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RY COODER STYLE WARM UPS Menu>>
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Introduction Using The Manual Notes On Cooder Fingerstyle Warm up’s Roots Of Cooder Fingerstyle Cooder Web Links
INTRODUCTION Ry Cooder is undoubtedly best known for his slide playing, but he is also acknowledged as one of the finest fingerstyle guitarist from the folk/blues boom days of the early sixties through to the present time. In his role as folklorist and vast collector of roots and world music styles he has managed to place them all in a great melting pot and create something that is uniquely the 'Cooder Style' of fingerstyle guitar. These ingredients have included early Delta blues, Folk, Celtic, Country, Gospel, Ragtime, Jazz, Tex Mex, Spanish, Indian, African, Cuban, Hawaiian and more. With the development of these styles it is evident that he could never be content to play simply an alternating thumb pick or repetive arpeggio roll. Instead he cleverly weaves the harmony between low and high end strings often using open tunings to create different textured chords and great sounding inversions. It is obvious in his own fingerstyle technique that he has searched out the more interesting and harmonic players of early roots guitar; players like Blind Blake, Rev. Garry Davis, Sleepy John Estes and Joseph Spence, and then adding his own inventions taken from the vast selection of styles mentioned above. From an early age Ry Cooder was adept at a whole array of stringed instruments most notably the banjo, mandolin and, of course, the guitar. An ambitious player he was able to hear and take lessons from some of the legends of the early blues and ragtime including Rev.Garry Davis and Sleepy John Estes and is known today to continue his learning on anything unusual with strings lying around. As a fingerstyle player I have been inspired and learned a great deal about fingerstyle guitar just by listening to Ry Cooder. In Chicken Skin 2 I'll be sharing with you some of the ways you can incorporate that special 'Cooder fingerstyle' into your own playing with these 'Cooder style fingerstyle warm ups' So, dust down those fingers put away the pick and
Cooder On!!
Copyright Rick Payne 2011
USING THE MANUAL
SOFTWARE INSTALLATION To view this manual correctly you need to have installed the latest version of Adobe Acrobat if you can't view the videos, or hear the MP3's then install the PDF reader here. Videos are formatted as Quicktime movies so you should have a player installed. If not, download free player here. It is essential to have the Powertab program installed in order to use the interactive Powertab pages. These will enable you to play, slowdown, loop and make your own changes to the tab and help speed up your learning. If you haven't already installed please do so here. Mac users please check here Powertab overview
THE MANUAL This study program is very effective if you follow the recomendations below: 1. Make full use of the videos, MP3's and powertab. Adobe pdf will ask you if you wish to open these files - please say yes! - and don't ask me again. 2. Adapt the exercises to suit your own style - make changes. 3. Check out the Cooder warm ups. Listen and watch the study tunes 4. Visit the Cooder web links for more information and ideas. Familiarise yourself with the icons below which will enable you to view the multimedia content:
Copyright Rick Payne 2011
NOTES ON COODER Biography Ry Cooder born 15 March 1947, in Los Angeles, California. Career spans from the early 60's till the present day, releasing fourteen solo albums, notably 'Into The Purple Valley' and 'Bop Till You Drop'.Six collaborations notably the hugely successful 'Buena Vista Social Club'. Fourteen movie sound tracks, notably the ground breaking, 'Paris Texas' and 'Crossroads'. View all Although most famous for his slide playing, he is a master of many stringed instruments including the banjo, mandolin and bajo sextet. As a session player he has played on numerous artists albums. To mention just a few: The Rolling Stones, John Lee Hooker, Aaron Neville, Mavis Staples, John Hiatt, Randy Newman, Van Morrison, T Bone Burnett, Nick Lowe, Eric Clapton, Arlo Guthrie. View all
Influenced By Robert Johnson, Muddy Waters, Gabby Pahinui, Fred McDowell, Tampa Red, Blind Blake, Bonnie Raitt, Lowell George, Elmore James, Rev Gary Davies, Blind Willie Johnson, David Lindley, Son House, Joseph Spence, Duane Alman, Josh White Kokomo Arnold, Casey Bill Weldon, Bukka White, Furry Lewis, Sleepy John Estes, Bix Biederbecke and many more......
Guitars
Cooder has used a wide variety of guitars for fingerstyle between the 70's and present day. These include an eclectic mix of acoustic and electric models. Acoustics range from vintage Martin D35's and 000-18's, Gibson SJ-200, Gibson Roy Smeck, Kay and junk shop oddities. Although his fingerstyle is best heard on his acoustic playing he excelled at mixing both slide lead and fingersyle on both electrics and acoustic.
Copyright Rick Payne 2011
Tunings Ry favours a variety of tunings for fingerstyle. These include Dropped D, Open D open G and a selection of 'Slack Key' variations.
Fingerstyle Technique Ry uses a mix of fingerstyle ( No picks or plectrums ) for acoustic and electric guitar. A skillful banjo player he is adept at sometimes complex, syncopated fingerstyle patterns. This style is often played in between slide riffs or in solo instrumental pieces. Read more
Slide Guitar Playing and Technique Please check out 'Chicken Skin Slide' for all information on Cooder's Slides and slide technique.
Copyright Rick Payne 2011
FINGERSTYLE WARM UPS Ry Cooder is quoted as saying that he is dead against using a plectrum and always preferred the sound of nails and fingers on strings for the natural connection and feel. This is an essential ingredient to his fingerstyle, and it enabled him to play quite complex passages. As I mentioned in the introduction, he seems mostly to avoid all the norms of folk and blues fingerstyle consisting of the constant or alternating thumb patterns or rolling arpeggios. He favours the more complex arrangements and syncopated styles of piano like ragtime or even tradional spanish guitar playing. His influences are extensive in these styles and his own self training and learning, one to one, with great fingerstyle players like Rev.Garry Davis is evident. It is certainly difficult to take on these techniques overnight and if you're new to the style it is definitely worth trying these crash course exercises to help master the kind of finger and note movements essential for Cooder fingerstyle. To get the thumb and fingers moving try this harmonized G scale: Try to keep to a logical fretting hand fingering and use the video as a guide: Regular tuning check
g4 V I 4 V T A B
0
V V
V V
1
3
0
2
V V
V V
V V
V V
V V
V V
V V
V V
V V
V V
0
2
3
5
7
7
5
3
2
0
0
2
4
5
5
4
2
V V
V V
V V
3
1
0
2
0
0
3
3
3
3
Now this syncopated version:
g4 k I 4 V
c V
T A B
0
k V
c V
k V
c V
k V
c V
k V
0 1
k V
2
c V
k V
3
c V
5
V V 7
3 0
0
c V
2
3
3 Copyright Rick Payne 2011
2
4
5
Here's a similar exercise in E:
gggg 4 I 4
T A B
V V
V V
V V
V V
U U U
0
2
4
2
0 1
0
2
2
4
0
This exercise introduces a familiar Cooder twist:
gg I g g 44
T A B
V V
V V
V V
0
2
4
V
V V 2
4 0
2
U U U
V
0 1
2 2
4
0
To help achieve Cooder's Spanish and Tex Mex flavour of fingerstyle it is worth practising these note movements in 3rds. This first example is a harmonized scale in the key of D:
g I g 44 T A B
VV 4 5
VV
VV
0 2
2 4
VV
VV
VV
0 0
2 2
3 4
Copyright Rick Payne 2011
VV
VV
0 2
2 3
This is a similar exercise using a wider 6th interval and also introducing the thumb for more Cooder flavour:
gg I g 44 T A B
V UV
V V
V fV
V V
U UU
2 2 0
3 4
5 5
3 4
2 2 0
You can extend this exercise up the fretboard as follows:
gg I g 44 VV U
V V
V fV
T A B
3 4
5 5
2 2 0
V V
fV V
V V
V V
V fV
fUU U
2 2
3 4
5 6
7 7
10 10
10 12 0
Back in the key of D, try introducing sliding movements between the intervals for a more Spanish feel:
g I g 44
T A B
V UV
V V
V V
V V
V Vj
V Vj
2 2 0
3 4
5 6
3 4
2 2
0 0
sl.
Copyright Rick Payne 2011
W W W 3 4 0
MORE WARM UPS AND ROOTS OF COODER FINGERSTYLE In this next section we'll continue to use regular tuning and then begin to explore the tuning alternatives that added to the Cooder fingerstyle.
Cooder uses the following motif in many of his fingerstyle and fingerstyle and slide combos. It's almost a trademark riff and occurs in a variety of tunings which we'll look at more closely later. For now, here's an example in regular tuning:
k V
gggg 2 V V V V I 4
T A B
V u 4
0 0
V
c V
2
V
V
V
W
0
c V V W
0
2
0
2
2
0 1
0
4
2
0
H
W W W
2
0
You can add more flavour with these low or high end tail outs:
gggg 2 V V V V I 4
T A B
V u
0 0 2
c V V
4
V
0
2
V W
V
0 2
gggg 2 V V V V I 4
0 2
V u
c V V
4
V
0
2
V W
0
V
0 2
c V V W 0 2
0
4 H
V V V
VV V
0 1
0 4
0
gVV f VV fV V
0 1
4
2
0
V f VVV V V
V gVVV f f VV
0 1
4 3 4
0 3 3
W W W
0 2
2 2
k V
0 0 2
c V V W
0
4 0
H
T A B
k V
0 2 3
2 1 2
WW W W 0 0 1
2 2 Copyright Rick Payne 2011
0
0
As I mentioned earlier Cooder favours less of an alternating thumb and finger technique preferring a more syncopated style. This example evokes typical Cooder fingerstyle:
gggg 4 I 4
j
j
k V V V
T A B
c k k c k V V V V V k k V V u u
0
0
0
0
2
0
c k k c k V V V V V k k V V u u 0 0
H
0
0
0
2
0 0
H
0
2
0
H
Here's the same kind of pick this time using a moving bass pattern:
0
T A B
c Vk k V u
VV gV V gV V
U I 44 j j k V gV V gV V gV V
3 0
ck k Vc k V V gV V k k V V u u 0
0
0
0
0
0
0 2 0
0 2 0 4
2 2 0
H
k Vc k V u
4
0
4
4
0
0
H
This jerky, syncopated style crops up in Cooder's adaptations of ragtime blues tunes like in this Sleepy John Estes type riff:
gg I g g 44
j
j
k f Vc
j
T A B
gg Igg T A B
0
k c V V Vj f V gV V k f V V V
V V V f V gV V
1
1
2
0
1
0
4 0
V V
V
1
2
Vj
f V gV V 0
1
4 0
V
Vj
2
2
0
2 0
fV
V V
V
0
1
2
3
V
0
f V gV
0 4
Copyright Rick Payne 2011
j
k c fV
1
0
4
0
4 0
3
1
j
j
As an add on to the previous warm up try this intro, it's very different from the norm and very typical of the way Cooder maintains harmonic interest:
k V 4 I4 V
gV V
V
0
4
7
T A B
V gV
V
5
7
gV fV
fV
2
3
gV W
V
gV V
e WWW
4 5 6
5
4
4
2 1 2
3
0
0
sl.
Continuing the ragtime theme, it is clear from listening to Ry Cooder's fingerstyle that he borrowed riffs and ideas from the great finger pickers like Rev Garry Davis or Blind Blake. Inspired by the harmony and chords the following passage from Davis's 'Hesitation Blues' once again evokes an example of a Cooder pick style:
I 44
T A B
V
VVV V
V gVVV V V
0 1 2 2
0 0 1 2 2
0
V
VVV V
V gVVV V V
0 1 2 2
0 0 1 2 2
0
0
j
k V V gV
VVV V
V
W
0 1 2 2
0
1
2
V V V eV V V V 3
V
0 1 3 2
0
0
0
0
3
3
From the same piece this thumb and finger roll makes a great Cooder fingerstyle warm up:
I 44
T A B
k W
V
V
V
k W
V
V eV
V
3
1
0 4
V
V gV
V
V
UU UU
2
1 0 2 3
1
0 0 3
2
0
3
3
Copyright Rick Payne 2011
4
This Blind Blake riff - a transition between D7 G and G7 - once again conjures up the Cooder style:
I
k
V
gV
T A B
V V
V
V V
V
0
1
3
1
V V
2
V
2 0
2
2
k V
k
V
gV V
fV
3
2
1
V
V
0
V V
V
0
3
0 0
2
2
3
3
Or with this example - another typical Blind Blake riff:
I T A B
V
gVV
V
c VV VV V
V
3 2
3 2 2
2 0
V
V eV
V V
V
V
V
0
3 2
3
3
V W
V
1
0
3
V
V
3
0
V
2 0
2
0
0
1
2
2 P
Of course Blind Blake's Ditty Wa Ditty is a firm indication of the Cooder fingerstyle link to ragtime blues Here's the instantly recognisable Cooder slant on the the Ditty intro from the album 'Paradise And Lunch':
VV VV VV V V 4 j j j k V I4 V u V V V
c kV V VV VV V V V V V
V V V VV V V VV j V V V V V V V V V V V V V 3
M
1/2
T A B
1
0 1
0 1 2
1 0
3
3 0
3 3
1 0 3
1 0 2
3 1
0
0
1 3
2
O1
3
1
3 1
2
2
2 3 3
0
H H
Copyright Rick Payne 2011
1
1
1
1
1
3
Cooder is very adept at including single note runs within his fingerstyle similar to the one below, once again borrowed from the ragtime playing of Rev. Garry Davis and Blind Blake: C
C7
eV fV V W 4 I4 V T A B
0
V
eV fV V V V eV V
3
0
4
3
5
4
W
V eV
1
0
U
3 4
3
3 3
3
Dropped D tuning Cooder uses a variety of tunings to achieve his distinctive fingerstyle technique. One of the most prevelent is dropped D. Many of his finger style arrangements are adaptations of the great Bahamian player 'Joseph Spence'. Tunes like 'Great Dreams From Heaven', 'Coming In On A Wing And A Prayer, use the favoured Spence tuning of dropped D which Cooder took and made it his own. Dropped D is simply tuning down the low E to D:
I 44 T A B
D
V 0
A
V
0
D
V
0
G
B
V
V
0
0
Copyright Rick Payne 2011
D
V
0
The low D string instantly conjures up the Spence / Cooder type runs, as in this first example. The chords run through Bm G D and A: Bm
g I g 43 V V T A B
V
3
G
D
V V V
V V W
0 0
2 2 0
2 4
A7
c V
V
V V W
2
0 0 0
3
D
V
V
WW W
2
3
3 2
5
0
Or in this style of run from E7 to D moving through A7: E7
g I g 44
gV W
A7
V
V
V
0
T A B
D
k
V
W
fV
V
U U U
3
3 4 0
0 3
2
1
0 0
2
And in this more intricate transition: D
gg 4 I 4 T A B
j
j
j
l V V V
A
G
D
A7
D
V VV V VV V VV V V V V V V
V V V
V V V
W W W
2 2 0
0 0 0
2 2
4
2
3 2 0
0 2 0
Bm
2
0 0
3 4 2 4
Copyright Rick Payne 2011
5
3 4 0
This phrase starting with Em is very Cooder:
V V V
V
D
0 0
3
2 2 0
Em
g I g 24 T A B
W W W
A7
D
W W W
W W W
0 0 0
3 4 0
2
This next Dropped D riff shows the use of varied harmony and use of inversions that gave Spence, and of course Cooder, an almost hymn like style.
D
D7
gV I 44 V
V
G
V
gV
2
T A B
Em
V
V V V
V
VV V
5
3 0
0
0 0
3
V
A
D
VV gV V VV V gV
V
UU U
2 3
3
3 2
0
5 0
D
3 2 0
4 5
5 2 4
2
0
As well as using the Dropped D tuning style of Joseph Spence, Cooder also borrowed from the Dropped D ragtime blues of Blind Blake. Here's a taste of Blakes 'Bad Feeling Blues' to give you the idea:
g V Ig V T A B
2
3
V V f V gV V VV V V eVV 2
V V V fV V V V V V V V
1 2 3
0 3
3 2 0
0 0
1 3
1
2
3
5 1 2 3 0
0 2
3
0 3
0
3 V f V g V V V V V V V fV V V V V V
0 1 3 0 2
0
0
0
sl.
Copyright Rick Payne 2011
0
V V V fV V V V V
V
2
0 3 0
3 2 1 2 0 0
0 0
Cooder uses this ragtime blues sting in his tune 'Tamp Em Up Solid' - very Blind Blake too!
f VV
I
V
V M
VV
5 6
T A B
V
V
1/2
k
V
k V
V
V
V
M
V V
U V
V
V
V
V
V
V
V
1/2
5 6
5
7
6 7
0
0
0
0
0
0
0
0 0
0
0
0
P
0
0
0
0
Cooder is very skillful at changing and adapting tuning to give an even greater texture of sound. A big fan of 'slack key', he often changed Dropped D by going down a whole step. This would mean the low E is now D then take that note down a further whole step to C, as below:
I 44 T A B
C
V
G
V
C
V
F
A
V
V
D
V
0 0 0 0 0 0
Copyright Rick Payne 2011
OPEN D TUNING I mentioned earlier that Cooder used a variety of open tunings and also 'slack key' versions of these, in both his slide and fingerstyle playing. Open D is a firm Cooder favourite and can produce a great basis for fingerstyle. By no means a Cooder invention open D tuning can be heard in many forms of blues and ragtime picking. If you're new to open tunings here's open D: D
g I g 44
A
V
V
b
D
F
A
V
V
V
D
V
0
T A B
0 0 0 0 0
Once again Blind Blake is a strong influence and can be heard in Cooder's version of 'Police Dog Blues'. Here's the fabulous introduction and a great use of open D:
g Ig
W
V V fV V V M
V eV
k
V V V V f V gV V W
V
V fV V V f V gV
V
U
0
(0)
1/2
T A B
2 0
0
0
3
0 2
0
3
0
1 0
1
0 0
3 0
2
0 3
2 0
Copyright Rick Payne 2011
Let's try a few open D phrases that instantly conjure up that distinctive Cooder flavour. This one has a hint of Joseph Spence:
g I g 44 j
j
j
T A B
V VV V
V V V V V V W
V V V V W
V V V V
U U U
0 2 0 1
4 3
2 2 0 1 0
4 2 3 1
0 0
4 2 0 0
sl.0
0
sl.
And now what I like to call the Cooder hook:
I 44
T A B
k
gV
V V
V
V
V
V
0
4
V
0 2
V V
V
W gW W
0
2
0 0
2
2
0
0
2
0
Same again, this time with an outro:
rit.
I 44
T A B
k
gV
V 4
0
V V 0 2
V
2
V V 0
2
V
2
V V
V
V gV U
gV V
gVV
V fV
W W W
0
2
0 0
4 3
0 2
2 1
0 0
0
Copyright Rick Payne 2011
0
0
Cooder demonstrates his skill at syncopated fingerstyle with this example in open D tuning:
I 44 j
j
T A B
k Vc V V V V k V u
k V V V
V
0
0
0
0
0
0 2
V
V V
0
0 2
k Vc V V V V k V u
0
0
0
0
0
0 2
And this typical Cooder fingerstyle shuffle:
I 44
j
j
k V V V
T A B
0
V V VV V V V V gV V V V V V
0
2
0 0
0
0
0 1 2
0 0 0
0
2
V V VV V V V V gV V V V V V 0 0
0
0
0
0
0 1 2
0 0 0
0
0
Cooder used this classic turnaround device in open D:
g I g 44
T A B
k V
V
V fV
V
V V
V
V eV
V
V V
0
0
0
0
0
0
0
0
3
2
1
V
0
0
4 sl.
Copyright Rick Payne 2011
c V
VVV VV
0
0 0 1 2 0
VVV VV
2
0
Or this outro - a favourite especially when in tandem with slide:
g I g 44 j
j
j
k
V V V V W V
V eV
0
T A B
2
V V
V V
1 2
0 0
0
V fV
V V
0
0
3
2
c eV
V
1
0
c fV V
2 0
1
2
0
3
0
Great combinations of rolls and syncopated picking in this flourish:
g I g 44
T A B
j
V V V V
0 0
2
2
k Vc W W V VV Vj V V V V V V V 4 3
2 1 2
0
0 0
2
U V
sl.
4
5
Copyright Rick Payne 2011
U
0 3
H
V V fV
2
0 H
0
fV
0
2
0 P
3
0
V
G TUNING One of Cooder's favoured tunings, especially in the early days of albums like 'Into The Purple Valley', is open G tuning. Although interspersed with slide guitar, there is still an abundance of fingerstyle played in his own distinctive style. His G tuning picking clearly stems from his abilities as a banjo player. You can hear the almost country style picking on these early albums. Tracks like 'How Can You Keep On Moving' and 'Money Honey' have a banjo flavour to them - fast clipped chords and rolling runs - very different from the previous sounds in dropped D and open D.
Here's open G tuning:
I 44 T A B
D
G
D
V
V
V
G
B
V
V
D
V
0 0 0 0 0 0
A good exercise to get you started is this octave pick pattern:
g4 I 4 V V T A B
0 0
V V 2 2
V V 0 0
V V 2 2
V V 4 4
V V
V V
V V
0
2
0
0
2
0
V V
V V
V V
V V
fU fU
5
0
2
0
3
5
0
2
0
3
Copyright Rick Payne 2011
You can hear this octave style in the classic intro to 'Money Honey':
I 44 T A B
V V
V V
0 0
2 2
V V
V V
eV eV
fV fV
0 0
2 2
3 3
4 4 sl.
V V
V V
0 0
2 2
V V
V
0 0
4
V
eV eV
V V
V V
4
3 3
2 2
0 0
You can hear the banjo influence in this intro from 'How Can You Keep Moving' especially with the rolling octaves and clipped chords:
g I 44 V V V V
VV V V V V V V
VV j
V W
T A B
1 1 0 0 2 2 0 0
1 0
5
0 2 0 2
H
WW
VV j
VV V j f VV V V V W
VV
V
V V
5 5
7 5
5 5 5
3 5 3 3 0
1 0
2
0
0
UU
0
5 5
0
sl.
H
2
V
H
P
These clipped chords form a good part of the accompaniment fingerstyle to many of the songs in open G:
I 44 j T A B
j
j
c k VV V 0 0 0
VV VV VV VVV VV V V V V
V V
5 5 5
7
5 5 5
6 5 7
5 5 5
Copyright Rick Payne 2011
5
c V V V V VV V V V V 7 5
5
5
6 5 7
7
5
5
This distinctive use of open G grew to become a classic Cooder trade mark and instantly recognised in the intro to 'Little Sister' from the album Bop till You Drop
g I 44 j
e VV VV VV VV f VV V V
T A B
3 3
3 3
5 5
5 5
3 3
c c V VV V k f VVV
e VV
0 0
3 5
5
3 5
c V eV V V VV VV e VV
VV V
3 3 3
3
4 3 5
3 3 3
5 5
c c k V V V k VV fV
3 3
3
c c V V V V e e VV k c V V k VV VV k VV V V V fV e VV V VV V V V V V V V V V V VV
g e VV IfV T A B
3 3 3
5 3 5 3
4 3 5
3 5
3 3
5 3
5
3 5
0 5
0 3
3 3 3
5
5
UU U
3 3 3 3
3 3 0
5
As a marked contrast to the sometimes complex picking styles that you encounter in Cooder's open tuning playing, you often hear simple rolling patterns like in this final exercise in open G:
g I 44
V V
V V
V V V
V V V V V V V V V V
V V V U
let ring
T A B
7
8
10
7
9
11
12 12
12
t t t t N.H.
0
12
12
10
0
10
11
Copyright Rick Payne 2011
12
8 9
0
8
[7]
[7] [12]
[7]
JAZZ FINGERSTYLE You can't study Cooder's fingerstyle technique without even a brief look at his playing style from the critically acclaimed 'Jazz' album period. Strangely, this has often been dismissed and disowned by the man himself, but it's still an important factor in his style. He has a clever way of working jazz style melodies with fingerstyle and I'm sure he is aware that this style demands a life time of study. You need a thorough knowledge of harmony and the way chord inversions work together at the same time maintaining full control of your thumb and fingers. If you're new to this style begin by finding a simple melody and work out ways to combine the single notes and chords. Listen to some of jazz guitar greats like Joe Pass, Barney Kessel, Tal Farlow and familiarise with this style of playing more. .
Back in regular tuning here's a few examples of the ways Cooder combined his single notes and chords into fingerstyle, inspired by the 'Jazz' album.
This one uses a mix of major, 7th and diminished chords to produce a typical Cooder jazz style run:
`
gg I g g 44 T A B
VV eV 4 2 4
` b
E°/G
E/A
E °/F
E
V ee V V fV
V ee V eV V
V
f VVV V
0
0
0
0 0 1
3 2 3
2 1 2
E7
E°7
b
F °7
V f VVV
ee V V f f VV
eegVVV V
7 5 7 6
6 5 6 5
5 4 5 4
0
Copyright Rick Payne 2011
E7open
f VVV V 4 3 4 2
And with this run:
gggg 4 V V V gV I 4 f V V 4
T A B
0 3 3
4 4
f VV V
V V V
0 2
0 1
2
0
This is a great fingerstyle exercise for the perfect jazz turnaround:
gg I g g 44 T A B
V
b
D7
E7
f VV
7 6
7
b
C7
C7
fV V V f V V V gV V V 5
5 4
4
4 3
b
F7
B7
F7
E
e VV gVV f VV VV f V V V fV
4 3 4
C7
3 2 2
3
3 2
2
2 1
2 1 1
UU U 1 2 0
This chord run has the recognisable Cooder 'Jazz' flavour:
gggg 4 I 4 T A B
f VVV V
gVVV V
gVV V
f VV fV
UU U U
2 1 1 1
4 2 2 2
0 3 4
0 2 3
0 0 1 0
Check out Cooder fingerstyle study modules>>
Copyright Rick Payne 2011
