Advanced Fingerpicking Guitar Techniques
Hot Fiddle Tunes & Rags taught taugh by taugh taught tt by
Stefan Grossman
EXPLANATION
OF THE OF THE TAB S YSTEM
“…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 down means means that that your your thumb thumb strikes strikes the note. note. B. If a stem is is up, your your index or or middle middle finger finger strikes strikes the note. 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 diagram below below shows shows an open open sixth sixth string string played played with with the thumb followed by the second fret of the third string played with the index or middle f inger:
Hally Wood (taken from the Publisher’s Foreword to the New Lost City Ramblers Songbook.) Songbook.) Copyright © 1965 Oak Publications All rights reserved. Used by permission.
1
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 does not attempt to 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. 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.
2 4 5
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 3
1
6)
3
5 6
0
1
1
1) The open open sixth string string is is played played with the the thumb. thumb. 2) The firs firstt fret of the sixth sixth string string is pinched pinched togeth together er with the 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/six fret/sixth th string string is played played with the thumb; thumb; it’s 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.
6
4
5)
3
4
5
0
4)
3
3
4
3
3)
2
3
2
2)
1
2
1
0
6
1
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.
2
3
There are certain places in blues and and contemporary contemporary guitar that call for the use of either strumming techniques or accented bass notes. The tab illustrates these as follows:
1
1)
4
2)
E
5 6
0 0 1
1 2 3 4 5 6
2
2 0
y
3)
4) 0 0 1 2
2 0
5)
i t 0 0 1
1) The thumb thumb hits the open open sixth string string and the the second 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 very important for developing a full sound and the right alternating bass sound.
3) HARMONICS: HARMONICS: Symbol Symbolized ized by a dot dot (•). To play play a harmonic: 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. 4) SLIDE: SLIDE: Shown with with a dash dash (–). Play Play the second second fret/sixt fret/sixth h string and then slide up to the fourth fret of the sixth string. This is a continuous movement: movement: the string is struck once with your thumb.
2) Next the arrow arrow notation notation indicat indicates es a brush and the the arrow head indicates the direction of the brush. A. If the arrowhea arrowhead d is pointed pointed down, down, the hand hand brushes brushes up up towards the sixth string. B. If pointed pointed up, up, the hand hand brush brushes es down towar towards ds the first first string. C. The number number of strings strings to be be played played by the brush 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 brush can be done done with with your whole whole hand, hand, index finger or middle and ring finger. finger. Let comfort plus a full and “right” sound guide your choice. 3) The third third set of notes again again shows shows the sixth string/ string/open open bass note played with the thumb and being struck hard enough to make the fifth string/second fretted position sound. 4) Once more more an arrow arrow pointed pointed downward downward indicat indicates es a brush up. This example forms an E chord and the brush up includes the first, second, third and fourth strings.
5) PULL-OFF: PULL-OFF: “P” designat designates es a “pull-off.” “pull-off.” Fret both both the sevseventh and ninth frets on the second string. Play the ninth fret with your index/middle 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 certain cases cases other specifi specificc symbols symbols are added added to the tab, tab, for instance: A. For ARTIFICIA ARTIFICIALL HARMONICS HARMONICS an “X” “X” is placed placed after the the fretted position. B. For SNAPPING SNAPPING a note note an indication indication may may be given 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.
5) The last set set of notes has an arrow arrow pointed pointed upward, upward, indicatindicatPICKING HAND POSITION FOR FINGERPICKING STYLES: ing a brush downward striking the first, second, and third The Classical and Flamenco schools have strict right-hand right-hand rules, strings. however for this style of acoustic fingerpicking there are NO RULES, only suggestions. Your right hand position should be Here are several special effects that are also symbolized in dictated by comfort, however in observation of many well-known fingerpickers I found one hand position similarity—they all tend to tablature: rest their little finger and/or ring finger on the face of the guitar. This seems to help help their balance balance for accenting notes and control control 1) 2) 3) 4) 5) of the guitar. Experiment with this position: it may feel uncomfortable at first. I ask my students to perfect this position and then 1 7 2 8 W 9 P7 compare the sound to when their finger(s) were not placed on the 3 12 • 4 12 • face of the guitar. They usually find the sound is greatly improved 5 2 3H 6 2 – 4 when some contact is kept with the the guitar face. 1) HAMMER-ON: HAMMER-ON: Designat Designated ed by an “H” which which is placed placed after after MUSIC NOTATION: We have somewhat adapted the music the stem on the fret to be hammered. In the example above, fret the second fret/fifth string and pick it with your notation in that this also shows whether the note is picked with your thumb or index/middle fingers. The stems of the music notes 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, correspond to the direction of the tab stems. I hope this will make continuous motion which will produce two notes rapidly the music notation clearer to fingerpicking guitarists. with one picking finger strike. 2) WHAM: Designa Designated ted by a “W.” “W.” In the exampl example e the eighth eighth fret/second string is “whammed” and played with the seventh fret/first string. Both notes are played together with your index and middle middle fingers respectively. The whammed note is “stretched.” We do this by literally literally bending the note up. We can “wham” the note up a half tone, full tone, etc.
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
COLORED ARISTOCRACY Standard Tuning
A
œAå
3
Ô
2
2
2 4
0 0
3H
2
0
0
4H 4H
0
0
0
F˜
Ô
7 2
0
2
7
3 4
9
0
10 10 H
10 P 9
4
3
2
0
0
0 2
7
3 4
2
0
2
B‡
E
0
0
7
7
P0
0
0
0
6
6
7
7
0
8
8H
7
6 7
0 7
7
A
Ô
3
D
A
Ô
4
0
2
3
4
F˜
2 2
2
0
0
0
2 4
2
4 0
0
2 3 4
0 0
4
4
3
2
2
D
Ô
A
7 7
9
0
10 10 H
10 P 9
0
7
7 P0
7
3
6 4
3
2
0
0
0
7
0
7
0
0
A
3
2
B‡
E
A
œBå
Ô
0 0
5
0
7 P5
6 8
5
0
7
2 0
7 4
7
5 6 7
0
0
0
0
5
5
F˜
Ô
2 2
2
2
0 2
P0
2
P0
2
2
4
4
3 4
4
2
4
2
4
2
D
Ô
P2
4
2
2
A
7 7
9
10 10 H
B‡
0 10 P 9
2
0
7
7
7 P0
0
0
6 0 0
0 0
7 0
0 6
7
8
8H 6
7
7
0 7
5
7
E
Ô
A
0
F˜
3
5
5 7
P5
2 2
5
2
6 7 0
2
3
4
7
5
4
5
4
2
2
D
Ô
2
4
P2
0
7 2
P0
2
P0
2
2
4
4
7
9
10 10 H
0 10 P 9
7
3 4
4
0
0
0 2
2
2
A
Ô
2
B‡
E
0
A
0
7
7
P0
0
0
0
6
6
7 0
7
8
7
4 0
End Tag 1 –2 1 –2
0 0
2 2
5 5
5 5 6 7 5
6
0 0
A
0 — 1 — 2 0 — 1 — 2
2 0
0 7
Ô
0
0
BOYS, M Y MONEY’S ALL G GONE A
Standard Tuning
œAå
Ô Ô
0 2 2 0
2 2 0
0
2
0
2
2
0
2
2
0 4
0
0
0
0
2 2 0
2
0
2
2 0 0
0 4
0
0
0 0
2 0
2
2
2
0
3
0 2
2
2 0
0
0
0
0
0
0
0
0
0
œBå
Ô
3
2
0
2 –5 3
2
0
0 4
2 0
2
5
5
7
5
0 0
0 2 4
8
2
2
2
0
2 0 0
0 0
G
Ô
0
0 8
0
3
2
0
0
3
2
0
0 3
0 0 0
3
3 0
0
0
0 0
3
3
7
3
3
Ô
2 –5
5
5
7
5
0
0
8
0
8
3
2
0
3
3
2
0
0 4 0
0
0
Ô
0
0
0
2 –5 0
5
5
7
5
0 8
2
2
2
0
0
0
0
0 2 4
2 0
2
0
0
8
3
2 0
0
0
0
0
0
0
0
G
Ô
3
2
0
0
3
2
0
3
0
2 –5
5
5
7
0
0
8
0
0 0
3
5
3
3
3
3
0
0
0
A
Ô
0
0 8
0
3
2
0
3
3
2
0 4 0 0
2
0
0 2 0
0
0
2
2
2
0
0
0
0
8
0 0
DALLAS RAG Standard Tuning
Intro.
Ô
0
0
2
0
0
0
4
2
0
0
0
0
2
3
4
3
3
G‡
3
G
œAå
Ô
3 0 0 3 2 3
0
3
1
0
0
1
2 3
0
1
3
0 3
3 3
3 0
3
3
2
3
C
Ô
1
0
G‡
0 1
1
3
0
5
5
7
7
3
4
5 2
7
11 5
11
8
10
11 10
2
3
3
3 –7
7
10
10
(C)
Ô
7
7 11
11
7
8
3
5
3
0 4
10 10
12
8 10
1 2
10 8
9
0
G
Ô
C
3
1
0
1
0
1
3
0
0
0 1
2 3
3
1
3 3
0 3
2
3
3
2
2
3
3
3
Ffl
Ô
3
4 3
0
5
1
5
7
C
8
7
8
10 10
8
3
0
3
5
0
10 5
5
7
8 7
5
4 7
3 –7
7
8
G
6
8
C
G‡
œBå
Ô
3
0
0
0 0 5
1
2 3
1
2
3
0
1
3
3 2
0
3 3
2
1
3
0 3
3
C
Ô
3
P0
0
3
3
3
0
3 3
3
2 3
3
0
1
2
2
1
0
1 2 3
3
10
3
(C)
G‡
Ô
3
0
3
P0
0
3
3
3 –8
5
0
3
8
1 2
3
3
3
3
3
0
3
3
1
3
G‡
Ô
3
0
3
0
3 3
2
1
3
3
3
3
0 0
1
2
3
3
3
3
F
3
3
0 1
2
1 2
3
0
0
3
0 3 2
1
1H 2
3
3
3
(A)
0
0
5
1
G‡
3
C
0
3
4
0
0 0
1
0 3
2
1
2 1
C
Ô
0 3
C
Ô
P0
3
2 3
1
3
0
0 3
3
11
3
3 3
A
Ô
8
7
8
10 10
7 10
7
0
8
9
B
Ô
3 1 0 2 3
P2
P1
0 4
1 2
0
0 2H
1
0 1
2H 2
F
C
A‡
3
D‡
G
C
C
Ô
0 1
3
3
1
1
1
0
1 0
3
3
2 3
1
2
0
0 3
1
0
2
3
G‡
5
C
0
4
3
8 2
1
2 3
0 6
0
0 0
3
0
0
Alternate Ending:
Ô
2 2
0 3
1
3 2
3
3 3
12
KATZ RAG Standard Tuning
G‡
C
œAå
Ô
1
1
1
1
1
1
1
1
0
2 0
3
2 0
0
2 0
3
2
0 1
0 0
0
3
3
0
2
0 2
2 3
3
0
3
3
G‡
Ô
0 1
0 0
0
0
1
1
1
1
1
1
1
1
2
0
0
2 0
3
2 0
0
2 0
3
2
1
2
2
3
3
C
Ô
3
3
3
E‡
0
0
3
A‡
0
4
1
0
2
3
6
3
Ô
3
7
0
4 2
3
5
7
3
2
4 2
5
4 2
0
1 P0
0
1
3
3
4 2 0
3
0
C—
3 2
3
6
Dm
3
3
4 7
2
3
0
3
0 0
0 0
13
5 4 5 4
8 7 8 7
C
Ô
Dm
Em‡
3
0
3
0
G‡
1 P0
0
3
2
0
1
0
3
0
3
C
1
0
2
3
3
3
3
1
0
2
0
2
3 3
3
D
C
œBå
Ô
3
5
0 1 0
2
2
4
3
4
2
3
3
Ô
2
3 –5 5
D
3
C
5
F
3
0
3
1
1 0
4
4
2
3 –5
3
1
2 2
3
3
3 5
3
C
Ô
3
3
1
F
1
A‡
C
0
0 1
1
1
0
0
2
3
1
3 1
2
2
2
3
3
2
3
2 0
3
1
1
14
3
Ô
G
D‡
1.
D‡
2.
C
G
D.C.
3 1
1 2 0
0 2
1
0
0 2
0
0
0
1
0 0
3 3
2
2
3
3
2
G‡
3
0
C
End Tag
Ô
3 3 –5
2 4
1 3
1
1 0
0
2
3
3
15
2H P0 3
0 1 0 2 3 3
1
2
BLACK MOUNTAIN RAG Open G Tuning: DGDGBD
G
œAå
Ô Ô
3
5H
— 4
3
3
5
3
0
2
0 0
0 0
3
0
0
5H
3
— 4
3 –
4
0
0
0 0
3 3
5 3 –
0
5
4
3 4
0
0
5H
3 — 4
5H
0
0
3
3 3 — 4
0
0
0
3 4
0
0
–4
5H
3 — 4
4
0
0
0
0
0
G‡
Ô
3
5H
–4
3
5
4
3
— 4
0
0
0 0
0
0
0
3
3
2 2
0
0 0
0
0
0
0
0
0
C
Ô
0 0 0
0
2H P0
1
1
2H
0 2
0 0
0 0
0 0
0 0
16
0 0
0 0
G
Ô
D‡
0
0
0 2
0
0
0
0
0
1 2 4
2H
0
0
0
0
0
0
0
0
0
G
Ô
0
2 H P0 1
0
0
0
2 0
2 0
0
0
0
0 0
0
Ô
2H
0
0
0
0
C
Ô
0
0
G
0
2 H P0
1
1
0
0
0
2
2 0
0
0
0
0
0
0
0
4 2
2H
0 0
0
5 3
0 0
0
0
0
0 0
0
0
0
0
0
0
17
0 0
0 0
G
œBå
Ô Ô
5 3
4 2
5 3
0
9 8
0
0
0
0
5 3
0
0
5 3
0
0
4 2
5 3
9 8 0
0
0
2.
0
0
0
3 4H
0
0
0
3 4H
0
0
0
0
0
0
4 5H
0
4 5H
6 7H
6 7H
G
Ô
0
0
1.
Ô
0
0
0
0
0
0
0
4 2
0
0
0 5
0
5 3
D
œCå 0 0 3 4H
0
0
2 3H 0 0
e
5 —9
9
7 7
8 0
0
7 7
0
0
18
7 7
C
Ô
1.
5 5
7
P5
0
2
P0
5
0 5
5
5
5
5
5
5
5
0
5
0
D±
0 0 0
0
0 2
0
0
2
3
3
0
0
2.
0
0
2H
0
0
0
D
Ô
G
0
2
2
3
3
G
{
Ô
2 P0
0
0
4 2
0 0 0 0
2H
0 0
2 0
0
2H
}
5 3
0 0
2
0 0
0 0
19
{
0
0
0 0
}
