Fingerpicking Guitar Techniques
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Fingerpicking Guitar Techniques Volume One taught by by taught
Stefan Grossman
EXPLANATION
OF THE
“…Learning from listening is unquestionably the best way, the only way that suits this kind of music. You are setting the notes down for a record of what happened, a record that can be studied, preserved and so on, a necessary and useful companion to the recordings of the actual sounds. I keep thinking of this as I transcribe; if you could do it, it would be good to have a legend across each page reading : ‘Listen to the record if you want to learn the song.’”
Generally for fingerpicking styles you will be playing the thumb, index and middle fingers of your picking hand. To indicate the picking finger in tab the stems go up and line up down from the numbers. A. A stem down means that your thumb strikes the note. B. If a stem is up, your index or middle finger strikes the note. The choice of finger is left up to you, as your fingers will dictate what is most comfortable, especially when playing a song up to tempo! C. The diagram below shows an open sixth string played with the thumb followed by the second fret of the third string played with the index or middle finger:
Hally Wood (taken from the Publisher’s Foreword to the New Lost City Ramblers Songbook.) Copyright © 1965 Oak Publications All rights reserved. Used by permission.
These words are most suitable for introducing the tablature system, for tablature is just a guide and should be used in conjunction with the recordings. Tablature is not like music notation, however the combination of tab and music in an arrangement forms a complete language. Used together with the original recordings they give a total picture of the music. The tab system does not attempt to show rhythms or accents. These can be found on the music or heard in the recordings. Music notation tackles these articulations to a degree, but the overall sensations, the feel and the soul of music cannot be wholly captured on the written page. In the words of the great Sufi Hazrat Inayat Khan: “…The traditional ancient songs of India composed by great Masters have been handed down from father to son. The way music is taught is different from the Western way. It is not always written, but is taught by imitation. The teacher sings and the pupil imitates and the intricacies and subtleties are learned by imitation.” This is the theme I’ve tried to interpolate into the tablature. Tablature is the roadmap and you are the driver. Now to the tab: Each space indicates a string. The top space represents the first string, second space the second string, etc. A zero means an open string, a number in the space indicates the fretted position, for instance a 1 in a space indicates the first fret of that string.
1 2 3 4 5 6
1 2 3 4 5 6
0
1
2 0
In most cases the thumb will play an alternating bass pattern, usually on the bass strings. The index and middle fingers play melodic notes on the first, second and third strings. Please remember, this is not a rule; there are many exceptions. In fingerpicking there are two “picking” styles: Regular picking and “pinching” two notes together. A pinch is shown in the tab by a line connecting two notes. A variation of this can also be two treble notes pinched with a bass note. Follow the examples below from left to right: 1) 1 2 3 4 5 6
2)
3 0
3)
4)
5)
1 3
1
3
1
6)
3 1
1) The open sixth string is played with the thumb. 2) The first fret of the sixth string is pinched together with the third fret on the third string. The sixth string is played with the thumb, the third string with the index finger. 3) The thumb strikes the third fret of the fourth string. 4) The first fret/sixth string is played with the thumb; it’s pinched with two notes in the treble. The index and middle fingers strike the first fret/first string and the third fret/ second string. 5) The next note is the index finger hitting the first fret/second string. 6) Lastly, the bass note is played with the thumb on the third fret/fourth string.
1 2 3 4 5 6
In the diagram below the zero is on the second string and indicates the open second string is played. The 1 is placed on the third string and signifies the first fret of the third string. Likewise, the 4 is in the fourth space and indicates the fourth fret of the fourth string.
TAB SYSTEM
There are certain places in blues and contemporary guitar that call for the use of either strumming techniques or accented bass notes. The tab illustrates these as follows: 1)
4
E 1 2 3 4 5 6
2
2 0
2) 0 0 1
3)
y 2 0
4)
5)
0 0 1 2
0 0 1
i
t
3) HARMONICS: Symbolized by a dot (•). To play a harmonic: gently lay your finger directly above the indicated fret (don’t press down!) The two notes in the example are both harmonics. The first on the twelfth fret/third string is played with the index/middle finger, while the second note—twelfth fret/fourth string—is played with the thumb.
1) The thumb hits the open sixth string and the second fret on the fifth string should also sound. For example, play an E chord. Now strike the open string and vary the force of your attack. Try hitting it hard enough so that the fifth string vibrates as well. This technique is very important for developing a full sound and the right alternating bass sound.
4) SLIDE: Shown with a dash (–). Play the second fret/sixth string and then slide up to the fourth fret of the sixth string. This is a continuous movement: the string is struck once with your thumb.
2) Next the arrow notation indicates a brush and the arrow head indicates the direction of the brush. A. If the arrowhead is pointed down, the hand brushes up towards the sixth string. B. If pointed up, the hand brushes down towards the first string. C. The number of strings to be played by the brush is shown by the length of the arrows. For example, this arrow shows a brush up toward the sixth string, but indicates to strike only the first, second and third strings. D. The brush can be done with your whole hand, index finger or middle and ring finger. Let comfort plus a full and “right” sound guide your choice. 3) The third set of notes again shows the sixth string/open bass note played with the thumb and being struck hard enough to make the fifth string/second fretted position sound. 4) Once more an arrow pointed downward indicates a brush up. This example forms an E chord and the brush up includes the first, second, third and fourth strings. 5) The last set of notes has an arrow pointed upward, indicating a brush downward striking the first, second, and third strings. Here are several special effects that are also symbolized in tablature: 1) 1 2 3 4 5 6
2) 7 8 W
2 3H
3)
12 •
4)
5) 9 P7
12 • 2 –4
1) HAMMER-ON: Designated by an “H” which is placed after the stem on the fret to be hammered. In the example above, fret the second fret/fifth string and pick it with your thumb. Then “hammer-on” (hit hard) the third fret/fifth string, i.e. fret the third fret/fifth string. This is an all-in-one, continuous motion which will produce two notes rapidly with one picking finger strike. 2) WHAM: Designated by a “W.” In the example the eighth fret/second string is “whammed” and played with the seventh fret/first string. Both notes are played together with your index and middle fingers respectively. The whammed note is “stretched.” We do this by literally bending the note up. We can “wham” the note up a half tone, full tone, etc.
5) PULL-OFF: “P” designates a “pull-off.” Fret both the seventh and ninth frets on the second string. Play the ninth fret with your index/middle finger and then quickly remove it in the same stroke, leaving the seventh fret/second string. Pull-offs are generally in a downward direction. 6) In certain cases other specific symbols are added to the tab, for instance: A. For ARTIFICIAL HARMONICS an “X” is placed after the fretted position. B. For SNAPPING a note an indication may be given with a symbol or the written word. Many times these special techniques are combined, for instance putting a pull-off and a hammer-on together. Coordination of your fretting and picking hands will be complex initially, but the end results are exciting and fun to play.
PICKING HAND POSITION FOR FINGERPICKING STYLES: The Classical and Flamenco schools have strict right-hand rules, however for this style of acoustic fingerpicking there are NO RULES, only suggestions. Your right hand position should be dictated by comfort, however in observation of many well-known fingerpickers I found one hand position similarity—they all tend to rest their little finger and/or ring finger on the face of the guitar. This seems to help their balance for accenting notes and control of the guitar. Experiment with this position: it may feel uncomfortable at first. I ask my students to perfect this position and then compare the sound to when their finger(s) were not placed on the face of the guitar. They usually find the sound is greatly improved when some contact is kept with the guitar face.
MUSIC NOTATION: We have somewhat adapted the music notation in that this also shows whether the note is picked with your thumb or index/middle fingers. The stems of the music notes correspond to the direction of the tab stems. I hope this will make the music notation clearer to fingerpicking guitarists.
I hope you will feel at home and comfortable with the tablature and musical notations. Remember, these are only road maps indicating where and how you should place your fingers. The playing and musical interpretation is up to you.
3
FINGERPICKING EXERCISES # 4 & 4
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OH PAPA Trad. Arr. by Stefan Grossman © 2004 Shining Shadows Music All Rights Reserved. Used With Permission
Standard Tuning
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Oh, Papa, your Mama don’t care for you, Care for you, don’t care for you, Care for you, don’t care for you.
7
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SHAKE THAT THING Trad. Arr. by Stefan Grossman © 2004 Shining Shadows Music All Rights Reserved. Used With Permission
Standard Tuning
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SHAKE THAT THING Now down in Georgia, they gotta dance that's new There ain't nothing to it, it's easy to do. They call it "Shake that thing". Call it "Shake that thing" I'm getting sick and tired, of telling you to shake that thing Now it ain't no "chocolate," ain't no "pigeon wing," All you got to do, is shake that thing. They call it "Shake that thing" Call it "Shake that thing" I'm getting sick and tired, of telling you to shake that thing. Now the old folks like it, the young folks too The old folks showing the young folks how to do They call it "Shake that thing" Call it "Shake that thing" I'm getting sick and tired, of telling you to shake that thing. I was walking downtown, and stumbled and fell My mouth fell open like a country well. Why don't you shake that thing Oh, why do you shake that thing I'm getting sick and tired, of telling you to shake that thing. Now, Grandpapa Johnson grabbed Sister Kate, He shook her like you shake jelly on a plate, How he shook that thing, Oh, he shook that thing! I’m gettin’ sick and tired of telling you to shake that thing! Why, there’s old Uncle Jack, the jellyroll king, He’s got a hump in his back from shakin’ that thing, Yet, he still shakes that thing, For an old man, how he can shake that thing! And he never gets tired of tellin’ young folks, Go out and shake that thing! Now, it ain’t no Charleston, ain’t no Pigeon Wing, Nobody has to give you no lessons, to shake that thing, When everybody can shake that thing, Oh, I mean, shake that thing! I'm gettin’ tired of telling you how to shake that thing! Oooh, oooh, with this kind of music, who wouldn’t shake that thing? 9
DEATH COME CREEPING Trad. Arr. by Stefan Grossman © 2004 Shining Shadows Music All Rights Reserved. Used With Permission
Drop D Tuning DADGBE
D
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DEATH COME CREEPING Tell me what you gonna do when death comes creeping in your room, Tell me what you gonna do when death comes creeping in your room, Tell me what you gonna do when death comes creeping in your room, Oh my Lord, oh my Lord, what shall I do. You’re gonna run, you’re gonna run, you’re gonna seek your hiding place, (3x) Oh my Lord, oh my Lord, what shall I do. Soon one morning, death come creeping in my room, (3x) Oh my Lord, oh my Lord, what shall I do. Death done come and took my Mother away, (3x) Oh my Lord, oh my Lord, what shall I do. Death done come and took my Father away, (3x) Oh my Lord, oh my Lord, what shall I do. God told Nicodemus, Now you must be born again, (3x) Oh my Lord, oh my Lord, what shall I do. Ride on, Death, Ride on, Death, ’cause you can't do me no harm, (3x) Oh my Lord, oh my Lord, what shall I do.
13
NOBODY’S DIRTY BUSINESS Trad. Arr. by Stefan Grossman © 2004 Shining Shadows Music All Rights Reserved. Used With Permission
Standard Tuning
C
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NOBODY’S DIRTY BUSINESS Ain’t nobody’s dirty business, how my baby’s treatin’ me, Nobody’s business but mine. Ain’t nobody’s doggone business, how my baby’s treatin’ me, Nobody’s business but my own. Some of these mornin’s, gonna wake up crazy, gonna grab my gun and kill my baby, Nobody’s business but mine. Ain’t nobody’s doggone business, how my baby’s treatin’ me, Nobody’s business but my own. Some of these mornin’s gonna wake up boozy, gonna grab my gun, gonna kill old Suzie, Ain’t nobody's business but mine. Goin’ back to Pensacola, goin’ to buy my babe a money moulder Nobody’s business but my own. Say babe, did you get that letter? Would you take me back? I’ll treat you better, Nobody’s business but mine. Ain’t nobody’s doggone business, how my baby’s treatin’ me, Nobody’s business but my own. Ain’t nobody’s doggone business, how my baby’s treatin’ me, Nobody’s business but my own. Some of these mornin's, goin’ to wake up crazy, gonna grab my gun, gonna kill my baby, Nobody’s business but mine. Ain’t nobody’s doggone business, how my baby’s treatin’ me, Nobody’s business but my own. Ain’t nobody’s doggone business, how my baby’s treatin’ me, Nobody’s business but my own. 16
MAKE ME A PALLET ON YOUR FLOOR Trad. Arr. by Stefan Grossman © 2004 Shining Shadows Music All Rights Reserved. Used With Permission
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MAKE ME A PALLET ON YOUR FLOOR Make me a pallet on your floor, Make me a pallet on your floor. Make it soft, make it low, So my good gal will never know. Make me a pallet on your floor. I’d be more than satisfied, If I could reach that train and ride. If I reach Atlanta with no place to go, Make me a pallet on your floor. Gonna give everybody my regards, Even if I have to ride the rods. If I reach Atlanta with no place to go, Make me pallet on your floor.
21