Chords for 🎸 Soul Guitar Lesson - Octave Double Stops - Jimmy Reiter
Tempo:
94.45 bpm
Chords used:
C
Cm
F
G
Bb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Now, as you probably all know, soul guitar fills are full of double-stop licks.
The most common intervals for those licks are thirds [Gbm] or [Dbm] [B] six, [G] sometimes [Em] four.
[Bm] [A]
[N] And I've talked about these extensively in my first course, Soul Guitar Guidebook, and
we're going to come across a lot of thirds and six and so on in this course as well.
But in this lesson, I want to talk about octave double-stops, which simply means playing the
same note twice, just an octave apart.
Now, it might not sound very desirable to just double the same note, but it can give
a simple line a totally different quality.
It's a really effective way of making a lick or a section stand out.
Jazz guitar players like Wes Montgomery or Kenny Burrell use this technique a lot, but
also players like Johnny Guitar Watson, who's a favorite of mine, incorporated octaves in
his solos quite often, especially on his funkier tunes.
I'm playing octave licks in some of the solos on this course, in this course, so I thought
I might as well take a closer look at them.
I'd like to show you some different shapes of octave double-stops, where and how to easily
find them on the fretboard, and then also talk about different approaches for your right hand.
Okay, so finding octaves is easy.
For any given note we play on the low E string, there will be an octave on the D string two frets up.
If I play a C in the eighth fret of the low E string, [C]
there's another one here on the
D string in the tenth fret.
[E] The same is true for any note on the A string.
[F] There's an F in the eighth fret, and there's another one here in the tenth fret of the G string.
[Gm] So for all octave double-stops on the E and D or A and G strings, just remember, find
your note on the lower string, skip a string, then move up two frets, and you've got your octave.
For the D and G strings, the shape is slightly different.
You need to move up three frets on the higher string to find your octave.
So for a C [C] in the tenth fret on the D string, there's an octave in the thirteenth fret on
the B string.
And the same is true [F] for an F on the G and the high E string.
[Bb] These are the shapes I use the most when I play octaves.
There are more like D and E [C] string or A and B [G] string, this time skipping two strings and
moving down two frets.
I also noticed while I was doing this that I tend to play the lower octaves with my index
and little finger as opposed to the ring finger, which maybe would be the correct way
of doing it since they're two frets apart.
But it just feels more natural to me to do it like this.
Whatever is more comfortable for you is fine, I guess.
[Ab] Now if you take a simple blues scale lick on the low strings like this [C] [G] [Cm]
and then play
with octave, [F] [G] it [Cm]
[C] sounds a bit cooler, maybe even a little jazzier, even though it's the
exact same notes.
Now for my right hand, I can use different [Ab] ways to play this octave.
Number one is by just playing with my pick.
If I do this, I have to make sure to mute the open strings with the fingers of my left
[C] hand like this.
[Cm]
[F] [Eb] [Cm]
Number two is hybrid picking using the pick and my ring finger in this case.
[Fm]
[Bb] [C] If you do it like this, you don't have to worry about muting the strings so much.
And the third one is by just using my thumb.
And this produces a very cool sound in my opinion, really warm and jazzy.
If you want to switch back and forth between using a pick and using your thumb, you have
to think about what to do with your pick while you're playing with your thumb.
What I do is stick the pick kind of behind my fingers and pull it back out when I need it.
It actually works pretty good and I really don't drop the pick too often.
Let me show you what I mean.
[Cm]
[C]
[F] [C] Takes a bit of practice I guess, but I do it all the time without even noticing.
And maybe you have your own methods too.
Of course, this is very helpful not only for octave licks, for all other times you want
to go back and forth between a pick and your thumb.
Something I do quite often because it's a nice way of getting a different sound.
[Dm]
[Bb] [F] [C]
[Cm] [Eb] [Cm]
The most common intervals for those licks are thirds [Gbm] or [Dbm] [B] six, [G] sometimes [Em] four.
[Bm] [A]
[N] And I've talked about these extensively in my first course, Soul Guitar Guidebook, and
we're going to come across a lot of thirds and six and so on in this course as well.
But in this lesson, I want to talk about octave double-stops, which simply means playing the
same note twice, just an octave apart.
Now, it might not sound very desirable to just double the same note, but it can give
a simple line a totally different quality.
It's a really effective way of making a lick or a section stand out.
Jazz guitar players like Wes Montgomery or Kenny Burrell use this technique a lot, but
also players like Johnny Guitar Watson, who's a favorite of mine, incorporated octaves in
his solos quite often, especially on his funkier tunes.
I'm playing octave licks in some of the solos on this course, in this course, so I thought
I might as well take a closer look at them.
I'd like to show you some different shapes of octave double-stops, where and how to easily
find them on the fretboard, and then also talk about different approaches for your right hand.
Okay, so finding octaves is easy.
For any given note we play on the low E string, there will be an octave on the D string two frets up.
If I play a C in the eighth fret of the low E string, [C]
there's another one here on the
D string in the tenth fret.
[E] The same is true for any note on the A string.
[F] There's an F in the eighth fret, and there's another one here in the tenth fret of the G string.
[Gm] So for all octave double-stops on the E and D or A and G strings, just remember, find
your note on the lower string, skip a string, then move up two frets, and you've got your octave.
For the D and G strings, the shape is slightly different.
You need to move up three frets on the higher string to find your octave.
So for a C [C] in the tenth fret on the D string, there's an octave in the thirteenth fret on
the B string.
And the same is true [F] for an F on the G and the high E string.
[Bb] These are the shapes I use the most when I play octaves.
There are more like D and E [C] string or A and B [G] string, this time skipping two strings and
moving down two frets.
I also noticed while I was doing this that I tend to play the lower octaves with my index
and little finger as opposed to the ring finger, which maybe would be the correct way
of doing it since they're two frets apart.
But it just feels more natural to me to do it like this.
Whatever is more comfortable for you is fine, I guess.
[Ab] Now if you take a simple blues scale lick on the low strings like this [C] [G] [Cm]
and then play
with octave, [F] [G] it [Cm]
[C] sounds a bit cooler, maybe even a little jazzier, even though it's the
exact same notes.
Now for my right hand, I can use different [Ab] ways to play this octave.
Number one is by just playing with my pick.
If I do this, I have to make sure to mute the open strings with the fingers of my left
[C] hand like this.
[Cm]
[F] [Eb] [Cm]
Number two is hybrid picking using the pick and my ring finger in this case.
[Fm]
[Bb] [C] If you do it like this, you don't have to worry about muting the strings so much.
And the third one is by just using my thumb.
And this produces a very cool sound in my opinion, really warm and jazzy.
If you want to switch back and forth between using a pick and using your thumb, you have
to think about what to do with your pick while you're playing with your thumb.
What I do is stick the pick kind of behind my fingers and pull it back out when I need it.
It actually works pretty good and I really don't drop the pick too often.
Let me show you what I mean.
[Cm]
[C]
[F] [C] Takes a bit of practice I guess, but I do it all the time without even noticing.
And maybe you have your own methods too.
Of course, this is very helpful not only for octave licks, for all other times you want
to go back and forth between a pick and your thumb.
Something I do quite often because it's a nice way of getting a different sound.
[Dm]
[Bb] [F] [C]
[Cm] [Eb] [Cm]
Key:Â Â
C
Cm
F
G
Bb
C
Cm
F
_ _ _ _ _ _ _ _
Now, as you probably all know, soul guitar fills are full of double-stop licks.
The most common intervals for those licks are thirds [Gbm] or _ [Dbm] _ _ _ [B] six, _ [G] sometimes _ [Em] _ _ four.
[Bm] _ [A] _
_ _ _ [N] And I've talked about these extensively in my first course, Soul Guitar Guidebook, and
we're going to come across a lot of thirds and six and so on in this course as well.
But in this lesson, I want to talk about octave double-stops, which simply means playing the
same note twice, just an octave apart.
Now, it might not sound very desirable to just double the same note, but it can give
a simple line a totally different quality.
It's a really effective way of making a lick or a section stand out.
Jazz guitar players like Wes Montgomery or Kenny Burrell use this technique a lot, but
also players like Johnny Guitar Watson, who's a favorite of mine, incorporated octaves in
his solos quite often, especially on his funkier tunes.
_ I'm playing octave licks in some of the solos on this course, in this course, so I thought
I might as well take a closer look at them.
_ I'd like to show you some different shapes of octave double-stops, where and how to easily
find them on the fretboard, and then also talk about different approaches for your right hand.
_ Okay, so finding octaves is easy.
For any given note we play on the low E string, there will be an octave on the D string two frets up.
If I play a C in the eighth fret of the low E string, [C] _
there's another one here _ on the
D string in the tenth fret.
[E] The same is true for any note on the A string.
[F] There's an F in the eighth fret, and there's another one here in the tenth fret of the G string.
[Gm] _ _ So for all octave double-stops on the E and D or A and G strings, just remember, find
your note on the lower string, skip a string, then move up two frets, and you've got your octave. _
For the D and G strings, the shape is slightly different.
You need to move up three frets on the higher string to find your octave.
So for a C [C] in the tenth fret on the D string, there's an octave in the thirteenth fret on
the B string.
And the same is true [F] for an F on the G and the high E string.
_ _ [Bb] These are the shapes I use the most when I play octaves.
There are more like _ D and E [C] string _ _ or A and B [G] string, _ this time skipping two strings and
moving down two frets.
_ _ I also noticed while I was doing this that I tend to play the lower octaves with my index
and little finger _ as opposed to the ring finger, which maybe would be the correct way
of doing it since they're two frets apart.
But it just feels more natural to me to do it like this.
_ Whatever is more comfortable for you is fine, I guess.
[Ab] Now if you take a simple blues scale lick on the low strings like this _ _ [C] _ [G] _ _ _ [Cm] _
_ _ _ _ _ and then play
with octave, _ _ _ [F] [G] it _ _ [Cm] _
_ _ [C] _ _ _ _ sounds a bit cooler, maybe even a little jazzier, even though it's the
exact same notes.
Now for my right hand, I can use different [Ab] ways to play this octave.
Number one is by just playing with my pick.
If I do this, I have to make sure to mute the open strings with the fingers of my left
[C] hand like this.
_ _ _ _ _ _ [Cm] _
_ _ [F] _ _ [Eb] _ _ [Cm] _
Number two is hybrid picking using the pick and my ring finger in this case.
_ _ _ [Fm] _ _
_ _ _ [Bb] _ [C] _ If you do it like this, you don't have to worry about muting the strings so much.
And the third one is by just using my thumb.
And this produces a very cool sound in my opinion, really warm and jazzy. _
_ _ _ _ _ _ _ _
_ _ If you want to switch back and forth between using a pick and using your thumb, you have
to think about what to do with your pick while you're playing with your thumb.
What I do is stick the pick kind of behind my fingers and pull it back out when I need it.
It actually works pretty good and I really don't drop the pick too often.
Let me show you what I mean. _ _ _ _
_ _ _ _ _ [Cm] _ _ _
[C] _ _ _ _ _ _ _ _
_ [F] _ _ [C] _ _ _ Takes a bit of practice I guess, but I do it all the time without even noticing.
And maybe you have your own methods too.
Of course, this is very helpful not only for octave licks, _ _ for all other times you want
to go back and forth between a pick and your thumb.
Something I do quite often because it's a nice way of getting a different sound.
_ _ _ _ _ _ [Dm] _ _
_ _ _ [Bb] _ [F] _ _ _ [C] _
_ _ [Cm] _ _ [Eb] _ _ _ [Cm] _
Now, as you probably all know, soul guitar fills are full of double-stop licks.
The most common intervals for those licks are thirds [Gbm] or _ [Dbm] _ _ _ [B] six, _ [G] sometimes _ [Em] _ _ four.
[Bm] _ [A] _
_ _ _ [N] And I've talked about these extensively in my first course, Soul Guitar Guidebook, and
we're going to come across a lot of thirds and six and so on in this course as well.
But in this lesson, I want to talk about octave double-stops, which simply means playing the
same note twice, just an octave apart.
Now, it might not sound very desirable to just double the same note, but it can give
a simple line a totally different quality.
It's a really effective way of making a lick or a section stand out.
Jazz guitar players like Wes Montgomery or Kenny Burrell use this technique a lot, but
also players like Johnny Guitar Watson, who's a favorite of mine, incorporated octaves in
his solos quite often, especially on his funkier tunes.
_ I'm playing octave licks in some of the solos on this course, in this course, so I thought
I might as well take a closer look at them.
_ I'd like to show you some different shapes of octave double-stops, where and how to easily
find them on the fretboard, and then also talk about different approaches for your right hand.
_ Okay, so finding octaves is easy.
For any given note we play on the low E string, there will be an octave on the D string two frets up.
If I play a C in the eighth fret of the low E string, [C] _
there's another one here _ on the
D string in the tenth fret.
[E] The same is true for any note on the A string.
[F] There's an F in the eighth fret, and there's another one here in the tenth fret of the G string.
[Gm] _ _ So for all octave double-stops on the E and D or A and G strings, just remember, find
your note on the lower string, skip a string, then move up two frets, and you've got your octave. _
For the D and G strings, the shape is slightly different.
You need to move up three frets on the higher string to find your octave.
So for a C [C] in the tenth fret on the D string, there's an octave in the thirteenth fret on
the B string.
And the same is true [F] for an F on the G and the high E string.
_ _ [Bb] These are the shapes I use the most when I play octaves.
There are more like _ D and E [C] string _ _ or A and B [G] string, _ this time skipping two strings and
moving down two frets.
_ _ I also noticed while I was doing this that I tend to play the lower octaves with my index
and little finger _ as opposed to the ring finger, which maybe would be the correct way
of doing it since they're two frets apart.
But it just feels more natural to me to do it like this.
_ Whatever is more comfortable for you is fine, I guess.
[Ab] Now if you take a simple blues scale lick on the low strings like this _ _ [C] _ [G] _ _ _ [Cm] _
_ _ _ _ _ and then play
with octave, _ _ _ [F] [G] it _ _ [Cm] _
_ _ [C] _ _ _ _ sounds a bit cooler, maybe even a little jazzier, even though it's the
exact same notes.
Now for my right hand, I can use different [Ab] ways to play this octave.
Number one is by just playing with my pick.
If I do this, I have to make sure to mute the open strings with the fingers of my left
[C] hand like this.
_ _ _ _ _ _ [Cm] _
_ _ [F] _ _ [Eb] _ _ [Cm] _
Number two is hybrid picking using the pick and my ring finger in this case.
_ _ _ [Fm] _ _
_ _ _ [Bb] _ [C] _ If you do it like this, you don't have to worry about muting the strings so much.
And the third one is by just using my thumb.
And this produces a very cool sound in my opinion, really warm and jazzy. _
_ _ _ _ _ _ _ _
_ _ If you want to switch back and forth between using a pick and using your thumb, you have
to think about what to do with your pick while you're playing with your thumb.
What I do is stick the pick kind of behind my fingers and pull it back out when I need it.
It actually works pretty good and I really don't drop the pick too often.
Let me show you what I mean. _ _ _ _
_ _ _ _ _ [Cm] _ _ _
[C] _ _ _ _ _ _ _ _
_ [F] _ _ [C] _ _ _ Takes a bit of practice I guess, but I do it all the time without even noticing.
And maybe you have your own methods too.
Of course, this is very helpful not only for octave licks, _ _ for all other times you want
to go back and forth between a pick and your thumb.
Something I do quite often because it's a nice way of getting a different sound.
_ _ _ _ _ _ [Dm] _ _
_ _ _ [Bb] _ [F] _ _ _ [C] _
_ _ [Cm] _ _ [Eb] _ _ _ [Cm] _