Tag: Front Porch

Country Blues Basics Part 14: How to Play That’s Alright by Sam Chatmon

That’s Alright is a great example of combining alternating bass and monotonic bass. If you look at the tabulature, you’ll see that the two techniques are intermingled in a way where the techniques aren’t individually identifiable, but have been woven together to create a fabric for the song. 

Sam Chatmon used this guitar accompaniment for a lot of his tunes in G. Despite its heavy usage, I still think it is one of the most powerful accompaniments in G out there. It doesn’t sound like anyone else.

To play this song, you need to be comfortable with playing an alternating bass with a heavy accent on the down beat. Listen to how Sam plays time in this recording to get the idea:

That’s Alright is a 12-bar blues in the key of G. 

The main section is best played using an unconventional G chord fingering.

The G chord looks like a B7 chord moved up one string. Keep your pinky ready to fret the 1st string, 3rd fret, but don’t hold it down unless you are going to play it. You’ll need to keep your other three fingers uninhibited to play the bass figure!

The G chord look like this:

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The IV chord Sam uses is a basic open position C chord. The D chord is simply a C chord moved up two frets.

The secret to this song is in the heavy time and keeping the bass moving.

I have broken the tab into sections to help you see the various pieces.

The first four bars are based around Sam’s G chord. Keep your finger free so you can keep the bass moving.

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The IV chord section utilizes a C/C7 shape. Remember to push through the strings to get that heavy time sound. As long as you’re holding the chord, the surrounding notes will harmonize.

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Returning to the I chord, make sure you really hit the hammer-on/pull-off. I consider it an essential riff in the arrangement.

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Walking up to the V/IV chord, utilize the same technique you used in bars five and six. Finish off the verse by playing the same riff you played previously.

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Once you can play these sections, piece them together and you have yourself a great song you can get a lot of mileage on.

If you can play the bass comfortably, try improvising which notes you play in the chord.

Listening to Sam’s various breaks will give you interesting variations. I demo one of these breaks in my recording of the guitar arrangement below.

Try learning some of the lyrics Sam sings over this arrangement and create your own version of the song. This song is a master class in how to have a moving bass line with sparse melodic jabs. It creates the illusion of two players playing at once.

Once you have learned this song, you have learned the country blues basics. Congratulations, you can probably learn any song in this genre now that your bass skills are on point!

Take a look at my closing thoughts on where you can take your playing now that you have the essentials down. 

 

Featured Musician: Sonny Boy Nelson

Sonny Boy Nelson (real name Eugene Powell) recorded in the 1930s, and played along side legendary country blues musician Hacksaw Harney. I first discovered Nelson a few years into playing blues music.

It was a revelatory experience. 

Nelson’s intricate and sorrowful playing made me see the possibility of what my guitar playing could turn into.

When I studied with John Miller, I asked him to help me figure out some of Nelson’s playing because it was so unconventional, but so familiar. Only a master of this style like John could unravel this playing.

Watching and learning Nelson’s playing gave me a new outlook and perspective in what’s possible in country blues playing. It also helped me figure out the playing of blues-great Sam Chatmon who was undoubtedly in contact with Sonny Boy Nelson in his lifetime.

Here are some examples of Nelson’s incredible blues picking:

Nelson definitely has a unique style, but also has some clear influences. I can hear riffs from Tommy Johnson’s Lonesome Home Blues and a lot of stylistic borrowings from Blind Lemon Jefferson.

Matchbox Blues was a cover of a Blind Lemon Jefferson song, but Nelson’s version is a great example of making something your own.

For the same reasons as I love Scrapper Blackwell’s playing, I love Sonny Boy Nelson’s. They both have a clear way of playing in a key, and they constantly improvise, but their style is a recognizable trademark of their craft.

Stopping by the Front Porch

Have you ever heard a song that makes you feel like nothing bothers you anymore? Have you ever seen something so beautiful, everything else disappears?

If you have, then this is a site for people like you. It’s the site I wish had existed, so I decided to make it.

I’m going to post daily content about photography, music, philosophy, art + whatever else strikes me.