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Respect – Verse
Let’s start working on that verse!
Being in the key of C, the two verse chords are G7 and F7.
In order to find a good part for the verse, we must explore the fretboard using different shapes and try different rhythms we find on the original recording
Using this as our foundation, we will find a part that makes sense.
There are TAB loops available in the playlist above. Here’s a band-only loop to practice to as well.
Here’s example 1 in TAB.
In this example, we start with an A shape for G7, move that shape down for the F7, then switch to a C shape that also moves down. Lastly, we play two D shapes.
The rhythm is just on the beat throughout.
Here’s example 2.
In this example, we move up the fretboard. Start with an E shape, move to a D shape for the F7. Slide this D shape up to find a G7.
Next, play two C shapes, finish off with an A shape for the F7.
Rhythmically, we now slide into all G7 chords and stretch the first rhythm to cover all of beat 1.
Here’s example 3.
This example is identical to the previous, apart from adding a couple of muted strums before each F7 chord.
Here’s example 4.
Again, it’s the same chord shapes, we still slide in to beat 1. The difference here is that we play F7 F#7 and the G7, using more pronounced rhythms. As you play, listen to the bass and sync with it rhythmically.
You can just slide, or you could hit each chord as you slide (see video lesson for a demonstration).
Here’s example 5.
This example uses new chord shapes. Start with a C shape to A shape. Then play two A shapes. Finally, play two C shapes.
Over the F7 chords, a new rhythmic idea has appeared towards the end of the bar.
Again, check the video for a demonstration.
Notice how beat one has disappeared for two of the G chord. This is because the new rhythmic fill needs some space after it, in order to play the next chord.
When you practice this example on a loop, remove beat 1 of the first G7 as well.
Here’s the last example in TAB.
In this final example, we keep sliding from F7, F#7 to G7 but we also slide from G7 down via F#7 to F7 using a quarter note triplet. This syncs with the backing track loop on one occasion.
Picking up little horn licks like this makes you a temporary member of the horn section.
This is a great idea, as long as you get it right. If you mess up, they might not appreciate it so make sure you know exactly when they play something and that what you do actually works with their parts. More on that later…
Spend plenty of time practicing all six examples to the loop before you start combining them in a non-planned manner.
Next time, we start working on how to play the chorus.
See you then!
Dan (your guitar guru)