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Guitar III & Guitar IV 11 th night Spring 2003

Guitar III & Guitar IV 11 th night Spring 2003. Group work – 1 hour of class put aside for group work. CAGED for Pentatonic - review CAGED Chords More songs and techniques with the songs. 3rds in blues – blues backup – very cool stuff. Review blues and other Turnarounds.

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Guitar III & Guitar IV 11 th night Spring 2003

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  1. Guitar III & Guitar IV 11th night Spring 2003 • Group work – 1 hour of class put aside for group work. • CAGED for Pentatonic - review • CAGED Chords • 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 • Straight No Chaser

  2. C form to the next one is A form to the G form to the E form below Lastly the D form Now look at these the C form 4th finger goes to the A form end finger. Go up 3 frets from the A form for the G form, the G form pinky goes to the E form 2nd finger and then up 2 frets to the D form. There are notes that are the same in each of these. See arrows.

  3. Lastly the D form This one has the root at the 12th fret.

  4. Learn these • Once you can do a couple of these try them in different keys • Work on all of them – each one try in a different key – in fact in all keys. • Work on ideas of your own with these as a starting point.

  5. Jazz and Pop • For jazz and pop it is usually the last 4 measures but it can be the last 2 also. • Most common is:4/4||: I | IVm |IIm | V7 : || In C C Am Dm G7 • Variations of this are many such as: 4/4||: I | IVm |IV | V7 : || C Am F G7

  6. Others can be: I | VI7 | II | V :||| C A7 Dm G7 IIIm | VI7 | II | V :||| Em7 A7 Dm G7 IIIm | VI | II | V :||| Em7 Am7 Dm G7 IIIm | bIIIm | II | V :||| Em7 Ebm7 Dm G7 I | VI7 | II7 | V :||| C A7 D7 G7 IIIm | bIII7 | II | V :||| Em7 Eb7 Dm G7 IIIm | bIII7 | II | bII7 :||| Em7 Ebm7 Dm 7 Db7 IIIm | bIIIm | II | bII7 :||| Em7 Ebm7 Dm Db7

  7. There are others • There are many other ways. • In fact, you can use the blues one for many jazz and pop tunes. • You can also use the previous ones on some blues songs. • The whole idea is to end on something that points the listener back to the beginning of the song.

  8. Wish You Were Here

  9. Blues Backup in 3rds Common way to backup a blues. Do as a shuffle!

  10. 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.

  11. For E7

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

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

  14. For B7 all at the 7th fret!

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

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

  17. Now in A

  18. As you go up • Now you will need to move some of the patterns down an octave. • Look at the next example in B.

  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.

  21. Hammer

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

  23. Variation #2.

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

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

  26. 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.

  27. 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.

  28. 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 4 1 0 1 1 1 0 1 4 1 1 1 Barre Barre the 4th fret – I prefer this one. This one is tough for fingering but is moveable.

  29. Fingering 1 4 2 4 3 1 2 1 1 3 2 3 Note the 3rd beat can be a barre also with either the 4th or index finger!

  30. 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.

  31. 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.

  32. 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.

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