Guitarist

Example 1 Example 2

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IN THIS FIRST SECTION, we establish the routine and rhythm of the ‘alternatin­g’ bass notes, which happen predominan­tly on beats 1 and 3 – though frequently other supporting notes happen on beats 2 and 4. Note that all quavers are swung and that some of these are really grace notes, which help promote the overall swung feel between the solid bass notes. There is a first and second time bar at play here and you may notice some subtle difference­s in the repeat of the first couple of bars. This isn’t intentiona­l, but it isn’t a mistake, either. Ideally, you’ll become comfortabl­e enough to allow tiny variations like this to creep in and add interest.

THE SECOND SECTION BEGINS

with this F6 chord, keeping as strictly as possible to the rhythm/bass pattern we have already establishe­d. Like Example 1, there are some occasional legato notes in the top line. In this case, they are hammer-ons in bars 2 and 4. Note also that some of the quaver grace notes enable smoother chan1ges to the next chord. T1he o1pen G string in bar 2 is a good example of this.

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