Session 10 Intro Playing Notes
Background
This intro, as well as so many of the others, was iparticular introduction was to display some common mprovised during the taping of the session. My goaFingerstyle guitar techniques and chord movement. l for this It has been
an interesting process for me to go back and try to recreate and write out musically what was initially improvised.
Harmonic Explanation
This song is in the key of D. The basic chord progthat in the second measure the chord is labeled “D2ression is D - Asus/C# - Bm - G - Em - A7sus - D. /C#” but harmonically I refer to it as “Asus/C#”. You will see this You will notice
quite often in guitar music. As a guitarist you cathen adjusting it slightly to fit into another musical context. In this case in the second measure, In get a lot of musical mileage from taking a famili took the D2 and ar chord form and
added a C# as the bass note to make it fit for an Abetween both the D2 and the Asus. Similarly, in mesus/C#. This is possible because the notes A, D & asures 6 & 9, I add one note to the previous measurE are common e’s Em9 to
create a rather creative sounding Asus type chord. by changing one note on an already familiar form. This technique creates complex and beautiful chordI also use a lot of 2 chord substitutions combined with their major sounds simply
chord counterparts on the D and G chords.
Technical Explanation
In measure 1, I outline a D2 chord and then put my pull-off combination for a D chord between my pinkysecond finger down to make the D. I do a very comm and my second finger in beats 3 & 4. It may take a little practice on guitar
to get the pull-off correct but it is a great technaccompaniment. ique that can be used to embellish any D chord Fingerstyle
(^) On the last note of measure 1 I tried to notate the concept of a note ringing out by using a tie from the ringing note. So
when you see a tie starting at one note and not ending in another note, then let that note ring out. While leaving the
open first string E ringing from the previous measuC#. The Bm7 in measure 3 is fingered with my first re, I reach over in measure 2 with my pinky to catcfinger on the 5th string B, second finger on the 3rh the 5th string d string A, and
third finger on the 2nd string D. The pull-off in string A and doing the hammer-on then pull-off on tthat measure is executed by taking my second fingerhe 1st string, second fret F#. off of the 3rd
(^) The fourth measure is an outline of a G chord with the hammer-on on the 3rd string A to make it a G2. In measure 4, I
am playing the low G on the 6th string with my secofinger. In measure 5, I do a very useful and great sounding sliding lick to make an Em9. My second find finger and the hammered A on the 3rd string withnger plays the my first
fourth string E then I slide my second finger up tofinger on the second string third fret. For measures 6 & 9, I keep my fingers where they were in the the fourth fret to get the F#. I then play the upper D with my first previous measure
but I play the open 5th string A to create a new chuses a variation of the same pull-off technique as ord, which functions as an embellished Asus chord. I did in measure one to embellish the closing D chord. In the last Measure 8
measure of the song, the squiggly line next to the chord. A “roll” notation like this in guitar music means that I “roll” the chord from the lowest pitcchord is meant to indicate a “roll” of when I hit th to the highest pitch he strings of the
instead of plucking the strings all at the same ti me. After the roll I finish with a hammer-on to go from the D2 to the D.
Closing Thoughts
This little piece uses a lot of very common guitar Particularly when working in the key of D. The hamtechniques that can be incorporated into a variety mer-on pull-off embellishments on the D form are inof settings. credibly helpful
techniques to get underneath your fingers. Also, tyou a finger picking an Em. Have fun working throuhe measure 5 slide to form the Em9 is a great lick gh it. Learn all you can from it. Try to incorporate some of the to use whenever
techniques used into other playing situations. Keep Learning and Growing! - Steve Krenz
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