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How To Play
Blues GuitarLesson Onetaught by
StefanGrossman
How To Play
Blues GuitarLesson Onetaught by
StefanGrossman
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.
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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.
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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:
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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:
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1) 2)
0
3) 4)
0
5)
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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.
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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
RAILROAD BILL
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Railroad Bill, Railroad BillHe never worked, and he never will,And it's ride, ride, ride.
Railroad Bill's a mighty mean manShot the light out of the poor brakeman's handAnd it's ride, ride, ride.
Railroad Bill, up on a hillLightin' a seegar with a ten-dollar bill.And it's ride, ride, ride.
Railroad Bill took my wife,If I didn't like it, gonna take my life.And it's ride, ride, ride.
Goin' on a mountain, goin' out westThirty-eight special stickin' out of my vest.And it's ride, ride, ride.
Buy me a pistol just as long as my armShoot everybody ever done me harm.And it's ride, ride, ride.
Got a thirty-special in a forty-five frame,I can't miss 'cause I got dead aim.And it's ride, ride, ride.
Railroad Bill, he ain't so badWhupped his mama, shot his old dad.And it's ride, ride, ride.
Early one morning, standing in the rainRound the bend come a long freight train.And it's ride, ride, ride.
Railroad Bill a-comin' home soonKilled McMillan by the light of the moon.And it's ride, ride, ride.
McMillan had a special trainWhen they got there they was prayin'And it's ride, ride, ride.
Kill me a chicken, send me the wingThey think I'm workin', Lord, I ain't doin' a thing.And it's ride, ride, ride.
Kill me a chicken, send me the head,Think I'm workin', Lord, I'm layin' in bed.And it's ride, ride, ride.
Gonna drink my whiskey, drink it in the windThe doctor said it'd kill me but he didn't say when.And it's ride, ride, ride.
7
Railroad Bill was a villain-hero of note in the South at sometime, if any faith is to be put in the veracity of folksongs - aperson who seems to have cut a wide swath in life as hedoes in song. He is, infact, like a big, wild engine himself,when, fired by “ole corn whiskey,” he starts forth, to ride downany person or thing that interposes obstruction in his path.There is a movie rapidity of action and visibility of scene andcharacters about the stanza, for we fairly see Railroad Billshooting the lights out of the brakesman’s hand, and we seethe policemen coming down the sidewalk two by two, “dressedin blue.” We can guess at the emotional reactions of thebrakesman, or of “ ole Culpepper” minor figures, of no inter-est in themselves, memorable in verse only because they en-countered Railroad Bill. He it is who is the daring figure. Whatmatter if the law did clutch him later on, and penalize him?‘He had had his glorious hour of corn whiskey and publicity.There are various versions of Railroad Bill, the best that Ihave found being given by, Professor Odum, in the Journalof American Folklore.
Railroad Bill mighty bad man,Shoot dem lights out o’ de brakeman’s handIt’s lookin’ fer Railroad Bill.
Railroad Bill mighty bad man,Shoot the lamps all off the stan’An’ it’s lookin’ fer Railroad Bill.
First on table, next on wall,Ole corn whiskey cause of it allIt’s lookin’ fer Railroad Bill.
Ole McMillan had a special train,When he got there wus a shower of rainWus lookin’ fer Railroad Bill.
Eveybody tole him he better turn back,Railroad Bill wus goin’ down trackAn’ it’s lookin’ fer Railroad Bill.
Well, the policemen all dressed in blue,Comin’ down sidewalk two by two,Wus lookin’ fer Railroad Bill.
Railroad Bill had no wife,Always lookin’ fer somebody’s lifeAn’ it’s lookin’ fer Railroad Bill.
Railroad Bill was the worst ole coon,Killed McMillan by the light o’ the moonIt’s lookin’ fer Railroad Bill.
Ole Culpepper went up on Number Five,Goin’ bring him back, dead or alive,Wus lookin~ fer Railroad Bill.
Standin’ on a corner, didn’t mean no harm,Policeman grab me by the arm -Wus lookin’ fer Railroad Bill.
Professor E. C. Perrow publishes several versions of this songin his article, “Songs and Rhymes from the South,” in theJournal of American Folklore (volume xxv). Some hint of thetime when this song may have originated is found in the sec-ond stanza of one that he gives -
Railroad Bill cut a mighty big dash,Killed McMillan like a lightnin’ flash,An’ he’ll lay yo’ po’ body daown.
Railroad Bill ride on de train,Tryin’ to ack big, like Cuba an’ Spain,An’ he’ll lay yo’ po’ body daown.
Get up, ole woman, you sleepin’ too late,Ef Railroad Bill come knockin’ at yo’ gate,He’ll lay yo’ po’ body daown.
Talk about yo’ bill, yo’ ten-dollar bill,But you never seen a Bill like Railroad Bill,An’ he’ll lay yo’ po’ body daown.
The following is a version current among MississippiBlacks, Professor Perrow, says:
Railroad Bill said before he diedHe’d fit all the trains so the rounders could rideOh, ain’t he bad, oh, the railroad man I
Railroad Bill cut a mighty big dash,He killed Bill Johnson like a lightning flash -Oh, ain’t he bad, oh, the railroad man!
The name of the victim seems to vary, being in some sectionsMcMillan and in others Bill Johnson, but he was indisputablydead when Railroad Bill got through with him. Whatever hewas called, he did not answer!
Railroad Bill was certainly a good workman, for not only didhe shoot out the lantern from a brakesman’s hand and shootthe lights out of Ole McMillan, or Johnson, - or both, - but hecould hit a much smaller target as well; at least, the Missis-sippi Negroes so report, as Lemuel Hall tells me.
Railroad Bill got so fineHe shot a hole in a silver dime.Railroad Bill, Railroad Bill, Railroad Bill got sore eyes,An’ won’t eat nothin’ but apple pies.
(from an article about the origins of Railroad Bill)
8
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CARELESS LOVE
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Oh love, oh love, oh careless love,Oh love, oh love, oh careless love.Oh love, oh love, oh careless love,Now now don't you see what your careless love has done.
Well you worried my mother till she diedAnd you caused my father to lose his mind.Now damn you I'm goin' to shoot you, Lord, I'm gonna shoot you both right down,I'm gonna spare no one of you child till you spin next dyin'.
Oh love, oh love, oh careless love.Oh love, oh love, oh careless love.Oh love, oh love, oh careless loveOh Lord, don't you see what, what your careless love has done.Oh yeah.
Careless love now don't know see how you follow me down,Careless love, don't you see how you follow me down.Well, you robbed me out of my silver, Lord, and out of my goldEver since you been a-ridin' by side.
Oh love, oh love, oh careless,Oh love, yes oh love, oh careless love.Oh love, I said love, oh careless love nowDon't you see what your careless love has done, yeah.
11
I’M SATISFIED
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I'm I satisfied, tickled too, old enough to marry youI'm satisfied it's gonna bring you backI'm satisfied, tickled too, old enough to marry youI'm satisfied it's gonna bring you back
First in the country, then in the town,I'm a total on shaker from my navel on downI'm satisfied it's gonna bring you backI'm satisfied, tickled too, old enough to marry youI'm satisfied it's gonna bring you back
I pull my dress to my knees, I give my total all to who I pleaseI'm satisfied it's gonna bring you backI'm satisfied, tickled too, old enough to marry youI'm satisfied it's gonna bring you back
I'm satisfied, tickled too, old enough to marry youI'm satisfied it's gonna bring you backI'm satisfied, tickled too, old enough to marry youI'm satisfied it's gonna bring you back
Mississippi John Hurt
14
YOU GOT THE POCKETBOOK, I GOT THE KEY
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17
(from the playing of Rev. Gary Davis)Now when some people drinks, they drinks they rum, somedrinks homemade wine, you know some people drinks gin...all that kind of stuff, you understand. Some folks takes a mealand some folks sniff cocaine. Way back yonder when I was achild, I been hearing tell of cocaine ever since I been knowingwhat drinking was. Used to be to tell me when you used tosniff cocaine, you'd put it on the point of a knife, you under-stand, and sniff it up your head. You understand, they had thebiggest kind of trouble. Now they start to have a better way,you understand, for you to get it, you understand. Sometimesyou get it in your vein, they call it now, today, narcotic. Youunderstand, well, it's that same name that they give it, wayback yonder, cocaine, but it's that same narcotic. Sometime,I was ready to get filled up with cocaine and ain't had tooknary a sniff. Sometime you get tied up in love, you understand,you got cocaine a plenty, don't have to snuff none. Ain't thatright?
I hear a boy sayI'm going uptown, I'm gonna hurry backHe said, my baby's got something I sure do lackWhat is it?He said, cocaine, gettin' all around my brain,
Said, see that woman yonder coming,dressed in black?What's the matter?I believe to my soul, she's gonna take me back,Cocaine, all around my brain,
Here's somebody draggin', can't hardly make itSaid, you oughtta been dead long time agoSnuffin' cocaine up the head,Cocaine, all around my brain,
Here come a man with a pretty girlTalk about your good gal, you oughtta see mine.She ain't so pretty but she do dress fineCocaine, all around my brain.
Here's a fellow done got too much of it,you understand, about to kill himHe said, run here baby, please, ma'am, run here quickThis cocaine is just about to make me sickCocaine, all around my brain.
That's one of them old-time playing, you see?
One of these mornings, it won't be long,You're gonna wake up and call for me and I'll be goneWants to get something, now.Cocaine, it done got all around my brain
Here come a high, tall personAll you people ought to be like me, drink that good
corn whiskeyLet the cocaine be.Cocaine, it done got all around my brain
That fellow got some sense,he wants something to do him good,not to killhim, you understand?
(Various verses from other sources)Everytime my baby and me go up townpolice come and they knock me downCocaine all around my brain
Hey baby, better come here quick.This old cocaine is making me sick.Cocaine all around my brain.
Yonder comes by baby, she's dressed in redShe's got a shot-gun, says she's gonna kill me dead.Cocaine all around my brain
Hey baby, better come here quick.This old cocaine is making me sick.Cocaine all around my brain.
Early one morning, half past fourcocaine came knockin' on my door.Cocaine all around my brain
Hey baby, you better come here quick.This old cocaine is making me sick.Cocaine all around my brain.
Cocaine's for horses and it's not for menDoctor said it kill you, but he don't say when.Cocaine all around my brain.
Hey baby, you better come here quick.This old cocaine is making me sick.Cocaine all around my brain.
18
SEE SEE RIDER(ALTERNATING BASS)
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See see rider, see what you have done, Lord, Lord, LordMade me love you, now your gal has comeYou made me love you, now your gal has come
I'm goin' away, baby, I won't be back ‘till fall, Lord, Lord, LordGoin' away, baby, won't be back till fallIf I find me a good man, won't be back at all
I'm gonna buy me a pistol, just as long as I am tall, Lord, Lord, LordShoot my man, and catch a cannonballIf he won't have me, he won't have no gal at all
See See Rider, where did you stay last night? Lord, Lord, LordYour shoes ain't buttoned and your clothes don't fit you rightYou didn't come home till the sun was shining bright
I'm goin' to Louisiana, you know that's across the lineGoin' to Louisiana, you know that's across the lineGoin' to Louisiana, you know that's across the lineI'll be seldom seen, baby, and hard to find
If I had two women and my partner didn't have noneIf I had two women and my partner didn't have noneHad two women an' my partner didn't have noneI'd take one of my women and give my partner one
Soon one mornin', blues knocked on my doorSoon one mornin', the blues knocked on my doorOh, soon one mornin', the blues knocked on my doorCome here to stay with you, won't be leavin' no more.
21
SEE SEE RIDER(MONOTONIC BASS)
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SAVE UP YOUR MONEY,JOHN D. ROCKEFELLER, PUT THE PANIC ON
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Rev. Gary Davis
26
BLUES IN C
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32
Sara Martin and Sylvester Weaver
