Guitarist

Example 3 Example 4

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STAYING WITH THE F6 CHORD,

this example then shifts the bass note up a semitone, giving us a D7 with an F# bass. At the end of this second bar, I had meant to use the open G as cover for the change into the next bar, but the open D string twice was fine! In the last two bars of this section I have deliberate­ly slowed the tempo and played the quavers without a swing feel to highlight this further. I’ve been fairly subtle, so feel free to ‘ham’ this up as much as you like.

AFTER A BRIEF RESTATEMEN­T

of the main theme, this outro also goes with a ‘straight’ feel, rather than swung. I’ve cross-picked this for the tonal consistenc­y this gives, but it is probably easier to play fingerstyl­e or with a thumbpick in the more classical ‘pima’ style. This is one of the trickier parts of the piece – you’ll need to pay close attention to how the changes of chord shape are negotiated and camouflage­d with ringing open strings.

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