acoustic guitar magazine, LEAD & MELODY BASICS. Per imparare a suonare musica folk, blues, Celtic & bluegrass, con i titoli: Cripple Creek -Cotton-Eyed Joe -Cottonwood -The Theme from the Pink Panther -She'll Be Comin' 'round the Mountain -Arkansas Traveler -Wildwood Flower -Walker Street -Tripping up the Stairs. Lezioni su melodie e scale maggiori arpeggiate -Jim Wood; Adding Melodies to Strum Patterns -Dylan Schorer; Beginning Blues Soloing -David Hamburger; Hammer-ons, Pull-offs, and Slides -Paul Schlueter. l'improvvisazione intorno a una melodia -Mike Christiansen; Learning to Transpose -Dix Bruce; Arpeggios and Melodies -Paul Kotapish; Melodic Solos up the Neck -Dylan Schorer. CD TABLATURE
ACOUSTIC GUITAR LEAD AND MELODY BASICS
As you try moving the melody onto other strings, you'll probably discover the two
moves that won't work. Youcan't start the melody on the sixth string because you'd need
a lower string, a B, to complete it. Have you tried starting the melody on string two, tuned
to a B note? Interesting sound. Why won't it work? Because the major-third interval
throws a wrench into the works. If the third string were tuned a perfect fourth below the
second string, to an Hinstead of a G,you could play the melody here just as on the other
string pairs. With a little effort, though, you can probably figure out how to accommodate
the major-third interval.
Of course these examples are very simple and limited to notes confined to two or
three adjacent strings. Most melodies won't be quite this easy to transpose. More sophisticated
melodies will require some adjustments. Still, the same principles will apply that
allowed you to move a very simple melodic fragment through the keys of 0, G,A, and E.
Let's try transposing a more challenging tune.
"Wildwood Flower" is a beautiful old song first recorded by the Carter Family in 1928.
([he Rounder CDAnchored in Love includes this historic performance.) It is one of the
most often learned and played songs in the beginning and intermediate guitar repertoire.
Here's a transcription of Maybelle Carter's simple treatment of the melody and accompaniment,
her classic picking style with chord strums punctuating the single-string
melody notes. To play it smoothly, you need to hold your fretting hand in the general
shape of the accompaniment chord as you play single-string notes and chords. If you
drop your hand between notes or strums, you'll waste motion and miss the essence of
Carter-style f1atpicking. There are some notes that will require you to briefly change the
basic chord position, but you should try to move only the necessary finger to reach a note.
You'll find a few hammer-ons and pull-offs, but other than that, all the notes and
chords are played with simple downstrokes. The original version of "Wildwood Flower" is
played in the key of Bb.Maybelle Carter probably tuned her guitar down one whole step
and played out of C position. The resulting sound was in the key of Bb.She probably did
this to accommodate Sara Carter's voice while still playing out of positions she was familiar
with. The first version is written in the key of C. Notice that in typical Carter style,
most of the chord strums don't use all six strings. For example, in the first full measure
(don't count the pickup measure) the strum on beat two is played on the first, second,
and third strings. You could strum all six strings, but the abbreviated strum allows for
more efficient hand movement and a crisper sound.
Once you can comfortably play "Wildwood Flower" in the key of C without looking at
the music, try moving it over one string so that the first note is on the second fret of the
fifth string. This will put the song into the key of G.The trick here is to maintain the same
basic hand position you held for the version in the key of C. Again, try to visualize your
fretting-hand positions before you play. It's going to look and feel a bit different in some
spots because the chords are different, but there's much that will be the same. The
changed passages are the fault of the major-third interval between strings three and two,
but the new chord positions will automatically take care of most of the differences. You'll
only need to change one note in the key-of-G version: beat three of measure 14. In the
key-of-Cversion we played the alternate G bass note for the C chord on string six. Since
you probably don't have a seventh string on your guitar, we'll play the alternate B bass
note for the G chord at the second fret of the fifth string.
contents
CD Track List
Introduction
Music Notation Key
About the Teachers
GETTING STARTED - Melodies and Maior Scales - JIM WOOD
Cripple Creek
Cotton-Eyed Joe
Adding Melodies to Strum Patterns - DYLAN SCHORER
Beginning Blues Soloing - David HAMBURGER
Hammer-ons, Pull-Offs, and Slides - PAUL SCHLUETER
Pink Panther Theme
MOVING ON - Improvising around the Melody - MIKE CHRISTIANSEN
She'll be Comin' 'round the Mountain
Learning to Transpose - DIX Bruce
Arkansas Traveler
Wildwood Flower
Arpeggios and Melodies - PAUL KOTAPISH
Walker Street
Tripping up the Stairs
Melodic Solos up the Neck - DYLAN SCHORER
Scale Library
Italiano
English
