Chuck Berry influenced a whole generation of guitar players. He influenced me too, and I’m betting he can influence you. In this third and final part of the Chuck Berry series, we’re looking at double stops across different string sets — and how to turn them into one really signature riff.
Three Double Stop Positions
We’re in A pentatonic minor for this one. If you don’t know the scale, you’ll need to hunt it down — this is a riff lesson, not a scale lesson.
Here are the three positions we’re using. First: fifth fret on the first and second strings, played with your first finger. Second: seventh fret on the second and third strings. Third: fifth fret on the second and third strings.
On their own, each double stop sounds pretty plain. But string them together with the scale and something special starts to happen.
The Riff Pattern
Start on the fifth fret, first and second strings — that’s a downstroke with your first finger. Then cross over to the seventh fret, second and third strings. Drop down two frets to the fifth fret on those same strings. Then cross over to the fourth string, seventh fret for the root note — that high octave A.
Put it together and it flows like a scale run, but with the thickness of two notes ringing at once. That’s what gives it that Chuck Berry signature sound.
It’s Totally Moveable
And here’s where it gets fun. The whole pattern moves anywhere on the neck. Slide it down to E. Move it to D. Back to A. Every key, same shape. That’s the beauty of working out of pentatonic patterns.
You can mix this with the double stop slide riff from part 1 and the bending techniques from part 2. Once you’ve got all three in your toolkit, you’ve got enough Chuck Berry vocabulary to hold your own in any rock and roll jam.
For more riff lessons like this, browse the full guitar riffs collection.
That’s a rockin’ riff right there. You can have a great time with that one. I’ll see you next time.
