In this lesson, we're going to take a look at three of Chuck Berry songs that kick off with a double stops on the first and third string. And we're gonna start out with one of his lesser known tunes. It's called, oh yeah, it's in the key of B flat, and it starts out like this. Really kind of neat that gets into the bass. He's got this neat leg that he plays over the top of it. That's something for another lesson.

But anyway, the introduction, if you've got a first position, barre chord, this is our B flat, we can play this first and third string lick right over the top of that with our first finger on the sixth fret of the first string, and my second finger on the seventh fret of the third string. A lot and soul music in the 60s. Also in country music sometimes. And if you take that shape, and then you move to the eighth fret and now we've got that two fingered what we call the sliding ninth chord earlier shape. On the first and third strings, my second finger is on the third string, my third finger is on the first string at the eighth fret. And we just move that up to more the 10th fret.

We've got a little pattern. these intros that I'm going to show you here are all played using that pattern. So sometimes in blues or even all kinds of music, you hear a little turn around like this. Listen to electric blues, Jimmy Reed in the 1960s half the songs had little turnarounds like that, but anyway, what Jack's gonna do is take that shape and build this intro. Here's how he does it. So what I'm doing is just sliding on the third string from the eighth to the 10th fret.

And then with an upstroke, I'm getting the first string, I think you might be sticking the first finger on the second string. But he's not making it sound, he's just picking the third string. And then when he upstrokes, he gets a little bit of that third string too. So we got this. That's the first part of the intro for Oh, yeah. Right here and slide down.

It sounds like he just gets the seventh fret of the third string and does a little slide off there. So the whole thing it's kind of awkward and then it goes right into that. That little thing there, I don't think I played that lick right. So there's one example of how he uses the sliding lick on the first and third strings. Another song with a very similar introduction is his version of confessing the blues also in B flat, and he starts that song, a slow blues song, kind of a blues shuffle off like this. So now he's focusing mostly on just the third and first strengths, but I'm still putting my second finger in there just to kind of control things.

So he's doing it. Then picking the first string and sliding sliding up, sliding down, sliding down from the 10th fret to the eighth fret. Right here, I think he's making a full or partial app. chord B flat shape with his first finger on the sixth fret first and second strings, second finger on the seventh fret, and he's getting the third string and then an upstroke. So we got this and then the five chord which would be an F sharp, or an F seven, C seven shape f7. So the whole thing played slowly.

So there is another example if I'm doing an introduction using that little pattern there. Now one more example of this kind of introduction, where he plays on the first and third strings is from the song you never can tell. It's really doesn't have much guitar in it that you can hear except for the introduction. When you play something like this. It's in the key of C. There's our first position see blues box, you got something like this. Not sure exactly how he does that, but we're doing the same That's how he does it when he gets here, kind of a double upstroke right there.

So we're doing the same pattern. Just playing it a little faster a little differently one more time. Listen to the original song, check out the tab. And you got it. So here's our first position C bar core. first and third strings eighth ninth fret.

10Th fret 12th fret. That's all you need to know to put one of those Chuck Berry like introductions together.