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Greensleeves Tinney si nites a soln abr you aa es situations it's where the virtuosi guitarist shines the brightest. The sparkling diamond uncovered in ).B.6 1868 trend-setting debut LP Truth (featuring Rod Stewart on vocals ‘and Konnie Woo on bass), eomes in the guise of the timeless English folksong ‘Greensleeves.” Sandwiched between per- formance after poriormance of solid blues: Ss, the gentle strains of Beck’s acoustic guitar offer a soothing, minute-and: forty-seven-second calm in the stot, But ‘more than that, “Greensleeves” shaweases yet another side of the multi-faceted guitar ‘wizard, and stands out as one of the album's ‘many highlights, rock at tis fin SECTION a ‘Asa moody prelude to the main melody (hich begins at Section B), Beck plays 2 descending Dm chord progression in a gen- tlyrolling6/8 time signature (aix eighth notes 10 a bar). The arpegziated figures lend them- selves perfectly to the 6/8 meter and also serve as a wonderful introduction to the art of fingerstyle gular. The chord diagrams in Fig. 1 will get you safely through the progres- {n che “let ring” factor. In this paseage, use your pick hand's index, middle, and ring Tingers to pluck notes on the aud, 2nd, and Ist sings, and pick the sth and Sth string notes with your thumb, SECTION B The main melody starts at Section B ‘and finds Beck shifting to 3/4 time, estab lishing a bittersweet “Britis. pub sing-a long” vibe. One can almost envision the patrons bolsting thelr mugs and swaying them in time to the music. Use the chord voicings and suggested fingerings found in Fig.2 to navigate through the frst 16 mea Foel free to experiment with pick fingering choices, as there is no “written law” in the fingerstyle process. But, gener: ally speaking, sive (o play the lower notes with your thumb, and the higher strings ombination of index, middle, with some and ring fingers. Although there's no against it. uy to avoid using your pinky until you have the fundamental taumb- indes-middle-ring combination down cold. Incidentally; the thumb/middle fin ;mbination works well for most non jacent-string double-stop moves ike the [B/D and A/C 6th intervals in the second The F/C chord marks the halfway point in Section B, and presents a knuckle-bust= Ing challenge (Fig. 8}. 1F you dant possess the neatly double-jointed) ability this voic ing requites, put off batring-down your ring finger until beat 2 of each measure. The fin gerings in Fig. 4 should help you with the subsequent Em/B and Am chords. The remaining 12 measures of Section B cover familiar territory previously explored, but with one exception—the return of the gharly F/C chord, with an even trickier move than before. Heres a tip for these 1wo measures: Voice the F/C as you would an F7/C chord [Fig-5) and mute the tied string by slightly arching the index finger of your frothand, ‘seerion € Section C serves a8 a recapitulation of the first half of the main melody (Bist 16 measures of Section B). Here, Beck slows the tempo for dramatic effect. but aside from the D major tonality of the last two mea= sures, there are no surprises. But don't oyer- look the marvelous subtlety that appears throughout the arrangement—Beck often pplucks two- and three-note chord stacks in quick succession (from the DotA note up), creating the aural Ilusion thar there are sion, while the suggested fingerings wil ak measure factually two gutters playing. Fig. Fig. Dm Dmic Dw/B Bb Asusd we pc 1 t te Ht “Teg : + i t Fig. 2 Dsust Gada GREENSLEEVES As Recorded by Jeff Beck (From the Epie Recording TRUTH) Transcribed by Troy Nelson Traditional music Slowly d. = 64 Dm Dac Dm Ge coe) Bh Asust ~~ Dm aa 2 © am T= Thumb on he Den FD Amv AmG 164 GuitarOne SEPTEMSER 2000 » urn ‘SEPTEMBER 2000 + G4 The Magaane You Can Pay 168 Greensleeves Dm cases o : ce Am Dm B Am AmG 4166 GultarOne SEPTEMOER 2000 « wwe.