Dale Turner's Secret of the Great Acoustic Songwriters.PDF

7262019 Dale Turners Secret of the Great Acoustic SongwritersPDF

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SECRETS OF THE GREAT

ACOUSTICSONGWRITERS

THE ULTIMATE DVD GUIDE

DALE TURNER PRESENTS



1 THE SOUNDS OF SIMON

A sampling of Paul Simonrsquos evocativeacoustic fretwork

2 MR MELANCHOLY

The infectious intricate fingerstyle patterns ofthe late great Elliot Smith

3 THE FUNKY MONK

UNPLUGGED

Fingerstyle techniques and ferocious strums fromformer Red Hot Chili Peppers guitarist John Frusciante

4 HAPPINESS IS SOME

FINGERPICKING FUN

A look at John Lennonrsquos acoustic artistry

5 DREAM BROTHER

The atmospheric chordal stylings ofthe late great Jeff Buckley

6 BRAZIL NUT

The bossa nova rhythms of Antonio Carlos Jobim

7 PINK MOON RISING

The unsung acoustic artistry of Nick Drake

8 SOMETHING IN THE WAYHE GROOVES

The acoustic artistry ofldquothe quiet Beatlerdquo George Harrison

9 RIGHTEOUS BABE

Fingerstyle finesse meetspunk-rock attitude The inimitable Ani Difranco

CONTENTS



2 MR MELANCHOLY


3 THE FUNKY MONK

UNPLUGGED


4 HAPPINESS IS SOME

FINGERPICKING FUN


5 DREAM BROTHER


6 BRAZIL NUT


7 PINK MOON RISING




9 RIGHTEOUS BABE


CONTENTS



THE SOUNDS OF SIMONA sampling of Paul Simonrsquos evocative acoustic fretwork

CHAPTER

1

PAUL SIMON ROSE to fame in

the mid Sixties as a member of the

folk-rock duo Simon amp Garfunkel in

which he played acoustic guitar and shared

harmony vocal duties with collaborator Art

Garfunkel Though the pair formally split

in 1970 the timelessness of their hit songs

prompted numerous reunions most recently

in the form of an inspired performance at

the Rock and Roll Hall of Fame in 2009

While Simon has released numerous solo

albums throughout his career (among them

the multi-Platinum smash Graceland ) it is

his work with Simon amp Garfunkel that per-haps best showcased his stellar guitar play-

ingmdashtasty fingerpicking passages that have

inspired singer-songwriters for decades

In this chapter wersquoll be learning how

to fingerpick Paul Simon style Letrsquos kick

things off with a passage built around an

open C chord and reminiscent of Simonrsquos

finerpicking work in ldquoThe Boxerrdquo (origi-

nally tuned down one half step) This song

is steeped in Travis picking a somewhat

country-like fingerstyle approach named

after Fifties-era country session musician

Merle Travis This first batch of figures

deconstructs this style FIGURE 1A illus-

trates the ldquobassrdquo role of the plucking handrsquosthumb ( p ) Pluck in order the fifth fourth

sixth and fourth strings in quarter notes

switch the fret handrsquos ring finger back and

forth to grab C (fifth string third fret) and G

(sixth string third fret) bass notes keeping

remaining chord tones fretted as normal

In FIGURE 1B while the thumb con-

tinues as before use your pick-hand middle

finger ( m ) to sound notes on the second

string FIGURE 1C adds the pick-hand index

finger ( i ) to the equation to sound the open

third string completing the passage

ldquoHomeward Boundrdquo (originally played

with capo III) also features the Travis

picking technique For FIGURE 2 fret anopen G chord with your ring finger on the

sixth string allow the second third and

fourth strings to ring open Master the

pattern in bar 1 first plucking with the

indicated fingers then descend the sixth

string in chromatic fashion using your fret

handrsquos middle and index fingers respec-

tively to create GFs and GF repeating

the plucking pattern in bars 2ndash3 End the

passage with a ldquostrummedrdquo E chord (rake

across strings with the ldquonail siderdquo of fingers) fol-

lowed by Am (brush strings with thumb)

Simon is also a fan of chord voicings that contain

interesting intervals namely seconds (two notes ei-

ther one half step or one whole step apart) In songs

like ldquoScarborough Fairrdquo (originally played with capo

VII) these ldquotone clustersrdquo create a more evocativesound than standard open shapes do In the ldquoScar-

borough Fairrdquo-like FIGURE 3 Dadd24 (an open C

chord shape moved up two frets) has a ldquosecondrdquo in-

terval between the notes on the middle two strings

as well as on the top two In the final bar Asus2mdasha

shape integral to Simonrsquos accompaniment in ldquoThe

Sound of Silencerdquomdashalso has a second interval be-

tween the third and second strings Bar 3 features

another hallmark of Simonrsquos style a descending

move structured from 10ths intervals (note pairs that

are 10 scale steps apart) with the open third string

plucked in between as heard similarly in ldquoAmerican

Tunerdquo and ldquoThe Boxerrdquo among others

Wersquoll close out this lesson by looking at some

hip ways Simon embellishes open G shapes in cer-

tain song intros In the opening to ldquoI Am a Rockrdquo

(originally played with capo V) he frets a G shapeusing his ring finger and pinkie for notes on the

sixth and first strings respectively This frees up

his index and middle fingers to quickly hammer-

onpull-off notes on the fourth and second strings

which FIGURE 4 similarly depicts Simon also

supercharges the intro to ldquoHomeward Boundrdquo with

tasty chord ornaments FIGURE 5 cops a similar

sound using thirds intervals (note pairs that are

three scale steps apart) along string sets 2-3 3-4

and 4-5 to impart a harmonized melody

p

FIGURE 1a

All examples played fingerstyle p = thumb i = index finger m = middle finger a = ring finger

let ring C

3

p

2

p

CG

3

p

2

FIGURE 1b

p

Clet ring

m p

3

1

2

p

CG

m p

3

1

2

FIGURE 1c

p

Clet ring

m p i p

CG

3

1

20

m p i

3

1

20

p

FIGURE 2

G

let ring

3

p

0

p i p m sim

GF

3

00

0

2

0

GF

2

00

0

1

0

p

E

1

00

0

0

strum 02

210

0

strum 0

Am

0221

0

p

FIGURE 3

Dadd

let ring

a

24

i

5

0

p m

04

i sim

C

30

3

0

02

m p

GB

10

i m p

Am7

2

30

i m p

G

0

10

3

0

p

Asus2

a i

0

0

p

play 3 times

m

22

i p

02

0

p

FIGURE 4

let ring G

3

strum

0003

ai

ai

0003

0

0

2

1

0

0

ai

FIGURE 5

mi

Glet ring

0

0

2

1

0

0

0

0

2

1

0

0

mi

F

00

21

00

mi

C

mi

32

20

mi

mi

G

p strum

032 2

000

3

0003

3 6

FIG 1A FIG 1B FIG 1C

FIG 2

FIG 3

FIG 4 FIG 5



p

FIGURE 1


let ring C

3

use index middle and ring fingers

strum

2013

p

3

strum

2013

FIGURE 2

p

let ring C

3

strum

p

2013

2013

3

strum

2013

2013

m p

FIGURE 3

let ring

C

i p m p

3

31

2

3

i p

3

1

2

=

3

3

FIGURE 4

i

let ring

m p

C

1

p strum

3

3

3

p i

201

201

3

1

p

FIGURE 5

let ring Am7

0

strum

p

2013

2013

3

p

0

Th

p

Fsus2

1

strum

p

Gsus4

3013

3013

3

strum

sim

C

0013

0013

32013

2013

0 2

Fsus2

3

Gsus4

013

013

3

0013

0013

p

FIGURE 6

let ring Am7

0

strum

2013

p i p

0

1

2

m p

i p m p

0

31

2

3

i p

0

1

2

sim

Dadd

5

24

4030

5

3

45

03

4

0

5

3

4

=

3

3

FIGURE 7

let ring

i m p

C

1

p strum

3

3

3

p i m p

Em

2

01

2

01

3

0

p strum

0

3

0

p i a p

Am

2

00

2

00

0

5

p strum

0

5

0

p i

B add2

Tha

p

7

55

7

55

0

7

p strum

6

8

6

p i

0

8

6

0

8

6

6

1

MR MELANCHOLYThe infectious intricate fingerstyle patterns of the late great Elliott Smith

CHAPTER

2

SINGER-SONGWRITER EL-

LIOTT SMITH is perhaps best

known for his Good Will Hunting

soundtrack work The film featured five of

Smithrsquos melancholic compositions among

them ldquoMiss Miseryrdquo which earned him a

Best Original Song nomination at the 1998

Academy Awards However the creative

acoustic fingerstylist had been making

music for years prior to that hit filmmdashhis

solo output dates back to the mid Nineties

and he had earlier releases as a member of

indie-rockers Heatmiser Unfortunately

much of this music and his later workwent unnoticed by the general public

Smithrsquos brilliant career ended in 2003 with

an apparent suicide but his intensely loyal

fan base remains intact

If yoursquore searching for a ldquochord changesrdquo

role model you neednrsquot look further Smith

was a wizard at penning intricate emotional

progressions In this lesson wersquoll tackle sev-

eral different pick-hand patterns that Smith

used in his most popular songs then weave

them into some ldquoin-the-style-ofrdquo examples

that use Smith-like voicings

Letrsquos begin with Smithrsquos folk-style chord-

strumming approach In FIGURE 1 hit the

C chordrsquos root with your pick-hand thumbthen flex your index middle and ring

fingers outward so that they rake across

the guitarrsquos higher strings in a downward

strumming motion (the action should be

like opening your hand) For pick-hand

stability use a ldquoheel-downrdquo position near

the bridge almost like palm muting

FIGURE 2 employs this same approach

but using a ldquodouble strumrdquo with the index

and middle fingers strumming in an upward

motion on upbeats Getting more intricate

FIGURE 3 features quasi-Travis picking (a

somewhat country-like fingerstyle approach

named after country session musician Merle

Travis) which Smith fans may recognize asbeing similar to portions of his song ldquoAn-

gelesrdquo (from EitherOr ) Use your thumb

to sound the alternating bass notes on the

A and D strings and your middle ( m ) and

index ( i ) fingers to pluck the high E- and B-

string notes respectively FIGURE 4 mixes

up many elementsmdashldquothumpedrdquo bass notes

single notes plucked on upper strings (and

sustained throughout) and rhythmic ldquoopen-

handrdquo strums of inner strings all played

with a bouncy 16th-note swing feel This

groove is modeled after Smithrsquos playing on

ldquoHappinessrdquo

In these last few examples some of the previ-

ous one-bar patterns are put into progressions

reminiscent of Smithrsquos songs FIGURE 5 is similar

to ldquoSouthern Bellerdquo (from Elliott Smith ) and fea-

tures double strums and a melodic bass line Keep

your index finger and pinkie fretted on the top two

strings of the Am7 Fsus2 (thumb voicing) Gsus4

and C chords to maintain upper-register common-

tone ldquoear candyrdquo In FIGURE 6 yoursquoll run through

an Am7ndashDadd24 change using Smithrsquos complete

ldquoAngelesrdquo fingerstyle pattern which features ar-

peggiation (like FIGURE 3 ) along with bass-note

ldquothumpsrdquo and open-hand strums (The Smith

original uses a capo at the seventh fret and totally

different voicings) FIGURE 7 is built around an

intricate CndashEmndashAmndashBfadd2 chord pattern (note

the thumb voicing for Bfadd2) interpreted using

Smithrsquos ldquoHappinessrdquo groove

FIG 1 FIG 2

FIG 3 FIG 4

FIG 5

FIG 6

FIG 7



THE FUNKY MON K UNPLUGGEDFingerstyle techniques and ferocious strums from former Red Hot Chili Peppersguitarist John Frusciante

CHAPTER

3

JOHN FRUSCIANTE IS largely

responsible for many of the Red

Hot Chili Peppersrsquo biggest hits

over the past two decades having had a

huge hand in writing electrified smashes

like ldquoUnder the Bridgerdquo ldquoScar Tissuerdquo

ldquoCanrsquot Stoprdquo and ldquoDani Californiardquo among

others But Frusciante also has a softer

acoustic side usually reserved for his solo

output on which the guitarist gets posi-

tively ldquocosmicrdquo on his Forties- and Fifties-

era Martin 0-15s Now that Frusciante is

on his own again (his amicable departure

from the Peppers was announced in De-cember 2009 Josh Klinghoffer now holds

the RHCP guitar chair) it probably wonrsquot

be long until we bask in his unique musi-

cal glow once again For the time being

letrsquos give a nod to some of the manrsquos ldquoun-

pluggedrdquo offerings culled from his RHCP

catalogue and earlier solo work

ldquoI Could Have Liedrdquo ( Blood Sugar Sex

Magik ) is one of the Chili Peppersrsquo mellow-

est acoustic songs and features Frusciante

plucking notes on lower strings with his

thumb ( p ) and index finger ( i ) similar to

FIGURE 1 Here his use of lower pitches (in

contrast to plucking ldquobrighterrdquo high E- and

B-string notes) and the B minor tonality con-tribute to the somber mood For this passage

keep your fingers fretted as long as possible

so that tones on neighboring strings overlap

and strive for rhythmic precision with each

hammer-on (they shouldnrsquot sound faster

slower than your plucked notes)

Frusciante left the Peppers in 1992 only

to rejoin the band for 1999rsquos Californica-

tion His return brought moodier tracks

more harmonic variety funkier rock shad-

ings and other flavors including the finger-

style acoustic ditty ldquoRoad Trippinrsquordquo which

FIGURE 2 approximates Here yoursquoll want

to thumb the bass strings of Em Am7 and

B5 chords in steady quarter notes whileplucking out upper-register tones with

your middle ( m ) and index ( i ) fingers

Frusciante has an assortment of solo

albums and EPs under his belt two of

which were released during his first hiatus

from RHCP the rest were issued during

his tenure with the Chilis One acoustic

sound that surfaces often in these record-

ings particularly on the ldquountitledrdquo cuts

on 1994rsquos Niandra Lades and Usually Just a T-Shirt is fingerstyle 10ths intervalsmdashtwo notes ldquo10

scale stepsrdquo apart FIGURE 3 provides a taste

with notes from C G Am and F chords Use your

thumb and index finger to pluck the low and high

notes respectively

Wersquoll close this lesson with a nod to the most

popular acoustic RHCP tune ldquoBreaking the Girlrdquo

which Frusciante performed on a Maton 12-string

acoustic This track is highlighted by percussive

strums of triad shapes shifted along the D G andB strings all voiced over the open A-string pedal

tone not unlike FIGURE 4 Before tackling the

entire passage fine-tune the first barrsquos rhythm

using alternating downup strums synchronized

to a 16th-note count (in 68) ldquoone-and two-and

three-and four-and five-and six-andrdquo striking

the strings only on the pick strokes not enclosed

in parentheses (commonly referred to as 16th-note

pendulum strumming )

p

FIGURE 1

let ring Bm

i p i

0 20

2

p

Aadd4C

i

40 4

p i

04

7

p

Em7G

i p i

0 3

0

3

p

Dadd4A

i

2

0 5

p i i

0

5

4

p

04

p

FIGURE 2

let ring

Em

2

m p

2

p i p

2

0

2

m p

2

3

p i p

2

0

i p

2

3

2

sim

Am7

0 0

3

0

1

0

B5

2

2

2

0

2

2

2

p

FIGURE 3

C

let ring

3

i p

5

3

i p

i

7

8

7 10

p sim

G

13

103

4

3

7

7

7 10

Am

12

10 5

5

5

8

9

8 12

F

14

12 1

2

1

5

5

5 8

10

8

FIGURE 4

let ring A

=

3

0222

0222

0222

= downstroke

= upstroke

sim

4222

0 0222

0222

XXX

GA

0119

10

0978

0978

DA

0978

0978

0777

XXX

Am7

0555

0555

0555

BA

7555

0 0555

0555

XXX

B

A

0444

0444

0XXX

0333

0333

0XXX

FIG 1

FIG 2

FIG 3

FIG 4



HAPPINESS IS SOME FINGERPICKIN FUNA look at John Lennonrsquos acoustic artistry

CHAPTER

4

IN THE 31 years since his pass-

ing on December 8 1980 John

Lennonrsquos legend has continued

to grow both for his contributions to the

Beatles and his accomplishments as a solo

artist Even so he is rarely singled out for

his acoustic guitar playing This is perhaps

due to the spotlight-grabbing abundance of

ldquostand-alonerdquo acoustic Beatles cuts written

by Paul McCartney such as ldquoBlackbirdrdquo

ldquoYesterdayrdquo ldquoMichellerdquo and ldquoMother

Naturersquos Sonrdquo But Lennonmdashwielding his

Gibson J-160E or Martin D-28mdashis the

man behind many other Beatles acousticclassics among them ldquoNorwegian Woodrdquo

ldquoJuliardquo ldquoHappiness Is a Warm Gunrdquo and

ldquoDear Prudencerdquo Letrsquos look at what makes

these tracks tick

Lennon used a version of Travis picking

a somewhat country-flavored fingerstyle

approach named after session musician

Merle Travis to shape much of his acoustic

output FIGURES 1A991251D deconstruct Len-

nonrsquos favorite pattern via an open C chord

beginning with bass notes to focus on the

pick-hand thumbrsquos activity ( FIGURE 1A )

With the C chord held down use your fret-

handrsquos ring finger to alternately fret C (A

string third fret) and G (low E string thirdfret) on beats one and two respectively

These notes and the E note at the second

fret on the D string (struck ldquobetweenrdquo each

bass note) are plucked with the thumb ( p )

As FIGURES 1B991251D unfold one note is add-

ed at a timemdashplucked on the high E string

with the ring finger ( a ) on the G string

with the index finger ( i ) and then on the

B string with the middle finger ( m )mdashuntil

the entire pattern is pieced together (see

FIGURE 1D )

Once you have this pattern down yoursquore

ready to tackle a host of Lennonrsquos acous-

tic Beatles songs like ldquoJuliardquo (from The

Beatles aka the White Album) whichinforms FIGURE 2 (Note Lennon used

a capo at the second fret on the origi-

nal) Written as an homage to Lennonrsquos

mother this track features C G Am7 and

Em chords each with a high G common

tone fretted with the pinkie on the high E

stringrsquos third fret Interestingly although

two of these chords G and Em have sixth-string

roots Lennon employs his ldquofifth-string-rootrdquo

pattern throughout ldquoJuliardquo As a result instead

of hitting the roots of the G and Em chords first

he sounds a different chord tone the moment thechord change occurs This creates the sound of

temporary inversions (chords with a third or fifth

in the bass)

ldquoHappiness Is a Warm Gunrdquo (from The Bea-

tles ) hinted at in FIGURE 3 also uses this finger-

picking approachmdashwith Em Em(add2) Am13 and

Am7 voicingsmdashas does ldquoDear Prudencerdquo

While George Harrisonrsquos ldquoHere Comes the Sunrdquo

is viewed as the pinnacle of ldquostand-alonerdquo acoustic

Beatles pick-style tunes Lennonrsquos ldquoNorwegian

Woodrdquo (from Rubber Soul ) which FIGURE 4 ap-

proximates certainly isnrsquot far behind This riffmdashperformed in 68 and played with a capo at the

second fret on the originalmdashis nestled within an

open D chord shape with the fret-handrsquos pinkie

and index fingers employed to interject melody

notes Carefully study the string pairstrios shown

in the tablature and pick them using the indicated

pick strokes to best bring out the melody

p

FIGURE 1

C

3

p

2

p

3

p

2

a p

C

3

3

p

2

p

3

p

2

a p

C

3

3

p i p

20

3

p

2

a p

C

3

3

p i p

20

m p

3

1

2

a p

FIGURE 2

C

3

3

p i p

20

m p

3

1

2

etc

G

2

3

00

3

0

0

Am7

0

3

22

0

1

2

Em

2

3

20

0

0

2

a p

FIGURE 3

Em

2

3

p i p

20

m p

0

0

2

etc

Em(add2)

2

2

20

0

0

2

Am13

0

2

20

0

1

2

Am7

0

0

20

0

1

2

FIGURE 4

let ring

D

02

3

2

3

2

3

2

3

2

etc

03

2

23

2

43

2

02

3

2

3

2

3

2

3

2

03

2

4X3

2

2X3

2

Csus2

02

32

32

32

32

GB A7sus4 D

3

03

X2

0X

3

0203

02

32

32

32

32

03

232

32

32

32

FIG 1A FIG 1B FIG 1C FIG 1D

FIG 2

FIG 3

FIG 4







PINK MOON RISINGThe unsung acoustic artistry of Nick Drake

CHAPTER

7

THE LATE BRITISH singer-

songwritermulti-instrumentalist

Nick Drake was largely unknown

until a 1999 car commercial featuring an

acoustic-guitar-and-vocal song called

ldquoPink Moonrdquo hit the airwaves As a result

almost 30 years after his death at age 26

Drake enjoyed a resurgence

Drake arrived in the early Seventies

when psychedelic sounds and bombastic

harder rock were en vogue He was lost in

the shuffle a casualty of mismarketing and

his inability to self-promote It didnrsquot help

that he was hard to classify though influ-enced by ldquofolkiesrdquo like Bob Dylan and Bert

Jansch or that Drake had a fascination

with modal jazz that put his compositions

in a league of their own

In this Nick Drake lesson we will cover

the open tunings and inventive fingerpick-

ing patterns of fan favorites A capo is re-

quired to faithfully reproduce all examples

One of Drakersquos rare compositions in stan-

dard tuning ldquoRiver Manrdquo ( Five Leaves Left )

is a haunting atmospheric piece sweetened

with nature sounds miscellaneous noises

and an intense string arrangement all deliv-

ered in a swinging 54 groove propelled by

Drakersquos fingerpicking and colorful voicingsFIGURE 1 depicts most of the songrsquos chord

shapes and pick-hand patterns in an ldquoin the

style ofrdquo arrangement

Now letrsquos begin tinkering with tun-

ings Drop the pitch of your third string to

Fs (Drakersquos open-E9sus4 tuning ) place a

capo at the sixth fret and yoursquore ready to

tackle ldquoCello Songrdquo ( Five Leaves Left ) the

primary picking pattern of which is ap-

proximated in FIGURE 2A Paired with the

songrsquos signature Esus2 voicing this pattern

requires a relaxed pick hand and use of the

specific fingerings indicated FIGURE 2B

features another voicing used in the song

and is plucked similarlyThe title track to Pink Moon requires

you to drop or raise various string pitches

to arrive at an open Cadd4 tuning (low

to high C G C F C E) and strum with

your fingers voicings like those shown in

FIGURE 3 Tip strum all the strings with

your fingertips with the exception of

when lower strings appear by themselves

(ldquothumb strumrdquo these) groove with a very

slight 16th-note swing feel and your ldquoPink

Moonrdquo rendition will be ldquoon its wayrdquo

p

Standard tuning capo 3 All tablature positions are relative to the capoAll music sounds a minor third (one and one half steps) higher than written

All examples are played fingerstyle p = thumb i = index finger m = middle finger a = ring finger

FIGURE 1

Aadd2

mi

p

=

3

0

0

42

p

mi

p

0

0

i p

42

2 2

p

mi

p

0 00

i

sim

Am(add2)

42

2

0

0

41

0

0

41

2 2

0 00

41

2

Gm

3

033

3

0

F

33

0 0

1 1

3

A7sus

4

21

3

0

0

04

0

0

04

2 2

0 00

04

2

p

Open E9sus4 tuning (low to high E A D F B E) capo 6 All tablature positions are relative

to the capo All music sounds three whole steps higher than written

FIGURE 2a

Esus2let ring

0

p i p

22

m p

0

0

2

a p

0

0

p i p

22

m i

0

0

2

FIGURE 2b

p

Dadd

4F

Play open 3rd string 2nd time only

let ring

2

0

p i p

00

m p

2

2

0

DF

m p

2

3

p i p

Dadd

4F

00

m p

2

2

0

Open Cadd4 tuning (low to high C G C F C E) capo 2 All tablature positions are relative

to the capo All music sounds a whole step higher than written

FIGURE 3 wslight 16th-note Swing

strum

wfingers ( ldquothumb strumrdquo when lower strings appear by themselves)

Glet ring

777977

777977

777977

G9sus4

777

777797

777797

777797

777

=

3

3

sim

F

777797

777797

000

000

555755

555755

555755

F9sus4

555

555575

555575

555575

555

555575

555575

000

000

C

000000

20200

0200

000

000 0

200

0200

0000

0020

0000

0200

Dm7

0000

2000

2000

0000

222000

Cadd4 Cmaj11

050000

040000

Fmaj7C

040000

020000

Cadd4 CF

020000

000000

Cadd4E C5

0

5X0000

4X0000

000

2

FIG 2A

FIG 1

FIG 3

FIG 2B



SOMETHING IN THE WAY HE GROOVESThe acoustic artistry of ldquothe quiet Beatlerdquo George Harrison

CHAPTER

8

OF THE FOUR Beatles George

Harrison brought to the group an

assortment of electric and acoustic

guitar approaches flavors influenced by

everyone from Chet Atkins and Carl Per-

kins to the Byrds and Bob Dylan Harrisonrsquos

pioneering use of the Rickenbacker 36012

electric 12-string on songs like ldquoA Hard Dayrsquos

Nightrdquo and ldquoTicket to Riderdquo added another

dimension to the sound of Beatles music and

left an imprint on Sixties-era rock soon after

the Byrds Beach Boys and Rolling Stones

began to use 12-string guitars In the mid Six-

ties influenced by Indian culture and Hindu-ism Harrison introduced the sitar and exotic

scales into the Beatlesrsquo catalog on songs like

ldquoNorwegian Woodrdquo and ldquoWithin You With-

out Yourdquo In essence he played a huge role in

stylizing the Beatlesrsquo music

But Harrison also contributed a wealth of

guitar-centric hits to the bandrsquos repertoire

many of which center around an acoustic

guitar (his Gibson J-200) In this chapter

wersquoll look at musical examples inspired by

Harrison-penned Beatles classics like ldquoHere

Comes the Sunrdquo ldquoWhile My Guitar Gently

Weepsrdquo and ldquoSomethingrdquo

ldquoWhile My Guitar Gently Weepsrdquo re-

volves around strummed versions of thechords in FIGURE 1 (for optional finger-

ings that Harrison used when performing

the song live see the video lesson for this

column at GuitarWorldcom ) Much of

this songrsquos emotional power stems from

its mostly chromatic (notes one half step

apart the distance of one fret) descending

AndashGndashFsndashF bass line The song also features

a famous inspired solo by Eric Clapton

Chromatic movement is a characteristic

common to many of Harrisonrsquos popular

Beatles tracks among them ldquoSomethingrdquo

which informs FIGURE 2 While the origi-

nal Abbey Road version is played on electric

guitars (in the key of C) the original demo(key of A) on The Beatles Anthology 3 is a

solo performance by Harrison who plays a

hollowbody electric warranting its relevance

here Use the picking pattern in bar 1 for

the A Amaj7 and A7 chords and note the

descending chromatic line on the G string

Similar chromaticism is also encountered in

a later FsmndashFsm(maj7)ndashFsm7 change

Hands down the most popular acoustic guitar

ldquopickingrdquo riff in the Beatles oeuvre is the passage

that opens Harrisonrsquos ldquoHere Comes the Sunrdquo

which gets its sparkling quality from the fact that

it is capoed at the seventh fret FIGURE 3 is a pas-

sage inspired by the songrsquos main riff containing

mostly D A7 and G chords (use alternate picking

throughout beginning with a downstroke)

FIGURE 4 features a variation on the chords used

in the songrsquos bridge

FIGURE 2

FIGURE 1

let ring A

2 3 1

Am

0

2

22

0

4 2 31

Am7G D9F

sim

Amaj7

2 3 1

0

2

2

2

2

0 2

12

0

T 3 4 2 1 1

F

A7

0

2

2

12

0

3 2 4

G

2

02

0

1 3 2

D

D

0

2

2

02

0

2 3 1

E

232

235

232

E

022100

0

42

00

064

F m

4222

F m(maj7)

3222

3222

F m7

2222

0

B

2444

FIGURE 3

Capo 7 All tablature positions are relative to the capo

All music sounds in the key of A a perfect fifth higher than written

D

let ring

A7sus4

0232

3230 2

Bm7

0

033

2033

202

G

2

2 0

02 0

0

30 2

D

00

A7sus4

0232

3230 2

A7 G

0203

202

000

3

000

3

003

0

030

3X003

000

FIGURE 4


All music sounds in the key of A a perfect fif th higher than written

let ring G C

3

2 0

F

3

2

0

NC

3

21

D

2

0

0

232

3

A7

30

32

0

0

02

020

02

020

NC

0

20

FIG 4

FIG 1

FIG 2

FIG 3



RIGHTEOUS BABEFingerstyle finesse meets punk-rock attitude The inimitable Ani Difranco

CHAPTER

9

THIS CHAPTER CELEBRATES

the ferocious fingerstyle output of

singer-songwritermdashand all-around

ldquoindie-musicianrdquo inspirationmdashAni Difranco

whose recording career spans more than

two decades since the release of her 1990

debut Today with more than 20 albums

to her credit Difranco remains fiercely in-

dependent she releases her music through

her own Righteous Babe label and she gigs

incessantly dragging her Alvarez-Yairi

Bob Weir model acoustic around the world

to spread her unique form of ldquopunk folkrdquo

In this lesson Irsquoll dissect Anirsquos signaturepick-hand moves grooves tunings and voic-

ings through an offering of ldquoin the style ofrdquo

examples many of which are adapted from

the way she currently performs her older

ldquostaplerdquo songs

Attempting to play even a small percent-

age of Difrancorsquos discography would require

a mind-boggling number of alternate tunings

In this lesson wersquoll just grapple with two

beginning with reverse drop-D (drop the

pitch of your high E string one whole step to

D) In FIGURE 1 a passage inspired by Anirsquos

live versions of ldquoAs Isrdquo ( Little Plastic Castle )

chords reminiscent of fifth-string-root barre

shapes are shifted along the neck while theopen fourth string is plucked in their midst

Use a capo at the third fret and dig your pick-

hand into the guitar strings on beats two and

fourmdashwhat are known as the ldquobackbeatsrdquomdashto

get the effect of a snare drum in your groove

(Ani uses this percussive technique in live

performance much more than on her studio

recordings particularly when she plays solo

and thus without her drummer)

FIGURE 2 a nod to ldquo32 Flavorsrdquo ( Not a

Pretty Girl ) requires the same tuningcapo

combination as FIGURE 1 and also employs

this backbeat feel All pick-hand fingerings

are indicated below the notation (Ani uses

heavy artificial fingernails reinforced bytape but traditional fingerstyle technique

with or without nails will work fine for all of

this columnrsquos examples)

Now letrsquos turn our attention to some of

the tracks Ani plays in DADGAD tuning

(low to high D A D G A D) FIGURE 3 is a

passage performed in this tuning and mod-

eled after the advanced pick-hand pattern

she employs in ldquoIf He Tries Anythingrdquo ( Out

of Range ) Notice the speedy alternation

between notes plucked with the thumb and

those played with the other digits Keep

your hand as relaxed as possible and use

your index and middle fingers to ldquobrushrdquo

through the strings in a downward motion at each

strumming indication

FIGURE 4 also performed in DADGAD is an

homage to ldquoSorry I Amrdquo ( Not a Pretty Girl ) and

it eschews the ferocity of the previous passages

opting for a gentler touchmdashopen-position ham-

mer-ons and finger slides and subtle arpeggiation

techniques interspersed with natural harmonics

A bend on the detuned sixth string helps punctu-

ate the passage

FIGURES 1 and 2 are in reverse drop-D tuning (low to high E A D G B D) capo 3All tablature positions are relative to the capoAll music sounds in a minor third (one and one half steps) higher than written

All examples are played fingerstyle p = thumb i = index finger m = middle finger

p

FIGURE 1

let ring

G

p

=

3

3

mi mi p

Pre-positioning of pick-hand fingers

10 10

012

i p sim

GB

XXX

120

7 7

08

Csus2

XXX

70

3 3

05

D

XXX

00

5 5

07

XXX

70

i p

FIGURE 2

let ring Em7

p m mi

p

0

00

0

i p

Cadd2

p

X

XX

3

5

m p mi

p

0

0

0

p i m p

Dadd4

X

XX

4

3

p i mi

p

5

5 0

03

m p

Csus2

p

X

XX

3

0

i p mi

p

01

0

p

X

XX

0

FIGURES 3 and 4 are in DADGAD tuning (low to high D A D G A D)

let ring

p

FIGURE 3

Cadd4

p mi

0 3

033

i p p

33

00 2

i p

strum wfingers

03

0

p p

Fsus2

33

2

p mi

p

2 30

33

i p i p

E

33

03

0

6

9

p

Dm11

1033

0033

p

FIGURE 4

i p

Bm7

let ring

2 40

p

0 2

m

0

0

i p

2

m p

00

4

0

m p m p

Dsus

2

0

0

0

0

p

NH

24

p

121212

777

m p i p

(play 3 times)

777 0

0

0

i

2 40

p

Em11

22

strum wfingers

0000

p

A7sus4

2

2

p

0

Gsus2

0000

77

0000

55

0000

m p i p

grad release

0000 0

0

0

12

p

Dsus2

2

2 0

p

0 NH

(strum wthumb)

777

FIG 4

FIG 1

FIG 2

FIG 3





2 MR MELANCHOLY


3 THE FUNKY MONK

UNPLUGGED


4 HAPPINESS IS SOME

FINGERPICKING FUN


5 DREAM BROTHER


6 BRAZIL NUT


7 PINK MOON RISING




9 RIGHTEOUS BABE


CONTENTS



2 MR MELANCHOLY


3 THE FUNKY MONK

UNPLUGGED


4 HAPPINESS IS SOME

FINGERPICKING FUN


5 DREAM BROTHER


6 BRAZIL NUT


7 PINK MOON RISING




9 RIGHTEOUS BABE


CONTENTS




CHAPTER

1




















































































p

FIGURE 1a


let ring C

3

p

2

p

CG

3

p

2

FIGURE 1b

p

Clet ring

m p

3

1

2

p

CG

m p

3

1

2

FIGURE 1c

p

Clet ring

m p i p

CG

3

1

20

m p i

3

1

20

p

FIGURE 2

G

let ring

3

p

0

p i p m sim

GF

3

00

0

2

0

GF

2

00

0

1

0

p

E

1

00

0

0

strum 02

210

0

strum 0

Am

0221

0

p

FIGURE 3

Dadd

let ring

a

24

i

5

0

p m

04

i sim

C

30

3

0

02

m p

GB

10

i m p

Am7

2

30

i m p

G

0

10

3

0

p

Asus2

a i

0

0

p

play 3 times

m

22

i p

02

0

p

FIGURE 4

let ring G

3

strum

0003

ai

ai

0003

0

0

2

1

0

0

ai

FIGURE 5

mi

Glet ring

0

0

2

1

0

0

0

0

2

1

0

0

mi

F

00

21

00

mi

C

mi

32

20

mi

mi

G

p strum

032 2

000

3

0003

3 6


FIG 2

FIG 3

FIG 4 FIG 5



p

FIGURE 1


let ring C

3


strum

2013

p

3

strum

2013

FIGURE 2

p

let ring C

3

strum

p

2013

2013

3

strum

2013

2013

m p

FIGURE 3

let ring

C

i p m p

3

31

2

3

i p

3

1

2

=

3

3

FIGURE 4

i

let ring

m p

C

1

p strum

3

3

3

p i

201

201

3

1

p

FIGURE 5

let ring Am7

0

strum

p

2013

2013

3

p

0

Th

p

Fsus2

1

strum

p

Gsus4

3013

3013

3

strum

sim

C

0013

0013

32013

2013

0 2

Fsus2

3

Gsus4

013

013

3

0013

0013

p

FIGURE 6

let ring Am7

0

strum

2013

p i p

0

1

2

m p

i p m p

0

31

2

3

i p

0

1

2

sim

Dadd

5

24

4030

5

3

45

03

4

0

5

3

4

=

3

3

FIGURE 7

let ring

i m p

C

1

p strum

3

3

3

p i m p

Em

2

01

2

01

3

0

p strum

0

3

0

p i a p

Am

2

00

2

00

0

5

p strum

0

5

0

p i

B add2

Tha

p

7

55

7

55

0

7

p strum

6

8

6

p i

0

8

6

0

8

6

6

1


CHAPTER

2






















































ldquoHappinessrdquo



















FIG 1 FIG 2

FIG 3 FIG 4

FIG 5

FIG 6

FIG 7




CHAPTER

3























































notes respectively














p

FIGURE 1

let ring Bm

i p i

0 20

2

p

Aadd4C

i

40 4

p i

04

7

p

Em7G

i p i

0 3

0

3

p

Dadd4A

i

2

0 5

p i i

0

5

4

p

04

p

FIGURE 2

let ring

Em

2

m p

2

p i p

2

0

2

m p

2

3

p i p

2

0

i p

2

3

2

sim

Am7

0 0

3

0

1

0

B5

2

2

2

0

2

2

2

p

FIGURE 3

C

let ring

3

i p

5

3

i p

i

7

8

7 10

p sim

G

13

103

4

3

7

7

7 10

Am

12

10 5

5

5

8

9

8 12

F

14

12 1

2

1

5

5

5 8

10

8

FIGURE 4

let ring A

=

3

0222

0222

0222

= downstroke

= upstroke

sim

4222

0 0222

0222

XXX

GA

0119

10

0978

0978

DA

0978

0978

0777

XXX

Am7

0555

0555

0555

BA

7555

0 0555

0555

XXX

B

A

0444

0444

0XXX

0333

0333

0XXX

FIG 1

FIG 2

FIG 3

FIG 4




CHAPTER

4

















these tracks tick





















FIGURE 1D )

















in the bass)
















p

FIGURE 1

C

3

p

2

p

3

p

2

a p

C

3

3

p

2

p

3

p

2

a p

C

3

3

p i p

20

3

p

2

a p

C

3

3

p i p

20

m p

3

1

2

a p

FIGURE 2

C

3

3

p i p

20

m p

3

1

2

etc

G

2

3

00

3

0

0

Am7

0

3

22

0

1

2

Em

2

3

20

0

0

2

a p

FIGURE 3

Em

2

3

p i p

20

m p

0

0

2

etc

Em(add2)

2

2

20

0

0

2

Am13

0

2

20

0

1

2

Am7

0

0

20

0

1

2

FIGURE 4

let ring

D

02

3

2

3

2

3

2

3

2

etc

03

2

23

2

43

2

02

3

2

3

2

3

2

3

2

03

2

4X3

2

2X3

2

Csus2

02

32

32

32

32

GB A7sus4 D

3

03

X2

0X

3

0203

02

32

32

32

32

03

232

32

32

32


FIG 2

FIG 3

FIG 4








CHAPTER

7





















































p



FIGURE 1

Aadd2

mi

p

=

3

0

0

42

p

mi

p

0

0

i p

42

2 2

p

mi

p

0 00

i

sim

Am(add2)

42

2

0

0

41

0

0

41

2 2

0 00

41

2

Gm

3

033

3

0

F

33

0 0

1 1

3

A7sus

4

21

3

0

0

04

0

0

04

2 2

0 00

04

2

p



FIGURE 2a

Esus2let ring

0

p i p

22

m p

0

0

2

a p

0

0

p i p

22

m i

0

0

2

FIGURE 2b

p

Dadd

4F


let ring

2

0

p i p

00

m p

2

2

0

DF

m p

2

3

p i p

Dadd

4F

00

m p

2

2

0




strum


Glet ring

777977

777977

777977

G9sus4

777

777797

777797

777797

777

=

3

3

sim

F

777797

777797

000

000

555755

555755

555755

F9sus4

555

555575

555575

555575

555

555575

555575

000

000

C

000000

20200

0200

000

000 0

200

0200

0000

0020

0000

0200

Dm7

0000

2000

2000

0000

222000

Cadd4 Cmaj11

050000

040000

Fmaj7C

040000

020000

Cadd4 CF

020000

000000

Cadd4E C5

0

5X0000

4X0000

000

2

FIG 2A

FIG 1

FIG 3

FIG 2B




CHAPTER

8




























































FIGURE 2

FIGURE 1

let ring A

2 3 1

Am

0

2

22

0

4 2 31

Am7G D9F

sim

Amaj7

2 3 1

0

2

2

2

2

0 2

12

0

T 3 4 2 1 1

F

A7

0

2

2

12

0

3 2 4

G

2

02

0

1 3 2

D

D

0

2

2

02

0

2 3 1

E

232

235

232

E

022100

0

42

00

064

F m

4222

F m(maj7)

3222

3222

F m7

2222

0

B

2444

FIGURE 3



D

let ring

A7sus4

0232

3230 2

Bm7

0

033

2033

202

G

2

2 0

02 0

0

30 2

D

00

A7sus4

0232

3230 2

A7 G

0203

202

000

3

000

3

003

0

030

3X003

000

FIGURE 4



let ring G C

3

2 0

F

3

2

0

NC

3

21

D

2

0

0

232

3

A7

30

32

0

0

02

020

02

020

NC

0

20

FIG 4

FIG 1

FIG 2

FIG 3




CHAPTER

9

































































ate the passage



p

FIGURE 1

let ring

G

p

=

3

3

mi mi p


10 10

012

i p sim

GB

XXX

120

7 7

08

Csus2

XXX

70

3 3

05

D

XXX

00

5 5

07

XXX

70

i p

FIGURE 2

let ring Em7

p m mi

p

0

00

0

i p

Cadd2

p

X

XX

3

5

m p mi

p

0

0

0

p i m p

Dadd4

X

XX

4

3

p i mi

p

5

5 0

03

m p

Csus2

p

X

XX

3

0

i p mi

p

01

0

p

X

XX

0


let ring

p

FIGURE 3

Cadd4

p mi

0 3

033

i p p

33

00 2

i p

strum wfingers

03

0

p p

Fsus2

33

2

p mi

p

2 30

33

i p i p

E

33

03

0

6

9

p

Dm11

1033

0033

p

FIGURE 4

i p

Bm7

let ring

2 40

p

0 2

m

0

0

i p

2

m p

00

4

0

m p m p

Dsus

2

0

0

0

0

p

NH

24

p

121212

777

m p i p

(play 3 times)

777 0

0

0

i

2 40

p

Em11

22

strum wfingers

0000

p

A7sus4

2

2

p

0

Gsus2

0000

77

0000

55

0000

m p i p

grad release

0000 0

0

0

12

p

Dsus2

2

2 0

p

0 NH

(strum wthumb)

777

FIG 4

FIG 1

FIG 2

FIG 3




CHAPTER

1




















































































p

FIGURE 1a


let ring C

3

p

2

p

CG

3

p

2

FIGURE 1b

p

Clet ring

m p

3

1

2

p

CG

m p

3

1

2

FIGURE 1c

p

Clet ring

m p i p

CG

3

1

20

m p i

3

1

20

p

FIGURE 2

G

let ring

3

p

0

p i p m sim

GF

3

00

0

2

0

GF

2

00

0

1

0

p

E

1

00

0

0

strum 02

210

0

strum 0

Am

0221

0

p

FIGURE 3

Dadd

let ring

a

24

i

5

0

p m

04

i sim

C

30

3

0

02

m p

GB

10

i m p

Am7

2

30

i m p

G

0

10

3

0

p

Asus2

a i

0

0

p

play 3 times

m

22

i p

02

0

p

FIGURE 4

let ring G

3

strum

0003

ai

ai

0003

0

0

2

1

0

0

ai

FIGURE 5

mi

Glet ring

0

0

2

1

0

0

0

0

2

1

0

0

mi

F

00

21

00

mi

C

mi

32

20

mi

mi

G

p strum

032 2

000

3

0003

3 6


FIG 2

FIG 3

FIG 4 FIG 5



p

FIGURE 1


let ring C

3


strum

2013

p

3

strum

2013

FIGURE 2

p

let ring C

3

strum

p

2013

2013

3

strum

2013

2013

m p

FIGURE 3

let ring

C

i p m p

3

31

2

3

i p

3

1

2

=

3

3

FIGURE 4

i

let ring

m p

C

1

p strum

3

3

3

p i

201

201

3

1

p

FIGURE 5

let ring Am7

0

strum

p

2013

2013

3

p

0

Th

p

Fsus2

1

strum

p

Gsus4

3013

3013

3

strum

sim

C

0013

0013

32013

2013

0 2

Fsus2

3

Gsus4

013

013

3

0013

0013

p

FIGURE 6

let ring Am7

0

strum

2013

p i p

0

1

2

m p

i p m p

0

31

2

3

i p

0

1

2

sim

Dadd

5

24

4030

5

3

45

03

4

0

5

3

4

=

3

3

FIGURE 7

let ring

i m p

C

1

p strum

3

3

3

p i m p

Em

2

01

2

01

3

0

p strum

0

3

0

p i a p

Am

2

00

2

00

0

5

p strum

0

5

0

p i

B add2

Tha

p

7

55

7

55

0

7

p strum

6

8

6

p i

0

8

6

0

8

6

6

1


CHAPTER

2






















































ldquoHappinessrdquo



















FIG 1 FIG 2

FIG 3 FIG 4

FIG 5

FIG 6

FIG 7




CHAPTER

3























































notes respectively














p

FIGURE 1

let ring Bm

i p i

0 20

2

p

Aadd4C

i

40 4

p i

04

7

p

Em7G

i p i

0 3

0

3

p

Dadd4A

i

2

0 5

p i i

0

5

4

p

04

p

FIGURE 2

let ring

Em

2

m p

2

p i p

2

0

2

m p

2

3

p i p

2

0

i p

2

3

2

sim

Am7

0 0

3

0

1

0

B5

2

2

2

0

2

2

2

p

FIGURE 3

C

let ring

3

i p

5

3

i p

i

7

8

7 10

p sim

G

13

103

4

3

7

7

7 10

Am

12

10 5

5

5

8

9

8 12

F

14

12 1

2

1

5

5

5 8

10

8

FIGURE 4

let ring A

=

3

0222

0222

0222

= downstroke

= upstroke

sim

4222

0 0222

0222

XXX

GA

0119

10

0978

0978

DA

0978

0978

0777

XXX

Am7

0555

0555

0555

BA

7555

0 0555

0555

XXX

B

A

0444

0444

0XXX

0333

0333

0XXX

FIG 1

FIG 2

FIG 3

FIG 4




CHAPTER

4

















these tracks tick





















FIGURE 1D )

















in the bass)
















p

FIGURE 1

C

3

p

2

p

3

p

2

a p

C

3

3

p

2

p

3

p

2

a p

C

3

3

p i p

20

3

p

2

a p

C

3

3

p i p

20

m p

3

1

2

a p

FIGURE 2

C

3

3

p i p

20

m p

3

1

2

etc

G

2

3

00

3

0

0

Am7

0

3

22

0

1

2

Em

2

3

20

0

0

2

a p

FIGURE 3

Em

2

3

p i p

20

m p

0

0

2

etc

Em(add2)

2

2

20

0

0

2

Am13

0

2

20

0

1

2

Am7

0

0

20

0

1

2

FIGURE 4

let ring

D

02

3

2

3

2

3

2

3

2

etc

03

2

23

2

43

2

02

3

2

3

2

3

2

3

2

03

2

4X3

2

2X3

2

Csus2

02

32

32

32

32

GB A7sus4 D

3

03

X2

0X

3

0203

02

32

32

32

32

03

232

32

32

32


FIG 2

FIG 3

FIG 4








CHAPTER

7





















































p



FIGURE 1

Aadd2

mi

p

=

3

0

0

42

p

mi

p

0

0

i p

42

2 2

p

mi

p

0 00

i

sim

Am(add2)

42

2

0

0

41

0

0

41

2 2

0 00

41

2

Gm

3

033

3

0

F

33

0 0

1 1

3

A7sus

4

21

3

0

0

04

0

0

04

2 2

0 00

04

2

p



FIGURE 2a

Esus2let ring

0

p i p

22

m p

0

0

2

a p

0

0

p i p

22

m i

0

0

2

FIGURE 2b

p

Dadd

4F


let ring

2

0

p i p

00

m p

2

2

0

DF

m p

2

3

p i p

Dadd

4F

00

m p

2

2

0




strum


Glet ring

777977

777977

777977

G9sus4

777

777797

777797

777797

777

=

3

3

sim

F

777797

777797

000

000

555755

555755

555755

F9sus4

555

555575

555575

555575

555

555575

555575

000

000

C

000000

20200

0200

000

000 0

200

0200

0000

0020

0000

0200

Dm7

0000

2000

2000

0000

222000

Cadd4 Cmaj11

050000

040000

Fmaj7C

040000

020000

Cadd4 CF

020000

000000

Cadd4E C5

0

5X0000

4X0000

000

2

FIG 2A

FIG 1

FIG 3

FIG 2B




CHAPTER

8




























































FIGURE 2

FIGURE 1

let ring A

2 3 1

Am

0

2

22

0

4 2 31

Am7G D9F

sim

Amaj7

2 3 1

0

2

2

2

2

0 2

12

0

T 3 4 2 1 1

F

A7

0

2

2

12

0

3 2 4

G

2

02

0

1 3 2

D

D

0

2

2

02

0

2 3 1

E

232

235

232

E

022100

0

42

00

064

F m

4222

F m(maj7)

3222

3222

F m7

2222

0

B

2444

FIGURE 3



D

let ring

A7sus4

0232

3230 2

Bm7

0

033

2033

202

G

2

2 0

02 0

0

30 2

D

00

A7sus4

0232

3230 2

A7 G

0203

202

000

3

000

3

003

0

030

3X003

000

FIGURE 4



let ring G C

3

2 0

F

3

2

0

NC

3

21

D

2

0

0

232

3

A7

30

32

0

0

02

020

02

020

NC

0

20

FIG 4

FIG 1

FIG 2

FIG 3




CHAPTER

9

































































ate the passage



p

FIGURE 1

let ring

G

p

=

3

3

mi mi p


10 10

012

i p sim

GB

XXX

120

7 7

08

Csus2

XXX

70

3 3

05

D

XXX

00

5 5

07

XXX

70

i p

FIGURE 2

let ring Em7

p m mi

p

0

00

0

i p

Cadd2

p

X

XX

3

5

m p mi

p

0

0

0

p i m p

Dadd4

X

XX

4

3

p i mi

p

5

5 0

03

m p

Csus2

p

X

XX

3

0

i p mi

p

01

0

p

X

XX

0


let ring

p

FIGURE 3

Cadd4

p mi

0 3

033

i p p

33

00 2

i p

strum wfingers

03

0

p p

Fsus2

33

2

p mi

p

2 30

33

i p i p

E

33

03

0

6

9

p

Dm11

1033

0033

p

FIGURE 4

i p

Bm7

let ring

2 40

p

0 2

m

0

0

i p

2

m p

00

4

0

m p m p

Dsus

2

0

0

0

0

p

NH

24

p

121212

777

m p i p

(play 3 times)

777 0

0

0

i

2 40

p

Em11

22

strum wfingers

0000

p

A7sus4

2

2

p

0

Gsus2

0000

77

0000

55

0000

m p i p

grad release

0000 0

0

0

12

p

Dsus2

2

2 0

p

0 NH

(strum wthumb)

777

FIG 4

FIG 1

FIG 2

FIG 3



p

FIGURE 1


let ring C

3


strum

2013

p

3

strum

2013

FIGURE 2

p

let ring C

3

strum

p

2013

2013

3

strum

2013

2013

m p

FIGURE 3

let ring

C

i p m p

3

31

2

3

i p

3

1

2

=

3

3

FIGURE 4

i

let ring

m p

C

1

p strum

3

3

3

p i

201

201

3

1

p

FIGURE 5

let ring Am7

0

strum

p

2013

2013

3

p

0

Th

p

Fsus2

1

strum

p

Gsus4

3013

3013

3

strum

sim

C

0013

0013

32013

2013

0 2

Fsus2

3

Gsus4

013

013

3

0013

0013

p

FIGURE 6

let ring Am7

0

strum

2013

p i p

0

1

2

m p

i p m p

0

31

2

3

i p

0

1

2

sim

Dadd

5

24

4030

5

3

45

03

4

0

5

3

4

=

3

3

FIGURE 7

let ring

i m p

C

1

p strum

3

3

3

p i m p

Em

2

01

2

01

3

0

p strum

0

3

0

p i a p

Am

2

00

2

00

0

5

p strum

0

5

0

p i

B add2

Tha

p

7

55

7

55

0

7

p strum

6

8

6

p i

0

8

6

0

8

6

6

1


CHAPTER

2






















































ldquoHappinessrdquo



















FIG 1 FIG 2

FIG 3 FIG 4

FIG 5

FIG 6

FIG 7




CHAPTER

3























































notes respectively














p

FIGURE 1

let ring Bm

i p i

0 20

2

p

Aadd4C

i

40 4

p i

04

7

p

Em7G

i p i

0 3

0

3

p

Dadd4A

i

2

0 5

p i i

0

5

4

p

04

p

FIGURE 2

let ring

Em

2

m p

2

p i p

2

0

2

m p

2

3

p i p

2

0

i p

2

3

2

sim

Am7

0 0

3

0

1

0

B5

2

2

2

0

2

2

2

p

FIGURE 3

C

let ring

3

i p

5

3

i p

i

7

8

7 10

p sim

G

13

103

4

3

7

7

7 10

Am

12

10 5

5

5

8

9

8 12

F

14

12 1

2

1

5

5

5 8

10

8

FIGURE 4

let ring A

=

3

0222

0222

0222

= downstroke

= upstroke

sim

4222

0 0222

0222

XXX

GA

0119

10

0978

0978

DA

0978

0978

0777

XXX

Am7

0555

0555

0555

BA

7555

0 0555

0555

XXX

B

A

0444

0444

0XXX

0333

0333

0XXX

FIG 1

FIG 2

FIG 3

FIG 4




CHAPTER

4

















these tracks tick





















FIGURE 1D )

















in the bass)
















p

FIGURE 1

C

3

p

2

p

3

p

2

a p

C

3

3

p

2

p

3

p

2

a p

C

3

3

p i p

20

3

p

2

a p

C

3

3

p i p

20

m p

3

1

2

a p

FIGURE 2

C

3

3

p i p

20

m p

3

1

2

etc

G

2

3

00

3

0

0

Am7

0

3

22

0

1

2

Em

2

3

20

0

0

2

a p

FIGURE 3

Em

2

3

p i p

20

m p

0

0

2

etc

Em(add2)

2

2

20

0

0

2

Am13

0

2

20

0

1

2

Am7

0

0

20

0

1

2

FIGURE 4

let ring

D

02

3

2

3

2

3

2

3

2

etc

03

2

23

2

43

2

02

3

2

3

2

3

2

3

2

03

2

4X3

2

2X3

2

Csus2

02

32

32

32

32

GB A7sus4 D

3

03

X2

0X

3

0203

02

32

32

32

32

03

232

32

32

32


FIG 2

FIG 3

FIG 4








CHAPTER

7





















































p



FIGURE 1

Aadd2

mi

p

=

3

0

0

42

p

mi

p

0

0

i p

42

2 2

p

mi

p

0 00

i

sim

Am(add2)

42

2

0

0

41

0

0

41

2 2

0 00

41

2

Gm

3

033

3

0

F

33

0 0

1 1

3

A7sus

4

21

3

0

0

04

0

0

04

2 2

0 00

04

2

p



FIGURE 2a

Esus2let ring

0

p i p

22

m p

0

0

2

a p

0

0

p i p

22

m i

0

0

2

FIGURE 2b

p

Dadd

4F


let ring

2

0

p i p

00

m p

2

2

0

DF

m p

2

3

p i p

Dadd

4F

00

m p

2

2

0




strum


Glet ring

777977

777977

777977

G9sus4

777

777797

777797

777797

777

=

3

3

sim

F

777797

777797

000

000

555755

555755

555755

F9sus4

555

555575

555575

555575

555

555575

555575

000

000

C

000000

20200

0200

000

000 0

200

0200

0000

0020

0000

0200

Dm7

0000

2000

2000

0000

222000

Cadd4 Cmaj11

050000

040000

Fmaj7C

040000

020000

Cadd4 CF

020000

000000

Cadd4E C5

0

5X0000

4X0000

000

2

FIG 2A

FIG 1

FIG 3

FIG 2B




CHAPTER

8




























































FIGURE 2

FIGURE 1

let ring A

2 3 1

Am

0

2

22

0

4 2 31

Am7G D9F

sim

Amaj7

2 3 1

0

2

2

2

2

0 2

12

0

T 3 4 2 1 1

F

A7

0

2

2

12

0

3 2 4

G

2

02

0

1 3 2

D

D

0

2

2

02

0

2 3 1

E

232

235

232

E

022100

0

42

00

064

F m

4222

F m(maj7)

3222

3222

F m7

2222

0

B

2444

FIGURE 3



D

let ring

A7sus4

0232

3230 2

Bm7

0

033

2033

202

G

2

2 0

02 0

0

30 2

D

00

A7sus4

0232

3230 2

A7 G

0203

202

000

3

000

3

003

0

030

3X003

000

FIGURE 4



let ring G C

3

2 0

F

3

2

0

NC

3

21

D

2

0

0

232

3

A7

30

32

0

0

02

020

02

020

NC

0

20

FIG 4

FIG 1

FIG 2

FIG 3




CHAPTER

9

































































ate the passage



p

FIGURE 1

let ring

G

p

=

3

3

mi mi p


10 10

012

i p sim

GB

XXX

120

7 7

08

Csus2

XXX

70

3 3

05

D

XXX

00

5 5

07

XXX

70

i p

FIGURE 2

let ring Em7

p m mi

p

0

00

0

i p

Cadd2

p

X

XX

3

5

m p mi

p

0

0

0

p i m p

Dadd4

X

XX

4

3

p i mi

p

5

5 0

03

m p

Csus2

p

X

XX

3

0

i p mi

p

01

0

p

X

XX

0


let ring

p

FIGURE 3

Cadd4

p mi

0 3

033

i p p

33

00 2

i p

strum wfingers

03

0

p p

Fsus2

33

2

p mi

p

2 30

33

i p i p

E

33

03

0

6

9

p

Dm11

1033

0033

p

FIGURE 4

i p

Bm7

let ring

2 40

p

0 2

m

0

0

i p

2

m p

00

4

0

m p m p

Dsus

2

0

0

0

0

p

NH

24

p

121212

777

m p i p

(play 3 times)

777 0

0

0

i

2 40

p

Em11

22

strum wfingers

0000

p

A7sus4

2

2

p

0

Gsus2

0000

77

0000

55

0000

m p i p

grad release

0000 0

0

0

12

p

Dsus2

2

2 0

p

0 NH

(strum wthumb)

777

FIG 4

FIG 1

FIG 2

FIG 3




CHAPTER

3























































notes respectively














p

FIGURE 1

let ring Bm

i p i

0 20

2

p

Aadd4C

i

40 4

p i

04

7

p

Em7G

i p i

0 3

0

3

p

Dadd4A

i

2

0 5

p i i

0

5

4

p

04

p

FIGURE 2

let ring

Em

2

m p

2

p i p

2

0

2

m p

2

3

p i p

2

0

i p

2

3

2

sim

Am7

0 0

3

0

1

0

B5

2

2

2

0

2

2

2

p

FIGURE 3

C

let ring

3

i p

5

3

i p

i

7

8

7 10

p sim

G

13

103

4

3

7

7

7 10

Am

12

10 5

5

5

8

9

8 12

F

14

12 1

2

1

5

5

5 8

10

8

FIGURE 4

let ring A

=

3

0222

0222

0222

= downstroke

= upstroke

sim

4222

0 0222

0222

XXX

GA

0119

10

0978

0978

DA

0978

0978

0777

XXX

Am7

0555

0555

0555

BA

7555

0 0555

0555

XXX

B

A

0444

0444

0XXX

0333

0333

0XXX

FIG 1

FIG 2

FIG 3

FIG 4




CHAPTER

4

















these tracks tick





















FIGURE 1D )

















in the bass)
















p

FIGURE 1

C

3

p

2

p

3

p

2

a p

C

3

3

p

2

p

3

p

2

a p

C

3

3

p i p

20

3

p

2

a p

C

3

3

p i p

20

m p

3

1

2

a p

FIGURE 2

C

3

3

p i p

20

m p

3

1

2

etc

G

2

3

00

3

0

0

Am7

0

3

22

0

1

2

Em

2

3

20

0

0

2

a p

FIGURE 3

Em

2

3

p i p

20

m p

0

0

2

etc

Em(add2)

2

2

20

0

0

2

Am13

0

2

20

0

1

2

Am7

0

0

20

0

1

2

FIGURE 4

let ring

D

02

3

2

3

2

3

2

3

2

etc

03

2

23

2

43

2

02

3

2

3

2

3

2

3

2

03

2

4X3

2

2X3

2

Csus2

02

32

32

32

32

GB A7sus4 D

3

03

X2

0X

3

0203

02

32

32

32

32

03

232

32

32

32


FIG 2

FIG 3

FIG 4








CHAPTER

7





















































p



FIGURE 1

Aadd2

mi

p

=

3

0

0

42

p

mi

p

0

0

i p

42

2 2

p

mi

p

0 00

i

sim

Am(add2)

42

2

0

0

41

0

0

41

2 2

0 00

41

2

Gm

3

033

3

0

F

33

0 0

1 1

3

A7sus

4

21

3

0

0

04

0

0

04

2 2

0 00

04

2

p



FIGURE 2a

Esus2let ring

0

p i p

22

m p

0

0

2

a p

0

0

p i p

22

m i

0

0

2

FIGURE 2b

p

Dadd

4F


let ring

2

0

p i p

00

m p

2

2

0

DF

m p

2

3

p i p

Dadd

4F

00

m p

2

2

0




strum


Glet ring

777977

777977

777977

G9sus4

777

777797

777797

777797

777

=

3

3

sim

F

777797

777797

000

000

555755

555755

555755

F9sus4

555

555575

555575

555575

555

555575

555575

000

000

C

000000

20200

0200

000

000 0

200

0200

0000

0020

0000

0200

Dm7

0000

2000

2000

0000

222000

Cadd4 Cmaj11

050000

040000

Fmaj7C

040000

020000

Cadd4 CF

020000

000000

Cadd4E C5

0

5X0000

4X0000

000

2

FIG 2A

FIG 1

FIG 3

FIG 2B




CHAPTER

8




























































FIGURE 2

FIGURE 1

let ring A

2 3 1

Am

0

2

22

0

4 2 31

Am7G D9F

sim

Amaj7

2 3 1

0

2

2

2

2

0 2

12

0

T 3 4 2 1 1

F

A7

0

2

2

12

0

3 2 4

G

2

02

0

1 3 2

D

D

0

2

2

02

0

2 3 1

E

232

235

232

E

022100

0

42

00

064

F m

4222

F m(maj7)

3222

3222

F m7

2222

0

B

2444

FIGURE 3



D

let ring

A7sus4

0232

3230 2

Bm7

0

033

2033

202

G

2

2 0

02 0

0

30 2

D

00

A7sus4

0232

3230 2

A7 G

0203

202

000

3

000

3

003

0

030

3X003

000

FIGURE 4



let ring G C

3

2 0

F

3

2

0

NC

3

21

D

2

0

0

232

3

A7

30

32

0

0

02

020

02

020

NC

0

20

FIG 4

FIG 1

FIG 2

FIG 3




CHAPTER

9

































































ate the passage



p

FIGURE 1

let ring

G

p

=

3

3

mi mi p


10 10

012

i p sim

GB

XXX

120

7 7

08

Csus2

XXX

70

3 3

05

D

XXX

00

5 5

07

XXX

70

i p

FIGURE 2

let ring Em7

p m mi

p

0

00

0

i p

Cadd2

p

X

XX

3

5

m p mi

p

0

0

0

p i m p

Dadd4

X

XX

4

3

p i mi

p

5

5 0

03

m p

Csus2

p

X

XX

3

0

i p mi

p

01

0

p

X

XX

0


let ring

p

FIGURE 3

Cadd4

p mi

0 3

033

i p p

33

00 2

i p

strum wfingers

03

0

p p

Fsus2

33

2

p mi

p

2 30

33

i p i p

E

33

03

0

6

9

p

Dm11

1033

0033

p

FIGURE 4

i p

Bm7

let ring

2 40

p

0 2

m

0

0

i p

2

m p

00

4

0

m p m p

Dsus

2

0

0

0

0

p

NH

24

p

121212

777

m p i p

(play 3 times)

777 0

0

0

i

2 40

p

Em11

22

strum wfingers

0000

p

A7sus4

2

2

p

0

Gsus2

0000

77

0000

55

0000

m p i p

grad release

0000 0

0

0

12

p

Dsus2

2

2 0

p

0 NH

(strum wthumb)

777

FIG 4

FIG 1

FIG 2

FIG 3




CHAPTER

4

















these tracks tick





















FIGURE 1D )

















in the bass)
















p

FIGURE 1

C

3

p

2

p

3

p

2

a p

C

3

3

p

2

p

3

p

2

a p

C

3

3

p i p

20

3

p

2

a p

C

3

3

p i p

20

m p

3

1

2

a p

FIGURE 2

C

3

3

p i p

20

m p

3

1

2

etc

G

2

3

00

3

0

0

Am7

0

3

22

0

1

2

Em

2

3

20

0

0

2

a p

FIGURE 3

Em

2

3

p i p

20

m p

0

0

2

etc

Em(add2)

2

2

20

0

0

2

Am13

0

2

20

0

1

2

Am7

0

0

20

0

1

2

FIGURE 4

let ring

D

02

3

2

3

2

3

2

3

2

etc

03

2

23

2

43

2

02

3

2

3

2

3

2

3

2

03

2

4X3

2

2X3

2

Csus2

02

32

32

32

32

GB A7sus4 D

3

03

X2

0X

3

0203

02

32

32

32

32

03

232

32

32

32


FIG 2

FIG 3

FIG 4








CHAPTER

7





















































p



FIGURE 1

Aadd2

mi

p

=

3

0

0

42

p

mi

p

0

0

i p

42

2 2

p

mi

p

0 00

i

sim

Am(add2)

42

2

0

0

41

0

0

41

2 2

0 00

41

2

Gm

3

033

3

0

F

33

0 0

1 1

3

A7sus

4

21

3

0

0

04

0

0

04

2 2

0 00

04

2

p



FIGURE 2a

Esus2let ring

0

p i p

22

m p

0

0

2

a p

0

0

p i p

22

m i

0

0

2

FIGURE 2b

p

Dadd

4F


let ring

2

0

p i p

00

m p

2

2

0

DF

m p

2

3

p i p

Dadd

4F

00

m p

2

2

0




strum


Glet ring

777977

777977

777977

G9sus4

777

777797

777797

777797

777

=

3

3

sim

F

777797

777797

000

000

555755

555755

555755

F9sus4

555

555575

555575

555575

555

555575

555575

000

000

C

000000

20200

0200

000

000 0

200

0200

0000

0020

0000

0200

Dm7

0000

2000

2000

0000

222000

Cadd4 Cmaj11

050000

040000

Fmaj7C

040000

020000

Cadd4 CF

020000

000000

Cadd4E C5

0

5X0000

4X0000

000

2

FIG 2A

FIG 1

FIG 3

FIG 2B




CHAPTER

8




























































FIGURE 2

FIGURE 1

let ring A

2 3 1

Am

0

2

22

0

4 2 31

Am7G D9F

sim

Amaj7

2 3 1

0

2

2

2

2

0 2

12

0

T 3 4 2 1 1

F

A7

0

2

2

12

0

3 2 4

G

2

02

0

1 3 2

D

D

0

2

2

02

0

2 3 1

E

232

235

232

E

022100

0

42

00

064

F m

4222

F m(maj7)

3222

3222

F m7

2222

0

B

2444

FIGURE 3



D

let ring

A7sus4

0232

3230 2

Bm7

0

033

2033

202

G

2

2 0

02 0

0

30 2

D

00

A7sus4

0232

3230 2

A7 G

0203

202

000

3

000

3

003

0

030

3X003

000

FIGURE 4



let ring G C

3

2 0

F

3

2

0

NC

3

21

D

2

0

0

232

3

A7

30

32

0

0

02

020

02

020

NC

0

20

FIG 4

FIG 1

FIG 2

FIG 3




CHAPTER

9

































































ate the passage



p

FIGURE 1

let ring

G

p

=

3

3

mi mi p


10 10

012

i p sim

GB

XXX

120

7 7

08

Csus2

XXX

70

3 3

05

D

XXX

00

5 5

07

XXX

70

i p

FIGURE 2

let ring Em7

p m mi

p

0

00

0

i p

Cadd2

p

X

XX

3

5

m p mi

p

0

0

0

p i m p

Dadd4

X

XX

4

3

p i mi

p

5

5 0

03

m p

Csus2

p

X

XX

3

0

i p mi

p

01

0

p

X

XX

0


let ring

p

FIGURE 3

Cadd4

p mi

0 3

033

i p p

33

00 2

i p

strum wfingers

03

0

p p

Fsus2

33

2

p mi

p

2 30

33

i p i p

E

33

03

0

6

9

p

Dm11

1033

0033

p

FIGURE 4

i p

Bm7

let ring

2 40

p

0 2

m

0

0

i p

2

m p

00

4

0

m p m p

Dsus

2

0

0

0

0

p

NH

24

p

121212

777

m p i p

(play 3 times)

777 0

0

0

i

2 40

p

Em11

22

strum wfingers

0000

p

A7sus4

2

2

p

0

Gsus2

0000

77

0000

55

0000

m p i p

grad release

0000 0

0

0

12

p

Dsus2

2

2 0

p

0 NH

(strum wthumb)

777

FIG 4

FIG 1

FIG 2

FIG 3








CHAPTER

7





















































p



FIGURE 1

Aadd2

mi

p

=

3

0

0

42

p

mi

p

0

0

i p

42

2 2

p

mi

p

0 00

i

sim

Am(add2)

42

2

0

0

41

0

0

41

2 2

0 00

41

2

Gm

3

033

3

0

F

33

0 0

1 1

3

A7sus

4

21

3

0

0

04

0

0

04

2 2

0 00

04

2

p



FIGURE 2a

Esus2let ring

0

p i p

22

m p

0

0

2

a p

0

0

p i p

22

m i

0

0

2

FIGURE 2b

p

Dadd

4F


let ring

2

0

p i p

00

m p

2

2

0

DF

m p

2

3

p i p

Dadd

4F

00

m p

2

2

0




strum


Glet ring

777977

777977

777977

G9sus4

777

777797

777797

777797

777

=

3

3

sim

F

777797

777797

000

000

555755

555755

555755

F9sus4

555

555575

555575

555575

555

555575

555575

000

000

C

000000

20200

0200

000

000 0

200

0200

0000

0020

0000

0200

Dm7

0000

2000

2000

0000

222000

Cadd4 Cmaj11

050000

040000

Fmaj7C

040000

020000

Cadd4 CF

020000

000000

Cadd4E C5

0

5X0000

4X0000

000

2

FIG 2A

FIG 1

FIG 3

FIG 2B




CHAPTER

8




























































FIGURE 2

FIGURE 1

let ring A

2 3 1

Am

0

2

22

0

4 2 31

Am7G D9F

sim

Amaj7

2 3 1

0

2

2

2

2

0 2

12

0

T 3 4 2 1 1

F

A7

0

2

2

12

0

3 2 4

G

2

02

0

1 3 2

D

D

0

2

2

02

0

2 3 1

E

232

235

232

E

022100

0

42

00

064

F m

4222

F m(maj7)

3222

3222

F m7

2222

0

B

2444

FIGURE 3



D

let ring

A7sus4

0232

3230 2

Bm7

0

033

2033

202

G

2

2 0

02 0

0

30 2

D

00

A7sus4

0232

3230 2

A7 G

0203

202

000

3

000

3

003

0

030

3X003

000

FIGURE 4



let ring G C

3

2 0

F

3

2

0

NC

3

21

D

2

0

0

232

3

A7

30

32

0

0

02

020

02

020

NC

0

20

FIG 4

FIG 1

FIG 2

FIG 3




CHAPTER

9

































































ate the passage



p

FIGURE 1

let ring

G

p

=

3

3

mi mi p


10 10

012

i p sim

GB

XXX

120

7 7

08

Csus2

XXX

70

3 3

05

D

XXX

00

5 5

07

XXX

70

i p

FIGURE 2

let ring Em7

p m mi

p

0

00

0

i p

Cadd2

p

X

XX

3

5

m p mi

p

0

0

0

p i m p

Dadd4

X

XX

4

3

p i mi

p

5

5 0

03

m p

Csus2

p

X

XX

3

0

i p mi

p

01

0

p

X

XX

0


let ring

p

FIGURE 3

Cadd4

p mi

0 3

033

i p p

33

00 2

i p

strum wfingers

03

0

p p

Fsus2

33

2

p mi

p

2 30

33

i p i p

E

33

03

0

6

9

p

Dm11

1033

0033

p

FIGURE 4

i p

Bm7

let ring

2 40

p

0 2

m

0

0

i p

2

m p

00

4

0

m p m p

Dsus

2

0

0

0

0

p

NH

24

p

121212

777

m p i p

(play 3 times)

777 0

0

0

i

2 40

p

Em11

22

strum wfingers

0000

p

A7sus4

2

2

p

0

Gsus2

0000

77

0000

55

0000

m p i p

grad release

0000 0

0

0

12

p

Dsus2

2

2 0

p

0 NH

(strum wthumb)

777

FIG 4

FIG 1

FIG 2

FIG 3






CHAPTER

7





















































p



FIGURE 1

Aadd2

mi

p

=

3

0

0

42

p

mi

p

0

0

i p

42

2 2

p

mi

p

0 00

i

sim

Am(add2)

42

2

0

0

41

0

0

41

2 2

0 00

41

2

Gm

3

033

3

0

F

33

0 0

1 1

3

A7sus

4

21

3

0

0

04

0

0

04

2 2

0 00

04

2

p



FIGURE 2a

Esus2let ring

0

p i p

22

m p

0

0

2

a p

0

0

p i p

22

m i

0

0

2

FIGURE 2b

p

Dadd

4F


let ring

2

0

p i p

00

m p

2

2

0

DF

m p

2

3

p i p

Dadd

4F

00

m p

2

2

0




strum


Glet ring

777977

777977

777977

G9sus4

777

777797

777797

777797

777

=

3

3

sim

F

777797

777797

000

000

555755

555755

555755

F9sus4

555

555575

555575

555575

555

555575

555575

000

000

C

000000

20200

0200

000

000 0

200

0200

0000

0020

0000

0200

Dm7

0000

2000

2000

0000

222000

Cadd4 Cmaj11

050000

040000

Fmaj7C

040000

020000

Cadd4 CF

020000

000000

Cadd4E C5

0

5X0000

4X0000

000

2

FIG 2A

FIG 1

FIG 3

FIG 2B




CHAPTER

8




























































FIGURE 2

FIGURE 1

let ring A

2 3 1

Am

0

2

22

0

4 2 31

Am7G D9F

sim

Amaj7

2 3 1

0

2

2

2

2

0 2

12

0

T 3 4 2 1 1

F

A7

0

2

2

12

0

3 2 4

G

2

02

0

1 3 2

D

D

0

2

2

02

0

2 3 1

E

232

235

232

E

022100

0

42

00

064

F m

4222

F m(maj7)

3222

3222

F m7

2222

0

B

2444

FIGURE 3



D

let ring

A7sus4

0232

3230 2

Bm7

0

033

2033

202

G

2

2 0

02 0

0

30 2

D

00

A7sus4

0232

3230 2

A7 G

0203

202

000

3

000

3

003

0

030

3X003

000

FIGURE 4



let ring G C

3

2 0

F

3

2

0

NC

3

21

D

2

0

0

232

3

A7

30

32

0

0

02

020

02

020

NC

0

20

FIG 4

FIG 1

FIG 2

FIG 3




CHAPTER

9

































































ate the passage



p

FIGURE 1

let ring

G

p

=

3

3

mi mi p


10 10

012

i p sim

GB

XXX

120

7 7

08

Csus2

XXX

70

3 3

05

D

XXX

00

5 5

07

XXX

70

i p

FIGURE 2

let ring Em7

p m mi

p

0

00

0

i p

Cadd2

p

X

XX

3

5

m p mi

p

0

0

0

p i m p

Dadd4

X

XX

4

3

p i mi

p

5

5 0

03

m p

Csus2

p

X

XX

3

0

i p mi

p

01

0

p

X

XX

0


let ring

p

FIGURE 3

Cadd4

p mi

0 3

033

i p p

33

00 2

i p

strum wfingers

03

0

p p

Fsus2

33

2

p mi

p

2 30

33

i p i p

E

33

03

0

6

9

p

Dm11

1033

0033

p

FIGURE 4

i p

Bm7

let ring

2 40

p

0 2

m

0

0

i p

2

m p

00

4

0

m p m p

Dsus

2

0

0

0

0

p

NH

24

p

121212

777

m p i p

(play 3 times)

777 0

0

0

i

2 40

p

Em11

22

strum wfingers

0000

p

A7sus4

2

2

p

0

Gsus2

0000

77

0000

55

0000

m p i p

grad release

0000 0

0

0

12

p

Dsus2

2

2 0

p

0 NH

(strum wthumb)

777

FIG 4

FIG 1

FIG 2

FIG 3




CHAPTER

7





















































p



FIGURE 1

Aadd2

mi

p

=

3

0

0

42

p

mi

p

0

0

i p

42

2 2

p

mi

p

0 00

i

sim

Am(add2)

42

2

0

0

41

0

0

41

2 2

0 00

41

2

Gm

3

033

3

0

F

33

0 0

1 1

3

A7sus

4

21

3

0

0

04

0

0

04

2 2

0 00

04

2

p



FIGURE 2a

Esus2let ring

0

p i p

22

m p

0

0

2

a p

0

0

p i p

22

m i

0

0

2

FIGURE 2b

p

Dadd

4F


let ring

2

0

p i p

00

m p

2

2

0

DF

m p

2

3

p i p

Dadd

4F

00

m p

2

2

0




strum


Glet ring

777977

777977

777977

G9sus4

777

777797

777797

777797

777

=

3

3

sim

F

777797

777797

000

000

555755

555755

555755

F9sus4

555

555575

555575

555575

555

555575

555575

000

000

C

000000

20200

0200

000

000 0

200

0200

0000

0020

0000

0200

Dm7

0000

2000

2000

0000

222000

Cadd4 Cmaj11

050000

040000

Fmaj7C

040000

020000

Cadd4 CF

020000

000000

Cadd4E C5

0

5X0000

4X0000

000

2

FIG 2A

FIG 1

FIG 3

FIG 2B




CHAPTER

8




























































FIGURE 2

FIGURE 1

let ring A

2 3 1

Am

0

2

22

0

4 2 31

Am7G D9F

sim

Amaj7

2 3 1

0

2

2

2

2

0 2

12

0

T 3 4 2 1 1

F

A7

0

2

2

12

0

3 2 4

G

2

02

0

1 3 2

D

D

0

2

2

02

0

2 3 1

E

232

235

232

E

022100

0

42

00

064

F m

4222

F m(maj7)

3222

3222

F m7

2222

0

B

2444

FIGURE 3



D

let ring

A7sus4

0232

3230 2

Bm7

0

033

2033

202

G

2

2 0

02 0

0

30 2

D

00

A7sus4

0232

3230 2

A7 G

0203

202

000

3

000

3

003

0

030

3X003

000

FIGURE 4



let ring G C

3

2 0

F

3

2

0

NC

3

21

D

2

0

0

232

3

A7

30

32

0

0

02

020

02

020

NC

0

20

FIG 4

FIG 1

FIG 2

FIG 3




CHAPTER

9

































































ate the passage



p

FIGURE 1

let ring

G

p

=

3

3

mi mi p


10 10

012

i p sim

GB

XXX

120

7 7

08

Csus2

XXX

70

3 3

05

D

XXX

00

5 5

07

XXX

70

i p

FIGURE 2

let ring Em7

p m mi

p

0

00

0

i p

Cadd2

p

X

XX

3

5

m p mi

p

0

0

0

p i m p

Dadd4

X

XX

4

3

p i mi

p

5

5 0

03

m p

Csus2

p

X

XX

3

0

i p mi

p

01

0

p

X

XX

0


let ring

p

FIGURE 3

Cadd4

p mi

0 3

033

i p p

33

00 2

i p

strum wfingers

03

0

p p

Fsus2

33

2

p mi

p

2 30

33

i p i p

E

33

03

0

6

9

p

Dm11

1033

0033

p

FIGURE 4

i p

Bm7

let ring

2 40

p

0 2

m

0

0

i p

2

m p

00

4

0

m p m p

Dsus

2

0

0

0

0

p

NH

24

p

121212

777

m p i p

(play 3 times)

777 0

0

0

i

2 40

p

Em11

22

strum wfingers

0000

p

A7sus4

2

2

p

0

Gsus2

0000

77

0000

55

0000

m p i p

grad release

0000 0

0

0

12

p

Dsus2

2

2 0

p

0 NH

(strum wthumb)

777

FIG 4

FIG 1

FIG 2

FIG 3




CHAPTER

8




























































FIGURE 2

FIGURE 1

let ring A

2 3 1

Am

0

2

22

0

4 2 31

Am7G D9F

sim

Amaj7

2 3 1

0

2

2

2

2

0 2

12

0

T 3 4 2 1 1

F

A7

0

2

2

12

0

3 2 4

G

2

02

0

1 3 2

D

D

0

2

2

02

0

2 3 1

E

232

235

232

E

022100

0

42

00

064

F m

4222

F m(maj7)

3222

3222

F m7

2222

0

B

2444

FIGURE 3



D

let ring

A7sus4

0232

3230 2

Bm7

0

033

2033

202

G

2

2 0

02 0

0

30 2

D

00

A7sus4

0232

3230 2

A7 G

0203

202

000

3

000

3

003

0

030

3X003

000

FIGURE 4



let ring G C

3

2 0

F

3

2

0

NC

3

21

D

2

0

0

232

3

A7

30

32

0

0

02

020

02

020

NC

0

20

FIG 4

FIG 1

FIG 2

FIG 3




CHAPTER

9

































































ate the passage



p

FIGURE 1

let ring

G

p

=

3

3

mi mi p


10 10

012

i p sim

GB

XXX

120

7 7

08

Csus2

XXX

70

3 3

05

D

XXX

00

5 5

07

XXX

70

i p

FIGURE 2

let ring Em7

p m mi

p

0

00

0

i p

Cadd2

p

X

XX

3

5

m p mi

p

0

0

0

p i m p

Dadd4

X

XX

4

3

p i mi

p

5

5 0

03

m p

Csus2

p

X

XX

3

0

i p mi

p

01

0

p

X

XX

0


let ring

p

FIGURE 3

Cadd4

p mi

0 3

033

i p p

33

00 2

i p

strum wfingers

03

0

p p

Fsus2

33

2

p mi

p

2 30

33

i p i p

E

33

03

0

6

9

p

Dm11

1033

0033

p

FIGURE 4

i p

Bm7

let ring

2 40

p

0 2

m

0

0

i p

2

m p

00

4

0

m p m p

Dsus

2

0

0

0

0

p

NH

24

p

121212

777

m p i p

(play 3 times)

777 0

0

0

i

2 40

p

Em11

22

strum wfingers

0000

p

A7sus4

2

2

p

0

Gsus2

0000

77

0000

55

0000

m p i p

grad release

0000 0

0

0

12

p

Dsus2

2

2 0

p

0 NH

(strum wthumb)

777

FIG 4

FIG 1

FIG 2

FIG 3




CHAPTER

9

































































ate the passage



p

FIGURE 1

let ring

G

p

=

3

3

mi mi p


10 10

012

i p sim

GB

XXX

120

7 7

08

Csus2

XXX

70

3 3

05

D

XXX

00

5 5

07

XXX

70

i p

FIGURE 2

let ring Em7

p m mi

p

0

00

0

i p

Cadd2

p

X

XX

3

5

m p mi

p

0

0

0

p i m p

Dadd4

X

XX

4

3

p i mi

p

5

5 0

03

m p

Csus2

p

X

XX

3

0

i p mi

p

01

0

p

X

XX

0


let ring

p

FIGURE 3

Cadd4

p mi

0 3

033

i p p

33

00 2

i p

strum wfingers

03

0

p p

Fsus2

33

2

p mi

p

2 30

33

i p i p

E

33

03

0

6

9

p

Dm11

1033

0033

p

FIGURE 4

i p

Bm7

let ring

2 40

p

0 2

m

0

0

i p

2

m p

00

4

0

m p m p

Dsus

2

0

0

0

0

p

NH

24

p

121212

777

m p i p

(play 3 times)

777 0

0

0

i

2 40

p

Em11

22

strum wfingers

0000

p

A7sus4

2

2

p

0

Gsus2

0000

77

0000

55

0000

m p i p

grad release

0000 0

0

0

12

p

Dsus2

2

2 0

p

0 NH

(strum wthumb)

777

FIG 4

FIG 1

FIG 2

FIG 3

Dale Turner's Secret of the Great Acoustic Songwriters.PDF

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