1. Guitar I and Guitar II Class 14 Figuring out songs. Advanced techniques introduction: –Hammers –Pulls –Slides –Taps –Harmonics –Articulation Go over Final Exam More theory Note reading – how to continue

5. Review chords from last week 1 2 4 X 0 0 1 2 1 2 3 1 X 0 1 43 X X 0 Dm Dm7Notice that this is like the F chord but without the 3 rd finger. C7 4 Bb

15. Notice that the whole song is: 4/4 ||: G D | Am | G D | C : ||

16. La Bamba C F G Para bailar la Bamba C F G C F G Para bailar la Bamba se necesita una poca de gracia C F G C F G una poca de gracia y otra cosita ay arriba y arriba C F G C F G ay arriba y arriba por ti sere yo no soy marinero C F G C F G yo no soy marinero soy capitan soy capitan soy capitan C F G Bamba la Bamba C F G Bamba la Bamba C F G Bamba la Bamba C F G Bamba la Bamba Para subir al cielo para subir al cielo se necesita una escalera larga una escalera larga y otra cosita ay arriba y arriba ay arriba y arriba contigo ire yo no soy marinero yo no soy marinero soy capitan soy capitan soy capitan Bamba la Bamba...

20. Timbre (tonal) differences Notice the difference in sound when you play close to the bridge compared to over the sound hole on your guitar. The reason is that when you play over the bridge the overtones are sounding louder and the fundamental (note you play) are softer in volume. Overtones are the multiples of the fundamental tone. For example, if you played an A = 440 Hz. Then the overtones would be 880 (2X), 1320 (3X), 1760 (4X), 2200 (5X) etc. The closer you play to the bridge the louder those overtones sound and the softer the fundamental sounds. For 8 Days a week play over the sound hole until you get to the section starting with an A chord (bridge of the song) then play near the bridge, on the repeat go back to playing over the sound hole.

21. 8 Days A Week

22. These chords go for the whole song!

23. Greensleeves Note: This song Is in ¾ time. The melody is in tablature and traditional notes.

27. Final Exam 2 weeks from tonight. Last night will be passing out grades and other information You will choose 1 piece that you will prepare. A big part of it is the difficulty. If you do a difficult piece then I will choose an easier piece for you to play as my choice. Chords: A, Am, A7, Bm, B7, C, D, D7, E, Em, E7, F, G and G7. A’ Soulin – both parts Right hand techniques. Blues.

28. Example of final from previous class.

29. Proper Technique for Hammers and Pulls Both hammering and pulling are techniques used to add articulation and to increase speed of playing. When done properly they can improve a players speed by factors or 40% to 50% in many cases. The issue is that most players do not do them properly. The techniques are not all that difficult but it takes some time and discipline to develop them properly. Following is a description of how to do the techniques and one example for each on how to develop and practice the technique. For pull offs: The idea is to pluck the string with the fretting finger (for right handers the left hand). If you keep that in mind and use a similar technique to plucking with the right hand you will have the motion. The finger starts on the string and then moves downward in a manner that the tip of the finger (callous) plucks the string. Think of it as a rest stroke with the finger. For example, if you did a pull off on the 3rd string 2nd fret to the 3rd string open the 2nd finger would hold the 3rd string 2nd fret down and then move in a downward fashion plucking the 3rd string as it moved with the 2nd finger ending up touching the 2nd string much as a rest stroke would be done with the other hand. It is vital that the finger does not go flying off the fingerboard towards the open air. If you are doing a stopped note to another stopped note, both fingers must be down on the string at the same time. Do the same movement with the pulling finger. Note that some players do pulls in the opposite direction (go from a higher pitched string to a lower or up on the fingerboard - this is not the traditional method but works just as good). The key is to do a semi-rest type movement with your fretting finger. Players also need to be able to do pulls (and hammers) with each of the fingers.

30. An exercise that works well for developing this is as follows: On the first string put your index finger on the 1st fret, middle finger on the 2nd fret, ring finger on the 3rd fret, and 4th finger on the 4th fret. Pull off one finger at a time starting with the 4th finger and working towards the index finger. Make sure that each note sounds just a loud as the one before it and the one after it. So you pull the 4th finger off then the 3rd, then 2nd then the first finger. Then move the whole pattern to the 2nd string, then to the 3rd string etc..

31. Hamming is a bit easier. The key to this technique is to put the finger down very hard and quickly like a hammer hammering in a nail. With your fretting finger about a ½ inch above the fingerboard, above the fret and string you want to sound, move it to the fretting position quickly in a motion like a claw hammer would use hammering in a nail. If done properly the note will sound. Again each finger should be able to do this with equal ease and volume. An exercise that works well for developing this is as follows: Starting on the 1st string again. Index hammers on the 1st fret and stays down, then 2nd finger on the 2nd fret and stays down, then 3rd finger hammers the 3rd fret and stays down, then 4th finger hammers the 4th fret and stays down. Important that at the end all 4 fingers are on the 1st string. Then repeat this on each string. Once you have mastered that try the same exercise without leaving the fingers down.

32. To then combine the techniques do the following: Without plucking the string with the picking hand - hammer on the 1st fret of the first string and then pull off. Keep this going (sounds like a trill) as long as you can (at least 5 seconds). Then go on to the 2nd finger at the 2nd fret, then the 3rd finger at the 3rd fret and lastly the 4th finger at the 4th fret. Do on all the strings. Once that has been mastered try holding down the 1st fret with the 1st finger while you hammer and pull off on the 2nd fret with the second finger. Then while still holding the 1st fret down try the 3rd fret with the 3rd finger, then the 4th fret with the 4th finger. Then hold the 2nd fret 2nd finger down while doing the hammer - pull pattern on the 3rd fret with the 3rd finger then 4th fret with the 4th finger. Lastly, do the 3rd finger 3rd fret while hammering with the 4th finger 4th fret. Again be sure to do this on all strings. When you can do all of the above you will have these techniques mastered.

33. Harmonics These are overtones that are sounded when a string is divided into fractional parts. To play it start with the 12 th fret harmonic. –Touch the 1 st string at the 12 th fret – immediately over the fret – very lightly. –Pluck or pick very close to the bridge of the guitar. –When the sound starts release the finger over the 12 th fret. Harmonics can be sounded best at the 12 th, 7 th, 5 th, 4 th and 9 th frets. Other frets also work to a lesser extent.

35. Bending Done in solo work. Let’s do it to a blues scale in A in the 5 th position. Bend the 7 th fret of the 3 rd string with the ring finger. Push the string up with both the 2 nd and 3 rd finger until the note is a whole step higher in pitch (2 frets). To test the pitch you bend to play the 1 st string open as the bend note and the 1 st string open should sound the same.

36. Bending Cont. Most of the time you will bend notes by moving in an upward movement on any note played on the first 3 strings and to over-simplify at a downward motion on the lower 3 strings. Bending up 1 or 2 frets in pitch is common. In blues you will sometime bend up but not all the way to the next note. In country and many other styles you must bend in tune!!

37. Sliding Always slide with the destination finger. Let’s again try a slide in the blues scale. Slide from the 4 th fret 2 nd string to the 5 th fret 2 nd string. Use your index finger. Hold your index on the 4 th fret of the 2 nd string, strike the note and without lifting your finger slide it up to the 5 th fret.

38. Tapping Very modern technique. You will use the index finger of your strumming hand to basically hammer on a note. Then you will use the same finger to pull off the note.

39. For next class Get ready for the final. Prepare questions about what you would like to review for next week. Big time review. Try the hammer, pull, bend and slide. Start listening critically to what you are playing and the sound that you get out of your guitar.