Dale Turner's Secret of the Great Acoustic Songwriters.PDF
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DALE TURNER PRESENTS
SECRETS OF THE GREAT
ACOUSTIC
SONGWRITERS THE ULTIMATE DVD GUIDE!
CONTENTS 1. THE SOUNDS OF SIMON A sampling of Paul Simon’s evocative acoustic fretwork
2. MR. MELANCHOLY
The infectious, intricate fingerstyle patterns of the late, great Elliot Smith
3. THE FUNKY MONK: UNPLUGGED
Fingerstyle techniques and ferocious strums from former Red Hot Chili Peppers guitarist John Frusciante
4. HAPPINESS IS SOME FINGERPICKING FUN A look at John Lennon’s acoustic artistry
5. DREAM BROTHER The atmospheric chordal stylings of the late, great Jeff Buckley
6. BRAZIL NUT
The bossa nova rhythms of Antonio Carlos Jobim
7. PINK MOON RISING
The unsung acoustic artistry of Nick Drake
8. SOMETHING IN THE WAY HE GROOVES The acoustic artistry of “the quiet Beatle,” George Harrison
9. RIGHTEOUS BABE
Fingerstyle finesse meets punk-rock attitude: The inimitable Ani Difranco
1
THE SOUNDS OF SIMON A sampling of Paul Simon’s evocative acoustic fretwork
All examples played fingerstyle: p = thumb, i = index finger, m = middle finger, a = ring finger
let ring 2
3
2 3
p
p
p
FIG. 1B1b FIGURE C
p
FIG. 22 FIGURE G
3
0
2 3
p m p
p m p
3 p
2
p
i
0
1 3
p m
0 5 a
i
3
3 4
G/B
0
0
1
Am7
0
2
sim.
m p
1
0
0 i
m p
G
3 0 0 0
0 1 0 0 1 0 0 1 0 0 2 0 0 2 0 0 2 0 a 3 i
a i
p m p
6 a i
across strings with the “nail side” of fingers), followed by Am (brush strings with thumb). Simon is also a fan of chord voicings that contain interesting intervals, namely seconds (two notes either one half step or one whole step apart). In songs like “Scarborough Fair” (originally played with capo VII), these “tone clusters” create a more evocative sound than standard open shapes do. In the “Scarborough Fair”-like FIGURE 3, Dadd2/4 (an open C chord shape, moved up two frets) has a “second” interval between the notes on the middle two strings, as well as on the top two. In the final bar, Asus2—a shape integral to Simon’s accompaniment in “The Sound of Silence”—also has a second interval, between the third and second strings. Bar 3 features another hallmark of Simon’s style, a descending move structured from 10ths intervals (note pairs that
3 i
m p
2 0
F
C
1 0 2 0 2 3
0 2
a
i
1 2 2 0
strum
0 2 p m
m i
0 2
2
0 !
i
p
3
G
2 3
i
0
let ring 0 0
0 0 0 0 1 2 2
play 3 times
0
p
0
Am
Asus2
0
FIG. 5 5 FIGURE G
3 strum
3
0
2
let ring 0 0 0
0
i
p strum
0
i
0
1
2 3
0
sim.
3
p m
0
0 1
C
0
p
0
1
0
2
E
0
2
C/G
let ring
p m p
G/F
0
let ring
FIG. 44 FIGURE G
3
0
0
0
p
1 2
FIG. 1C1c FIGURE C
let ring
FIG. 33 FIGURE Dadd 24
1
G/F#
p
let ring
C/G
C/G
3
0
p
strum
FIG. 1A1a FIGURE C
PAUL SIMON ROSE to fame in the mid Sixties as a member of the folk-rock duo Simon & Garfunkel, in which he played acoustic guitar and shared harmony vocal duties with collaborator Art Garfunkel. Though the pair formally split in 1970, the timelessness of their hit songs prompted numerous reunions, most recently in the form of an inspired performance at the Rock and Roll Hall of Fame in 2009. While Simon has released numerous solo albums throughout his career (among them the multi-Platinum smash, Graceland), it is his work with Simon & Garfunkel that perhaps best showcased his stellar guitar playing—tasty fingerpicking passages that have inspired singer-songwriters for decades. In this chapter, we’ll be learning how to fingerpick Paul Simon style. Let’s kick things off with a passage built around an open C chord and reminiscent of Simon’s finerpicking work in “The Boxer” (originally tuned down one half step). This song is steeped in Travis picking, a somewhat country-like fingerstyle approach named after Fifties-era country session musician Merle Travis. This first batch of figures deconstructs this style. FIGURE 1A illustrates the “bass” role of the plucking hand’s thumb (p). Pluck, in order, the fifth, fourth, sixth and fourth strings in quarter notes; switch the fret hand’s ring finger back and forth to grab C (fifth string, third fret) and G (sixth string, third fret) bass notes, keeping remaining chord tones fretted as normal. In FIGURE 1B, while the thumb continues as before, use your pick-hand middle finger (m) to sound notes on the second string. FIGURE 1C adds the pick-hand index finger (i) to the equation to sound the open third string, completing the passage. “Homeward Bound” (originally played with capo III) also features the Travis picking technique. For FIGURE 2, fret an open G chord with your ring finger on the sixth string; allow the second, third and fourth strings to ring open. Master the pattern in bar 1 first, plucking with the indicated fingers, then descend the sixth string in chromatic fashion, using your fret hand’s middle and index fingers, respectively, to create G/Fs and G/F, repeating the plucking pattern in bars 2–3. End the passage with a “strummed” E chord (rake
CHAPTER
0 0 0
0 0
m m m m m i i i i i
are 10 scale steps apart), with the open third string plucked in between, as heard similarly in “American Tune” and “The Boxer,” among others. We’ll close out this lesson by looking at some hip ways Simon embellishes open G shapes in certain song intros. In the opening to “I Am a Rock” (originally played with capo V), he frets a G shape using his ring finger and pinkie for notes on the sixth and first strings, respectively. This frees up his index and middle fingers to quickly hammeron/pull-off notes on the fourth and second strings, which FIGURE 4 similarly depicts. Simon also supercharges the intro to “Homeward Bound” with tasty chord ornaments. FIGURE 5 cops a similar sound using thirds intervals (note pairs that are three scale steps apart) along string sets 2-3, 3-4 and 4-5 to impart a harmonized melody.
2
MR. MELANCHOLY The infectious, intricate fingerstyle patterns of the late, great Elliott Smith
SINGER-SONGWRITER ELLIOTT SMITH is perhaps best known for his Good Will Hunting soundtrack work. The film featured five of Smith’s melancholic compositions, among them “Miss Misery,” which earned him a Best Original Song nomination at the 1998 Academy Awards. However, the creative acoustic fingerstylist had been making music for years prior to that hit film—his solo output dates back to the mid Nineties, and he had earlier releases as a member of indie-rockers Heatmiser. Unfortunately, much of this music, and his later work, went unnoticed by the general public. Smith’s brilliant career ended in 2003 with an apparent suicide, but his intensely loyal fan base remains intact. If you’re searching for a “chord changes” role model, you needn’t look further. Smith was a wizard at penning intricate, emotional progressions. In this lesson, we’ll tackle several different pick-hand patterns that Smith used in his most popular songs, then weave them into some “in-the-style-of” examples that use Smith-like voicings. Let’s begin with Smith’s folk-style chordstrumming approach. In FIGURE 1, hit the C chord’s root with your pick-hand thumb, then flex your index, middle and ring fingers outward so that they rake across the guitar’s higher strings in a downward strumming motion (the action should be like opening your hand). For pick-hand stability, use a “heel-down” position near the bridge, almost like palm muting. FIGURE 2 employs this same approach but using a “double strum,” with the index and middle fingers strumming in an upward motion on upbeats. Getting more intricate, FIGURE 3 features quasi-Travis picking (a somewhat country-like fingerstyle approach named after country session musician Merle Travis), which Smith fans may recognize as being similar to portions of his song “Angeles” (from Either/Or). Use your thumb to sound the alternating bass notes on the A and D strings, and your middle (m) and index (i) fingers to pluck the high E- and Bstring notes, respectively. FIGURE 4 mixes up many elements—“thumped” bass notes, single notes plucked on upper strings (and sustained throughout) and rhythmic “openhand” strums of inner strings, all played with a bouncy 16th-note swing feel. This groove is modeled after Smith’s playing on “Happiness.”
CHAPTER
All examples played fingerstyle: p = thumb i = index finger m = middle finger a = ring finger FIG. 1 1 FIGURE
C let ring
3 1 0 2
3
FIG. 2 2 FIGURE
3
p
3 1 0 2
p strum *strum *use index, middle and ring fingers
3
3 m p
i
p
m
p
i
strum
3 1 0 2
3 p
= C
2
3
3
3 1 0 2
p
let ring
1
i
3 3
3
1 0 2
1 0 2
m p
p strum
3 1 0 2
strum
FIG. 4 4 3 3 FIGURE
1
2
3 1 0 2
p
FIG. 3 3 FIGURE C let ring 3 1
C let ring
1 3 p
i
FIG. 5 5 FIGURE Am7 let ring
3 1 0 2
0
p strum
FIG. 66 FIGURE
Am7 let ring
3 1 0 2
p strum
1
i
0
p
p
1 Th p strum
Gsus4 3 1 0 3
C
3 1 0 0
3 1 0 0
p strum
3 1 0 2
3
3
Fsus2 3 1 0 2
0
2
3 1 0
3
Gsus4
3 1 0
3 1 0 0
3 1 0 0
3
sim.
Dadd 24
3 1 0 2
3
1 2
0
= let ring
3
3
3 1 0 3
0
FIG. 7 7 FIGURE
Fsus2
p
i
2
0
p
m p
3
1
i
0 3 0 4
1 2
0
p m p
i
5
p
0
3 4
5
0
3
5
3
4
4
5
sim.
3
C
3
1 1 0 0 2 2
3
3
m p
p strum
Em 0 3 p
3
0 i
5
0 0 0 0 2 2
0
m p strum p
5 0
In these last few examples, some of the previous one-bar patterns are put into progressions reminiscent of Smith’s songs. FIGURE 5 is similar to “Southern Belle” (from Elliott Smith) and features double strums and a melodic bass line. Keep your index finger and pinkie fretted on the top two strings of the Am7, Fsus2 (thumb voicing), Gsus4 and C chords to maintain upper-register commontone “ear candy.” In FIGURE 6, you’ll run through
Am
p
i
5 5 5 5 7 7
0
0
a p
p strum
Bbadd2 8
6 6 0 0 8 8
7 0 p
6 Th i a p
6 p strum
1 6
p
i
an Am7–Dadd2/4 change using Smith’s complete “Angeles” fingerstyle pattern, which features arpeggiation (like FIGURE 3) along with bass-note “thumps” and open-hand strums. (The Smith original uses a capo at the seventh fret and totally different voicings.) FIGURE 7 is built around an intricate C–Em–Am–Bfadd2 chord pattern (note the thumb voicing for Bfadd2) interpreted using Smith’s “Happiness” groove.
3
THE FUNKY MONK: UNPLUGGED Fingerstyle techniques and ferocious strums from former Red Hot Chili Peppers guitarist John Frusciante
JOHN FRUSCIANTE IS largely responsible for many of the Red Hot Chili Peppers’ biggest hits over the past two decades, having had a huge hand in writing electrified smashes like “Under the Bridge,” “Scar Tissue,” “Can’t Stop” and “Dani California,” among others. But Frusciante also has a softer acoustic side, usually reserved for his solo output, on which the guitarist gets positively “cosmic” on his Forties- and Fiftiesera Martin 0-15s. Now that Frusciante is on his own again (his amicable departure from the Peppers was announced in December 2009; Josh Klinghoffer now holds the RHCP guitar chair), it probably won’t be long until we bask in his unique musical glow once again. For the time being, let’s give a nod to some of the man’s “unplugged” offerings, culled from his RHCP catalogue and earlier solo work. “I Could Have Lied” (Blood Sugar Sex Magik) is one of the Chili Peppers’ mellowest acoustic songs and features Frusciante plucking notes on lower strings with his thumb (p) and index finger (i), similar to FIGURE 1. Here, his use of lower pitches (in contrast to plucking “brighter” high E- and B-string notes) and the B minor tonality contribute to the somber mood. For this passage, keep your fingers fretted as long as possible so that tones on neighboring strings overlap, and strive for rhythmic precision with each hammer-on (they shouldn’t sound faster/ slower than your plucked notes). Frusciante left the Peppers in 1992, only to rejoin the band for 1999’s Californication. His return brought moodier tracks, more harmonic variety, funkier rock shadings and other flavors, including the fingerstyle acoustic ditty, “Road Trippin’,” which FIGURE 2 approximates. Here you’ll want to thumb the bass strings of Em, Am7 and B5 chords in steady quarter notes, while plucking out upper-register tones with your middle (m) and index (i) fingers. Frusciante has an assortment of solo albums and EPs under his belt, two of which were released during his first hiatus from RHCP; the rest were issued during his tenure with the Chilis. One acoustic sound that surfaces often in these recordings, particularly on the “untitled” cuts
FIG. 1 1 FIGURE
Bm
Aadd4/C#
let ring 0
0
2
p
4
2
i
p
0
i
Em7/G
0
4
p
7
4
i
p
0
Em
3
0 2
2
2
p
m p
p
i
2
2
p
m p
p
3
8
A
7 10 i p
10
=
2 2 2 0
2 2 2
0
p
i
5 5 5
3
2 2 2
0
5 5 5
5
p
i
3 7
i
i
p
0
0
0
2
2
0 2
2
2
sim.
p
7
p
2
1
12
7 10
5 10
5
F
9
14
5 8
= downstroke = upstroke
0
0
5
4
B5
0
G G
Am7 5 5 5 0
i
2
0
4
8 12
2 12
1
5
10
1 5
5 8
8
sim.
i p
let ring
2
4
3
FIG. 44 FIGURE
i
Am
13
3 7
p i p
0
p
3
G
let ring 5
3 i
3
0
2
FIG. 3 3 FIGURE
0
Am7
let ring
C
2
3
p
FIG. 2 2 FIGURE
Dadd4/A
0
i
CHAPTER
2 2 2 4
0
0
5 5 5 7
2 2 2
2 2 2 0
0
0
5 5 5
5 5 5 0
on 1994’s Niandra Lades and Usually Just a TShirt, is fingerstyle 10ths intervals—two notes “10 scale steps” apart. FIGURE 3 provides a taste, with notes from C, G, Am and F chords. Use your thumb and index finger to pluck the low and high notes, respectively. We’ll close this lesson with a nod to the most popular acoustic RHCP tune, “Breaking the Girl,” which Frusciante performed on a Maton 12-string acoustic. This track is highlighted by percussive
10 9 11 0
8 7 9
0
B/A 4 4 4 0
D/A
sim.
X X X
X X X
G/A
0
0
4 4 4
0
8 7 9
X X X
8 7 9 0
0
Bb/A 3 3 3 0
8 7 9
7 7 7 0
0
3 3 3
0
X X X
X X X
strums of triad shapes shifted along the D, G and B strings, all voiced over the open A-string pedal tone, not unlike FIGURE 4. Before tackling the entire passage, fine-tune the first bar’s rhythm using alternating down/up strums synchronized to a 16th-note count (in 6/8): “one-and, two-and, three-and, four-and, five-and, six-and,” striking the strings only on the pick strokes not enclosed in parentheses (commonly referred to as 16th-note pendulum strumming).
4
HAPPINESS IS SOME FINGERPICKIN FUN A look at John Lennon’s acoustic artistry
IN THE 31 years since his passing, on December 8, 1980, John Lennon’s legend has continued to grow, both for his contributions to the Beatles and his accomplishments as a solo artist. Even so, he is rarely singled out for his acoustic guitar playing. This is perhaps due to the spotlight-grabbing abundance of “stand-alone” acoustic Beatles cuts written by Paul McCartney, such as “Blackbird,” “Yesterday,” “Michelle” and “Mother Nature’s Son.” But Lennon—wielding his Gibson J-160E or Martin D-28—is the man behind many other Beatles acoustic classics, among them “Norwegian Wood,” “Julia,” “Happiness Is a Warm Gun” and “Dear Prudence.” Let’s look at what makes these tracks tick. Lennon used a version of Travis picking, a somewhat country-flavored fingerstyle approach named after session musician Merle Travis, to shape much of his acoustic output. FIGURES 1A–D deconstruct Lennon’s favorite pattern via an open C chord, beginning with bass notes, to focus on the pick-hand thumb’s activity (FIGURE 1A). With the C chord held down, use your frethand’s ring finger to alternately fret C (A string, third fret) and G (low E string, third fret), on beats one and two, respectively. These notes, and the E note at the second fret on the D string (struck “between” each bass note), are plucked with the thumb (p). As FIGURES 1B–D unfold, one note is added at a time—plucked on the high E string with the ring finger (a), on the G string with the index finger (i) and then on the B string with the middle finger (m)—until the entire pattern is pieced together (see FIGURE 1D). Once you have this pattern down, you’re ready to tackle a host of Lennon’s acoustic Beatles songs, like “Julia” (from The Beatles, a.k.a. the White Album), which informs FIGURE 2. (Note: Lennon used a capo at the second fret on the original.) Written as an homage to Lennon’s mother, this track features C, G, Am7 and Em chords, each with a high G common tone fretted with the pinkie on the high E string’s third fret. Interestingly, although
FIG. 1A1 FIGURE C
3
2
2
p
p
p
3 a p
2
i
2
p
p
p
0
2
2
p
i
p
p
Am7 3 0
0
3
2 3
a p
p
i
p
m
Em 3
1
2
2
1
0
2
3
3
a p
0
0
0
FIG. 1D C 3
3
3
2
3 p
2
G 3
1
0
2
C 3
a p
FIG. 22 FIGURE
C 3
FIG. 1C
C 3 3
3
p
FIG. 1B
CHAPTER
2
2
2
0
p
0
0
2 0
etc.
p m p
FIG. 3 3 FIGURE
Em 3 2 a p
2
Em(add2) 2
0
0
2
2
0 p
i
p m p
2
Am13 2
0
0
2
0
0
1
0
2
Am7 0 2
0
0
1
0
2
2 0
etc.
FIG. 44 FIGURE D
let ring
2 3
2 0
2 3
2 3
2 3
2 3 0
Csus2 G/B 2 0
2 3
2 3
2 3
2 3
3 0 X 3
3 0 X 2
2 3 2
2 3 4
etc.
2 3
2 0
2 3
A7sus4 D 3 0 2 0
two of these chords, G and Em, have sixth-string roots, Lennon employs his “fifth-string-root” pattern throughout “Julia.” As a result, instead of hitting the roots of the G and Em chords first, he sounds a different chord tone the moment the chord change occurs. This creates the sound of temporary inversions (chords with a third or fifth in the bass). “Happiness Is a Warm Gun” (from The Beatles), hinted at in FIGURE 3, also uses this fingerpicking approach—with Em, Em(add2), Am13 and Am7 voicings—as does “Dear Prudence.”
2 0
2 3
2 3
2 3
2 3
2 3
2 3
3 0
2 3 0
2 3 X 4
2 3 X 2
2
2 3
2 3
2 3
2 3
While George Harrison’s “Here Comes the Sun” is viewed as the pinnacle of “stand-alone” acoustic Beatles pick-style tunes, Lennon’s “Norwegian Wood” (from Rubber Soul), which FIGURE 4 approximates, certainly isn’t far behind. This riff— performed in 6/8 and played with a capo at the second fret on the original—is nestled within an open D chord shape, with the fret-hand’s pinkie and index fingers employed to interject melody notes. Carefully study the string pairs/trios shown in the tablature and pick them using the indicated pick strokes to best bring out the melody.
5
DREAM BROTHER The atmospheric chordal stylings of the late, great Jeff Buckley
JEFF BUCKLEY RELEASED only one full-length studio album in his lifetime, 1994’s Grace, but in the 15 years since his passing on May 29, 1997, his influence endures, often cited as an inspiration by artists like Radiohead, Chris Cornell, Muse, Coldplay and a host of newer acts. While much has been said about Buckley’s one-of-a-kind songcraft and unparalleled vocal ability, his guitar playing rarely gets the attention it deserves. In this chapter, we’ll take a close look at the inventive open-string voicings Buckley uses in the three Grace songs that feature acoustic guitar: “Lover, You Should’ve Come Over,” “So Real” and “Last Goodbye.” Buckley’s chord work is rich with openstring drones, dissonant note clusters and slide-able shapes, so it often gets mistaken for being rooted in open tunings. In reality, the majority of Buckley’s originals are played in standard tuning (exceptions being select cover songs and originals played on his Rickenbacker 12-string electric), his “jangly” guitar textures resulting instead from his creative use of open strings. For instance, in the choruses to “Lover, You Should’ve Come Over,” three-note shapes—notes fretted on the low E, D and G strings (A string muted)— are shifted along the neck, while the high E and B strings ring open. For study purposes, FIGURES 1–2 show how this shape mutates when built from notes in the C major scale (C D E F G A B) and B major scale (B Cs Ds E Fs Gs As), respectively. Since these grips work in any key or related mode containing the notes E and B (the open first and second strings), it’s possible to fashion progressions that intermingle chords from various keys, like the dramatic “Lover”inspired sequence in FIGURE 3. “So Real,” another fan favorite, also showcases Buckley’s penchant for intermingling open strings with moveable shapes, in this case, a variety of sixth and minor sixth voicings played with the open high E string, as the study in FIGURE 4 reveals. One of the darker tracks on Grace, this song’s signature chord is a haunting E diminished voicing, fretted in ninth position, with both open E strings ringing; it’s played in alternation with Em, as in FIGURE 5. For a taste of how Buckley juggles all these elements in the song’s verses, strum through FIGURE 6. We’ll close this lesson with a look at “Last Goodbye,” a track played in open-G tuning (low to high: D G D G B D) and one of Buckley’s most commercially successful originals.
FIG. 1 1 FIGURE
Cmaj13 0 0 9 7 X 8
CHAPTER
FIG. 2 2 FIGURE
Dm 69 0 0 10 9 X 10
Cm7/E Fmaj13#11 G6 Fmaj7#11/A G6/B Cmaj13 0 0 0 0 0 0 0 0 0 0 0 0 12 14 4 5 7 9 10 12 2 3 5 7 X X X X X X 12 13 3 5 7 8
FIG. 3 3 FIGURE
D 69
B(add4)/D# 0 0 11 9 X 11
0 0 11 9
0 0 0 0 X 11 X 9 X 10
E6
Em6
D 69
Dm 69
0 14 13 11 X 12
0 12 12 11 X 12
0 12 11 9 X 10
0 10 10 9 X 10
FIG. 44 FIGURE
0 0 11 9 10
FIG. 5 5 FIGURE
0 0 X X
2 14
D6
0 12 11 9
0 12 11 9
0 12 11 9
A6
0 0 9 7 X 9
10
0 0 13 11 X 12
12
0 7 6 4
0 7 6 4
0 7 6 4
0 0 9 7 X 8
0 0 X X
B6add4 0 0 X X
0 0 8 6 X 7
etc.
0 0 12 10 X 12
0 0 5 3 7
A6
Am6
G6
0 7 7 6 X 7
0 7 6 4 X 5
0 5 5 4 X 5
0 5 4 2 X 3
0 11 9 X 10
0 11 9 X 10
0 11 9 X 10
0 12 9 X 10
0 12 9 X 10
G6
X X X X
10 10 10 10 10 10 9 9 9 7 7 7
X X X X
8
0 0 5 3
0 0 12 10 X 12
0 0 X X
0 0 4 2 X
E/G#
0
0 0 X X
5
4
Gm6
0 0 3 3 2 X 3
Em
12
5
0 9 8 6 X 7
0 0 12 10
Fmaj7#11/A
Bm 69add4
5
0 0 9 7 X 8
9
C6
etc.
X X X X
0 0 13 11
E
9fr
2 13
0 0 13 11 X 12
Cmaj7/E
B69 add4
Em 9fr
0 0 11 9 X 10
FIG. 66 FIGURE
E
A(add2)/C# Cmaj13
0 0 11 9 X 11
11
E6
F#13add4 E/G# F#7add4/A# B6add4 0 0 0 0 0 0 0 0 3 4 6 8 1 2 4 6 X X X X 2 4 6 7
B6add4 C#m13 B(add4)/D# E6 0 0 0 0 0 0 0 0 8 9 11 13 6 8 9 11 X X X X 7 9 11 12
0 12 9 X 10
0 12 9 X 10
0 12 9 X 10
Bb6(add#4) 0 5 4 2
0 5 4 2
0 5 4 2
3
X X X X
0 8 7 5 X 6
0 8 7 5 X 6
0 8 7 5 X 6
0 8 7 5 X 6
0 8 7 5 X 6
0 8 7 5 X 6
0 8 7 5 X 6
0 8 7 5 X 6
FIG. 7
FIGURE 7 Open G tuning (low to high, D G D G B D)
D
0 7 7 0 7 0
0 7 7 0 7 0
0 7 7 0 7 0
Dmaj9no3 A/D
Bm
0 7 7 0 7 0
0 0 7 9 X 9
0 5 6 0 6 0
0 5 6 0 6 0
0 2 2 0 2 0
0 2 2 0 2 0
A(add24 ) Em7
etc.
0 0 7 9 X 9
0 0 7 9 X 9
0 0 7 9 X 9
0 0 6 7 X 7
0 0 6 7
0 0 0 2 X 7 2
(For open-G tuning help, see the video lesson for this column at GuitarWorld.com.) FIGURE 7 presents an assortment of shapes/moves you’ll encounter in the song—three-note grips strummed while all three
0 0 0 2 X 2
0 0 0 0 X X 2 2 5 5 5 2 12 12 2 2 5 5 5 2 12 12
F#m7
4
Am7
4
7
F#m7
7
4
D D6sus4 D6
0
0
0
0 0 0
12 12 0
“D” strings ring (bar 1), sixth-string root shapes with upper strings played open (bar 2), a familiar low-register double-stop riff (bar 3) and the song’s signature D6sus4-D6 vamp (bar 4).
COLUMNS
6
BRAZIL NUT The bossa nova rhythms of Antonio Carlos Jobim
CHAPTER For video of this lesson, go to GuitarWorld.com/June2012
HOLE NOtES
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by Dale turner
Brazil nuT
IN THE LATE Fifties, Brazilian guitarist/pianist/vocalist Antonio Carlos Jobimrhythms took his fascination The bossa nova with jazz harmony and the guitar composiof Antonio Carlos Jobim tions of Heitor Villa-Lobos, combined it with influences as varied as composers like In the lateChopin, Fifties,Ravel Brazilian guitarist/ Debussy, and Rachmaninoff, pianist/vocalist Carlos Jobim took and helpedAntonio give birth to a whole new style: bossa nova. (Translated from Portuguese, his fascination with jazz harmony and the bossa nova means the “new way of doing” guitar compositions of Heitor Villa-Lobos, something.) This fresh-sounding, combined it with influences as varied überas groovy, music (typically played composers likeguitar-centric Debussy, Chopin, Ravel and on a nylon-string acoustic, accompanying Rachmaninoff, and helped give birth to a a vocalist) required fluid fingerstyle chops, whole new style: bossa nova. (Translated from flawless time feel, a command of seventh and Portuguese, bossa novachords—what’s means the “new wayas extended/altered known of doing” something.) This fresh-sounding, “upper-structure harmony”—and the abilüber-groovy, guitar-centric music (typically ity to improvise. Regional players like João played Gilberto on a nylon-string acoustic, accompanyand Luiz Bonfá, as well as American guitaristrequired Charlie Byrd, perfectlychops, suited ing a vocalist) fluidwere fingerstyle totime the task. it was early recordsand from flawless feel,Ina fact, command of seventh these guitarists— many of which featured extended/altered chords—what’s known as Jobim compositions (including “The Girl from “upper-structure harmony”—and the ability to Ipanema,” “No More Blues,” “Desafinado,” improvise. Regional players like João Gilberto “Meditation” and “One Note Samba”)—that and Luiz Bonfá, as well as American guitarist played a pivotal role in putting bossa nova Charlieon Byrd, were perfectly to reason, the task. the international map.suited For this it’s In fact,perhaps it was early records from these guitarbest to view this lesson as focusing ists—many ofsongs which featured Jobim composion the created by Jobim (he’s more known as a“The composer than an instrumentaltions (including Girl from Ipanema,” ist), Blues,” and the physical playing“Meditation” style perfected “No More “Desafinado,” andNote popularized by Gilberto, Bonfá and Byrd. and “One Samba”)—that played a pivotal bustbossa a bossa groove. role in Let’s putting nova on the international FIGURE 1 presents a Cmaj7–C6/9 map. For this reason, it’s perhaps best to view change using the stereotypical bossa nova this lesson as focusing on the songs created by rhythm— a syncopated “chord-stab” pattern Jobim (eighth (he’s more known as aoncomposer than notes) plucked higher strings, an instrumentalist), and the physical playing played over a root-fifth alternating bass style perfected popularized by Gilberto, line (half and notes). Consider perfecting the Bonfá and Byrd. Let’schord bust arhythm bossa before groove.addupper-register ing the1 bass notes.aFIGURE 2 illustrates a FIGURE presents Cmaj7–C6/9 change variation. Meanwhile, in nova FIGURES 3–4, the using the stereotypical bossa rhythm— previous“chord-stab” “chordstab” patterns restated a syncopated pattern are (eighth feature more rhythmically activeover bass notes) but plucked ona higher strings, played line—an extra “thumbed” bass note in ana root-fifth alternating bass line (half notes). ticipation of beats “one” and “two.” Consider perfecting the upper-register Countless jazz standards revolve chord rhythm adding the bass notes. around abefore chord sequence referred to as a FIGURE 2 illustrates a variation. Meanwhile, “ii-V-I progression,” and Jobim’s tunes in FIGURES 3–4, the previous “chordare no exception. Further, Jobim classics stab” patterns are restated but feature“Dindi” a like “Wave,” “How Insensitive,” and others feature more rhythmically activejazzy bassextended line—an chords extra (shapes larger sevenths—like “thumbed” bass notethan in anticipation of ninths, beats 11ths“two.” and 13ths) spiced up with suspen“one” and sions (“sus4”) and other tones. around To aid Countless jazz standards revolve you in such settings, FIGURE 5 takes a a chord sequence referred to as a “ii-V-I iim7–V7–Imaj7 progression in C—Dm7–
progression,” and Jobim’s tunes are no exception. Further, Jobim classics like “Wave,” “How Insensitive,” “Dindi” and others feature jazzy extended chords (shapes larger than
All examples played fingerstyle: Use the thumb to pick the bass notes on the bottom two strings and the index,played middlefingerstyle: and ring fingers to thumb pluck the chord the on D, the G and B strings. All examples Use the to pick thetones bass on notes bottom two strings and the index, middle and ring fingers to pluck the chord2tones on the D, G and B strings. FIGURE 1 FIGURE FIG. Cmaj9 11 FIG. FIG. 222 FIG. C 69 Cmaj9 C 69 Cmaj9 FIGURE 1 FIGURE 6 Cmaj9 C9 Cmaj9 C 69 Cmaj9
3423 3423 3423 3223 4 4 4 2 3 ! 2 2 ! 3 2 2 3 ! 3 !
FIGURE 3 FIG. 333 FIG. FIGURE
Cmaj9 Cmaj9
3 2 3 2 2 3 ! 2 3 !
3 2 3 2 2 2
C 69 C 69
32 32 232 232
3 2 3 2 2 2! 2 3 2 3 !
3423 3423 42 !3423 !
Dm9
Dm 69 Dm 69
33 233
3 3 4 4 3 3 2 2 4 4 2 ! 3 2 3 !
FIGURE 4 FIG. 44 FIG. Cmaj9 FIGURE 4
Cmaj9 3423 3423
3423 3423 3423 3223 3223 3223 3223 3223 3223 33 3423 42 33 42 3223 3223 22 232232 22 33 33 33
FIGURE 5 FIG. 55 FIG. Dm9 FIGURE 5
G13sus4 G13sus4
3 4 3 2 4 3 2 3
2
33
3 3 4 4 3 3 2 2 4 4 2332
3 3 3 2 3 ! 2 3 !
C 69 C 69
34 234 2
3 3 3 3 3 3 2 2 3 3 2 ! 3 2 3 !
Cmaj9 Cmaj9
32 32 32 32 34 23 23 23 23 23 322 322 22 3 3 22 342 3 3 33 3
G13 G13
5535 5535 5535 54535 54535 5435 5435 5435 5435 5535 5535 5535 54535 54535 5435 5435 5435 5435 535 53 5 5 53 54355 5435 43 453 453 43 3 53 53 55 55 53 4535 453 43 5435 5435 43 33 5 5 5 5 3 3 3 3
FIGURE 6 FIG. 66E9 FIG. FIGURE 6
E9 E9 7 7 7 6 7 6 7
Cmaj7 Cmaj7
00 5 4 5 4 3 5 3
A7/E F#m9 C7#5 B7#5 D# 7 F# 7 A 7 Bb7#5 A13sus4 E9 Bb7#5 A13sus4 A7/E F#m9 C7#5 B7#5 D# let 7 ring F# 7 A 7 7 7 7 7 7 7 5 9 9 9 8 let7ring 10 13 7 7 7 6 7 6 13 7677 7350773 7350773 7577 7 5575 66 5 9799 9799 9899 8372883 6 575 9 10 1088 12 11 11 7 7 6 6 6 6 6 5 0 5 0 5 5 2 7 10 0 7 7 8 8 8 7 7 6 6 5 5 7 7 0 9 8 8 7 6 9 12 13 A13sus4 A7/E Dmaj9 D Bb7#5 Bb7#5 A13sus4 A7/E Dmaj9 D 7 7 7 7 7 5 5 5 5 5 5 5 5 5 5 7 7 7 7 7 5 6 6 6 6 0 4 4 4 4 4 4 7 7 5 7 5 5 4 5 5 ? 5 4 5 4 5 4 5 4 5 4 5 6 6 7 5 7 5 5 4 4 4 7 7 7 7 7 7 5 6 6 4 0 4 4 4 5 7 6 0 5 6 5 4 5 4 6 6 6 6 5 7 5 7 5 5 4 4 4 ? 4 4 4 4 4 4 5 5 5 5 5 5 7 7 0 5 5 5 5 5 5 5 5 6 6
G7– Cmaj7—and colors its chords to create Dm9, Cmaj7—and colors chords toplayed create in Dm9, Dm6/9, G13sus4 andits G13 sounds, a Dm6/9,pattern G13sus4 G13FIGURE sounds, 3. played in a rhythm notand unlike We’ll close outnot thisunlike lesson FIGURE with FIGURE rhythm pattern 3. 6, an interpretation thethis E7–A7–Fsm7–B7 ending vamp We’ll closeofout lesson with FIGURE in More Blues,” ripe with extended, altered 6,“No an interpretation of the E7–A7–Fsm7–B7 (augmented dominant) and substitute (diminished ending vamp in “No More Blues,” ripe with seventh, etc.) chords. In addition, melodic fills (bar extended, altered (augmented dominant) and 2) and chord fills (bar 4) help break up our famiiar
substitute (diminished seventh, etc.) chords. In addition, melodic fills (bar 2) and chord fills (bar 4) help break up our famiiar groove (a hy-
O
O
O
O
O
O
6 9 6 9
groove (a hybrid of FIGURE 3). If you opt to develbrid of own FIGURE 3). If youof opt develop your op your interpretations thetoJobim standards own herein, interpretations the to Jobim standards cited be sure toof listen the authentic bossa nova Gilberto, Bonfá get citedplayers—like herein, be sure to listen toand the Byrd—to authentic abossa sensenova for how fills and rhythmic variations can inplayers—like Gilberto, Bonfá and ject liveliness a progression, a stark to Byrd—to get into a sense for how fills andcontrast rhythmic the comparatively boring pursuit into (a phenomenon variations can inject liveliness a progresall too common in non-Brazilian hands) of plucking sion, a stark contrast to the comparatively the exact same rhythm throughout a bossa nova.
boring pursuit (a phenomenon all too common in non-Brazilian hands) of plucking the exact same rhythm throughout a bossa nova.
7
PINK MOON RISING The unsung acoustic artistry of Nick Drake
THE LATE BRITISH singersongwriter/multi-instrumentalist Nick Drake was largely unknown until a 1999 car commercial featuring an acoustic-guitar-and-vocal song called “Pink Moon” hit the airwaves. As a result, almost 30 years after his death at age 26, Drake enjoyed a resurgence. Drake arrived in the early Seventies, when psychedelic sounds and bombastic/ harder rock were en vogue. He was lost in the shuffle, a casualty of mismarketing and his inability to self-promote. It didn’t help that he was hard to classify; though influenced by “folkies” like Bob Dylan and Bert Jansch, or that Drake had a fascination with modal jazz that put his compositions in a league of their own. In this Nick Drake lesson, we will cover the open tunings and inventive fingerpicking patterns of fan favorites. A capo is required to faithfully reproduce all examples. One of Drake’s rare compositions in standard tuning, “River Man” (Five Leaves Left) is a haunting, atmospheric piece sweetened with nature sounds, miscellaneous noises and an intense string arrangement, all delivered in a swinging 5/4 groove propelled by Drake’s fingerpicking and colorful voicings. FIGURE 1 depicts most of the song’s chord shapes and pick-hand patterns in an “in the style of” arrangement. Now let’s begin tinkering with tunings. Drop the pitch of your third string to Fs (Drake’s open-E9sus4 tuning), place a capo at the sixth fret and you’re ready to tackle “Cello Song” (Five Leaves Left), the primary picking pattern of which is approximated in FIGURE 2A. Paired with the song’s signature Esus2 voicing, this pattern requires a relaxed pick hand and use of the specific fingerings indicated. FIGURE 2B features another voicing used in the song and is plucked similarly. The title track to Pink Moon requires you to drop or raise various string pitches to arrive at an open Cadd4 tuning (low to high, C G C F C E) and strum with your fingers voicings like those shown in FIGURE 3. Tip: strum all the strings with your fingertips, with the exception of when lower strings appear by themselves (“thumb strum” these); groove with a very slight 16th-note swing feel, and your “Pink Moon” rendition will be “on its way.”
CHAPTER
= 3
All examples are played fingerstyle: p = thumb, i = index finger, m = middle finger, a = ring finger. FIG. 11 FIGURE
Standard tuning, capo 3. All tablature positions are relative to the capo. All music sounds a minor third (one and one half steps) higher than written. Aadd2 Am(add2)
0 p
Gm
0
2 4
m i p
m i p
p
3
2
0
0
3 3 0
2 4
2 4
2
i
0
0
p
p
2
0
0
0
i
1 2 3
3
4 0
1
0
0
2
0
0
A7sus#4
1
1 4
sim.
m i p
0
3
1 4
0
F 3 3 0
1 4
2 0
4 0
2
0
0
0
0
2
4 0
2 0
2
0
0
FIG. 2A2a FIG. 2B2b FIGURE FIGURE Open E9sus4 tuning (low to high, E A D F# B E), capo 6. All tablature positions are relative to the capo. All music sounds three whole steps higher than written. Esus2 Dadd#4/F# D/F# Dadd#4/F# let ring * let ring
2
0 p
0
0
2
2
0
2
0 a p
p i p m p
0
2
2
0
0 2
p i p m i
p
0
2
0
3 0
2
p i p
m
0
2 m p
p
2
0
0
2
p i p
m
*Play open 3rd string 2nd time only.
3
p
3
FIG. 3 3 w/slight 16th-note Swing = FIGURE
Open Cadd4 tuning (low to high, C G C F C E), capo 2. All tablature positions are relative to the capo. All music sounds a whole step higher than written. G G9sus4 F F9sus4 let ring
7 7 9 7 7 7
7 7 9 7 7 7
7 7 9 7 7 7 7 7 7
7 9 7 7 7 7
7 9 7 7 7 7
7 9 7 7 7 7 7 7 7
7 9 7 7 7 7
7 9 7 7 0 0 7 0 0 7 0 0
5 5 7 5 5 5
5 5 7 5 5 5
sim. *strum: *w/fingers (“thumb strum” when lower strings appear by themselves)
C 0 0 0 0 0 0
2
0 0 0 0 5
0 0 2 0
0 0 2 0
Cadd4
Cmaj11
0
0 0 0 0 4 0
0 0 0
0 0 0
0 0 2 0
0 0 2 0
0 0 0 0
Fmaj7/C 0 0 0 0 4 0
0 0 0 0 2 0
0 2 0 0
0 0 0 0 0
Cadd4 0 0 0 0 2 0
0
0 0 0 0
0 0 2 0
0 0 0 0 X 5
5 7 5 5 5 5
0 0 0 0
C/F
5 5 7 5 5 5 5 5 5
5 7 5 5 5 5
5 7 5 5 5 5 5 5 5
0 0 0 2
0 0 0 2
Cadd4/E 0 0 0 0 X 4
0 0 0 0
C5 0
0 0 0
2
5 7 5 5 5 5
5 7 5 5 0 0 5 0 0 5 0 0
Dm7 0 0 0 2 2 2
8
SOMETHING IN THE WAY HE GROOVES The acoustic artistry of “the quiet Beatle,” George Harrison
OF THE FOUR Beatles, George Harrison brought to the group an assortment of electric and acoustic guitar approaches, flavors influenced by everyone from Chet Atkins and Carl Perkins to the Byrds and Bob Dylan. Harrison’s pioneering use of the Rickenbacker 360/12 electric 12-string on songs like “A Hard Day’s Night” and “Ticket to Ride” added another dimension to the sound of Beatles music and left an imprint on Sixties-era rock: soon after, the Byrds, Beach Boys and Rolling Stones began to use 12-string guitars. In the mid Sixties, influenced by Indian culture and Hinduism, Harrison introduced the sitar and exotic scales into the Beatles’ catalog on songs like “Norwegian Wood” and “Within You Without You.” In essence, he played a huge role in stylizing the Beatles’ music. But Harrison also contributed a wealth of guitar-centric hits to the band’s repertoire, many of which center around an acoustic guitar (his Gibson J-200). In this chapter, we’ll look at musical examples inspired by Harrison-penned Beatles classics like “Here Comes the Sun,” “While My Guitar Gently Weeps” and “Something.” “While My Guitar Gently Weeps” revolves around strummed versions of the chords in FIGURE 1 (for optional fingerings that Harrison used when performing the song live, see the video lesson for this column at GuitarWorld.com). Much of this song’s emotional power stems from its mostly chromatic (notes one half step apart, the distance of one fret) descending A–G–Fs–F bass line. The song also features a famous, inspired solo by Eric Clapton. Chromatic movement is a characteristic common to many of Harrison’s popular Beatles tracks, among them, “Something,” which informs FIGURE 2. While the original Abbey Road version is played on electric guitars (in the key of C), the original demo (key of A) on The Beatles: Anthology 3 is a solo performance by Harrison, who plays a hollowbody electric, warranting its relevance here. Use the picking pattern in bar 1 for the A, Amaj7 and A7 chords, and note the descending chromatic line on the G string. Similar chromaticism is also encountered in a later Fsm–Fsm(maj7)–Fsm7 change.
CHAPTER
FIG. 1 1 FIGURE
Am
231
Am7/G
D9/F#
4 231
2
F
31
G
T3 4 2 1 1
D
32
4
E
132
231
FIGURE FIG. 2 2 A let ring
0
sim.
0
0
2 2 2
2
2
2 2
0
A7
Amaj7 0
2 1 2
2 0
1 2
2
F#m
0 0 1 2 2 0
0 0
2 4
0 4 6
0
2 0 2
0
2 2 2 4
E
D
FIG. 3 3 FIGURE
0
2 0
0
F#m(maj7) F#m7 2 2 2 3
2 2 2 3
2 3 2
2
0 2
5 3 2
2 3 2
B
0
2 2 2 2
4 4 4 2
Capo 7. All tablature positions are relative to the capo. All music sounds in the key of A, a perfect fifth higher than written.
D A7sus4 Bm7 let ring 2 0 2 3 3 3 2 2 0
0
3 3 2 3 3 0 0 0 2 2
G 2 0 2
D
0 2 0 0
0 3
02
A7sus4 A7 G
2 0 2 3 3 3 2 2 0
0
0
3 0 2
2 0 0 0 2 0
0 0 0 3
3 0 0 3
0 3 3 0 0 0 0 0 0 X 0 3
FIG. 4 4 FIGURE
Capo 7. All tablature positions are relative to the capo. All music sounds in the key of A, a perfect fifth higher than written. G C F N.C. D let ring
3
2
0
3
2
0
3
2
1
2 0
Hands down, the most popular acoustic guitar “picking” riff in the Beatles oeuvre is the passage that opens Harrison’s “Here Comes the Sun,” which gets its sparkling quality from the fact that it is capoed at the seventh fret. FIGURE 3 is a pas-
0
2 0 2 3 3 3 3 2
0
0
A7
N.C.
0 2 0 2 0
0 2 0 2 0
0 0 2
5 A
sage inspired by the song’s main riff, containing mostly D, A7 and G chords (use alternate picking throughout, beginning with a downstroke). FIGURE 4 features a variation on the chords used in the song’s bridge.
9
RIGHTEOUS BABE Fingerstyle finesse meets punk-rock attitude: The inimitable Ani Difranco
All examples are played fingerstyle: p = thumb, i = index finger, m = middle finger FIGURES 1 and 2 are in reverse drop-D tuning (low to high: E A D G B D), capo 3. All tablature positions are relative to the capo. All music sounds in a minor third (one and one half steps) higher than written.
3
3
FIG. 1 1 = FIGURE
G let ring
10
10
p
m *m i i p
p
i
Csus2
0 12 X X 12 X 0
0 8 X X 7 X 0
3
7
3
D
0 5 X X 0 X 0
5
5
0 7 X X 7 X 0
sim.
p
*Pre-positioning of pick-hand fingers.
FIG. 2 2 FIGURE
G/B
7
Em7 let ring 0
0
0 X X
0 i p
p
m
Cadd2 0
5
X
3
m i p
i p
0
X X
0
p
m
p
Dadd4 5 0
3
X
4
m i p
p
0
X 3 X
0
X
3
m i p
m p
5 i
m p
p
i
Csus2 1
0
p
i
X X
0
p
X
0
m i p
p
FIGURES 3 and 4 are in DADGAD tuning (low to high: D A D G A D). FIG. 3 3 FIGURE
Cadd4
p
m i
FIG. 4 4 FIGURE
2 4 p
0
i
p
p
0
0
p
Bm7 let ring
0 0
0 2
p
Em11
2 2
i
0 2
0 0 0 0
p
m
2 7 2 7
p * *strum w/fingers
0 0 0 0 *
0
i
2
p
2 3
p * p *strum w/fingers
0 2 4
0
p
3 3 3 3
m i
p
Dsus 24 0
0 2
i
7 77
N.H.
0
0
0
12 12 12
3 p
0
3 3 0
1
i
p
0
3 3 0
p
*
i
p m p m p m
p
p
Gsus2
(play 3 times)
7 0 7 7
0 0 0 0 0
5 5 p
*
through the strings in a downward motion at each strumming indication. FIGURE 4, also performed in DADGAD, is an homage to “Sorry I Am” (Not a Pretty Girl), and it eschews the ferocity of the previous passages,
p
0 0
m p
grad. release 1/2
0 0 0 0
0
0 0 2
m
p
i
p
2 4 i
p
Dsus2 N.H.
0
i
0
0
p
p (strum w/thumb)
7 7 7
2
*
0
A7sus4 0 0 0 0
3 3
Dm11
0 3 p
0
3
E¨ 9
0
3 3 3 3
6
Fsus2
let ring
THIS CHAPTER CELEBRATES the ferocious fingerstyle output of singer-songwriter—and all-around “indie-musician” inspiration—Ani Difranco, whose recording career spans more than two decades, since the release of her 1990 debut. Today, with more than 20 albums to her credit, Difranco remains fiercely independent: she releases her music through her own Righteous Babe label, and she gigs incessantly, dragging her Alvarez-Yairi Bob Weir model acoustic around the world to spread her unique form of “punk folk.” In this lesson, I’ll dissect Ani’s signature pick-hand moves, grooves, tunings and voicings through an offering of “in the style of” examples, many of which are adapted from the way she currently performs her older “staple” songs. Attempting to play even a small percentage of Difranco’s discography would require a mind-boggling number of alternate tunings. In this lesson, we’ll just grapple with two, beginning with reverse drop-D (drop the pitch of your high E string one whole step to D). In FIGURE 1, a passage inspired by Ani’s live versions of “As Is” (Little Plastic Castle), chords reminiscent of fifth-string-root barre shapes are shifted along the neck, while the open fourth string is plucked in their midst. Use a capo at the third fret and dig your pickhand into the guitar strings on beats two and four—what are known as the “backbeats”—to get the effect of a snare drum in your groove. (Ani uses this percussive technique in live performance much more than on her studio recordings, particularly when she plays solo, and, thus, without her drummer.) FIGURE 2, a nod to “32 Flavors” (Not a Pretty Girl), requires the same tuning/capo combination as FIGURE 1 and also employs this backbeat feel. All pick-hand fingerings are indicated below the notation. (Ani uses heavy, artificial fingernails, reinforced by tape, but traditional fingerstyle technique, with or without nails, will work fine for all of this column’s examples.) Now let’s turn our attention to some of the tracks Ani plays in DADGAD tuning (low to high, D A D G A D). FIGURE 3 is a passage performed in this tuning and modeled after the advanced pick-hand pattern she employs in “If He Tries Anything” (Out of Range). Notice the speedy alternation between notes plucked with the thumb and those played with the other digits. Keep your hand as relaxed as possible, and use your index and middle fingers to “brush”
CHAPTER
opting for a gentler touch—open-position hammer-ons and finger slides, and subtle arpeggiation techniques interspersed with natural harmonics. A bend on the detuned sixth string helps punctuate the passage.
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