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Class 12 Guitar I and II Blues Cont. Review Arpeggio Fingerpicking Final for Beginning (Go over what will be on it). The F Chord and G7 Chords Twist and.

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Presentation on theme: "Class 12 Guitar I and II Blues Cont. Review Arpeggio Fingerpicking Final for Beginning (Go over what will be on it). The F Chord and G7 Chords Twist and."— Presentation transcript:

1 Class 12 Guitar I and II Blues Cont. Review Arpeggio Fingerpicking Final for Beginning (Go over what will be on it). The F Chord and G7 Chords Twist and Shout La Bamba

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4 Names of the notes on the open strings. E A D G B E Below are the names of the notes on the open strings. These need to be memorized. From the lowest pitch to the highest pitch: E, A, D, G, B and E. Note that the 6 th string is called low E and the 1 st string is called high E. Below is where the open strings are written on the staff!

5 Basic Arpeggio for ¾ Time CountWhat you play 1Thumb hits the 5th string &Index finger plays the 3rd string 2Middle finger plays the 2nd string &Ring finger plays the 1st string. 3Middle finger plays the 2nd string &Index finger plays the 3rd string Apply to Amazing Grace

6 12 3 D X X 0 E/D X X 0 G/D X X A letter then a slash then a letter means: First letter is name of the chord. Slash indicates that the next letter is the bass of the chord. So E/D would be an E chord with a D note as the bass or lowest note. The introduction to 8 Days a Week is: 4/4 ||: D | E/D | G/D | D : || Notice that the same fingering applies to many chords. Introduction and ending for 8 Days a Week.

7 D E/D (E with a D Bass) G/D (G with a D bass) Same for Guitar 2. Leave 1 st and 4 th string open as drones.

8 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.

9 12 3 D X X 0 E/D X X 0 G/D X X A letter then a slash then a letter means: First letter is name of the chord. Slash indicates that the next letter is the bass of the chord. So E/D would be an E chord with a D note as the bass or lowest note. The introduction to 8 Days a Week is: 4/4 ||: D | E/D | G/D | D : || Notice that the same fingering applies to many chords. Introduction and ending for 8 Days a Week.

10 D E/D (E with a D Bass) G/D (G with a D bass) Same for Guitar 2. Leave 1 st and 4 th string open as drones.

11 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.

12 (Strum near the bridge of the guitar) Strum over the sound hole of the guitar.

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14 Under The Bridge

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17 Wish You Were Here Playing chords without playing the whole chord

18 Notice the pedal point in holding down the 1 st 2 strings. Fingering for all the chords is to use your ring finger on the 2 nd string and pinky on the 1 st string. Other fingers are obvious once you do that. For Guitar 1 you can play the basic chords of G, Em and Am. Other chords are all beginning chords. This song should be played in 1 st position chords not up the neck.

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21 Start with the basic rhythm of the song. See next slide for the strum pattern.

22 Watch the strum. Make sure that you strum down on the beat

23 Same rhythm but now picking out individual notes. Do not have to be exact on this and in fact a little loose is good. This will be for Guitar II students only! Dont worry about the strings you hit, just get the basic idea that you dont play all of them at the same time. A small bit of analysis shows that Beat one is the entire chord. Let it ring out and dont stop any notes. It actually sounds throughout the measure. Notice how beats 1 and 3 are really strong! Then the rhythm pattern.

24 Here it is with the counting and patterns.

25 Guitar Intro just Em for the 1 st measure and G for the 2 nd measure.

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33 Chord Change page 1

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36 This week lets play this! Very slowly.

37 1 2 3 B7 4 X 0 The B7 Chord Notice how the first 3 fingers are very close to what a D7 is only on on other strings. Get those fingers down first and then add in the 4 th finger. You will need this chord for Secret Agent Man B7 Guitar II 4

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39 2 3 Bm 1 The Bm Chord X Bm Guitar II Beginners – make sure that you dont play the 5 th and 6 th strings on this chord!

40 Teach Your Children

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43 Play Thatll Be The Day In book.

44 Thatll Be The Day Good riffs and parts playing.

45 Introduction This is a classic Robert Johnson Dominant Diminished Turnaround used as an introduction. Chords (if played to it would be) 4/4 ||: A A7 D Dm6 | A F7 E7 E7 : ||

46 Either of these works fine. Take your time and learn this. Play it on page 284 of the book.

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48 Solo Analysis Notice how much the chords are used on this!! Scales are the A mixolydian and the A blues scale. Hope this is beginning to make some sense to you. Again I dont think you can all get this during this term, but some of you can and the rest can work on it at a later date (like over the summer)!

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50 Arpeggio fingerpicking Arpeggio means broken chord. An arpeggio is just playing the chord as individual notes. There are many different arpeggios that can be played. We will start with a simple one. But first must review the correct right hand position.

51 Basic Arpeggio for ¾ Time CountWhat you play 1Thumb hits the 5th string &Index finger plays the 3rd string 2Middle finger plays the 2nd string &Ring finger plays the 1st string. 3Middle finger plays the 2nd string &Index finger plays the 3rd string Apply to Amazing Grace

52 Take this song very slowly. Chord progression repeats for each verse. This is in the key of D. One way to tell is that the first and last chords are both D,

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55 The F Chord For this chord the index finger will do what is called a ½ barre. It will play the notes on the 1 st and 2 nd string. The key to this is to play in such a way that the 1 st finger holds down the notes on the 1 st and 2 nd strings. You should play slightly off of the side of the index finger. Do not play the 5 th or 6 th strings. X X This chord will take some time to master. Take your time and just work on it slowly. Dont worry if at first you dont get all the notes clear. That will come with time. Start by playing the following: 4/4 ||: C | | F | : || 4/4 ||: C | F | C | F : ||

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58 See how the E with 2 nd, 3 rd and 4 th fingers is just moved up 1 fret then barre the 1 st fret and you have a F chord. This is the E form of CAGED.

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60 New Chord G7 Notice how this is like both the fingering for C and F chords. The 2 nd and 3 rd finger keep the same relationships but on different strings. The index is also on the first fret on all 3 chords but on different strings.

61 From Book Rockin Bobin, page 228 Do You Wanna Dance, I Wanna Hold Your Hand, page 134 Louie Louie, page 165 Got to get you into my life, page 91 Let the Good Times Roll, page 156 Reelin and Rockin, page 219 Walk on the Wild Side page 308

62 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...

63 Beatles do it in D so C = D, F = G and G7 = A7

64 La Bamba Using Chords For Riffs

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66 Just 3 chords The only chords in this are C, F and G7 The C and F chords should be played as 2 beats each to start and the G7 as 4 beats. Once that is mastered the F chord should be played for 1 ½ beats and the G7 should come in a ½ beat early as shown below: 4/4 ||:C F | G7 : || then 4/4 ||: C F G7| : || &2&3 & 4 & This may take some time to master as the G7 is anticipated by ½ beat This is done often in music.

67 Now apply the anticipation to the song.

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69 The idea is to play this holding the chord down. Hold a C chord – then hit the 5 th string on beat #1. On beat 2 play the 4 th string and on the and after 2 play the 3 rd string. This will mean that you are playing the correct frets.

70 The F Chord X X Now switch to the F chord. On beat 3 play the 4 th string, on the & after beat 3 play the 3 rd string. For this you do not have to Barre the 1 st fret as you will not be hitting it. So the strategy is to just move the 2 nd and 3 rd fingers as a group from the 5 th and 4 th strings Respectively to the 4 th and 3 rd strings.

71 G7 On the & after beat 4 of the first measure change to a G7 chord. Start by playing the 3 rd string then play the 6 th string on beat 1 of the 2 nd measure to the 5 th string on the & to the 4 th string open. This whole thing up to this point is played with just holding the chords down and then picking out the correct string. For the 3 rd beat on is slightly different., play the 4 th string 3 rd fret on the 3 rd beat and then on the & after 3, on beat 4 play the 4 th string 2 nd fret and end on the 4 th string open. Note on the G7 how the 2 nd and 3 rd finger have the same relationship as on the C and the F chords. Those fingers stay in that relationship through most of this piece.

72 2 3 0 Play these notes individually. Start with the 4 th string 3 rd fret – 2 times then 4 th string 2 nd fret then 4 th string open. Then repeat the whole sequenced

73 Now put it all together!

74 Now work on it! If two people are playing have the one person play the guitar part on the previous slide and the other just play the chords. Both need to do the anticipation of the G7 on the last beat of the 1 st measure. Some players play an F chord on the 2 nd part of the 2 nd measure. Make sure whoever you play with does the same chord changes that you do!

75 Twist and Shout Using Chords For Riffs This is both the Beatles and the Isley Brothers.

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77 Just 3 chords The only chords in this are C, F and G7 The C and F chords should be played as 2 beats each to start and the G7 as 4 beats. Once that is mastered the F chord should be played for 1 ½ beats and the G7 should come in a ½ beat early as shown below: 4/4 ||:C F | G7 : || then 4/4 ||: C F G7| : || &2&3 & 4 & This may take some time to master as the G7 is anticipated by ½ beat This is done often in music.

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80 Start with the pickup (notes before the 1 st complete measure. Play the 6 th string 3 rd fret on the & after beat 3, then on beat 4 play the 5 th string open (no fingers), on the & after 4 play the 5 th string 2 nd fret. This is a run that is done when a G or G7 chord changes to a C chord.

81 The idea is to play this holding the chord down. Hold a C chord – then hit the 5 th string on beat #1. On beat 2 play the 4 th string and on the and after 2 play the 3 rd string. This will mean that you are playing the correct frets. Beat 1 play the 5 th string while holding down the C chord. Beat 2 play the 4 th and 3 rd strings while holding the C chord.

82 The F Chord X X Now switch to the F chord. On beat 3 play the 4 th string, on the & after beat 3 play the 2 nd and 3 rd strings. For this you do not have to Barre the 1 st fret as you will not be hitting it. So the strategy is to just move the 2 nd and 3 rd fingers as a group from the 5 th and 4 th strings respectively to the 4 th and 3 rd strings.

83 G7 On the & after beat 4 of the first measure change to a G7 chord. Start by playing the 2 nd and 3 rd strings (Open), then play the 6 th string on beats 1 through the and after 3of the 2 nd measure. Play these as 5 consecutive 1/8 th notes. Play them staccato (means detached), by Rocking the 3 rd finger off and on the string immediately after hitting the note. Then again play the 5 th string open to the 5 th string 2 nd fret and Repeat to the C chord (repeat sign). Note on the G7 how the 2 nd and 3 rd finger have the same relationship as on the C and the F chords. Those fingers stay in that relationship through most of this piece.

84 Now put it all together. Take it slowly.

85 Now work on it! If two people are playing have the one person play the guitar part on the previous slide and the other just play the chords. Both need to do the anticipation of the G7 on the last beat of the 1 st measure. The Beatles did this in the key of D which is up a whole step or 2 frets. Use a capo on fret 2 in order to play along with the Beatles.

86 6 th string root barre chords. The E form moveable chord or CAGED. This starts by first having the E first position chords down perfectly. To change a major E chord to a minor Em chord lift the 1 st finger off of the 3 rd string. To change a major E chord to a dominant 7 th chord lift the 3 rd finger off and play the 4 th string open. There is theory behind this. A major chord uses the 1 st, 3 rd and 5 th of a major scale. To make it a minor chord you lower or flat the 3 rd degree. To make it a 7 th chord you add the 7 th and flat it.

87 Example C Major scale 1 = C, 2 = D, 3 = E, 4 = F, 5 = G, 6 = A, 7 = B and 8 = C (Same as 1). For C Major 1 = C, 3 = E and 5 = G or the notes C, E and G. For C Minor lower or flat the 3 rd degree (E) so it will become Eb. For C7 add a flat 7 (7 = B) so it is Bb. Notes are C, E, G, and Bb.

88 For Key of E E Major scale 1 = E, 2 = F#, 3 = G#, 4 = A, 5 = B, 6 = C#, 7 = D#. For E Major 1 = E, 3 = G# and 5 = B or the notes E, G# and B. For E Minor lower or flat the 3 rd degree (G#) so it will become G. Flatting a sharp cancels the sharp and the note becomes an natural For E7 add a flat 7 (7 = D#) so it is D. Notes are E, G#, B and D.

89 The first step is to finger the chords without using the index finger. For the E major chord. The fingering will be the 2 nd finger on the 1 st fret of the 3 rd string. 3 rd finger on the 2 nd fret of the 5 th string. 4 th finger on the 2 nd fret of the 4 th string. See the next page.

90 Starting E Major Chord To Play it with the fingering below. The other E forms work from this. Just remove the 2 nd finger for minor and the 4 th finger for the dominant 7 th chord.

91 E major Form 1 fret up becomes F major. The root to this chord is on the 6 th string or the 1 st string. The names of the notes on these strings are the roots of the chord. At the first fret it is An F, 2 nd fret a F# (Gb), 3 rd fret is G, 4 th fret is G# (Ab), 5 th fret is A, 6 th fret is Bb (A#), 7 th fret is B, 8 th fret is C, 9 th fret is C# (Db), 10 th fret is D, 11 th fret is Eb (D#), 12 th fret is E. The letter name stays the same no matter which form is used. When doing a full barre chord use more of the side of the index finger. It is more of a leverage issue than a pressure issue.

92 See how the E with 2 nd, 3 rd and 4 th fingers is just moved up 1 fret then barre the 1 st fret and you have a F chord. This is the E form of CAGED.

93 Try a simple chord change Do two measures of F to 2 measures of G. F is at the 1 st fret and G is at the 3 rd fret. ||: F | | G | | F | | G | : || Then do the same thing with G to A (A is at the 5 th fret. ||: G | | A | | G | | A | : || Then A to B (B is at the 7 th fret). ||: A | | B | | A | | B | : || When the above is mastered try each one of them with one measure each.

94 E minor Form 1 fret up becomes F minor. The root to this chord is on the 6th string or the 1st string. The names of the notes on these strings are the roots of the chord. At the first fret it is An Fm, 2nd fret a F#m (Gbm), 3rd fret is Gm, 4th fret is G#m (Abm), 5th fret is Am, 6th fret is Bb (A#m), 7th fret is Bm, 8th fret is Cm, 9th fret is C#m (Dbm), 10th fret is Dm, 11th fret is Ebm (D#m), 12th fret is Em.

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97 E7 Form 1 fret up becomes F7. The root to this chord is on the 6th string or the 1st string. The names of the notes on these strings are the roots of the chord. At the first fret it is An F7, 2nd fret a F#7 (Gb7), 3rd fret is G7, 4th fret is G#7 (Ab7), 5th fret is A7, 6th fret is Bb7 (A#7), 7th fret is B7, 8th fret is C7, 9th fret is C#7 (Db7), 10th fret is D7, 11th fret is Eb7 (D#7), 12th fret is E7.

98 The 5 chords (starting with major chords) Below are the 5 forms that everything is build off of. You must know all 5 of these 1 st position chords to move on. Make sure that you have these down so you dont even think about them. The rest of what is coming up is derived from these 5 forms! We start with major but dominant and minor are just modifications (small modifications) to this!

99 Notice how we can barre this and move it up one fret. One word of warning is that when you do this you wont always play all of the notes in the chord. Try these below as a start.

100 For the C form only ½ barre it – barre from the 1 st to the 3 rd string and dont play the 6 th string. For the G form only play the inside 4 strings – dont play the 1 st or 6 th string. For the D form, it is best to move the 1 st string pitch down 2 octaves to the 6 th string and dont play the 1 st string.

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