Guitar III & Guitar IV 3rd night Spring 2005

Guitar III & Guitar IV 3rd night Spring 2005

• Tonight we will do some review but mainly we will work on some classic guitar instrumentals.

• You may be given a part rather than play everything.

• The E form and start of A form. • Some Review of So What• Will be doing the class “Guitar Styles of

Miles Davis”, starts end of March – let you know more later.

Main Line – 7th position. All Dorian mode built off of D Dorian

Count 1 & 2 & 3 & 4 & ( 1 2 3 4 )Pick D D U D U D U D

1

2 3

0 0 0

1 1 1 1 1 1

2

3 4

E Major E Form (G Major Chord)

This will be the E form at the 7th Fret which is a C majorBy starting on the 2nd note you will have a D dorian.

E Form Major Scales

3

Start here then move up to 7th position for C Major.

Here is the root scale in C. Memorize this as a starting place for the melody.For the section in Eb minor just move it up one fret. Fingering and everything else stays the same.

Main part of the melody is right here. Starting on a ‘D’. Again DorianMode.



Whole tune. Starts in D Dorian for 16 bars then Eb for 8 bars, lastly,back to D Dorian for 8 bars.

1 1 1 1 1 1

3

2

1 1 1 1 1 1

2

D m7 Dm11

5th fret

Note that Em is at the 7th fret, Ebm at the 6th fret and Fm at the 8th fret.

Pattern is:

For Dm Chords

1 2 3 4 1 2 (3 4) &

For Ebm Chords

Same Rhythmic pattern as previous example.

Here Comes the Sun 2

• Now work on playing the melody.

• Then chords.

• Then the melody while holding the chords

Here Comes The Sun

Class project

Let’s see how you did

• Play the chords and the melody.

• Did they work out together?

• If not then go to reading it. You will still have to be able to hear it!

Here Comes the Sun in D [D]Little darling, It's been a l[G]ong, cold, lonely w[A7]inter. [D]Little darling, It feels like y[G]ears since it's been h[A7]ere. [D]Here comes the sun. [G]Here comes the s[E7]un, And I say[D], it's all right.[G] [D] [G] [D] [A7] [D] Little darling, The smiles returning to their faces. Little darling, It feels like years since it's been here. Here comes the sun. Here comes the sun, And I say, it's all right. Little darling, I feel that ice is slowly melting. Little darling, It feels like years since it's been clear. Here comes the sun. Here comes the sun, And I say, it's all right. INTRO D Dsus2 D Dsus2 G G6 G |--2-----0--2--------|-------2--0----------------|---------0-----------0--| |--3--3-----------3--|-----------------3-----0---|---------0-----3-----0--| |--2--------------2--|-----------------2-----0---|---3-----0-----0-----0--| |--0-----------0-----|-0--0---------0--------0---|---0-----0-----0-----0--| |--------------------|-----------------------2---|------2--2--2--2--2-----| |--------------------|--------------------0--3---|-3-------3-----3--------| A7 A7sus2 A7 A7sus4 A D Dsus2 D |------------------0--------|------2-----0--2------| |-2--0----2--3-----------2--|------3--3---------3--| |-0-------0-----0--------2--|------2---------------| |-2-------2-----2-----2--2--|--0---0---------------| |-0-------0-----0-----------|----------------------| |---------------------------|----------------------| Dsus2 G Gmaj7 G6 G/B A7 |--------2--0--------------|-----2-----0------------------| |-----------------3-----0--|-----0------------3-----2-----| |-----------------------0--|-----0------------0-----0-----| (rest) |--0--0--------0--------0--|-----0------------0-----2-----| |-----------------------2--|-----3---------2--2--0--0-----| |--------------------0--3--|--3--3--3---------------------| CHORUS D Dsus2 D Dsus2 D G Gmaj7 G6 Gmaj7 E7 Here comes the sun doo doo doo doo Here comes the sun |--2--0-----2-------|----2------0--2------|----2--0-----2---------|

Look in the book

Start with the chords below.

Count 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &

This is the difficult part. Chords change in groups of 3 1/8th notes.

3

2

1

0

Hold all fingers down as above and then play 3rd string to 2nd string to 1st string. Then lift the 3rd finger, play 3rd string, 2nd string then 1st string, then lift index finger and play the 3rd string, 2nd string, 1st string. Then put the 1st finger down, play 3rd string, 2nd string, 1st string.

For the A7 part is just the scale coming down.

Next try pages 1 and 2. to the repeat. Repeat back to the 2nd line.

This section is just playing the arpeggio’s, the timing looks hard at first but listen to the recording. After the A7 it is best to hold the chord town and pick out the notes. Rhythm guitar should play on beat 1 in the 3/8 measures and 5/8 measure.

A7 Last page for key of D. Much of this is the same as earlier other then the ending that starts on Dm7. But again it is just playing an arpeggio of the chord.

Later we will do other things with this such as playing the melody, doing as the Beatles did and doing in a Chet Atkins style (simple – will talk about making it more complex)

Now Groups

• I have in the rest of this many of the instrumentals that you can do.

• Print out at least the ones that your group is playing.

• I will play parts of some of these for you to choose.

• Think broad on this. You can play different instruments – there is a bass available, piano is in the room, you can bring in other things.

• For tonight we will allow about an hour for this before going on.

Equipment

• While I don’t have a lot for you I do have some.

• I have one small amp, there is a bass and an amp.

• Have a small mixer for you.

• If people have stuff they want here they can bring it in.

So What

This tune is totally in the Dorian Mode. Solo and all starts in D Dorian and then

moves up to Eb Dorian. The chord rules as most of the solo notes are chord tones.



1

2 3

0 0 0

1 1 1 1 1 1

2

3 4


This will be the E form at the 7th Fret which is a C majorBy starting on the 2nd note you will have a D dorian.

E Form Major Scales

3

Start here then move up to 7th position for C Major.

Here is the root scale in C. Memorize this as a starting place for the melody.For the section in Eb minor just move it up one fret. Fingering and everything else stays the same.

Main part of the melody is right here. Starting on a ‘D’. Again DorianMode.



Notice almost same as 1st

measure

Same as 1st Measure.

I like to slide up to The 9th fret from the 7th.

This is just a repeat.

Now move everything up 1 fret to 8th position

Back down to 7th position.

Learn the whole tune. Make sure that you can play it all and hear it when not playing the melody.It will be much easier. The chords are just Dm7 for 16 bars, Ebm7 for 8 bars back to Dm7 for8 bars.

Whole tune. Starts in D Dorian for 16 bars then Eb for 8 bars, lastly,back to D Dorian for 8 bars.

1 1 1 1 1 1

3

2

1 1 1 1 1 1

2

D m7 Dm11

5th fret


Pattern is:

For Dm Chords

1 2 3 4 1 2 (3 4) &

For Ebm Chords

Same Rhythmic pattern as previous example.

So What From Book

Using the CD and Book

View various instruments.

• Look at how So What looks to Bb and Eb instruments along with C instruments. (pages 12, 24 and 36)

• Guitar is in C on page 12.

• Miles most likely thought of it as E Dorian. The Bass and Piano as D Dorian.

Go to Page 12

• Listen to the CD and watch the music. • Music is almost all 1/8th notes. • Starts with an 1/8th note rest.• Say the names of the notes if you can –

may not be able to in tempo.• See the interplay between the bass and

the piano.• Find the tempo (m.m marking). See how it

is relaxed.

Now listen to the backup

• Start by counting it out one time through.• Then try to close your eyes and see if you

can hear when the key changes happen.• You will have to hear that to really solo.• Next listen to the bass. Notice the lines.

The walking• Lastly, listen to the rhythm part that the

keyboard is doing. Pay particular attention to the simplicity of it!

Use the CD to work on Solo

• You will need this CD for the various songs as a backup to solo.

• On “So What”, start with playing the melody along with the CD until you can get it.

• You should have discovered that the tempo is m.m. = 140.

• If you have trouble with that tempo get a slow down program to slow it down and play along.

• Key is to get through the melody at tempo.• Next solo with the CD. I recommend starting by just

playing roots along with the CD until you can absolutely hear it. You will get to the point where you feel the changes as much as hearing them.

Use the CD to work on Solo (Cont.)

• Next, try doing a solo with just the root and various rhythms.

• Then do nothing but chord tones for a solo. If you have trouble doing that, do it with each tone once through, then mix 2 tones up.

• Then add in notes between the chord tones. Don’t play more than 1 non-chord note in a row.

Learn Miles Licks

• One other approach that we will be using is learning some of Miles lines.

• Take one motif and develop it. Don’t do this until you have completely analyzed the lick and understand the following:– Timing.– Chord tones vs. non-chord tones. How does Miles

make the non-chord tones work?– How Miles developed the motif.– How you could go from what Miles did and make it or

something like it your own.

Solo process

• Following are some steps to get you to solo to So What.

• Take these seriously. Do each exercise. We will do them in class but repeat them at home.

• To start you need some information that will help you.

The Trumpet When looking at music for various instruments it is important to realize that not all of them are in concert keys like the guitar. Even the guitar is different in that the notes are written an octave higher than concert (so the guitar can be all in one clef). One of the most common keys for woodwind and brass instruments to be in is Bb which is one whole step (2 frets) lower than concert. That means that when a Bb instrument (such as trumpet or tenor sax) plays a ‘C’ it actually sounds ‘Bb’ concert. Or going the other way if the trumpet plays a ‘D’ it will sound as a ‘C’. Miles Davis played “So What” for trumpet in the key of E Dorian. That means that to play the part as he played it you must take the transcription and move it down a whole step. So E becomes D and so on.

So What Solo Exercise #1 This exercise involves listening only and figuring out where the root occurs in the solo. Do not use your guitar or piano for this!!!! Don’t look at the music!! 1. Listen to the solo at least one time. We will only do the first 16 bars to start! 2. Look at the counting below and listen again. Just note where the root occurs. 3. Listen one more time (it may be many) and mark where you hear the root. Use a dot or other mark. If it is on the beat mark below the ¼ note if it is off the beat mark between the ¼ note.

4. One thing that can help is to note the beginning note of the melody which is on a ‘D’. Use that as a reference. 5. We will check this against the transcription after we are done. Count the number of ‘D’s used in the 1st 16 bars. Think about that this week.

D Dorian mode Exercise #2 For the chord you must start with a minimum of the minor 7th voicing. The notes in a Dm7 are: D, F, A, and C. If you go out to the Dm11 they would be: D, F, A, C, E, and G. But for Miles he really emphasized the notes in the D minor triad (D, F and A). As you listen try to hear the notes that are chord tones and the notes that are not chord tones. Again we will do the first 16 bars to start. This exercise involves listening only and figuring out where the root occurs in the solo. Do not use your guitar or piano for this!!!! Don’t look at the music!! 1. Listen to the solo at least one time. We will only do the first 16 bars to start! 2. Look at the counting below and listen again. Just note where chord tones occur. 3. Listen one more time (it may be many) and mark where you hear the chord tones. Indicate chord tones with a C as you did with the root. Later go back and figure which chord tone it was a D (1), F (3) or A(5).

Motif (motive or motif)

Definition: A motif is a brief though recognizable group of notes, which is too short-lived and incomplete to be a theme, and is frequently used as a building-brick with which to construct a piece

... a motive or motif, a short musical idea that has a distinctive rhythmic and melodic shape, and that can be used to build up a substantial section of music - or even a whole movement or complete piece. Composers differ in how strictly they deploy their motifs.

Examples: Beethoven's 5th Symphony - relentlessly repeats the rythmic pattern or the motif below...

Miles uses a common Motif in the opening of his solo and it shows up elsewhere. Below is an explanation or definition of a motif.

Expectations

• This solo isn’t difficult but will take some time.• Commit to at least a 15 minutes per day in order

to get the first 16 bars done in a week.• Make sure that you can play this:

– With the CD and book.– With Miles as he plays it.

• For me to learn something like this will take a solid week of playing and listening.

• If it takes longer that is fine. But also you must both hear it and understand it for this to be meaningful.

Here is what So What solo would look like for the trumpet. Notice the key it is in E Dorian! The next slide has it in D Dorian – which is concert and what the guitar is in!!

Here are the roots or ‘D’s.

Now the chord Tones.

Now we will try playing it

• Do in 7th position.• Take your time.• Pick out licks you like and add them to

your arsenal. • Note that we won’t do all of the solo in this

detail for a number of reasons – time being just one of them.

• But listen to the whole solo and note how often Miles repeats motif’s.

It is key that you do this correctly from the start. Solo starts on beat 3. Look at counting below the notes. Pinky on the 10th fret to middle finger on the 8th fret. Next measure is a D only for 2 beats. Hold the entire 2 beats (use your index finger on this).

2nd and 3rd complete measure are the first motif or idea. Make sure that after the last note you immediately stop all sound!

Motif has a slight change in the next 2 measures. Very cool how miles starts on the and after one in the first measure and directly on 1 in the 2nd measure. Otherwise they are the same.

You must have this down before going on. Listen, listen, listen … to the recording. Sing along with the solo! You should be able to sing the solo.

Then use these ideas elsewhere!

Do not do this page until the last one is mastered !!!!! Follow the same process phrase by phrase.

Measure 7 starts with the C (7th of the chord) does a brief (1/8th) note down a ½ step (1 fret) to the B then scale-wise down to the A. Then a real cool turn on motif 1 from the previous page. Ending on 2 D’s, that the 2nd one must be choked so it is only an 1/8th note.

Measure 9 starts with 2 beats of rest then a high D in 1/8 th notes with the last one held for 1 ½ beats. Hold the full time. Then a full measure of rest. Measure 11 melody starts on beat 2. This is a variation of the opening motif. Watch the timing. Look closely at the rhythm of it. Compare the last 2 beats of each measure.

Memorize this also.

Before you go on you should be able to do both of these lines by heart!!

1st 2 lines – make sure that you can play and sign these lines before going on!!

Measure 13 is all rest. Measure 14 starts with 1 ½ beats of rest like earlier.

As talked about earlier the E and C# are lower neighbors. All 1/8 th notes starting on the E ending on the D in the next measure. The C# is the only note not in the scale and it is a lower neighbor.

Measure 15 starts on the 1 or D and then outlines an Am chord in 1/8 th notes. Note the cool mirror of beat 1 and 2 in measure 1 to 1 and 2 in measure 2. Not only rhythmic but also melodic. Measure 2 start on 1/8th notes finishing off the outline of the Am chord. Then 1 beat on the G to the root (D) for 2 8 th notes. Be sure to chock the last 1/8th note – do not let it hold over!!

The last measure if a rest.

Note that measure 14 is the hardest to sing in this whole opening 16 bars.

Now when you have this down try putting the whole thing together!!

This concludes the first section

• Before moving on you should do the following:– Make sure that you can play up to this point in tempo.– Take at least the motif and use it in other songs. – Use the 1st motif up a ½ step so that you can do it in

Eb Dorian.– Write at least 1 motif yourself and develop it into a

solo for the 1st 16 bars.– Find where in the rest of Miles solo he used the same

motif. This opening idea happens over and over again!!

Class to play their motif’s

• I will start with a motif that I developed. You can hear how I did it.

• We will go around the class and see what motif’s each of you can do.

• While this takes time it is valuable to develop your own ideas.

For Solo in 5th Position.

• This is the G form of the major scale but in 5th position it is a C major scale.

2

3 4

1 1 1 1 1 1

2

3 4

G Major G Form (A Major Chord)

G Form of the Major Scale

Here is where the solo resides to start.

Another position to try.

Note all chord tones for the start. Remember the Chord Rules!!Note that the only note outside of chord tones is the G which appears2 times. So for 5 measures almost all the notes are chord tones.The G is acting like a lower neighbor and note that it goes right back to a chord tone!! Notice how the line grows as it goes along. Notes in Dm7 are D, F, A and C For Dm11 it is D, F, A, C, E and G. If that is considered the chord then all of the notes are in the chord!!!This is one of the reasons the solo sounds so good at the start.

Count 1 2 (34) & (12) 34 1 2 & (34)& 1 & 234 1 & 2 & 3 4

Names D C D D A G A D D D F A G A

4th position Back to 5th position

Moving forward. Notice the chord tones and repeated figures. Miles really knew how to build a solo. Even if you are doing rock,his concepts apply!!

1 & 2 & 3 4 1 2 & 3 4 (12) & 3 4 (& 1) 2 & 3 & 4 &

D F A G A D F A G A C B C B A F A G A D D

Now try the whole first line. It isn’t all that easy but not so difficult that youcan’t do it. Just take your time. Notice the repeated riff of D F A G A in this solo start. This repeated idea is very common in jazz and pop music. Miles moves the timing around but the idea is the same.

1 2 3 & 4(& 1) 2 3 4 1 2 (34) & 1 2 3 (&4) 1 2 3 4 1 2 & 3 & 4 & 1 & 2 (34) & 1 & 2 3 & 4

Be sure to count while you play. Get these 2 lines down perfectly. See how this all falls nicely into 5th position. Just take your time. Listen to the CD and try to play along with it if you can. If not slow it down and play it. When you can do it here then try it in 7th position. I really like the repeated D note at the start of the 2nd line. See you can repeat notes.Also notice the C# in the line. This note is a leading tone to the D. You can always play a note a ½ step below any chord tone as long as you come up to the chord tone for the next note.

Scales to Use

• While this tune is in D Dorian, Miles uses the Harmonic Minor Scale many times. This is the same notes but with the 7th raised to C#.

• Dorian mode is great to use as it is the basis of the whole tune.

• Other minor scales can be used if used sparingly. When it is just a walking bass and not much harmonically below then other minor scales work well.

• The D minor pentatonic can be used along with the D blues Scale. The D minor pentatonic only has notes that appear in the D Dorian. The D Blues scale has an added Ab (flat 5). Will give a very blues feeling to this tune.

Now do the first 2 lines as a whole.

Notice how here Miles uses a C Major Triad on top of the Dm7 Very cool and it works well – superimposing the C chord.

Back to the original riff. So cool.So Miles!

Here it is up an octave. For some students you will find this a easier place to play – but not in the same register as Miles played it.

Bass Line

• Bass line should be a walking bass pattern. That was the style at the time this was recorded.

• For guitar this is the place to start.

• Later musicians on guitar added chords in while they played the bass.

Here it is in first position. Try to push it a bit so that it is right on the beat or a bit early!

Look at the line

• Notice that it starts on the Root! • Also that it is almost all ¼ notes with some 1/8th

notes thrown in.• It goes from chord tone to chord tone with some

chromatic or scale wise passages. Chord tones are the 1, b3, 5, and b7 for Dm7 it is D, F, A, and C.

• Note also that the main notes in the bass line are the chord tones with the root (1) as the most common tone.

Starting here in mainly 5th position.

Create your own bass lines

• Look closely at what Paul Chambers did and create your own basslines.

• I only wrote out the first few measures. It would be good for you to write out the rest of the measures and really analyze it!

• Remember you can take just one or two measures and repeat them over and over again!

Chord Backup

• This is a whole course in itself, but the key is that you must come back to the Dm on a regular basis.

• Any combination of notes in D Dorian can be used but the main issue is to keep the pattern going. Play chords as more of a punctuation then as in most pop tunes.

• Use the rhythm of the Charlston as an example. Maybe go Dm7 on measure one then Dm7 on measure 2 etc. Note you must watch for the key change to Ebm! This is where people mess up the most. That is one reason why many players use 2 and bar phrases throughout this piece.

• See the next couple of pages for some voicings and examples of the chord background.

This is using that Dm11 and Em11 but the count is different than the introduction.

Count (1 2) (& 3 4 )

Same Charlston Rhythm but now a repeated. You could do this 2 times for an 8 bar section. A pattern like this can help with the form.

Slight variation from the last one.

Going up. You could play this in reverse also!!

Using clusters.

Going up.

Try to create your own solo

• Use what was learned so far.– Create a riff that you repeat – Use it also at the end of the solo to tie it all in.– Stick with mainly chord tones.– Scale is D Dorian but you can use non-scale tones such as a

lower neighbor (C# to D or any note a ½ step below a chord tone to the chord tone).

– The b5 Ab can also be used very effectively. Usually it will go to A but can also go effectively to G. I like playing something like D to Ab resolve down to G. Sounds great to me.

– Patterns can also be used.– Chord superimposition is another technique. Any chord in the D

Dorian will work with that.• Take your time. Write out what you come up with. I

prefer traditional music but even tab is ok.

Now really dig into it.

• Work on your own solo.

• Learn it in different positions.

• Use these ideas in other solos.

• Continue to work on chord tones.

Walk Don’t Run

Study in A Aeolian – Old Time Rock Instrumental

Start With The Chords

• The progression is as follows:4/4 ||: Am G | F E7 : ||

Best to do as E form of Barre Chords (6th string root).

Start with learning these chords. Main chords in the song and the part of the introduction. A bass line is in the music.

A 2nd guitarist would play this. These are only the root and the 5th of each of the chords. Really just a simple power chord. This is played 2 times during the intro. If you have an electric guitar turn the reverb up on this (all the guitars used reverb on this). In any case palm mute the notes. Do that by placing your picking hand palm lightly on the bridge so that just a small part of your hand touches the strings right at the bridge nut.

Full Chords

1 1 1 1 1 1

3 4 3 4

Am

5th fret

1 1 1 1 1 1

2

3 4

1 1 1 1 1 1

2

G F

32

0 0 0 0

E7 – note fingering in this case

(all E forms)

Counting 1 & 2 (& 3) & 4 ( & 1) & 2 ( & 3 ) &Fingering 2 0 2 3 0 2 3 0 2 1 0

This whole line is an A Aeolian mode. It also contains the C major scale (C to C). Watch the timing and to learn the notes say them as you play them.

Counting 1 & 2 (& 3) & 4 ( & 1) & 2 3 4Fingering 2 0 2 3 0 2 3 0 2 0 3

Now the whole fist line.

Count 1 & 2 (& 3 4) (1) & 2 & 3 4 1 2 3 (& 4) (& 1) & 2 & 3 & 4 &

This whole first part is in 1st position so the fingering is 1st fret = 1st finger, 2nd fret = 2nd finger, 3rd fret = 3rd finger and 4th fret = 4th finger.

Be sure to get this whole part down before moving onto the next section!!

Count 1 & 2 & 3 & 4 & ( 1 & 2) (& 3) (4 1) (&2) & 3 & 4 & (1) (&2) & (3 4)

This part is using chords. First the C chord (1st position) then the Am Chord 1st position

Count (1 2 3 4 ) 1 & 2 (& 3 ) & 4 (&) 1 & 2 (& 3) & 4 ( 1 2 ) (3 4 )

Again this starts with the A minor chord in 1st position then for the 2nd measure it is an F chord broken up appreciated.For the 3rd measure it is an E chord appreciated. Then it ends on an A minor chord (3rds).

Put all the parts together.

• If playing in a group– 1st person does bass line.– 2nd person does chords.– 3rd person does the melody.

• Notice the sound of minor throughout this song. This is very similar to many other songs in rock, folk and ethnic styles.

Sleepwalk

Song originally performed by Santo and Johnny on a Steel

guitar.

Chords

1 1 1 1 1 1

3 4

3 4

Fm

1 1 1 1 1 1

2

3 4

1 1 1 1 1 1

2

C F

3 4

2

Dm

8th

fret

1 1 1 1 1 1 5th fret

3

1 1 1 1 1 1

2

G7

Sleepwalk introduction. 5th position until the 4th measure 2nd note then 8th position, switch to 7th position for last note. Then 2nd line to the 4th position. Introduction ends at the double bar.

Common fingering for these chords. Index on 1st string, middle on 3rd string, ring on 4th string and pinky on 2nd string.

Switch to 8th position for the single notes.

Up to the repeat.

8th position. Stretch to get to the12th fret.

Now Finish It Out

• Take your time.• Work on one or two measures at a time.• One person should concentrate on the

chords. This is in 6/8 time so there are 6 beats to a measure.

• Other should work on bass.• Lastly work on the melody. It is really

great to have 2 people that can do the melody and then switch off.

Tequila

Example of a simple fun instrumental song.

We will do this in the key of A to start.

• First the Chords –

• Then The timing

• Melody

• Solo

Chords

• The main part of this is just G to F.

• Can also do G to F/G but G to F is closer to the original.

• Do them in 1st position.

• The only other chord is C diminished 7. C diminished is also, F# diminished, A diminished, and Eb diminished.

Get this down with the counting etc. Be sure to do the rests.They are as important as the notes. Notice that the A (last one in first measure) is an anticipation of the 2nd measure by a ½ beat. This is very common. You can also play G as G/A by just leaving out the 6th string.

1 2

3 4

C dim7

Only other chord in this is C dim7.

•C diminished is also, F# diminished, A diminished, and Eb diminished.

Now the Melody

• Look closely at the next page and you will see the melody. But before doing that try to figure it out yourself.

• Starting note is the 4th string 2nd fret. All of the notes are in the A or G chord until the end of the phrase (right before the C dim7)

See how the lines are just usingnotes in the chords!!!

Solo

• Following page has the solo in A in 1st position.

• Note how it is built again off of chord tones.

• The scale used is a combination of the note from the A and G chords.

This is the sax solo for Tequila. Some of the notes must be hammered and pulled off in order to play this at tempo. Particularly in the 2nd line measures 2 and 3 in that line. The timing is a bit difficult so listen to the original.

Notice how many chord tones are used in this solo. Again “The Chord Rules”.

Start with the chords for original key.

This is using the C form of the CAGED system!!

While there are a number of ways to play the F and Eb chords this is the voicing that is used on the record. One note is that the 4th finger can alternate between the 5th string and the 6th string at the same fret.

Start with the following:

4/4 ||: F | Eb : || until it is perfect,

Then do 2 beats each:4/4 ||: F Eb | F Eb : || until it is perfect before

moving on to the exact rhythm!!

Critical that you get this down. The rests are just as important as the chords. That is what gives it the feel.

Try by singing the rhythm first. Do this before even playing it!. You must be able to sing it to play it correctly. I can’t stress how important that is.

Also buy the CD – there are lots of good compilations with this on it.

A little larger for you to see it.

1 21 1 1 1 1 1

3

3rdFret

4

Ab dim7

3

G7

2

C7 is at the 8th fret. Use same form.This is the CAGED ‘E7’ form!

The other chords in Tequila.

Melody

• This is easier than you might think.

• For the first 8 bars it is totally in the 8th position. Only frets 8 and 10. I use a ½ barre on the 8th fret across the first 4 strings. This makes it easier.

• You are actually just outlining the F to Eb chords in this. There aren’t any notes that are not in the chord!! Again chords rule!!

Count 1 2 3 4 & 1 2 & 3 & 4 & 1 & 2 3 4 & 1 & 2 & 3 & 4 &

1 2 3 4 & 1 2 & 3 & 4 & 1 & 2 3 4 & 1 & 2 & 3 & 4 &

See how this is just moving up what you did in 1st position.

Next part of melody

Do this in 9th position. First finger at the 9th fret.

Count 1 2 3 & 4 & (1 2 3 4) (& 1) 2 3 & 4 & (1 2 3 4 ) (&

1) 2 3 & 4 & ( 1 2 3 4 ) & (& 1) 2 3 4 1 & 2 & 3 & 4 &

1 2 3 4 &

You should now have all of the melody. At the G7 move to the 8th position again.

Last part is the solo

• Lots of ways to approach this but start with the notes in the main melody and you will find that it is the same notes as a Bb major scale. But if you play that it won’t sound that great.

• Instead use the notes in each of the chords and add in the notes in Bb as passing notes etc.

• You can also use the F blues scale. In fact, going back and forth between these approaches will produce some excellent results. But sing what you play. Since this is old time rock and roll, be sure to repeat notes and use double stops (2 notes at a time). That will give it the correct flavor.

For different people

• Everyone must learn this in the 1st position. Chords and melody.

• I would like the more advanced to learn the solo in A and the whole piece in F.

• If you are playing this as just an intermediate, put your capo at the 8th fret and you will be playing it the same as the advanced students.

On Broadway

Notes of melody in the chord!

Begin with just the chords

• First learn them in 1st position then we will move them up.

• Not difficult but make sure that you have them memorized.

On Broadway A G A G A G A G 4/4 ||: They say the neon | lights are bright on | Broadway | A G A G A G A G D C They say there's always | magic in the | Air | | But when your walk-in D C D C D E7 A G down the street | and you ain't had e | nough to eat | the glitter rubs right A G A G A G Off and you're no | where | :|| They say the women treat you fine on Broadway. But lookin' at them just gives me the blues. Cause how ya gonna make some time When all you got is one thin dime. And one thin dime won't even shine your shoes. They say that I won't last too long on Broadway I'll catch a Greyhound bus for home they say. But they're dead wrong, I know they are. Cause I can play this here guitar. And I won't quit till I'm a star on Broadway.

On Broadway A G A G A G A G 4/4 ||: They say the neon | lights are bright on | Broadway | A G A G A G A G D C They say there's always | magic in the | Air | | But when your walk-in D C D C D E7 A G down the street | and you ain't had e | nough to eat | the glitter rubs right A G A G A G Off and you're no | where | :|| They say the women treat you fine on Broadway. But lookin' at them just gives me the blues. Cause how ya gonna make some time When all you got is one thin dime. And one thin dime won't even shine your shoes. They say that I won't last too long on Broadway I'll catch a Greyhound bus for home they say. But they're dead wrong, I know they are. Cause I can play this here guitar. And I won't quit till I'm a star on Broadway. Notes:

1. The melody is almost totally in the chords – remember – the chord rules

– anyway to play this use the chords as the basis. To start hold the A chord down and play the 4th string to the 2nd string – that is the first 2 notes of the melody.

2. Next step is to try finding the melody in each chord as you go along. It may take some time. The timing of the chords is such that it is like the Charlston, for example, the A is 1 ½ beats and the G is 2 ½ beats. Sometimes that A will come in slightly early.

3. The original key is E and we will move it there later. 4. For the G if you are playing the melody just play the 2nd , 3rd, and 4th

strings open. 5. Have people play in groups where one plays the melody and the 2nd

person the chords.

Chord Rhythm Basic

Chord Pattern:

4/4/ ||: A G : ||

Count (1&2) (&34)

This is like a Charlston rhythm.

Basic pattern like Drifters did.

Use Capo in other positions

• OK, now the CAGED or Capo for other positions:

1st 5th 7th

A E DG D CD A GC G FE7 B7 A7

Learn the chords in each position

• Work in groups to do parts in different positions.

• Even try to do the melody in different positions once you have learned it in 1st position.

Now that you have the chords

• Next add in the melody. • It isn’t that hard. Take it one note at a time.• Holding an A chord down play the 4th string for

the first note, the 2nd string for the 2nd note and the 3rd string for the 3rd note. Now change to a G/A and find the next melody note. Continue one note at a time.

• Write it out in traditional notes or in tablature.

Chords like Benson

Melody – all in or close to chord.

Then we will transpose it to E

• This is the original key of this song. Take your time and just image your index finger as the head nut.

• In fact you may find that the 2nd part moved up works even better! You can keep one fingering for all of them.

Here it is in the original key. Use chords on the following page

On Broadway E D E D E D E D 4/4 ||: They say the neon | lights are bright on | Broadway | E D E D E D E D A G They say there's always | magic in the | Air | | But when your walk-in A G A G A B7 E D down the street | and you ain't had e | nough to eat | the glitter rubs right E D E D E D Off and you're no | where | :||

E

1 1 1 1 1 1

3 3 3

7th Fret

D /E

1 1 1 1 1 1 7th Fret

A

1 1 1 1 1

2

3 4

G/A

1 1

2

3 4

X

This should be muted

B7

1 1 1 1 1 1

2

3

7th Fret

They say the women treat you fine on Broadway. But lookin' at them just gives me the blues. Cause how ya gonna make some time When all you got is one thin dime. And one thin dime won't even shine your shoes. They say that I won't last too long on Broadway I'll catch a Greyhound bus for home they say. But they're dead wrong, I know they are. Cause I can play this here guitar. And I won't quit till I'm a star on Broadway.

Melody in E. See how it just moves up!

Same as Tequila!!

• Everyone must learn this in the 1st position. Chords and melody.

• I would like the more advanced the whole piece in E.

• If you are playing this as just an intermediate, put your capo at the 7th fret and you will be playing it the same as the advanced students.

Start with the chordsThis is using the C form of the CAGED system!!

While there are a number of ways to play the F and Eb chords this is the voicing that is used on the record. One note is that the 4th finger can alternate between the 5th string and the 6th string at the same fret.

Start with the following:

4/4 ||: F | Eb : || until it is perfect,

Then do 2 beats each:4/4 ||: F Eb | F Eb : || until it is perfect before

moving on to the exact rhythm!!

Critical that you get this down. The rests are just as important as the chords. That is what gives it the feel.

Try by singing the rhythm first. Do this before even playing it!. You must be able to sing it to play it correctly. I can’t stress how important that is.

Also buy the CD – there are lots of good compilations with this on it.

A little larger for you to see it.

1 21 1 1 1 1 1

3

3rdFret

4

Ab dim7

3

G7

2

C7 is at the 8th fret. Use same form.This is the CAGED ‘E7’ form!

The other chords in Tequila.

Melody

• This is easier than you might think.

• For the first 8 bars it is totally in the 8th position. Only frets 8 and 10. I use a ½ barre on the 8th fret across the first 4 strings. This makes it easier.

• You are actually just outlining the F to Eb chords in this. There aren’t any notes that are not in the chord!! Again chords rule!!

Count 1 2 3 4 & 1 2 & 3 & 4 & 1 & 2 3 4 & 1 & 2 & 3 & 4 &

1 2 3 4 & 1 2 & 3 & 4 & 1 & 2 3 4 & 1 & 2 & 3 & 4 &

Next part of melody

Do this in 9th position. First finger at the 9th fret.

Count 1 2 3 & 4 & (1 2 3 4) (& 1) 2 3 & 4 & (1 2 3 4 ) (&

1) 2 3 & 4 & ( 1 2 3 4 ) & (& 1) 2 3 4 1 & 2 & 3 & 4 &

1 2 3 4 &

You should now have all of the melody. At the G7 move to the 8th position again.

Last part is the solo

• Lots of ways to approach this but start with the notes in the main melody and you will find that it is the same notes as a Bb major scale. But if you play that it won’t sound that great.

• Instead use the notes in each of the chords and add in the notes in Bb as passing notes etc.

• You can also use the F blues scale. In fact, going back and forth between these approaches will produce some excellent results. But sing what you play. Since this is old time rock and roll, be sure to repeat notes and use double stops (2 notes at a time). That will give it the correct flavor.

This is the sax solo written out for guitar. Not super difficult but not easy. Play the 6th notes as hammer pull so you only pick the 1st and 4th one of each set, try different picking patterns to find what works best for you. I do all down – which makes it a sweep after the first down!

Pick up the handouts

• Don’t forget to finish registration!

• Let’s warm up with something easy just for fun.

• We will be breaking every so often to do something like this for fun.

• Let’s talk about group playing a bit!

• Turn in group forms.

Here Comes the Sun in G [G]Little darling, It's been a l[C]ong, cold, lonely w[D7]inter. [G]Little darling, It feels like y[C]ears since it's been h[D7]ere. [G]Here comes the sun. [C]Here comes the s[A7]un, And I say[G], it's all right.[C] [G] [C] [G] [D7] [G] [G7] Little darling, The smiles returning to their faces. Little darling, It feels like years since it's been here. Here comes the sun. Here comes the sun, And I say, it's all right. Little darling, I feel that ice is slowly melting. Little darling, It feels like years since it's been clear. Here comes the sun. Here comes the sun, And I say, it's all right.

One of 5 keys we will do this song in.

Now Transpose this to the key of D

• G = D• C = G• D7 = A7• A7 = E7

• Write this out on a separate sheet of music!!!!• Note that this is the key that it is in the book.

Original key is the key of A. But you play it like D with the capo at the 7th fret!!!!!!

• Let’s do it now from the book. We will take it slowly. Page 100.

SURFIN' U.S.A.} If ev'rybody had an [A7]ocean, across the U.S.[D]A. Then ev'rybody'd be [A7]surfin' like Californi[D]a You'd see them wearin' their [G]baggies, huarachi sandals [D]too A bushy bushy blond [A7]hairdo, [G] surfin' [D]U.S.A. You'll catch 'em surfin' at Del Mar, Ventura County Line Santa Cruz and Tressels, Australia's Narabine All over Manhattan and down Doheny Way Ev'rybody's gone surfin', surfin' U.S.A. Well all be plannin' out a route, we're gonna take real soon We're waxin' down out surfboards, we can't wait for June We'll all be gone for the summer, we're on safari to stay Tell the teacher we're surfin', surfin' U.S.A. At Haggarty's and Swami's, Pacific Palisades San Onofree and Sunset, Redondo Beach, L. A. All over La Jolla, at Waiamea Bay Ev'rybody's gone surfin', surfin' U.S.A.

You will see many songs written out this way. The chords are just repeated over& over again. This song is in 4/4 time. Each chord will get 2 measures or 8 beats.Start with the vocal and then come in on the A7.Try singing this song as you play it. Don’t worry about your voice. Best to do from book page 274

(Something just for fun to get started)

The whole idea is to hold the first position F chordat the 10th fret (it is now a D chord). Everything is basedoff of that.

1 1 1 1 1 1

3

2

(1) 1 1 1 1 1

2

D m7 Dm11

5th fret


Pattern is on the following page!

An 11th chord has the 1, 3, 5, 7, 9 and 11th degrees of a scale. For a minor 11th the 3d and 7th are lowered (flatted) from a major scale. In the Dm11 below the 6th string is usually not played.

This Dm11 will give you a clear indication of any of the notes that are not being held down.

For Dm Chords

1 2 3 4 1 2 (3 4) &

We will try counting this out. The melody of the tune happens the and the chords come in on the break. See next slide for the melody.

Main Line – 7th position. All Dorian mode built off of D Dorian. While only the Miles Davis group is expected to do this, it would be good if all of you tried it. See the handouts on the web for this entire tune. The Miles Davis group will learn all of the parts of this song.


My Girl

Using the Major Pentatonic Scale

What is so cool about this song?

• The introduction contains a few things that are more global than just playing the song.

• The first part is playing the 1 and 5 notes of the chord. The most used notes for bass.

• Then the main riff is a C major pentatonic to an F major pentatonic scale. You learn the scale while learning the hook.

Count 1 2 3 4 & 1 (&2) & 3 (& 4) & etc.

First position – not the best place but good for beg.

This is in 2nd position. A better place to play the riff. But this shows that it can be played in different positions.

2nd position = index on 2nd fret, middle on 3rd fret, ring on 4th fretpinky on 5th fret.

Here are the 2 ways to play the main hook in C for this song. In either case the notes make up a C major pentatonic scale. Both should be learned!!!

C D E G A C

C D E G A C

2nd position

C D E G A C A G E D C

Memorize this scale!! Also do it in 1st position!!

Same scale in 1st position!!

Now for the riff in F

Now the whole introduction

• First in 1st position then in 2nd position.

• Take it slowly.

• Say the names of the notes if you can.

My Girl Introduction C F C F 4/4 | | | | | | | | | I've C F C F C got || sunshine | on a cloudy | day | When it's | cold outside | F C F C Dm F G C Dm I've got the month of | May | | I guess | you say | What can make me F G C F G feel this way? | My girl | Talkin' bout | My Girl | I've got ||

I've got so much honey the bees envy me. I've got a sweeter song. than the birds in the tree. Well, I guess you say What can make me feel this way? My girl, talkin' bout my girl. I don't need no money, fortune or fame, I've got all the riches baby, one man can claim. Well, I guess you say What can make me feel this way? My girl, talkin' bout my girl.

(Last Time transpose up to D. Change goes Dm G Em A7 then to top of song but now D G D G etc.) Dm | G7 | Em | A7 | D | G I've D G D G D got || sunshine | on a cloudy | day | When it's | cold outside | G D G D Em G A D Em I've got the month of | May | | I guess | you say | What can make me G A D G A feel this way? | My girl | Talkin' bout | My Girl | I've got || D | |G | |D ||

My Girl Introduction C F C F 4/4 | | | | | | | | | I've C F C F C got || sunshine | on a cloudy | day | When it's | cold outside | F C F C Dm F G C Dm I've got the month of | May | | I guess | you say | What can make me F G C F G feel this way? | My girl | Talkin' bout | My Girl | I've got || I've got so much honey the bees envy me. I've got a sweeter song. than the birds in the tree. Well, I guess you say What can make me feel this way? My girl, talkin' bout my girl. I don't need no money, fortune or fame, I've got all the riches baby, one man can claim. Well, I guess you say What can make me feel this way? My girl, talkin' bout my girl. (Last Time transpose up to D. Change goes Dm G Em A7 then to top of song but now D G D G etc.) Dm | G7 | Em | A7 | D | G I've D G D G D got || sunshine | on a cloudy | day | When it's | cold outside | G D G D Em G A D Em I've got the month of | May | | I guess | you say | What can make me G A D G A feel this way? | My girl | Talkin' bout | My Girl | I've got || D | |G | |D ||

The riff in D.

From the book

• Born to Be Wild (36),

• Hey Jude (D) (102),

• Maggie May (168),

• Pipeline (205),

• Purple Haze (208),

• Suzy Q (275)

To Barre do the following:

• Use your first finger across all of the strings.

• Go off of the side of the finger (just slightly).

• Barre first and then put the other fingers down.

• You don’t need lots of pressure to get a sound.

1

2 3

0 0 0

1 1 1 1 1 1

2

3 4


E Form of the Caged system.

Now let’s just use this chord in the last song. Put the G Major as above in the songLodi. You could also play the C in this form at the 8th fret. You should at least have anidea of this already!!The fret on the 1st and 6th string that you are playing is the root as is the note on the 4th string.

GE

Now with a Barre G Chord Lodi

G Just about a year ago, C G I set out on the road. G Em Seekin' my fame and fortune. C D7 Lookin' for a pot of gold. G Em Things got bad and things got worse. C G I guess you know the tune. G D C G Oh, Lord! I'm stuck in Lodi again. Rode in on the Greyhound. I'll be walkin' out if I go. I was just passing through. Must be seven months or more. Ran out of time and money, Looks like they took my friends. Oh, Lord! I'm stuck in Lodi again. The man from the magazine. Said I was on my way. Somewhere I lost connections, Ran out of songs to play. I came into town, a one night stand, Looks like my plans fell through. Oh, Lord! I'm stuck in Lodi again. If I only had a dollar for every song I've sung. And every time I've had to play while people sat there drunk. You know I'd catch the next train back to where I live. Oh, Lord! I'm stuck in Lodi again.

Dock Of The Bay VERSE 1: G B Sittin' in the morning | sun. C A I'll be | sittin' when the evening | comes. G B Watchin' the ships roll | in. C A Then I | watch 'em roll away a- | gain. G E (I'm)Sittin' on the dock of the | bay. G E Watchin' the | tide roll a- | way. | G E Sittin on the dock of the | Bay Wastin’ | G E Time | | VERSE 2: Sittin’ here restin’ my bones. But this loneliness won’t leave me alone. Two thousand miles I roamed Just to make this dock my home. I’m just sittin’ on the dock of the bay. Watchin’ the tode roll away. Sittin’ on the dock of the bay, wastin’ time. BRIDGE: G D C Looks like | nothing gonna change. | G D C Everything | still remains the same | G D C I can't do what | ten people tell me to do | F D So I'll guess I'll remain the same || FORM: Verse 1 Verse 2 Bridge Solo (verse form) Bridge Verse 1

All Along The Watchtower Bob Dylan

Am G F G There must be some kind of way out of here Am G F G Cried the joker to the thief Am G F G There's too much confusion Am G F G I can't get no relief Am G F G Business men they drink my wine Am G F G Plow men dig my earth Am G F G None will live along the line Am G F Know what any of it is worth No reason to get excited The thief he kindly spoke There are many here among us Who feel that life is but a joke But you and I we've been through that And this is not our fate So let us not talk falsely now The hour's getting late All along the watchtower The Princess kept the view While all the women came and went Barefoot servants too Outside in the cold distance A wildcat did growl Two riders were approaching And the wind began to howl All along the watchtower All along the watchtower All along the watchtower

Another song. Do this as barre in theE Form. This whole song is in the Key of Am but can be related toas C major. The Am is a VI chord, G is aV chord, F is a IV chord. If we did it as Am then Am is a I chord,G is a VII chord, F is a VI chord. But there are some issues with this.Scale to solo is an A natural minor or alsocalled an A Aeolean mode.To change a major to minor in an E formJust lift the 2nd finger. Am will be at the5th fret, G major at the 3rd fret and F majorat the 1st fret.If you can’t do the Barre chords at this timethat is fine just play the regular chords.This song is in 4/4 time and each chordgets 2 beats.

1

2 3

0 0 0

1 1 1 1 1 1

2

3 4


Review of the 6th root E form. This will now be the basis of the scale.

E Form Major Scales

3

G A B C D E F# G A B C D E F# G F#Names of notes:

E D C B A G F# ED C B A G

High Level Goals for all groups

• Have fun learning new songs, techniques etc. on the guitar

• Increase your technical skills on guitar• Increase your ability to play with others• Introduction to performers that influenced

guitar development• Develop ear training and music theory as

applied to the guitar.• Develop a better appreciation for guitar skills.

CAGED Your Friend

Chord and scale visualization and patterns for the Guitar.

The “CAGED” System of Scales and Chords

• With this you can learn all of the chords and scales commonly used on the guitar and how to connect one scale or chord to the next form.

• This concept is used by many guitarists in many styles. While it isn’t a shortcut it is a method whereby you can relate one form to the next be it chords or scales.

• With some knowledge this can be built upon to encompass more advanced chords, scales etc.

• Once mastered you will have the ability to see chords and scales not only across the fingerboard but up and down the fingerboard. The power of this is such that it can apply to almost anything. Arpeggios as an example just fall out of scales. Extensions can be second nature.

• The amount of work is less than you would spend learning these scales and chords in other methods!

Basic Concept

• The basic concept is that there are 5 chord forms. From these everything else is derived. It also applies to the scales related to those 5 chord forms.

• The patterns will repeat themselves up the neck in the same order.

• It applies to chords, scales, arpeggios, riffs, etc.

The 5 chords (starting with major chords)

1

2

3 4

1

1

12 22 2

3

33

3

C Form (C Chord) A Form (A Chord) G Form (G Chord) E Form (E Chord) D Form (D Chord)

233 3

4

4

4 4

1 111 11 1 111 11 1 111 11 1 111 11 1 1

2

33

3

2

2

3

233 3

4

4

4 4

1 111 11 1 111 11 1 111 11 1 111 11 1 1

2

33

3

2

2

3

C# (C Form)Bb (A Form) Ab (G Form) F (E Form) Eb (D Form)

D (C Form) B (A Form) A (G Form) F# (E Form) E (D Form)

Caged Chords - Shadowed Notes are the Roots

Below are the 5 forms that everything is build off of. You must know all 5 of these 1st position chords to move on. Make sure that you have these down so you don’t even think about them. The rest of what is coming up is derived from these 5 forms! We start with major but dominant and minor are just modifications (small modifications) to this!

1

2

3 4

1

1

12 22 2

3

33

3


233 3

4

4

4 4

1 111 11 1 111 11 1 111 11 1 111 11 1 1

2

33

3

2

2

3

233 3

4

4

4 4

1 111 11 1 111 11 1 111 11 1 111 11 1 1

2

33

3

2

2

3




Notice how we can barre this and move it up one fret. One word of warning is that when you do this you won’t always play all of the notes in the chord. Try these below as a start.

1

2

3 4

1

1

12 22 2

3

33

3


233 3

4

4

4 4

1 111 11 1 111 11 1 111 11 1 111 11 1 1

2

33

3

2

2

3

233 3

4

4

4 4

1 111 11 1 111 11 1 111 11 1 111 11 1 1

2

33

3

2

2

3




For the “C” form only ½ barre it – barre from the 1st to the 3rd string and don’t play the 6th string. For the G form only play the inside 4 strings – don’t play the 1st or 6th string. For the D form, it is best to move the 1st string pitch down 2 octaves to the 6th string and don’t play the 1st string.

Let’s look at some of these individually.

1

2 3

0 0 0

1 1 1 1 1 1

2

3 4


The first form that most players use is the E form. Here is a diagram showing the E form and then played at the 3rd fret it will be an ‘E’ form but a G major chord. The root can be on the 1st, 4th or 6th string in this example as that is where the ‘G’s are located. Be able to play this form at any fret up to the 9th fret. This is the most used of the forms and the easiest of the forms for most players. Just as an example the G is at the 3rd fret on both the 1st and 6th strings. That is the root. Below each note on the G is written the scale degree R = Root, 3 = 3rd, and 5 = 5th of the chord

G D G B D G

E B E G# B E R 5 R 3 5 R

The A form is the next most used form.

12 3

X 0 0

1

3 3 3

X X

A Major A Form (C Major)

Note that with this form you don’t do a full barre chord for the major form. Below is a C major in the A form. The root can be either the 5th string or the 3rd string. This form has to be learned also. Become familiar with this and the E form and how they relate to each other. In many ways they are similar. The order of notes is the same for the 4 lowest notes (root, 5th of chord, root, 3rd of chord). Listen to how they sound similar.

C G C EA E A C# E

R 5 R 3

The C form.

1

2

3

0 0

C Major Chord

1 1 12

3

4

C Moveable Chord (D Major)

Use this as a visual basis for the chords and the scales.It is one method that can excel you learning of the scales.

Notice how the notes in the chord are all in the following Major scale. In fact, 3 of the 7 notes in a major scale areIn the chord. Try to visualize that on all of the chords and ‘Scales. It will also help you with doing chord extensions.

For this form try it without a full barre as shown below. This is the voicing used in Tequila by the champs. This one is very good as a starting point for some jazz chords.

D F# A D F#R 3 5 R 3

Now going up the neck in one key.• Here is where the power really comes in. Say we have a C form of

the D chord from the previous slide.• The next form of D will be the A form at the 5th fret.• The A form always follows the C form. Look closely at that

relationship!

1 1 12

3

4


1

3 3 3

X X

Note the common tone!

A Moveable Chord (D Major Chord)

RR

Some Observations

• There are 3 frets between these 2 forms. This will hold true in every instance!

• The order of notes changes slightly which gives the 2 forms slightly different coloring.

• You can go either way, that is either up or back. • Each form has a use and should be learned.

Some players limit themselves to only two or three forms. Not only does that mean lots of position shifting it also limits the melodic ability when adding in the scales or doing a chord melody.

The G form

2

3 4

1 1 1 1 1 1

2

3 4


This form is usually played without playing the 1st and 6th strings. Below is an example of the concept with the 1st and 6th strings in the 3rd diagram muted.Some bands such as the Doobie Brothers used this form as a basis for cool chord riffs.At this point notice that the root moves around by which voicing you are playing.Note that 1 = root. From here on 1 will refer to root rather than writing R.

1 1 1

3

G Form (A Major Chord)

X X C# E A C#

3 5 1 3

A C# E A C# A1 3 5 1 3 1

Application fun

• Take this moveable form up to the 7th fret and play it with the 6th string open.

• Barre across the first 5 strings and hammer on with the 3rd finger from the 7th to 9th fret. This is the starting chord riff to Listen to the Music.

1 1 1 1

3

G Form (E Major Chord)

0 X

7th fretStart here and Hammer the 3rd

Finger to the 9th

Fret. Keep the6th string open!Don’t hit the 1st string

Start of Listen to the Music

One of the points of this is that all of this is very practical! It isn’t pie in the sky theory stuff but nuts and bolts.I really wish that my early teachers had taught me this. I believe they knew it but knew it intuitively as that is how I learned it. Then I had a lesson with Joe Pass the famous Jazz guitarist and he mentioned CAGED. I didn’t take it seriously at the time but now I know how important that lesson really was.If there was a secret to playing this is it!

Now going up the neck in one key.• Now we have 3 forms of the D chord moving up the neck.• The C form of D to the A form of D to the G form of D. • The G form always follows the A form. Look closely at that

relationship! Along with the fact that the A form always follows the C form you are 3/5ths of the way there.

1 1 12

3

4


1

3 3 3

X X

Note the common tone!


1 1 1

3

G Form (D Major Chord)

X X

7th fret.

Practice this!

• Do one measure of each form and do it as follows:

4/4 ||: D (C form) |D (A form) | D (G form) | D (A Form) : ||

Play this over and over until it is 2nd nature. I know it is tough at first but the payback is worth it. As an exercise, sing the top note of each chord voicing as you do it. Note that they are all the F# or 3rd of the chord. Then sing the bottom note which is moving. Lastly, go from the bottom note for one sequence to the top note for the next sequence. The goal is to not only play these but to hear the subtle differences between them!!!!!

From the G form to the E form.

1 1 1

2


X X

7th fret.

1 1 1 1 1 1

2

3 4

1 5 1 3 5 1

10th fret

(4)

The E form of the D major chord.

1 3 5 1 3

Really notice how the change in order of notes means a difference in the texture of the chord! Again listen. You can also practice singing the chord from bottom note to top or top to bottom.

1 1 12

3

4


1

3 3 3

X X


1 1 1

3


X X

7th fret.

1 1 1 1 1 1

2

3 4

10th fret


(4)

So now we have 4 of the 5 forms up the neck. Only one to go. If you are still with this you are really close to getting the whole thing. Only one more to go for the chords. The scales will actually be easy to understand once you have the chords down. We start with major chords but the concept applies to minor and 7th chords – to all chords.

Go back and review!!!!!

• Review the material so far. You have completed 4 of the forms and have moved the forms up the neck.

• This is the essence of the CAGED system.

• Start to see that from one form to the next is a set number of frets (either 2 or 3). That can also assist you in learning this material.

The last but not least form the D form.

• For this we move the note on the first string down 2 octaves to the 6th string and don’t play the 1st string. It is also common to not play the 5th string. Then there is no barring at all and the chord has a nice openness quality.

1 2

3

1

2 3

4

D Major D Form (E Major)

0 0 X X

Note you can more the F# on the 1st string 2nd fret toThe 6th string 2nd fret (both strings are the same letterName – it works out better for most cases.

See how this form works below. I personally like this form quite a bit and like to go from the E form to this when going to a IV chord (G to C for example).

1 1 12

3

4


1

3 3 3

X X


1 1 1

3


X X

7th fret.

1 1 1 1 1 1

2

3 4

10th fret


(4)

1

2 3

4

D Form (D Major)

X X

12th fret, could have also done in 1st position.Arrows are pointing to where

the roots are and move to.

Try it in every key you play in.

• I suggest the following keys to start:– D, G, E, A, and C. – Note that the lowest form will be different in

different keys. – I have written out some of the examples.– Think of CAGED as CAGED, AGEDC,

GEDCE, EDCAG and DCAGE as that is the order but the chord may start on different forms.

1 1 12

3

4


1

3 3 3

X X

A Moveable Chord (C Major Chord)

1 1 1

3

G Form (C Major Chord)

X X

5th fret.

1 1 1 1 1 1

2

3 4

8th fret

The E form of the C major chord.

(4)

1

2 3

4

D Form (C Major)

X X

10th fret,.

Arrows are pointing to where the roots are and move to.

12th fretOr open

Here start with the A form of C at the 3rd fret!!

1 1 12

3

4

C Moveable Chord (G Major)

1

3 3 3

X X

A Moveable Chord (G Major Chord)

1 1 1

3

G Form (G Major Chord)

X X

12th fret.

1 1 1 1 1 1

2

3 4

3rd fret

The E form of the G major chord.

(4)

1

2 3

4

D Form (G Major)

X X

5th fret,


10th Fret7th fret

For this for start on the E form at the 3rd fret!

1 1 12

3

4

C Moveable Chord (A Major)

1

3 3 3

X X

A Moveable Chord (A Major Chord)

1 1 1

3

G Form (A Major Chord)

X X

2nd fret.

1 1 1 1 1 1

2

3 4

58th fret

The E form of the A major chord.

(4)

1

2 3

4

D Form (A Major)

X X

7th fret,.


9th fret12th fretCould alsoBe open.

1 1 12

3

4

C Moveable Chord (E Major)

1

3 3 3

X X

A Moveable Chord (E Major Chord)

1 1 1

3

G Form (E Major Chord)

X X

9th fret.

1 1 1 1 1 1

2

3 4

12th fret or open

The E form of the E major chord.

(4)

1

2 3

4

D Form (E Major)

X X

2nd fret,


7th Fret4th fret


Go over these every day

• At this point you have the concept down.

• I know it has been some work but it is really worth it. Your knowledge of chords and of the neck of the guitar has taken a giant leap forward. Now just apply.

• Learn all of the 7th chords next.

• When those are mastered then do the minor chords!!!

4

1

2

3

C7 Moveable Chord (E7 Major)

1 1 1 1

3 (3) 3

X X

A7 Moveable Chord (E7 Chord)

1 1 1

3

G7 Form (E7 Chord)

X X

9th fret.

1 1 1 1 1 1

2

3 (4)

12th fret or open

The E7 form of the E7 major chord.

(4)

1

3 4

D Form (E7 )

X X

2nd fret,


7th Fret4th fret


Implied

2

Implied

2

1 3

4

C Moveable Chord (Em )

1

3 3

X X

A Moveable Chord (Em Chord)

1 1

G Form (Em Chord)

X X X

9th fret.

1 1 1 1 1 1

3 4

12th fret or open

The E form of the Em

(4)

1

23

4

D Form (Em)

X X

2nd fret,


7th Fret4th fret


2 21

2

Note that there are variations

• I have just given you the basics. There are variations to that.

• Some of these add notes at times or subtract notes. The concepts though remain the same. You should work these out for yourself. Doing so will really enable you to see this as one giant circle!!!

• The following page is for more advanced players to give them something to really think about. This is based off of the E form at the 3rd fret so it is a G major but would apply to any of the chords. The very last example on the next page is a great starting place to do some cool sounding backups. Listen to Eric Johnson play and you will hear this open sounding chords. Much of his style is based upon this concept.

Here are examples of the E form on a G Major Chord

1 1 1 1 1 1

2

3 4

G D G B D G

1 1

2

B D G

1 1

2

3

G B D G

1

2

3 4

G D G B

1

2

3

D B G

2

3 4

D G B

Starting chord

Here you would change the finger.

While I like this one, you most likely wouldn’t strum it but would pluck it instead! Very cool Voicing.

Learn the names of the notes in each chord you play

• As an example learn the names of the notes in the G major chord (G, B and D). Then you can add into these moveable chords open strings.

• The next page has examples using open strings on a G major chord.

Here are examples of the E form on a G Major Chord using open strings

1 1 1 1 1 1

2

3 4

G D G B D G

1

2

D B B G

1 1

3

G G D G

1

2

G D B

1

2

3

D D B B G

3 4

D G B

Starting chord

0

11

0 0

0 0 0 0

Major Scales Using The CAGED Format

• This works the way as the CAGED chords. Can start anywhere – C form to A form to G form to E form to D form. Or start at any other letter but still goes through the pattern. G from to E form to D form to C form to A form.

• Each of these scales is built off of the chords of the same name. It is best to think of the chord form when doing the major scale.

• Many of these use the same basic form – note how the E and A forms are very similar.

• Start with the E form using the G Major Scale.• Do each scale slowly and don’t pick up speed until each

scale is perfect. Even then make sure that you play them smoothly and evenly.

Pattern of the major scale

• Background – a ½ step is 1 fret and a whole step is 2 – ½ steps or 2 frets on the guitar.

• For a major scale the pattern is as follows – whole, whole, ½, whole, whole, whole, ½

• Each of the following scales cover the position and cover approximately 2 octaves.

• Do one scale at a time. Use your ear to hear the sound. Best if you sing what you are playing.

• All diatonic scales and even pentatonic scales have patterns but they can all be related or derived from the major scale.

Watch the fingering

• While there are a couple of ways to play some of the scales, most have only one fingering that works. If there are more than one fingering pick one and stick with it until it is mastered.

• Keep your thumb in back of the neck and do not move it when playing a scale.

• Don’t press the frets too hard – it makes the notes play out of tune. Play close to the frets without being on the frets, do it with just enough pressure.

• Try to minimize your finger movements.

Be sure to master the chords also!

• For each of the scales make sure that you can also do the chord that goes with it.

• By doing that you will be able to relate the scale to the chord.

• It takes some time to really master these scales. There are a number of ways to accomplish this.

• First do the Scales up and down the fingerboard.• Next do each key with all five scale forms. Start

with G major.

= Root of chord orscale

= Notes before rootwhen playing scale

G Major Scale

22

44

3

1

4

1 1

4

1

3

2

4

2

1

2 2

4 4 4

C Major Scale

1

4

4

1

1

32

3 3

1 2

2

4 444

2

2

1

3

2

1 1 1 1 1

4

D Major Scale

1

44

1 1

33

4

2

1

2

0

3

1

4

3

4

1

E Major Scale

1

3

1

4

332

3

1

4

1 1

44

A Major Scale

1

The Caged system of Scale Movement

To understand this system it is important to know where all of the notes are on the guitar fingerboard.If you don’t already know where all of the notes are then you must first learn how to find all of thenotes, particularly the notes on the 6th and 5th strings. When you know the 6th string notes thanyou will also know the 1st string notes as they are the same letter names.

Start with learning the 5 major scale forms in 2nd position. They are the C form, the A, form, the Gform, the E form and the D form. Shown below are these five forms in 2nd postion.

Each of the forms is moveable and the form is referred to by the name of the scale you wouldplay with that form in 2nd position. Take the C Major form as an example, it is a 5th string root, sowhen played in 2nd postion it it a C major scale with the C major form. In the 4th position the note played as a root is the 5th fret of the 5th string (one higher than the position). That would makethe scale a D major scale (D is the note on the 5th fret of the 5th string), and it would be the C major form. This idea of form is key to the understanding of this concept. Take the G major form.In the second position the G major form is at the 2nd fret and the starting note is the 3rd fret of the6th string (the G note), therefore the scale is the G major scale, G major form. If you moved thatscale up the fingerboard two frets it would be the A major scale, with the G major form. It wouldbe A major since the 6th string 5th fret is an A. Try this with all of the scales. Fill in the following:

G form at the 7th fret, is a ____ major scale G form at the 9th fret is a _____ major scale.G form at the 11th fret is a ____ major scale. A form at the 5th fret is a ____ major scale.A form at the 7th fret, is a ____ major scale A form at the 9th fret is a _____ major scale.A form at the 11th fret is a ____ major scale. C form at the 5th fret is a ____ major scale.C form at the 7th fret, is a ____ major scale C form at the 9th fret is a _____ major scale.C form at the 11th fret is a ____ major scale. D form at the 5th fret is a ____ major scale.

You could do this with all of the forms. Now lets use CAGED to find the order of major scales upthe fingerboard. To start let’s use the C major form.

C major form would be in 2nd position for a C major scale.A major form would be in 5th position for a C major scale.G major form would be in 7th position for a C major scale.E major form would be in 10th position for a C major scale.D major form would be in 12th position for a C major scale.

The next 2 pages are more of an overview and work sheets

= Root of chord orscale

= Notes before rootwhen playing scale

G Major Scale

22

44

3

1

4

1 1

4

1

3

2

4

2

1

2 2

4 4 4

C Major Scale

1

4

4

1

1

32

3 3

1 2

2

4 444

2

2

1

3

2

1 1 1 1 1

4

D Major Scale

1

44

1 1

33

4

2

1

2

0

3

1

4

3

4

1

E Major Scale

1

3

1

4

332

3

1

4

1 1

44

A Major Scale

1

The Caged system of Scale Movement

To understand this system it is important to know where all of the notes are on the guitar fingerboard.If you don’t already know where all of the notes are then you must first learn how to find all of thenotes, particularly the notes on the 6th and 5th strings. When you know the 6th string notes thanyou will also know the 1st string notes as they are the same letter names.

Start with learning the 5 major scale forms in 2nd position. They are the C form, the A, form, the Gform, the E form and the D form. Shown below are these five forms in 2nd postion.

Each of the forms is moveable and the form is referred to by the name of the scale you wouldplay with that form in 2nd position. Take the C Major form as an example, it is a 5th string root, sowhen played in 2nd postion it it a C major scale with the C major form. In the 4th position the note played as a root is the 5th fret of the 5th string (one higher than the position). That would makethe scale a D major scale (D is the note on the 5th fret of the 5th string), and it would be the C major form. This idea of form is key to the understanding of this concept. Take the G major form.In the second position the G major form is at the 2nd fret and the starting note is the 3rd fret of the6th string (the G note), therefore the scale is the G major scale, G major form. If you moved thatscale up the fingerboard two frets it would be the A major scale, with the G major form. It wouldbe A major since the 6th string 5th fret is an A. Try this with all of the scales. Fill in the following:

G form at the 7th fret, is a ____ major scale G form at the 9th fret is a _____ major scale.G form at the 11th fret is a ____ major scale. A form at the 5th fret is a ____ major scale.A form at the 7th fret, is a ____ major scale A form at the 9th fret is a _____ major scale.A form at the 11th fret is a ____ major scale. C form at the 5th fret is a ____ major scale.C form at the 7th fret, is a ____ major scale C form at the 9th fret is a _____ major scale.C form at the 11th fret is a ____ major scale. D form at the 5th fret is a ____ major scale.

You could do this with all of the forms. Now lets use CAGED to find the order of major scales upthe fingerboard. To start let’s use the C major form.

C major form would be in 2nd position for a C major scale.A major form would be in 5th position for a C major scale.G major form would be in 7th position for a C major scale.E major form would be in 10th position for a C major scale.D major form would be in 12th position for a C major scale.

1

2

3

0 0

C Major Chord

1 1 1 1 1 12

3

4


Use this as a visual basis for the chords and the scales.It is one method that can excel you learning of the scales.

Notice how the notes in the chord are all in the following Major scale. In fact, 3 of the 7 notes in a major scale areIn the chord. Try to visualize that on all of the chords and ‘Scales. It will also help you with doing chord extensions.

C Form of the Major Scale

You can also play this by going all the way down to the 6th string 2nd fret – that would fully cover the position. The pattern above isMore of the standard way to play the scale.

12 3

X 0 0

1

3 3 3

X X

A Major A Form (C Major)

A Form of the Major Scale

2

3 4

1 1 1 1 1 1

2

3 4


G Form of the Major Scale

1

2 3

0 0 0

1 1 1 1 1 1

2

3 4


E Form Major Scales

3

1 2

3

1

2 3

4

D Major D Form (E Major)

0 0 X X

Note you can more the F# on the 1st string 2nd fret toThe 6th string 2nd fret (both strings are the same letterName – it works out better for most cases.

D Form of the Major Scale

Take your time and master each form! Do every day until you have

it down.• Play each form at each fret. Say the scale as

you do it.• For example, doing the E from starting at G

major (2nd position but first note starts on the 3rd fret of the 6th string). Then move up one fret to Ab then another fret to A Major, etc. Say each scale as you play it.

• Then practice them saying the name of the scale degree. So for the E form it would be 1, 2, 3, 4, 5, 6, 7,1, 2, 3, 4, 5, 6, 7, 1, 7, 6, 5, 4, 3, 2, 1, 7, 6, 5, 4, 3, 2,1 – always remember to just play the top note once.

Do it to all of the 5 forms

• When you can do this smoothly then try just one key. You should do the order of keys as follows:– C, G, D, A, E, B, F#, C#, (Sharp keys – except C

Major).– F, Bb, Eb, Ab, Db, Gb, Cb (Flat Scales)

• Once you can do all of the above you have mastered the major scales and the CAGED form. Again visualization will really help you to master this.

Next Steps

• After this is mastered you can work on the other scale forms.

• For minor (usually Dorian Mode) you lower the 2nd and 7th degrees of the scale – that is why you need to know the degree of the scales.

• For a dominant chord (such as G7) the scale is the Mixolydian mode. For that you lower the 7th degree of the scale.

• You will find that you can do that with all scale forms. It makes it very easy to learn new scales. You just have to know which degree(‘s) to alter (raise or lower).

Summary

• Scales are derived from the chord forms. You should know the chords before the scale forms. The scales all have the same whole – ½ step form.

• The scales always go up the neck in the same order (CAGED).

• Learn all the scale forms in every key.• Once they are mastered try the other scales.

They are all derived from the major scale.• Take them slowly – speed comes with time and

practice.

Proud MaryIntro: |C A | C A | C A G F |F F F D |Verse 1:DLeft a good job in the city, Workin for the man every night and day.And I never lost one minute of sleepin', Worryin' 'bout the way things might have been. A BmBig wheel a-keep on turnin' Proud Mary keep on burnin',DRoll - in', rollin', rollin' on the river. Roll - in', rollin', rollin' on the river.Verse 2:Cleaned a lot of plates in Memphis, Pumped a lot of pain down in New Orleans.But I never saw the good side of the city, Till I hitched a ride on a river boat queen.Big wheel a-keep on turnin,Proud Mary keep on burnin',Roll - in, rollin, rollin on the river. Roll - in, rollin, rollin on the river.Verse 3:If you come down to the river, Bet you're gonna find some people who live.You don't have to worry, cause you have no money,People on the river are happy to give.Big wheel keep on turnin, Proud Mary keep on burnin, Roll - in, rollin, rollin on the river.

Brown Eyed GirlG C G D G C ||: Hey, where did we | go | days when the rains | came. | Down in the | hollow | G D Gplayin' a new | game. | Laughin' and a | C G D G C G runnin', hey, hey, | Skippin' and a | jumpin, | In the misty morn | ing fog with | our |D C D G Em C Dhearts a thumpin' and | you |My Brown Eyed Girl, | | | You're my | Brown EyedG D G CGirl. | Do you remem- | ber when | we used to sing | Sha la la la | la la la la | G D G C G Dla la la te da. | | Sha la la la | la la la la | la la la te da.| la te da.:| |

G C G D G C G D G | | | | | | ||: Sha la la la | la la la la | la la la te da. | :|| ||

Mustang Sally Wilson Pickett

{Intro: A7} Verse 1 A7 Mustang Sally, guess you better slow that Mustang down D7 A7 Mustang Sally, guess you better slow that Mustang down. E7 ( E7 Eb7 ) D7 You been runnin' all over town D7 A7 G7 A7 Guess I'll have to put your flat feet back on the ground. Refrain A7 All you wanna do is ride around Sally (ride Sally ride) All you wanna do is ride around Sally (ride Sally ride) D7 All you wanna do is ride around Sally (ride Sally ride) A7 All you wanna do is ride around Sally (ride Sally ride) E7 ( E7 Eb7 ) D7 A7 G7 A7 One of these early mornings, I'm gonna be wipin' those weepin' eyes. Verse 2 I bought you a vintage Mustang, a 1965. Now you’re comin' 'round, signifyin' woman You don't wanna let me ride. Mustang Sally, guess you better slow that Mustang down. You been runnin' all over town. Guess I'll have to put your flat feet back on the ground. <Refrain: “All you wanna do is...>

Black Magic Woman Santana

Dm Am I got a black magic woman, I got a black magic woman Dm Gm I got a black magic woman got me so blind I can't see Dm A Dm I got a black magic woman she try'in to make a devil out of me Dm Am Turn your back on me baby, turn your back on me baby Dm Gm Turn your back on me baby don't turn babe Dm A Dm Turn your back on me baby you might just pick up my magic sticks Dm Am Got your spell on me baby, got your spell on me baby Dm Gm Got your spell on me baby turnin my heart into stone Dm A Dm I need you so bad magic woman I can't leave you alone

You Really Got A Hold On Me Smokey Robinson

INTRO: | C | Am | C | Am | | //// | //// | //// | //// | VERSE: C I don't like you, but I love you Am Seems that I'm always thinkin' of you. C F Dm Tho' oh oh you treat me badly, I love you madly, G7 C Am You really got a hold on me. You really got a hold on me. C I don't want you, but I need you. Am Don't wanna kiss you, but I need to C7 F Dm Tho' oh oh you do me wrong now, my love is strong now. G7 C Am You really got a hold on me. You really got a hold on me. Baby, C7 F I love you and all I want you to do is just C G7 Hold me, hold me, hold me, hold me. | C | Am G C | | //// | / / // (tighter!)| | C Am G C | | //// | / / // (tighter!)| C I wanna leave you, don't wanna stay here Am Don't wanna spend another day here C7 F Dm Tho' oh oh I wanna split now, I can't quit now G7 C Am You really got a hold on me. You really got a hold on me. Baby, C7 F I love you and all I want you to do is just C G7 (Hold me) please, (hold me) squeeze, hold me

You Really Got A Hold On Me Smokey Robinson

INTRO: | C | Am | C | Am | | //// | //// | //// | //// | VERSE: C I don't like you, but I love you Am Seems that I'm always thinkin' of you. C F Dm Tho' oh oh you treat me badly, I love you madly, G7 C Am You really got a hold on me. You really got a hold on me. C I don't want you, but I need you. Am Don't wanna kiss you, but I need to C7 F Dm Tho' oh oh you do me wrong now, my love is strong now. G7 C Am You really got a hold on me. You really got a hold on me. Baby, C7 F I love you and all I want you to do is just C G7 Hold me, hold me, hold me, hold me. | C | Am G C | | //// | / / // (tighter!)| | C Am G C | | //// | / / // (tighter!)| C I wanna leave you, don't wanna stay here Am Don't wanna spend another day here C7 F Dm Tho' oh oh I wanna split now, I can't quit now G7 C Am You really got a hold on me. You really got a hold on me. Baby, C7 F I love you and all I want you to do is just C G7 (Hold me) please, (hold me) squeeze, hold me

Fingerpicking

F. Markovich

Alternating Bass Fingerpicking

• The most common type of fingerpicking patterns done in American Folk Music is called Travis Picking but a better and more accurate term is alternate bass picking.

• This is a type of picking that has been developed that closely resembles ragtime or stride piano. The essence of this is the alternating bass played with the thumb on guitar or with the left hand on the piano.

• Listen to compositions by such people as Scott Joplin to get an idea of where this style came from. First with pattern picking and then with specific arrangements. Such players as Leo Kottke, Doc Watson, Chet Atkins, Paul McCartney, Jimmy Page and others use this style. Listen to them to get a feel for what you should be doing.

• In addition to alternating bass patterns another common pattern type that is done is "arpeggio" styles or "broken chord" patterns.

Picking hand position

• Your fingers should all be curved at each joint.

• Thumb should be to the left of your fingers (right handed people) and to the right of your fingers if you play left handed.

Thumb

• The thumb will do the rest stroke on most American styles of finger-picking.

• To do this you will strike the string in a downward motion and the thumb will come to rest on the next string. For example, if you played the 5th string your thumb would end up resting on the top of the 4th string.

• For the Bass you will always use your thumb with the "rest" stroke. For example, to strike the 5th string hit the 5th string in a downward motion and follow through and stop with your thumb resting on the 4th string. Your thumb will then make a small circle to come into position for the next note. You should use a little of the fleshy part of the thumb and the nail.

• Again keep your thumb to the left of the fingers!

Alternating Bass – First Step

Do the following to any A type chord (Am, A7, A etc.)

Count What you do 1 Thumb hits the 5th string 2 Thumb hits the 4th string 3 Thumb hits the 5th string 4 Thumb hits the 4th string

Keep the pattern going

• The bass notes change as you change chords while the strings played with the first and second fingers many times remain the same.

• Once you have mastered the bass notes then you need to move on to adding the rest of your fingers into the patterns.

• Usually with this pattern you will use only your index and middle fingers. That is why this style is many times called “two finger fingerpicking".

Chord and bass notes

Chord Bass AlternateA, Am, A7 5 4 or 6B7, Bm 5 4 or 6C, C7 5 4 D, Dm, D7 4 3 or 5E, Em, E7 6 4 or 5F 4 3G 6 4

The Fingers – Free Stroke• The stroke for your other fingers is called the "Free Stroke"

and is done by striking the string with the finger in the following manner. Let's assume that you are hitting the 2nd string with your index finger. – The index finger will be just below the second string and

actually just hook the string and bring the index finer upward toward the palm of your hand. It should not touch the other strings.

– Again like the thumb you should make a small circle to bring it bake to where it can strike the next note. This movement is very small and your index finger moves only about an inch total.

– It is important to note that you do not bring it all the way until it touches the palm.

– Also keep your fingers touching each other as you do this.

Let’s try the first fingerpicking on Am

Count What you play1 Thumb plays the 5th string& Middle finger plays the 1st string2 Thumb plays the 4th string& Index finger plays the 2nd string3 Thumb plays the 5th string& Middle finger plays the 1st string4 Thumb plays the 4th string& Index finger plays the 2nd string

When you change chords only the thumb will change what it plays

With A D or D7 chord:Count What you play1 Thumb plays the 4th string& Middle finger plays the 1st string2 Thumb plays the 3th string& Index finger plays the 2nd string3 Thumb plays the 4th string& Middle finger plays the 1st string4 Thumb plays the 3th string& Index finger plays the 2nd string

For an E, E7, Em, G or G7 Chord

Count What you play1 Thumb plays the 6th string& Middle finger plays the 1st string2 Thumb plays the 4th string& Index finger plays the 2nd string3 Thumb plays the 6th string& Middle finger plays the 1st string4 Thumb plays the 4th string& Index finger plays the 2nd string

Fingerpicking style of “Landslide”

• Very similar to outside – inside style.

• Has a definite swing to it.

• The fingers move into the 2nd and 3rd strings.

What you play

Count What you play1 Thumb plays the 5th string& Index finger plays the 3rd string2 Thumb plays the 4th string& Middle finger plays the 2nd string3 Thumb plays the 5th string& Index finger plays the 3rd string4 Thumb plays the 4th string& Middle finger plays the 2nd string

First Chords to Landslide

4/4 ||: C | G/B | Am7 | G/B : ||

G/B

2

4

0 0 X X

G/B means a G chord with a B noteIn the bass (lowest note).

Am7

1

2

X 0 0 0

LANDSLIDE (Stevie Nicks) C G Am G I took my love, I took it down C G Am G Climbed a mountain and I turned around C G Am G And I saw my reflection in the snow-covered hills C G Am Am - G Till the landslide brung it down (Oh,) C G Am G Oh, mirror in the sky, what is love? C G Am G Can the child within my heart rise above? C G Am G Can I sail through the changin' ocean tides? C G Am G C G Am G Can I handle the seasons of my li - i - fe? C G Am D7 Mm hmm hmm hmm

G D7 Em Em Well, I've been afraid of changing 'cause I've C G Am D7 Built my life around you G D7 Em Em But time makes you bolder, even children get older C G Am Am - G And I'm getting older too

Learn the chords before applying the fingerpicking

• You need to know the chords first.

• Then the fingerpicking.

• Don’t try until both can be done separately.

• Once you can do that take each chord change until you can play it perfectly.

• Don’t try the whole song until each part is mastered.

How to practice the fingerpicking patterns

• Do each fingerpicking at least 100 times per day. That will be a bit over 5 minutes per day.

• Try each one with different chords.• When you know the fingerpicking it becomes just

automatic.• This takes time but will happen with practice.• These are pattern picking styles and the first

step to fingerpicking.

Johnny B. GoodeA7

4/4 ||: Way down in Louisiana, Down to | New Orleans. | Way back up in the woods by the | Evergreens there D7 A7stood a long log cabin made of | earth and wood where | lived a country boy named | Johnny B. Goode whoE7 D7 A7 E7 never learned to read or | write so well but he could |Play his guitar like a | ring in the bell Go, || A7 D7 A7 Go | Go Johnny go Go |Go | Go Johnny Go | Go | Go Johnny Go Go | Go | Go Johnny go GoE7 D7 A7 E7Go | Johnny B. | Goode | : ||He Used to carry his guitar in a gunny sack go down to woods by the railroad tracks. People used to come from miles around just to here him play the driving sounds. People would stop and they would say oh my how that little country boy can play Go Go etc.His mother told him someday you will be a man and you will be the leader of a big old band. People will come from miles around just to listen to you play your drivin' sounds. Some day your name will be in lights sayin' Johnny B. Goode tonight.

The name is dependent upon the fret.

• 1st fret = F, 2nd F# or Gb, 3rd is G, 4th is Ab or G#, 5th is A, 6th is Bb, 7th is B, 8th is C, 9th is C# or Db, 10th is D, 11th is Eb and 12th is E.

• That is where your index finger will play.• Use this fingering.

Major (F Major)

For the dominant 7th chord

• Remember that a 7th chord is really a dominant 7th.

7th Form (F7)

The name is dependent upon the fret.

• 1st fret = F7, 2nd F#7 or G7b, 3rd is G7, 4th is Ab7 or G#7, 5th is A7, 6th is Bb7, 7th is B7, 8th is C7, 9th is C#7 or Db7, 10th is D7, 11th is E7b and 12th is E7.

• That is where your index finger will play.• Use this fingering.

7th Form (F7)

For tonight you will first play the A7 chord.

• This is the 7th form at the 5th fret.

A7 at 5th fret

5th fret

The G Major Barre Chord in E form.

12

4

11111

3

• This will be at the 3rd fret, since G in on the 3rd fret of the 6th string.

To change this frommajor to minor justlift the 2nd finger. To change from a Major to a 7th just lift the 4th finger. For minor 7th lift the2nd & 4th finger.

For The Next Class• The E form of the CAGED chords and scale.• Start memorizing the names of the notes on guitar• Work on correct right hand position.• Outside - Inside Fingerpicking• G Major Scale• Purchase - Rock Guitar Fake Book ‘C’ edition - Guitar. • Look over and read all the handouts• Study the theory and play all of the songs we went over.• Fill out the student information sheet• Send me a message so I can add you to email:

– [email protected]– [email protected]

• Please hand in the student information sheet tonight!!• Here Comes The Sun page 100 in book.

This seems like quite a bit but you can do it all. It may be that we won’t cover all this material in one week. Don’t worry about that. Also, not everyone will have to do everything. Go at your own pace. What you must do is the reading so that you understand the material. Remember the main goal is to have ‘Fun’!!!

Documents

Guitar III & Guitar IV 3rd night Spring 2005