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fr/ .Disponible à cette adresse : http://joseph.free. La rythmique – Page 1/8 La Rythmique J. Dubreuil Partition crée le 17/03/06 .dubreuil.

soit vous devez le deviner par vous même.. vous pouvez toujours réaliser les exercices avec les doigts. Jouez ces exercices en boucle. Pour cela.dubreuil. 3 / 4.f.. Décomposer un rythme (4 temps) Vous allez aborder le rythme à 4 temps à travers quelques exemples. Cours en ligne Le Rythme 1. Jouez l'exemple 2 en comptant les temps et les contretemps comme ceci : 1 et 2 et 3 et 4 et 1 et 2 et 3 et 4 et 1. 3. c'est dc'accompagner en utilisant le rythme du 4 temps. La rythmique – Page 2/8 La rythmique Cours de guitare rythmique au médiateur Ce cours aborde la technique de base pour l'accompagnement. avant de réaliser une rythmique. aucuns de ces temps de doivent être joué plus fort. et considérez toutjours que tous les temps que vous allez gratter sur les cordes doivent être égrenés dans le sens Grave → Aigus. du 4 temps. Il n'y a pas de réelle solution si le rythme n'est pas indiqué. il faut essayez. Temps 1 2 3 4 Coup de ↑ ↑ ↑ ↑ médiateur Exemple 01 Vous avez aussi remarqué que dans l'exemple 01. de façon bien déterminée.. et si au bout de quelques secondes l'accompagnement vous semble décalé. et éventuellement 6 / 8. Quelques conventions d'écriture pour ce cours : ↑ : coup de médiateur vers le bas (des graves aux aigus) ↓ : coup de médiateur vers le haut (en remontant. exemple 6).). Introduction Tout d'abord. des aigus aux graves) 2. ou moins fort. Jouez l'exemple 1.Disponible à cette adresse : http://joseph. Donc la première chose à faire. de façon bien régulière. 4) doivent être joués dans le sens Grave → Aigus. Jouez sur un accord en suivant bien le sens des flèches. en retard. chacun à la même intensité. et dans ce cas le rythme est indiqué (c. Bien que sa destination vous amène à réaliser l'accompagnement avec un médiateur. il faut savoir quelle est la mesure du morceau (si c'est du 3 temps. Sachez toutefois que les rythmes principalement utilisés sont : 4 / 4. Posez tout d'abord un accord qui vous est familié (par exemple un Lam).free. un espace sépare chaque temps. 1.. en gardant bien en tête que tout ce qui tombe sur les temps (1. et vous aurez généralement résolu le problème. soit vous avez à faire à une partition. sur le contretemps. Temps 1 et 2 et 3 et 4 et Coup de ↑ ↓ ↑ ↓ ↑ ↓ ↑ ↓ médiateur Exemple 02 Partition crée le 17/03/06 . 2.fr/ . essayez le rythme basé sur 3 temps. ce qui va permettre d'insérer des coups de médiateurs en retour.

dès que vous êtes à l'aise. variez les accords : Temps 1 2 et 3 et 4 et Coup de ↑ ↑ ↓ ↑ ↓ ↑ ↓ médiateur Exemple 07 Partition crée le 17/03/06 . Cette formule d'accompagnement est la plus complète. toutefois un peu moins forts que le temps 1.Disponible à cette adresse : http://joseph. en faisant alterner deux accords (1 par mesure) : Lam → Sol par exemple. Un bon exercice serait de refaire l'exemple 2. puis tantôt le 3 et enfin le 4. qui est composée d'une décomposition à la croche. Vous pouvez également. Si vous réalisez ceci.fr/ .dubreuil. Variez ensuite les accords.free. tantôt le temps 2. il est impératif de compter chaque temps pour ne pas vous perdre dans cette rythmique. Maintenant que vous avez saisi cette rythmique principale. de façon alternée et toujours contrôlée. Jouez les exemples 07 à 11 en prenant soin de bien répèter chaque exmeple en boucle. recommencez en accentuant le premier temps de chaque mesure : chaque 1 sera joué un peu plus fort que les trois autres temps. car les suivantes vont être élaborées sur l'exemple 02. Dès que vous en maitrisez un. de façon à être très à l'aise avec cette rythmique. La rythmique – Page 3/8 Réalisez l'exemple 02 en boucle. en accentuant tantôt le temps 1. Ceci permet d'avoir un petit point d'ancrage et de ne pas jouer toujours la même formule. Jouez maintenant les exemples 03 à 06 en prenant soin d'accentuer les temps écrits en gras (et en rouge sur l'écran) : Temps 1 et 2 et 3 et 4 et Coup de ↑ ↓ ↑ ↓ ↑ ↓ ↑ ↓ médiateur Exemple 03 Temps 1 et 2 et 3 et 4 et Coup de ↑ ↓ ↑ ↓ ↑ ↓ ↑ ↓ médiateur Exemple 04 Temps 1 et 2 et 3 et 4 et Coup de ↑ ↓ ↑ ↓ ↑ ↓ ↑ ↓ médiateur Exemple 05 Temps 1 et 2 et 3 et 4 et Coup de ↑ ↓ ↑ ↓ ↑ ↓ ↑ ↓ médiateur Exemple 06 Vous connaissez maintenant la formule de base de l'accompagnement. avec quelques temps (ou contretemps) enlevés. accentuer le temps 3.

vous pouvez travailler ces exemples qui sont basés sur le même principe : Partition crée le 17/03/06 . car ce sont les temps qui sont enlevés. jouez l'exemple 12. La rythmique – Page 4/8 Temps 1 2 et 3 et 4 Coup de ↑ ↑ ↓ ↑ ↓ ↑ médiateur Exemple 08 Temps 1 et 2 3 et 4 Coup de ↑ ↓ ↑ ↑ ↓ ↑ médiateur Exemple 09 Temps 1 2 et 3 4 et Coup de ↑ ↑ ↓ ↑ ↑ ↓ médiateur Exemple 10 Temps 1 2 et 3 et 4 Coup de ↑ ↑ ↓ ↑ ↓ ↑ médiateur Exemple 11 Ces 5 exercices sont assez faciles. les exercices suivant. car il suffit d'enlever quelques contretemps. en comptant.fr/ .Disponible à cette adresse : http://joseph. et mettre un silence à la place.dubreuil. mais le penser. Veillez à surtout respecter les coups de médiateur. ce qui va vous faire jouer parfois des coups en remontant de façon consécutives : Temps 1 2 et 3 et 4 Coup de ↑ ↑ ↓ ↑ ↓ ↑ médiateur Exemple 12 (formule qui va être élaboré à dans l'exemple 13) Temps 1 2 et et 4 Coup de ↑ ↑ ↓ ↓ ↑ médiateur Exemple 13 Si vous avez des difficultés.free. et ceci déstabilise l'accompagneteur. Travaillez lentement. Il ne faut donc pas jouer ce temps. Maintenant que vous savez réaliser l'exemple 13. bien qu'ils soient basés sur le même principe demandent un plus gros effort d'apprentissage. car l'exemple 13 est identique avec un temps en moins (le 3). En revanche. et en étant très régulier.

et vous allez vous former vous même votre propre formule. 3. de façon à faire un 'remplissage rythmique' pendant que la voix fait des blancs. avec des temps et des contretemps. Chaque guitariste qui s'accompagne possède sa propre formule qu'il utilise lorsqu'il chante.dubreuil.fr/ . La rythmique – Page 5/8 Temps 1 et et 3 et et Coup de ↑ ↓ ↓ ↑ ↓ ↓ médiateur Exemple 14 Temps 1 et 2 et et 4 Coup de ↑ ↓ ↑ ↓ ↓ ↑ médiateur Exemple 15 Temps 1 2 et et et Coup de ↑ ↑ ↓ ↓ ↓ médiateur Exemple 16 Temps 1 et et et 4 et Coup de ↑ ↓ ↓ ↓ ↑ ↓ médiateur Exemple 17 Temps 1 et et et 4 Coup de ↑ ↓ ↓ ↓ ↑ médiateur Exemple 18 Vous pouvez élaborer vous même quelques tableaux de ce type.free. Vous avez appris les formules de base. dans un même morceau de changer de formule (c'est même souvent conseillé). mais basé cette fois (et vous l'avez sûrement deviné) sur 3 temps : Temps 1 et 2 et 3 et Coup de ↑ ↓ ↑ ↓ ↑ ↓ médiateur Exemple 19 : formule la plus complête Partition crée le 17/03/06 . contretemps et accentuations. toutes fondées sur le même principe.Disponible à cette adresse : http://joseph. en variant les temps. Rien n'empèche. Décomposer un rythme (3 temps) Ici le principe est le même que pour le paragraphe 2.

La rythmique – Page 6/8 Temps 1 2 3 Coup de ↑ ↑ ↑ médiateur Exemple 20 Temps 1 2 et 3 Coup de ↑ ↑ ↓ ↑ médiateur Exemple 21 Temps 1 et 2 3 et Coup de ↑ ↓ ↑ ↑ ↓ médiateur Exemple 22 Temps 1 2 3 et Coup de ↑ ↑ ↑ ↓ médiateur Exemple 23 Temps 1 et et et Coup de ↑ ↓ ↓ ↓ médiateur Exemple 24 : basée sur le contretemps Temps 1 et Coup de ↑ ↓ médiateur Exemple 25 : assez dur ! (continuez de compter dans votre tête pour pas se perdre) Temps 1 et 2 et 3 et Coup de ↑ ↓ ↑ ↓ ↑ ↓ médiateur Exemple 26 : basé sur la valse d'amérique du sud Partition crée le 17/03/06 .fr/ .free.dubreuil.Disponible à cette adresse : http://joseph.

dans le sens irrégulier entre la basse et l'accord joué. est toutefois présent dans quelques morceaux. Vous pouvez également refaire ces exercices en cherchant à jouer une basse sur le temps 1.fr/ . 4.free. On rencontre chez Brassens par exemple beaucoup de pièces où la mesure est à 6/8 (La mauvaise réputation est la plus connue sûrement). moins utilisé que le trois ou quatre 4 temps.dubreuil.Disponible à cette adresse : http://joseph. tandis que les autres sont plus à consiérer comme un exercice). il faut théoriquement utiliser un coups vers le bas sur les temps forts (ici 1 et 2) et un coup en remontant sur les deux contretemps. et chaque temps de divise en trois parties égales : Temps 1 et et 2 et et Exemple 27 : mesure à 6/8 Ce que réalise Brassens quand il utilise cette mesure à 6/8. en pensant la mesure sur deux temps (lents). index. Décomposer un rythme (mesure à 6/8) Ce type de mesure. en décalant les contretemps pour les jouer un peu plus tard : Temps 1 et 2 et Exemple 28 : mesure à 6/8 comme le joue Brassens Il frappe ses accords avec les doigts : Pouce (pour la basse). et vous pouvez reconnaitre ces chansons car la partie de guitare que joue Brassens à un côté 'bancal'. et des accords sur les autres temps et contretemps. Voivi donc les deux possibilité pour jouer du 6/8 au médiateur : Temps 1 et et 2 et et Coup de ↑ ↑ ↑ ↑ ↑ ↑ médiateur Exemple 29 : penser ce rythme comme un valse Jouer deux fois Basse → accord → accord Ce procédé peut fonctionner sur des tempos pas trop rapides Temps 1 et 2 et Coup de ↑ ↓ ↑ ↓ médiateur Exemple 30 : penser ce rythme comme un deux-temps Jouer deux fois Basse → accord en décalant l'accord un peu plus tard Ce procédé peut fonctionner sur des tempos assez rapides Partition crée le 17/03/06 . La rythmique – Page 7/8 Ces quelques exercices vous ont proprosés des variantes sur la valse (le 19 au 23 sont plus standarts et plus faciles. La mesure à 6/8 est formée de deux temps. c'est qu'il joue le rythme comme dans l'exemple 28. majeur et annulaire (pour l'accord). Pour ce qui est de notre travail avec des coups de médiateurs. Le problème apparait car cette mesure est impaire et on ne peut théoriquement pas utiliser une alternance aller-retour au médiateur tout en frappant les temps forts des graves aux aigus.

La rythmique – Page 8/8 Temps 1 et et 2 et et Coup de ↑ ↑ médiateur Exemple 30 : penser ce rythme comme un deux-temps Jouer deux fois uniquement la Basse Ce procédé peut fonctionner sur des tempos très rapides.Disponible à cette adresse : http://joseph. et dans des valses à 5 temps par exemple Temps 1 et et 2 et 3 et Coup de ↑ ↑ ↑ ↑ ↑ ↑ ↑ médiateur Exemple 32 : la mesure à 7 temps (7/8) Jouer : Basse → accord → accord → Basse → accord → Basse → accord C'est le cas dans des morceaux d'Europe de l'Est Partition crée le 17/03/06 . à titre d'information.fr/ . Autres mesures Sachez.free. que certains morceaux ont une mesure particulière (ce qui est quand même plutôt rare) : Temps 1 et et 2 et Coup de ↑ ↑ ↑ ↑ ↑ médiateur Exemple 31 : la mesure à 5 temps (5/4) Jouer : Basse → accord → accord → Basse → accord C'est le cas dans le morceau Take five. 5.dubreuil.

A Player’s Guide to the Acoustic Guitar Neck Triads Up the Neck Explore the fretboard like never before by learning to play three-note major and minor chord shapes. By Dan Apczynski Blues Chords Up the Neck By David Hamburger .

separates the third and fifth. Triads and Inversions As anyone who has learned scale patterns or So. is definitely the case with simple triads and their such a basic building block of our musical lan. bly catch glimpses of chords you already play— Ex. Example 2 shows a between—not thick enough to strum. shape on strings two.and double-note lines stand out means that on a music staff. see at several places on the fretboard. determined by what types of thirds sepa. In a major triad. strings. these notes are To help kick things off. and six. Three-note a root-position triad occur on adjacent lines or of G.” on page 38). but the three lowest strings to the open-position C Cm C dim C aug other two types are the diminished triad. until further notice. so let’s start with an easy key and guage that they’re written off as unimportant. the first through third chords. 2: Root-position major triads Ex. triads are chords made simple—there’s only one sharp to worry about well to building powerful four-. these four possibilities using C as the root.com .g. one big mally play with four or five or six notes with 5 5 4 6 B advantage of the guitar is that once you’ve stud. Example 1 shows each of fret G barre chord. and four to a third- w mented triad. three. which well for illustrating the concepts of this lesson. second through fourth strings. and the geography of the fretboard ads. with a minor third on the bot. If you look at what makes triads tick and talk about how play. We’ll stick to compare the muddy-sounding shape on the major and minor triads in this lesson. The adjacent pitches of the note chord shapes when we’re playing rhythm. shapes tend to be stuck somewhere in spaces. chord are each separated by a third. inversions. By Dan Apczynski T here’s just something about the humble ing these shapes up the neck of the guitar can possibilities in any one key.). In this lesson we’ll take a look at separates the root and third. third. while single. You can Nonetheless. That overlook. or the & ww b www b b www n # www has two minor-third intervals.Triads Up the Neck Explore the fretboard like never before by learning to play three-note major and minor chord shapes. and fifth of a given chord few ways to make a root-position G-major triad chunky to pull out on a solo break. make four different adjacent three-string groups value in simple three-note major and minor There are actually four different kinds of tri. but too called the root. we’re playing in the key the best when we’re playing lead. 1 tom and a major third on top. Maybe it’s because triads are some cool textures and riffs. (for more about how they get these names. great: We can make a chord that we nor- barre chords up the neck already knows. 4: Second inversion triads G G/B G/D www ww ww ww ww # www www w w ww ww w w & www ww w w ww w w photos by frank ford 10 3 7 3 12 8 3 12 8 7 4 12 0 7 4 4 12 7 0 9 5 5 0 9 9 5 12 B 2 3 10 5 7 2 10 10 5 2 AcousticGuitar. which G-major chord we all know and love. from three pitches. The key of G is fairly (F#). Minor triads are these chord shapes the right way. and a minor third a root-position G-major triad. a major third and each group holds exactly one possibility for seem possible. there is still a great deal of “Building Sus and Add Chords. etc. you’ll proba- just the opposite. From bottom to top. the notes of which are separated by two major thirds. on the guitar (e. only three—now what? The four shapes shown 7 6 6 7 8 8 8 8 ied the layout of notes and different positional in Example 2 are actually just the tip of the ice- Ex.. and the aug. and its position on the fretboard will work Or maybe it’s because the guitar lends itself so As their name suggests. five-. allows for more creativity than might initially rate the notes. the three notes of So. The Anatomy of a Triad worry about the rest later. 3: First inversion triads Ex. that knowledge can triad that makes it easy for guitarists to both inform your guitar playing and help create be adapted to other keys with relative ease.

9 fr. Example 5 shows ways to play A-minor triads (Am is the ii chord above the fifth. If With just these shapes.com 3 . œœ ˙˙˙ w ˙ œœ . 5 fr. you’ll make it that much easier to play accompaniment for an infinite number of fifth on the bottom).. . 6: A-minor triads ww Root position First Inversion Second Inversion # ww ww ww ww ww w & w w w ww w w w ww ww ww ww w ww w w w w 0 5 8 5 1 10 5 1 10 9 5 2 2 9 5 5 2 9 2 10 7 7 2 10 10 7 2 B 3 5 12 7 8 3 12 12 7 Ex. œœœ w # ww w n ww ˙˙ ˙ œœ . Example 3 shows four new some simple I–IV–V patterns played in different in the key of G). One great way to move forward is to take with the fifth in the bass are known as second instance.. . but this time. B (the third of G) is on the bottom. Tri Again . 7 fr.A Player’s guide to the acoustic guitar neck: Triads Up the Neck berg. œ. B AcousticGuitar. 7 Bm F #/A # A E/G# G D/F # Em/G F# # # 4 ˙˙˙ . 8 G/D Em A/C D/A Ex. You good idea to keep track of which note—root. 8 fr. Compare these shapes to the G shapes—still G-major triads. . can create even more chords by moving the third.. 7 9 9 9 10 9 10 9 10 7 7 7 7 7 .. 8 fr. œ œ œ. as in Example 4. œœ # ww œ œ w J 7 7 7 5 5 5 3 3 3 5 5 2 7 7 6 6 6 4 4 2 2 4 4 3 9 9 8 7 7 6 5 4 4 5 5 4 B Ex. you simply drop the third of a major the root from the bottom of any of these shapes inversion triads (and tend to be less common triad one half-step. 9 G/D C/E x x x1 3 2 xxx 432 x x 21 3 x xx111 x x x x1 3 2 xxx2 11 7 fr. œœ ˙˙ œ ˙ œœ . ˙˙˙ ww ˙˙ ˙˙˙ ww ˙˙ ˙˙ ww # 4 ˙˙ .787 . 7 7 7 7 7 7 8 8 8 8 8 8 8 10 7 8 8 8 8 8 8 8 8 . 7 fr. Example 6 shows a few and shift it one octave higher to the string than first inversion triads).... you can create triad third to the top of the stack (thereby leaving the you do. Tri. 7 7 7 7 9 9 9 9 . for songs. 5: I–IV–V patterns in G G C D G/D C/E D G/D C/E D/F # G/D C/E D/F # G xx3 2 1 x xxx34 1 x xx34 1 x x x1 3 2 xxx 211 x xx34 1 x 231 xx x 311 xx xx3 12 x x x x1 3 2 xxx 211 xxx 211 xxx34 1 5 fr. 10 fr. the places in the key of G. œœ j j œœ œœ . Triads other kinds of triads. œ œ. 7 fr. . major triads in Examples 2–4. œœœ w j & 4 # ww n ˙˙˙ . & 4 . 10 fr. . œœ œœ œœœ œœœ w ˙ ˙ w & 4 ˙. œ œ œ œ # 4 . . To play minor triads. 9 fr. 5 fr. or fifth—you’re playing on each string.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . 8 fr. Œ œœœ Œ œœœ Œ œœœ Œ œœœ Œ œœ Œ œœ Œ œœ Œ œœ .. . . œ œ 3 5 7 8 5 7 8 10 10 3 3 5 7 8 8 7 7 7 8 8 10 12 4 4 5 7 7 9 7 4 4 4 5 5 7 7 7 9 11 12 5 5 5 5 5 5 5 7 7 B 5 5 5 7 7 Ex. These When you’re playing simple triads.. it’s a chords are known as first inversion triads. The chord shapes in Example 7 outline Ex. œ œ œ. 7 fr. 3 3 3 3 3 3 3 3 .

Tri Again” on page 95. . J ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ‰. The arrangement sticks to the top four # # œœœ . In N. C/G G/B D/A # œ œ n œœœ ... and fill in B the triads on beats two and four of each bar as shown. œœ œœ œœœ ww w & # . Example 8 shows one possibility—a triplet-based roll on I–vi–ii–V 2 3 3 2 chords in the key of G. check out the bass notes—they # œ œ œ ww & # œ œ œ œ œ œ œ. making them another great way to get mileage from triads.6 . 6 6 4 4 4 4 4 4 2 2 2 . 7 8 7 8 10 10 . n œœ . œJ œ œœ œœ œœ œœ œœ strings. 13 . œ .A Player’s guide to the acoustic guitar neck: Triads Up the Neck a progression similar to the verse section of the Eagles’ hit “Hotel California. . In my original song “Tri. 5 3 3 2 3 2 3 2 3 . making the transitions sound very crisp and natural. œ œ œ w move in half steps throughout the entire line! J Fingerpicking rolls tend to work well with small shapes. 2 3 I’m hoping to make the progression “speak”—the 3 3 5 3 7 first notes suggest the beginning of the 4 2 4 2 5 4 7 4 5 7 old adage “If at first you don’t succeed . œœ œœ œœ particular. 2 3 5 3 3 3 3 2 4 4 4 2 Triad shapes also sound great as quick jabs 4 on the backbeat of a tune.” Pay particular attention to the smooth voice leading that Tri... . Tri Again these chords allow—the voices in this example Music by Dan Apczynski move mostly in half and whole steps. 7 7 5 7 9 5 5 5 5 7 7 5 7 5 7 9 5 5 5 5 ing these simple shapes and you’ll really round 7 7 6 6 7 7 6 7 9 6 7 7 6 out your skill up the guitar neck. 9 Remember. 5 4 2 2 2 7 7 11 5 B 4 AcousticGuitar.” fol- lowed by the payoff in the following measure: a B Bm/D C # m/E A/C # chorus of three voices in two triumphant major Bm/D A/C # A sus4 A/C # œœ . 5 5 4 4 3 3 2 2 5 5 5 5 3 3 3 3 . G/B D/A œœ . I’ve even lifted the bass note of a first-inversion A triad by a half-step. Tricks like this add rhythmic variety and N. # œœ œœ triads.. œœJ œœ œœ œ œ œ ‰ . triads are one of the most basic elements of our musical language. making an Asus4 chord.com . œ œ œ œœ œ œ play œ œthree times œœ .... I’ve used triads to create responses 5 to a series of single-note lines. œ œ œ œ œ œ œ # œ œ œ œ œœ œœ œœ œœ . but I’ve packed in as many different & ‰œœ œ œ œ œœ œ œ Œ J inversions as possible—in measure 12. Jœ œ 17 . & . B C/G G/B D/A G/D D/F # # œ.C.. ag 7 B A/C # E/B G/B D/A ## .. œœ œœ œœ ww & # œ œ œ œ œ œ œ can really help keep songs with multiple guitars œ œ œ w J from feeling cluttered.C. Keep study. . By doing so. Enlist a friend to play G and C chords behind Example 9. œœœ œœœ œœœ œ œ œ œ .

With an open-E or open-A string in V V V IX leads to the new chord at the top of measure 2. Scrunching the top three notes of the E7 chord back one fret gives you the E diminished }}{ IX chord. the bass and an upper bass note on the fourth Many of these chords are used in licks that string. V VII X with an open-position groove. 4 Ex. like Example 1 gen once they break through the gravitational on page 85. The third shape looks like the top step. Here voicing at the fifth fret creates an E9 chord. from time to time you may whole step. shape is like an open D7 chord moved up a at the ninth fret can be changed to major triads tion blues in E.Blues Chords Up the Neck By David Hamburger I f you’re comfortable fingerpicking open-posi. comfortable snapping to that new voicing. then itself. where the melody in the first bar {{{{ four strings. leaving yourself a little breathing capo before. adding }}{{ V IX chord moved up to the ninth fret. start }{{{ you wonder. The second chord. though not ninth-position E7 voicing to an E9. 5 Ex. “What’s it like up there?” A7 xx1112 A7 xx1211 A7 xx1324 A7 xx2314 To get comfortable with each new voicing. There are four basic shapes for seventh Notice that changing one note of the E7 the swinging lick in Example 5. 6 E 7 E dim E 7 E 7 E dim E 7 Aj7 A dim Aj7 j j AcousticGuitar. you can change that open- of an open B7 chord slid up five frets. though new voicing in the second measure. But try breaking up the chord and synco- look at some ways to use them in a 12-bar pating it against the thumb notes. in the same order: Get in the Groove 17 frets on your guitar. just remember: don’t look down. your thumb will alternate between the have been part of the blues idiom since the sixth and fourth strings on each E chord or between the fifth and fourth strings on each A A xx1114 A9 xx1312 E9 xx1312 1930s. 2 Ex. When you’re In this lesson we’ll explore some up-the. 1 Ex. and then make the move to the pull of the third fret?” The answer is yes. your ring finger at the 11th fret changes the These same shapes work for A7. the first shape is just the the A7 voicing at the fifth fret creates an A9 bass note and you’ve got the same move on an top four strings of an open E7 chord. chords that use only the top four strings. related variations that can come in handy: room to get to the new chord. 3 j j # # E7 œ œ Œ E7 œ œ Œ œ œ œ œ E7 œ œ œ ˙˙ & # # 44 œ œ œœ œ œ œœ Œ n œœ œœ œœ œœ œ œ œ œ œ œ œ œ n œœ œœ œœ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ | 0 0 4 4 4 0 0 4 4 4 0 2 0 2 3 3 3 0 2 0 2 3 3 3 1 1 4 4 4 1 4 4 4 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 Ex. chord in Example 4. Once you can Swing \ Ex. as in Example 6. Both the A7 in open position and the E7 A7/Adim chord. “Will my fingers have enough oxy. Alternatively. as in if you’ve never climbed that high without a Each of these shapes also has a few closely Example 2. with one more note added on the by raising the note on the first string a whole find yourself gazing wistfully up at the other fourth string. and you get blues. try neck chord voicings for E7 and A7 on the top E9 E7«9 xx1333 xx123x A9 xx1214 E xx1114 Example 3.com 5 . Changing the top note of picking thumb over one string to the open-A and love. For example. which is cool in and of Let’s start with the chords themselves. The cool thing about these shapes is that out the high string creates an E7#9 chord (the they are in the key of E: Raising the B string one more fret and leaving they transpose well: move the same chord You may find it helpful to relate each of shapes up to the seventh fret and bring your these shapes to an open chord you already know “Purple Haze” chord). and the position A7 into A9 by adding your ring finger E7 xx0100 E7 xx1324 E7 xx2314 E7 xx1112 fourth shape looks like an open-position A7 at the fourth fret of the third string.

4 3 4 4 3 4 9 8 9 2 2 2 2 2 7 7 0 0 0 0 Ex. 4 Ex. and Example 17 is 0 0 luck! ag 0 0 Ex. move. or vice versa. but it’s also important to know how to just after beat four and reach for the start of the anticipation of measure 6. Let’s see how all this works in the real world. 12 E A7 E7 A7 E7 A7 E7 A7 E7 A9 E7 A9 7 ˙ ˙ j j j j 6 AcousticGuitar. 4 3 4 9 8 9 12 11 10 12 11 10 5 4 3 3 2 3 8 7 8 9 9 9 9 9 2 2 2 . then working chromatically down the high string. based on Example 16. 0 4 4 4 after playing beat four0with 2 your thumb and get 0 2can be arpeggiated (Example 3 3 15). from A7 back to E7. 7 Ex. like the is basically in open position. By holding the B on chord in measure 10 includes a reach up to the cific starting point. you should have time0to let go of the E7 E70creates the voicing4in Example 4 4 14. . if you context. 6 E 7 E dim E 7 E 7 E dim E 7 Aj7 A dim Aj7 j j # # # # n œœœ n œœ # ˙˙˙ œ n œ # œ ˙˙ œ n œœ n œœœ # œœœ ˙˙ ˙ œ . ing.3 With a little0 2 Once0you 2 can play3 through 3 3 the examples 1 at least one finger of the 2 1 4 4you4can add extra 1 4few4of these 4 new chords 2 new A7 chord in place 2fretting-hand2 pinky 2 action. which is an A9 lick get to the nearest IV chord from whichever I E7 voicing at the second fret with your ring fin. 2. . . There’s another open-position A7 in mea. 3 j j the high string when you switch to the A7. #œ œ ˙ œ œ œ . . . which 0 position. Try playing Example 13 at a 0 0 0 0 shows the available notes. just grab it wherever you Swing \ Ex. . but Measure 3 includes another variation of the lowed by the same lick transposed to A (mea. œ œ œ œœœ œœ ˙˙ œ . “Handful of Chords” on page 8 is a 12-bar blues transposes that move up to A7 in measure 2. 9 E 7 E dim E 7 A 7 A dim A 7 E E maj7 E 7 E E maj7 E 7 AA maj7A 7 j j j j œ œ n˙ œ œ nœ ˙ # # # # œ . fifth-fret E7 at the top of the measure. with the arpeggiated move in Example 15.. & œ # œœ ˙ J œ œ J œ œ œ œ œ œ | . grabbing just in a block. 1 Ex. you’ll have to drop the open E chord the A7 chord right after beat four to make the is fun. 2 2 here. . move off the chord quickly after beat attention to what’s happening on the top string enth/diminished lick then gets transposed back four to make the slide up to the fifth-fret A7. B7 lick. although the A7 “slides from nowhere” that doesn’t have a spe- two chords in Example 11. That version of the sev. an A9 on beat in the coming measure this way. or. 8 Ex. . Measure 9 is another open-position If you mess around with these a bit. try 2 sneaking a 2 2 in time to grab that pickup note with your index notes to the fifth-fret A7 voicing. drop down a fret or two to the closest measure 6 and another seventh/diminished you wind up back on an open-position E7 in A7 voicing. 11 Ex. paying different syncopation. 2 Ex. It’s common to anticipate the chord We’ve primarily been playing these voicings with an E7 on the first two beats.. n œœ n œœ # œœœ ˙˙ n œ œœ œœ ˙˙˙ œ n œ # œ . . can coming out of the B7 shape and start mov- # # E E œ œ œ œ E œ œ œ ˙˙ get an A9.. you may begin to uncover down to E in measure 7. You’ll need to drop Transposing licks up and down the fretboard measure 3. Example 12 shows one way to play around in measures 11–12 is pretty standard. Good 0 0 picking finger.. one possibility over an alternating bass. and a C7 on beat four. Check 7 7 œ œ œœ ˙ the syncopation of the C7–B7 move in measure Example 16. this time on an A chord with a slightly measure 8. three measures use open-position voicings. . Play the Blues another alternating-thumb blues in E. The turnaround in measure 11 œ œ œ œ œ œ œ œ out the last note of measure 1—the and of the 12 is similar to the anticipations in measure 6. which is then transposed sure 2). At a moderate once. 5 Ex. The A9 lick in measure 10 is based on œ œ Œ œ œ Œ Œ n œœ œœ œœ œœ œ œ œ œ œ œ œ œ n œœ œœ œœ & # # 44 œ œ œœ these voicings over7 an alternating bass. Example 9 shows one way to syncopate this in E played over an alternating bass. fol. œ œ œœ œœ ˙˙ œ œ œ nœ ˙ & . 99 . œ œ œ œ ˙ ˙ . The rest of the chorus The slide into the sixth fret is one of those some cool-sounding chord variations. and E7 chord. Example 16 and licks into some blues of your own. Example 10 ger. It opens Example 8 lays out a common E–E7 move.com n˙ . Leaving off the top note of the second-fret fifth-fret E7 chord shape moved down to first | tempo. In measure 7. That C7 is just the one note before the downbeat. after each sure 5 before a jump up to the seventh fret in through another A7 voicing on beat three. try slow tempo if you want to focus on this transi. grab the chord you’re on. you fifth fret on the high string. Note the anticipation at the end of down to A7 in measure 5. . n œ # œœ œœ ˙ . 4 3 4 4 3 4 9 8 9 3 2 3 3 2 3 8 7 8 . Let’s see how some of these moves sound in that goes from E7 to A7 (Example 7). “Blues up the Neck” on page 8 is reverse it.A Player’s guide to the acoustic guitar neck: Blues Chords Up the Neck play these last two examples smoothly. passes through a few different chords. Example 5.. 4 3 4 8 9 9 9 9 9 9 2 2 2 2 2 7 7 9 9 2 0 0 0 0 0 0 0 0 Ex. measure 4 goes up to the E7/Edim lick from major-to-seventh lick. The first adding the third of the chord on the high string. stringing them together for a two-measure lick tion. While the turn. over an alternating bass in E (measure 1). . for its melodic value. move shows one way to connect the dots. grabbing most or all of the notes at three. 10 Ex. starting œ œ œ œ œ œ œ œ œ œ fourth beat. J œ œ œ œ œ œ œ œ | . .

16 Ex. On the CD you’ll hear clear performances of all the music in the book.95—a 25% savings! For dealer inquiries. P 7 7 0 0 7 5 7 5 5 5 3 3 5 8 7 5 5 8 7 5 . . Phone and get both for just $36. 7 6 4 4 4 6 6 6 5 2 2 2 5 5 5 0 0 0 0 0 0 Learn to Play Guitar Book and CD Packs The Acoustic Guitar Method: Complete Edition Traditional Roots Music for the Beginning Guitarist The Acoustic Guitar Method is the only beginning guitar method based on traditional American music that teaches you authentic techniques and songs. 10 Ex. let The Acoustic Guitar Method be your guide to the joys and pleasures of playing guitar. and enjoying these essential traditions and styles on the instrument that truly represents American music. .. Order SAVE EVEN MORE! Online or by Order both The Acoustic Guitar Method: Complete Edition and Acoustic Guitar Fingerstyle Method. use promotional code SLP3 when you order online or by phone. please contact To receive this discount. œ œ œ œ œ œ œ œ | . 15 Ex.. . This comprehensive approach. 99 . is the one tool you need to get started. 4 Up the Neck Blues Chords 3 4 8 9 9 9 9 9 9 2 2 2 2 2 7 7 9 9 2 0 0 0 0 0 0 0 0 Ex. 12 E7 A7 E7 A7 E7 A7 E7 A7 E7 A9 E7 A9 n ˙ n ˙˙ ˙˙ ˙˙ j j j j # # # # n ˙˙˙ n ˙˙ ˙ ˙ ˙˙ ˙ ˙ ˙ œ œ œ œ. j œœ œœ œœ ˙˙ n ˙˙˙ n ˙˙˙ ˙ ˙ n ˙˙ n ˙˙ n ˙˙˙ n ˙˙˙ n œœ œœœ œœ œœ . 13 Ex. 4 to3the4acoustic guitar 9 8 neck: 9 12 11 10 12 11 10 5 4 3 A Player’s guide3 2 3 8 7 8 9 9 9 9 9 2 2 2 . Whether you are studying with a teacher or on your own.com 7 . with graded lessons and supplementary songs.. and jazz of today. .95. and old-time music of yesterday have come the rock. country. From the folk. . 17 E7 A9 E7 E7 A9 A9 # # # # . n www œ œ n œœ Ó œ œ œ œ œ œ | .com/store. œj ˙˙ œœ œ n œ œ œ œ œ œ n œ n œ œ œ Œœ 3 w œ nœ œ œ ˙ ˙ & . 11 Ex. 2. or by phone (800) 637-2852 AcousticGuitar. playing. blues.. n œœœ . . Order Online at AcousticGuitar. Three CDs and 35 lessons make this book a great value at $24. the acoustic guitar. Begin understanding. 14 Ex. œ œ œn œ œ ˙ œ & ˙ ˙˙ œ œ œ œ | 4 3 7 5 10 9 12 12 7 7 7 7 7 7 7 7 3 2 5 5 9 8 12 10 5 5 5 5 5 5 5 5 4 2 7 6 9 9 13 12 7 6 7 7 7 6 6 6 2 2 6 5 9 7 12 11 6 5 6 6 5 5 0 0 0 0 Ex. œ n œ .

œ œœ œ œ œ b œ œ œ œ œnœ #œ œ œ œ œ œ œ œ œ œ nœ œ nœ œ œ nœ œ œ œ 7 œ œ œ œ œ œ œ | H 4 3 4 0 0 2 5 3 0 2 0 0 0 2 3 2 3 3 0 0 2 0 0 4 4 0 1 2 2 2 4 3 2 1 3 2 2 2 2 2 1 1 2 1 2 1 1 2 2 0 2 5 4 3 0 0 0 0 0 0 3 2 Blues up the Neck Music by David Hamburger E7 A7 E E maj7 E 7 A A maj7 A 7 A9 jœ j œ œ n œ w j 3 œ ˙ Swing \ #### 4 œ nœ œ œ ˙ n œ œœ œ œ œ œ n w œ œ n œ œ . œ n œ œ œ œ œ œ œ œœ ˙ œ œ œ œ œ œ œ œ œ & 4 œ œ # œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ | 0 02 3 0 4 3 4 3 2 0 9 8 9 0 2 2 02 3 2 3 8 7 8 1 1 4 3 4 9 9 2 2 2 2 2 2 2 2 2 2 7 7 0 0 0 0 0 0 0 0 0 0 0 0 E7 E dim E 7 B7 A7 j B7 E7 C «dim A mE 7 C 7 B 7 j j j j j j # # # # n œœ n œœ # œœ œ œ n œ j j œ . 3 8 9 9 9 9 2 2 2 5 8 5 4 4 9 9 9 9 2 6 2 2 7 7 9 9 9 9 2 2 5 5 0 0 0 0 0 0 0 0 0 0 0 0 E7 A7 E7 B 7«9 A7 B7 E7 A9 3 C7 E 7F 7E 7 j œœ œ n œ œ œ . #### 4 @ = 96 œ ˙ œ œ n œ ˙ œ œ . œ j . œj œ n œ j œ œ œ œ œ œ b œ œ œjœ . œ 3 3 œ œœ œœ n œ ˙ & œ œ œ œ œ œ œ œ n œ œ œ œ œ œ n œœ n b œœœ œ œ ˙ œ œ œ œ œ nœ œ œ œ œ œ œ œ œJ ˙ JS 7 | H P S 7 7 5 7 30 0 2 020 7 5 0 2 0 7 75 75 3 02 0 5 5 3 0 3 0 8 0 555 1 0 7 6 2 6 6 7 7 6 3 1 8 7 6 2 2 2 1 1 5 1 6 5 2 7 6 0 2 2 0 2 0 0 0 0 0 8 7 8 AcousticGuitar. j œ œ œ œ n œ œ œœ œ œ œ œœ œœ œ œ . used by permission.A Player’s guide to the acoustic guitar neck: Blues Chords Up the Neck Handful of Chords Music by David Hamburger E7 A7 E7 E dim E 7 A7 A dimA 7 Swing \ j j j j j . all rights reserved. & ‰ œ œ œ œœ œœ .com . j n œ œ n œœ # œœ ˙˙ n œ œ œ ˙ œ n œ œ œ # œœ .œ œ œ n œ œ. n œj œj œ j œ œ œ œ n œj j œ œ n œ œj œ œj œ n œ œœ œ œœ œœ œ œ n œ œ œ 3 # # # # n œœ œ . @ = 96 & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ H P | 0 9 12 12 11 10 5 4 3 7 5 7 5 © 2005 david hamburger.

Bluegrass Guitar Lesson Guide A Private Lesson with Chris Eldridge The young bluegrass prodigy discusses chord voicings and rhythm-guitar techniques. By Scott Nygaard A Private Lesson with Chris Sharp The bluegrass phenom explains his Lester Flatt-inspired rhythm style: Use a thumbpick to power bass runs and a fingerpick to add bounce.” By Craig Havighurst . By Orville Johnson A Private Lesson with Jim Hurst Learn the two-time International Bluegrass Music Association Guitarist of the Year’s hybrid fingerpicking approach to Bill Monroe’s fiddle tune “Wheel Hoss.

“I freaked out and my life changed in that instant.” Since graduating guitarist in the bluegrass world.” says Chris You play a lot more colorful chords than Eldridge. Of course. was recently released by Sugar Hill Records. You can have a pretty colorful chord with just the basic triad. Though Eldridge has certainly learned from Rice’s example. but he didn’t take up the guitar until the age of ten. and Chris Thile’s How to Grow a Band (also known as the Tensions Mountain Boys).” he recalls. coun- in 2004 from Oberlin College.Chris Eldridge The young bluegrass prodigy discusses chord voicings and rhythm-guitar techniques.” Eldridge says. when he heard fusion shredder Eric John- son’s Ah Via Musicom. it conveys all the essential information 4 œ1 œ œ & 44 œ œ #œ nœ œ œ 2 4 you need. the B on the third string. or you can put it in another H inversion. That was the turning point. the most stark thing of all is fifths [Example 2]. There œ 1 1 œ œ are so many different ways you can manipulate œ it. Fork in the Road. I kind of stole it from Eric Johnson. he’s expanding the role of bluegrass rhythm guitarist LICK OF THE MONTH with his own harmonic and rhythmic concepts. The son of bluegrass banjoist Ben Eldridge of the Seldom Scene. fourth Kristin Barlowe 8 8 5 fret. “This two-bar lick is pretty idiosyncratic. eldridge Yeah. If you play. the E S H P 7 8 5 on the fourth. which he says provided “a comfortable bridge” between fusion and the bluegrass sounds he’d grown up around. the guitar becomes another con. but it conveys it very starkly. In grooves. with the G on the sixth string. “I got totally obsessed with his music.” He found his way into bluegrass through Tony Rice’s “spacegrass” recordings of the early ’80s. and adding power to the band’s inno- Eldridge has become the most-talked-about Thile’s band. playing harmony lines. and another E on top [Example 1]. where you can barre 2 AcousticGuitar.com . That 7 7 8 7 5 9 10 7 has a totally different sound. Stretch many bluegrass guitarists do. It’s not as stark as B 5 7 a regular Em. his rhythm playing is just as fascinating. By Scott Nygaard C hris Eldridge plays guitar in two of the hottest young bluegrass bands around: the Infamous Stringdusters. and syncopated partial-chord him to spend a term studying with Rice. “There’s this rhythmic thing that was so comfortable about Tony’s music. which allowed virtuosity and fiery soloing may turn heads. and listened to Ah Via Musicom and Tones nonstop. It works well as the last two bars of an A-minor fiddle tune or bluegrass tune. vative and complex sound. but termelodies. “but it was also harmonically sophisticated. a straight Em œ2 œ œ Am E7 Am chord. whose debut CD. Chris was surrounded by bluegrass growing up. your hand to get the first phrase (follow the fretting-hand fingering noted below). His effortless trapuntal voice. say.

I wanted it a little more spare He can play the most amazing straight blue- [Example 3]. Ground record. but he’s not afraid to add weird chord. make music with people. and nowhere. I started with almost a fourth voicing be ringing all the time.com 3 . You’re trying to Do you have the freedom to use those kinds eldridge One cool thing about playing closed. What was the most barring the fifth through third strings [Exam. which is kind of a cheesy color sounding. I don’t feel great about using them. in one way or another. You also use some closed-position chords for musicians and make sounds that are pleasing to a more percussive effect. I don’t think you need to one note at a time. I was 18 or 19 at that time. and you get the chord Tony Rice used Since I started playing with Chris Thile. “Tragic Life. especially in the bands I play people do. simply. On his How to Grow a Woman from the From there I’d add a D to replace the high B. you can get To find different chords. 6 E m11 E m7 C C7 G # œ œœœ œœ œœ ¿¿ œœ œœ ¿¿ & œœœ œœ nœ œ œ œ ¿ ¿ b œœ œœœœ œœœœ ¿ ¿¿¿ œœ œœ ¿ ¿¿ œœ œ œ œ œ œ œ œ H H 0 0 0 x 0 0 3 x 3 3 1 x 1 1 x 3 2 4 0 3 3 3 0 x 2 2 3 2 0 x x 2 2 2 x 0 x x x x B 2 0 2 0 3 2 3 x 2 3 D G # œœ œœ œœ œœ œ œ œœ œœ b œ & œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ b œ n œ œ 4 œ H H P P P H 3 2 2 3 3 3 0 2 2 2 3 2 0 0 0 2 0 2 0 0 0 0 0 2 0 0 4 2 0 0 4 B 2 3 0 3 4 1 2 AcousticGuitar. it constrains other people if and I had a much more “young” mentality. 5 Ex. 4a 4b 4c 4d 4e WHAT HE PLAYS Acoustic Guitar: 1954 Martin D-28 # 4 E˙m E m˙/G E 5 E m(add9) E m11 E m11 E m11 E m11 www ww ww www www ww E m11 ww & 4 ˙˙˙ ˙˙ (“Uncle Johnny”). I players who step outside the box. but which can be a great effect. that not a lot of crazy this lick you can do is. ple chords.” that’s in E minor and has and lifting them off the strings a bit [Example 6]. It’s got though. and I With closed-position chords. listen to. top [Example 4d]. I play this voicing all the some weird voicing. the other important thing you learned from him? ple 4b]. It’s a Western song. Just change one raised the A note up to a B for a kind of Em7 Tony Rice is my favorite rhythm-guitar player. but it has its place. record. I really liked the sound of sim.” 0 4 4 0 2 2 2 2 2 Strings: D’Addario J-17 medium-gauge 2 2 2 4 4 4 5 5 5 B 2 0 3 2 0 2 0 2 0 2 0 2 0 2 0 2 0 phosphor-bronze. music. these weird voicings. That’s why conceive of six new things. a little more solitary Western—this grass rhythm. the Stringdusters and the Tensions Mountain tate the mandolin chop—almost mute the strings. There’s one song on the Stringdusters I damp them by moving my fingers to the side Ex. this spooky.BLUEGRASS GUITAR LESSON GUIDE: Chris Eldridge the fourth and fifth strings with your first fin. haunted but very stark sound. He impressed upon me that all you’re really try- time. But let’s add in an guy out on his horse.3 mm. and insert accents into the 11 note. which he shapes to ˙ ˙ w w w w ˙ w w w w w w w about 1. thing and see what that is. but for the main chord I played. ones have so much more impact. ww www ww ww w ww w Picks: Tortoiseshell. musician in service to an ensemble. is imi. 2 Ex. That’s what I eldridge Yeah. I like rhythm-guitar discover things by doing that than by trying to [Example 5]. ger and then use your pinky on the third string. 3 Ex. You studied with Tony. I you’ve got chords with upper extensions or wanted to be a gunslinger and play crazy solos. And I’ll also use it without the top note ing to do as a musician is collaborate with other [Example 4e]. “Shell picks are definitely the sound I prefer. ag Boys. Ex. then you can flatten the barre and get the F# on where you raise the ninth up to the third. this rhythmic punch. Here’s a really nice one [Example 4c]. So. Plus. here’s an Em9 without the third. learned from him. really change the direction of the music on “House Carpenter” [Example 4a]. 1 Ex. If you play simple chords. to be more of a complete in. coming out of eldridge Well. I’ve been more comfortable playing by doing something different with the rhythm. but I haven’t found anything 0 0 0 0 0 0 0 2 0 0 0 0 3 3 3 3 else that sounds like that. you can just move wanted chordally to have this ghost-town sug. not show them how of chords in a bluegrass band? position chords in bluegrass. syncopations. I find that it’s easier to gestion.

The technique is virtually a lost art in this era of supersonic flat- picking: using a thumbpick to power the bass runs and one fingerpick to add bounce and swing to the upstrokes. By Orville Johnson T he driving rhythm and soulful. Sharp grew up in North Carolina and spent some time in California before moving to Nash- ville. That led to his participation in the O Brother soundtrack and Down from the Mountain How did you get interested in the Lester Flatt rhythm. hill-coun- try vocals on “I Am a Man of Constant Sorrow” (from the soundtrack to O Brother. Chris uses his thumb-index style to play some bluesy single notes. I’d been cared about that—there were a lot of guys com- summer. Oscars. Tennessee. Everyplace else I’d been it was working tours. and plaudits galore. CMA awards.com . where he began serious study of Flatt’s rhythm style. In bar 4 he strums down with his thumb on the sliding chords and then back to the swinging thumb-index strum to establish the groove. We sat down to discuss his rhythm style at rhythm style? for me. His style recalls the playing of Les- ter Flatt. j j j j j j q = 200 # # # # 4 n œœ‰ œ ˙ œ œ n œ . racking up Grammys. Where Art Thou?) gave bluegrass and old-time music a boost into mainstream con- sciousness.Chris Sharp The bluegrass phenom explains his Lester Flatt–inspired rhythm style: Use a thumbpick to power bass runs and a fingerpick to add bounce. He picked up gigs with fiddler Kenny Baker and Josh Graves (Flatt & Scruggs’ legendary Dobro player).œ ‰ nœ œ œ œ œ . I knew LICK OF THE MONTH In this Merle Travis–inspired intro lick. playing more in a Tony Rice flatpick style of ing up that were trying to play like that. then spent several years with the [John] Hartford String- band. A lot of that freight-train rhythm was provided courtesy of Chris Sharp. but when I got to Nashville nobody the British Columbia Bluegrass Workshop last SHARP When I moved to Nashville. n ‰ œ œ œ œ œ œj œ n œœ n œœ n œœ ‰ œ œœ j œœ œœ ‰œœ œœ & 4 #œ ˙ œ œ ˙ #œ nœ œ #œ n œ Œ n œœ œ #œ œ n œ n œœ œ œ J ‰ œ J ‰ p i p i i p p i p i i p p i p i i p i p p p p p p i p i p i 4 4 3 3 4 4 0 4 3 2 0 0 0 0 0 3 3 2 2 3 2 3 2 1 2 0 2 2 0 4 4 4 3 3 3 4 4 3 0 4 3 2 0 1 0 0 1 2 2 B 0 0 4 AcousticGuitar. from the seminal bluegrass super- group Flatt & Scruggs.

it rests on the D string. you need to triple strum before the downbeat [Example 1]. Crowe. If you j Ex. They call them Hi Rider. through the run. . I later found It’s like. 1 Ex. What the banjo and guitar Scruggs fan. When there’s a rest on the G string. 1 Ex. The way you mix in the upbeats 0 0 0 0 0 0 2 0 0 0 0 0 0 0 0 B B 0 3 0 1 2 0 0 1 2 2 0 0 with the finger helps give more of a swing to it. ing the pick. The important cle. I guess John Pearse on his thumb and finger. AcousticGuitar. Lots of easy to overlook until you sit down with it. a grace note. the timing of the run. band. by the time you get up to the G note. what happened in bluegrass 0 0 2 0 0 0 0 0 0 2 0 0 0 0 0 0 B rhythm was Jimmy Martin and Flatt & Scruggs. then up. how tight it needs to upbeat with the finger right before the down- be. H . focusing on the guitar. the music breathes trol over when you’re going to make the note. them deep so it’s kind of like a fin sticking up. It makes a big difference in tone rosin. you see that when he q = 184 q = 184 q = 184# œ œ ‰ œ œ q = 184 Œ œœj œœœ œœœ œœœ comes to play a run. I’d always been a Flatt & play at the same dynamic level. ag cut three grooves. fiddle bow rosin.. and mahogany. That’s defi. Crowe. regardless of working together. Vintage more. But they never Lester’s playing style. Ó œœ ‰œ œœ œœ œœ . P Another advantage of this style is I can play 3 3 3 3 H P 3 3 0 0 0 3 0 3 0 3 0 3 0 3 0 3 0 0 0 0 so much faster with my hand open. Learn.com 5 . 2 You can’t miss if you play it this way. You do this along with the pull it off. bars [for playing Dobros]. It’s always with the thumb. words come in and out by the changes in the the modern players went through Martin’s then you think. then there’s a little space and the strum comes back. Other picks. his hand that was strum- # 4 . playing this way did together was incredible.. it really hurts your cuticle. strum. ACOUSTIC GUITARS: 1989 Martin D-16 things in rhythm-guitar playing. Your Tell me about the “breathing” aspects of this thumb comes to rest on each string as you go style. or your pick is laying on the string and you pull it off. It’s more integrated to the song. and developed a swing from I needed to change.. I try to stay out of accuracy and tone. but I’d never really considered the changes in the song. John the way so. It lets the guitar be part of the song. the to Paul Warren and rub his thumb right up down-up (finger-thumb-finger). Œ œœ œœ & 44 .D. how did I miss this?” guitar. his whole J ‰ ‰ hand just stops and plays that run. pen to catch a string. And you don’t miss the G National middle fingerpick. if your hand sweats. These pick. no higher up on your finger. Ó œ ‰ œ œ œ . 3 ‰ throw in an occasional strum [Example 3]. After I pick the notes on the A WHAT HE PLAYS SHARP That’s one of the most overlooked string. fourth string thumb. like you say. though. “Whoa. if you get going fast and hap- toward the point of your pick. how to keep it from slipping around. Or add a little think Tony’s style is an evolution from Martin. same company that made the Stevens Steel under Warren’s fiddle strings and get that rosin nitely a Flatt thing. I I had to look around and figure out for size the downbeat of the strum. You have much more con. and œ œœ œœ bb œœ nn œœ œœ œ œœ œ œœ ∑∑ & œ JJ ‰‰ œJ œ œ œ‰ œœ JJ his finger sticks out. It’s like a 45-degree angle finger involved [Example 2]. he trained them to play his rhythm. Another trick I’ve seen got the pattern for them and started making Earl Scruggs use is to cut grooves in the thumb. the rest of the time. not clutch- 0 0 0 0 0 0 0 0 0 0 . It doesn’t maple back and sides. And sometimes making a What kind of picks do you use? ing about how. then I pick the G note. Talk about Flatt’s famous G run. When things drag. but that’s what gives you the STRINGS: D’Addario EJ17. I 3 3 just play a pattern on the bass strings and Ex. You cut them on the blade where your SHARP I play it different ways depending how work well for guitar rhythm because they sit thumb sits. SHARP I had some pictures of Lester from the use pine rosin. His were made by Stevens. PICKS: Dunlop large thumbpick. then I pick the D. Tony Rice with J. Doyle Lawson. if the song gets going real fast. my arm & & œ œ œÓ œœ ‰œœ œœ œJœ œœ‰ œ œ œ ∑ œ œœ œ œœ ‰œœ œœ œJœ œ‰œ œœ œ œœ gets tired real fast [steadying the tempo] and I J ‰ œ œ J ‰ put more of those in to get a rest. You need to cut thing is.D. But the idea is. Some guitar players play in perfect time but and end up hitting the B string. What’s your take on the differences between 3 3 3 3 3 3 3 3 3 3 3 the modern rhythms and the older styles? 3 0 3 0 3 0 3 0 3 0 3 0 3 0 3 0 3 0 3 0 3 0 0 0 0 0 0 0 0 0 0 0 0 0 SHARP To me. Pearse Hi Rider index fingerpick. myself what kind of pick.. Flatt & Scruggs kept the same band. 3 Ex.3 . beat. It’s you might even be able to hear where the trained other people to play their way. them again. If œœ œœ œ‰œ‰ œœ h = 144 h = 144#œ œ œœœ ∑ œœ œœ œ‰œ œœ the band is really playing in time I don’t need # œ ∑∑ œœ œÓ ‰ Ó Ó ‰ to do that. I your pick is laying on the string and you just That doesn’t seem to happen with these. But. Vrai by Shima Yoshihiro with hole or space in the tune—at the end of a line the pick is stopped by the B string. and your pick is not gonna move. . mostly. whether you pluck the string. not right on the cuti- or it doesn’t work. 2 2 0 2 2 0 B 3 3 2 3 3 2 A lot of the modern flatpick style is rooted in Jimmy Martin. His way is subtle. œ œœ‰ mimg free gets anchored with his thumb. 2 ‰ ‰œ‰ ‰œ‰ watch Flatt on a video. Sometimes. and from F# to G on the downbeat to sort of empha- So I started listening to all their stuff again and Sometimes I’ll hammer on the sixth string they went on to teach other people: J.. thumb strum on top Bear Family box set and I could see that he used out from Josh Graves that Lester would go up three strings. or wherever—I try to fill it up with a louder stay there long. sixth string thumb.BLUEGRASS GUITAR LESSON GUIDE: Chris Sharp Ex. You have to cut a certain direction fast the song is. a fingerpick.

In the last few years. Sometimes I’ll play it faster to give it more of a bluegrass feel. The way the melody is played. Since I recorded it on my Open Window CD in 1998. It is surprising to find so much to work with in a tune with scarcely more than two chords. He’s been a studio picker and a road sideman for country stars like Trisha Yearwood and blue- grass standout Claire Lynch. People don’t realize that his want to hear the note jump out of the box. Hurst was born in Kentucky but grew up in Lick of the Month Ohio. Hurst uses both What is it about this song that made you my first finger to support the thumbpick. Hurst has invented many So walk us through how you approach the vis and Chet Atkins or a natural-born variations on Monroe’s deceptively simple melody. like Doc Watson.” “Night after night it’s a different kind of attitude. Hoss. Hurst’s ability to bring both traditions together is evident in his arrangement of Bill 6 AcousticGuitar. I’m able to meld a couple dif- ferent ideas in it. ing with a thumbpick. “But ‘Wheel Hoss’ adapts so especially Jerry Reed. result- ing in two Guitarist of the Year awards (in 2001 and 2002) from the International Bluegrass Music Association. but you can fudge the cadence of the melody just enough to make it funky.” By Craig Havighurst music has a lot of flexibility. it’s absolute genius. where he caught fire for music through Try this highly syncopated and rhythmic fingerstyle intro that Jim Hurst uses to start “Wheel his family. it’s straight up and down. Some acoustic guitar techniques to support and want to arrange it for solo guitar? of it’s hammer-ons and pull-offs [Example 1]. Hurst’s partnership with bassist Missy Raines has allowed him to put both his flatpick- ing and fingerpicking chops on display. He recently showed me a few.” helped him build a wide-ranging career. so as likely to spin Chet-like webs of country fin- gerstyle silk. I t’s hard to tell whether Jim Hurst is a natural.com . You’ve got that modal element. Monroe’s “Wheel Hoss. You’ve got major elements. But his eclectic taste well to a funky groove. HURST I set it up so I can play the melody through the school of Clarence White and Tony using the thumbpick as if it was a flatpick.” he says. Sometimes I’ll play it slower to make it funky. drop-thumb fingerpicker who put himself theme.Jim Hurst Learn the two-time International Bluegrass Music Association Guitarist of the Year’s hybrid fingerpicking approach to Bill Monroe’s fiddle tune “Wheel Hoss.” Played in open-G tun- born bluegrass flatpicker raised on Merle Tra. It’s great exactly the way he did it. I’ve adjusted a few things. but his music is so diverse. His first idols were fingerpickers. enrich the other. He’s one of the few guitarists HURST It just pays tribute to the great writing When I play I don’t want to hear the pick. HURST It’s kind of in the cracks. I known chiefly as a bluegrass player who is just of Bill Monroe. Actually. You’ve got minor elements. bluegrass-wise. I use Rice.

Merle Travis/Doc Watson thing and Fender extra-heavy tricorner flatpicks. index and middle fingers to play the melody. Picks: Golden Gate pearloid thumbpicks The third time through I play double-stops thumb. ag preamp. Then it goes from being a sup. [Example 3]. but now [Example 4]. it’s more of every other time.BLUEGRASS GUITAR LESSON GUIDE: Jim Hurst when I pull it off or hammer it on. because I’m hammering on a natural sound. to my right hand. The last time through I play the what he plays same kind of thing with a percussive approach Acoustic Guitars: 1986 Doc Watson Then you switch to fingerstyle for the varia. I hit the top of the string with model Gallagher for fingerstyle songs. and my How do you handle the B section? phosphor-bronze. Amplification: Fishman Acoustic Matrix I’m using a double-stop so two fingers are play. It’s the same bass line. AcousticGuitar. so I get 2001 Huss and Dalton D-RH custom HURST The second pass through I add a bass a loping kind of groove. and pulling off. port bass line to actually getting active in the pickup through a Fishman Pocket Blender ing the melody. They’re actually only picking melody [measures 7–9]. line [Example 2]. tions? my nails and anticipate the downbeat.com 7 . HURST The bass is playing just that drop. dreadnought for bluegrass. I use my thumb to play the Strings: D’Addario medium-gauge bass line and part of the melody.

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dubreuil. Tarentelle Traditionnel Italie Arrangements & tablatures : Joseph Dubreuil Guitare rythmique http://joseph.free.fr/ .

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