Acoustic Riffing part 2
Written by: Jeff Fiorentino
Copyright © 2006 JFRocks All rights reserved
These lessons are structured much the same way I do things on the main site jfrocks.com. These lessons will cover various aspects of acoustic guitar and things to practice. Mostly dealing with steel 6 string acoustic as that's what I play. However, some lessons will deal with Nylon string acoustic guitar as well. Either way the lessons covered here are interchangeable between the two guitar string types. Although I recommend learning and practicing on Steel string acoustic. This is because its more difficult to play and you will improve your electric playing immensely because you will build finger strength. Also acoustic is less forgiving than electric. Mistakes can and will be heard and are not covered up by effects or heavy reverb. Updates to this page will be as often as I can. I'm only human and while I have help with jfrocks.com, I'm on my own with this off shoot. LOL I will strive for an average update of 1 per week. To be alerted of updates to this site or the main site, please sign up for our alerts on the main website. You will receive an email when updates to either site have been made.
|Lesson Title||Riffing around p2, making boring chords interesting|
|CD Category||Expansion on Acoustic 101 CD ROM topics|
** Standard tuning may be used for this lesson. My guitar happens to be tuned flat 1/2 step this time around.
|Jeff's Guitar's tuning||Flat Eb, Ab, Db, Gb, Bb, Eb|
Tabs & Lesson
Original score by: Jeff Fiorentino
Transcription by: Jeff Fiorentino
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This Lesson's difficulty level 1-10 scale
This lesson is part 2 basically of another lesson we did where we took a simple chord pattern and noodled around and made it more interesting by adding our own little accompaniment to it. This lesson is similar to that one but a different example of course.
Often times what happens when we pick up an acoustic guitar is we get locked into strumming chords and only strumming chords. My goal here is to simply give you some ideas to work with to get out of that.
This pattern is very melodic but also very common in acoustic playing. At least here in the southwest where I live anyway but if you like the Eagles and stuff you'll dig this pattern. It's G, B7, C, D and or D7 as a turnaround. Then it can drop to Em for a bridge or something. Not sure how far I'll take it in this lesson but in future lessons I will give you a whole song to work with on acoustic and explain how the chords work together etc.
The idea for this is to keep time as best you can of course but also to realize that as long as you stay in scale you can get away with most anything. The leads fills or noodle sections as I call them in this lesson compliment the chord pattern. I always say you don't want to do a happy fill over a sad chord pattern or visa versa. This is a melodic chord pattern and we will keep a melodic theme using double stops and single note patterns that groove with the feel of what is being strummed.
Be sure to download the video lesson as you have no idea what the feel of this is from the tabs below of course.
Key of G: G, A, B, C, D, E, F#
We will more than likely go out of Key in a couple spots such as including the Eb in the B7 chord but that's no big deal. For our leads or noodle sections we will stay in key.
Below is the scale area we will be working with.
** Notice this is not a true in scale, scale. As with a lot of the scales I show you here some of the notes repeat. That's ok, we don't play a straight up scale for our leads that would be silly. These are real world positions and notes that are used for this key in this position.
Chords we will be using
D is optional. I will more than likely use the D7 in this lesson.
G B7 C D D7
For this exercise we will do a strumming pattern 1 time through and then the same strumming pattern with some lead fills added in.
In some cased for the leads double stops (two note chord sections) will be used. Be sure to note that the pitches contained in those double stops are still in key. This whole lesson is designed to give you some ideas so don't just learn the tab, understand the pitches of the notes. I will help you out a bit on the video with this process of course.
G B7 C G D7
Same chord pattern as above but this time we use transitions or notes from our scale to lead us into each chord change. This creates a certain feel. The notes you choose to use as transitions will determine how your audience perceives the chord changes. Choose a bad transition note and even a common G, C, D chord pattern can go horribly wrong.
**Only chord changes are tabbed, not the pattern of our little example here.
Notes highlighted in Yellow are the transition notes.
G B7 C G D7
And repeat if you want to or go into what is tabbed below and feel free to embellish at will.
Retain the feel of the tab line above and add in the lead fills. The lead fills here act as vocals or would noodle around the vocalist. Either way it's far more interesting to listen to than what is above.
G B7 C
G_0__0___0_2__2-- 4___5_4_5_4_0 _2__ 2___2---4__ 2__0_0_________________0__0_________
D_0__0_________________________1__ 1______________2--4--2--0__ ___ _____2__2_________
G D7 G
G___________ 2__2-4-2-0_______ 0_2--4--2__0_____2__2___________________2-4__0__
D_____________________________________0__0_ 0__________________________ 0__
You may continue on and embellish and try other patterns. I'm sure I will demo a few other patterns or some Embellishments on the video but what I've tabbed should point you in a good direction for moving beyond just strumming this simple chord pattern in the open position.