Transcript A Soulin’ - Frank Markovich

Guitar III and Guitar IV Class 16
• Figuring out songs.
• Advanced techniques introduction:
–
–
–
–
–
–
Hammers
Pulls
Slides
Taps
Harmonics
Articulation
• Go over Final Exam
• More theory
• Next week Jim Nichols on Thursday evening. You
are not only invited but encouraged to attend.
Final
• Class as a whole did really well. Have
CD’s for ones who played open mic.
• Grades from A to C no D’s or F’s. All
unless indicted can move to next class.
• Summer class is just about full and fall
guitar II is almost full.
Moveable Chords
By: Frank Markovich
Moveable Chords
“Moveable chords” are chords whose form can be used on different frets to become
different letter names. The type of chord stays the same but the letter name changes. For
example, a F7 at the 1st fret would become a G7 at the 3rd fret if it were a moveable
chord. There is one major misconception about moveable chords that is that the only
moveable chords are barre chords. Nothing could be further from the truth. Barre chords
are moveable but they are a sub-set of the many moveable chords. While they are the
first moveable chords that most students of the guitar learn they are only a small (albeit
important) part of the moveable chord set.
The concept is as follows: A chord that has no open strings can be played at another fret
and the name of the letter note on that chord changes. If you play the following form at
the 1st fret you will have a F7 chord. Put your first finger on the 1st fret 6th string, 2nd
finger on 1st fret of the 4th string, 3rd finger on the 1st fret of the 2nd string and pinky on
the 2nd fret of the 3rd string. This is called on F7 and the root is the 6th string. What that
means is if you play the same form at a different fret the letter note that you play on the
6th string is the letter name of the chord. For example, at the 3rd fret it would be a G7
since the 6th string 3rd fret is ‘G’. If you played the 5th fret it would be ‘A7’ since ‘A’ is
the letter name of the 6th string 5th fret. If you wanted a ‘D7’ you would go to where ‘D’
is on the 6th string and play the form there (10th fret).
What this does for you. With just a few chord forms and learning where to play them
you can play any song!! What you need to do is learn the major, minor, and 7th forms for
both the 6th and 5th strings and then learn the names of the notes on the 6th and 5th strings.
With simplification of chords all chords (with the exception of diminished and
augmented chords – which are rarely used) could then be played. No song should be out
of your reach for playing the chords. Of course before you do this you should have the
main 1st position chords down. You will find that these forms are many times what are
used to go up and down the neck with moveable forms.
As you progress, you can then start adding in either 4th, 3rd, etc. root chords or more
complicated chords such as minor 7ths, major 7ths, 9th chords etc.
If you are a rock player then the power chords should also be learned. But note there is
only one main fingering for power chords. To do it place your 1st finger on the 6th string
1st fret, 3rd finger on the 5th string 3rd fret and pinky on the 4th string 3rd fret. This form
can be moved down 1 string to the 5th string and can be played as either a 5th or 6th string
root chord.
6th string root barre chords. The ‘E’
form moveable chord.
• This starts by first having the ‘E’ first position chords
down perfectly.
• This is the ‘E’ form of the CAGED system.
• To change a major ‘E’ chord to a minor ‘Em’ chord lift the
1st finger off of the 3rd string.
• To change a major ‘E’ chord to a dominant 7th chord lift
the 3rd finger off and play the 4th string open.
• There is theory behind this. A major chord uses the 1st,
3rd and 5th of a major scale. To make it a minor chord
you lower or flat the 3rd degree. To make it a 7th chord
you add the 7th and flat it.
For Key of E
• E Major scale 1 = E, 2 = F#, 3 = G#, 4 = A, 5 =
B, 6 = C#, 7 = D#.
• For E Major 1 = E, 3 = G# and 5 = B or the notes
E, G# and B.
• For E Minor lower or flat the 3rd degree (G#) so it
will become G. Flatting a sharp cancels the
sharp and the note becomes an natural
• For E7 add a flat 7 (7 = D#) so it is D. Notes are
E, G#, B and D.
The first step is to finger the chords
without using the index finger.
• For the E major chord. The fingering will
be the 2nd finger on the 1st fret of the 3rd
string.
• 3rd finger on the 2nd fret of the 5th string.
• 4th finger on the 2nd fret of the 4th string.
See the next page.
Starting E Major
Chord.
Play it with the fingering below.
To
1
2
0
2
3
3
0
0
0
4
0
0
The other ‘E’ forms work from this. Just remove the 2nd finger for
minor and the 4th finger for the dominant 7th chord.
E major Form 1 fret up becomes
‘F’ major.
1
1
1
1
2
3
4
1
1
When doing a full barre chord
use more of the side of the
index finger. It is more of a
leverage issue than a pressure
issue.
The root to this chord is on the 6th string or the 1st string. The names of
the notes on these strings are the roots of the chord. At the first fret it is
An F, 2nd fret a F# (Gb), 3rd fret is G, 4th fret is G# (Ab), 5th fret is A,
6th fret is Bb (A#), 7th fret is B, 8th fret is C, 9th fret is C# (Db), 10th fret is
D, 11th fret is Eb (D#), 12th fret is E.
The letter name stays the same no matter which form is used.
The Guitar Fingerboard
Fret
E
1
F
2
F#,Gb
3
G
4
G#,Ab
5
A
6
Bb,A#
7
Bb,A#
8
C
9
C#,Db
10
D
11
Eb,D#
12
E
13
F
14
F#,Gb
15
G
16
G#,Ab
17
A
18
Bb,A#
19
B
20
C
21
C#,Db
22
D
Notes on the 6th or low
E string. Memorize these
so that you can find them
immediately. The next
chords you will be doing all
use this 6th string as a
starting point. Notice that it
is the chromatic scale
starting on ‘E’. Also that the
12th fret is the same as the
open string. Lastly, that
there are no sharps or flats
between E and F – and
between B and C.
Try a simple chord change
• Do two measures of F to 2 measures of G. F is
at the 1st fret and G is at the 3rd fret.
• ||: F | | G | | F | | G | : ||
• Then do the same thing with G to A (A is at the
5th fret.
• ||: G | | A | | G | | A | : ||
• Then A to B (B is at the 7th fret).
• ||: A | | B | | A | | B | : ||
• When the above is mastered try each one of
them with one measure each.
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
A
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
For this do the G, B C and A chords as
6th root barre chords. The E play in 1st
position along
Remember that G is 3rd fret, B at the 7th
fret, C at the 8th fret and A at the 5th fret.
Then you can also slide down from C to
A by doing C, B, Bb to A or frets, 8 7 6 to
5.
Later when we add in 5th roots the E and
D chords should be played as 5th string
root chords.
E minor Form 1 fret up becomes
‘F’ minor.
1
1
3
1
1
1
1
4
The root to this chord is on the 6th string or the 1st string. The names of
the notes on these strings are the roots of the chord. At the first fret it is
An Fm, 2nd fret a F#m (Gbm), 3rd fret is Gm, 4th fret is G#m (Abm), 5th fret is Am,
6th fret is Bb (A#m), 7th fret is Bm, 8th fret is Cm, 9th fret is C#m (Dbm), 10th fret is
Dm, 11th fret is Ebm (D#m), 12th fret is Em.
Light My Fire
4/4 ||: Am
|F#m
| Am
|F#m
You know that it would be untrue. You know that I would be a liar.
|Am
|F#m |
If I was to say to you.
Am
|F#m
|G
A
|D |G
A
Girl we couldn’t get much higher. Come on baby light my fire. Come on baby light my fire.
G
F#m | E7
Try to set the night on fire.
|
|D
B7 |
:|| Solo is ||: Am Bm :||
Am is at the 5th fret, F#m at the 2nd fret. G major at the 3rd, A major at the
5th fret. B7 at the 5th fret. Bm at the 7th fret. D and E7 should be 5th roots
once they have been learned but for now do them as beginning chords.
"HEARD IT IN A LOVE SONG"
D
I ain't never been with a woman
to get old.
G
We've been together so long now
D
F#m
If I ever settle down you'd be
time for me to head on down the
F#m
long enough, for my boots
D
they both need resoled.
G
my kind and it's a good
line.
Chorus:
D
A G
Heard it in a love song
D
A G
Heard it in a love song
D
A G
Heard it in a love song
D
Can't be wrong.
I'm the kinda man likes to get away, like to start dreamin
about tomorrow today.
Never said that I love you, even thought it's so
Where's that duffle bag of mine it's time to go.
Chorus
I'm gona be leavin at the break of dawn. Wish you could
come but I don't need no woman taggin along.
So I'll sneak out that door couldn't stand to see you cry.
I'd stay another year if I saw a tear drop in your eye.
Chorus
I never had a damn thing but what I had I had to leave it
behind.
You're the hardest thing I ever tried to get off my mind.
Always something greener on the other side of that hill.
I was born a wrangler and a rambler and I guess I always
will
Chorus
A
Do the D chord in first position but
all of the others as E form of the
barre chord. So F#m is at the 2nd
fret, G at the 3rd fret and
D A at the 5th
fret.
Later when we add in the 5th root
(A form), you will play the D as a
barre also. Just take your time on
this.
E7 Form 1 fret up becomes
‘F7’.
1
1
1
1
1
1
2
3
The root to this chord is on the 6th string or the 1st string. The names of
the notes on these strings are the roots of the chord. At the first fret it is
An F7, 2nd fret a F#7 (Gb7), 3rd fret is G7, 4th fret is G#7 (Ab7), 5th fret is A7,
6th fret is Bb7 (A#7), 7th fret is B7, 8th fret is C7, 9th fret is C#7 (Db7), 10th fret is
D7, 11th fret is Eb7 (D#7), 12th fret is E7.
OK some other Chords
Do these in E form:
#1
4/4 ||: C | Am | F | G7 : ||
#2
4/4 ||: F | Bb | F | C7 : ||
#3
4/4||:C | F | C | G7 :||
#4
4/4 ||: Gm | C7 | F | :||
#5
4/4 ||: Am | G | F | G :||
#6
4/4 ||: Bbm | Ab | Gb | F7 :||
#7 – like Feelin’ Alright
4/4 ||: C7 | F7 :||
Write these down on paper and
start by writing the fret down
underneath. Once you can do it
without looking at the fret number
then mark off the number.
Be sure to study the forms.
Relate them to the E forms!!!!
Very important to do the right
forms. Remember that there are
3 basic forms: Major, Minor and
Dominant 7th forms. Other forms
that exist are used sparsely if at
all. 9th, 11th, 13th and other
chords are derived from these
chords.
Summary
• To start it is vital important that you first really
learn and visualize the 3 E forms.
• There is only a small difference between each of
the forms.
• The letter names are constant by which fret you
are at.
• Practice these chords to many different songs. It
is vital that you just keep at it.
• You can do it. It may take some time but you can
do it. It takes an average player about 2 to 3
months to learn these and actually sound good.
5th Root – Same thing works
• Now you use the root on the 5th string not
the 6th string. See why you need to know
all the names of the notes on the strings!
• Start with Bb. Remember for the major
that you actually don’t do a full barre chord
just the middle 4 strings.
E
A
A#,Bb
B
C
C#,Db
D
D#,Eb
E
F
F#,Gb
G
G#,Ab
A
etc,
D
G
B
Notes on the 5th or A string. These will be
used for the chords on the next few slides.
It is vital that you also memorize these.
Note that the E and A forms of the Barre
chords are the most used ones. You need
to have these down pat before moving on.
Take your time with these and you will
learn them forever.
See how these are
derived from the 1st
position A, Am and A7
chords. This works the
same as the previous E
forms worked.
Really take your time on
these. It is best to try to
visualize these chords. I
can tell you that with a
little work this will open up
many new doors for you
to play.
Now we need to put them together.
• Mix up the E and the A forms. Try to play
songs without moving as much. No more
than 4 frets in either direction.
• This requires some thought at first.
Brown Eyed Girl
Introduction and other parts – an
example of intervals of a 3rd and of
a 6th.
Brown Eyed Girl
G
C G
D
G
C
||: Hey, where did we | go | days when the rains | came. | Down in the | hollow |
G
D
G
playin' 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
D
hearts a thumpin' and | you |My Brown Eyed Girl, |
|
| You're my | Brown Eyed
G
D
G
C
Girl. |
Do you remem- | ber when | we used to sing | Sha la la la | la la la la |
G
D G
C
G
D
la 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
||: Sha la la la | la la la la | la la la te da. |
G
:||
||
This is an exercise in 3rd’s Thirds are very consonant and what all
chords are made of in traditional harmony. The first 2 notes of
each of the measures are the root and 3rd of the chord. The 2nd 2
notes are passing tones and the 3rd group of 2 notes are the 3rd and
the 5th of the chord (this applies to the G and C Chords). For the
D chord it is outlining the chord with the root then 3rd a passing
tone then the 5th of the chord
Counting
Fingering
1 & 2 &
0
0
1
2
This is the 1st and 3rd measure
1
2
3 & 4
1 0
2 0
Counting
Fingering
1 & 2 & 3 & 4
0 1
1
1 0
1 3
3
3 1
Counting
Fingering
1 & 2 &
0
0
1
2
This is the 1st and 3rd measure
1
2
3 & 4
1 0
2 0
Count
1 2
Fingering 0
(& 3) &
4
0
4
2
Here is the whole intro. Take this slowly. Realize that there are
only 3 different measures. The 1st and 3rd measure are exactly the
same.
Listen closely to the sound of 3rds. Try to recognize the sound in
other songs. 3rds are used quite a bit in harmony. The other
common interval used is 6ths which are inverted 3rds.
Finger
0
0
1 1
2 2
1 0
2 0
0 1
1 3
1
3
1 0
3 1
0 1
0 2
1
2
1 0
2 0
0
4
0 2
Watch the fingering. It is vital that you do it correctly! If you
use the incorrect fingers you will have difficulty in playing this
song. This ideas of 3rd’s is used in many songs: Rhiannon,
Lonely Bull, Ramblin’ Man and just many other songs.
Count
1
Fingering 1
2
2
4
3
3 (& 4)
1 3
2 2
1
2
0
0
(& 3) & 4
0 0 0 0
Here is one of the fills for when the song goes from G to Em.
These intervals are intervals of a 6th. For example, B to G is a
6th. (B C D E F# G) see that!!
Count
(1 2 )
& (3 4 )
& (1 2 )
& 3&4
The bass part to the song break. All in 1st position
Count (1 2 ) (&3) & 4
(1 2 )
& 3 4
( 1 2 ) (& 3) & 4
(12) &3 & 4
Fingering
1
2
1
3
1
3
1
3
1
2
Fingering
1
2
1
3
1
3
1
3
1
2
Fingering
1
2
1
3
1
3
1
3
1
2
Totally in 7th position
So for the 7th fret use
your index, 8th fret
middle finger, 9th fret
ring finger and 10th
fret your pinky.
Now memorize this. Take your time. Watch the rests and be
sure to stop sound during the rests. This adds the punch into
the line.
Here is the whole
thing. Take your
time and listen
closely to what
you play. Ideally
you should get
the CD and listen
to it.
Brown Eyed Girl
G
C G
D
G
C
||: Hey, where did we | go | days when the rains | came. | Down in the | hollow |
G
D
G
playin' 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
D
hearts a thumpin' and | you |My Brown Eyed Girl, |
|
| You're my | Brown Eyed
G
D
G
C
Girl. |
Do you remem- | ber when | we used to sing | Sha la la la | la la la la |
G
D G
C
G
D
la 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
||: Sha la la la | la la la la | la la la te da. |
G
:||
For the intro you just play the 1st – 4 chords 2 times. Try the
whole song. The break after the repeat is the bass part.
||
Watch Eric Johnson
• Cliffs of Dover 1st track
• Roll – Critical for this week. I have 10
questionable people on the rollbook.
Review chords from last week
Dm
Dm7
1
1
2
1
Notice that this is like the
F chord but without the
3rd finger.
2
4
X 0
0
X 0
C7
Bb
0
1
1
2
3
X
4
4
0
X X
0
3
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
A7
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
A7
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
A7
Dm
I need you so bad magic woman I can't leave you alone
I Heard It Through The Grapevine
Verse 1:
Dm
Bet you're wondering how I knew about your
A7
G
plans to make me blue, with some other
Dm
guy you knew before. Between the two of us
A7
G
guys you know I love you more. It took me by
Bm
G
Dm
G7
surprise I must say, when I found out yesterday:
Chorus:
Dm
I heard it through the grapevine,
G
not much longer would you be mine.
Dm
Ooh I heard it through the grapevine,
G
and I'm just about to lose my mind.
Dm
Honey, honey yeah.
<play main riff twice...>
Verse 2
You know that a man ain't supposed to cry, but these
tears I can't hold inside.
Losin' you would end my life you see, cause you
mean that much to me.
You could have told me yourself that you found someone
Landslide – Listen
• Listen to whole piece
• Pay attention to solo – slides etc.
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 play
1 Thumb plays the 5th string
& Index finger plays the 3rd string
2 Thumb plays the 4th string
& Middle finger plays the 2nd string
3 Thumb plays the 5th string
& Index finger plays the 3rd string
4 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 means a G chord with a B note
In the bass (lowest note).
Am7
G/B
1
2
2
4
X
0
0
X
X 0
0
0
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.
LANDSLIDE (Stevie Nicks)
[INTRO:]
C
G/B
Am7
G/B
E ----------------|----------------|----------------|----------------|
B ------1---------|------3---------|------1---------|------3---------|
G --0-------0-----|--0-------0-----|--0-------0-----|--0-------0----|(repeat)
D ----2-------2---|----0-------0---|----2-------2---|----0-------0---|
A 3-------3-------|2-------2-------|0-------0-------|2-------2-------|
E ----------------|----------------|----------------|----------------|
C
G/B
Am7
G/B
I took my love, I took it down
C
G/B
Am7
G/B
Climbed a mountain and I turned around
C
G/B
Am7
G/B
And I saw my reflection in the snow-covered hills
C
G/B
Am7
Am7 - G/B
Till the landslide brung it down
(Oh,)
C
G/B
Am7
G/B
Oh, mirror in the sky, what is love?
C
G/B
Am7
G/B
Can the child within my heart rise above?
C
G/B
Am7
G/B
Can I sail through the changin' ocean tides?
C
G/B
Am7
G/B
C
G/B Am7
Can I handle the seasons of my li
- i fe?
C
G/B
Am7
D7/F#
Mm hmm hmm hmm
G
D7/F#
Em
Em
Well, I've been afraid of changing 'cause I've
C
G/B
Am7
D7/F#
Built my life around you
G
D7/F#
Em
Em
But time makes you bolder, even children get older
C
G/B
Am7
Am7 - G/B
And I'm getting older too
Well, I've been afraid of changing 'cause I've
G/B
LANDSLIDE (Stevie Nicks)
[INTRO:]
C
G/B
Am7
G/B
E ----------------|----------------|----------------|----------------|
B ------1---------|------3---------|------1---------|------3---------|
G --0-------0-----|--0-------0-----|--0-------0-----|--0-------0----|(repeat)
D ----2-------2---|----0-------0---|----2-------2---|----0-------0---|
A 3-------3-------|2-------2-------|0-------0-------|2-------2-------|
E ----------------|----------------|----------------|----------------|
C
G/B
Am7
G/B
I took my love, I took it down
C
G/B
Am7
G/B
Climbed a mountain and I turned around
C
G/B
Am7
G/B
And I saw my reflection in the snow-covered hills
C
G/B
Am7
Am7 - G/B
Till the landslide brung it down
(Oh,)
C
G/B
Am7
G/B
Oh, mirror in the sky, what is love?
C
G/B
Am7
G/B
Can the child within my heart rise above?
C
G/B
Am7
G/B
Can I sail through the changin' ocean tides?
C
G/B
Am7
G/B
C
G/B Am7
Can I handle the seasons of my li
- i fe?
C
G/B
Am7
D7/F#
Mm hmm hmm hmm
G/B
G
D7/F#
Em
Em
Well, I've been afraid of changing 'cause I've
C
G/B
Am7
D7/F#
Built my life around you
G
D7/F#
Em
Em
But time makes you bolder, even children get older
C
G/B
Am7
Am7 - G/B
And I'm getting older too
Well, I've been afraid of changing 'cause I've
Built my life around you
But time makes you bolder, even children get older
And I'm getting older too
Oh, I'm getting older too
Ah-ah, take my love, take it down
Ah-ah, Climb a mountain and turn around
And if you see my reflection in the snow-covered hills
Well, a landslide'll bring it down
C
G/B
Am7
G/B [pause]
And if you see my reflection in the snow-covered hills
C
G/B
Am7
G/B
Well, a landslide'll bring it down, oh-ohh
C
G/B
Am7.
The landslide'll bring it down.
Other songs form handouts
•
•
•
•
•
•
Dancing In The Street – F#m
I’m a Believer
Ain’t No Sunshine
People Get Ready
Proud Mary
Teach Your Children
Kansas City
A
D
4/4 I'm going to ||: Kansas City |Kansas City here I | come. |I'm Goin to| Kansas City |
A
E7
Kansas City here I | come. | They got some | crazy little women there and |
D
A
E7
A
I'm going to get me | one. | I'm going to be | standing on the corner |
A
D
12th street and | Vine. | I'm going to be | standing on the corner | 12th street and |
A
E7
D
A
Vine. | With my | Kansas City baby and my | bottle of Kansas City | wine.
E7
A (Break)
Well I | might take a train, | might take a plane but | if I have to walk I'm going to |
A
D
A
get there just the same. I'm Goin to | Kansas City | Kansas City here I | come. |
A
E7
D
A
E7
They got some | crazy little women there and | I'm going to ge me | one. | If I |
A (Break)
stay with that women you | know I'm gonna die | gotta find a brand new lover |
A
D
A
that's the reason why. I'm Goin to | Kansas City | Kansas City here I | come. |
A
E7
D
A
They got some | crazy little women there and | I'm going to get me | one. |
:||
12 bar blues in A:
4/4 ||: A | D | A |
|D |
| A
|
| E7
|D
|A |
: ||
Jump Jive And Wail
A
|
| | |D
|
|A |
4/4 ||: Baby, baby it looks like it’s gonna hail.
Baby, baby it looks like it’s gonna hail.
A
|E7
|D
|A
|
: ||
Better come inside let me teach you how to jump, jive and wail.
(Chorus)
Yeah, you gotta jump, jive and then you wail, you gotta jump, jive and then you wail. You gotta
jump, jive and then you wail, you gotta jump, jive and then you wail. You gotta jump, jive and
then you wail away.
Yeah, Papa’s in the ice box looking for a can of ale. Papas in the ice box looking for a can of ale. Said Mama’s on
the front porch learning how to jive and wail.
Chorus
Said, a woman is a woman and a man ain’t nothin’ but a man. Said, a woman is a woman and a man ain’t nothin’
but a man. Said one thing about them, they know how to jump, jive and wail.
Chorus
You know what I heard? Jack and Jill went up hill to get a pail. I said, Jack and Jill went up hill to get a pail. Ah,
Jill stood up wants to learn how to jive and wail.
Knockin' On Heaven's Door
Verse 1
G
D
Am G
D
C
G
D
| Mama take this badge off of me |
| I can't use it any more |
| It's getting dark , too dark for me to
Am
G
D
C
G
D
Am
| see
| I feel like I'm kmockin' on heaven's door |
| Knock, knock, knockin' on heaven's door |
|
G
D
C G
D
Am
| Knock, knock, knockin' on heaven's door |
| Knock, knock, knockin' on heaven's door |
|
G
D
C
| Knock, knock, knockin' on heaven's door |
|
Verse 2
G
D
Am G
D
C G
D
|: Mama put my guns on the ground |
| I can't use them any more |
|That long black cloud is comin' down
Am
G
D
C G
D
Am
|
| I feel like I'm kmockin' on heaven's door |
| Knock, knock, knockin' on heaven's door |
|
G
D
C
G
D
Am
| Knock, knock, knockin' on heaven's door |
| Knock, knock, knockin' on heaven's door |
|
G
D
C
| Knock, knock, knockin' on heaven's door |
:||
Repeat verse 1
Notice that the whole song is:
4/4 ||: G D | Am | G D | C
: ||
La Bamba
C FG
Para bailar la Bamba
C
F G
C FG
Para bailar la Bamba se necesita una poca de gracia
C
F G
C FG
una poca de gracia y otra cosita ay arriba y arriba
C
F G
C FG
ay arriba y arriba por ti sere yo no soy marinero
C
F G
C
F G
yo no soy marinero soy capitan soy capitan soy capitan
C F G
Bamba la Bamba
C F G
Bamba la Bamba
C F G
Bamba la Bamba
C F G
Bamba la Bamba
Para subir al cielo
para subir al cielo se necesita una escalera larga
una escalera larga y otra cosita ay arriba y arriba
ay arriba y arriba contigo ire yo no soy marinero
yo no soy marinero soy capitan soy capitan soy capitan
Bamba la Bamba ...
Blues Scale In A
1
1
1
1
1
1
4
4
2
3
4
3
3
4
5th Fret
Come As You Are
Main Riff (with chorus-effect pedal)
Em
D
E---------------------------------------------|B---------------------------------------------|G---------------------------------------------|D---------------------------------------------|A---------------0-----0--------------2--------|E--0--0--1--2------2-----2--2--1--0-----0--0--|{c:Intro; Repeat main riff 3x}
[Em]Come as you [D]are, as you [Em]were, as I [D]want you to [Em]be
As a [D]friend, as a [Em]friend, as an [D]old enem[Em]y
Take your [D]time, hurry [Em]up, The choice is [D]yours, don't be [Em]late
Take a [D]rest, as a [Em]friend, as an [D]old memo[E]ria [G]
memo[E]ria[G], memo[E]ria[G], memo[E]ria [G]
Come dowsed in mud, soaked in bleach, as I want you to be
As a trend, as a friend, as an old memoria
memoria, memoria, memoria
[A]And I [C]swear that I [A]don't have a [C]gun
No I [A]don't have a [C]gun
No I [A]don't have a [C]gun
memoria, memoria, memoria, memoria
And I swear that I don't have a gun
No I don't have a gun (5x)
Secret Agent Man
VERSE 1
Em
Am
Em
There’s a man who lives a life of danger;
Em
B7
With everyone he meets he stays a stranger.
Em
Am
In every move he makes, another chance he takes.
Em
B7
Em
Odds are he won’t live to see tomorrow.
REFRAIN
Bm
Em
Bm
Em
Secret Agent Man, Secret Agent Man –
Am
C
B7
They’ve givin’ you a number and takin’ away your
Em
name.
VERSE 2
Beware of pretty faces that you’ll find.
A pretty face can hide and evil mind.
And be careful what you say, you’ll give yourself away.
Odds are you won’t live to see tomorrow.
REFRAIN
Secret Agent Man, Secret Agent Man –
They’ve givin’ you a number and takin’ away your name.
VERSE 3
Living on the Riviera one day,
And then layin’ in a Bombay alley on the next day.
I know you let the wrong word slip by kissing persuasive
lips;
Odds are you won’t live to see tomorrow.
REFRAIN
Secret Agent Man, Secret Agent Man –
They’ve givin’ you a number and takin’ away your name.
Steal My Kisses
4/4 ||: G |C
| D | G : ||
These chords go for the whole song!
I pulled into Nashville, Tennessee
But you wouldn't even come around to see me
And since you're headin up to Carolina
You know I gonna be right there behind you
'Cos I always have to steal my kisses from you
Always have to steal my kisses from you
Now I love to feel that warm southern rain
Just to hear it fall is the sweetest soundin' thing
And to see it fall on your simple country dress
It's like heaven to me I must confess
'Cos I always have to steal my kisses from you
Always have to steal my kisses from you
Now I've been hangin around you for days
But when I lean in you just turn your head away
Woah, I know you didn't mean that
She said I love the way you think
But I hate the way you act
'Cos I always have to steal my kisses from you
Always have to steal my kisses from you
Greensleeves
Note: This song
Is in ¾ time.
The melody is
in tablature and
traditional notes.
Figuring out songs by ear.
To figure out songs by ear is not difficult if it is approached in a logical way by using a combination of your ear and a little bit (or a lot
of) knowledge.
To start, we need to first talk about how chords are numbered in a key. If, for example, the song was in the key of C major, the scale
would be: C, D, E, F, G, A, B, and C. Each of these scale notes could be numbered: C is the 1 st or I degree, D is the 2nd or II degree,
E is the 3rd or III degree, F is the 4th or IV degree, G is the 5th or V degree, A is the 6th or VI degree, and B is the 7th or VII degree. A
chord could be built off of each of those scale degrees. In any major key it goes as follows:
I
II
Major minor
C
Dm
III
minor
Em
IV
V
Major Dominant
F
G7
VI
minor
Am
VII
minor with a flat 5 (Not used much)
Bm7b5
Then with a few rules or observations one could easily start to figure out a song.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
The most common chord is the I chord.
The second most common chord is the V chord.
Songs usually begin and end on the I chord.
The V chord usually goes to the I chord.
If the V chord does not go to the I chord it most likely will go to the VI chord.
The II chord usually goes to the V chord.
The III chord usually goes to the VI chord but can go to the IV chord.
The I chord can go to any chord but common chords are the IV the V the II or the III.
The end is usually a V to a I chord but can be a IV to a I chord (weak or church ending).
The II, III, or VI chords can become dominant (7 th chords). In country the II is usually a II7.
Chords many times back pedal through all or part of the following VII, III, VI, II, V, I, IV, VII etc. This is the cycle of 5ths. Any
of them can become 7ths.
In a song is in a minor key (starts and ends on a minor chord) the types are usually as follows:
I
II
III
IV
V
IV
VII
minor
m7b5 Major minor Dominant
Major Diminished
Same basic rules apply to minor.
Sometimes songs modulate to other keys. This usually happens in the bridge or other major section of the song.
Start adding to the rules once you see other patterns. Various types of music have various patterns.
Process
1. First listen to the song over and over. Try to sing the melody and listen for when the chords change.
2. Then try finding the key of the song. (Hint use the bass and use your 6th string). You can get fooled on this one. Last chord is the
best hint.
3. Then right out the chords most likely to exist in that key. Here are some others to think about a Major chord a whole step down
from the root, A major chord a minor 3 rd up from the root (b3), a 7th chord on the II, III or VI instead of a minor chord. A minor
chord on the IV after a major chord on the IV (happens whenever the song starts on the IV chord).
4. On a piece of paper draw the measure lines.
5. Go through and listen to where the chords change. Mark that.
6. Assume that the 1st and last chords are I’s and assume that the 2 nd to last chord is a V.
7. Verify #4 and make adjustments.
8. You are working out a puzzle. Use the rules above and your ear to fill in the puzzle. The more of this you do the better you will
become at it.
9. Always verify what you do. Sometimes it will sound close but not quite right. Listen closely and be critical. The biggest idea is
to at least get the basic chord movement. Many times the bass line will change without the chord changing (inversions) be careful
about that.
10. Listen for repeated or like sections.
11. Draw upon your experiences.
12. Start with an easy song. It is best if it is one that you like.
13. When you can do it with a guitar or piano then try to do it without an instrument. Check your work.
14. Put it down and come back to it a few days or a week later. Make sure it still sounds correct. You may find that putting it down
for a week or so really helps solidify what you figured out or it points out an area that you need to work on further.
Proper Technique for Hammers and Pulls
Both hammering and pulling are techniques used to add articulation and to increase
speed of playing. When done properly they can improve a players speed by factors or
40% to 50% in many cases. The issue is that most players do not do them properly.
The techniques are not all that difficult but it takes some time and discipline to develop
them properly. Following is a description of how to do the techniques and one example
for each on how to develop and practice the technique.
For pull offs: The idea is to pluck the string with the fretting finger (for right handers the
left hand). If you keep that in mind and use a similar technique to plucking with the right
hand you will have the motion. The finger starts on the string and then moves
downward in a manner that the tip of the finger (callous) plucks the string. Think of it as
a rest stroke with the finger. For example, if you did a pull off on the 3rd string 2nd fret
to the 3rd string open the 2nd finger would hold the 3rd string 2nd fret down and then
move in a downward fashion plucking the 3rd string as it moved with the 2nd finger
ending up touching the 2nd string much as a rest stroke would be done with the other
hand. It is vital that the finger does not go flying off the fingerboard towards the open air.
If you are doing a stopped note to another stopped note, both fingers must be down on
the string at the same time. Do the same movement with the pulling finger. Note that
some players do pulls in the opposite direction (go from a higher pitched string to a
lower or up on the fingerboard - this is not the traditional method but works just as good).
The key is to do a semi-rest type movement with your fretting finger.
Players also need to be able to do pulls (and hammers) with each of the fingers.
An exercise that works well for developing this is as follows:
On the first string put your index finger on the 1st fret, middle finger on
the 2nd fret, ring finger on the 3rd fret, and 4th finger on the 4th fret. Pull
off one finger at a time starting with the 4th finger and working towards
the index finger. Make sure that each note sounds just a loud as the one
before it and the one after it. So you pull the 4th finger off then the 3rd,
then 2nd then the first finger. Then move the whole pattern to the 2nd
string, then to the 3rd string etc..
Hamming is a bit easier. The key to this technique is to put the finger down
very hard and quickly like a hammer hammering in a nail. With your
fretting finger about a ½ inch above the fingerboard, above the fret and
string you want to sound, move it to the fretting position quickly in a motion
like a claw hammer would use hammering in a nail. If done properly the
note will sound. Again each finger should be able to do this with equal
ease and volume.
An exercise that works well for developing this is as follows:
Starting on the 1st string again. Index hammers on the 1st fret and stays
down, then 2nd finger on the 2nd fret and stays down, then 3rd finger
hammers the 3rd fret and stays down, then 4th finger hammers the 4th fret
and stays down. Important that at the end all 4 fingers are on the 1st
string. Then repeat this on each string.
Once you have mastered that try the same exercise without leaving the
fingers down.
To then combine the techniques do the following:
Without plucking the string with the picking hand - hammer on the 1st fret of
the first string and then pull off. Keep this going (sounds like a trill) as long
as you can (at least 5 seconds). Then go on to the 2nd finger at the 2nd
fret, then the 3rd finger at the 3rd fret and lastly the 4th finger at the 4th fret.
Do on all the strings. Once that has been mastered try holding down the
1st fret with the 1st finger while you hammer and pull off on the 2nd fret with
the second finger. Then while still holding the 1st fret down try the 3rd fret
with the 3rd finger, then the 4th fret with the 4th finger. Then hold the 2nd
fret 2nd finger down while doing the hammer - pull pattern on the 3rd fret
with the 3rd finger then 4th fret with the 4th finger. Lastly, do the 3rd finger
3rd fret while hammering with the 4th finger 4th fret.
Again be sure to do this on all strings. When you can do all of the above
you will have these techniques mastered.
Harmonics
• These are overtones that are sounded when a
string is divided into fractional parts.
• To play it start with the 12th fret harmonic.
– Touch the 1st string at the 12th fret – immediately over
the fret – very lightly.
– Pluck or pick very close to the bridge of the guitar.
– When the sound starts release the finger over the 12th
fret.
• Harmonics can be sounded best at the 12th, 7th,
5th, 4th and 9th frets. Other frets also work to a
lesser extent.
A ma zin g G ra c e (D o a s H a rmo n ic s )
G
1
2
3
4
12
5
6
Count 3
1
2
3
4
5
6
1
2
3
4
5
6
1
2
3
4
5
6
1
2
3
4
5
6
C
12
12
1
2
12
12
3
12
7
&
1
2
3
1
7
2
3
G
12
12
1 2
D7
3
1
G
12
7
1 2 3
C
12 3
2
1 &2
G
3 &
1 2
3
3
12
1 2 3
3
12
1 2
G
7
1 2
1 2 3
12
&
1 2
12
12
1
2
3
7
3
7
&
12
12
&
12
7
1 2
D7
12
3
7
12
7
12
12
&
12
12
3
12
12
Bending
• Done in solo work.
• Let’s do it to a blues scale in A in the 5th position.
• Bend the 7th fret of the 3rd string with the ring
finger.
• Push the string up with both the 2nd and 3rd
finger until the note is a whole step higher in
pitch (2 frets).
• To test the pitch you bend to play the 1st string
open as the bend note and the 1st string open
should sound the same.
Bending Cont.
• Most of the time you will bend notes by
moving in an upward movement on any
note played on the first 3 strings and to
over-simplify at a downward motion on the
lower 3 strings.
• Bending up 1 or 2 frets in pitch is common.
• In blues you will sometime bend up but not
all the way to the next note. In country
and many other styles you must bend in
tune!!
Sliding
• Always slide with the destination finger.
• Let’s again try a slide in the blues scale.
• Slide from the 4th fret 2nd string to the 5th
fret 2nd string. Use your index finger.
• Hold your index on the 4th fret of the 2nd
string, strike the note and without lifting
your finger slide it up to the 5th fret.
Tapping
• Very modern technique.
• You will use the index finger of your
strumming hand to basically hammer on a
note. Then you will use the same finger to
pull off the note.