1. Articulation F. Markovich

2. Some thoughts to start Most instruments have slurs. Woodwind and brass instruments don’t tongue notes to slur, strings use one direction of the bow to sound many notes, on guitar it is hammers, pulls, bends, slides etc. that add that. Can be used to play faster. Also the articulation helps to convey other ideas other than staccato (detached) articulation the most common on guitar. Santana uses this quite a bit as he started on violin and this most closely imitates what a violin would do.

3. First part is hammer and pulls Take you time, these are tough to start with. Did all triplets – many players use these examples for exercises. Also do a double time (1/16 th note triplets). Can add to excitement in solo’s. Next page has scale that this is based off of. We will go through many of these but you should spend time at home on them as we won’t go through them all for sake of time Excellent exercises to develop finger dexterity

4. Scale G Dorian built off of the F major scale in the D form of the major scale. We will play through this a few times before attempting the slurs (hammers and pull offs).

5. G Dorian 1 1 2 2 1 1 3 3 4 4 3 3 4 4 4 1 As you saw on the slide 2 before there are at least 2 ways to finger this scale. Santana used mainly this way. One reason why is that it is very close to what he would use for a blues in G. Modern Jazz players would use the next page as an the fingering. Both work but this one will work better with Santana’s songs. A third method used by modern rock guitarists is the 3 notes per string. We won’t be playing that in this class. But it is on the page 2 below this so you can work on it if you want. Pick the notes with first all down, then all up then down up (Alternate picking) Latter try hammers going up the scale and pull offs coming down the scale.

6. G Dorian 1 1 2 2 1 1 3 3 4 4 3 3 4 4 4 1 Circled notes are the notes in the chord. As a reminder for notes in the chord: ChordNotes GmG Bb D Gm7 G Bb D F CC E G C7C E G Bb D7D F# A C AmA C E Am7A C E G E7E G# B D Formula for major chord: 1 3 5 Formula for 7 th chord: 1 3 5 b7 Formula for minor chord: 1 b3 5 Formula for minor 7 th chord: 1 b3 5 b7

9. These are all pull offs. Use 4 th finger, 3 rd index. Pick the first note and pull off for the other notes.

11. A nice turn to this.

21. Some high level examples Learn the each one and by using the previous examples make up another 6 to 8 of each. Then combine ones to develop whole new ideas. For example, take the first ½ of a measure of one and the 2 nd ½ of another measure and put them together. Use the other forms of the scale – even use other scales. The variations are almost endless. If you add tapping, sliding, bending etc. to these the options really increase quickly.

30. Some examples from Santana First on few are from Evil Ways.

31. Start by counting to 3 before playing any notes. Then this whole first section is off of the G Dorian we just did. First note is a G (1 st string 3 rd fret – index finger) to a Bb first string 6 th fret. (pinky finger). Best if hammered on. First Measure of the solo

34. From Jingo Solo

35. Pull off on all of these. This section is like a stutter.

36. Pull off – very fast for this section. Just start slow and work it up. Use pinky, middle, index fingers.

38. One from Black Magic Woman

39. End This finishes the first part of articulation. There are a number of other techniques that I will cover for the future. Slides and bends will be covered next. This is really just the start of this topic in many ways. s