Fretboard Roadmaps Bluegrass and Folk Book

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THE RECORDING Guitar and Vocals-Fred Sokolow Sound Engineer and Other Instruments-Dennis O'Hanlon Recordedat O'Hanlon Recordins and Music Services

ISBN 0-h3r.t-U0l,rtE-X

Zf,[email protected] } - c o F r p o R A T I o N 7777

W- BLUEMoSND

RD. pO.BOX

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MTLWAUKEE,

Wt 53213

CopyrightO 2001 by HAL LEONARDCORPORATTON International CopyrightSecured All RightsReserved No part of this publicationmay be reproducedin any form or by any meanswithoutthe priorwrittenpermissionof the publisner. Visit Hal LeonardOnlineat

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Tips on how to learn them

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llOft$0ll THIIRIIB0ARII

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Understandingintervals

tlnsrPosflollMAIoR sG[lI$ Playing melodiesand licks, addingblue notes

rwo M0UEABII MiloRGHoRlt$ AliltrHEtR Ulnrfitoil$ A shortcut to learnins chords

mr FrF[ R0AI|MAP Using three major chord fragments to play solos all over the fretboard

A'.

20 4-,#0",b GHoRll m[GMIllr/GH0Rlt ]AMtltt$ \r/

Understandingchord progressions,and more chord fragment soloing ideas

'4".. 24 {"#&,+ M0UIAB1E MiloR$C[ltS V

,4..

30 (S*P \,/ ,4.

One position for eachchord fragment;playing melodies

"ll0uBltll0IE"LlGl$ MAIOR SCAIE Harmonizingthe major scalefor solosandbackup

33 (=npb rwoMourlnlr Btur$ Borr$ \,/ ,A

38 i+rc\e \r/

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,4.. 45 (#122

Moveable patternsfor soloing up the neck, substituting scales

MAI0R PIIII[T0]||G $G[lI$ Two sliding scalesand how to use them for soloing

lilofutnM0utnBr.E'r0uBlr-r0rt" lrGK

The "BlueYodel" lick on the lst and 3rd strines-a soloins device

U$ilGI||t GAP0 How to play in any key with first position chords

48

U$IIIG IHEPRAGIIGI TRIGI(S

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F 2=B C 3=G 4=D 5=A 6=E

F C G

A E C G D A

D A F C G D 10

WHY? find chordsand scalesup and down the neck. It will help you alter and understandchords (e.g.,How do I flat the seventhin this chord? Why is this chord minor insteadofimajor?). It's a first steptoward understandingmusic. WHAT?

string/8thfret = C, so 6th string/9thfret = C#. fret = D, so 6th strine/9th fret = Db. HOW? neck indicating the 5th, 7th, 10th and 12th frets. Becomeawareof thesesignposts. DO IT!

verysoon-ror l0iltil

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SUMMING UP-NOW YOU KNOW...

whole step,half step,sharp(#), flat (h)

9

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C Major Scale Intervals: r

2

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3

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Frets:

4

5

6

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5

7

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7

1

DO IT! a fourth higher,etc. SUMMING UP_NOW YOU KNOW...

8

9

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C Major

G Major Scale

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A Major Scale

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llinePound Hammer-tMaiu$cale

SUMMING UP -

NOW YOU KNOW...

play licks and solos

and licks

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HOW?

I the 3rd fret, becausethe 6th string/3rdfret is G. At the 6th fret it's a Bb chord. and so on. G

m- m'''m" because the 5th string/3rdfret is c. At the 9th fret it's Ffi (Gb),andso on. D 3fr

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alternate fingering

There are four types of chords:

is the sameas a 6th). All other chords are vari.ationsof thesefour types. For example:

5th (1, b3,b5,b1\. (augmented)fifth (I,3,#5,b7,b9). The + (augmented)notationalmostalwaysrefers to the fifth. DO IT!

grid in the "DO IT" sectionbelow is a variation of a basic chord formation. to the left, from which it is derived.

Major maj7

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[email protected] e)

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Here is another very useful seventhshapewith a 5th string root.

Seventh

x

I

9 (

Diminishedchordsare seventhchordswith a blra, bsttrandbblth.

Seventh

Seventh

&68.

I

I

I

SUMMING UP-NOW

YOU KNOW...

a moveablechord with a 5th string root moveableformations

6ths,major sevenths,etc.

chord, moveable chord, root

15

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[email protected]

G Arpeggio (F formation)

G Arpeggio (F formation with extra notes)

DO IT! ing and descendingchord fragments, enhancedby the "extra notes" pictured above.

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SUMMING UP -

NOW YOU KNOW...

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DO IT! chordfamily relationships.

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lsland]ragments

#0, you could easily play the samesolo in any key.

It'sill inthe]amily

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sevenths).Before you play it, here'show to add blue notesto the three chord fragments(the F,DandAformations):

x

Ff. ( )(

a

X

a

Df.

Af.

x x x )l

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I

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t

O= bluenote

( (

oo BluellotcBoogiG

SUMMING UP-NOW YOU KNOW...

I Chord, IV Chord, V Chord, Chord Family, l2-Bar Blues, Blue Notes, Hammer-on, Pull-off

23

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the major scaleof a song'skey. As long as you stay in the scale,none of the noteswill be wrong, and through practice and trial-and-error, you'll learn to improvise. The following "Redwlng" sfiowshow it's done.The solo makesuse of three solo to the old countrv tune G major scales:

tedwing Ff./G Major Scale

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scalefor that chord.In "Banks of the Ohio" below, the soloist plays A major scalesbut switches to E scalesfor the 4 bars of E chord near the beginning of the song.

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Banls0f tne0hio Ff./A Maior Scale

Af.iE Major Scale

Df./A Major Scale

Ff./A Maior Scale

Af.iA Major Scale

SUMMING UP_NOW YOU KNOW...

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WHY? and rock guitar, and they are often used in country, folk and bluegrassmusic. WHAT? cate suggestedfingering positions.

from thesenotes, to create a bluesy effect. Stretching a string (pulling a string up or down with your fretting finger to raise its pitch) is an important blues sound. stretching a string

add other notesand still soundbluesy. F Blues Scale with "Extra Notes" lst Pattern

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DO IT! standard"Rollin My SweetBaby'sArms." G bluesboxesin thebluegrass

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can still usethe first and secondbluesboxes-just play themthreefrets lower than the song's actual key. For example,the following versionof the old gospelsong "Mary, Don'tYou Weep" is in the key of C. Instead of using the first C blues box, at the Sth fret, start three frets lower, at the 5th fret. and use the first and secondA blues boxes.

Mary, llon'tYouWeeR 2nd A Blues Box

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lst A Blues Box

lst A BluesBox

SUMMING UP-NOW YOU KNOW...

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HOW? double-notelicks basedon the F formation/Cchordat the 8th fret.

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rl|rclP0 ||$r1r0 Lst Position G Chord

lst PositionD Chord = Eb

WHY? Folk and bluegrassguitarists tend to play in first position, in the keys that include open strings (C, G, D, A and E), becausethe sound of open strings ringing out is an intrinsic part of the music. The capo makesit possibleto play this way in all keys. You can also use the capo to raise the pitch of an arrangement. For example: many traditional fiddle tunes are played in D and A (easykeys for violin). On guitar, thesetunes are easierto play in C and G. The capo can raise your C arrangementsto the key of D, and your G arrangementsto the key of A, so you can play with a fiddler. WHAT? ers who used a capo includes Muddy Waters,Doc Watson,ChetAtkins, Bo Diddley, Keith Richards,Ry Cooder,Robert Johnson,Lester Flatt and Andres Segovia.

first fret and play a first position G chord, it soundslike G#. With the capo at the second fret, a first position G soundslike A.

chord at the actual 3rd fret is still a G chord. But a barredG chord three frets abovethe capo is Gf.

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it inA. Where do you put the capoto play with him? (As the precedingcapochart shows, you can capo on the 2nd fret and play your G arrangement.) that key, but how can you use the capo to make it easierto play? (Consulting the capo "Eb," chart again, capo on the 3rd fret and play in the key of C. Where the book says play a C. Similarly, all chords will be three frets lower than the ones in the book: for Ab, play F; for Bb7. play G7, and so on.) too low for your voice. What do you do? (You could play it in C, which is two frets higher than Bh, or D, which is 4 frets higher. No capo is needed,either way.) do? (D is three frets lower than F, and C is five frets lower. If D is right for your voice, you could play in D without a capo, or play in C with the capo on the secondfret.)

SUMMING UP-NOW YOU KNOW...

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