guitar i and guitar ii class 14 figuring out songs. advanced techniques introduction: –hammers...

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

'Soalin' Hey, ho, nobody home, meat, nor drink, nor money have I none can't you, we be merry, hey ho, nobody home. Chorus: A soulin, a soulin, a soulin cake Please, good missus, a soulin cake An apple, a pear, a plum or a cherry Any good thing to make us all merry One for Peter, two for Paul Three for Him who made us all God Bless the master of this house, the mistress also And all the little children who around your table grow the cattle in your stable, the dog at your front door. And all that dwells within your gates we wish you ten times more chorus: Go down into your cellor, and see what you can find, if the barrels are all empty we hope you will be kind. with the apple in your sill, and the pumpkin in your chair We won't come no more till this time next year chorus: The streets are very dirty and my shoes are very thin I've got a little pocket I can put a penny in If you haven't got a penny, a ha' penny will do If you haven't got a ha' penny, then God bless you. chorus: To the lord and praises, to all the angels and saints, and to loving brotherhood, each other now embrace, if only be kind and pray for us. time has come, enjoy.

Review chords from last week1

2

4

X 0 0

1

2

1

X 0 0

2

3

1

X 0

1

4 3

X X 0

Dm Dm7 Notice that this is like theF chord but without the3rd finger.

C7

4

Bb

Black Magic Woman Santana

Dm Am I got a black magic woman, I got a black magic woman Dm Gm I got a black magic woman got me so blind I can't see Dm A7 Dm I got a black magic woman she try'in to make a devil out of me Dm Am Turn your back on me baby, turn your back on me baby Dm Gm Turn your back on me baby don't turn babe Dm A7 Dm Turn your back on me baby you might just pick up my magic sticks Dm Am Got your spell on me baby, got your spell on me baby Dm Gm Got your spell on me baby turnin my heart into stone Dm A7 Dm I need you so bad magic woman I can't leave you alone

I Heard It Through The Grapevine Verse 1: Dm Bet you're wondering how I knew about your A7 G plans to make me blue, with some other Dm guy you knew before. Between the two of us A7 G guys you know I love you more. It took me by Bm G Dm G7 surprise I must say, when I found out yesterday: Chorus: Dm I heard it through the grapevine, G not much longer would you be mine. Dm Ooh I heard it through the grapevine, G and I'm just about to lose my mind. Dm Honey, honey yeah. <play main riff twice...> Verse 2 You know that a man ain't supposed to cry, but these tears I can't hold inside. Losin' you would end my life you see, cause you mean that much to me. You could have told me yourself that you found someone else. Instead I Heard it Through the Grape Vine... Verse 3 People say believe half of what you see, son, and none of what you hear. I can't help bein' confused if it's true please tell me dear. Do you plan to let me go for the other guy that you knew before?

Pretty Woman 4/ 4 | | E7 (run 1) | | (run 1) | | (run 2) | | | | A | F#m | A | F#m woman walking down the street pretty woman. The kind I'd liked to meet Pretty D | 2/ 4 | 4/ 4 E7 | | | woman. I don't be-lieve you. Your not the truth. No one could look as good as | (run 2) | | | | you. Mercy. Pretty A | F#m | A | F#m woman, won't you pardon me. Pretty woman I couldn't help but see. Pretty D | 2/ 4 | 4/ 4 E7 | | | woman that you look lovely as can be are you lonely just like | (run 2) | | | | me. Mercy.

Dm | G | C | Am | Dm | G Pretty woman, stop awhile. Pretty woman, talk awhile. Pretty woman, give your smile to C | | Dm | G | C | Am me. Pretty woman, yeah, yeah, yeah. Pretty woman look my way. Dm | G | C | A | F#m | D | E Pretty woman, say you'll stay with me. cause I need you. I'll treat you right. A | F#m | D | E | (run 2) | | | | Come with me baby be mine tonight. Pretty A | F#m | A | F#m | D | 2/ 4 woman don't walk on by. Pretty woman don't make me cry. Pretty woman don't 4/ 4 E7 | | | | | | | | | | walk away hey. O K If that's the way it must be O K I guess I'll go on home it's late. | | | | (Run 1) | | There will be tomorrow night but wait. What do I see. Is she E7 (run 2 | | | | | | | | | | A | | walkin' back to me. Oh Oh Pretty woman.

Pretty Woman 4/ 4 | | E7 (run 1) | | (run 1) | | (run 2) | | | | A | F#m | A | F#m woman walking down the street pretty woman. The kind I'd liked to meet Pretty D | 2/ 4 | 4/ 4 E7 | | | woman. I don't be-lieve you. Your not the truth. No one could look as good as | (run 2) | | | | you. Mercy. Pretty A | F#m | A | F#m woman, won't you pardon me. Pretty woman I couldn't help but see. Pretty D | 2/ 4 | 4/ 4 E7 | | | woman that you look lovely as can be are you lonely just like | (run 2) | | | | me. Mercy. Dm | G | C | Am | Dm | G Pretty woman, stop awhile. Pretty woman, talk awhile. Pretty woman, give your smile to C | | Dm | G | C | Am me. Pretty woman, yeah, yeah, yeah. Pretty woman look my way. Dm | G | C | A | F#m | D | E Pretty woman, say you'll stay with me. cause I need you. I'll treat you right. A | F#m | D | E | (run 2) | | | | Come with me baby be mine tonight. Pretty A | F#m | A | F#m | D | 2/ 4 woman don't walk on by. Pretty woman don't make me cry. Pretty woman don't 4/ 4 E7 | | | | | | | | | | walk away hey. O K If that's the way it must be O K I guess I'll go on home it's late. | | | | (Run 1) | | There will be tomorrow night but wait. What do I see. Is she E7 (run 2 | | | | | | | | | | A | | walkin' back to me. Oh Oh Pretty woman.

Kansas City A D 4/4 I'm going to ||: Kansas City |Kansas City here I | come. |I'm Goin to| Kansas City | A E7 Kansas City here I | come. | They got some | crazy little women there and | D A E7 A I'm going to get me | one. | I'm going to be | standing on the corner | A D 12th street and | Vine. | I'm going to be | standing on the corner | 12th street and | A E7 D A Vine. | With my | Kansas City baby and my | bottle of Kansas City | wine. E7 A (Break) Well I | might take a train, | might take a plane but | if I have to walk I'm going to | A D A get there just the same. I'm Goin to | Kansas City | Kansas City here I | come. | A E7 D A E7 They got some | crazy little women there and | I'm going to ge me | one. | If I | A (Break) stay with that women you | know I'm gonna die | gotta find a brand new lover | A D A that's the reason why. I'm Goin to | Kansas City | Kansas City here I | come. | A E7 D A They got some | crazy little women there and | I'm going to get me | one. | :||

12 bar blues in A: 4/4 ||: A | D | A | | D | | A | | E7 | D | A | : ||

Jump Jive And Wail

A | | | | D | | A | 4/4 ||: Baby, baby it looks like it’s gonna hail. Baby, baby it looks like it’s gonna hail.

A |E7 | D |A | : || Better come inside let me teach you how to jump, jive and wail. (Chorus) Yeah, you gotta jump, jive and then you wail, you gotta jump, jive and then you wail. You gotta jump, jive and then you wail, you gotta jump, jive and then you wail. You gotta jump, jive and then you wail away.

Yeah, Papa’s in the ice box looking for a can of ale. Papas in the ice box looking for a can of ale. Said Mama’s on the front porch learning how to jive and wail.

Chorus

Said, a woman is a woman and a man ain’t nothin’ but a man. Said, a woman is a woman and a man ain’t nothin’ but a man. Said one thing about them, they know how to jump, jive and wail.

Chorus

You know what I heard? Jack and Jill went up hill to get a pail. I said, Jack and Jill went up hill to get a pail. Ah, Jill stood up wants to learn how to jive and wail.

Knockin' On Heaven's Door

Verse 1 G D Am G D C G D | Mama take this badge off of me | | I can't use it any more | | It's getting dark , too dark for me to Am G D C G D Am | see | I feel like I'm kmockin' on heaven's door | | Knock, knock, knockin' on heaven's door | | G D C G D Am | Knock, knock, knockin' on heaven's door | | Knock, knock, knockin' on heaven's door | | G D C | Knock, knock, knockin' on heaven's door | | Verse 2 G D Am G D C G D | : Mama put my guns on the ground | | I can't use them any more | | That long black cloud is comin' down Am G D C G D Am | | I feel like I'm kmockin' on heaven's door | | Knock, knock, knockin' on heaven's door | | G D C G D Am | Knock, knock, knockin' on heaven's door | | Knock, knock, knockin' on heaven's door | | G D C | Knock, knock, knockin' on heaven's door | :| | Repeat verse 1

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

La Bamba

C F GPara bailar la Bamba C F G C F GPara bailar la Bamba se necesita una poca de gracia C F G C F Guna poca de gracia y otra cosita ay arriba y arriba C F G C F Gay arriba y arriba por ti sere yo no soy marinero C F G C F Gyo no soy marinero soy capitan soy capitan soy capitanC F GBamba la BambaC F GBamba la BambaC F GBamba la BambaC F GBamba la Bamba

Para subir al cielopara subir al cielo se necesita una escalera largauna escalera larga y otra cosita ay arriba y arribaay arriba y arriba contigo ire yo no soy marineroyo no soy marinero soy capitan soy capitan soy capitanBamba la Bamba ...

4

1

2

1111 1

444

333

5th Fret

Blues Scale In A

Come As You Are Main Riff (with chorus-effect pedal) Em D E---------------------------------------------|- B---------------------------------------------|- G---------------------------------------------|- D---------------------------------------------|- A---------------0-----0--------------2--------|- E--0--0--1--2------2-----2--2--1--0-----0--0--|- {c:Intro; Repeat main riff 3x} [Em]Come as you [D]are, as you [Em]were, as I [D]want you to [Em]be As a [D]friend, as a [Em]friend, as an [D]old enem[Em]y Take your [D]time, hurry [Em]up, The choice is [D]yours, don't be [Em]late Take a [D]rest, as a [Em]friend, as an [D]old memo[E]ria [G] memo[E]ria[G], memo[E]ria[G], memo[E]ria [G] Come dowsed in mud, soaked in bleach, as I want you to be As a trend, as a friend, as an old memoria memoria, memoria, memoria [A]And I [C]swear that I [A]don't have a [C]gun No I [A]don't have a [C]gun No I [A]don't have a [C]gun memoria, memoria, memoria, memoria And I swear that I don't have a gun No I don't have a gun (5x)

Secret Agent Man VERSE 1 Em Am Em There’s a man who lives a life of danger; Em B7 With everyone he meets he stays a stranger. Em Am In every move he makes, another chance he takes. Em B7 Em Odds are he won’t live to see tomorrow. REFRAIN

Bm Em Bm Em Secret Agent Man, Secret Agent Man – Am C B7 They’ve givin’ you a number and takin’ away your Em name.

VERSE 2 Beware of pretty faces that you’ll find. A pretty face can hide and evil mind. And be careful what you say, you’ll give yourself away. Odds are you won’t live to see tomorrow. REFRAIN

Secret Agent Man, Secret Agent Man – They’ve givin’ you a number and takin’ away your name.

VERSE 3 Living on the Riviera one day, And then layin’ in a Bombay alley on the next day. I know you let the wrong word slip by kissing persuasive lips; Odds are you won’t live to see tomorrow. REFRAIN

Secret Agent Man, Secret Agent Man – They’ve givin’ you a number and takin’ away your name.

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.

Verse 1 D E G D Oo, I need your love, babe, guess you know it's true D E G D Hope you need my love, babe, just like I need you Chorus 1 Bm G Bm E Hold me, love me, Hold me, love me, D E G D I ain't got noth-in' but love babe, Eight Day's A Week Verse 2 D E G D Love you every day, girl, always on my mindD E G D One thing I can say, girl, love you all the time Chorus 2 Bm G Bm E Hold me, love me, Hold me, love me, D E G D I ain't got noth-in' but love girl, Eight Day's A Week Bridge A Bm Eight days a week I love you E G A Eight days a week is not enough to show I care [Repeat Verse 1] [Repeat Chorus 1] [Repeat Bridge] [Repeat Verse 2] [Repeat Chorus 1] G D Eight Days A Week (Repeat 2 more times then do the intro again)

8 Days A Week

Steal My Kisses 4/4 ||: G |C | D | G : || I pulled into Nashville, Tennessee But you wouldn't even come around to see me And since you're headin up to Carolina You know I gonna be right there behind you 'Cos I always have to steal my kisses from you Always have to steal my kisses from you Now I love to feel that warm southern rain Just to hear it fall is the sweetest soundin' thing And to see it fall on your simple country dress It's like heaven to me I must confess 'Cos I always have to steal my kisses from you Always have to steal my kisses from you Now I've been hangin around you for days But when I lean in you just turn your head away Woah, I know you didn't mean that She said I love the way you think But I hate the way you act 'Cos I always have to steal my kisses from you Always have to steal my kisses from you

These chords go for the whole song!

Greensleeves

Note: This songIs in ¾ time.The melody isin tablature andtraditional notes.

Figuring out songs by ear. To figure out songs by ear is not difficult if it is approached in a logical way by using a combination of your ear and a little bit (or a lot of) knowledge. To start, we need to first talk about how chords are numbered in a key. If, for example, the song was in the key of C major, the scale would be: C, D, E, F, G, A, B, and C. Each of these scale notes could be numbered: C is the 1 st or I degree, D is the 2nd or II degree, E is the 3rd or III degree, F is the 4th or IV degree, G is the 5th or V degree, A is the 6th or VI degree, and B is the 7th or VII degree. A chord could be built off of each of those scale degrees. In any major key it goes as follows: I II III IV V VI VII Major minor minor Major Dominant minor minor with a flat 5 (Not used much) C Dm Em F G7 Am Bm7b5

Then with a few rules or observations one could easily start to figure out a song. 1. The most common chord is the I chord. 2. The second most common chord is the V chord. 3. Songs usually begin and end on the I chord. 4. The V chord usually goes to the I chord. 5. If the V chord does not go to the I chord it most likely will go to the VI chord. 6. The II chord usually goes to the V chord. 7. The III chord usually goes to the VI chord but can go to the IV chord. 8. The I chord can go to any chord but common chords are the IV the V the II or the III. 9. The end is usually a V to a I chord but can be a IV to a I chord (weak or church ending). 10. The II, III, or VI chords can become dominant (7th chords). In country the II is usually a II7. 11. Chords many times back pedal through all or part of the following VII, III, VI, II, V, I, IV, VII etc. This is the cycle of 5ths. Any

of them can become 7ths. 12. In a song is in a minor key (starts and ends on a minor chord) the types are usually as follows: I II III IV V IV VII minor m7b5 Major minor Dominant Major Diminished 13. Same basic rules apply to minor. 14. Sometimes songs modulate to other keys. This usually happens in the bridge or other major section of the song. 15. Start adding to the rules once you see other patterns. Various types of music have various patterns.

Process 1. First listen to the song over and over. Try to sing the melody and listen for when the chords change. 2. Then try finding the key of the song. (Hint use the bass and use your 6th string). You can get fooled on this one. Last chord is the

best hint. 3. Then right out the chords most likely to exist in that key. Here are some others to think about a Major chord a whole step down

from the root, A major chord a minor 3rd up from the root (b3), a 7th chord on the II, III or VI instead of a minor chord. A minor chord on the IV after a major chord on the IV (happens whenever the song starts on the IV chord).

4. On a piece of paper draw the measure lines. 5. Go through and listen to where the chords change. Mark that. 6. Assume that the 1st and last chords are I’s and assume that the 2nd to last chord is a V. 7. Verify #4 and make adjustments. 8. You are working out a puzzle. Use the rules above and your ear to fill in the puzzle. The more of this you do the better you will

become at it. 9. Always verify what you do. Sometimes it will sound close but not quite right. Listen closely and be critical. The biggest idea is

to at least get the basic chord movement. Many times the bass line will change without the chord changing (inversions) be careful about that.

10. Listen for repeated or like sections. 11. Draw upon your experiences. 12. Start with an easy song. It is best if it is one that you like. 13. When you can do it with a guitar or piano then try to do it without an instrument. Check your work. 14. Put it down and come back to it a few days or a week later. Make sure it still sounds correct. You may find that putting it down

for a week or so really helps solidify what you figured out or it points out an area that you need to work on further.

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.

Spring 2003 – Beginning Guitar Final Exam Name 1. Piece Student Picks._____________________ (Can be any song from the book or the handouts) 1. Difficulty 1 2 3 4 5 2. Timing 3. Strum 4. Correctness 5. Clarity 6. Musicianship

1. Overall 2. Piece I pick. 3. Chords A, Am, A7, Bm, B7, C, D, D7, Dm, E, Em, E7, F, G, G7 Barre Chords: F, Fm, F7, A, Bb Others 4. Blues.

1. Blues backup – Straight 2. Blues backup – Shuffle 3. Blues scale in A

5. A’Soulin’ 6. Strums

Example of final from previous class.

Proper Technique for Hammers and PullsBoth 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.

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..

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.

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.

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.

1 2 3 4 5 6

1 2 3 4 5 6

1 2 3 4 5 6

1 2 3 4 5 6

1 2 3 4 5 6

1 2 3 4 5 6

1 2 3 4 5 6

1 2 3 4 5 6

12 12 12 12 127 12

7

12 12 12 12 12 127

7 12 7 12 7 12 12 12

7 12

7 12 12 12 12 12

127 12

Count 3 1 2 3 & 1 2 3 1 2 3

1 2 3 1 2 3 & 1 2 3

1 2 3 12 3 1 &2 & 3 & 1 2 3

1 2 3 & 1 2 3 1 2 3 &

1 2 3 1 2 3 1 2 3

Amazing Grace G C

G

D7 G

C G

D7 G

(Do as Harmonics)

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.

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!!

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.

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.

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.

guitar i and guitar ii class 14 figuring out songs. advanced techniques introduction: –hammers...

Documents