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Beginning Fingerstyle Blues Guitar

· by Arnie Berle and Mark Galbo. • A step-by-step method for learning this rich and powerfuJ style.

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CONTENTS Introduction 4

The Origins of the Blues 6
TheForm 6 The Beat 8 Picking-Hand Technique for Fingerstyle Guitar
8

Preparing to Play Our First Blues 10
Building a Solid Technique The Alternating Bass 10 10

Picking with the Fingers 11 Combining the Thumb and Fingers

11

Preparing to Playa Blues in G 17 Preparing to Playa Blues in E 19 Melody Notes
21

Eighth Notes, Dotted. Notes, and Syncopation
Eighth Notes and the Alternating Bass 33 Dotted Rhythms 38 Syncopation 41

33

Blue Notes

46 50

Fretting-Hand Techniques Hammerons 50 Pulloffs 52
Slides 53 Double Stops Bends 55
Vibrato 55

54

Picking-Hand Teclmiques
The Brushstroke 56 Heel Damping 57 Walking Basslines 58

56

Playing Chords in the Higher Positions 62 Vamps 70 Singing the Blues 76
The Blues Lyric Form 76 Turnaround Fills 79

Five Blues Pieces 81 Contents of Compact Disc 96

INTRODUCTION
One day back in March of 1988 a young man named Mark Galbo came to me to study jazz gui tar. Over the next several weeks I learned a lot about him. He was twenty-seven years old. he held a degree in music. and he was an excellent blues guitarist. He taught at his studio and as a guest clinician at blues festivals. He also performed all over the country at these festivals and in clubs throughout the New York area. He has played with some of the leading blues guitarists of our time, including Etta Baker and John Cephas. This was of great interest to me because although I have been associated primarily with jazz through my hundreds of columns for Guitar Player magazine and the many books I have written, I greatly love fingerstyle blues guitar. For a long time I had wanted to write a book on the subject. As time went by and I saw Mark for his weekly lessons, I became more and more impressed with his dedication to the blues, his conscientiousness about everything he did, and his articulateness. I asked him if he would like to collaborate with me on a book. This is the result of that collaboration. Since the blues falls into the category of folk or "unschooled" music, there has always been a mystique as to how a student might go about learning it. Legends abound about how Robert Johnson learned his craft from the devil or a witch doctor. We know that many bluesmen learned just by hanging around their elders. But most of us don't have that opportunity and have to turn to instructional books. One type of book contains direct transcriptions of blues solos by the masters. Unfortunately, many are dauntingly difficult and require a rather advanced technique. The advantage to this book is that we will start from the very beginning and gradually work toward greater sophistication. Not only will you learn the technique necessary to approach the works of the blues masters, but you will acquire the tools to make up your own pieces. And if you decide that you want to branch out into other styles of music, the fingerpicking techniques you learn here will give you a good basis for explorations into ragtime, country-and-western, folk, and even classical music.

which cannot be notated. we have included a compact disc. In order to acquaint you with the true flavor of the blues sound. If you can't do this. don't worry. It illustrates most of the material in this book and listening to it as you progress will help to give you a better idea of [he sound you should be striving for. we urge you to listen to as many records as you can find and to attend performances by blues players. Finally. All the musical examples are given in both standard notation and tablature. .Introduction • 5 All you need to start is an ability to play some of the basic openposition chords. as all chord forms used are shown in diagram form.

adapting the musical form to their lyrics. the desire to travel (J got to keep mouin').THE ORIGINS OF THE BLUES Well before the beginning of the twentieth century there existed in America a large body of music performed by black people for black people. Other songs were about legendary personalities like C. The Form The early street musicians would sing their stories. It included minstrel shows. troubles at work. who came to be known as "the Father of the Blues. However. railroad stations. thirteen. Their melodies were simple. and Bukka White helped develop a style known as country blues which has been copied over and over again throughout the world. w. Rider and Stagger Lee. Handy himself receives credit . and spirituals. their accompaniments often consisted of nothing more than a single chord or a repeated riff. field cries or hollers. This new music came to be called "the blues" sometime around 1900. many of the most important and influential blues musicians came from Mississippi. the spread in popularity of the blues led inevitably to its modification and standardization. Son House. It might have taken them nine. Country blues were about unrequited love. loneliness. Robert Johnson. Bluesmen like Charlie Patton. wandering performers accompanied themselves on the guitar at turpentine and lumber camps. quoted in Sandra R. Lieb's excellent biography Ma Rainey> Mother of the Blues. "Backwater Blues" told of a flood on the Mississippi River. roadside cafes. Bands began to play the blues not just as accompaniments but as instrumental pieces. twelve. says that she first heard the word "blues" applied to a song she heard sung by a little girl on a street corner in 1902. direct. or of specific events. scores of impoverished. and street corners. Out of many a few were recorded and have become famous among aficionados of early blues. or any number of measures to get through a verse. Ever larger numbers of phonograph owners picked up an interest in the blues and favored records that were to their own tastes. Although the blues emerged from all over the South. work songs. at some time during the 1890sno one knows any exact dates-another kind of music could be heard in rural areas of the Deep South.C. and elemental. Handy.e. Ma Rainey. There." wrote down songs so that they could be published and sold as sheet music. However.

and V chords in the key of A Major. Today. the early blues singers would often use only a single chord to accompany an entire song. Forgetting the other chords in the key and using only these three primary chords. As we mentioned above. As their melodies became more sophisticated they brought in more chords. but it is more valuable to think of him as emblematic of the influences that began (and have not yet ceased) to filter into the blues and modify it. The performer repeats it as many times as he wishes.The Origins of the Blues for composing the first blues to be printed. and fifth degrees of a major (or minor) scale. borrowing from the simple folk songs and church hymns they knew. it is still possible to harmonize any melody note in the key. And when we speak of a twelve-bar blues we are not just speaking of a number of beats. Below we see the I. and are known as a key's primary chords. The classic pattern uses the chords that are built on the first. or chorus. . Some people considered that Handy's songs were not real blues. IV. the twelve-measure verse reigns as the classic blues form. The sound of the above progression is so distinctive and common that anyone who has the slightest familiarity with popular music will recognize it immediately. The example shown above would constitute one complete verse. fourth. of the blues. A D E ~~Ii ! r u 0- H IV H v II 0 I) Still. but rather their arrangement over the twelve measures of the verse. In a major key these chords are the three major chords. what is special about the blues progression is not the use of these three chords. but also of a definite cycle of chords.

The early blues performer. The bluesman intuitively understands that rhythm is of the body and therefore must be expressed by the body during performance. The pictures below illustrate this picking technique used in this book and on the tape. noisy atmospheres. middle. the right-hand fingers as rhythm and lead guitarists. Soon the dancers would be moving to his rhythm and an improvisational give-andtake would occur between musician and dancer. Stomping out the beat with the foot is the most direct and effective technique for accomplishing this aim. The connection between dance and music cannot be overstated to one who would play blues guitar. was routinely expected to play "dance" music in crowded.8 • Beginning Fingerstyle Blues Guitar The Beat Keeping a solid rhythm is essential to building an authentic solo blues sound. and D(4th}-while the index finger strikes the G(3rd) string. and the player has the voice with which to sing. and the ring finger the high E{lst) string. He would use his entire body as well as his instrument to capture the crowd's attention and communicate to them his own personal beat. the middle finger the B{2nd) string. The thumb will usually strike the bottom three srrings-E(6th). and ring fingers pick the treble notes. A(5th). its passionate content is another matter. the solo blues player is like a one-man band. In fact. Only the form of blues music is simple. The music example below shows how this approach looks in the standard notation and tablature we will be using throughout this book. usually armed with only an acoustic guitar. The foot will act as drummer. the thumb as bass player. Try to infuse all the exercises and pieces in this book with a sense of rhythm and expression. Listen to the accompanying cassette to hear how even the most basic exercises can have rhythmic life breathed into them. Picking-Hand Technique for Fingerstyle Guitar The standard classical fingerpicking technique calls for the use of the thumb plus the first three picking-hand fingers. . sending the blues song in new directions. The thumb is used predominantly to pluck the bass notes while the index.

. D Q_ .. Paying attention to what your ears hear will keep you musicaL Notice that both exercises are based entirely on open stflngs... - ii X . .. .. . X oX . -- T ! J. . X _X _ft. _a _A X v u J( .. os K ~ ~ _.... We should note that there are many possible variations on the fingerstyle technique.. 'II 'II II cl X X X K_ v n X )( u ft..... you may certainly apply it to the material in this book. . . Listen to all approaches and follow your intuition... more aggressive sound. '!II ii X n )( . A • ~ ......... ... ... _)( v . - r ....._.... " " v v .. .''!II X Pi _.J Lo • '!II .. ... . :lIi • ....J PUE T ! - P-oA - PU ~ G B .... v . .. '!II i i X X - . .. . K X v r - ..... warm musical tone.:. What is important is the quality of the music created.. '" Now we'll move on to some exercises designed to get your picking hand into the correct position. i on J(_ .. . '!II a_._ _D A -: ft _ . 11. :lIi 11 .. . v _. n . • os ...... f\ II F. u . .... The Reverend Gary Davis and John Cephas use only their thumb and index finger.. " tJ . pr n v K .. . _X v X_ v K X K X . .... . tI... Some players use fingerpicks to obtain a louder. X . '!II • _. .. v . i X X .. - . ... - 11 ... '!II ....ft_ - '!II • i n_ - . D ._ K n.. '!II 'U LJ 'LI ii . .. v K X n ......... As you play.... v ...ft i X K X .J"_" ~.. u . • T ... keep in mind two things: (1) stay relaxed... . . . . .. E D _.. If you already have a style that you are comfortable with.. • • • • - Pi i i . and (2) strive for a full... . ~ !:o ....._Lo c.... II F 1"'\ " ~ ... • os K - rrr n _" - _. ...... X - r _a . 1\ II I FI 11 • " 1"'\..a....... X . Etta Baker picks primarily with her thumb and two fingers.._ - v _X .._... pr K X - .. .The Origins of the Blues • 9 fI.. . .

The first exercise below is based on an open A chord. But if the difficulty of the music ever causes you to lose your steady rhythm you ought to return to the point where you can execute the music without losing the beat. the same key we employed in dicussing the blues progression. the key signature for that key will be shown at the beginning of each line of music. but it is also the I chord in the key of D. Repeat the exercise until you can play it smoothly. C#. with the index:"finger (t) above the third string. Allow each note to ring out clearly. Tap your foot! The Alternating Bass The foundation of country blues guitar playing is the rhythmic drive of the alternating bass. It is very important to understand that since we will be playing in A and we will be working with chords derived from that key. and the annular (ring) finger (a) above the first string. You might want to refer to a book on harmony for a more detailed explanation. 0 (IV). the middle finger (m) above the second string. the 0 chord is the IV chord in the key of A. and the note E. A. Once again. the fifth of the chord. If you find that some of the beginning exercises are too easy then perhaps you should skip ahead to more difficult material. So let's examine this technique.. It is important to understand this because any chord can be related to more than one key. After playing the A be sure that the thumb doesn't touch the fifth string as it comes back to pick the E on the fourth string. Ultimately your playing will only be as good as your rhythmic drive is solid. . Building a Solid Technique This first section of the book contains studies designed to connect the thumb to the beat of the foot and then to develop independence of the fingers over that steady beat.We've chosen the key of A. For example. The key signature of A contains three sharps-F#. While playing with the thumb keep your right-hand fingers in good position: that is. Although you only play two notes of the chord it's important to finger the complete chord.PREPARING TO PLAY OUR FIRST BLUES In this section we are going to work up to our first blues . the three basic chords used for a blues in A are A(I). The E chord that is the V chord in the key of A is also the IV chord in the key of B. Notice that the thumb (p) is alternating between the root. and G#. and E(V).

. ...... ft . .. .. .r r1m .. AD :. .. -:J:. 213 A . 11.... . . m I... -~ A f) cJ . etc... ft r... r v r. . . ". . ....... . D 2 :. 1m...- 'I.. -J ...m-a fingering or any fingering that you feel is more convenient.. . ft . . '1.. .. I.... ... "" v .... Picking with the Fingers This exercise is again based on the open-position A chord.. - 4 .. ~·I. . 'I.. - r . ... . 3 .. . .. .. Combining the Thumb and Fingers In this next exercise try to be precise about synchronizing the thumb and fingers on beat one of each measure. " ~ cJ~ f) T A_D_ ~~ 11 .. .... . ..r r- - .. a- 1 2 ft r 3 r. ..... 'I. ft v .. Allow each chord tone to ring for the full four counts.. with the fingers playing the notes of the chord.. .. .\ i Preparing to Play Our First Blues» 11 ~~ _n 11 213 _":a A ~ ~ f) Ij 11 . . II . . I• tap: T A.. p-:J:.... 4 -:J:. . .. - tap: T . r r.. 1 p- . You may use the i.. " ~ *" . '" pr pr 11. '11 r v r .... _"" ...... '" ". . I• tap: 1 2 3 4 :. .. .

. -r I - r- _... This is because when we listen to the early blues fingerpickers playing this chord we hear that they almost always struck the A (the fifth of the chord) first. · · ..... r v rr - r .. . . I I m au I r I m~ tJ pr pr - - .. Tap your foot and keep the rhythm steady.. .. .. Noricethat the root is played on the second and fourth beats rather than on the first and third. ft r ... '_ pr pr _l:o I - ~ I _I - r . . .IL " .... . Here you play quarter notes with your fingers against quarter notes in the bass. " " ft A ~~ Iff ~ X..... . Fingerpicking the D Chord Below is an alternating bass for the D chord. .. .. .. . . ... rr v II 'II 'II .\:11 I ...#I ~ TI ~ " "" . -" ft " ~ H~ 11 A I '\: ~ . - I ... _ft_ v ~ ...I •I . . followed by the D note. . .. . tJ Pf v - pr .. v r r -." . . ..... . . . . be sure that the chord notes and the bass notes are synchronized.. ...... .12· Beginning Fingerstyle Blues Guitar The following exercise is based on half notes played against the quarter-note alternating bass. ..... _&_ o 132 .. · . . ..· 'I I 'I · . Again... r - r · . . ...... r r r _v . v . ....

1 '\: 1\ II#U ~ H t.... . u .._ · · Here we will play the tones of the 0 chord against an alternating bass..... . _._.. r.. . ...1... .. v r - i •I I · .Preparing to Play Our First Blues • 13 Pick this 0 arpeggio below as shown. · · Here we'll play half notes against the bass.. . · .. D il I ..... .... .. r.. .. . ..Il . pr Pi - r ~ v i r - "" ..1: . . .... 1.... ._ v r - i v .. .... . -I u r u i v - r ..u. . · i u '1. ....1 II ... .1 ~ 11# H D 'J ""' t... ~ ~ .... r. .. .> . 'I...... . ! ..... D ~~~ 111'. ... i u - r . .... .. D . . .... .... :D ! &l T .... ..J r - i v r - i v r - . ....... 1\ 1..... . '11 'J n tJ '\: u III ""tI: III ..> T . ~ i . v .. i _. . Be sure to hold the chord down well throughout. . .. v . . II 'II LJ '11 .. .. .. ..1.. ._ J :.

...... ~ .. . .. D .. ~ '-=lJ . ... !"\ ~ 101 . . 1:1 . . ... r. iI. '" " ... .....v .. . ~ - r . ... . but the way this chord is going to be used in our first blues song is the same way it is heard on recordings by early blues guitarists.."" J . II '1I '1I II .. .14 • Beginning Fingerstyk Blues Guitar And finally we'll play quarter notes against the alternating bass. I I J - I I I J r .. .. T AI.. . . .... >I i r - i 'I... .l TI i E "-=J .. ~ II 'II 'II II . . .. r. .. ... .... T ! ~ ..... . >I >I i r - i r 'U --- u.._ - . .. T ! AI.. Remember to finger the complete chord . . ..._j . D '''I ... "r... iI. If J. .. Notice that both of its tones are roots. u r .. u r .. ~ - pr ...... . f1 ~ W..] 'II II .... Below are the tones of the E chord as played with the fingers... .... ..... v . . .. _ ~ - r .:. r.. . .... ...... ... . r .' Fingerpicking the E Chord Below is an alternating bassline for the E chord.' .. . D r ..... This is not the usual way to play an alternating bass... It ~ F... _H If ~ .... ~ ... . iI... • 231 pr .. .

.u.. .. .. u - r . . LJ II Tl .Preparing to Play Our First Blues» 15 The following exercises combine the tones of the chord with the alternating bass. . r ... ... .. F......l r .. ..... .... . bass.~ . .-.... ~ n . .I I il Oil "1 0 0 . '" .J ......... v And quarter notes against the alternating " "... .. - r..... D .1. .. ..... E r - .. ... - II. . ~ '-' pr - pr - r v - r .. .. u v r . H ~ T1...... '" .. .... . -........ . '" . II Tl ~ .... u .. - r ..... .. . . r . - - r - .. r .. .... u . T ! . "" .. .. .. .... .. I r .. '" r - - r'" ~ . . . £I. - - r ... . h I I I "" ~ - ..... r ... '" r. 0 r r ... v . . ... Below are whole notes played against the bass.. il 0 ..1".1. .. v r I • I - I • - I r rr . .. v - r ..~JI r ..... bass.. Here are half notes against the alternating E " _.... ~ v . 'i I il .... r.. - r ... .. . ...... . . . r r U 'il 'il il . E I'! ~ ~ ... LJ ~~ ......... . ..

• r . 'I »~ o I -. .. ..... .. . rr ~ - r - r ..16 • Beginning Fingerstyle Blues Guitar Since we've just practiced the A..D a :.. ... .. u r .. .._j ... .. . BLUES IN A 1\ .j .... .. Play slowly and keep the bass notes steady.. . . . E i V r v ft . ... ......... ...... It's very important that you go smoothly from chord CO chord without any hesitation. .... ...... ... i .. ..... . 0. r - r - ft v .... - r .. • r ft r - r . ... .... A r - • r . I I . I -J i . . ...... . ... .. '" ...... .. r - r ...... . . .. ft - -... . I J i A • I T .. .......- r - r . ... ....I r ft .. _ft.. • I • I r - r ..... .. . - r ~ r.. &.. . . .. FI A I ~ 11 I "' .._j - r . v A . . . . .. v ..I . and E chords. . v r &. ... i r - r . v . ......... r - v .. .. . ... .. . . . I '" ...... - r ft r ... ......... . ..... v v .. II 'II 'II II .. I .. r - i . . . . let's now try playing them in the twelve-bar blues form. .. .... " I - I I r u r ... ..... • I u u .. r _-_ I :J I I r - r r - r . r - r _"'- ..... '"" o I FI !"\ ~ "»~ 11 f) - r . ..... .

. . u . . . ... I 32 1 r ft . ... .. ~ r . r r r a~ r ft r A D . i u · v ~.. ~ r ...... . ... ~ i ft - r ~ i - r ft V - 0 i - r ~ i '" v - . i ft - ...... '\ ~ '"tJ J .. i u -- II 'II r ft V i u - r ... r r r .. and D(V). . · · . £1 v E . r . r ....... Though this fingering for the G chord is not the most commonly used... r r · I •I I .PREPARING TO PLAY A BLUES IN G The I) IV.... .. v . ii 3 4 G - r ..... C(IV). A r . Below are the alternating bass and chord tones for the G chord. J .. '\ ~ _I. v r.. . .... '"tJ T ! ~... v · · Fingerpicking the C Chord Here are the elements of the alternating bassline and chord tones for the C chord. for now it is suitable for our purpose. r . v ..... . and V chords in the key of G are G(I). . . . ... ....

. I r r.... ~ r ........ . ... J r ...j .. . .. ..... . D T ! . ... v i v .. .. ..... ~ .. .... J . . . . v .. v 'oJ! .......... ~ " ~ c oIf ~ '\: J ... .. ... ...... . . . . . -r-r r r ....... ..... .. I ... .. .I I '\: lJ ~ . c .... I r .. ..... i .... . . i - . ... i v r - i - .... ... r - i n - r i n u ~ .... ft i u - r ... . ~ ~J .. .... v u - i v r - i v .. . BLUES IN G G . r . a D ! T ... . I . I . . . . r u i . ... v . . Playas slowly as you need to in order to keep your beat steady...... i . .. '" .. . . u G I I - r n u i u - r .. .. ... a D T ! .. r. .. v i r - rrr r ~J ft 0 I I I a .... '" rl oIf ~ <:It I I j . D " rl '\: III ~ ~ J i .X 18 • Beginning Fingerstyle Blues Guitar Below is a study based on the twelve-bar blues form using the G...... plus the 0 chord we used in the previous section. .. ... .. ft r I i u - v ... ... v - . G .. . .. r v ~ - II 'II i ..... r ... . ... . . .rr ... chords we've just practiced..... . .... i - r . n ... .. . C. . v .. r..

213 4 -. and fifth of a major chord... ... the dominant seventh is the most common version of the V chord not only in the blues but in many other types of music as well.. let's work on the B7 chord.. and V chords in the key of E are E(1). .. .. i .. .. ..... Although for convenience and simplicity we have waited until now to introduce it. .. and B7(V). plus a seventh tone a minor third above the fifth. ". i r .... Since we already know the fingerings for the E and A chords. i r . ~ Jt 'J "t. .. . A(IV). i r . .... A dominant seventh chord contains four distinct tones-the root.... r .. . ..... ..PREPARING TO PLAY A BLUES IN E The I. i .> r'\ ~ i "" i ... ... .. .... f... r.... . third.II r . "" . i r v i r . IV. rr . . . • 'II II _.. employed here as a dominant seventh chord.

..I tJ r ..20 • Beginning Fingerstyle Blues Guitar Here is a study using the twelve-bar blues form with the E.. . - . .. .. . . '" ~ a 1'.......--r r r r... - I - - - - - - - - - - - r .. ... ...10 r -r 2 r (J r 2 .. . v A .... A BLUES IN E I . 2 : 2 I: r . - .. "tJ ~ 1 " ~ r r 2 r (J r 2 r r 2 II " ~i E. - r· .... ...... E ..... TWELVE-BAR 1\ ~ 1'...r.... ...1.. .. . . - r ... L.... . . ~ "'. . . ... ... v . I... v ~ v .-J I . i r - r • LL ... '" ........... ..- 01 • 'J. . A. r . and B7 chords. .... . 1.. r -r . v r - ....I tJ .. .. v .... . .. .. .- "'.r r-. v r . r .....-J a " . .. I J I 'i r . . . ... E ..... : B7 ~ U Tl " I~ A \ r (J r 2 I r I: - r E ... r .. r - r ..... - r . ft r ..... 0 v ...... r r r r rr .

. . _ .. .111 11 . . ... . whether or not they are in the chord that we happen to be holding down. while with other chords we may be limited to just a few notes of the scale simply because some chord forms make it too difficult to play all of the melody notes. 4~ ~ • . . ... ...... It's very important that you hold down the chord throughout the entire exercise while playing the melody notes. &. . :I . . Note the new fingering... .. 1114 I 1"" I 3. . For some chords we may be able to play all of the notes in the scale while holding down the chord. "T . -0" .. This of course limits our melodies. . It ~ ~ .. Earlier we learned that chords come from scales.." ... . .. Melody Notes and the A Chord The following exercise is based on playing the A chord and all its melody notes.. ..... .. " . .. ..J 16 111'1.. .. so now we are going to increase our melodic potential with the addition of nonchord tones. ."" t> ~. '" ... V .. ...MELODY NOTES So far the three blues we've played have been made up solely of notes taken from the chords we were holding down with our fretting hand. now we will expand our concept of melody to include all the notes in the scale.... Sometimes if you wish to be able to play more melody notes you may have to finger certain chord forms a little differently than you are used to. I -1"" I • '11 '11 II I I .

..... _D T ! u .... __.. u . ." . . .... . . _.... ._ . ~ _. .. - r . -'" v . . '" '" ..... r - r ... . ft .. _.. "" . " " _'" tJ '!"\ l... . _.... . . 'LJ '........_... _£ v . r.r r r r r. ~ ... ft_ - r ...... oJ "9 " _IL u ft _'" -"'_ft u _'" v . _ .....lL T . .. Melody Notes...r r i r r "9 r - r _ft - • . ~ ......._ .X • Beginning 22 Fingerstyle Blues Guitar The A Chord. ... ~ .. . . to .. _"'- .... ~ - r r _ _. ... ...J t) - r i .._ . . .. - r • ..... u . . ._ - ri ft _A D "'[" ! _a_ _h .. .. ........ .... .. u _ft ..1 cJ 'I . .. . r "" r . ~..s- ... v . ft_ .. u .. and the Alternating Bass In this exercise hold down the A chord while playing melody notes against the alternating bass.~ ._ "" . .. ~ r _"'u r _ft - r .... It ~ ~ _ff_LI_ .. r _v r . -. ._. _A r - r- -.....I1 tJ oJ - --r.._ .... .. .. r " i . AI [ '\: : .. .. ..... .._ _A D . s.r r r r r rr - . ~ _.... v .r r r.. ....r 0 & r u - "'...... .'" I( "-.. r - r !! .... - - r .. _v ...l A ~~ 1/1 n . rr u ... .... u .l _ "~ tJ '" n t •• r ~ oJ r _h r u r _. r <J -r .............. . '"t_l! -9- 0 "~ '\: ~ iIL.. -6 r .... ...... ""_ _ - .. to i r _"" rr ... . _"'- .. .. .......

. . · · Here we play quarter notes against the alternating bass... . ._ .. . JJ r V ......... ~ .. £I _. i _'" r .. "" - r. ..... .. . _.....t r· _ft_ r .r r. ... Only when the melody note and the chord note conflict must you move your finger off the chord. . ..... u . .....j I - r 'T r . . . _ft_ . . " u '" III: · · Melody Notes and the D Chord The following exercises are based on playing the D chord and its related melody notes. _... . ~ irrr ... ..J_ ... .. .. .I I / Melody Notes • 23 In this exercise play half notes against the alternating bass..... .... ._ v " ......_ u . . . J - r. .. '" . . ~ ~ r _.TI .... <I r - _"" . I • I I __. JjJ - .... _"" . '" A " .... ...._ ..r rr - I J j - ~ ~ ..:....... r r - - .... .. .... . .r r _... . .. "u " 1"'\ III _H J r ...... ... . '01 J r J r - U 1 r . _A . "" ..._ v U --r rr- I I I r - r ...... I • - I . ...... as in the first measure of the first exercise. ~ . "" .J r - r . . - 1 - 1 a I ... . ~ r - r .._ I - • .. :J_ ~ T I.... '11 '11 II II oJ .. ~ 11 I "'_ .... '" _. " _ILl n. "" v ...n~ . rr _"'v '11 '11 LJ II . where in order to play the melody note G you have to remove your first finger from the chord note A. .. r ~ " r ....j t.. '" 'T r " J - r.. _.. " u . . . ..... ~ " i .... - I _.. "" . E . '" . _... .> LL - i . . .. .l .. r 'T r . .. 11 A ~ u. . ......._ ........ _A_ ... . . r " ..... OJ ~ III I I I t....... .

. - i - ... T ~ - i v . . ... .. .. I a ... "" .. . I .. "" ."' i . ... . - i . r . D . . ._j T ! r v a - r...24 • Beginning Fingerstyle Blues Guitar Notice the new fingering for the 0 chord......... . r ."'"' ......... . 6J - J i ._ - r . ... ...... v .. II '011 II .. . . .~ 4 b'.. r .. . i v - r a v i - .. It 1'. >I V . .. ° Also play the 0 chord and its related scale tones in whole notes and quarter notes against the alternating bass.a.. . ""." . "" >I i u .. v . r. . ....... .._j -.. ._ I 0 I ~J .... r.. - v i ~ - *LI Oil r . » ~... -v .. T .. i .... '~ - • r-" -r-" I I • ....... ..- -Or-" • 2_ .. .. . 1\ \I »H • 'LI ~.oj' . . D ......... r..... . . .l .' i II .. r - - i . . I . . * * D Chord Melody Notes and the Alternating Bass In this exercise be sure to hold down the chord as you play the melody notes against the alternating bass. . v i ..... .. . r . I I T ! . ...... I .. ~ .. ........... . . .. . I .. .a. Playing with the thumb on the low F# is a common practice of traditional bluesmen. "" .... v .- .. ~» H "'J DIF# I I . "" ..

E '\ ~~ JJ!l . ...: ._ J -r _....... _0 1 ~ r.. . 'L < _..-I .. . u .. • .... ...... . .... . ... . . ~ u Tl jJ. .._ v j - _. It. . Now.. -- .. r v r- LI 'I I 'I I II .. . - r . .. .. - r .._ - .. _.... . - r .._ . c r . • . ...._ .. .... ~ A .. _! £I ... . r _.. - r _..: _. u r .. . 'II 'I I II J: .. _-:....... 1 ) I r ..... . r- • I rI v j_ • - ..Ll . - r ..... v ...... ..-I ...I - r v r ftc I .. For additional practice hold down the E chord while playing the melody notes in whole notes and quarter notes against the alternating bass... hold down the E chord while playing melody notes against the alternating bass.. . ... ~ . This is another common technique of blues players... ~i II \: III r... . .. . .. Using the second finger to hold down two notes frees your third finger to play others.Melody Notes • 25 Melody Notes and the E Chord Hold down the E chord as shown while you play the melody notes.. Ii 221 _._ - .... - - I I r- - r . v - r_a . ~ _..._ _n...... .. v ... ~ '" u Tl TI ._ r.. . ..... . It.. u r- c - r 50 - r- . ... .. u . . .. v r - - r ... u ._IJ Jl j J ..... .... .. ..._ . ..... . . ... I • r- ... . . . r ...... ~ r .._ r ..... .. ~ tJ " J u -:... .. u - r iIoo E £I .. I .. :::! r "'" . r.. .. . . . r . v • I "r- - 4 __ • 3_ r- ~ I ~ " r- . ... ~ r.._ r- I JI_ ... ..... ~cL ~~ ..

. .. v I A I ~ - r . I i .... ri - .I..26 • Beginning Fingerstyle Blues Guitar Now that you've practiced playing the melody notes related to the A.. .. r - . . T ... i v - i . v_ _'" '" D~# '\ -~_ _1iIf_J. - or. . . i oJ! ...... and the first ending is a device that indicates that you should return to the beginning of the progression. ~ - r - r ..... At the second ending you stay on the A chord. let's playa blues which makes use of all the scale tones in the key of A. r ..( ....-I I . v rr po .. . .. r A r .... Notice that the twelfth measure in the first ending contains an E(V) chord which sets you up harmonically to return to the tonic (A) chord in the first measure..... ... The first ending is sometimes called a turnaround simply because that's what it does..... look at the first ending bar in the eleventh and twelfth measures..... ~ 11 - . 0.. .... and E chords.j I I i . .. it turns you around to the beginning. v r - r . ..J . T i .... J - ... ri i - r . .. . . ... - • I I . r '" - r - rr .. First and Second Endings Before we play this next blues.. . - r <J . or...... The blues is usually played for more than one chorus... .. BLUES IN A A I - WITH MELODY NOTES I "" ~ ~~ n - I I I I r oJ I - I r I r .. 10 .. i . .. .

Melody Notes • 27

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Melody Notes and the G Chord
Now we will hold down the G chord while playing its related melody notes.

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28 • Beginning Fingerstyle Blues Guitar

Once again hold down the G chord while playing the melody notes against the alternating basso

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For additional practice hold down the G chord and play the melody notes in whole notes and quarter notes against the alternating bass. Use the same rhythmic figures as with the A chord.

Melody Notes and the C Chord
Hold down the C chord while playing the related melody notes.

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Notes • 29

Hold down the C chord throughout the following exercise, which is based on that chord and its related melody notes, all played against the alternating bass. It is important that the second finger of the fretting hand hold down the alternating bass note E as welJ as the melody note A. It would be best to use the second finger to press down both notes. Although such situations don't occur very often, if a conflict does arise between the melody and the bass, make the melody sing and keep the rhythm moving by stroking the muted string with your picking-hand thumb.

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Don't forget to play the above exercise with whole notes and quarter notes too.

"'T ! r .. ... .. ... c ... i . . r --~ 1 ~ = i r . . ... . . • I . .. . . .. --.... u 1\ ~ .... - r OT i --v .. - i - r i .. . _... II a · I I ·11 ~ . - i _.. .. . i u I .. r I 1 ~ ir _.. _.. . A ~ ~ ...~ - ... u i . I I i i _... ....... ..i --. v r i r . .. · ... ..LI..ft _ft ~ - ... ~ . .... . . r _. .. .. ~ r -'" i ... ...• - - . . . '" .... .. . v r r i u .. . . i ..30 • Beginning Fingerstyle Blues Guitar BLUES IN G WITH MELODY NOTES II • .. .." ""' I ...... r ... 1 ... . .. i . 1 I r -"'- --i ~ ... · .. r . r v ...... .. ..." ""' I • . i u r .. i .. I -j u I - I I " tr ~ .LI...... .i . "'_ r i --<L - .. i -v .. ... -i-i I I I E .. ~ \I III • . .. I ~ - D '" . . ~~ G . .. . ..J irir . _A ~ - r . . . ~ _v _........ J... "'- r . . ~ . ._ r "'.... ......r --cT - r . - ... I . l. D 1\ ..... -v .. .l -i r ... " ~ -....... . .. c .. u - i .. .... I .

. 'i r i . . .. r .. ........ ...... . I I i r . .. _ [ . i 1\ r r\ \: ~ ~ • J I ~ r . .. . ... B7 f1 ~ !J' • ti r... I I .._ I "J I _ J j i r . . . ... ~ • I ~ I I ..j . I .. . .... . u 'II 'II II T . .. i r i T A... .. ....-I.. . . .. :I '... ... r .. . AI . ~ Be sure to hold down the B7 chord throughout the entire exercise as you play the melody notes against the alternating bass.... . . .Melody Notes • 31 Melody Notes and the B7 Chord In this exercise hold down the B7 chord as shown and play its related melody notes .. v ..... ...:. '-:I: r :'\ ~ :...... ~ I - B7 213 4 r. u i . .... . ..... . 1 I . .".. i r .. Play the above exercise in whole notes and quarter notes against the alternating bass.."'- ~ • I 4 4. . . '" • ... " tJ """ J • r... i r .. _.... ... v .. . . I .~ jof . i r .. " !J' ... . r . v . . D ~ .ri A. A D T . ....... u I • ~ I .... i r .. ! ..

32 • Beginning Fingerstyle Blues Guitar Here is an example of tones that are not part earlier blues played in tones. An the key of E (page 20) used only chord other scale tones adds variety to the tune. The addition of a blues played in the key of E but with of the chords they are played over. BLUES IN E E WITH MELODY NOTES r r r r r r r r r r r B7 r r .

.. ..110 '\: J t. '" .... AND Two eighth notes are written like this n Two eighth notes equal one quarter note n =J When playing eighth notes it is helpful to tap your foot and count aloud. ! .. ~I Jl JllJJlJJJJJIJ 1 2 34' 1 and 2 and 3 and 4 and 1 JJJIJJJJ1JJJI 2 '34 1and2and3and4and .. r ~ i .. - . . ~ ..... Be sure your thumb maintains a steady beat.... .... . Repeat each exercise as many times as it takes to play smoothly... ·11 -...! .. -- r - . G ~ '"' 'r.... ' . v ...-.... v .EIGHTH NOTES.... v "" . Play the following exercise and tap your foot... "... 11 1234 Eighth Notes and the Alternating Bass The following exercises are based on playing various combinations of eighth and quarter notes against the quatter-note alternating bass.... ~ v v ..... v ........II - D T ! A.-.. Note that we call the and the offbeat.. X ..-.... . v .. .. .. -- i .-...-riri - -.. SYNCOPATION This is an eighth note) DOTTED NOTES. ....... X ... X ... X .. . v ..... v.

... ~ ~ ...... .. ... r i Jt ......... - . ..........11 -I i - I - .0lIl r--11 - _. i r i i i I r"""'1 ~ I .... a D _!_ T '" . .. . . . r _"'- ... I • . .001 ~ - . ... . .. . v ..... .. ft ..... . ·11 ·11 II II u . ..1 r i - r . Play slowly and count aloud... . . " . ..-11 -1 .. i u r--. . .._. u ...... - r .... • . . . • - ... x. -. ._ r--.1 - • I JJ . . . . ... . '!'III..X 34 • Beginning Fingerstyle Blues Guitar This next exercise uses G-chord melody tones in eighth notes against the quarter-note alternating bass. . ~ r - rJJ . .. \: J .... ..... _ft ...... .... ....... .. . . .. '" .. G '\ _.. . ...... ..1 . .. 1.. .. . . . . --. i .... ..... _l _]... ....... . i . . .... r - .. r-...... r. . ... u 1.. .. -. u . 'I rr . . . ...J_ ~ If ~ . . .-. Here are a few more exercises to give you some practice.... rr r - . v ft . .. .. 1... . v r - .1 r . x . G ~~ If 1'...... u x ... ... .... ......-.... . ... . 1. . ......

..... .... r - .... i . · · G '" ~J f) ~ .Eighth Notes... " ... ... i i .. . I i ..• u - .-I I r1 ..-I r . . ... . ..... . ~ - · •I :I u v .. .... .. ... .. . . ft rir V •- i u .. OJ! . i ri ~ - - i .. ... .. . .. . v \ ~ "t ~J ~ - r .. . · · . ..._- ~I r1j - nl T ! ..... .... .. ft r i u • 11.. v r .. .... .. . . ~ - '11 '11 II II u ..... v r tJI r. ....-I . . - i fI: .. '" i i . ...... .... u tJI ....-I r11 - .. ... ... '" .... ...... . .. . .. r .. .. ...... r - . . ........-I nJ11 • - . - r . . . '" _A .. ...... . - i .. .. . .. .. r . .-1 - r v - . . u . .. fI. X ..... . ..... .. . ..... .. ...... I .... ... i .. ....... u . ....... . i ... v . and Syncopation • 35 G ~. G . ...... . x u - . . ..... I r1 .. ..... . ... ..... ":I:: .. .... .J . . ... '" .... . r ft -.Ij. . . rir r-11"'-. ... .ri .. ._ i · · · '11 II II .. . ..... ... u u .... ...Il D .... r. .... Dotted Notes.. .... . i r i . i r . .... ~ ~ - .. !"J t.. I I - I r1~ i ... ... . . -. I I ...... '" ... • tJI fI: u OJ! v .. . ... .. r"""'!1 ~ _.. ... . '" .. u rir u ft i v ... ... . .........

. .. .. . . v . - .. . .... ° ~ - .... ..I J ... ..... Iio ~ rJ ..... . ..-1 - r1 I r A. ...... .. .. .. . ..... I • I IJ . r - •• . • r - ~ rJ r ~ I - ... .... ft r v v - rrrr .. ... .... ~ . .. . ... ... r.. .. . . v r . . . . ... i - _""- ... . ....i . ... .._ .. T r .... .. ... r - r n .. ... ... . f"\ ~ w 1\ ~ i - "J ~ r .... ~ r . . .......... . . . ... r ~ -"'_ r . r ... . ... ..~ +t - rI r-1 I - ... ... . BLUES A ~ - IN A I WITH MIXED RHYTHMS " ~ +t ~ rJI I p r r .. r... r .. . ~r •I r - r . r ..... .. . E ~ r1 ... ..... r . ... v v . .. . r - r . r 1\ ... ... . I v ft v 2. r . v v . ...... .. u D F.. ..... . ............. u r - rr i . .. v rrr - . r .. .-r ... "" . .. .... Note the use of both chord and non-chord tones. . ... . ... .... ... ... .... ..1. . . .....r1 J ... . ..... - ~ ... D T ! r . .. .r rr 0 I II:..... .. ..... Below is a blues in the key of A.... v .. . .. ...36 • Beginning Fingerstyle Blues Guitar Now let's use some of the rhythms we have seen above in a twelvebar blues format. r . .. r rI ii •I - r .... .. . . .... .. .. ~~ .. .. .i • - A . ...i i - ! Q... A 0 ~ " ~i U I - I r ... . • r . ....... ...... - D n r1 J I~ i .... Oil 01... . . .. D ! Q...... . ...- .. - 0 .......i • iI • I j -& . ..... ... "'- ... . . ... r . . .... II.. r .. E . T D ....... .. ~ . ............... . . .. . . .... ..

..n .. . · r - • - i r - i v - . ..... . ......... c ~ ~ . .. Here is the same blues you just played but switched to the key of G.. ...... . v· ... .. '" - I - i . .. .. r. r v . ..... v ft V ... .. . ....... I 'I"\. I I . .. . .. . . .... . ..... . u ft r. ... .. . .. 1'\ ..... ..... . .. . . ....I • I i ...."'_ . .. ..... . 1 r • ..... ... ...... ~ r... t... v J I rr iI .. . .. I ~... . . n.. ...... v v ... .I r - i ........ r I i . ..... ... r r rrrr ..... .. . and Syncopation • 37 An excellent way of developing your technique is to play the same piece of music in different keys. .. . ... .. ...... .. r .. ... .1 r - i . BLUES IN G '\ r.. . . .. .... ......... ft_ .......... ... . .. . . . .. ... .. I . ... r .. . .". c r ft i . J r1 r v ~ i1 j ..... ... ... I .......J i . . ....• -r1 . ~ . .... . i . r • I r- ~ r.. .... . _v .. ....~ ... ... r . G WITH MIXED RHYTHMS ~ if ~ 'J ~ '!"'\ r.......J .. G v ... .. - r I ! A D . .. v . v . -- ....... .1 r -i r ft . ...... . . ~ . .... v . · ... . . .. .. .. .. v i . . ~'J ~ - ir r ...... ... . ~ r - • · '... r1 . ..... . i. - r v . .... .. - II II II II u ..... D .... -- .I I i .....1 r- r--"I . r . i - . I i ft I 11r1 - I ......... I I . '" r .. . .... .... . . .. .. . .... D· ~~ if _Ii I ....... .. .. G r ft i v .. Dotted Notes... r - r . .~ ... .. . . ... .... . r1 • -ft .. .. -./~ Eighth Notes....... . .. r - r _..

. ft u .I.. ... '" ... .. .I... 2 &: 3 r n - .... .. . .. Play slowly and count aloud. r . . '" r - . . ... J. . ... G ~ ff. Note Combination note plus note has a value equal to a quarter The following exercise illustrates how the dotted used. ... making sure that the eighth note is played exactly between the two quarter notes in the bass. ~ " J.. - hi i ft ... i .. 2 &: . i 4 "'" II ....... • • ~ II r u - i ._. ..i v . .... . tJ .x 38 • Beginning Fingerstyle Blues Guitar Dotted Rhythms The Dotted Quarter Note-Eighth The dotted quaner an eighth note..I '11 '11 n . r r . ... r . &: .. i _. - - _h •• - I v . u .. . r ... This exercise employs scale tones over a G chord. ... .... . - - . . 4 &: r .. .. . u . I ~J. . ft .. r ...- R ! :::t .... J tJ '" . I " I .. .. . ffl r'\ J. V ft i ft .. ..i . ...... ~ u ... It would be most helpful to count this aloud........ )11 B 4& J 2&3 4& with these ties 1 2&3 4& becomes this In the following exercise the dotted quarter note is played against a quarter-note alternating bass. G .. ... . j) j.... ...... . r i v v ~ I .II - . . . .... V .. u ... "'" II '11 '11 II i ... u . . v r 3 - . quarter note is 2&3 This B J JJ IJ__ J_B I J... ...... '" r 1 - - .J. .. - 1 ..... . ... . ..... i ~ n . .I' ....

and Syncopation • 39 The Eighth Note-Dotted Quarter Note Combination T he following exercise illustrates how the dotted quarter note is pI ayed when it follows an eighth note. EI"I \: ~ I ! -i )iJ.r Eighth Notes. Dotted Notes. Ii r . Keep counting aloud. IJ & 3 &4 becomes this Here an eighth note-dotted against the quarter-note G quarter note rhythm is played alternating bass. It's very important that you co unt aloud while playing through this exercise. I hU· Jj. r : -i 1&2 B 6 pJ.. T _D . ri riri I 3&4 :11 : B 6 I :: B - &2 3&4 0 0 e :~ In this exercise the G-chord melody notes are played as eighth no tes followed by dotted quarter notes against the quarter-note aIt ernating bass.. A : ...__ . n BJ ~nlJ 3&4J IBJ 3&4 Ila·2 & 1&2 1 1 2 This with these ties J)j.

.. ... Now let's play the same rhythm combinations chord and its related scale tones. & --""'- .. .....I' - 2&3&4 _... .Ij.. . .. r . . . -- JJ II I i - . .. G 1\ " '" " ..... .. - ..j ._- I. V . . ._ ._ .. .. . "'- ~ .. r ....... ~ . .... r .I . j) .~! i . r . ft .. i . .....j .. 10.. r .. ...... .. r"rI...... _... ::I ..I' .. BLUES IN G G WITH DOTTED QUARTER NOTES ~l _. ._ v_ r .. _.. .II JIf_ 1 .... ... .... v v .. - _. . ... u U 1IL . ~ - i _v .. 110 . .. i _u r ~ _.. u r 1 ~ - .... .. _. __ ' -: ~ I _... u .........J ..J . r ... . .IlL .... n~ i - ... .... ... . r .-i """ 1"10.J ~ \I 1 1/11 1 ...._' r i .. I - II.__ r . .. .._ IJ 'II 'II II .. G "t as above with the G '1 r"1 . 10. _. r I i ... . .. oJ . .. .. ~ r .. ... ft_ - .I'...... " . i r.I' I ~ ... _ft v ... .I .. i ... .II 'lJ i II ..I' i -.. .. r.I' r"rI._ - i - r _.. - r 1 .. ft . ... . ..._ .._... i _.. ... .. ~ .. ._ V ..._ - i -"" U ~J....... u . ....... .. ... I .... l ft _~ ~ .. r i - ~ .. "- "1t_ " . ... .. ...... .. . .. I . ..__" . .. I . . .. .... .40 • Beginning Fingerstyle Blues Guitar Now we will combine the dotted quarter note-eighth note pattern with an eighth note-dotted quarter note pattern played against an alternating bass. V r u - _D . ....... . .I' ---i i .I' - r v i v . ....' .. j.. .........._ v ~~"_. oJ -~_... v .. 2&3&4 _. ..... . .. ...

__ 1&2&3&4& This nnnnln_nnnl)J ~ ~I 1&2&3&4& with these ties 1&2&3&4& becomes this . • r r r r r ~. and Syncopation • 41 c G . Syncopation is an intentional shifting of the accent away from these beats. ~i . Below are several examples of commonly used syncopations. D I~ r . Dotted Notes. These are recognized as st rong beats. . D c . r r Syncopation In blues music containing four beats to the measure there is a n atural accent on the first and third beats.r Eighth Notes. toward the second and fourth beats or the 0 ftbeats.

. u v v ft r - _. . G ft ~lJ figure played against the alternating ~ _.. .. v . · ..... r - - i ft_ - .. x . .. v .. ...... These examples will be easy to play if you count them aloud and tap your foot on each beat.... r V i X v - .... Here is the same syncopated bass._ .. It.... .. .. ... ...l G ~ It. It's very important that you count this aloud.. u . . . ...- D_ . . v ft v _. . ----.. . .. ... - '11 '1 I II · · Below are several examples of the use of syncopated figures played against an alternating bass.. ........ i u - r i U '11 II 'LJ ... ... .. . .42 • Beginning Fingerstyle Blues Guitar Notice that two tied eighth notes are written as quarter notes with eighth notes on either side. .. .. " 4l.l r It.. .-- i .... _ - r i u r - i v ....... . . :::J ..... . 4l.... .... .. . . . The accents occur on the offbeats of the second and fourth counts. ... ~ . -.." .. . ... . ~ i ... A r ... .:.

. ..... Iff G rr :"\ \..... ... . .. .. :"\ \.. r.... - !"Ii...... u . f' ..... . . ..... .... ... .. X u r - ... r - " . ~ "tJ r ... . ..... X ... loo <:J: ........~ Eighth Notes. .. .&l v D .... . ..... . - r " .. . <:J: ..&l :::r D .. "" "" "" ... . G - . i u · · · " 11'" j.... " .j.. .. . .. X v . ... i X ... ... ... ..... . ... . . . yo Iff ... . .. .. .....I..: tJ .. ! . X .I · · I G It J. . .... .... r . . .. i . . ... . .. ..... .. . u . Dotted Notes... v. .... r i r - -i ..&l T D . . . .. . .. "" "" "" "" . I"lo... ..... .... r ....... ......lL r. . .. .... ..lo....... "".. ...... andSyncopation • 43 • It . ... ....."" . .. .. .. x v v ......! .... ... ...." - .. ... "" i u .. i r . .:J tJ <:J: loo r n . '11 . -- i - .. . .J. . ..... r - ............ '1'1 II II .." . .. - r i .I.... .......... ..... ........ '11 -t I .. "" .. . i ! .. ..... .. -. i v ........ - T ..

. .. - ... . v v r ... i . count along with the alternating bass and try to get a feel for the syncopated rhythms being played against the quarter notes... .. . .... . I G ~ r .... .... . . . .... ... .l .. v .... . . ..l I 'I 'I r ......44 • Beginning Fingerstyle Blues Guitar ~ Now let's use some syncopated rhythms in a couple of twelve-bar blues exercises.... r ............ . ~ '" .. ... . . . - i .... M always... ~ r . ... ............ . ~I • ~~ I ~ ~I ~ -. . .. r r ... ... .... .. i .. ..... ... - . ... .. r .. . c 1'\ . - i .. - .. . r . ..... u r .II.l~ '- i . .. I: . 2...l - • ~~I - .. hi c ~ ~ I.. G I WITH SYNCOPATIONS ~I ... ...... . • r ~d G ~ ir ... - r .... v . BLUES IN G "I. . . ....l I ~I ..... . . i '" .. ... .. "I. - r .. Pay particular attention to where the & (and) comes in between the quarter notes. r ~I ~ - I I r - i ... v v r - i ~u - r .. -...... . r. .. ..... i .. .... . ~I ~ ~ I tJ r . r r . .. -~.. ... .. .... u r ... . ~ .... .. ..... u . ...II.II. . ....... D T loA.. . .I i - ~I I i - . r v i ... ... u oil r . .. . .. "I. .... ft r i . ~ . .. v i v . u i v · · · · . _J.. ~ I ... ... ... D I i .. . ... . . . r - i_ . . . '" -v- r - i .! I '...... .. ... - r ft i .... .. -v ~u . . " I • ~ - ~ I ~I r .. i U i . . .. I - ~~I .. . . .II... i . . ...... . ~. . .. .. . u - . v r .. - i .

.---- -- - r r - r - r r - r - r . Dotted Notes.. - r B7 r B7 -. and Syncopation • 45 BLUES IN E E WITH SYNCOPATIONS - r - r - r r r - r - r A ....Eighth Notes...".....

BLUE NOTES
As we discussed earlier, the blues began as a vocal music, but it wasn't long before early jazz bands and jazz instrumentalists began to adopt the form as a vehicle for band arrangements and improvisation. They would try to capture the emotion and the mournful sound of the singing of the blues singer. This sound, so particular to the blues, was a result of the singer's tendency to alter the pitch of certain notes as he sang. These altered notes (which are not in any European scale and, strictly speaking, can only be approximated on a fixed-pitch instrument such as a piano) were heard so often in the blues songs that they came to be called "blue" notes. In trying to imitate the sound of these blues singers jazz instrumentalists began to use these same blue notes in their improvised solos. Let's have a look at them. For our purposes right now, they are the flatted third, fifth, and seventh degrees of the major scale. For example, the blue notes in the key of Care Eb, Gb, and Bb.
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In many of the blues solos which follow you will notice that some of the previously practiced melody notes have become blue notes. These have, through the years, developed into a very important part of every blues player's vocabulary, and are used not only in the blues but also in other forms of music to create a "bluesy" sound. Now our blues pieces will finally begin to leave behind the "straight" major sound of the previous pieces and approach the true blues sound. This next tune is in the key of E and contains two blue notes associated with that key-s-C] and Dq (in straight E they would be G# and D#). Although Bb is also a blue note in the key of E, it is not used in this solo. You do not have to use all the blue notes in any particular tune-or for that matter, any blue notes at all. But they do add a distinctive touch to the music.

Blue Notes • 47

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Here is a blues solo in the key of A, including that key's blue notes C~ and G~.

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.- _.. E "a I • . ft-.. I .. 1'1'''- ..FRETTING-HAND TECHNIQUES This chapter is designed to acquaint you with some of the guitaristic techniques found in blues playing. Simply pick the open G string and then on the offbeat hammer your index finger onto the first fret (G#). . and vibrato. V I . two. bends..__.. Hammerons A guitarist executes a hammeron by tapping his finger rapidly and cleanly onto the fingerboard to sound a note.. double stops. The first example below shows a hammeron on the offbeat._- II ·LI II ·11 _A-" .. We will examine the use of hammerons and pulloffs.- a ~ t> IL . A hammeron is most often executed one... As we examine each of them listen carefully to the instruction CD to ensure correct' in teepreta tion. slides...111. or three frets (on the same string) above either an open string or a note that has just been picked in the conventional manner. as opposed to picking an already held note. These musical nuances are developed over the course of a player's lifetime and are part of what eventually becomes an identifiable style.. . 101"- . . -1'1'''-.. It is through the use of these techniques that players add individual expression to their blues.11. V -.- IIt- ._...

.. .. 110 ..... ...." •• ... .... Simply hold an E chord and each time you pick the open G also pick the bass note... Be sure to count so you an make sure that the hammered note sounds on the first.... 11..........l ... E - ""- 'LJ L.... 11 ~~ .. e xample ... 'T ! A ... third..... . u ..... ......I LI 'LI .. The below shows the basic technique.......... and fourth counts of the measure.... hold the E7 chord throughout the entire exercise.... 110 t.... ... ..... ... ... c second.... r r r r Now let's take a look at a hammeron played on the beat.. u D ..... E ---r r Below we see how the hammeron is incorporated into a musical passage... Fretting-Hand Techniques • 5] In our next example we will add an alternating bass...... ILl ...."1- ... ... Again..~.-. .

.i _ i _ - '1\ rI. -. _ _ X _ _ • ... . . ..... . IC... _.. you sound a note by snapping your fretting finger off a held note to let a lower note sound on the same string..... "':It L...... . .. ... .. v .. r . ..... .._j _.. ........ . .... .. ""'I .... . ..'II If .. ........ . Pick the F# on the first beat while simultaneously striking the bass note D with your thumb. I r .. .. ___ 101 "I- LI '1...J _"""..1 [ 'II' II _...rI ..-... .. X X ...... pull your finger off the F# to sound the open E.. r r . .. ... I .r-..... . Now let's see how pulloffs can be used in a musical passage.ft i .. . -.... .. . . ... D @=D ~» ~ oJ j ... .. . In the example below you pick the F# on the second fret of the first string and then pull off your finger to sound the open string. . _ _ • X ~ • _ _ _K - ... X ...... v r-.. .... Then.-I""" -----_ "-A 'LI II 'LJ .» ~ D IIfLL .. v X . .. .... --- r r .. _A-' .- . " .. .. . . .l " . '" .... . on the offbeat... ... For the next two examples tune the low E string down to 0 and finger the D chord..t:: r - - · _ _ i _ i· ""' :#I J til' r . '" -...... . =... x X v .. ... ... '" r . _ ..52 • Beginning Fingerstyle Blues Guitar And here is a similar hammeron used in a musical passage. .... -. In the example below the pulled-off note comes on the offbeat.... . r. ....... X v r---. .-. X .. Pulloffs A pulloff is the opposite of a hammeron. . .. _ _ Ii _ ....... . E '\ » H . ... ft J ~lC1.. r . .. .... . v · . .._ •• -. X I .. . ~ r ...... r ..J . . .... .. ..... . . . i _ _i_i _ r... r . . . . ...

. . A .. · · In the next example we'll add a bass note. ..-.. t"'\ '\: r.... r r . I"" <.. pull off the second finger from the F# to sound the open E.. Make sure to keep your timing accurate.. .Fretting-Hand Techniques. -r " . Don't pick the second note. 2nd fret.-~ . D r Slides i r r To play the slides shown below. r-: .-. . then slide up to the 4th fret... For the pulloff on the beat pick the F# on the offbeat and. to the overall sound.. ~ . 53 In this example the pulloffs fall both on the beats and on the offbeats.. as the thumb strikes the open D bass note on the beat of the second count... Listen to the accompanying CD. 1\ 1'. · · II II ... E. pick the A on the 3rd string.

- J - J r ... r"f( "....-r r Io! .. I''''''' - - r ft.... • r---.._ .._j JI.. M .. . I.> . u r.. ... u . . r ... -. I .. .. - .Io!'" "I . . Notice the hammeron coming into the first measure. -. . To execute it play the notes C and G# on the first fret with the index finger. ..1 '.. r .1 '. I... :I ...... .r. . x r ... .. .. .. E7 1\ ~ 4f • . .....u.-rI_r' . r . til r '" • ... then slide this finger up to the second fret just as the thumb strikes the bass note A...... Notice the high position.. -r ~ 6...54 • Beginning Fingerstyle Blues Guitar This example illustrates the chord slide. . • ~ • . ....... . Note that this slide sounds from the and of the fourth count in the first measure to the first beat of the second measure.. .. . . . . " . . . .. ........ ... ...- - .. Double Stops In the simplest sense a double stop means that you play two notes at once.. 10 'LJ '11' II r .. I II . • I. x . ....... r-. • r---.. . • . . '" 6J - E J . -:--- .. . 4f • . A7 l. . .. The example below shows a typical blues double stop in the key of E. ~ t. .. I....

- . The new note will sound somewhere between a G~ and a G# (i.e. v .. It's like executing a rapid succession of small bends. .. In our first example pick the third fret....Fretting~Hand Techniques• 5S Bends Perhaps more than any other technique. u Vibrato Vibrato refers to the sound produced when you move your finger side-to-side or up-and-down on a string. it will be a blue note). Listen to the accompanying CD to hear how it should sound. . Listen to the accompanying CD to hear the different types of possible vibrato effects. This will raise the pitch of the note... The vibrato is controlled by how much and how fast you move your finger on the string. We have notated them with a little curved line (__)) coming off the note that is to be bent. ... '":It E • I l ~ I - .....I.. ~~~ ill'1.11'" ill' .a.. _/ ._ D T ! . -_/ " ~ 'rl . . first string G and then push the string up towards you. .. the bend offers opportunity for expression and nuance.. Mastering the art of bending strings can take many years.. so have patience.[1 II - [I . tJ . In the pieces at the end of the book you'll be seeing some bends of this type. . 6J_.

. r . Now we are going to look at a few other techniques that will help our playing sound even more authentic. .. r"..I LK Y ~ v v ... . . -r r r r r .LK 1 .':Ii ~ '::I ~ I• . . .. .....1 " .PICKING-HAND TECHNIQUES Up to this point we have studied how to play an alternating bass with the thumb while picking single-note melodies with the fingers...... r ..... A7 . r . ..... E fI.. II ~ III H ""'" "~ ~ III III r" . q ... D T ! .. "''::1 ~ ...... The stroke is executed by brushing your index finger up against the three cop strings. .. . .I x Ul Y ... The alternating bass is simply an E in octaves..'. • • • • . . ~ ~ ~ ~ ~ ~. X Y IX Y IX .. '.. effective contrast to the single-note picking we've been using. . .. .'.. • . while the alternating bass is always played on the beat. The brushstrokes are played on the offbeats. • Now try a brushstroke and alternating bass for the A7 chord..::II - - ~ - . The Brushstroke The brushstroke gives a nice rhythmic drive to any blues accompaniment and provides a simple. II 'I I 'I I II .. In the first example we see the brushstroke used with an E chord. . • .• • . ...... Y LX.~ ~ ':Ii ~ ~ "'::II '::I '::I ~ - .. . Be sure to hold the E chord throughout the exercise..

~ ~ ~ ~ l. .... ~ ...... . .. .. X fiI . -I_~ !I l. ......."11 -'11 ~ i fiI ' .. It can help to separate the bass from the treble and tighten the overall sound of the guitar... )( fiI . . so stay with it.... ..-~-... I )( r ~ l.. .. .~ ~ i . . tJ '" r ... .X fiI f'I x .. . .... .• .X " " fII At this point try going back and playing through some blues progressions using the brushstroke technique. .. " . .. r .... (The CD will illustrate the example below with and without heel damping.) It will take a lot of practice to master this technique. giving the thumbed notes a more percussive attack. Only by constantly playing these new techniques through blues progressions in different keys will you gain facility in using them. By experimenting you will be able to find the position that will be most comfortable for you. It can also be used to muffle just the bass strings. A good idea would be to go back to some of the earlier exercises in the book and play them with heel damping....Picking-Hand Techniques» 57 And here is a brushstroke with the B7 chord. Look at the pictures for the correct position and listen to the CD for the sound. Heel Damping Heel damping is one of the most useful tools in a guitar player's picking-hand approach.~ 1- ~ I_~ i r --~ ..~ l. i A .... When used skillfully in combination with undamped treble strings it can create the illusion of two guitarists playing together... )( IA . . Rest the heel of your picking hand on top of the strings right next to the bridge of the guitar.)( fiI ... B7 ~ " '" n H III fI' ~ III ... . The most important thing is to achieve the desired sound while avoiding any unnecessary tension in your hand.

G Here is a walking bassline for the C chord. c And here is a walking bassline for the 0 chord. Let's take the key of G and examine this technique. The example below shows a bassline for the G chord. Pay particular attention to the fretting-hand fingering indications. Strike the bass notes with your thumb while brushing up with the the index finger on the offbeats. A walking bassline is constructed from the notes of the chord.58 • Beginning Fingerstyle Blues Guitar Walking Basslines Walking basslines work very well with heel damping and brushstroking. D .

.. ... " c G D c II w . .......M_ T ~ r r ..x . .... _](j_~ ~ .. . )C I( . ..... ..( •]_.....I.. .--.K .. u I III .. . .-.. • • -. I.1.. x )II )II X x )II . _Ol. r x x ..... . ._. -... The following tune sounds similar to what Blind Boy Fuller played in his "Step It Up And Go" blues.~ .-... . -.-...jj.. s r ...... . . ~ JiJ_[ 'lII -st. ....Picking-Hand Techniques • 59 Now Jet's combine the above three chords into a twelve-bar blues in the key of G... I .. )C ]of v )( ]of . -. )( .:1 i....--. III: x ...u )C I( - - . i ....x D ll~ S1..s: . .... .-.. )( - I... - i r ..... i .... )( I( .. ..--. . x - ~ . )C )II ~ .-.. ~I-'I" - ~ i - - - rs n )( I( 0 If ~ 'I LJ n . .. - !. )( I( .(_ • ~~ . .-----r rri .. --.. r . . ." . .....~ - r . .-. )C I( '" .. ... - ~~ - I 1- II ~ ~ x . _.. r . _h_ Ol. " . BLUES IN G G WITH WALKING BASS ~ ~ ~ II ..--. . ... ...l. ... • • --. ~~ ~ II ..... . )( ]of ... l'" )(.. ...'" ... }if ]of .. r i x n ~ x x n . ~ )II - .jj.. .. r ...

01'1 •• Oil II .. Ur' r ... ... If III T"\ ~--.. Reach up for the C# and FI notes with your ring finger.':I . . .. D :! r r .1 II X ':t X ':t ft X ':t . • )( ..':1 ° ° The next example shows a bassline _for the A chord.... u ._ •• • •• : ~ t'. ~ .Ift .. • • • ':II '':Ii X ':t ~ .. The bassline for the E chord requires a lot of work with the little finger.':Ii_ ------. ... .~ ~ .. ' ...':Ii oil' ... . .. Use your index finger to hold down all three of the notes on the second fret. .. !"to t. .& . Illi • 111: . .... iii: u . I.. r . X ':I X .: ~ '" . '" T .':Ii_ t.. II: HI.. ~ '" ._ •"• -' r rr ~ :-.... r . u • X .E :-' ~ ':11... .. .':Ii.. Try the alternate fingering for the E chord to help you reach the G~ and C# with the pinky. r . . '... u . f1 J~ \I ~III . ... For the B7 chord use the alternating bass that we looked at earlier... H ~ \I If f...':II 1- '11 1. A !~ ii L. '" .. I . r.ft . ' . .-------I• ':11- • • • • -• • -._ •••• .... • .....60 • Beginning Fingerstyle Blue~ Guitar The positions required to execute the bassline in the key of E are fairly difficult.. IIi:.. . Here is a walking bassline for the E chord. . Below is a picture of this fingering with the little finger reaching the G#. ..Hi: r• . r r . X .r r ' .II. f!.II -• • • •• :-.1.. III • . IIi . ... r .: J H If III .. If you can't manage them now come back to this section when you have developed more strength in your fretting hand... . I.... . .... ft .. .

. -......-.-. ... --. I r-i i'i ... ~ ! . .~ --.... ... '-'" ii u 1- -- x Y .. rrr r ... r . _ ....• ...... v _ r-r i -.... I x y x y x Y r ..... • . -u ~r1-Ji .." ~LJ 'rI"'\ ... .-_ . S B7 .. y I - ~ y I ...-x -.... ~~ • X :LY ~- X y I"- ft )( )( 'I .._j _ - 'J... .....- .... . --.. r .. BLUES IN E 1\ ~ III E WITH WALKING BASS it - -. III .... x Y . .. . A I ::...... . ....._ x .... ow "lII-S _- v Y s- i ..-. ...... S_ ' -v -:v .... ... . .. .':111- ~ . I Y . i Y Y ~ Y I D . - ...'i .. ft E 1\ ~ _}J ft '\: J .~ Y x y r r .. '\: LJ tJ _ ... I - ... ·s ..... .- . . .. Try it with and without heel damping...._ . ~ r r .. ..':II ~ B7 i I ..s.. ... . i . . i u r r .. A • . ... . X Y .- . . ......... -- -. .Y x -v -:v . Listen to the CD to hear how effective this style can be as an accompaniment pattern.. " ~ ~ +t T"I...~-. r - _ . r I ... A I ...... . r ......... s- ~ III -.. '" . . " .. . r- -..J A.1Il III ri ri =..J." . . . x Y ~~ ~ . " '" ...r . i .-.. -v ..._ lil y rrr I ..r .... ....... _a ~ D :I r ... T ! r ...• III E7 10 .. ~ • ... ~ . -u .. ... r It I . .. ! r r . ~ ~ . D A.. u X Y -s .. r .. ....... . Y I ..••.. -V' ....u II~ I · _ i-i i ... · · r .~ It A Y ~ ... x y ~ Y x y . . .. r .... ~r1-1l ... ..... r X 'I -.--... .. . •....> . - . ...._::'II =. rr .-.... .-. )( ...._. _ i_i i . u ...r: - _ - ~ Y A.. r .. ... A i.... . X y 1\ ~ I{ ft 111'-' .... r x y - _ .. 61 Now let's playa twelve-bar blues in E with a walking bassline. ri . v . v ...-'W -. .. · I.. 6> .Picking-Hand Techniques. ...

Be sure to play from chord to chord as smoothly as possible. Doing so will enable us to pull off some much more sophisticated blues. 11 2314 n: u Below is the same chord played in lInd. . Try different combinations. let's use the E7 chord. Strike each chord four times hi each measure. Here it is in the basic open position. and IXth positions. (The position refers to the resting point of the first finger along the fretboard.) Ii 11324 E7 IIr ~ E7 Illi E7 ~fi ~ Ui II U ff 2314 fi !! U ~ U The exercise on the next page is based on the four different positions of the E7 chord shown above. Vth. Now we're going to see how it is possible to play some of them higher up.PLAYING CHORDS POSITIONS IN THE HIGHER Up to this point most of the chords we've been using have been played in the open position on the lowest region of the fingerboard. For our first example.

Playing Chords in the Higher Positions • 63 If Now let's look at some of the different positions available for the A7 chord. 1 VII A7 0 4 :11 . Again. Here is the basic open-position A7 chord. E7 i~ q 1112 i #2 Below is the A7 chord shown in three different positions. Iv A7 ~ Ir 0 A7 1324 Ix A7 1& -& #.a ~ ! g -& ~ -& The following exercise is based on the A7 chord played in the various positions shown above.a . try different combinations of the positions.

and B7 chords using the new voicings we've just learned. $J! I . Once again. try to play all the changes as smoothly as possible. Below are three exercises based on the E7. . these chords are the primary chords in the key of E. B7 vn ar B7 11324 This next exercise is based on the B7 chord and irs different positions. many players voice all their chords as seventh chords. A7. Before we playa blues solo with them let's first practice moving smoothly among them. and B7 chords. In order to create a more "bluesy" feeling. A7. Here is the open-position form that you should know well by now. As you know. We've just learned how to play different inversions of the E7. lIB B7 i And here are some different positions for it.64 • Beginning Fingerstyle Blues Guitar Now let's look at the B7 chord with a few of its possible position forms.

.... ~ ~ • .. . . I .. Iv E7 - " ...._ _ft. u rIII • - I I I .......... B7 IV • . " "J AI · · And now we'll try descending through the chord inversions.. • t:: •• I - JI! 100 .. ...... .. .......... . .... po . _. 1-1- I - r I - r . ... r - • r rr - r )( iii ••• ... D ! T r .. .. °11 °1 I II II I I I " .&l. 'I( " · · ..>.:-. . "':II: " - _.. . _>I J( JC '" .. r- b~ I. __>l_ .. .. .... .i ILl • h~! . - - Ir A7 1324 ~ ~~ Ir E7 2314 JI! ~ ....... JC I - _"" ....... ..... I - _. - ~ i - ~ 1- ... . . ~ - T ! .. r :.. I:J T ! . . . )( iii r . u ... .. .. .. fI X . _ft r . ft .. l.. D :t "" ...... .. . JC r v I - _.. . ft & . J 1'1 ~ .. ....... - r Y r 'S r . .. ~ " ~ ... ... - • r :t Y AI _- --. • r- 1112 ~ A ~-:.. fI X ..... ~ ... ... i . ... . .... .. ..... _II . ~~ ~ I 1 ..... _101_ . _ ~ r- - r . ror- BiIV B7 ~ .... .. - .l'l_ II )( X _ft ... 'I( p 'I( ...... .. . . . . lII . ~ . - I r - -rI ~ ILI_·' . " .. . ....... '" • ·11 · II i r .. . .Playing Chords in the Higher Positions • 65 E7 rttm ~~ ~ " " 1'"11....... • •- ~ r ._} .. .. . ... r P I . .......... .... r .L "':II: '" ~ - r- r v ft I -- _.. Y . - I ._ '1 I '1 '1 "7 "7 .." ..... b.. .&l. " - I - .i 100 ..... . · · I This next example uses only higher-position chords.-!II ~ 'S 'S :I •I •I .... ~ . . hb~ :: ::~ • - .... .. ~~ III l. fP - ... .. XX xX <I . .... " _. ---M_ . .... I 1 E7 IX IVll A7 1324 '\ ~ .. . . •• -r :t "I .. ... oJ r . . _ r. ..... " .. :t "I AI r .. .&l...... - __>l_ . _!'- _. _.

..... _ft. . .... oJ I .. r ...... - .." .. Watch for slight variations....' .. . r . . Ir r E7 r r r tfmjIV ~ B7 r r I~ E7 ."'JoI._ .. . ...r - r . V - r .. here's a blues using seventh chords in a variety of positions... U . ... I u - - - ..... a...... ~ . r - r- r . " ... ".66 • Beginning Fingerstyle Blues Guitar And finally.. .... r::: r:1-r' • " .t 1- - ~1' Q-J .. ... ~ ._) . . r -. "' r ..... _l til ~ « . " . 1\1 -1-1 &1-""- v . .. . BLUES IN E WITH SEVENTHS AND INVERSIONS II 2314 \I '" «u...... . - . ... .. r - - .

. . . .. .. l- I "" . "" J.. ... - i I ~ 4~J' r1-1' .... . I - "" .. r .. second chorus I~ E7 at.. . r . JX r_ .. .. .. . ..... _.. ._ -....: j i - ~rn:=:t r- r--. JX .... ._ .... ..... . . . .. v " '\. il r...• J. ..... ..... .. ..Playing Chords in the Higher Positions • 67 \ j JJ.... .. .... JX I r v I - ( .. . . ~ .. .. r ..TI'" * 1'11. ..... ._. ..... .-. . 1 4 ~6: - r--.. .. ... Ii[ Ii[ -. r-r r r riri _ _ .. . .. .... r ._ -_...-. . • • "" . JI JI ~ ~ r .._ ..... ... I ~ .... Ii[ .. .. .. LI "II Iiir1'11.......... .I I.. .. ..._ii: D - - - • • ...... :) - r ..... .. ~ r' i1r' •.. r.. • ..... . . .I ~ - r v - .. . . ~ ~ f-j --:-iI I If ~JI E7 r--. . ........... . 0 v r r .. ..

.. V· ... a T ! • - .. rOJ r .. "~ ~ T"\.Jo. u .. ~ X IC 01. I:I_ .. " Jill . " - r---... i .. -~~a .C..JI -11 I"'" ~ _. IC 'II ~ ~ ". .. " . I I"'" ~ I ~rD-r VII 1 B7 =zrr .. . . ...JI """".. JlI . .. - r . r ~ • "'-'I ~ ::r oJ - . .. u .... - " II I. ~ 1& T ._j ~ . r .. BLUES IN G WITH .._. u .'11 -'II i ... -. '" .-.. " r IC X -.. rr . . r---.. ._ V " ~rbn-r r I h"II"'" • I r u I"'" I - - .... • Next we'll try a blues in the key of G using seventh and ninth chords. r r. al2 (from beginning to 2nd ending) - - ~J' i1-J i • u - .... -.. I :. . 01. I ...Ij..... . :.. 01.... . . ... .. w _.. iii r ...... - . I- ~ . ~ u - r . . . The diagrams and the tab will clue you in to the right fingerings... l- u - r u I I"'" . .. . ..... . -. .l.......• -.... I .I . I r -v 1 u V U - ..68 • Beginning Fingerstyle Blues Guitar ~~a _Jj ~_. . -.. -_... u r - I I- . .. v I I"'" l.. - . We'll be trying out some new chord forms... I r . -. JlI . v r ... SEVENTHS AND INVERSIONS C9 I 13 G7 III 'j .. -'.... x X 'I ~ ~ . Ie 'II ..~ " ~ n. .... .. ...( r - I • 1.-• '11-'11 '11-'11 I .. . .. I . "...I r1 rr ..._.. .... . . u I I l- I....... 11 -_.... -v I 213 4 D. III I G7 " - .... . r - • z: I -. Ninth chords are just seventh chords with an extra tone a third above the seventh....

r r ~ 111-':11 ':II-111 . ... m . ...... ':II -':II i "" r -.-.... lC lC • . .. 1 r . ~. . '\: I G7 UI I _':II -':II tJ r . lC ~ . - I . r r. ......J r .. II II II II u- 'J' :I . x "Y I I.. G7 13 - " I- II . ..... 1 L__ I! ~ r '\: Ir I ... __. 'I . r r.. .. ..[ 'J' . . I:J T _X_ . ~ _X_ . 1111_ _fl I 111-':11 ......... • -. t. .I .... i .. .t=-• •• ~ ~~ .. . .. L> . . . . -. r .. P- ~ I e) . .....~J_JJ-lI . .. )( ':II -':II - _ill II II-. ~ 'ft "" .[ ... . . .--. .... 1-... lC x . . D9 .Z.......... 111 ~ ..-~ 1-.... "" 'of .. • . -.. ... '\: !""I. -_ ._) r u II .Playing Chords in the Higher Positions • 69 I! ~ r.... )I' X &I I: . G7 2. 'I ... ... 1-.. - II - ~ . L"!- r - I • 'I M ..... ..... .. I I C9 i ... . >C - J! 'OJ' ~ ......ft II ft x v r ... --...... ... .. r ~ v • I I -.......... ..... . ....--... r - 1 I '" ~ I D9 u..... -r )( )( )I' .. . .... ~ . . 'I . r .. ..I. .. "1 ~ •• ~ I i II -_I' • 'I I II III _III l-.... r' "1 -• . 131211 -=. ~ ~ )( . .... ...: I:J .-~=. _K ft .._ "" l ~Jl _Iif r~ n...... . ~ . )II --I -i . ... ... ~ I( )I' _..... . .... LoJ-J1-Il-J-- .~ )I' r . - . .. ...... ~ C9 rr .... ...-...':11 -':II • . . . ..

. Such a phrase is known as a vamp. When you've finished.... To execute it simply alternate your fretting-hand ring finger between the low C and G notes... I - r II -II -II .. !"It. Notice that these pieces are not the usual blues that we've been playing. rrr - I •• . ... Vamps are also used as segues between short pieces in the same key.. I . . Practice the vamp until you can play it smoothly and with a flowing rhythmic feeling... ...r.. I . Now let's playa series of short pieces which we will connect by using the above vamp... . These five pieces are typical of the "sweet" country blues style associated with such players as Mississippi John Hurt and Etta Baker.. .... .... Below is an example of a vamp in the key of C. ..... . . Note that we are using a relatively complex bassline. rrrr - .. .. ...... ..":It... .. . I tJ >L . Use the vamp you've just practiced as an introduction to the first piece. c ~ ~ " . .VAMPS In order to establish a particular mood. .. v .... . They are not twelve bars in length and do not use the usual chord progression.. go back into the vamp to connect you with the second piece.. a blues player will often play a short phrase or riff over and over again before starting his piece. v .• .

. . • . j - G I "~ i r ... P"'1 I r _.... r _... .. ~ .... ... . ...~ . _.. ...... .. r - r . I I . r ~ T . -+- r T r _.... - - . .. . I --........ .I _'''1'....... ... r 1 2 3 0 2 r I F :: 1 - r r 0 2 2 I : . .1 I .vamps· 71 PIECE c #1 Ii " '\: l. -. ~ ... u . T A. ~ r1-J " -u _.J . r .._}- . v r _v .... r .... _. T -I _ . . a 1 2~ 2 9 ~r r"'- ~ .. . .. ~ ....... u . .I : r ~ r a 2 0 9 2 I : r &.. ... .. ~ r T - . r . r ... .. -r . . ~ r - i ....a r .. . .. ... c . .. c '\ rl ~ I ..~ ~ri - .. . A ri T ! .... . r v i . · · . r ... I - .. u 1:1 ~ . . ._. ... ... .. .... _ ..... r ... . t 1 - .: v r ..v " - - r . ~ · · fI ....I ....

OJ ... .. ..' IJ IJ rr ..... c PIECE #3 ..... ... d F G I - .. . . . - -~-... u .. ...... r I I r .... r ... _n ..... .. -"'~ ..... • • I r . ~ ~ . ~ .... . - _... '" ~ J.._ - i u r--11 .. ..... - n J.... I _._ r __.. "~ f) '" J ~rI •• i .. i ... . ~ .. .. U i . ... ....... . _ • r1-J r.. r.._ I I.. . c I r • I •• - . _.. r I r - - I • •••• - J. ~ . .. r .._ . . . ~ .... . •• r .._ r . .. . .pn-... ~ .... ..j 01 I . ._...J w "...._ ... . ... ..... ... .... lEI Cl . ............. - .. r ..... pn~ - G E ...j " •• I - r ...... - -r . . .... r - .._ - r ... ~~. ... . .. r . ~ JIlL ___ . .72 • Beginning Fingerstyle Blues Guitar PIECE F #2 ... . ... . - c I 7..- . ... r _... ..... r .. .. i ... -"'- .. '11 '11 II II .. r ~ • ••I - 1+ -I I .~_. .r rr .... . .. .. r ..... ~ ...._ - r ~ I ....... ..r r. - ~ r1-J " '" _~ rr r~ J. ...... .. .. .... .. ... - I •• I .. .. . . ~ ~ ... ii . r 01 . .... .. ._ ... .. . . .... . i .. _....... J i -""~ r ....... . ... ft " Eo q.. Eo •• - I f) r ~ I I •" • • • . r _.. .... I - • I - - -I _.. .. -~ .. w r. . . .... J.. . . . . .

... . r .. ._ F ..._ I I •• -I .-. r .. D .....• ""'..... I .. .1 v ""' ... ~ " - r .rJr r . . For the next segment we've written out two bars of the vamp in order to show that the note on the offbeat of the fourth count in the second measure of the vamp has been changed to a high G (1 st string.... PIECE c ft \I #4 . rr _-.... ._ " r • •-• rJ_-... •• -r... .... ..... . .. .... i .. ........ . .. ~ r ..... - I r _". . .. I I . ......_ - ... 73 F ft 1. -...J '11 • '11 • II G - r ... - . - -a _ .'\: J .. . .. - ....-. r v ft - r .... v -r . ~ ... _!I . ........ '1·1 II . . .r _A .. ft_ . ... ~ . .... T _! _ft M D .. . ~~ '" I . . i I I r . I ... - . r .. •-- ~ 1 i _ft_ r ..-L c U I I j G c T M _D ~ ... . .... • ... i _A - .. ..... . . r ...... .. . .._ r ~ - rrr ft ... ..... " ~ .. ._ .&I.. ~~ - -• • I r .....~ i _ • •• I - ~ _l....... ft _... . ..... ... .> " J r . r .. Thus the G on the first count of the piece is anticipated in the vamp. .Vamps. v . .. _ft ~ .. r . .... 3rd fret) so that it will move smoothly into the first beat of the piece.. . c 1'\ c I I .. .. ........_ - _ ft .r: - r ."...• .. ..... .. . ...... . i . ..-.. . G . r ! ..~ -~ '\: . ... .. . . I J . J ... - ... r r.. I ' r . ~ . .. r ...> r- r .... .. .> •• - 1 I..... .. . E . ...... '11 '11 II _ II ~ ......... I _... "'" .... " - I I . Notice also that there is a chord change on the third count of the second measure.

.. r ..._ I - __ i r .. i .. . " _ T'\.. - iii ~ _ I 1 ... r n i . - r .. Don't be misled by the dissonant-sounding notes on the first count of the first measure....... . ...' :.. .. . " __ r.......... . _ft r . r ....... . ... PIECE #S E7 I . . E7 .../ I _1.. r -ft ..... ... ._ ... _.. . . ...... '" . . ...... ...... v .... ..-" . I _ .....I i . . . .. ft........ . G .r11 .... i .... ~ " ... v . _r. ._r-. .. _ r ." ../'.. ... .... ..1r--. . tJ 2i i i "'"' " l-rl -~ I -i .. C r . . r _r.. F ~ ~ c - . i r .. I _I . . ..... . ....I i ....... - I . r . .......... ... . .... . ...... ....-./ i v .. v r .. v i _u r ... r . . :.. r1-1 -~ - i . . . . .. r __ rlr-.. i oJ' .. U r1r'1 1'1-1 r .... _ I I -. . '" I . j - r. _ -- . .. r . v v r .. _. I "- ~ - i • .. to r . r ~ II '1I '1I II ... ... . Note the tension she creates by using some rather odd intervals.. . .. i " - r ...._ . ... i (add 9) I cJ . ~ . . - .. .74 • Beginning Fingerstyle Blues Guitar Finally.. oJ' ........~-I .... . . ..... i . .. i " {add 9) C(add ~9) " ~ LL ~ I l-ri i . ... . To produce these notes simply move an E7 chord shape up one fret on the fingerboard. . V ........ "- .... . . .. we'll move into a short piece by veteran blues player Etta Baker. - . .rl I _ i .r. ...A i r 1"'- I _I..

.. I... ~~ )( . xn r '" r . .1III II 'II 'II II ... ... . " U . VAMP IN E7 1\ ~ '\. v U - r r r v .. u _I:I . VAMP IN E ~~~ UTI TI ... .... x )( Y .Vamps» 75 Here are two more vamps that can be used as intros to any blues in the key of E.. )( .. - I ~ •• - • )( .. )( .. .. ~ " - ~ ~ .. 'I __ 'I . )( .. ~ r .. . . ... . y )( r ...1 ~. .:. .... :r . ..ft...- ~I - .. E #2 I 111 iii . .. r .. . ... )( '!f ... r ... "l ~I - I - .. A T :. . ... . .. .. .. . .... -... .. I ....:LJ E #1 I.. . r - r . . .....Y . . .. '" ...&_ ~ - r ._ )( )( .._ U r r U· .... X x .. . . . .

is the twelve-bar form.'#1 t . and field hollers.fled. Pickup notes like these are common in blues lyrics.PI! u4JO 3 J 1g-iJ 1@JJlJ got these_bllles. and were sung unaccompanied.H ~I A7 stolea . I_ . The music below shows how the lyrics fall across the twelve bars. portable. as we've already discussed. I'mnot_ sat is . I got these blues. church songs. that's the reason I ran away and cried. I CLosing statement ID ~ ·. I'm not satisfied.is . as it was relatively inexpensive. and offered both rhythmic and harmonic capabilities. I ""..way_ and cried._ I got thesec. statement 11 A7 E Repeat of opening statement A7 II . The blues lyric divides these twelve bars into three sections taking up four bars each: A(opening statement) A (repeat of statement) I got these blues.fled._ Ma-ma.blues. In this tune each four-bar phrase starts on the and of the fourth count._ E B7 - 01 cru-+fJ EI J 1E::f¥BdiJ J 1J . chants. The guitar became the logical choice for an accompanying instrument. Ma-ma. Mama.SINGING THE BLUES The most powerful and direct manner of expressing the blues is by singing. The earliest blues grew out of work songs. B (answering statement) Well. Mama.L.#1ill iQianlJ I'm not _ sat . The Blues Lyric Form The most commonly used form of the blues.c. With this in mind let us examine the basic relationship between blues singing and the guitar accompaniment. I'm not satisfied. r Well thai'sthe rea-sonc why.

.. . .. Notice that within each four-bar section the lyric part occupies only two bars and is followed by a pause.. III' II ... ft II .. .. tJ oII!'. . .... r .Singing the Blues • 77 Now let's take a closer look at each of the above three sections.... __ . ft LI ~ Tl II r. ••• . .....:. ...... ."!:':_ bill I .r---. - I ..':I x . X I •• • .... X .. .... Y . r ... ~ ~ I - .. .. X .._---• '" y ..'-L... .. X ¥ I ~ - .. r I:...... . ... ... . ..n ~ 1..... .. ... .. . .. . • .. .... r .. X A- • . or "calls. . I I I' I I" I . . u . X r .... 1111 'L~ti " Tl r. . " r.. -. D AI. s . - ... . .. .. . . :"\ "oJ ~ - r .... A7 ....' •r bill L liD-III .. x .... .. "~ T ... X -.. It is in this two-bar pause that the guitarist has an opportunity to fill in with a short solo or riff....... Ma-ma... 101 - - • • • - - I:.. c AI...... 6... - I:.... Ma-ma.....111 c. ... • • 101 r X III fI: ~- - ••• • • •• 1. u - '" . u .... .. X lii r _. .. r fi- . - -..... ·X r ...15 fied.. II: ... ~:...- sat ... r .... .. .." The singer sings. r . ." for two bars and the guitar "responds" for two bars. x III ............. :II I - ... I:. ...'II - . . This is the "call-arid-response..--_ --......... . ! :. r--r '!Ii I'm not - sat - is - fied... r - r • • 101 III1. .... beginning with a two-bar vamp taken from the last chapter. x Y . . ..........1 * H II ..r. The music below illustrates a complete blues arrangement.... 'i r . III ..I'm not - .... "'1--got these_ blues. T .. .. • . ... . ... E A7 E I got these_ blues.. . x ... X II: fI:: . .. ... . ..

.. - .. -.... III JIlo - r . X r . ..... • - .. x 'X ':I i ..J ~ stole a -way ~ ... ~ I .. . ]I • x '.. • ... r . .. - . X r • . " ~ "" lJ r - .... x . and • .. ... .... • "~ "lJ A7 ~ rr- . .. x r . ... -- ....•l- !""""- •• • ... ... . .. E ....... .. . ]I • r 1... r ft ........ • .. .. There are an infinite number of possible fills.. Learn each one and then go back and play the blues arrangement using it in the response part.:/ -.. " '" III ~ ~ tit III ~ . I _r1-1 II 'II - .... v ..--.... v - ~ -. ft r • "'lot .... .. bJ ~ - . . r .. E7 ... x r . r . v r . .. Y .. . .. .. _..... .I - .. '" r.If .. ...... . -. 'II II cried..... ..I__ ':II 'II 'II ... r . ...... .. ....r_.. ... Try to make up your own using these as starting points....... ... x "'" til til • • _.. D-.. x X ......... . .....1 Well that's the . . ... :_-r x ...... . ..... . .f'I !""""- -... .... . . ~~ I b. x . " . ..... . ~ ~ ~ ~ ~ ~ rea-son_ why_ ~ I I-- r v - . III .. I 11.-I .J . .- - - .. r '11 ft v ... . K • U . •rt...:"" .. v • " ... x r A _.'1 K ..... .'1 x .. - . . X .. . . . .. . ........... . ." "' . ...78 • Beginning Fingerstyle Blues Guitar E B7 "~H 111- ~ '"" .. ...... V .. r • "'lot .--.... -~ r-o. r~ ~ "~H '"' 'II ~ .. .. ~ X 2- .. . ... .. ' i r - - ft -~ til X • . Below are three fills or responses that could have been used in the blues just played.. .- ft . ....' r ....-. r "'" .

. v r .. - I 1. 1II ~ r- r-..- tJ T ! r .. . "1 I #r r .. ..... '\: ~~ tJ l"'J " . X...Singing the Blues • 79 " ...... "'1- r . iii I - 'II 'II A D ...o .. ..( - . . . ... u ..... . " <l' ... . ".. Below are three examples of turnaround fills which may be played in those measures and are designed to lead you back to the beginning of the progression. Each time the blues is to be repeated a turnaround is used in the eleventh and twelfth measures.D. JX - I - ..... - j ~~ r- ~ 1II (#Pi I .. - " I I"'" " ~~ - &I - - . - J T ! rrr - - &I _ - ~rlJ' -. .. B7 ~~ . .... . "" I . "" i r - - i 0 . .. . .. v I - .. - .• r I II . 4 T ! r. ~ - L r .... ~J11 $ 0 0 . .. r Y • . .... ....1. ...... . .-. .. ~ ".. - .....110 11 "tJ U " . This next fill is played on the upper register of the fingerboard.. ". .....D.... .f' x D . .o" JX r . E '\ '1 l"'•.~ . After you get the idea try to make up some of your own. . -y .. ..... ...... 0 0 Turnaround Fills We have already discussed how a blues can be repeated as many times as the player wants..' 'A' ... v r . D .. \of' g r . .f' . I " " 1"\ '\: ~~ ~t . iii J.. ... .

. ~ _. ". ..110"" - " ft u _A_ X .. ". ~ " '\: 1 ~ ~ ~ IPI' III ... • '" k E7 I ...80 • Beginning Fingerstyle Blues Guitar E . "._j 'T'\. . .. . B7 - i . X fI: v ~ '1 . 1-]' i . X . '- " i • ·1. ... ..1 ·1 I II LI X Y .. ~ B7 ~ • - It.. .#r r X_ ~--. and fills and you will have a song! idea of how to approach interplay between the voice own blues lyric using the A-AThen add an accompaniment .. r ......... v .. . . ...... . r . . . 101 E . ... .. . .. v .... .... _r tJcr - It.. At this point you should have some singing a blues... X v _X . . and of the possible and the guitat. r---. ~ +t _n_ III ".. . ...... . r . '" r ....... - I " II "LI II . r... ..1 ...... .. Try making up your B pattern we discussed on page 76... fI: V .. +t .._ '\:'... .

Use the written music as a road map to understand chord positions and frets. These arrangements should be starting points for your own experience with this music. is a highly rhythmic piece. The pieces were selected for their musical as well as their educational value. We have included a written analysis of each piece. which will take you through each tune step-by-step. and the fifth is an original instrumental. Four of them are arrangements of traditional songs. as it is much easier. as well as to understand what goes into interpreting and arranging blues songs. Either of the two sections can be used as an accompaniment for the vocal. play it with the capo. but here we are more concerned with them as types of authentic blues than as exercises. You might also try playing the tune using the brushstroke technique. Indeed. the last hammeron example (page 54) from that section was designed specifically to prepare you for this piece. . We can't stress too much that the best way to learn this kind of music is to listen to the recordings of the greats. After you've learned the piece as written. M& 0 BLUES This Mississippi Delta blues. Start by learning the first section. you should listen to the original artists and hear how they played. but the second section will also work well as an instrumental. Musical Analysis If you have studied the section on fretting-hand techniques on pages 50-55. popularized by the great Willie Brown. At this point the compact disc will be your best guide. the music in the first section should present no problem. it was played on the recording with a capo on the second fret. but the bulk of the explanations appear on the CD. The second section will require careful listening to the CD to ensure correct interpretation.FIVE BLUES PIECES We will conclude with five complete blues pieces. In order to fully appreciate them. Please consult the discography for details on recordings of the songs. Each contains techniques we have already studied. Although it is written here in the key of E.

82 • Beginning Fingerstyle Blues Guitar Section two of "M & 0 Blues" is built primarily around an extended melodic phrase.1..na leave..na leave. __ . gon.11#1 I . A E l i) J P ('m gon.-. P i) J ill?) I -E I'm gon. .fore. Hear how effective this melodic phrase is as an accompaniment to the vocal.na 11 I j P --= catch B that M __ 0 'IJ J i_ and E 0. gon.__ .na !f P -= catch_~~ _ that B g J JJJ M __ and - II'm go-in' o. After you've learned this part of the tune you can begin to add the vocal line over the instrumental. Vocal melody .#. B7 way_~ _ down south where I ain't A Dev er been _ - :11 '--~ be . . contrasting with the rhythmic playing of section one.

" ''''... . • . • . r :..... . J ... x X ".. ... X v r X X X -. ...10... &....... III . E 1\» ~ ~ .. .• .. v -.. . ... ..:. ... - ... ""' - I"--- • •• - -.. . .. .. . . X r .....no i x .. .. .... - r • - r X r ... :-- r r .. .. • r •r . • - r III v B7 l"""'- - . ........ . . • -.. X - """"'" ~ r . j ..... x . . • .... _. . . .. ... . ~ r. . ... .. L.. _r ~._ " . r . .. .. ... . . . .. r .. ft_ X r ..... ......... ..Five Blues Pieces • 83 M&O E BLUES ~ ~ f't ~ .... ft-.--r-. .: -.... X r . . - ... r · · · · ... . r .. X ---- ... III '" r r ... v .... r • "" • • • - r r-'1 - III ••• ... &..... • -... . .. .... . III ~tE - r - r •• - r ... -.. . X . X )( "'- --.. ... ...... ... • .. III ...... . . ..... . - • - .. . .. .-r.. . . n X i ... .... . III .. . ... ...• f] r--r riri r . r: r III III tJ1IIIf"" A. . ~ .. . . .. r x r • . ... -l""""- I"--- I"""'- b.. .... ...... . . ..... . i ... X . ... . ". ~ . ... . .. .. . . .. . .. .. .. .. LJ .. . ~ ... .... . - r . .... X III III .. . "..........• - - r---. ~b.. III . III . - r v ft tr....... '" .. .. .. .. . r I"--- E ~ r X •• -.. III r .....'IP.. X ....... ... r •• X III .. r ....J I: .. .. X oft III u .... III - Ii . .... r . r .. ... . rr-- A7 tl_i ~ i ' .... . X ft ~ - ... i - . . .. . .. . III r .... .. . • v x x . X X ft - ~ X . .. r . ~ • • • -• .... . ... 1\ ~ f't - ~ • • r r: - A7 I"""'- r---. ~_b_....... ... . v .. .. ..... - tJ1IIIf"" r III ""...... X III - r . .. ... ...

x x r • rt"""" .... IC .....: - - -y . \ r-_'I_"'" r v - x X .. -~ .. r -. --v X -.. .. .. r u [j r . r r .. ..... ...~-..... ....... .. ... .". _n r"l _. ~ ~b... . <III . . . X ~~ - .. r .... .. - -K V r X - .... - -X v r r ... ... ... T ""... •• - . ~ -B rr ...... . .. ~ \'TJ . ..r-. ~ ... K V ...{ r ... . ". . If . ~ r ... ... • ... ... -v -v ... ft ....... . . X .. E "".. . .. ... r .. .... .... . x .. .. ......... -r - . X . K v - r · · . .. --v .. r • x "".... ... ... IC ..... _"" ... . ~ -_. . · · .. . .. . -.. . -Ir r r N •• .... '~ --v ..• . ...84 • Beginning Fingerstyle Blues Guitar E u A7 u E 1\ .... ~~ tJ - r - .... --~ u r r -:.II ... K . .. r .: B r ... r . A7 1'\ ... K ft r . .. - r ..... [1_ .. IC I ~-~ _r:..r--. .... ._ B ..

where there is a two-hundred-year-old roadhouse that has long been a gathering place for musicians. The second part is just an eight-bar solo idea that you can substitute for the first eight bars of part one. and Lordy. Lord. Notice that in measure six. The title comes from the town of Beekman. Musical Analysis The piece has been arranged in two parts. anticipating the next measure by a half beat." I asked her how 'bout it. on the offbeat of the fourth count. we return to the D chord. she said "alright." But then she never showed up at the shack last night. this piece is highly influenced by Mahal's playing. I'm gonna build me a mansion oue on Decatur Hill. It was there that Mark Galbo first saw Taj Mahal. To get the correct interpretation listen to the CD. I cook back all the words I said. I got a notion and. Repeat first verst BEEKMAN BLUES This original instrumental is the first of two pieces that use a drop-D tuning. Notice that this part is written as four bars with a repeat. The last four bars remain unchanged. she said "alright. I believe that I will. and Lordy. 4. 3. Lord. This should present no problems if you've studied those moves in the section on fretting-hand techniques (page 54). To execute the solo simply come out of the D chord and slide your ring finger up the B string (2nd) to the 7th fret. The first is a straightforward alternating bass with hammerons and pulloffs. New York. . I got a notion and. I started to beat my woman 'til she laid down 'cross my bed I started to beat my woman' til she laid down 'cross my bed. But then she looked so ambitious 5. I asked her how 'bout it. I believe that r will. Below is a picture of the higher position that you will slide to.Five Blues Pieces • 85 Additional lyrics 2.

.. · -.. . .. ..r1 ~rJ_J... - i ·'I · · · LI . - i .... r - .... . . ..... .. D - .. . .u i . - I - I xJ - r- 1-n-J I - r ....~-n . .. b. .. D ! ... II r .. . . . .. . ¥ r - i i - - r ..... D . .. r . " r u r - T . r . .. .r-1 r. . \I "I:cJ 1\ ~ - ... r ._ _... ... . - - i ... r ........ .. .. .j_ r... . X ... U' _.... Solo "....... . i It.. r .&l ..... ..... _ _( ... - ~ cJ - T AI. - i - T AI.. b. rJ_J i - .. ..: ...... . II r ..... i . r ... . .. . ri _b. - I... .1 - ...... . D I i r .. . .... .. .. .. ... .. ~ T ! AI. ... -. r .. X i "" . r . .. .... - . r - - i ... .." i - r .. . . c n.86 • Beginning Fingerstyle Blues Guitar BEEKMAN BLUES Tune 6th string to D D '" '" "I: III ~ M"J - r-... ...... r r . rJ_J... I i ...... .... - ~ r .. - . i ... r .. i .... .. . i v - .~ " ~ · · - x-n .... .. . . .. r .. . I I - r-. r r - .. · . - ... r .. . _r1 .. D ! u -f .._ rrr ......... x - r . _ i1 _.. A 1\ ... i ·'I ·'I · · .. b.. ..1 - - ....... .r .... - i - .. . i - .. G .... " .. ft i .. . ........... ...IIi I - 1"""""1r---.. '- i .... . ~r-1 ... r . .... _!"_ i ...-.--~ __ I - r ... .... .......... ...r . v . ._ ...... ...... . r .... - .-..... . r ... ... ........ D .I ... i .... ......

in' down. alternating between D major and D minor chords. n I[ I don't want G D car-ry you no -I r r bod IJ else. D ~U« r iJ iJ J ain't go. since it is the structure on which everything else is built. Keep the bassline moving without interruption. * 1- .in'. For a great listening experience you should try to hear the original recording: Johnson had a truly unique vocal style.. As you listen to the CD you will hear that the vocal can be delivered over either the vamp or the octave bassline. Vocal melody D ~ -# I G A 11:[ iJqU J Cry.in' down c. (Now the) - Y Musical Analysis The piece has been arranged with a vamp intro. and features a classic octave bassline. ain't go. The bass line is best executed by using the thumb on the lower note and snapping the higher note on the D string with the index finger. Master this pattern before going on to the rest of the piece.L 1 I ~ that big road r J by my r 1 - J self. Practice this part separately until it you have mastered it. like "Beekman Blues.EJ J F can'. as it is a very effective part of the piece and gives the illusion of two guitars playing at once.Five Blues Pieces • 87 BIG ROAD BLUES This is a Mississippi Delta-style piece derived from the playing of Tommy Johnson. It is played. Notice that you pinch these treble notes in combination with the bass note. I [ big I ~ J by that road my r IX - * 1Cry-in'. 2. self." in drop-D tuning. . Then add the treble double stops found in the bass lead riff.JlJ] And if I 1 A ~h 9.

Hit this note with your thumb and then in measure five immediately hit a B on the first beat.88 • Beginm'ng Fingmtyle Blues Guitar D D Notice in the eighth measure that on the and of the fourth count there is an open A note. again with your thumb. . We discussed this in our section on fretting-hand techniques (page 54). On the and of the fourth count of measure eight start a chord slide into the A chord of measure nine.

. -. U .. .. .. r . "" .... v • .. v - i v r qr I"" - 1 • _11 #_r_ ... .. - - - 1 #tL .... .... ... .Five Blues Pieces • 89 BIG ROAD BLUES @=D 1"\ ~ D . .... r .. . .. . . I ~ r.. v 11 _11 • #1:. '" ... v GIB 1\ ~ t> r qr r -- . - I"" L qr:_ _I _1' - #L ._ ... ._) - r L qr _I v ..:J lrJ.. i .... -- .. ....:J If_rI r--. . . '" ... . . r It r U ...- .. v . ... .. . .. . .. - r GIB r - i r r - r D i i r .. . .... . '" _1 r r .. . '" - - • .. ... ...... . ej ~ r."-A . A7 .. .. .... . D ... - i . . ....... . ... .. .....- . '" - ... .....

and she_ tr J J 14 *don't come. it's so deep and wide. We see it during the introduction as well as at the end.I# U doc-tors in r JJ Hot Springs IF sure F can't j help J her lJ * none. The title refers to a type of sawed-off shotgun. . Cryin'. and tr J she don'. and 8. - - Musical Analysis "32-20 Blues" contains a good example of the famous Robert Johnson turnaround. Repeat first verse 32-20 BLUES This is another Delta blues by the legendary Robert Johnson. It will get easier with practice. Although the turnaround may be difficult at first. through Well this rain's gonna change. which should help you to understand the lyrics better! A7 Ab7 A7 ~·II t 09 IS II:EJ F J J If I sent for my ba 1 - F man. a very popular key for blues players because of all the open strings [hat it makes available. It is in the key of A. - - £)1 AJI them E7 09 A7 ~. tryin' to cross to the other side. through sun's gonna shine. 7. The drone bass used during the first four measures gives the piece a special driving quality. 3. Note the descending melodic line on the 4th string (in the third measure of the intro and elsewhere). On the D9 chord (fourth measure of the verse) use a thumbsrroke on beat two and a brushsrroke on the and of three. Notice also the brushstroking in bars 1-4. 4. my door someday. by. baby. my door someday. I- * JlI If I A7 ~·I# sent for my EJ F JJ ba - IF man. J 14 * come. gonna blow these blues away. stay with it. sun's gonna shine. Cryin'. by. lyrics River. Be sure to listen to the CD and examine the photographs.90 • Beginning Fingerstyle Blues Guitar Additional 2. baby. baby. River. Now the Mississippi Now the Mississippi Now I be so worried. it's so deep and wide.

... ...... ~ . r i A rr - -_. .. 6•1-1": - - - . .... . . .... . ....... 01 . II X ii u - r .... .......J ~~ n - ~ " - I... I I"'"" ~ ~ I ..... oJ r .. - ~ I JJJ """II"'" .. . . - I I II• r . .... ... .... ... "" p 01 . . . .. U.. r v _ r I - ~ . ~. . ~ _. ...-.... .. ... i .. - " '\: tJ l"....... - - u . x tI -ill JJJ J "II"'" . .... ~ :.l i ... ...... .JI . r . ft ~ " • .. .. ... ..Jjt.. tI . - - - - - - - - g . .. 'II A .. ... .. .... . . ... ... i v i • I i '" v i .. .. IC . ..._ )( . c T ! r r r r r r r r .{ )( - - u D9 " " "tJ l".I D .-r • X . .. iiii .... . ..... Ab/A I~ 6~ I~ II' I' I Iq~ - 16#~ - ... .. . ..... . . r.. " . - ii u - r - . ......~ l"''\: .. "" . _ ~ _" t]lf .Jj . X )( '" .. i "" A7 - • ""_ 'J / . u IC -. ~ . _..... S.. ..... ~ _ D7 1\ ~ )I ~ ". A7 .... ~ _ ~ b. .. • ...."" "" 6~ I~ 61~~~ ::........ .. ... ..... .. - ! T ..J n T ! A Jo. . G7/A A7 .J II "t . ..... -r r . . . . i . 'II _I - " -.. - ii u - - rr IC S.... r oJ ... A . - .. 1/ 1- S.. I .. rr . &... X ... . )( rr w J - - I - i -i v - r . .. '\: I"- - - ! T r . .. .. ... . . v _j ...I ... .Five Blues Pieces • 91 32-20 A7 Intra 1\ ~ ~ 'll BLUES E . E7 i . .. D ... . .... ..I .D...... i .... ._- Ab7/A ~ - I rl- i " D .... u - i _A_ i ... ... . . .. ... .. a . .. .. A7 1\ ~ ~ _11.. ~ . Ie b Ie ....

boys. ~ . r - I II _A .. 4. I said. In many Piedmont blues tunes the performer will double her vocal melody on the guitar.38 special but I believe it's most too light.. where's you spend the night? You come in this mornin' 3. gonna shoot my girl and gone. It was recorded in the 1940s by Memphis Minnie. v r ... x '!t .. K po . where's you spend the night? I said.u n' ~ J E '1 l"'11 ~ -. - ..J r . ... - I 0 0 I JJJ .. 6.. U . . boys.) and is brighter and more delicate than the Delta style.. . and you ain't lookin' right. 5.... got to make the cats alright. ... .. Got a . Got a . . . .. po .. now look what you have done. .. Oh baby. Oh baby. You will notice also that this blues does not follow the usual format. -r . I'm gonna shoot my pistol. and it do very well. . gonna shoot my girl and gone.. I've' got a 32-20. BLACK RAT SWlNG This is a piece that Mark learned from John Cephas while Mark was playing at the Augusta Bluesweek. etc. . .. You made me love you.. I'm gonna shoot my pistol.. .. If she gets unruly. po . 0 .. It is an excellent example of what is known as the "Piedmont" style of guitar picking. Additional lyrics 2. Maryland. and it's a-burning. r ft r . . Hi JI V ... E D71F# A7 b.... thinks she don't want me... The Piedmont style came out of the mid-Atlantic states (the Carolinas.... thinks she don't want me... Take my 32-20 and cut her half in two...38 special..92 • Beginning FingerstyleBlues Guitar 1\ ~ . She's got a . I've got a 32-20.. . v . but rather each verse takes up twenty-five bars. - ~r--. rr . She's gOt a . If she gets unruly.38 special but I believe it's most too light. 2- r. and it do very well.38 special..

tail.chen. rr I F IF got rats r in I~r F my bed. which puts him in position to play the E chord. In FF II• I F r I F! eat the mom-run' A F Fir break .'1 IF Pre F I" gon . .where be . then slides down to the second fret and uses his index finger on fret one.fast.neath A B7 F FIryour shirt . 22 and 23. * I - - - :11 Musical Analysis Other than its odd length.na catch your E E - 1* trail. I'm gon-na F r I~r r r hide B7 I 0 - my shoe ~ '1#' ~ ~r r r I r some . Notice the slides in measures 13 and 14. rats in my bread.. F FI~ r You're just one rI black ~o rat. "Black Rat Swing" is fairly straightforward and should be easy enough if you have studied the section on melody notes.. Some-day I'm . Mark uses his middle finger to slide up to the fourth fret.Five Blues Pieces • 93 '-'#1 E I I r F II:mgot rats Dr F ! 1 J F 9 in- my kit.

.... v ft - r u - .. r- · · I n rr . ~.. . u ~- I - I I - r 01 ...... u - I - .= r r r...ft ~...It. I I - r'11 ~ ..- - .~ u v .r u ... - . '" - r ... . ~ r .... A . x .. r . -r K u K ..... u . . ..... r .... ... '" r ... . r ~ '" . . ft_ u A ... . ..~ft r . . '" ...... '" . · ... - r ....r....... '\ » ~ ~ bj-ll tl r - . . I u . E '" .... _- . . . . .. r . . .. r - = .... .. v . r ... v . . r = r ....= r r . '" - - r . r r . J--D-J hJ--ll - rJ_j - J D-J .. K .. r .. . n r-.. . .... '.. ·. I . nI ... r .... = r ..-v ..... I r....... '" r . . - - .... r u - r - . ..... r ... . . .. '" ...... .» ~ tl - . . . '" r r - I ~ u . .... . .. .. ... .. ...... .... ...... .... .. i .. "'- i . .... li"- . V I . y .. K V ...... - r . .94 • Beginning Fingerstyle Blues Guitar BLACK E 1\ RAT I SWING »~ I I tl r .. - r . .... .......... v - - r .. r .- f1t~ II IlL = r .. ..... z.. '" r .. . . '" .... .. - r-r i r . . r .. K y x ...... .. . r ... T ! 1:1 r ..

... "" .. r .. .... * lit 1/1 100... .i .. . ....... - i . . i .... \._ . -- J_J' i1J -i - .... B7 ... r . :::I ... r.. - .. .. ID.. V _. "" V B7 - .. .. l""'loa I .001 ... r. v -rI E - - ~ . .. 11 n" tJ r.• A r. ....... i • i _'"- · · I x • • • · · Additional lyrics 2... >I - ... . ....1 r v .. • • I . -"'-y -.. i i .. ... . .ooII. >I ~ r v .. .. . - - r - - r . ..a "0" X . J_J' -i .. . When you told me you loved me '{ou done wid me a lie... . ._ .. . .001 --_ I .... "" .. You're just one black rat Someday I'm gonna catch your trail... . ft - i . x 'ft r . r .. . r ..01- ~ - J-~ '-' i1 J .. Gonna hide my shoes Somewhere beneath your shirt-tail. ....._ v II 1/1 ~ .......... ft V r _v . .. X X '1 . .. . ... ....J r ... .I I j ...Five Blues Pieces• 95 'j '\ ~ * l"'- "un....... .. But still I love you girl until the day I die. ~ tJ "' ~* 11 " .. v r . ... .. . ...... J-J r r - I bJ-lI_n_1 - u. I 1-. . .. i .... ... x X .. ....r... r ... .. ..- r .. - tJ - _"0" - ~-'1 .. Y r .

page 62 34. 46. page 44 20. page 38 17. page 15. page page page page 14. page 61 33. page 52 26. 7. page 70 35. 4. 12. 42. Track/Page 1. 10. page 50 43. page 57 31. page 71 36. page 59 32. page 56 50. 37. page 10 page 11 page page page page page 12 16 18 20 21 9. page 40 18. 6. 45. 8. page 45 21. 41. and he gives some extra explanation of some of the concepts and techniques you have read about. 5. along with the page numbers of their corresponding sections in the book. 38. page 55 29. page 54 28. 40. 3. 44. 13. Below is a guide to the sequence of segments on the CD. page 46 22. D. and E chords Blues in A with melody notes G chord melody notes Blues in G with melody notes Blues in E with melody notes Eighth notes Blues in G with mixed rhythms Dotted rhythms Blues in G with dotted quarter notes Syncopation Blues in G with syncopations Blues in E with syncopations Blue notes Blues in E with blue notes Blues in A with blue notes Hammerons Track/Page 25. page 41 19. -page 53 27. Mark plays through just about all of the exercises and pieces printed in the book.CONTENTS OF COMPACT DISC On this recording. 11. 39. 2. Title Introduction Tuning Thumb and finger patterns for the A chord Combining thumb and fingers on the A chord o and E chord patterns Blues in A Blues in G Blues in E Melody note for A. page 48 24. page page page page page page page page page page page 72 72 73 74 7S 76 81 85 87 90 92 Title Pulloffs Slides Double stops Bends Brushstroking Heel damping Blues in G with walking bass Blues in E with walking bass Chord inversions Vamps Five pieces with connecting yam ps-Piece #1 Piece #2 Piece #3 Piece #4 Piece #5 Vamps in E Singing the blues M&O Blues Beekman Blues Big Road Blues 32-20 Blues Black Rat Swing . page 26 27 30 32 33 37 16. page 47 23.