1. Guitar III & Guitar IV 2nd night Spring 2003
Music 379 – 380 Guitar III and Guitar IV, Guitar Ensemble Mus 381 and 665 Blues Overview.
Frank Markovich
To contact me – Preferred method is !!
Phone mailbox (least preferred method)
Website for handouts:
Class is 7:00 to 10:00PM every Thursday
There is an improvisation class from 6:00 to 6:40 for advanced students where the Blues class will mainly work.

2. For tonight.

3. Bass Scratch Strum For a D chord do the rest stoke on the 4th string.
Then do a scratch which is the same as a brush stroke but only using the index finger.
Count as follows beat 1 hit the 4th string with the thumb, beat 2 do a scratch, beat three the bass (4th string) and beat 4 a scratch.
Now with alternating bass. On beat 1 hit the bass note (usually root of the chord). Beat 2 the chord (first 3 strings), beat 3 the alternate note (usually the 5th degree of the chord) and beat 4 the chord (first 3 strings).
This one can also be played with an up-stroke. When doing that only play the first 2 to 4 strings – do not strike them all.
Play bass on beat one then scratch down up on beat 2 (1/8th note each) then alternate on beat 3 and then scratch down up on beat 4 (1/8th note each).

4. The Fingers – Free Stroke
The stroke for your other fingers is called the "Free Stroke" and is done by striking the string with the finger in the following manner. Let's assume that you are hitting the 2nd string with your index finger.
The index finger will be just below the second string and actually just hook the string and bring the index finer upward toward the palm of your hand. It should not touch the other strings.
Again like the thumb you should make a small circle to bring it bake to where it can strike the next note. This movement is very small and your index finger moves only about an inch total.
It is important to note that you do not bring it all the way until it touches the palm.
Also keep your fingers touching each other as you do this.

5. Pluck Strum
To do this you will use your index finger on the 3rd string, middle finger on the 2nd string and ring finger on the first string.
They will work together as one group, plucking the strings by slightly hooking under each string then bringing the fingers towards the palm of the hand.
Each finger hits only the one string and not all of the strings.
On the picking hand the fingers should actually touch each other.
You will do bass – chord just like before but it will be bass – pluck etc.
Try to just a few chords at first. Be sure to still do the rest stroke on the bass notes.

6. Alternating Bass – First Step
Do the following to any A type chord (Am, A7, A etc.) Rest stroke on all of these!
Count What you do
1 Thumb hits the 5th string
2 Thumb hits the 4th string
3 Thumb hits the 5th string
4 Thumb hits the 4th string

7. Chord and bass notes Chord Bass Alternate A, Am, A7 5 4 or 6
B7, Bm or 6
C , C
D, Dm, D or 5
E, Em, E or 5 F G

8. The Fingers – Free Stroke
The stroke for your other fingers is called the "Free Stroke" and is done by striking the string with the finger in the following manner. Let's assume that you are hitting the 2nd string with your index finger.
The index finger will be just below the second string and actually just hook the string and bring the index finer upward toward the palm of your hand. It should not touch the other strings.
Again like the thumb you should make a small circle to bring it bake to where it can strike the next note. This movement is very small and your index finger moves only about an inch total.
It is important to note that you do not bring it all the way until it touches the palm.
Also keep your fingers touching each other as you do this.

9. Let’s try the first fingerpicking on Am
Count What you play
1 Thumb plays the 5th string
& Middle finger plays the 1st string
Thumb plays the 4th string
& Index finger plays the 2nd string
Thumb plays the 5th string
4 Thumb plays the 4th string

10. Holding the pick Hold the pick between your thumb and index finger.
Have just the very tip of the pick out. It is acting like an extension of your thumb fingernail.
Have the wrist slightly arched and strum from the wrist.
Get all the notes to sound at the same time.
Strum over the strings – do not go to far beyond the strings either up or down.

11. Add in up strokes This will be 1/8th notes.
Strum down on the beat (number) and off on the and (between the beats), counting 1 & 2 & 3 & 4 & as you play.
Timing must be even!!
Also, make sure you only strum over the strings and not too far on either side.
Then we will do as in all down – see next slide.

12. Picking individual notes
For this we will start by just playing the 1st string.
Using the pick strike the first string down on ¼ notes like before. Just play within a 1/8th or ¼ of an inch of the strings.
Small movement is best. Pivot at your wrist. Try making smaller and smaller movement.
Once you can do this, try at different dynamics.
Then go onto the next string.

13. Alternate picking.
For this we will start by just playing the 1st string.
Using the pick strike the first string down on the beat and up on the & notes like before. Just play within a 1/8th or ¼ of an inch of the strings. This is alternate picking
Small movement is best. Pivot at your wrist. Try making smaller and smaller movement.
Once you can do this, try at different dynamics.
Then go onto the next string.

14. Other picking patterns
For also try all up strokes.
For Triplets (3 notes per beat) there are two basic approaches:
Down Up Down – Down Up Down etc & a & a
Down Up Down Up Down Up etc & a & a
Again try on each string at various dynamics.

17. Names of the notes on the open strings.
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 6th string is called ‘low E’ and the
1st string is called ‘high E’. Start to learn where they are written.
We will even do some exercises towards that.
Below is where the open strings are written on the
staff!
E A D G B E

18. Do first all down then alternate picking on this.

19. Here is the D Major Pentatonic based upon the C Major Form of CAGED.
Note in Green is the root.
Use this example to understand using chord charts for scales.
Start on the 5th string 5th fret with the 4th finger to the
4th string 2nd fret index finger,
to the 4th string 4th fret with the ring finger to the
3rd string 2nd fret with the index finger to the
3rd string 4th fret with the ring finger etc.

20. See relationship between D major scale and D major Pentatonic.

21. This is the G Major Pentatonic scale (E form of the CAGED)
This is the G Major Pentatonic scale (E form of the CAGED). Notice how similar to the A form (C Major pentatonic on the last page. This is the scale you must focus on tonight. It is in the E form of CAGED.
I will play a G chord and try soloing using this scale!!

22. Most players use a modified fingering for the
Major pentatonic scale as shown below but
a fingering of 2 and 4 on the 2nd string and 2 on the
1st string is also common.

24. See

25. E Form of the Caged system.
E Major E Form (G Major Chord) G 1 2 3 2
3 4
Now let’s just use this chord in the last song. Put the G Major as above in the song
Lodi.
You could also play the C in this form at the 8th fret. You should at least have an
idea of this already!!
The fret on the 1st and 6th string that you are playing is the root as is the note on the
4th string.

26. Now with a Barre G Chord

27. Chords can be expressed as numbers.
In the key of G:
I II III IV V VI VII
G Am Bm C D7 Em F#m7b5
The VII isn’t used much in
Popular music, but is used in
Jazz.
You can see that this song
can be expressed as numbers.
Fill in the ones that I didn’t!
Do this for other songs in the
Key of G.

29. Left a good job in the city, Workin for the man every night and day.
Proud Mary
Intro:
|C A | C A | C A G F |F F F D | Do this introduction as E from barre other than D.
Fret
Verse 1: D
Left a good job in the city, Workin for the man every night and day.
And I never lost one minute of sleepin', Worryin' 'bout the way things might have been.
A Bm
Big wheel a-keep on turnin' Proud Mary keep on burnin',
Roll - in', rollin', rollin' on the river. Roll - in', rollin', rollin' on the river.
Verse 2:
Cleaned a lot of plates in Memphis, Pumped a lot of pain down in New Orleans.
But I never saw the good side of the city, Till I hitched a ride on a river boat queen.
Big wheel a-keep on turnin,Proud Mary keep on burnin',
Roll - in, rollin, rollin on the river. Roll - in, rollin, rollin on the river.
Verse 3:
If you come down to the river, Bet you're gonna find some people who live.
You don't have to worry, cause you have no money,People on the river are happy to give.
Big wheel keep on turnin, Proud Mary keep on burnin, Roll - in, rollin, rollin on the river.

30. Shuffle
Will do to an old tune Linda Lou – but much more than originally meets the eye.

31. Start with Linda Lou
We will do it in A but you should learn it in every key.
Very much a shuffle feel!
Steps in this song.
Learn chords.
Learn theory of progressions.
Learn the repeating background hook.
Learn the Charleston Rhythm background (2 ways).
Learn the Arpeggios for the chords.
Guide tone solo
Guide tone backup
Do the Scales for this on improvising.
Minor Pentatonic
Blues Scale
Mixolydian Mode
Dorian Mode
Do parts of chord – Make an arrangement.
Add in shout parts and hooks.
Misc. to finish this off. Will take a few of weeks to go through this.

33. Form
This form is blues for the first couple of times then the bridge goes away from a traditional blues. The feel also changes from a shuffle to a swing. Very cool overall.
Key of A: I = A, II = B, III = C#, IV = D, V = E, VI = F#, VII = G#
4/4 ||: I | IV | I | | IV | | I | | V | IV | I | (V) : ||
Bridge is:
4/4 || IV | I | IV | I | IV | I | II7 | V7 || The II7 is called a secondary dominant.
This is a B7 in the key of A. B is the II in the key of A and it is very common for the II chord to be a 7th chord. So the II is the V chord of E7 which is the V chord of A – Secondary dominant.
This is extremely common in country music. In fact, in traditional country music the II chord is almost always a secondary dominant. Look at Hank Williams “Hey Good Lookin’” as a perfect example
In that it is key of C: I = C, II = D, III = E, IV = F, V = G, VI = A, VII = B

34. The D7 is a secondary dominant chord.

35. Back to Linda Lou

36. Do in 5th position. Index at the
5th fret, middle finger 2nd fret,
ring finger 3rd fret, pinky 4th fret.
This is based off of a number of scales: Mixolydian Mode, blues scale, minor pentatonic or even the Dorian Mode. In reality, it is also the 1, 5 and b7 of the A7 chord. Again the “Chord Rules”.

37. See for D it is the same thing moved up one string
See for D it is the same thing moved up one string. Still in 5th position.

38. E is the same as D only up 2 frets to the 7th position.

39. Practice the preceding
Play it until it is perfect.
Try to play very staccato. Very important that there is a space between the note on the beat and the note off the beat!

40. Put it all together!

41. 2nd Guitar Part.
This is the Charleston Rhythm.
Watch timing.

42. 5th position E form (7th), becomes A7

43. D7 is the A7 CAGED form at the 5th fret.

44. E7 is the A7 CAGED form at the 7th fret.

45. The whole backup.

46. 1/8th notes with a swing. If electric use delay for slap-back.
Fingering Same pattern for all of this.

47. Brown Eyed Girl -
Introduction and other parts – an example of intervals of a 3rd and of a 6th.

48. Brown Eyed Girl
G C G D G C
||: Hey, where did we | go | days when the rains | came. | Down in the | hollow |
G D G
playin' a new | game. | Laughin' and a |
C G D G C G
runnin', hey, hey, | Skippin' and a | jumpin, | In the misty morn | ing fog with | our |
D C D G Em C D
hearts a thumpin' and | you |My Brown Eyed Girl, | | | You're my | Brown Eyed
G D G C
Girl. | Do you remem- | ber when | we used to sing | Sha la la la | la la la la |
G D G C G D
la la la te da. | | Sha la la la | la la la la | la la la te da.| la te da.:| |
G C G D G C G D G
| | | | | | ||: Sha la la la | la la la la | la la la te da. | :|| ||

49. This is an exercise in 3rd’s Thirds are very consonant and what all
chords are made of in traditional harmony. The first 2 notes of each of the measures are the root and 3rd of the chord. The 2nd 2 notes are passing tones and the 3rd group of 2 notes are the 3rd and the 5th of the chord (this applies to the G and C Chords). For the D chord it is outlining the chord with the root then 3rd a passing tone then the 5th of the chord

50. Counting & 2 & & 4
Fingering
This is the 1st and 3rd measure

51. Counting & & & 4
Fingering

52. Counting & 2 & & 4
Fingering
This is the 1st and 3rd measure

53. Count (& 3) & 4
Fingering

54. Here is the whole intro. Take this slowly
Here is the whole intro. Take this slowly. Realize that there are only 3 different measures. The 1st and 3rd measure are exactly the same.
Listen closely to the sound of 3rds. Try to recognize the sound in other songs. 3rds are used quite a bit in harmony. The other common interval used is 6ths which are inverted 3rds.

55. Finger
Watch the fingering. It is vital that you do it correctly! If you use the incorrect fingers you will have difficulty in playing this song. This ideas of 3rd’s is used in many songs: Rhiannon, Lonely Bull, Ramblin’ Man and just many other songs.

56. Count (& 4) (& 3) & 4
Fingering
Here is one of the fills for when the song goes from G to Em. These intervals are intervals of a 6th. For example, B to G is a 6th. (B C D E F# G) see that!!

57. The bass part to the song break. All in 1st position
Count (1 2 ) & (3 4 ) & (1 2 ) & 3 & 4
The bass part to the song break. All in 1st position
Count (1 2 ) (&3) & (1 2 ) & ( 1 2 ) (& 3) & ( 1 2 ) & 3 & 4

58. Fingering

59. Fingering

60. Fingering

61. Totally in 7th position So for the 7th fret use your index, 8th fret middle finger, 9th fret ring finger and 10th fret your pinky.

62. Now memorize this. Take your time
Now memorize this. Take your time. Watch the rests and be sure to stop sound during the rests. This adds the punch into the line.

63. Here is the whole thing. Take your time and listen closely to what you play. Ideally you should get the CD and listen to it.

64. Brown Eyed Girl
G C G D G C
||: Hey, where did we | go | days when the rains | came. | Down in the | hollow |
G D G
playin' a new | game. | Laughin' and a |
C G D G C G
runnin', hey, hey, | Skippin' and a | jumpin, | In the misty morn | ing fog with | our |
D C D G Em C D
hearts a thumpin' and | you |My Brown Eyed Girl, | | | You're my | Brown Eyed
G D G C
Girl. | Do you remem- | ber when | we used to sing | Sha la la la | la la la la |
G D G C G D
la la la te da. | | Sha la la la | la la la la | la la la te da.| la te da.:| |
G C G D G C G D G
| | | | | | ||: Sha la la la | la la la la | la la la te da. | :|| ||
For the intro you just play the 1st – 4 chords 2 times. Try the whole song. The break after the repeat is the bass part.

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

67. 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 | G : || 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.

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

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

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

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

74. Now put it all together. Take it slowly.

75. 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 1st 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.

76. Some Songs From Book With Barres
Stand By Me page 263 Look at bass part in introduction – tablature.
Maggie May 168 – Try mandolin part in tab at the end.
Runaway page 230.

79. Another song. Do this as barre in the
E Form. This whole song is in the
Key of Am but can be related to
as C major. The Am is a VI chord, G is a
V chord, F is a IV chord.
If we did it as Am then Am is a I chord,
G is a VII chord, F is a VI chord. But
there are some issues with this.
Scale to solo is an A natural minor or also
called an A Aeolian mode.
To change a major to minor in an E form
Just lift the 2nd finger. Am will be at the
5th fret, G major at the 3rd fret and F major
at the 1st fret.
If you can’t do the Barre chords at this time
that is fine just play the regular chords.
This song is in 4/4 time and each chord
gets 2 beats.

80. E Major E Form (G Major Chord)
Review of the 6th root E form. This will now be the basis of the scale.
E Major E Form (G Major Chord) 1 2 3 2
3 4

81. This is the G Major Pentatonic scale (E form of the CAGED)
This is the G Major Pentatonic scale (E form of the CAGED). Notice how similar to the A form (C Major pentatonic on the last page.

82. Most players use a modified fingering for the
Major pentatonic scale as shown below but
a fingering of 2 and 4 on the 2nd string and 2 on the
1st string is also common.

83. For advanced try to solo to this!

84. The name is dependent upon the fret.
1st fret = F, 2nd F# or Gb, 3rd is G, 4th is Ab or G#, 5th is A, 6th is Bb, 7th is B, 8th is C, 9th is C# or Db, 10th is D, 11th is Eb and 12th is E.
That is where your index finger will play.
Use this fingering.

85. For the dominant 7th chord
Remember that a 7th chord is really a dominant 7th.

86. The name is dependent upon the fret.
1st fret = F7, 2nd F#7 or G7b, 3rd is G7, 4th is Ab7 or G#7, 5th is A7, 6th is Bb7, 7th is B7, 8th is C7, 9th is C#7 or Db7, 10th is D7, 11th is E7b and 12th is E7.
That is where your index finger will play.
Use this fingering.

87. For tonight you will first play the A7 chord.
This is the 7th form at the 5th fret.

88. The G Major Barre Chord in E form.
This will be at the 3rd fret, since G in on the 3rd fret of the 6th string.
To change this from
major to minor just
lift the 2nd finger.
To change from a
Major to a 7th just
lift the 4th finger.
For minor 7th lift the
2nd & 4th finger.

89. Summertime

95. Correct Picking Hand Position.
The right hand position is important in order to get not only a good tone but to play progressively more difficult pieces.
If you are right handed the thumb needs to be in front of the other fingers (to the left). Have it ready to hit the lower pitched strings (4, 5 and 6).
The fingers should be curved and touching each other. They should be ready to hit the following (index ready to hit the 3rd string, middle finger the 2nd string and ring finger the first string.

96. The Rest Stroke For the bass you should do the rest stroke.
How it works is that when you hit a note with the thumb you will follow through and rest or stop on the next string.
This gives you the fullest sound.

97. The Bass Notes Start with the rest stroke on the bass notes.
For the D chord alternate between the 4th and 3rd strings as follows:
Beat 1 thumb strikes the 4th string.
Beat 2 thumb strikes the 3rd string.
Beat 3 thumb strikes the 4th string.
Beat 4 thumb strikes the 3rd string.
Remember to use the rest stroke

98. For the A7 Chord
It is the same as the D chord but now use the 5th and 4th strings.
Beat 1 thumb strikes the 5th string.
Beat 2 thumb strikes the 4th string.
Beat 3 thumb strikes the 5th string.
Beat 4 thumb strikes the 4th string.

99. Other fingers The other fingers use the free stroke.
With it each of the fingers strikes the string in an upward motion. Using each of the joints.
Do not touch any strings other than the one you are playing.
In general, the thumb will do a rest stroke, the rest of the fingers the free stroke.

100. Now the Outside-Inside fingerpicking (On a D Chord)
Beat 1 - Thumb strikes the 4th string
And after beat 1 - Middle finger strikes the 1st string
Beat 2 - Thumb strikes the 3rd string
And after beat 2 - Index finger strikes the 2nd string
Beat 3 - Thumb strikes the 4th string
And after beat 3 - Middle finger strikes the 1st string
Beat 4 - Thumb strikes the 3rd string
And after beat 4 - Index finger strikes the 2nd string

101. Now on an A7 Chord Beat 1 - Thumb strikes the 5th string
And after beat 1 - Middle finger strikes the 1st string
Beat 2 - Thumb strikes the 4th string
And after beat 2 - Index finger strikes the 2nd string
Beat 3 - Thumb strikes the 5th string
And after beat 3 - Middle finger strikes the 1st string
Beat 4 - Thumb strikes the 4th string
And after beat 4 - Index finger strikes the 2nd string
Notice that only the bass notes change!!

102. Lastly, a G chord Beat 1 - Thumb strikes the 6th string
And after beat 1 - Middle finger strikes the 1st string
Beat 2 - Thumb strikes the 4th string
And after beat 2 - Index finger strikes the 2nd string
Beat 3 - Thumb strikes the 6th string
And after beat 3 - Middle finger strikes the 1st string
Beat 4 - Thumb strikes the 4th string
And after beat 4 - Index finger strikes the 2nd string
Notice that only the bass notes change!!

103. Chords for Kryptonite. Notice the Bm and F# are at the same fret
with the same basic form. But one is minor and the other major.
The Bm has a 5th string root the F# a 6th string root.
Asus 2 Bm 2 1 2
3 4 F# 2
3 4

105. For The Next Class
The E form of the CAGED chords and major pentatonic scale.
Start memorizing the names of the notes on guitar.
Review basics from last week!!!
Work on correct right hand position.
Outside - Inside Fingerpicking
Summertime. Start chords – This is really like a blues song will show you various ways to play it.
Study the theory and play all of the songs we went over.
Fill out the student information sheet
Send me a message so I can add you to
Work on intro to Brown Eyed Girl and parts to Twist and Shout.
This seems like quite a bit but you can do it all. It may be that we won’t cover all this material in one week. Don’t worry about that. Also, not everyone will have to do everything. Go at your own pace. What you must do is the reading so that you understand the material. Remember the main goal is to have ‘Fun’!!!