In this lesson, we're going to take a look at some of chucks, more interesting chord riffs and chord patterns and some unique things that he did in specific songs involving courts. And we're going to start out with the song too much monkey business in the key of F. And he does this really cool solo, it's the second solo of the song where it's basically a chord solo. And it's, it's really pretty simple, but it's just cool. I love this. And you're going to use this second position bar chord and if the song is an F, we're going to use that B flat seventh position bar chord, and then we're going to move to the five which is going to be a C seven. Bar court and the tune, too much monkey business, the second solo got something Like this.

And then he stops and goes into the next verse. Now I don't know if I have that exactly right. But I'm pretty sure this is what he's playing that first leg. This is a typical group. Now, I'm still not positive how this was done on the Chuck Berry recordings. And we'll talk more about this here in a little bit.

But I'm assuming the way I hear and he's going to use one finger on the 10th fret, second, third, and a little bit of the fourth string. And that's an app and what I'm doing is going back and forth between that a shape and the 12th fret of the fourth string. You can vary How many times you pick it and the rhythm in there and if you listen to that apart from too much monkey business, he does that I haven't tapped out I think the first, the first way he plays it, something like this goes to the four, he's going to go to this B flat chord or something like that. Now, I don't know when they're if he's playing that full barre chord shape and just concentrating on the third and the second strings, it's again, it's hard to tell with everything going on, but that's what I hear and just this whole rhythm idea, you could play it like this, whether this is how he played it exactly or not.

And he goes back to the one. When he goes over the five, he's going to the C seven. Something like that. is one of my favorite chord ideas just really rockin really rhythmic and that is from from too much monkey business. Now he has another tune. Oh, this one in the key of C called it wasn't me another classic.

And toward the end of the song, he plays a similar riff, but he does something a little different with it, and it's in the key of C. So he's going to use that. That's a shape c riff up here and he plays something like this. So, we're going here, the same thing we did here and a half. But now we're going between the fifth fret and seventh fret fourth string and the rhythm is different. So you got to listen to the song and then when he moves to the F the four instead of going to this and he's going to go back to that F shape that we use them too much money. business, it's gonna go back to the C. When it goes to the five, he's gonna take it all the way the 12th fret which is a G. So we're just taking that second position G bar chord, just playing that part of it Ha.

In fact, when it goes to the four, then the song ends, we're going to look at the attack a little bit later. So those are just two kind of cool ideas of how Chuck uses kind of lick. And if you listen to songs like little Queenie, run Rudolph run even a roll over Beethoven, you hear that that lick going on it's want to check married, check Barry's trademark rhythms. Now we're going to take a look at another unique Chuck Berry quarter of them he only did this in one song and the song is his version of my little love light which is another one of my favorite Chuck Berry song. It's really different from the standard Chuck Berry formula. And he kicks it off and, and with this chord intro, which he uses as the main rhythm over the one throughout the song, play something like this.

And it's in GE so that first wrath, and I don't know where he slides in maybe from a little closer. He slides into that opening rhythm twice on the second position barre chord that listen to this over and over again. And what I hear is just the bass strength, fifth fret, fourth and fifth strings third fret. That's what I'm hearing. Maybe he did something totally different. But I hear when the song goes to the floor, So here I'm just going to a second position bar chord and maybe he's playing.

He's playing the first position See, I don't know, but that opening and then throughout the song when he's singing, playing over the one that's what he's doing. He don't hear that in any other Chuck Berry song. That's, that's one of my favorites. Another read up that unique is the rhythm for Jojo gun. We've looked at the fill some of the fills. We're going to look at the intro to the song later.

This is a great guitar song. And throughout the song, he plays this really cool kind of rhythm, something like this. What he's doing is going back and forth between that a position C and the eighth fret second and third strength To get the timing right, you gotta listen because he puts the almost on the two. Sometimes where he starts is a beat. He sticks that right in between. But that's what he's playing.

He's going from the fifth fret to the eighth fret. That's a long C shape that he's just playing over. And that is the rhythm for almost all of Jojo Gannett stays on the one the entire time. Before we move away from Chuck Berry's rhythm guitar playing, I'm gonna show you one more example of kind of a unique kind of rhythm that he plays and this is on the song St. Louis Blues. And his version starts out in the key of C with that shuffle rhythm. Then the second verse, when he starts singing a little differently, you say no one without your diamond rings, he goes from the C to the G from the one to the five.

He plays a different kind of chord here, he plays this C, seventh, sharp ninth. So what it is. So here's a C seven, put your pinky on the fourth fret of the second string. You got this Jazzy, kind of off sounding chord and this is a C seven, sharp nine. So instead of the first i thought he played a C seven. But instead when he gets to this part of the song he's playing it's gonna go to a g7 Well, what is it without you he didn't have good luck, she wouldn't be nothing but back to the C sharp C seven sharp nine So in that part of St. Louis Blues, he's not playing his typical jangly c seven shape c seventh chord.

Instead he's playing this chord here. So I've got a diagram but your first finger goes on the second fret of the fourth string, second finger on the third fret of the fifth string, which is our C, ring finger on the third fret of the third string and my pinky, sharp nine on the fourth fret of the second string. And there is a different kind of coordinate check Barry, I think he uses that again and a couple places here and there, but that's where you hear it the most. So that is in I think, the second verse of St. Louis Blues.