F in in ge r p ic k in g G u it a r Techniques Vo lu lu m e T w o
t a u gh t b y
S t e f a n G r o ss ssm a n
EXPLANATION
OF T H E
“…Learning from listening is unquestion ably the best way, the “…Learning only way that suits this kind of music. You are setting the notes dow n for a record record of w hat happened, a record record that can be studi studi ed, 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 acros s each each page reading reading : ‘Listen to t he record if you want w ant to learn the song. song.’” ’”
T A B SYSTEM
Generally for fingerpicking styles you will wi ll be pl aying the thum b, index and middle fingers of your picking hand. To indicate the picking finger finger in tab the stems go up and line up d own from th e numbers. A. A stem stem down m ea eans ns that that your thumb strikes strikes the note. B. If a ste stem m is up, your your index or middle finger strikes strikes the note. The choice of finger is left up to you, as your fingers will dictate what wh at is most comfortable, comfortabl e, espec especially ially when playing p laying a song song up to tem po! C. The diagram diagram below shows an an open sixth sixth string play played ed with the thum b follow ed by the second second fret of the third string played play ed 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 right s reserved. reserved. Used Used by p ermission.
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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 arrange ment form s a compl ete language. language. Used Used together wit h the original recordings they give a total picture of the music. The tab system system d oes not attempt attem pt to show rhythms rh ythms or accents. accents. These can can be found foun d on t he mu sic or heard in the recordin gs gs.. Music notation tackles these articulations to a degree, but the overall sensations, the feel and the soul of music cannot be wholly captured on t he wri tten page p age.. In the words wo rds of the great Sufi Sufi Hazrat Hazrat Inayatt Khan: “…The tradition al ancient songs of India comp osed Inaya by great great Masters have have been handed dow n from father to son. The 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 pup il im itates and and the th e intrica intri cacies cies and subtleties are learned learned by imitation.” This is the theme I’ve tried to interpolate into the tablature. Tablature is the roadm ap and you are the driver. Now to t he tab: Each space indicates indi cates a strin string. g. The The top to p space represents the th e first string, strin g, second space the second string, stri ng, etc. A zero zero m eans 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 no tes on the first, second second and third t hird strin gs gs.. Pleas lease e remem ber, this is not a rule; ru le; there are many exceptions. In fingerpicking there are two “picking” styles: Regular picking and “pinching” two notes together. A pinch is shown in the th e tab by a line connecting tw o notes. not es. A variation variation of this t his can can also be tw two o treble not es pinched w ith a bass note. Follo Follo w the th e examples ex amples below from left to right:
1)
5)
1 3
1
3
4
6)
3
5 6
0
1
1
1) The open sixth sixth string string is play played ed with the thumb. 2) The first first fret of the sixth sixth string string is pinched together together with the third fret on the t he third thi rd string. The The sixth string string is played wit h the thum b, the third string with the index finger. finger. 3) The thum b strikes the third fret of the fourth string string.. 4) The first first fret/ sixt ixth h string string is playe played d w ith the thumb; it’s pinched with two notes in the treble. The The index and middle fingers strike the first fret/ first string string and the third thi rd fret/ second sec ond string. 5) The next next note is the index finger hitt ing the first fret/ sec second ond string. 6) Lastly, the bass note is played with the thumb on the third fret/ fourth string. string.
5 6
4
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 indi cates the op en second second string is played. The The 1 i s placed placed on the third string and signifies the first fret of the th ird string. Likewi Likewise, se, the 4 is in the fourth space and indicates the fourth fret of the fourth string string..
2
3
There are certain places in blues and cont empo emporary rary guitar that call for the use of either strumming techniques or accented bass notes. The The tab illu illustrates strates these these as follow s:
0 1
1)
4
5
E
6
1 2 3 4 5 6
2
2 0
2) 0 0 1
y
3)
4) 0 0 1 2
2 0
5)
i t 0 0 1
1) The thumb hits the open sixth sixth string string and and the sec second ond fret on the fifth fi fth string strin g should also sound. For For example, play an E chord. Now strike the th e open string and vary the force of your attack. Try hitting it hard enough so that the fifth string vibrates as as well. This This techniqu e is very im important portant for developing a full sound and the right alternating bass sound.
3) HARMONIC MONICS S: Symbol Symbol ized by a dot (•) . To play a harmo harmonic: nic: gently lay your finger directly above the indicated fret (d on’t press down!) The two notes in the example are both harmonics.. The harmonics The first on t he tw elfth fret/ third string is played play ed with the index/ middl e finger, finger, while the second second note—tw twelfth elfth fret/ fourt fourth h string—is played played with wit h the thum b. 4) SLIDE: Shown Shown with a dash dash (– ). Play Play the sec second ond fret/ six sixth th string and and then th en slide up to the fourth fou rth fret of the sixth string. This is a continuous movement: the string is struck once with your thumb.
2) Next Next the arrow arrow notation indicates indicates a brush brush and and the arrow arrow head indicates the direction of the brush. A. If the arrowhead arrowhead is pointed dow n, the hand brushes brushes up towards the sixth string. B. If pointed up, the hand hand brushe brushes s down tow ards the first first string. C. The number of strings to 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 indi ca cates tes to strike only onl y the first, second second and th ird strings. D. The brush brush can can be done with your whole hand, index finger or middle midd le and ring finger. Le Lett comfort plus pl us a full and “ right” sound guide your choice. choice. 3) The third set set of notes ag again ain shows shows the sixth sixth string/ string/ open bass note played with the thumb and being struck hard enough to m ake the fifth string/ string/ se second cond fretted position sound. 4) Once Once more an arrow arrow pointed downward indicate indicates s a brus brush h up. This This example form s an E chord and the bru sh up includes the first, second, third and fourth strings. 5) The last last set set of notes has an arrow arrow point ed upward, indicatindicating a brush downward striking the first, second, and third strings. Here are several special effects that are also symbolized in tablature:
1) 2
4)
5) 9 P7
12 •
3
12 •
4 6
3)
7 8 W
1
5
2)
2 3H 2 –4
1) HAMME HAMMER R-ON -ON:: Designate Designated d by an “H” which is placed placed after the stem on t he fret to be h ammered. In In the example above, abov e, fret fret the se second cond fret/ fifth string and pick it w ith your thum b. Then “hammer-on” ( hit hard) the third fret/ fret/ fifth string, i.e. i.e. fret fret the third t hird fret/ fret / fifth string. This is an all-in all-in-one, -one, continuous motion which will produce two notes rapidly with one picking finger strike. 2) WHA HAM: M: Designate Designated d by a “W.” “W.” In the example example the eighth eighth fret/ se second cond string string is “w hammed” and played played with th e seventh sev enth fret/ fret / first string. Both Both notes are played played together to gether with your index and middle fingers respectively. The whammed note is “stretched.” We do this by literally bending the note up. We We can can “w ham” the note up a half tone, full tone, etc.
5) PUL ULL-O L-OF FF: “P” designates a “pull-off.” “pul l-off.” Fret Fret both bot h the seventh and ni nth frets fret s on the second second string. strin g. Play the ninth fret with your index/ index/ middl e finger finger and then quickly remove it in the th e same same stroke, leaving leaving the seventh fret/ sec second ond string. strin g. Pull-offs are generally in a downward direction. 6) In certain certain case cases s other specific specific sy symbols mbols are added added to t he tab, for instance: A. For ARTIF IFIC ICIAL IAL HAR HARMONICS MONICS an “ X” is placed pl aced after the fretted position. B. For SNAP SNAPPI PING NG a note an indication m ay be given with a symbol symbol or the writ ten word. Many times these special techniques are combined, for instance puttin g a pull stance pull-off -off and a hamm hamm er-on together. Coordi Coordination nation of your fretting and picking hands will be compl ex initially, 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 dictate d by comfort, however in observation observation of many well-know n fingerpickers I foun found d one hand positio position n similarity— simil arity—they all tend to to rest their littl e finger and/ and/ or ring finger on the face of the guitar. This seems seems to help their t heir balance for accenting notes and contro l of the guitar. Experiment w ith this th is positio positio n: it may feel feel uncomfortuncomfo rtable at first. I ask my students to perfect this position and then compare the sound sound to when t heir finger(s) finger(s) w ere not placed placed on the face of the guitar. They They usually find the t he sound is greatly greatly im proved when some contact is kept with the guitar face.
MUSIC NOTATION: We have somewhat adapted the music notation in that this also also shows whether the not e is picked picked wit h your thumb or index/ middl e fingers. fingers. The The stems of the m usic notes correspond corres pond to t o the direction o f the tab stems. stems. I hope thi s wi willll make m ake 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.
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