ABOUT THE AUTHORS... 4 INTRODUCTION CHAPTER 1 REVIEW OF THE BASICS The Open Strings...6 Roman Numerals...6 Music Notation...

Transcription

1 CONTENTS ABOUT THE AUTHORS... 4 INTRODUCTION... 5 CHAPTER REVIEW OF THE BASICS The Oen Strngs...6 Roan Nuerals...6 Musc Notaton... 7 CHAPTER FINGERSTYLE PATTERNS Revew of Patterns # - #... Pattern #... 4 Pattern #... 5 Pattern # Pattern # CHAPTER SPECIAL TECHNIQUES Multle Haer-ons and Pull-offs... 8 Desert Rde... Nght Out... Artfcal Haroncs... Star Catcher... 5 CHAPTER 4 BARRE CHORDS The Technque... 6 Root 6 and Root 5 Barres... 6 Alternatve Barre Fngerngs... 7 Handle the Barres... 9 Sansh Nghts... A Mnor Detal... CHAPTER 5 MORE FINGERSTYLE PATTERNS Pattern #6... Pattern #7... Pattern # Pattern # CHAPTER 6 DIATONIC HARMONY The Major Scale... 6 Datonc Harony Trads... 6 Four Tyes of 7th chords... 7 Datonc Harony 7th Chords... 8 Seventh Heaven... 9 Horzontal Hold... 4 Jazzberry Ja... 4 CHAPTER 7 ALTERNATE TUNINGS Dro D Tunng Revew... 4 Notes to Jaes... 4 Oen G Tunng Revew Orheus Returns Oen D Tunng... 46

2 Blues for Taj DADGAD Tunng For Perre... 5 Oen C Tunng... 5 Seeng You Agan... 5 CHAPTER 8 INVERSIONS Invertng the Trads Slash Chord Notaton Inversons on the To Three Strngs Buddy s Back Three s n Three Inversons on the 4th, rd and nd strngs Haerng Away CHAPTER 9 EXPLORING BASS LINES Walkng Bass Lnes Revew... 6 Walkng Around... 6 Gon Down... 6 Booge Beat... 6 Areggo Bass Lnes Ray s Rockn CHAPTER THE MODES Two Vews of the Modes A Doran Mood All Mxed U CHAPTER COUNTERPOINT Three Knds of Moveent... 7 The Cat s Meow CHAPTER ARRANGING Scarborough Far Melody Scarborough Far Melody and Slow Bass Scarborough Far Melody and Qucker Bass Scarborough Far In Three Voces... 8 Scarborough Far Contrauntal... 8 EXPLORING THE STYLES Dancng Dreas In the Style of John Fahey... 8 Rse and Shne In the Style of Leo Kottke... 8 The Road to You In the Style of Mchael Hedges Thanks to Jose In the Style of Adran Legg Sash the Wndows An Irsh Tune S Beag S Mor An Irsh Classc by O'Carolan Hot Peer Blues Fngerstyle Blues... 9 Hangn Around Fngerstyle Blues... 9 After Dark Fngerstyle Blues... 9 The Reverend s Rag Fngerstyle Blues n the Style of Rev. Gary Davs... 9 AFTERWORD 94 APPENDIX OPEN CHORDS 95

3 ABOUT THE AUTHORS Lou Manz s the author of Fngerstyle Gutar Technque Bulder and Begnnng Fngerstyle Gutar, also ublshed by Alfred Musc. He began hs career n usc n 974 and has been on the faculty of the Natonal Gutar Suer Worksho snce 984. He has erfored extensvely and teaches at the Tabor County Arts Center n Gulford and Branford, Connectcut. Lou coosed the all of the usc n Interedate Fngerstyle Gutar, and erfored on the CD. Nat Gunod s the chef edtor for Worksho Arts, the ublshng ar of the Natonal Gutar Worksho. As of ths wrtng, he has edted over 7 books and drected vdeos. He s the author of Classcal Gutar for Begnners, Renassance Duets: Play Along Lbrary and Progressve Classcal Solos. Nat s an Assocate Drector of the Natonal Gutar Suer Worksho (NGSW) and drects the NGSW Classcal Gutar Senar. He has erfored all over the Unted States and taught students fro all over the world at the Worksho and at varous colleges, ncludng the Peabody Conservatory of the Johns Hokns Unversty. He wrote all of the text for Interedate Fngerstyle Gutar. 4

4 CHAPTER Revew of the Bascs THE OPEN STRINGS Holdng your gutar n layng oston, the strngs are nubered fro 6th to st wth the 6th or lowest strng beng the one closest to the celng. Many begnnng layers don t know whch end s u when t coes to the gutar. Snce we are lay ng uscal sounds, we refer to hgh and low deendng uon the heght and deth of our notes. The frst strng ay be closest to the floor, but t s called the hghest strng because t s tuned to a hgher note than the other strngs. Musc s ade u of notes. A note s a uscal sound, or tch, of a secfc degree of hghness or lowness. Each note s gven one of seven alhabetcal naes: A, B, C, D, E, F or G. The followng dagra shows that the strngs are naed E, A, D, G, B, E fro 6th to st. The sentence Erne s Ant Does Get Bg Eventually ay hel you eorze these notes. E Frets A D G III B V E Roan nuerals are used to nuber the frets st Strng 6th Strng ROMAN NUMERALS Here s a revew of Roan nuerals and ther Arabc equvalents. I... IV... v...4 VII...v... 7 X...x... XIII...x... XVI...xv... 6 II... V... v...5 VIII...v.. 8 XI...x... XIV...xv...4 XVII...xv... 7 III... VI...v...6 IX...x... 9 XII...x... XV...xv...5 XVIII...xv Chater Revew of the Bascs

5 Check t out! By easure three of Exale, you'll be whn' out those sxteenth note lcks lke butter. Work-u to layng the quckly ractce soewhat slowly at frst. You wll fnd that t s ractcal to ractce haer-ons and ull-offs too slowly. At very slow seeds, rhythc accuracy becoes unreasonable to exect. Pay secal attenton to the last note n the frst easure (D on the nd strng). Ths note s layed wth a haer-on, even through the strng has yet to be struck by the rght hand. In a way, ths s really a ta. Make sure that the nd fnger strkes the rd fret wth suffcent force to ake the D note sound clearly, but not so uch that the note sounds ercussve. &4 4 œ # œ n # # œ œ # œ # œ # œ # œ # T A B P P P P P H H H P H P H PPH H P P H H P P H P Exale ntroduces double-sto haer-ons and ull-offs. There s nothng really new here, although t ay feel new. In haer-ons, ake sure you are lftng and drong both fngers together. IN ull-offs, take care to ull both fngers off together. IN both cases, strve to antan a good balance between the arts the uer and lower notes n each double-sto should sound at the sae volue. Track q = 84 &4 4 a a a œ# œœ a œ œ œ # œ œ etc. # œ œœ œ a w # T A B H P HP P a a a a etc. 4 4 a 4 5 Chater Secal Technques 9

6 ARTIFICIAL HARMONICS By now, you have certanly lstened to lots of gutar usc. You ay have notced occasonal hgh chng notes that have a bell-lke tone. These were robably haroncs. Every uscal note, or fundaental tone, s accoaned by an array of overtones. We aren't usually aware of the they are just there, the way that any colors of the sectru are there when we erceve a secfc color. A haronc s what haens when we touch the strng n such a way as to solate one of these overtones fro the fundaental tone and ost of the other overtones. These hgh, ure soundng tones are dstnctve, and add a beautful color to eces. They can be very effectve as hghlghts n the usc. There are varous ways to ake haroncs on the gutar. In Begnnng Fngerstyle Gutar, age 74, we covered natural haroncs. Now, t's te to dscuss artfcal haroncs. Whle natural haroncs are ade by touchng the strng lghtly at certan onts on the strng wth the left hand (the th, 7th and 5th frets are ost coon), artfcal haroncs nvolve a dfferent technque. Here s how to erfor an artfcal haronc that sounds an octave hgher than the fundaental tone: Fnger the desred note norally wth the left hand. Wth the fnger of the rght hand, lghtly touch the sae strng drectly over a fret exactly twelve frets hgher than the fngered note. For nstance, f the fngered note s one the st fret, touch a sot drectly over the th fret wth the rght hand. Whle touchng the strng wth, luck the strng wth or a. Iedately uon strkng the note, quckly lft the rght hand away fro the strng, allowng t to rng clearly. Exerent wth ths for a lttle whle. Reeber that the as you change fro note to note, the rght hand wll rror the oton of the left hand fngers. As fnger hgher notes on a strng, your rght hand wll ove to the rght. As you fnger lower notes on a strng, your rght hand wll ove to the left. Work on the tng between luckng the strng wth or a and lftng your rght hand away of the strngs so that the notes rng clearly. Notce the daond shaed note heads n the exale below, ndcatng haroncs. Unless arked otherwse, all of he artfcal haroncs are as descrbed above--twelve frets hgher than the fngered note. q = In Exales and, luck wth. &4 4 Track 4 T A B Chater Secal Technques