1. Guitar III and Guitar IV Class 16
Figuring out songs.
Advanced techniques introduction:
Hammers
Pulls
Slides
Taps
Harmonics
Articulation
Go over Final Exam
More theory
Next week Jim Nichols on Thursday evening. You are not only invited but encouraged to attend.

2. Final
Class as a whole did really well. Have CD’s for ones who played open mic.
Grades from A to C no D’s or F’s. All unless indicted can move to next class.
Summer class is just about full and fall guitar II is almost full.

3. Moveable Chords
By: Frank Markovich

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

7. 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 3rd 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.

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

9. Starting E Major
Chord.
Play it with the fingering below. To 1 2 2 3 3 4
The other ‘E’ forms work from this. Just remove the 2nd finger for
minor and the 4th finger for the dominant 7th chord.

10. E major Form 1 fret up becomes
‘F’ major.
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. 2 3 4
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 F, 2nd fret a F# (Gb), 3rd fret is G, 4th fret is G# (Ab), 5th fret is A,
6th fret is Bb (A#), 7th fret is B, 8th fret is C, 9th fret is C# (Db), 10th fret is
D, 11th fret is Eb (D#), 12th fret is E.
The letter name stays the same no matter which form is used.

11. Notes on the 6th or low
E string. Memorize these so that you can find them immediately. The next chords you will be doing all use this 6th string as a starting point. Notice that it is the chromatic scale starting on ‘E’. Also that the 12th fret is the same as the open string. Lastly, that there are no sharps or flats between E and F – and between B and C.

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

17. For this do the G, B C and A chords as 6th root barre chords
For this do the G, B C and A chords as 6th root barre chords. The E play in 1st position along
Remember that G is 3rd fret, B at the 7th fret, C at the 8th fret and A at the 5th fret. Then you can also slide down from C to A by doing C, B, Bb to A or frets, to 5.
Later when we add in 5th roots the E and D chords should be played as 5th string root chords.

18. E minor Form 1 fret up becomes
‘F’ minor. 3 4
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.

19. Am is at the 5th fret, F#m at the 2nd fret
Am is at the 5th fret, F#m at the 2nd fret. G major at the 3rd, A major at the
5th fret. B7 at the 5th fret. Bm at the 7th fret. D and E7 should be 5th roots
once they have been learned but for now do them as beginning chords.

20. Do the D chord in first position but all of the others as E form of the barre chord. So F#m is at the 2nd fret, G at the 3rd fret and A at the 5th fret.
Later when we add in the 5th root (A form), you will play the D as a barre also. Just take your time on this.

21. E7 Form 1 fret up becomes
‘F7’. 2 3
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.

22. OK some other Chords Do these in E form: #1
Write these down on paper and start by writing the fret down underneath. Once you can do it without looking at the fret number then mark off the number.
Be sure to study the forms. Relate them to the E forms!!!! Very important to do the right forms. Remember that there are 3 basic forms: Major, Minor and Dominant 7th forms. Other forms that exist are used sparsely if at all. 9th, 11th, 13th and other chords are derived from these chords.
Do these in E form: #1
4/4 ||: C | Am | F | G7 : || #2
4/4 ||: F | Bb | F | C7 : || #3
4/4||:C | F | C | G7 :|| #4
4/4 ||: Gm | C7 | F | :|| #5
4/4 ||: Am | G | F | G :|| #6
4/4 ||: Bbm | Ab | Gb | F7 :||
#7 – like Feelin’ Alright
4/4 ||: C7 | F7 :||

23. Summary
To start it is vital important that you first really learn and visualize the 3 E forms.
There is only a small difference between each of the forms.
The letter names are constant by which fret you are at.
Practice these chords to many different songs. It is vital that you just keep at it.
You can do it. It may take some time but you can do it. It takes an average player about 2 to 3 months to learn these and actually sound good.

24. 5th Root – Same thing works
Now you use the root on the 5th string not the 6th string. See why you need to know all the names of the notes on the strings!
Start with Bb. Remember for the major that you actually don’t do a full barre chord just the middle 4 strings.

25. Notes on the 5th or A string
Notes on the 5th or A string. These will be used for the chords on the next few slides. It is vital that you also memorize these. Note that the E and A forms of the Barre chords are the most used ones. You need to have these down pat before moving on. Take your time with these and you will learn them forever.

26. See how these are derived from the 1st position A, Am and A7 chords
See how these are derived from the 1st position A, Am and A7 chords. This works the same as the previous E forms worked.
Really take your time on these. It is best to try to visualize these chords. I can tell you that with a little work this will open up many new doors for you to play.

29. Now we need to put them together.
Mix up the E and the A forms. Try to play songs without moving as much. No more than 4 frets in either direction.
This requires some thought at first.

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

32. 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. | :|| ||

33. 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

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

36. Counting & & & 4
Fingering

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

38. Count (& 3) & 4
Fingering

39. 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.

40. 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.

41. 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!!

42. 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

43. Fingering

44. Fingering

45. Fingering

46. 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.

47. 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.

48. 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.

49. 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.

50. Watch Eric Johnson Cliffs of Dover 1st track
Roll – Critical for this week. I have 10 questionable people on the rollbook.

51. Review chords from last weekDm
Dm7
Notice that this is like the
F chord but without the
3rd finger. 1 1 1 2 2 4 Bb X X C7 1 1 2 4 3 3 4
X X 0 X

55. Landslide – Listen Listen to whole piece
Pay attention to solo – slides etc.

56. Fingerpicking style of “Landslide”
Very similar to outside – inside style.
Has a definite swing to it.
The fingers move into the 2nd and 3rd strings.

57. What you play Count What you play 1 Thumb plays the 5th string
& Index finger plays the 3rd string
Thumb plays the 4th string
& Middle finger plays the 2nd string
Thumb plays the 5th string
4 Thumb plays the 4th string

58. First Chords to Landslide
4/4 ||: C | G/B | Am7 | G/B : ||
G/B means a G chord with a B note
In the bass (lowest note).
G/B
Am7 1 2 2 4 X X X

59. Learn the chords before applying the fingerpicking
You need to know the chords first.
Then the fingerpicking.
Don’t try until both can be done separately.
Once you can do that take each chord change until you can play it perfectly.
Don’t try the whole song until each part is mastered.

69. Other songs form handouts
Dancing In The Street – F#m
I’m a Believer
Ain’t No Sunshine
People Get Ready
Proud Mary
Teach Your Children

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

73. 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
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
Bamba la Bamba ...

77. These chords go for the whole song!

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

82. 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.

83. 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..

84. 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.

85. 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.

86. Harmonics
These are overtones that are sounded when a string is divided into fractional parts.
To play it start with the 12th fret harmonic.
Touch the 1st string at the 12th 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 12th fret.
Harmonics can be sounded best at the 12th, 7th, 5th, 4th and 9th frets. Other frets also work to a lesser extent.

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

89. 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!!

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

91. 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.