Guitar III & IV 1 st night Spring 2006

1. Guitar III & IV 1st night Spring 2006 • Music 379 – 380 Guitar III and Guitar IV, Guitar Ensemble Mus 381 and 665 Blues Overview. • Frank Markovich • To contact me – Preferred method is email!! • markovich@smccd.net • fmarkovich@paramit.com • fmarkovi@pacbell.net • Phone 650-378-7301 mailbox 19246 (least preferred method) • Website for handouts: http://www.smccd.net/accounts/markovich/ • Class is 7:00 to 10:00PM every Thursday • There is an improvisation class from 6:00 to 6:40 for advanced students where the Blues class will mainly work. • Please hand in the student information sheet tonight!! • Need help with beginners on Tuesday and Wednesday nights. Let me know if you are interested. Extra Credit for doing this • Guitar Reference and Rock Guitar Fakebook are required. • Tonight we won’t go through all of the slides – Most nights that will be the case. But we will try to get through the high points.

2. High Level Goals • 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 some performers that influenced guitar development • Develop ear training and music theory as applied to the guitar. • Develop a better appreciation for guitar skills. • Will stress blues this term!

3. What is needed • Guitar. • Book "Guitar Reference” If you don’t already have one. • Rock Guitar Fakebook C edition. • Hot Guitar by Arlen Roth – Will be in Bookstore and Bronstein’s in 2 to 3 weeks. • A folder or binder for music that is passed out. • Music and tablature paper. • A Capo will be needed – Kyser is the one recommended. • You may also want to purchase music and CD’s of tunes we will do. • I highly suggest listening to any original recordings of songs played in class!! • There are fliers for both Blue Moon Music and for Bronsteins music. Books are on sale at both places.

4. What is nice to have • A tuner - Korg makes a good one. • Sidewinder or string change helper. • Guitar tool. • Guitar polishing cloth. • Guitar polish. • Extra picks, flatpicks and for some thumb pick. • Tape recorder or other method of recording yourself and others – minidisk is a good alternative. • Extra set of strings.

5. Extra Credit Opportunities • Setting up the class. • Being a librarian - In charge of materials • Data entering person to enter phone lists etc. • Assistant for the beginning class. This is really needed. Tuning and checking fingering. Will be some sort of extra credit plus students who help will get some extras. • Helping prepare handouts. • Web help. (Could really use help here!) • Help with organizing materials. Need to catalog all old tapes etc.

6. Goals • There will be goals in the following areas and this applies to all 4 classes: • Chords, • Scales, this term pentatonic scales, • Left Hand Techniques, • Fingerpicking and other right hand techniques, • Arrangements, • Theory, • Ear Training, • Rhythmic exercises, • Playing up the neck, CAGED (more of) • Lead guitar and signature licks, • Learning where the notes are on the neck.

7. What basic knowledge or skills you should have • Chords: A, Am, A7, B7, Bm, C, D, D7, Dm, E, Em, E7, F, G and G7. While it isn’t required that you know all of them by heart, unless you know at least 75% of them and commit to learning the others in the first 4 weeks of class you should consider taking the beginning class. You should also have had an introduction to Barre Chords. • Scales: Best if you have played at least on scale – but not absolutely necessary. • Techniques – You should have basic knowledge of right and left hand position, and some basic strums. You should be able to tune your own guitar. • At least a working knowledge of Hammering and Pulling off. We will go over that but you should know the concepts. • For the Guitar Ensemble you should have taken at least 3 of the guitar classes or have had experience that is comparable!!

8. This is what I intend on covering in each of the areas: • Chords: Moveable 6th and 5th string (E and A Forms for all students) Barre Chords. Relating to CAGED. These are required for all students. For some of you this will be a review. • In addition to that if you can already do those chords then it is expected that you will work on the other CAGED forms. • Advanced players should work on the extended harmonies such as Major 7ths, 9th chords, m11 chords and very advanced learn at least one form of the altered dominant chords. Class will also work on the m7b5 to dominant 7th chords used in minor keys. • Blues chord progressions in various styles from Country, to Rock, to Jazz to Folk and Urban blues.

9. Scales • Both major and minor pentatonic scales. Time permitting will work on major scales and the Dorian Mode. • Blues scales in same forms. • Depending on your placement you will need to learn from 2 to 5 scale forms. • For the Blues class you will have to learn and master the blues scales.

10. Fretting Hand Techniques • Barre and ½ Barre, ½ barre with the middle, ring and baby fingers, • Hammering, Pulling off, • Bending, sliding, • Harmonics, • Correct application of pressure on the left hand, economy of movement, speed exercises, use of the thumb. • Articulation and how it can bring a piece to life. • First time intermediates should be able to do the majority of this section and advanced players should grow in their application of these techniques.

11. Fingerpicking • Basic arpeggio fingerpicking in both 4/4 and 6/8 time, • Basic alternate fingerpicking. Not fully sure of what tune we will do this term.

12. Music Theory • Basic chord theory, • Building chords from scales. • Analysis of chord progressions. This will include blues and various forms of the blues, rhythm changes, the II V I in major and minor keys as well as the I IV V progressions used in rock and blues. • Difference between major and minor keys. • Scale construction. The ½ and whole steps. Chord numbering systems. • Transposing.

13. Ear Training • Work on identification of Major, Minor and dominant forms. • Ability to hear various common progressions including the II V I in Minor keys. • Will work on the difference between major and minor keys. • While I won’t work as much in class on this you will be expected to do some at home. • You will also be expected to figure out things on the guitar. • Lastly, we will work on listening to others play and working in small groups.

14. Notes • Playing up the neck: • How to move properly up the neck. • Playing same thing in different positions – easy ways to find them. • Where all the notes are located.

15. Hooks and Signature licks • Lead guitar and signature licks: Just as it implies. • Will work on a couple of tunes for this section. There is something for everyone in each of those songs. • Open in this area. Will work more on blues hooks then anything else. Also talk about shout chorus’s.

18. What will be covered tonight Note that we will play songs but main emphasis will be on basics. It is vital that we have a set starting point. But it is also important that we cover some new material. You may think that you have the basics down but I assure you that each student will have multiple areas that need work!

21. Let’s play a couple songs to warm up and to just have some fun. • Don’t worry about the position etc. Can even do in 1st position. • Just have fun with these tunes. • Third song is a blues. May try some people doing solo’s on it.

23. Intro: D |B | A | G ||

25. Proud Mary Intro: |C A | C A | C A G F |F F F D | Do this introduction as E from barre other than D. Fret 8 5 8 5 8 5 3 1 Verse 1: D Left 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 Bm Big wheel a-keep on turnin' Proud Mary keep on burnin', D Roll - 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.

26. 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 G | | | | | | ||: Sha la la la | la la la la | la la la te da. | :|| ||

29. Solo • For E it is based off of the A form of E7 at the 7th fret. • The flat 3rd of the chord (2nd string 8th fret) is slid up to the 3rd (2nd string 9th fret) then play 1st string 7th fret t0 10th fret (2 times) and end on the 1st string 7th fret. • For A the solo goes to a fingerpicking part – will do that at a later date. • This sliding from the flat 3rd to the 3rd is one of the most common things to do in blues – of any genre’.

30. Shuffle Will do to an old tune Linda Lou – but much more than originally meets the eye.

31. Start with Linda Lou • We will do it in A but you should learn it in every key. • Very much a shuffle feel! • Steps in this song. • Learn chords. • Learn theory of progressions. • Learn the repeating background hook. • Learn the Charleston Rhythm background (2 ways). • Learn the Arpeggios for the chords. • Guide tone solo • Guide tone backup • Do the Scales for this on improvising. • Minor Pentatonic • Blues Scale • Mixolydian Mode • Dorian Mode • Do parts of chord – Make an arrangement. • Add in shout parts and hooks. • Misc. to finish this off. Will take a few of weeks to go through this.

33. Form This form is blues for the first couple of times then the bridge goes away from a traditional blues. The feel also changes from a shuffle to a swing. Very cool overall. Key of A: I = A, II = B, III = C#, IV = D, V = E, VI = F#, VII = G# 4/4 ||: I | IV | I | | IV | | I | | V | IV | I | (V) : || Bridge is: 4/4 || IV | I | IV | I | IV | I | II7 | V7 || The II7 is called a secondary dominant. This is a B7 in the key of A. B is the II in the key of A and it is very common for the II chord to be a 7th chord. So the II is the V chord of E7 which is the V chord of A – Secondary dominant. This is extremely common in country music. In fact, in traditional country music the II chord is almost always a secondary dominant. Look at Hank Williams “Hey Good Lookin’” as a perfect example In that it is key of C: I = C, II = D, III = E, IV = F, V = G, VI = A, VII = B

34. The D7 is a secondary dominant chord.

35. Back to Linda Lou

36. Do in 5th position. Index at the 5th fret, middle finger 2nd fret, ring finger 3rd fret, pinky 4th fret. This is based off of a number of scales: Mixolydian Mode, blues scale, minor pentatonic or even the Dorian Mode. In reality, it is also the 1, 5 and b7 of the A7 chord. Again the “Chord Rules”.

37. See for D it is the same thing moved up one string. Still in 5th position.

38. E is the same as D only up 2 frets to the 7th position.

39. Put it all together!

40. Back to Basics F. Markovich 2005 We will do this before even playing to ensure that everyone is doing proper technique. May go over a 2 to 3 week period and do some songs to break it up a bit.

41. Purpose • Find that students either don’t know some of the basics or have forgotten them. • Want everyone to be on an even footing. Baseline the class • These need to be checked from time to time. • Want class to pair up and check each other on these. I do this even now with a friend on a regular basis. The term “Physician heal thyself” is so misleading as it is almost impossible to see what you are doing incorrectly yourself! • While I won’t cover everything in this presentation, the basics that all players need will be covered. • Incorrect technique not only gets in the way of advancing as a player it can also lead to various physical problems such as tendonitis. • As you go through this note where you have issues! Take notes and then work on problem areas.

42. Lots of stuff here • I suggest that you print this out and review it at least once every couple of weeks. • Pair up with someone to also look at you as you play – I promise that you won’t see the same thing that someone else can see! • Take this seriously! Technique is key to developing your full potential on the guitar!

43. Parts of the guitar.

46. Sitting or standing • How you hold the guitar is critical. • Make sure you do it in the same way every time you play. • I recommend using a strap unless you are playing in the classical style with a footstool!! • Your fretting arm should be straight. Think of being in a gun fight and going to draw with your fretting hand. Just bring the arm up from that point – straight up – don’t have the elbow in or out. Men tend to have the elbow out and woman have it in. • Look at the following slides.

47. Holding the guitar. • Hold the guitar in an upright position. Be sure to sit upright with your back straight. • Hold the waist of the guitar on your leg. • Balance without using your hands to support the guitar. • The neck should be at a slight angle. From parallel to the ground at about 30 to 45 degrees above that. • Thumb goes behind the neck. About where the 2nd fret is opposite. Think of holding a baseball. You want the leverage. • You will strum in the beginning with your thumb over the sound hole or if electric over the neck pickup.

48. Close-up of holding

49. Holding when standing

50. Hand position