you have all the building blocks of the tune, it’s time to put it all together.

There’s no backing track for Dual Bliss as I want to encourage you to jam with another guitarist (or with
yourself using a looper pedal or recording software). It’s great fun!

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89
Example 9h

90
91
Playing with a guitarist who is a similar level to you can be a great blessing as you progress on your musical
journey. Going to local jam nights or reaching out on the Fundamental Changes Facebook forum are potential
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92
 Chapter Ten – Giraffe in a Scarf

My track, Penguin Suit is one of the most popular things I’ve ever written and it went somewhat viral after
I included it The NeoSoul Guitar Book, a Fundamental Changes bestseller I co-wrote with Kristof Neyens.
Giraffe in a Scarf is my follow up track and I hope it’s as popular!

It also gave me the opportunity to buy a 4-foot giraffe to feature in the video, much to the bemusement of the
mail man! Check out the video here: https://geni.us/acou

Giraffe in a Scarf is in the key of A Minor and written around the A Natural Minor scale. I mainly use hybrid
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a different approach on each sections of the song.

Let’s break down some of the core themes of this piece into individual exercises.

We will begin with the A Blues introduction lick – a double-stop idea played on the top three strings. Learn the
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the two parts.

Example 10a

The double-stop lick in bar one is built around A Harmonic Minor, but the phrase in bar two is a legato A Blues
idea. Blending different types of minor scales is a common technique and a useful writing tool to consider
when composing.

Example 10b

93
Example 10c introduces the main theme of the piece. It is actually one of my favourite things to play in this
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This type of chordal approach is popular in quartet guitar playing and you should check out the music of Chris
Payton to hear some excellent ideas in this genre.

Example 10c

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friends, then I suggest you choose these!

94
Example 10d

The C section is based around similar chords to the B section but adds a Dm7 to E7 turnaround. Another
difference is that the FMaj7 and E7 chords are played using much lower voicings.

Example 10e

95
I learnt this Am11 voicing from a Kerry “2 Smooth” Instagram video. I loved the sound of the ringing notes
performed by the pull-offs to open strings. I often try adding pull-offs to open strings to see what new tonalites
I can create. Some sound fantastic and some sound terrible. Try to only play the fantastic ones!

Example 10f

This legato lick crams as many notes in as possible before resolving to the Am9 chord in bar two. While this
lick is obviously written for speed, take your time and make sure you can play each hammer-on and slide
cleanly at a slower tempo before speeding up.

Example 10g

So here we are – you’re ready to play Giraffe in a Scarf!

I wanted to end this book with a bang, not just by combining all my favourite licks and ideas in one tune, but
by also recording a video to make you smile. If you have worked through this chapter and learned the licks
individually, you will be well prepared to tackle this tune, which is played at 90bpm.

96
Example 10h

97
98
99
100
 Conclusion

Well done! You made it!

I’ve crammed a huge number of ideas into this book and my hope is that it will be a valuable resource for you
for many years to come.

I want you to use my examples as a starting point for creating your own modern R&B patterns, phrases and
songs. Let your ears guide you and don’t rely on just reaching for the “safe” notes – you should always be
looking to explore. Remember the saying, “If it sounds good, it is. If it sounds bad‚ it probably is too”, but
don’t be afraid to make mistakes while reaching for new ideas.

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to jam with other musicians. Playing with other instrumentalists is literally the best way to improve your
musicianship.

My passion in life is teaching people to express themselves through guitar, so if you have any questions, please
get in touch and I’ll do my best to respond as quickly as possible.

You can contact me at simeypratt@gmail.com or via www.fundamental-changes.com

You can also check out my Instagram Channel to see what I am up to in my own playing.

@simeygoesfunkay

101
 By the Same Author

102