What's the minimum you can get away with in a blooze type I IV V?
If A is I, D is IV and E is V. For the A chord, play frets 5,6 on strings 4,3 respectively. The G is the b7 and the C# is the 3 in the A chord. That's enough to characterise it, you can let the bass player supply the roots. To change to the D chord, move the pattern down 1 fret. The lower note is now F# (the 3rd of the D chord) and the higher one, C, is the b7. To change to the E chord move it all up 2 frets (G#, D) same relationship.
2 strings, 2 notes, only moving by a maximum of 2 frets. You're getting tired, it's near the end of the gig, its about time the bass player did some work anyway, so find some chunky little rhythm to knock this out with while your arm & finger muscles recover.
"Working" software has only unobserved bugs. (Parroty Error: Pieces of Nine! Pieces of Nine!)
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Ooo I like that.
I one of my bands we do this rock'n'roll 12 bar medley as a set closer. Starts with Johnny B Goode (in A) and the singer then goes on through various other songs of that ilk (along with band introductions and general 'thanks for coming banter'....it can last for what seems like hours!
Aka 'guide tones'!
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
it also clears up the space for the higher frequencies, specially if the soloist is into modern blues and throws altered colors (flat-sharp 5s or 9s).
the same exact fingering-voicing can be used if you want to throw a iii-iv-ii-v turnaround instead of resting on the E at the end of the blues cycle;
you just move the shape up to the 9th fret and move down chromatically to the (#G, D) shape described in the OP
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