Fingerstyle Blues Workout—Explore the Rhythmic Power and Melodic Potential of Dropped-D Tuning

Dropped-D tuning makes one small change on the guitar—lowering the sixth string from E to D—but that shift opens up a lot of room to move. In this lesson, we’ll look at some possibilities for what you can do in dropped D, starting with a bass line drawn from Tommy Johnson’s “Big Road Blues,” recorded in 1928. That was one of the first tunes I learned when I started playing this music, and I still come back to it.

We’ll begin by exploring how dropped-D shapes work on the I, IV, and V chords in the key of D, then build from there with ways to move through the full 12-bar form. If you find yourself overthinking or getting tripped up, that’s a sign to slow down. You can play these examples at your own pace—getting it right slowly will help you speed up with confidence. These figures are just a starting point. Once you get a feel for how dropped D lays out under your fingers, you’ll find plenty of ways to add your own variations and fills.

Week One

In Example 1, I begin with a simple ascending bass line in octaves to set up the I chord (D7), using both the minor and major third (F and F#). I pick the sixth string notes with my thumb, often giving them a little snap, and the fourth string with my index finger.

For the IV chord—G7, shown in Example 2—I use a shape that fits dropped D well: second fret on the A string, first fret on the high E, and third fret on the B. This gives a strong voicing while letting the low string drone. Pick through it however feels natural—there’s room to make it your own.

In Example 3, for the V chord (A7), I shift to what I call a long A, placing my fourth finger on the A on string 1, fret 5. From there, I move down to the third fret, then through the IV chord before landing back on the I. I’ll often add walk downs or hammer-ons to create motion and keep the groove alive.

Week Two

Now let’s put it together. Example 4 lays out a basic 12-bar form using the I, IV, and V moves from Week One. On the I chord, I again play an ascending bass line—from the open sixth and fourth strings to the fourth fret—with a partial D chord voiced above it.

The IV chord repeats the earlier G7 voicing, sometimes with added color from the open high E and B strings. For the V chord, I move to the long A, then walk back through the IV and return to D. In bars 7–8 and 11–12, I use a basic open D shape on the top three strings, then lower the outer two notes by one fret and lift my second finger to form a Ddim7 chord, adding a jazzy color.

Week Three

Once you’re comfortable with the basic form, try the variation in Example 5. It’s close to Ex. 4 but adds more hammer-ons and detail. After returning to the I chord in bar 7, I move the D shape up three frets for a biting, bluesy sound. You can mix and match ideas from earlier examples or use this version to start improvising.

Week Four

Speaking of improvisation, the final chorus (Example 6) has a looser feel, especially on the I chord, where I play melodic octaves and accent the low open strings. You’ll also hear more variety in phrasing and small fills between the chord changes. Use this as a springboard for your own blues variations.

For further inspiration, check out “Stop and Listen Blues” by the Mississippi Sheiks, which pairs tight rhythmic work with strong bass motion, and “Dark Road Blues” by Willie Lofton, a lesser-known gem in the same style. You’ll also hear similar ideas in recordings by Taj Mahal and other modern interpreters. Listening closely to how different players phrase their lines will help you shape your own voice.