1. Guitar III & Guitar IV 12th night Spring 2003
Group work – 1 hour of class put aside for group work.
CAGED for Pentatonic - review
CAGED Chords
Under The Bridge.
More songs and techniques with the songs.
3rds in blues – blues backup – very cool stuff.
Review blues and other Turnarounds.
Mr. Bojangles – Review time permitting
Misc

3. Next slide has the backup
This is all in 3rds.
3rds are intervals – from G# to B is a third (G# - A – B)
Can play entirely with a pick, entirely with fingers (thumb on 6th string – index plays 3rd string and middle finger plays 2nd string) or hybrid where the pick plays the bass and then the 2nd finger the 3rd string and ring finger the 2nd string (I use this quite a bit)
Do as a shuffle.
Will break down each chord.
In each of the following examples, I will give the backup pattern in tablature and then have a chord drawing of the fingering etc. Use both to get the full picture of what is going on.

5. For E7

6. For E7 – Only play strings indicated
For E7 – Only play strings indicated. On the 1st one you might want to hold an E7 down as you play it (I do).

8. For A7 – First finger stays at the 5th fret – may want to barre for most of this.

10. For B7 all at the 7th fret!

12. Now master & Try in Other Keys
Following page has it in F.
Try to learn this in all keys.
Then do modifications to it.

14. In G
At this point you should be getting the idea
Do work on this!

16. Now in A

19. Now finish out all 12 keys This is really important to do in all keys.
Just take your time.
You will notice that after a few it becomes easy.

20. Variations These are almost limitless.
First one starts with a hammer on beat one from the open to the 1st fret 3rd string.
The following 3 slides should help you.
Then vary these ideas. Play one for a measure then do another one for the next measure back and forth.

22. Hammer

23. Do similar for B7 but at the 7th fret.
Barre 5th fret then hammer.

24. Variation #2.

25. Now just repeating the 1st ½ of the measure over and over
Now just repeating the 1st ½ of the measure over and over. Hammer on beats 1
And beats 3.

26. Here is the idea but backwards. Mix this in sometimes also.

27. Another Variation
When intervals of a 3rd are inverted they become intervals of a 6th.
This will also work very well to your advantage by doing this.
Clapton used this in a number of songs.
Next page has the same idea done earlier but now in intervals of a 6th instead of a 3rd.

29. B7 has a number of variations but the E7 and A7 are pretty well set.
See the next 3 slides for ways to do the B7. It will take some time
for that chord. Again try in all keys.

30. Various ways to do the B7. First line can be done with the 1st notes
doing a ½ barre at the 4th fret. Rest is in 1st position. See fingering
Finger
Barre
Barre the 4th fret – I prefer this one.
This one is tough for fingering but is
moveable.

31. Fingering
Note the 3rd beat can be a barre also with either the 4th or index finger!

32. This last one is the same as the open E form. Just moved up
This last one is the same as the open E form. Just moved up. Barre at the 7th fret and the rest should be fairly easy. Starts with just a B7 chord at the 7th fret. For the 2nd beat use your middle finger on the 9th fret of the 3rd string and your pinky on the 11th fret of the 5th string.

33. Come up with your own ideas
This is just a start for you.
Make your own variations.
Change the timing to triplets as an example.
You can really milk this with blues songs.
But try it in other styles also.

34. Some songs to apply this to!
Following are some songs other than just Good Morning Blues, to try this to.
Take your time and try variations on each song.

36. Another version of the same song.

38. See See Rider or C C Rider
Repeat this line – and similar

42. Explore yourself
This is just scratching the surface of suspended chords.
Listen to modern jazz and how much of the harmony is built off of 4ths. In analysis this would relate to suspended chords many times.
Particularly listen to McCoy Tyner for this type of sound.

45. Under The Bridge

46. Under The Bridge 2

50. C/C C/B
Bass notes are indicated by the notes after the slashes. Work first on just the 1st 4 chords, play them over and over again until they just flow from you fingers.
For the F chord do a 1st position with a barre chord if you can. That will give the song a very full feeling. 1 1 2 2 3 X
C/G
C/A 1 1 2 2 3

51. Work on just getting it perfect to this point
Work on just getting it perfect to this point. Think of the names of the notes. At this point you have the C, B and A on the 5th string and the G and F on the 6th string. Really think of these notes as you play this!!!!!!!

52. E7/B Am/G 1 1 2 2 3 3 4 X
D7/F# 1 3 2
Note for this chord you can also use your thumb on the 6th string 2nd fret!!
0 0

53. Now just work on the chords by themselves until you can do them perfectly.

54. Now add in the bass notes. Do “Bass, Chord, Chord”
Now add in the bass notes. Do “Bass, Chord, Chord”. Be sure to do the bass note indicated. The bass note will be the root of the chord or in the case of a ‘/’ it will be the letter name of the note after the slash!! This should help you with learning the names of the notes on the 5th and 6th strings.

55. Fingerpicking Do the following: Beat Play Thumb hits the bass note.
& Index plays the 3rd string.
Middle hits the 2nd string and ring the 1st string together. (claw)
Middle hits the 2nd string and ring the 1st string together.
Note that this swings a bit so it isn’t exactly as counted but more as felt!!

56. C/C C/B
Now apply the fingerpicking to the first 4 chords. Get those down first before application to the rest of the songs.
Once you can do that add in the next chords. 1 1 2 2 3 X
C/G
C/A 1 1 2 2 3

57. Now up to the 1st section. Get this down before going on.

58. Now the whole song. Break it into parts but apply the picking etc.

59. Get this down perfectly!
There are 100’s of songs that use this first section idea. See if you can find some this week as you listen.

60. For those that want to challenge themselves
For those that want to challenge themselves. I have added in Chet Atkins version. Above is just the intro.

66. Now put all of that together
It has the same swing idea as the previous picking.
The melody is in there if you listen closely.
Try to bring the melody out. The 2 notes that should be the loudest are the bass and the melody note.

67. Straight No Chaser Monk tune
Easy looking at first but time makes it a bit challenging.
Ideas can be used elsewhere.
One of my favorite tunes.
Chords like last 2 songs.

68. From the Real Book.
This is the jazz music Bible. There are a number of Volumes but this is in Vol. #1. Which is the most used.

70. Do entire piece in 10th position
& & 2 (& ) & & & (& 3 4)
Look how the repeated line starts on an entirely different beat – then the end of the phrase – so cool!

71. 2nd lick
& & (& ) & & & & &
Notice the playing with time on all of these! Again cool!

72. 1 & & & ( & )

73. 1 & 2 & (& 4) & & 2 (& 3 ) & 4 & & 2 & 3 & &
For this section just watch the timing as it seems to turn on you. The held note in the first measure is on the and after 3 and in the next measure it is on the and after 2. The last measure is all 1/8th notes so that should be easy from a timing standpoint!

74. 1 & & & & & (& ) (12 34 )

75. Now finish it off!

76. One for you on your own Au Privare is another 12 bar blues in F.
Not all that difficult but has some great lines in it.
The chord changes are more modern than the others we have looked at. But very doable. Gives a good movement and bridges traditional bebop with blues bebop.
Harmony is more advanced. Lots of II V’s in this. Note the Bb7 then next measure is Bbm7 to Eb7 back to the F. This is really a nice voice leading tool. This change really adds interest to the tune and hides a bit of the 12 bar blues.