Twinkle Twinkle Revolution:

Transcription

1 ingerstyle uitar: ingerstlye guitar is a style of playing where you do not use a pick. nstead you use your fingers to play the notes and chords. he first thing to know about fingerstyle is that the thumb is king recommend using a red Kelly Slick Pick on your thumb to create pronounced bass lines. Your thumb also keeps the time and needs to be able to keep a steady rhythm. We are going to concentrate on your thumb index and middle fingers. lassical players use all five of their fingers. Rest your hand on the bridge and anchor your hand with your pinky on the body of the guitar. Start by playing a chord and grab the chord with your right hand thumb on the fifth string index on the third and middle on the second. ry this a few times.

2 winkle winkle Revolution: h yes winkle winkle Little Star. s there a song more reviled in the pantheon of beginning guitar songs than this one? So you ask Why reg why must you do this to me? y answer is want you to see how even a song like winkle can be made to sparkle shine with the application of a bit of fingerstyle magic. Watch how the song begins in measures one through twelve with only the melody. Play the melody using just your thumb or experiment by using your index finger to play the melody. dd the root note of the chord in Revolution from measures through 4. ake your time practicing this part paying close attention to the right hand notation. he low notes will sustain for the entire four beats of each measure. n measures 5 through 6 aka Revolution you are adding another chord note to the mix making for a more complex sound building the melody. he sound thickens the song becomes more dare say it dynamic. inally in Revolution 4 in measures 7 to the end you add alternating bass notes on the bottom of the chords. he melody remains the same but it has been gradually embellished and made more listenable with the addition of some basic fingerstyle tricks and techniques. o very very slowly on these tunes at first with emphasis on steadiness especially on your thumb. When you get into ravis picking the thumb is king.

3 winkle winkle Revolution / D7/ 4 4 oderate h 0 : D 4 4 REVOLUON he elody D7 D7 D7 D7 c 7 D7 D7 D7 D7 REVOLUON dding the chords root note D7 D D7 D7/

4 9 D7 D7 D7 D 5 REVOLUON dding chord harmony / D7/ D7/ D7/ D7/ D7/ D7/ / D7/ D7/ 7 REVOLUON 4 lternating bass w/your thumb D7/ D7/ D7/ D7/ 4 D7/ D7/ D7/ D7/

5 WKOEL S NON N : Pachelbel s anon in D is a tune that once played for 0 minutes to cover for a wedding that was running late. did a LO of improvising over those changes so when was looking for a set of chord changes to do some melodic building over it was a nobrainer. changed keys to make it more fingerstylefriendly made my apologies to the ghost of Pachelbel changed his name slightly so he wouldn t be upset) and the results are here to edify and enlighten you. start this piece out by setting up the VVVVV chord progression using my fingers to pluck the chord notes. Notice the first inversion on the chord in the second measure the / chord the / means the chord is a major chord with a note in the root position) between the and the m chords. hat s a nice commonly used way to get from the chord to the V chord. lso notice the fingering on the / chord using your second and fourth fingers. You ll be using this transitional chord a lot in fingerstyle guitar so make sure to get used to this fingering. hen at measure nine add an extra note using a different note of the chord on the third beat of every measure to start adding some tension to the proceedings. Eight measures later the bass shifts to a nice steady quarter note feel. Notice the use of the thumb in the chord. ake sure to use your thumb as you will need to keep those octave notes on the bottom of the chord while you make melodic changes on the top. n measures 5 to 48 add more melodic improvisations over the steady thumb pattern set up earlier. s you become more familiar with this piece add stuff of your own. hese are great changes to play over.) t measure 49 we return to the original whole note pattern and gently end where we began.

6 Wackobel s annon in / m Em Em7 4 4 oderate h 40 : 4 4 / m Em c 0 / m Em7 8 / m Em 4 / m Em 0 / m 6 Em

7 6 Em 4 m Em 48 / m Em ritard 57 Wackobel cont d.

8 HU EN LUES: his song has long been a big favorite of my students. t works again off the idea of your thumb playing straight quarter notes hence the title) and your fingers playing a slinky melody with lots of bent notes. his sounds great either on straight acoustic or on an electric with lots of reverb and tremolo with lots of swampy delta vibe. On the first bends make sure those bends SY bent and then let them unbend; again slinky is the key word here. On the second measure make sure to do that slide using your left hand s second finger. Pick the third string with your index finger and the second string using you middle finger. You resolve into a relaxed twonote chord in measure three. When you go to the chord you ll be doing the same melody but using the fifth string as your quarternote drone. t the end of measure seven resolve into an E9 chord. You can add the second string to get a more urban blues sound. easures are a killer turnaround where you use the open first string as a drone note the whole time. You can use this run with a standard pick and your finger; it s very simple but it sounds soooo kickedback t the beginning of the second chorus at measure you have those two note chords against the quarter notes. his is where the slow shuffle /8 feel really comes in strong. t measure 6 you start a long run way up at the tenth fret. Practice those bends; make sure they re bent to where they need to be. Don t overbend into that dying cow sound territory. Keep the rhythm notes QURER notes; people have a tendency to try to pick both the first and second halves of the eighth notes. On measures and make sure to play those full chords as shown in the chord diagrams. t makes the whole thing sound much smoother.

9 HU EN LUES 9 4 E9 6 4 oderate h 90 d : D D D D 4 4 c b E) % b 9 4 E9 6 4 oderate h 90 d sl ) ) ) b ) 9 4 E9 6 4 oderate h 90 d E) )mplied hord Harmony E9 6 4 oderate h 90 d 9 4 E9 6 4 oderate h 90 d ) % 6 sl ) ) ) E) 7) ) urnaround E) + D E7) 7) E7)

10 6 + 4 % 9) ) ) ) ) ) E) E) + D + P E9

11 unky utt: Having a bad day? rab a elecaster plug it into an old Vibrolux turn it up to volume ten and play this song preferably while stomping your foot really really hard. Your day will be looking much better guaranteed. You ll be rocking out hard and you don t need no stinking band inky You can play rhythm ND lead for yourself and you don t have to deal with the rhythm section s neuroses. ool huh? You ll be playing straight quarter notes with your thumb as you play a funky syncopated melody against it. he first two measures are primarily notes being squeezed against one another; no odd offbeats. Keep those quarter notes going and try to resist the impulse to squeeze on the second half of any eighth notes; you only play your thumb ON the beat. Keep those pulloffs nice and crisp. use my first and third fingers to do them with; see what works best for you. n the third measure you start a hammer on the second half of the second beat. he hammer lands right on the third beat. Let the hammer land by itself as your thumb hits the sixth string; DON pick the note with your finger his is a little tough but with some practice you ll be fine. easures 9 through where you go to the V chord similar to the first part except you are hitting the note on the fifth string. Keep that steady quarter note beat going all the way here s a slide/pulloff combo in measure 0 that needs a precise execution so headsup on that and you ll be doing that pattingyourhead rubbingyourtummy move again with the hammer + thumb landing together. Heads up. On measures 7 through there is a repeated melody part. he quarter notes underneath the melody change every two bars. t s a very cool effect. he tune wraps up with a funky little run and ultimately goes out on one of those E7 9) Hendrixy chords.

12 Use this technique as a song intro or in the middle of a song to drop things down dynamically on stage. t looks cool and you won t lose any dancers unky utt: 4 E oderate h 56 d : D D D D 4 4 c E7) sl ) mplied hord 4 E oderate h 56 d p D p p 4 E oderate h 56 d h 4 E oderate h 56 d h 5 sl p D p p h h 7) % 0 % sl p p E7) sl p D p p

13 unky utt cont d. 5 h h 4 ) 0 E) p D p p D 5 ) E9+

14 aby Needs Shoes lues: t the beginning of this piece you ll see a couple of notes in parenthesis. t shows two eighth notes followed by an sign followed by a quarter note and an eighth note with a triplet sign over it. hat means the song has a shuffle feel a /8 feel to it where you are still counting a four beat but with a triplet feel on each beat like ONE WO HREE OUR. shuffle rhythm is like a long note followed by a short note. he overall feel of the music is accents on the and the 4 of the measure. hink You Shook e by Led Zeppelin or the song lack Velvet by llanah yles. bove all listen closely to the performance on the DVD. his is probably the most difficult song in the course. t has some tough moments conceptually just playing with a shuffle feel and some tough technical moments like using smooth rolls. So let s get going; n the first measure there is a finger picking roll. hat s where two fingers each take a string and your thumb takes a string and you as smoothly as possible roll across the strings. n this song the first example is where you see the nd notes yikes). n this roll your middle finger is on the first string your index on the second and your thumb on the fourth. Pick each string quickly. t first it ll sound kind of clumsy and it ll definitely feel awkward. fter a couple of days however it ll start to sound and feel like one continuous sound. ive it time his is a very difficult maneuver to execute; it may take days or even weeks to get it right. n this tune the rolls occur wherever you see those nd notes. here is also that aforementioned shuffle feel throughout this piece. t s not just a straight quarter note feel; it s more of that longshort staggered feel. gain your ear is probably the best tool to getting the groove together on this tune.

15 On the fifth measure there is an implied harmony. We re playing two notes at a time against an open note. he combination of the separate notes ends actually being an major chord. hen in measure 6 you ll be playing a b dim diminished) chord. You re mirroring a phrase from the previous measure that involves a bend; however due to the fingering on this chord you have to do the bend with your pinky. t ll again take a bit of work but that weak little appendage N be trained to bend areful on that 7 chord in the seventh measure Play only the first second and sixth strings. n accidental play of that third string is a sound not pleasing to the ear. On the ninth measure barre across the second fret and play what call the Jimmy Reed lick. t s triplets played with your fingers over quarter notes played with your thumb a tricky maneuver but it sounds great. t gets repeated using a different chord in the next measure. he final turnaround uses an E7 shape moved up three frets and then moved back down one fret at a time. t s beautiful and it s easy to do. his blues is the template for a lot of delta style blues. t s a miniencyclopedia of licks that you can do as a full performance or in bits pieces in other tunes.

16 he aby Needs Shoes lues E7 4 Edim 4 E7 4 b dim oderate h 67 d : D D D D 4 4 c E7 E7 4 Edim 4 E7 4 b dim oderate h 67 d Edim E7 4 Edim 4 E7 4 b dim oderate h 67 d E7 D % 4 E h % D E7 ) sl )mplied hord Harmony ) b dim D ) 4 7 E + D 7 E7 7 E % D 7) D

17 aby Needs Shoes cont d. 7 E + D 7 E7 7 E % D 7) D

18 ravis Picking: ravis picking is named after erle ravis who was the most noted progenitor of this thumb plustwofinger technique. ravis was a huge influence on het tkins who took ravis syncopated pattern exaggerated the muted bass and made it even more famous than ravis did although he always graciously gave ravis credit in interviews.) Here are some hints to making your ravis picking more effective. RockSteady humb he key to keeping the ravis picking pattern effective is a rocksteady thumb. used to warm up for practicing ravis picking by dragging out the metronome and this was one of these big gnarly embarrassing plastic pyramids that you had to wind with a key). Listen Do t Right the irst ime ake sure to really listen to the DVD and follow the written material right to the letter. You are programming relatively complex patterns into your hands. ake it very very slowly and get it right the first time. Nothing is more horrific than having to deprogram a wrong pattern that someone has religiously learned every night for a week. Keep your Right Hand ocused Ready Have your right hand slightly cupped and keep your strokes small and focused. he farther away from the string your finger goes the longer it takes for the finger to come back

19 ake Sure to et a ull ourbeat ount he thumb hits on the onetwothreefour beats. he index finger and the thumb both hit on the one the squeeze note) and the rest hit on the offbeats so the pattern is actually counted as oneandtwoandthreeand four oneandtwoandthreeand four. ake sure that last note gets a full quarter note count; some students come back the following week anticipating that first beat of the next measure resulting in a lopsided threeandahalf beat measure. Keep t Simple at Least at irst ) Practice at first just using the picking motif written here; it s a relatively simple straightahead fourstring pattern. hen you ll be ready for differentsized chords hammers added melodies alternating bass patterns etc etc etc. et the basics down right the first time and you re on your way to being the one person orchestra that fingerstyle playing can allow you to be. Stick with it; the pattern will seem strange and disjointed at first but gradually it ll start to swing as everything falls into place. asic ravis Picking Pattern oderate h 0 : 4 4 c

20 ravis une: his tune is primarily an exercise in repeating the basic ravis picking pattern using some of the most commonly used folk/fingerpicking chords. heck out the descending bass note pattern in measures through 5 which is reminiscent of some Paul Simon tunes Led Zeppelin s abe m onna Leave You and the eatles While y uitar ently Weeps. Notice also the use of the open string as a drone note. hat s why use the add9 and the m7 chords; it adds a nice common tone to the middle of the chords and makes the piece more interesting melodically. lso check out the added D note on the top of the chord at measure 8. Little touches like this make for a more interesting piece of music. ry playing this piece with a capo. apos are often used by singers who have to transpose keys to work with their voice. don t sing a lick and use capos all the time because like the way they make certain pieces sound on the guitar. On this tune capo at the 4 th fret which changes the key to E. t sounds great to have an uncapoed second guitar fingerpicking with you. uitar apo

21 ravis une / m7 / sus 4 4 oderate h 40 : 4 4 / m7 / c 5 sus 0 / m7 sus 5

22 Railroad ill: Railroad ill Railroad ill He never worked and he never will Ride ride ride Railroad ill is one of those ubiquitous folk/blues tunes that everyone from Etta aker to Van orrison has covered. he version m doing here is most similar to the Rambling Jack Elliott treatment. t s a nice rolling arrangement that s simple but has some neat little twists and turns in there to keep things interesting. t starts out with the basic ravis picking pattern played with a chord with a note on the top of the chord. n the last measure your pinky gets lifted and the open E rings out making for a nice melodic release. Watch out in measures five and six ive is played over an E7 chord with your thumb having to cover a big span between the sixth and third strings. hen in measure six watch the right hand fingering Your middle and index fingers shift down for the first half of the measure and then shift back up. t s a nice reedenceish move but it can be a little disconcerting at first. n measure number seven you go to one of those chords that s played with your thumb in the root position. With your thumb planted at the first fret on the sixth string it makes it so you are able to make melodic changes on the top strings the to 6 chords for instance) while maintaining a big fat steady bottom. easures nine and ten return to a regular ravis picking pattern. easure brings in an alternating bass pattern. You will be using a lot of alternating bass in various fingerpicking patterns so review this pattern. You end with a chord strummed or grabbed with your fingers; it s up to you. he Railroad ill feel can be used on any number of songs as an accompaniment; lowin in the Wind Lay Down Sally Don t hink wice etc etc. t s got a great feel that will sound great under any number of classic songs.

23 Railroad ill E oderate h 0 : 4 4 c 5 E7 D 6 D 0

24 Skammen: Skammen is another ravis picking piece but with a few nifty fills walk ups twists and turns thrown in to make things more interesting. or instance; Right away in the second measure there is a D/. t s a D major chord first inversion; the third of the chord triad serves as the root of the chord. Once again use your thumb to grab that low note so your fingers can facilitate melodic changes on the top small) strings. n the chord in the third measure form the chord using the third finger in the root position third fret sixth string). hat leaves your first finger available to do some pulloffs. hat pulloff is a little tricky; the pulledoff note resolves at the same time that your thumb hits the fourth string in the picking pattern. You ll be fine after a couple of tries. You ll be using this move a lot and it sounds really cool when you pull it off. easure eight provides you with a sweetsounding bluesy turnaround. When you go to the second ending you ve got a classical guitar run moving you into the second part of the tune. his is actually a fill borrowed from the tune lassical as. hank you ason Williams.) Watch your fingering on this one; economy of movement on both hands counts heavily. We discussed the fingering on the / chord earlier and now you can see why was adamant about using that second and fourth finger. ake your time on learning this one. t s something you ll be using a lot playing this style of music. nd speaking of reusable runs; when you go to the coda on this tune you ll be doing a run that is almost identical to measure six of Railroad ill. Every time you learn a new run in fingerstyle guitar odds are excellent that you ll be recycling it later. PopUp Skammen means shame in Danish and is also the title of a 968 ngmar ergman film which is probably where the word got stuck in my memory banks.

25 Skammen m D/ / 5 Dm E oderate h 45 : 4 4 m D/ D p m c 5 m D/ D p.. m.4. m 9 m / 5 Dm % %

26 m m / 5 Da oda % Dm % D.. al oda E D y 8 E7 D m

27 coustic ingerstyle hord Diagrams: winkle winkle Revolution: ajor D7 add add ajor Wackoble s annon in : minor ajor E minor E minor 7 add ajor

28 humb eatin lues: 9 E9 unky utt: E9 ug ajor aby Needs Shoes lues: b dim 7 7 E dim E7 E7 lternate fingerings

29 ravis une: minor 7 add ajor sus add Railroad ill: ajor E7 6 ajor

30 Skammen: minor ajor D add D minor add ajor

31 lank anuscript Paper

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