Guitar III & Guitar IV 2nd night Spring 2003

1. Guitar III & Guitar IV 2nd night Spring 2003 • 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.

2. For tonight.

3. Bass Scratch Strum • For a D chord do the rest stoke on the 4th string. • Then do a scratch which is the same as a brush stroke but only using the index finger. • Count as follows beat 1 hit the 4th string with the thumb, beat 2 do a scratch, beat three the bass (4th string) and beat 4 a scratch. • Now with alternating bass. On beat 1 hit the bass note (usually root of the chord). Beat 2 the chord (first 3 strings), beat 3 the alternate note (usually the 5th degree of the chord) and beat 4 the chord (first 3 strings). • This one can also be played with an up-stroke. When doing that only play the first 2 to 4 strings – do not strike them all. • Play bass on beat one then scratch down up on beat 2 (1/8th note each) then alternate on beat 3 and then scratch down up on beat 4 (1/8th note each).

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.

5. Pluck Strum • To do this you will use your index finger on the 3rd string, middle finger on the 2nd string and ring finger on the first string. • They will work together as one group, plucking the strings by slightly hooking under each string then bringing the fingers towards the palm of the hand. • Each finger hits only the one string and not all of the strings. • On the picking hand the fingers should actually touch each other. • You will do bass – chord just like before but it will be bass – pluck etc. • Try to just a few chords at first. Be sure to still do the rest stroke on the bass notes.

6. Alternating Bass – First Step Do the following to any A type chord (Am, A7, A etc.) Rest stroke on all of these! 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

7. Chord and bass notes Chord Bass Alternate A, Am, A7 5 4 or 6 B7, Bm 5 4 or 6 C , C7 5 4 D, Dm, D7 4 3 or 5 E, Em, E7 6 4 or 5 F 4 3 G 6 4

8. 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.

9. Let’s try the first fingerpicking on Am Count What you play 1 Thumb plays the 5th string & Middle finger plays the 1st string • Thumb plays the 4th string & Index finger plays the 2nd string • Thumb plays the 5th string & Middle finger plays the 1st string 4 Thumb plays the 4th string & Index finger plays the 2nd string

10. Holding the pick • Hold the pick between your thumb and index finger. • Have just the very tip of the pick out. It is acting like an extension of your thumb fingernail. • Have the wrist slightly arched and strum from the wrist. • Get all the notes to sound at the same time. • Strum over the strings – do not go to far beyond the strings either up or down.

11. Add in up strokes • This will be 1/8th notes. • Strum down on the beat (number) and off on the and (between the beats), counting 1 & 2 & 3 & 4 & as you play. • Timing must be even!! • Also, make sure you only strum over the strings and not too far on either side. • Then we will do as in all down – see next slide.

12. Picking individual notes • For this we will start by just playing the 1st string. • Using the pick strike the first string down on ¼ notes like before. Just play within a 1/8th or ¼ of an inch of the strings. • Small movement is best. Pivot at your wrist. Try making smaller and smaller movement. • Once you can do this, try at different dynamics. • Then go onto the next string.

13. Alternate picking. • For this we will start by just playing the 1st string. • Using the pick strike the first string down on the beat and up on the & notes like before. Just play within a 1/8th or ¼ of an inch of the strings. This is alternate picking • Small movement is best. Pivot at your wrist. Try making smaller and smaller movement. • Once you can do this, try at different dynamics. • Then go onto the next string.

14. Other picking patterns • For also try all up strokes. • For Triplets (3 notes per beat) there are two basic approaches: • Down Up Down – Down Up Down etc. 1 & a 2 & a • Down Up Down Up Down Up etc. 1 & a 2 & a • Again try on each string at various dynamics.

17. Names of the notes on the open strings. Below are the names of the notes on the open strings. These need to be memorized. From the lowest pitch to the highest pitch: E, A, D, G, B and E. Note that the 6th string is called ‘low E’ and the 1st string is called ‘high E’. Start to learn where they are written. We will even do some exercises towards that. Below is where the open strings are written on the staff! E A D G B E

18. Do first all down then alternate picking on this.

19. Here is the D Major Pentatonic based upon the C Major Form of CAGED. Note in Green is the root. Use this example to understand using chord charts for scales. Start on the 5th string 5th fret with the 4th finger to the 4th string 2nd fret index finger, to the 4th string 4th fret with the ring finger to the 3rd string 2nd fret with the index finger to the 3rd string 4th fret with the ring finger etc.

20. See relationship between D major scale and D major Pentatonic.

21. This is the G Major Pentatonic scale (E form of the CAGED). Notice how similar to the A form (C Major pentatonic on the last page. This is the scale you must focus on tonight. It is in the E form of CAGED. I will play a G chord and try soloing using this scale!!

22. Most players use a modified fingering for the Major pentatonic scale as shown below but a fingering of 2 and 4 on the 2nd string and 2 on the 1st string is also common.

24. See

25. E Form of the Caged system. E G E Major E Form (G Major Chord) 1 2 3 1 1 1 1 1 1 2 3 4 0 0 0 Now let’s just use this chord in the last song. Put the G Major as above in the song Lodi. You could also play the C in this form at the 8th fret. You should at least have an idea 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.

26. Now with a Barre G Chord

27. Chords can be expressed as numbers. In the key of G: I II III IV V VI VII G Am Bm C D7 Em F#m7b5 The VII isn’t used much in Popular music, but is used in Jazz. You can see that this song can be expressed as numbers. Fill in the ones that I didn’t! Do this for other songs in the Key of G.

29. 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.

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. Practice the preceding • Play it until it is perfect. • Try to play very staccato. Very important that there is a space between the note on the beat and the note off the beat!

40. Put it all together!

41. 2nd Guitar Part. • This is the Charleston Rhythm. • Watch timing.

42. 5th position E form (7th), becomes A7

43. D7 is the A7 CAGED form at the 5th fret.

44. E7 is the A7 CAGED form at the 7th fret.

45. The whole backup.

46. 1/8th notes with a swing. If electric use delay for slap-back. Fingering 2 2 1 1 2 2 3 3 4 4 3 3 2 2 1 1 Same pattern for all of this.

47. Brown Eyed Girl - Introduction and other parts – an example of intervals of a 3rd and of a 6th.

48. 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. | :|| ||

49. 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

50. Counting 1 & 2 & 3 & 4 Fingering 0 1 1 1 0 0 2 2 2 0 This is the 1st and 3rd measure