Bag of Tricks: Riffs

0 Hey Tonight

This bonus lesson is inspired by John Fogerty’s “Hey Tonight”, originally recorded with CCR but later performed with some extra twists in his live shows. We’re working in E major, and we’ll borrow from one of those live versions to explore how melody and drone strings can interact in a fast, driving riff.

Core Idea

We’ll split the bar into two halves:

• First two beats: melody on the high E string.
• Last two beats: melody shifts to the B string.
• In the final movement, both B and E strings ring together as drones to create a chordal feel.

It’s fast, so the challenge is less about complexity and more about muscle memory. We’ll need to loop and repeat until it settles in.

Step 1: High-E Melody

• Start at the 12th fret (harmonic feel, not melodic).
• Drop quickly to the 9th fret, then to the 7th fret.
• Practice this small run on repeat — it’s quick, so isolating it helps.
• Use downstrokes here for punch and clarity.

Step 2: Slide into the B String Melody

• Slide up from the 3rd fret on the B string.
• Switch to alternating down-up strokes for speed.
• Timing is key — the last two open notes give us just enough space to shift back up to the 12th fret for the repeat.

Step 3: Drone with B + E

Now the fun twist:

• Plant your first finger on the 3rd string, 1st fret (G#).
• Pluck that note, then immediately hit the open B + E together.
• Use your pinky to stretch to the 4th fret, 4th string (F#), striking all three notes (E, B, G#) together.
• Drop to the 2nd fret, 4th string (E) and back.
• This outlines an E major with descending bass: G# → F# → E. Very cool.

Keep that first finger down the whole time—it anchors the movement.

Practice Tips

• Break it into small sections before stringing the riff together.
• Loop the first bar several times before moving on.
• Don’t wait to shift positions—use the open strings to buy yourself time.
• Expect it to feel clunky at first; repetition is the cure.

Why This Works

• We’re using the open B as a neutral “five” in the key of E. It supports almost anything we throw over it.
• The riff turns the E chord into motion, with bass notes moving under the drone strings.
• It’s an excellent example of how drones can transform a simple idea into something with drive and tension.

Wrap-Up & Jam Track

This riff might be short, but it’s deceptively tricky. Stick with it — the repetition will pay off. Run it slowly, then speed it up as your hands sync. And remember: these little drone ideas open the door to endless variations.

Here’s the jam track used in this chapter – use it to practice with!

Hey Tonight Loop:

0 Slippin’ ‘n Slidin’

In this chapter, we’ll dive into a riff that feels loose and slippery, but underneath it’s built on solid theory. The “slippin’ & slidin’” approach adds a gritty, bluesy flavor by leaning into slides, bends, and half-step shifts that give the music a restless, rolling motion. We’ll see how the placement of these movements works against the underlying drone, creating tension that resolves just as quickly as it appears.

We’ll explore how the riff sits inside the scale pattern, how the raised notes and slides create a push-and-pull feel, and why the timing of each shift is as important as the notes themselves. As we work through the examples, we’ll get comfortable using slides not just as decoration, but as a way of connecting ideas smoothly while keeping that rough-edged, blues-driven sound intact.

By the end of this chapter, we’ll have a riff that rolls forward with momentum, captures the slippery spirit of the blues, and shows us how small shifts in note choice and movement can make a riff sound alive and unpredictable.

Here’s the jam track used in this chapter – use it to practice with!

John Mayer Loop:

0 Key of C# Minor

In this chapter, we’ll step into the moody world of C# minor and its relative E major. While the two are closely connected, we’ll lean toward C# minor, a key that feels especially natural on the guitar. With four sharps in its key signature—F#, C#, G#, and D#—we’ll explore how this tonality brings out expressive sounds and colors.

Our study uses a two-bar progression inspired by John Mayer’s Slow Dancing in a Burning Room. We’ll start with a full bar of C# minor, then move to half a bar of E major before resolving back into E. Both C# and E resolve cleanly, giving us two strong tonal centers to work with and plenty of room for melodic ideas.

On the fretboard, we’ll explore both the diatonic scale and the pentatonic scale for C# minor. The diatonic runs through every note in the key, while the pentatonic simplifies things by leaving out the 2nd and 6th degrees—creating that familiar bluesy feel. By blending the two, we’ll begin to create hexatonic variations that expand our phrasing options.

This chapter is less about technical speed and more about tone, feel, and resolution. We’ll see how the C# minor shape can naturally expand into different textures, helping us bridge the gap between scale work and true melodic playing. It’s the perfect way to wrap up the course—bringing everything together in a musical, expressive context.

0 Switch Backs

In this chapter, we’re going to work on switchback ideas—a technique that creates motion by bouncing back and forth between notes. You can use this with hammer-ons, melodic patterns, or even harmonics. It’s really flexible, and you don’t have to make it complicated. Sometimes just a group of four notes, followed by a group of three, is enough to create a cool phrase.

We’ve already worked in A minor, E minor, and F# minor, but remember—these also relate to their major counterparts (C, G, and A). The notes stay the same; the only difference is which note acts as the tonic. For this course, we’ve leaned on the minor keys because they naturally fit the rock and blues sound we’re going for.

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Riff 1 – Four & Three Note Switchbacks

For the first riff, we’ll build a switchback using a simple descending line:

• Start at the 12th fret

• Drop to the 10th, then the 9th, then the 7th

• Bounce back up: 9th → 7th → 5th

• Finish with the open string

This gives you a mix of tension and release that feels great over a jam track. You can also flip it around and use it ascending for a fresh twist.

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Riff 2 – Melodic Layering

Here, we’re not hammering on—we’re picking single notes and letting them ring over each other.

• Start on the 14th fret and pick the first four notes, letting them sustain.

• Keep the open E ringing while you drop to the 12th, then the 9th.

• Shape your hand so the phrase falls naturally out of the scale.

This riff opens up a lot of layered sound possibilities, almost like you’re stacking notes into a chord while still keeping it melodic.

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Riff 3 – Interval Skip (Minor 3rd)

This riff uses harmonic intervals with one of the most important skips in music: the minor 3rd. That little jump is what makes the pentatonic minor scale sound so bluesy.

• Start at the 17th fret, play two strokes per fret as you move down: 17 → 15 → 14 → 12.

• Jump down to the 9th fret for your minor 3rd skip, then climb back up to the 14th fret.

• Finish with a melodic tag: open B and E strings, then a hammer-on.

This creates a three-bar riff with a strong blues flavor.

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Putting It All Together

The real magic comes when you experiment with these switchbacks. Try:

• Doubling some notes, leaving others out.

• Mixing pentatonic and diatonic approaches.

• Playing around with the rhythmic phrasing.

Don’t just copy the examples—use them as starting points. The goal is to make these ideas your own. Once you’ve got the mechanics down, you can create endless riffs on just the B and E strings.

Jam Track

Here’s the jam track used in this chapter – use it to practice with!

Jealousy Loop:

0 Key of F# Minor

In this chapter, you’ll move into the key of F# minor, which shares its relative major with A major. This key has three sharps (F#, C#, and G#), and the drone you’ll be working with is the open E string, which acts as the minor seventh—a powerful note that gives the key its rich, moody character.

You’ll start by mapping out the notes of F# minor on the B string, moving through natural notes and sharps before focusing on the pentatonic scale. In this case, the pentatonic skips certain notes (like D and G#) to give you that classic, bluesy-rock sound that’s easier to phrase with.

The progression in this section is inspired by Hey Jealousy by the Gin Blossoms. It’s an unusual one because it begins on a D chord instead of the tonic, cycling through D–E–F#m–E. Even though the original recording resolves awkwardly on D, your ear will naturally hear the pull toward F#m as the true resolution point. This is a great example of how not every song needs to start on the “home” chord to work musically.

Next, you’ll dive into switchbacks, but instead of three-note groupings (which you explored in the last chapter), you’ll work with four-note groupings. Using hammer-ons and pull-offs, you’ll climb and descend the fretboard in connected four-note chunks. The method is simple: play four notes in sequence, then back up one note and start again. This creates a flowing, cascading effect that feels both structured and free.

On the way down, the same idea applies. You’ll descend in four-note groups, shifting back a step each time. Some of these intervals will sound smooth, while others lean dissonant—especially if you hang on them. Played with speed and fluidity, though, even the sharper harmonies become part of the texture.

To close, you’re encouraged to mix three-note and four-note groupings together, creating variety and contrast in your runs. This blending is a powerful way to expand your phrasing and give your lines more character.

0 Cross Key

0 Key of E Minor

0 Raised 6th

0 Melodic Intervals

0 Harmonic Intervals

In this chapter, you’ll learn how to take your riffs beyond single notes by adding harmonic intervals — playing two notes together at the same time. This simple shift instantly makes your sound fuller, richer, and more expressive.

You’ll see how different intervals create different flavors: some sound smooth and sweet (like 3rds and 6ths), while others add grit and edge (like 4ths and 5ths). We’ll walk through riffs that use intervals as fills, accents, and even as the main structure over a drone.

By the end of this chapter, you’ll have a set of practical tools to make your riffs stand out. Even basic lines can sound professional and creative once you start layering harmonic intervals into your playing.

Here’s the jam track used in this chapter – use it to practice:

Van Halen Loop:

0 Scales Overview