(^146) Guitar Interactive Issue 66
nies will be played with the ‘a’ finger, so more
attack is needed to outline the melody.
Next we are going to look at the left hand
part (chord shapes):
Bar 1: Natural harmonic on fret 12 of E.
Let this ring and play the following chords:
middle f on fret 9, index on fret 7 of B and
little f on fret 11 of e.
Bar 2: Next ring on fret 6 of G, index on fret
4 of B and little f on fret 7 of e. (Optional
chord – ring on fret 4 og G, index on fret 2
of B and little f on fret 4 of e)
Bar 3-4: Index on fret 7 of E, little f on fret 10
of D, middle f on fret 8 of G, ring f on fret 9
of B and index on fret 7 of e.
Bar 5: Little f on fret 7 of e, open A, middle f
on fret 6 of D, ring on fret 6 of G, open B.
Bar 6: Little f on fret 5 of e, open A, middle f
on fret 4 of D, ring on fret 5 of G, open B.
Bar 7-8: Little f on fret 4 of e, open E, index
on fret 2 of D and B, ring on fret 4 of G.
Bar 9-12: The same as bar 5-8
Bar 13: Little f on fret 7 of e, open A, middle f
on fret 6 of D, ring on fret 6 of G, open B.
Bar 14: Middle f on fret 5 of A, index on fret
4 of D ring on fret 6 of G, open B. and little
f on fret 5 of e.
Bar 15: Barre’ on fret 4 of A, G and e. Middle
f on fret 5 of B and ring on fret 5 of e.
Bar 16: Middle f on fret 3 of A, index on fret
2 of e, open G and ring f on fret 3 of B, fol-
lowed by open e.
Bar 17: Middle f on fret 2 of E, middle f on
fret 2 of D ring on fret 3 of G and open G.
Next, play a ‘turn’ with open B, fret 2 and
open B followed by fret 3 of G and open B.
Bar 18: Barre’ on fret 2 of A, D, G, B and e.
Little f on fret 4 of e
Bar 19: Open E and e, middle f on fret 2 of
A, little f on fret 4 of D, index on fret 1 of G
and open B.
Bar 20: Arpeggiate the last chord Eadd9, as
described in the previous bar.
At this point play the intro to end.
Congratulations, you have completed ‘Lul-
laby’!
As always, you will be able to download a
transcription by selecting the menu option in
this page.
I strongly recommend experimenting with a
few picking variations, changing the chords
as you wish in terms of voicing (higher or
lower), as well as trying the same picking
pattern on a different chord progression, or
using a ‘capo’ on fret 2 for a brighter out-
come.
THE QUIETROOM_GIORGIO SERCI THE QUIET ROOM GIORGIO SERCI CREATIVE FINGERSTYLE
darren dugan
(Darren Dugan)
#1