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Fingerpicking GuitarTechniquesVolume Onetaught byStefan Grossman
Fingerpicking GuitarTechniquesVolume Onetaught byStefan Grossman
2
EXPLANATION OF THE TAB SYSTEM
These words are most suitable for introducing the tablaturesystem, for tablature is just a guide and should be used inconjunction with the recordings. Tablature is not like musicnotation, however the combination of tab and music in anarrangement forms a complete language. Used together with theoriginal recordings they give a total picture of the music.
The tab system does not attempt to show rhythms or accents.These can be found on the music or heard in the recordings. Musicnotation tackles these articulations to a degree, but the overallsensations, the feel and the soul of music cannot be whollycaptured on the written page. In the words of the great Sufi HazratInayat Khan: “…The traditional ancient songs of India composedby great Masters have been handed down from father to son. Theway music is taught is different from the Western way. It is notalways written, but is taught by imitation. The teacher sings andthe pupil imitates and the intricacies and subtleties are learned byimitation.”
This is the theme I’ve tried to interpolate into the tablature.Tablature is the roadmap and you are the driver. Now to the tab:
Each space indicates a string. The top space represents the firststring, second space the second string, etc. A zero means an openstring, a number in the space indicates the fretted position, forinstance a 1 in a space indicates the first fret of that string.
“…Learning from listening is unquestionably the best way, theonly way that suits this kind of music. You are setting the notesdown for a record of what happened, a record that can be studied,preserved and so on, a necessary and useful companion to therecordings of the actual sounds. I keep thinking of this as Itranscribe; if you could do it, it would be good to have a legendacross each page reading : ‘Listen to the record if you want to learnthe song.’”
Copyright © 1965 Oak PublicationsAll rights reserved. Used by permission.
123456
123456
01
4
In the diagram below the zero is on the second string andindicates the open second string is played. The 1 is placed on thethird string and signifies the first fret of the third string. Likewise,the 4 is in the fourth space and indicates the fourth fret of thefourth string.
123456
2
0
Generally for fingerpicking styles you will be playing the thumb,index and middle fingers of your picking hand. To indicate thepicking finger in tab the stems go up and line up down from thenumbers.
A. A stem down means that your thumb strikes the note.B. If a stem is up, your index or middle finger strikes the note.
The choice of finger is left up to you, as your fingers willdictate what is most comfortable, especially when playinga song up to tempo!
C. The diagram below shows an open sixth string played withthe thumb followed by the second fret of the third stringplayed with the index or middle finger:
123456
1) 2) 3) 4)
1
5) 6)
3 13
3 3
0 1 1
1) The open sixth string is played with the thumb.2) The first fret of the sixth string is pinched together with the
third fret on the third string. The sixth string is played withthe thumb, the third string with the index finger.
3) The thumb strikes the third fret of the fourth string.4) The first fret/sixth string is played with the thumb; it’s
pinched with two notes in the treble. The index and middlefingers strike the first fret/first string and the third fret/second string.
5) The next note is the index finger hitting the first fret/secondstring.
6) Lastly, the bass note is played with the thumb on the thirdfret/fourth string.
There are certain places in blues and contemporary guitar thatcall for the use of either strumming techniques or accented bassnotes. The tab illustrates these as follows:
123456
1) 2)
0
3) 4)
0
5)
00 0 01y 1 1t
2iE
2 20 0
In most cases the thumb will play an alternating basspattern, usually on the bass strings. The index and middlefingers play melodic notes on the first, second and third strings.Please remember, this is not a rule; there are many exceptions.
In fingerpicking there are two “picking” styles: Regularpicking and “pinching” two notes together. A pinch is shownin the tab by a line connecting two notes. A variation of this canalso be two treble notes pinched with a bass note. Follow theexamples below from left to right:
Hally Wood (taken from the Publisher’s Forewordto the New Lost City Ramblers Songbook.)
3
1) The thumb hits the open sixth string and the second fret onthe fifth string should also sound. For example, play an Echord. Now strike the open string and vary the force of yourattack. Try hitting it hard enough so that the fifth stringvibrates as well. This technique is very important fordeveloping a full sound and the right alternating basssound.
2) Next the arrow notation indicates a brush and the arrowhead indicates the direction of the brush.
A. If the arrowhead is pointed down, the hand brushes uptowards the sixth string.
B. If pointed up, the hand brushes down towards the firststring.
C. The number of strings to be played by the brush isshown by the length of the arrows. For example, thisarrow shows a brush up toward the sixth string, butindicates to strike only the first, second and third strings.
D. The brush can be done with your whole hand,index finger or middle and ring finger. Let comfort plusa full and “right” sound guide your choice.
3) The third set of notes again shows the sixth string/openbass note played with the thumb and being struck hardenough to make the fifth string/second fretted positionsound.
4) Once more an arrow pointed downward indicates a brushup. This example forms an E chord and the brush upincludes the first, second, third and fourth strings.
5) The last set of notes has an arrow pointed upward, indicat-ing a brush downward striking the first, second, and thirdstrings.
123456
1) 2)
7
3) 4) 5)
W8 P79•12
•123H2
– 42
Here are several special effects that are also symbolized intablature:
3) HARMONICS: Symbolized by a dot (•). To play a harmonic:gently lay your finger directly above the indicated fret (don’tpress down!) The two notes in the example are bothharmonics. The first on the twelfth fret/third string isplayed with the index/middle finger, while the secondnote—twelfth fret/fourth string—is played with the thumb.
4) SLIDE: Shown with a dash (–). Play the second fret/sixthstring and then slide up to the fourth fret of the sixth string.This is a continuous movement: the string is struck oncewith your thumb.
5) PULL-OFF: “P” designates a “pull-off.” Fret both the sev-enth and ninth frets on the second string. Play the ninth fretwith your index/middle finger and then quickly remove itin the same stroke, leaving the seventh fret/second string.Pull-offs are generally in a downward direction.
6) In certain cases other specific symbols are added to the tab,for instance:A. For ARTIFICIAL HARMONICS an “X” is placed after the
fretted position.B. For SNAPPING a note an indication may be given with
a symbol or the written word.
Many times these special techniques are combined, for in-stance putting a pull-off and a hammer-on together. Coordinationof your fretting and picking hands will be complex initially, but theend results are exciting and fun to play.
PICKING HAND POSITION FOR FINGERPICKING STYLES:The Classical and Flamenco schools have strict right-hand rules,however for this style of acoustic fingerpicking there are NORULES, only suggestions. Your right hand position should bedictated by comfort, however in observation of many well-knownfingerpickers I found one hand position similarity—they all tend torest their little finger and/or ring finger on the face of the guitar.This seems to help their balance for accenting notes and controlof the guitar. Experiment with this position: it may feel uncomfort-able at first. I ask my students to perfect this position and thencompare the sound to when their finger(s) were not placed on theface of the guitar. They usually find the sound is greatly improvedwhen some contact is kept with the guitar face.
MUSIC NOTATION: We have somewhat adapted the musicnotation in that this also shows whether the note is picked withyour thumb or index/middle fingers. The stems of the music notescorrespond to the direction of the tab stems. I hope this will makethe music notation clearer to fingerpicking guitarists.
I hope you will feel at home and comfortable with the tablatureand musical notations. Remember, these are only road mapsindicating where and how you should place your fingers. Theplaying and musical interpretation is up to you.
1) HAMMER-ON: Designated by an “H” which is placed afterthe stem on the fret to be hammered. In the exampleabove, fret the second fret/fifth string and pick it with yourthumb. Then “hammer-on” (hit hard) the third fret/fifthstring, i.e. fret the third fret/fifth string. This is an all-in-one,continuous motion which will produce two notes rapidlywith one picking finger strike.
2) WHAM: Designated by a “W.” In the example the eighthfret/second string is “whammed” and played with theseventh fret/first string. Both notes are played togetherwith your index and middle fingers respectively. Thewhammed note is “stretched.” We do this by literallybending the note up. We can “wham” the note up a halftone, full tone, etc.
4
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FINGERPICKING EXERCISES
5
OH PAPA
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Standard TuningTrad. Arr. by Stefan Grossman © 2004 Shining Shadows Music
All Rights Reserved. Used With Permission
6
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Oh, Papa, your Mama don’t care for you,Care for you, don’t care for you,Care for you, don’t care for you.
8
SHAKE THAT THING
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Standard Tuning Trad. Arr. by Stefan Grossman © 2004 Shining Shadows MusicAll Rights Reserved. Used With Permission
9
Now down in Georgia, they gotta dance that's newThere ain't nothing to it, it's easy to do.They call it "Shake that thing".Call it "Shake that thing"I'm getting sick and tired, of telling you to shake that thing
Now it ain't no "chocolate," ain't no "pigeon wing,"All you got to do, is shake that thing.They call it "Shake that thing"Call it "Shake that thing"I'm getting sick and tired, of telling you to shake that thing.
Now the old folks like it, the young folks tooThe old folks showing the young folks how to doThey call it "Shake that thing"Call it "Shake that thing"I'm getting sick and tired, of telling you to shake that thing.
I was walking downtown, and stumbled and fellMy mouth fell open like a country well.Why don't you shake that thingOh, why do you shake that thingI'm getting sick and tired, of telling you to shake that thing.
Now, Grandpapa Johnson grabbed Sister Kate,He shook her like you shake jelly on a plate,How he shook that thing,Oh, he shook that thing!I’m gettin’ sick and tired of telling you to shake that thing!
Why, there’s old Uncle Jack, the jellyroll king,He’s got a hump in his back from shakin’ that thing,Yet, he still shakes that thing,For an old man, how he can shake that thing!And he never gets tired of tellin’ young folks, Go out and shake that thing!
Now, it ain’t no Charleston, ain’t no Pigeon Wing,Nobody has to give you no lessons, to shake that thing,When everybody can shake that thing,Oh, I mean, shake that thing!I'm gettin’ tired of telling you how to shake that thing!Oooh, oooh, with this kind of music, who wouldn’t shake that thing?
SHAKE THAT THING
10
DEATH COME CREEPING
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Drop D Tuning DADGBE Trad. Arr. by Stefan Grossman © 2004 Shining Shadows MusicAll Rights Reserved. Used With Permission
11
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13
Tell me what you gonna do when death comes creeping in your room,Tell me what you gonna do when death comes creeping in your room,Tell me what you gonna do when death comes creeping in your room,Oh my Lord, oh my Lord, what shall I do.
You’re gonna run, you’re gonna run, you’re gonna seek your hiding place, (3x)Oh my Lord, oh my Lord, what shall I do.
Soon one morning, death come creeping in my room, (3x)Oh my Lord, oh my Lord, what shall I do.
Death done come and took my Mother away, (3x)Oh my Lord, oh my Lord, what shall I do.
Death done come and took my Father away, (3x)Oh my Lord, oh my Lord, what shall I do.
God told Nicodemus, Now you must be born again, (3x)Oh my Lord, oh my Lord, what shall I do.
Ride on, Death, Ride on, Death, ’cause you can't do me no harm, (3x)Oh my Lord, oh my Lord, what shall I do.
DEATH COME CREEPING
14
NOBODY’S DIRTY BUSINESS
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œœ
œ
œ
0 3H 01 3
2 23
3
˙ ˙
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œ
œ
œ
F
1 1
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œœ
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3 12 2
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&
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G
00
0 0
3 3
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œ
œ
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œ
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œ
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G‡
0 1H 00 3
0 0
3 3
˙‰
œ
j
œ
œœ
œ
œ
C
1 10
2 23
3
.˙Œ
œœ
œ
œ
(G)
2 03
3
Standard TuningTrad. Arr. by Stefan Grossman © 2004 Shining Shadows Music
All Rights Reserved. Used With Permission
15
&
Ô
˙ ˙
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œ
œ
C
3 3
2 23
3
‰
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5 01 3
0 20 3
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1 1
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00
0 0
3 3
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j
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3 1 30
0 0
3 3
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j
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01
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33
.˙Œ
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(G)
2 03
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C
3 3
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5 01 3
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1 10
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w
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16
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C
10 2H0 2H
2 03 0
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˙˙
˙˙˙
˙
ggggggg
0gggggggggggg
1 102
3 33
NOBODY’S DIRTY BUSINESS
Ain’t nobody’s dirty business, how my baby’s treatin’ me,Nobody’s business but mine.Ain’t nobody’s doggone business, how my baby’s treatin’ me,Nobody’s business but my own.
Some of these mornin’s, gonna wake up crazy, gonna grab my gun and kill my baby,Nobody’s business but mine.Ain’t nobody’s doggone business, how my baby’s treatin’ me,Nobody’s business but my own.
Some of these mornin’s gonna wake up boozy, gonna grab my gun, gonna kill old Suzie,Ain’t nobody's business but mine.Goin’ back to Pensacola, goin’ to buy my babe a money moulderNobody’s business but my own.
Say babe, did you get that letter? Would you take me back? I’ll treat you better,Nobody’s business but mine.Ain’t nobody’s doggone business, how my baby’s treatin’ me,Nobody’s business but my own.
Ain’t nobody’s doggone business, how my baby’s treatin’ me,Nobody’s business but my own.
Some of these mornin's, goin’ to wake up crazy, gonna grab my gun, gonna kill my baby,Nobody’s business but mine.Ain’t nobody’s doggone business, how my baby’s treatin’ me,Nobody’s business but my own.
Ain’t nobody’s doggone business, how my baby’s treatin’ me,Nobody’s business but my own.
17
MAKE ME A PALLET ON YOUR FLOOR
& 4
4
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C C‡
0
32
3
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3 31
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3
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j
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œb
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0 0
32 2
33
Standard TuningTrad. Arr. by Stefan Grossman © 2004 Shining Shadows Music
All Rights Reserved. Used With Permission
18
&
Ô
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Œ
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3 12
3 3
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0 0
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20
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j
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C
10 2H 0P 2
3
˙
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˙˙
˙˙˙
˙
ggggggg
0gggggggggggg
1 10233
21
MAKE ME A PALLET ON YOUR FLOOR
Make me a pallet on your floor,Make me a pallet on your floor.Make it soft, make it low,So my good gal will never know.Make me a pallet on your floor.
I’d be more than satisfied,If I could reach that train and ride.If I reach Atlanta with no place to go,Make me a pallet on your floor.
Gonna give everybody my regards,Even if I have to ride the rods.If I reach Atlanta with no place to go,Make me pallet on your floor.
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