Finger Picking Blues Guitar Solos

7/31/2019 Finger Picking Blues Guitar Solos

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F in ger p ick in g

Blu es Gu it a r

So lost a u gh t b y

St efa n

Gr o ss m a n



2

EXPLANATION OF T HE T A B S YSTEM

These words are most suitable for introducing the tablature

system, for tablature is just a guide and should be used in

conjunction with the recordings. Tablature is not like music

notation, however the combination of tab and music in an

arrangement forms a complete language. Used together with the

original recordings they give a total picture of the music.

The tab system does not attempt to show rhythms or accents.

These can be found on the music or heard in the recordings. Music

notation tackles these articulations to a degree, but the overall

sensations, the feel and the soul of music cannot be wholly

captured on the wri tten page. In the words of the great Sufi Hazrat

Inayat Khan: “…The traditional ancient songs of India composed

by great Masters have been handed down from father to son. The

way music is taught is different from the Western way. It is not

always written, but is taught by imitation. The teacher sings and

the pupil im itates and the intricacies and subtleties are learned by

imitation.”

This is the theme I’ve tried to interpolate into the tablature.

Tablature is the roadmap and you are the driver. Now to the tab:Each space indicates a string. The top space represents the first

string, second space the second string, etc. A zero means an open

string, a number in the space indicates the fretted position, for

instance a 1 in a space indicates the first fret of that string.

“…Learning from listening is unquestionably the best way, the

only way that suits this kind of music. You are setting the notes

down for a record of what happened, a record that can be studied,

preserved and so on, a necessary and useful companion to the

recordings of the actual sounds. I keep thinking of this as I

transcribe; if you could do it, it would be good to have a legend

across each page reading : ‘Listen to the record if you want to learnthe song.’”

Copyright © 1965 Oak PublicationsAll rights reserved. Used by permission.

1

2

3

4

5

6

1

2

3

4

5

6

01

4

In the diagram below the zero is on the second string and

indicates the open second string is played. The 1 is placed on thethird string and signifies the first fret of the third string. Likewise,

the 4 is in the fourth space and indicates the fourth fret of the

fourth string.

1

2

3

4

5

6

2

0

Generally for fingerpicking styles you wi ll be playing the thumb,

index and middle fingers of your picking hand. To indicate the

picking finger in tab the stems go up and line up down from the

numbers.

A. A stem down m eans that your thumb strikes the note.

B. If a stem is up, your index or middle finger strikes the note.The choice of finger is left up to you, as your fingers will

dictate what is most comfortable, especially when playing

a song up to tempo!

C. The diagram below shows an open sixth string played with

the thumb followed by the second fret of the third string

played with the index or middle finger:

1

2

3

4

5

6

1) 2) 3) 4)

1

5) 6)

3 13

3 3

0 1 1

1) The open sixth string is played with the thumb.

2) The first fret of the sixth string is pinched together with the

third fret on the third string. The sixth string is played with

the thumb, the third string with the index finger.

3) The thumb strikes the third fret of the fourth string.

4) The first fret/ sixth string is played w ith the thumb; it’s

pinched with two notes in the treble. The index and middle

fingers strike the first fret/ first string and the third fret/

second string.

5) The next note is the index finger hitt ing the first fret/ second

string.

6) Lastly, the bass note is played with the thumb on the thirdfret/ fourth string.

There are certain places in blues and contemporary guitar that

call for the use of either strumming techniques or accented bass

notes. The tab illustrates these as follows:

1

2

3

4

5

6

1) 2)

0

3) 4)

0

5)

00 0 01y 1 1t

2iE

2 20 0

In most cases the thumb will play an alternating bass

pattern, usually on the bass strings. The index and middle

fingers play melodic notes on the first, second and third strings.

Please remember, this is not a rule; there are many exceptions.

In fingerpicking there are two “picking” styles: Regular

picking and “pinching” two notes together. A pinch is shown

in the tab by a line connecting two notes. A variation of this can

also be two treble notes pinched with a bass note. Follow the

examples below from left to right:

Hally Wood (taken from the Publisher’s Foreword

to the New Lost City Ramblers Songbook .)



3

1) The thumb hits the open sixth string and the second fret on

the fi fth string should also sound. For example, play an E

chord. Now strike the open string and vary the force of your

attack. Try hitting it hard enough so that the fifth string

vibrates as well. This technique is very important for

developing a full sound and the right alternating bass

sound.

2) Next the arrow notation indicates a brush and the arrow

head indicates the direction of the brush.

A. If the arrowhead is pointed down, the hand brushes up

towards the sixth string.

B. If pointed up, the hand brushes down towards the first

string.

C. The number of strings to be played by the brush is

shown by the length of the arrows. For example, this

arrow shows a brush up toward the sixth string, but

indicates to strike only the first, second and th ird strings.

D. The brush can be done with your whole hand,

index finger or middle and ring finger. Let comfort plus

a full and “right” sound guide your choice.

3) The third set of notes again shows the sixth string/ open

bass note played with the thumb and being struck hard

enough to make the fifth string/ second fretted position

sound.

4) Once more an arrow pointed downward indicates a brush

up. This example forms an E chord and the brush up

includes the first, second, third and fourth strings.

5) The last set of notes has an arrow pointed upward, indicat-

ing a brush downward striking the first, second, and third

strings.

1

2

3

4

5

6

1) 2)

7

3) 4) 5)

W8 P79•1 2

•1 23 H2

– 42

Here are several special effects that are also symbolized in

tablature:

3) HARMONICS: Symbol ized by a dot (•) . To play a harmonic:

gently lay your finger directly above the indicated fret (don’t

press down!) The two notes in the example are both

harmonics. The first on the twelfth fret/ third string is

played with the index/middle finger, while the second

note—twelfth fret/ fourth string—is played with the thumb.

4) SLIDE: Shown with a dash (–). Play the second fret/ sixth

string and then slide up to the fourth fret of the sixth string.

This is a continuous movement: the string is struck once

with your thumb.

5) PULL-OFF: “P” designates a “pul l-off.” Fret both the sev-

enth and ninth frets on the second string. Play the ninth fret

with your index/ middle finger and then quickly remove it

in the same stroke, leaving the seventh fret/ second string.

Pull-offs are generally in a downward direction.

6) In certain cases other specific symbols are added to the tab,

for instance:

A. For ARTIFICIAL HARMONICS an “X” is placed after the

fretted position.

B. For SNAPPING a note an indication m ay be given with

a symbol or the writ ten word.

Many times these special techniques are combined, for in-

stance putting a pull -off and a hammer-on together. Coordination

of your fretting and picking hands will be complex initially, but the

end results are exciting and fun to play.

PICKING HAND POSITION FOR FINGERPICKING STYLES:

The Classical and Flamenco schools have strict right-hand rules,

however for this style of acoustic fingerpicking there are NO

RULES, only suggestions. Your right hand position should be

dictated by comfort, however in observation of many well-knownfingerpickers I found one hand position similarity—they all tend to

rest their little finger and/ or ring finger on the face of the guitar.

This seems to help their balance for accenting notes and contro l

of the guitar. Experiment w ith this position: it may feel uncomfort-

able at first. I ask my students to perfect this position and then

compare the sound to when their finger(s) were not placed on the

face of the guitar. They usually find the sound is greatly improved

when some contact is kept with the guitar face.

MUSIC NOTATION: We have somewhat adapted the music

notation in that this also shows whether the note is picked with

your thumb or index/ middle fingers. The stems of the music notescorrespond to the direction of the tab stems. I hope this wi ll make

the music notation clearer to fingerpicking guitarists.

I hope you will feel at home and comfortable with the tablature

and musical notations. Remember, these are only road maps

indicating where and how you should place your fingers. The

playing and musical interpretation is up to you.

1) HAMMER-ON: Designated by an “H” which is placed after

the stem on the fret to be hammered. In the example

above, fret the second fret/ fifth string and pick it w ith your

thumb. Then “hammer-on” (hit hard) the third fret/ fifthstring, i.e. fret the third fret / fifth string. This is an all-in-one,

continuous motion which will produce two notes rapidly

with one picking finger strike.

2) WHAM: Designated by a “W.” In the example the eighth

fret/ second string is “whammed” and played with the

seventh fret / first string. Both notes are played together

with your index and middle fingers respectively. The

whammed note is “stretched.” We do this by literally

bending the note up. We can “wham” the note up a half

tone, full tone, etc.



4

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œ œ n œ ,

œ n œ œ n œ œ b œ œ n

0 3HP2P022H0

03 2



18

& ####

Ô

œ Jœ n œ œ n œ œ ,

2 02 0P 2

0

Jœ œ œ n œ œ œ œ n œ œ Jœ œ ,

0 2 H 0P 0 2 0P 22H0 2

0

& ####

ÔJœ Jœ

œ œ œ œ œ œ Jœ œ œ n œ œ œ œ n .œ ,

9HP77 7 9 H7HP66 6 7 -97 9

-72 7

œ n œ œ œ œ œ .œ n

10HP88 89 9 7–

& ####

Ô

œ n œ œ œ œ œ œ œ .œ œ œ œ

,

7 9– 79 7– 6 7 6P 7 6

70

Jœ Jœ œ œ œ

œ œ Jœ œ

7HP66 6 -97-74 7

&####

Ôœ n

œ œ œ œ n

œ œ n œ Jœ bend J

œ Jœ bend

œ

Jœ 8 10 10 W 10 W

9HP77 7 99

0

œ n œ œ œ œ #

œ œ n œ œ ,

8P 8 89 9 8P 9 9

0



19

& ####

ÔJœ Jœ

œ œ œ œ œ œ œ œ œ

7HP66 6 7 9– 7 6P-74 7

œ Jœ œ œ œ

J

œ

>

œ n œ œ

7 67 6P 7 0 2

0 3 H

& ####

Ôœ n œ œ œ œ n œ

,

2H P00 0 22

œ n œ œ b œ œ .œ Jœ n Jœ

œ Jœ n Jœ œ n œ œ

2H3HP2P00 2 02 2H0 0

2 0P0

& ####

ÔTo œAåœ n œ œ œ n œ œ Jœ œ

,

0 2 H 0P 20 2

3 0



20

G LORY OF LOVE

& 44

Ô

jœ œ œ

œ 1

0 2 H

0

œAå

.œ jœ # œ œ œ œ œ

œ œ # œ œ

C

0 04 1

2 002 4

3 0

jœ œ jœ jœ .œ œ

œ œ

œ œ

G‡

13 0

00 0

3 3 3

&

Ô

Œ œ œ jœ .œ

œ œ

œ œ

œ

C

3 3 31

2 23 3

1

œ œ jœ .œ œ œ

œ œ œ

F

3 11

23 3

1 1 3

&

Ô

œ œ œ œ # œ œ œ œ .œ J

œ # œ œ

C

0 01 4 10e 2 00

43 0

œ œ œ œ œ œ œ

œ œ œ œ

G

3 1 3 1 0 1

0 0

3 3

&

Ô

œ jœ œ œ œ b œ b œ œ œ

œ n œ œ œ

C

3 2 1-53 4 3 1

3 0 23

˙ ‰ jœ œ œ

œ œ œ œ œ

(G)

10 2 H0

2 03

3

Standard Tuning



21

&

Ô

.œ jœ # œ œ œ œ œ œ œ # œ œ C

0 04 1

2 002 4

3 0

œ œ œ jœ .œ œ œ œ œ œ

G‡

13 0

00 0

3 3 3

&

Ô

Œ œ œ œ jœ œ jœ œ œ œ œ

C

3 3 31 1 1

2 23 3

œ œ jœ .œ

œ

œ

œ

œ œ F

3 11

23 3

31 1

&

Ô

œ œ œ œ # œ œ œ œ .œ Jœ # œ

œ

C

0 01 4 10e 2 00

2 40

œ œ œ œ œ œ œ

œ œ œ œ

G

3 1 3 1 0 1

0 0

3 3

&

Ôœ

œ œ œ œ bb œ œ œ n œ œ œ

C

3 2 15 4 3

3 0 23

wwnw01

3



22

&

ÔœBå

(BRIDGE)

œ œ œ œ œ œ œ œ œ œ bœ Jœ ‰ œ œ

F

1 0 1 3

2 0 2 30 2

1 1

œ œ œ œ b œ œ ˙̇œ Jœ ‰ œ œ œ

5 3 1

5 3 23 2 3

31

&

Ô

œ œ jœ œ jœ œ œ œ œ œ C G‡

0 0 1 11

2 2 02

3

œ œ œ jœ .œ

œ œ œ œ C

3 3 31

2 23

3

&

Ô

œ œ œ œ œ œ œ œ œ œ b

œ Jœ ‰ œ œ

F

1 0 1 3

2 0 2 30 2

1 1

œ œ œ œ b œ œ ˙̇œ Jœ

‰ œ œ

5 3 1

5 3 23 2 3

1

&

Ô

œ # œ œ œ œ œ œ œ œ œ œ

(C)

3 34 5 4 5 H 5

0 0

3 3

œ n .

ŒJœ

jœ œ œ œ .

G

15 –

3 10 2 H

3



23

&

ÔœAå

.œ jœ # œ œ œ œ œ œ œ # œ œ C

0 04 1

2 002 4

3 0

jœ œ jœ jœ .œ œ œ œ œ œ

G‡

13 0

00 0

3 3 3

&

Ô

Œ œ œ œ jœ œ jœ œ œ œ œ

C

3 3 31 1 1

2 23

3

œ œ jœ .œ

œ

œ

œ

œ œ F

3 11

23 3

31 1

&

Ô

œ œ œ œ # œ œ œ œ .œ Jœ # œ

œ

C

0 01 4 10e 2 00

2 40

jœ œ jœ œ œ œ œ

œ œ œ œ

G

3 1 3 1 0 1

0 0

3 3

&

Ôœ

jœ œ œ œ b œ b œ œ œ œ n œ œ œ

C

3 2 1-53 4 3 1

3 0 23

œ œ œ ˙bœ œ œ ˙

C‡

0 2 3

3 0 33



24

BLUES F OR T HE MA N N

& ### 8 12

ÔINTRO

jœ œ œ œ .œ

0 710

11

œ n œ œ œ n œ œ œ œ œ œ n œ œ

.œ .œ

.œ .œ

8 7P 0 010 8 12 0

11 91 0 1 2H12

0 110

& ###

Ô.œ œ œ œ œ œ œ œ ‰

3

œ œ n œ

.œ .œ n .œ

Jœ n

Œ

(A)

5 5 5 5 5 3HP220 0

2 04 3

0

œ jœ n jœ # œ jœ œ jœ œ œ #ggg

œ œ œ œ œ

.œ œ

Jœ œ Jœ

.œ

E E‡ E±

0 0 03 7

0 1 H 5ggggg 6272

0 0 0

& ###

ÔœAå

œ œ ## œ œ œ .œ Œjœ œ œ #gggg

œ œ œ œ œ

.œ œ n

Jœ œ Jœ

.œ

A‡ A±

5ggggg7 5

4 5– 65 6– 6 6

50 0 0

0

œ œ jœ œ n ..œ œ Œ . œ œ œ

.œ œ

Jœ .œ # .œ

D‡ D≥—‡

5 0 57 7 7

57

5 5 60

& ###

Ô

jœ .œ œ œ jœ œ ..œ œ œ œ n

jœ œ nG‡

Jœ œ

Jœ œ

Jœ n

œ Jœ œ

A E‡ A‡ G≥‡

Jœ n

-97 7 5 4 3

-97 7 6 5 46 5 4 3

00 0

..œ œ Œ . œ ‰ œ œ #gggœ œ

œ Jœ œ # Jœ œ Jœ

.œ A A±

.œ

5ggggg7 5

62 62

0 0 3 40

Standard Tuning



25

& ###

Ô

œ œ jœ œ n ..œ œ Œ jœ

jœ œ œ œ œ œ .œ .œ œ œ œ œ

fl ‰ .œ D‡

5 7HP55 57 7 -75 77

5 57 7 0

5 5

œ œ œ njœ œ œ ...œ œ œ œ œ œ #

jœ œ œ n œ œ œ .œ # .œ œ Jœ .œ

D≥—‡

5 5 5 8 0 57 7 4 7 75 5 5 8

7 4 76

0

& ###

Ô

jœ .œ œ œ jœ œ ..œ œ jœ œ œ œ

Jœ œ

Jœ

.œ œ n

Jœ Jœ n .œ

A E‡ A‡

-97 7 5 07

-97 7 6 -626 5

0 -730

œ œ n ‰ Œ . .œ jœ œ n

Jœ œ #

J

œ œ Jœ #

J

œ œ œ # œ

86 25 2 0 1 2

0 3 4 4H3

& ###

Ôœ jœ n jœ # œ ‰ œ jœ œ # œ œ œ n

Jœ # œ

Jœ

œ Jœ .œ .œ

E E‡

0 03 1

1H0 22H1 3 4

20 0 0

œ œ ‰ œ œ n ‰ œ œ # œ œ œ jœ # œ #

œ Jœ n œ Jœ .œ œ

‰

D‡ G E

0 00 3 -210 0 10 2 4

2 3 0

&###

Ô.œ œ œ œ œ

jœ œ œ œ .œ .œ n .œ .œ n

A A‡ D Dm

2 2 2 2 2 2 2 4 H 25 4 3

0

.œ Œ . Œ j

œ œ œ #ggg œ œ œ œ œ

œ Jœ œ œ # œ œ Jœ .œ

A E±

07

2 5ggggg 6271H 2H0

0 0 0



26

& ###

Ô

œ # œ œ .œ Œjœ œ œ #gggg

œ œ œ œ œ .œ œ n

Jœ œ Jœ .œ

A‡ A±

5ggggg7 5

4 5– 66 6

50 0 0

0

œ œ jœ œ n ..œ œ Œ . œ œ œ .œ œ

Jœ .œ # .œ

D‡ D≥—‡

5 0 57 7 7

57

5 5 60

& ###

Ô

jœ .œ ..œ œ ..œ œ œ œ njœ œ nG‡

Jœ œ œ

Jœ œ

Jœ œ n

Jœ œ

A E‡ A‡ G≥‡

.œ Jœ n

-97 7 5 4 3

-97 7 6 5 40 6 5 4 3

0 0 0

..œ œ Œ . œ ‰ œ œ #gggœ œ

œ Jœ œ #

J

œ œ

Jœ

.œ A A±

.œ

5ggggg7 5

62 62

0 0 3 40

& ###

Ô

œ œ jœ œ n ..œ œ Œ jœ

jœ œ œ œ œ œ

.œ .œ œ œ œ

œ fl ‰ .œ

D‡

5 7HP55 57 7 -75 77

5 57 7 0

5 5

œ œ œ njœ œ œ œ œ ‰ œ œ œ #

jœ œ œ n œ œ œ

.œ # Œ Jœ œ

Jœ

.œ

D≥—‡

5 5 5 8 0 57 7 7 4 7 75 5 5t 5 8

4 76

0

&###

Ô

jœ œ .œ œ œ

jœ

œ

.

.

œ

œ jœ œ

œ œ .œ œ Jœ œ Jœ Jœ n .œ

A E‡ A‡

œ Jœ -97 7 5 0

7-97 7 6 -62

600 -73

0 0

œ œ n ‰ Œ .

.œ jœ œ n Jœ œ # Jœ œ Jœ # Jœ œ œ # œ 86 25 2 0 1 2

0 3 4 4H3



27

& ###

Ô

œ jœ n jœ # œ ‰ œ jœ ‰ œ # œ Jœ # œ Jœ œ

J

œ .œ .œ

E E‡

0 03

1H02H1 3 4

20 0 0

œ œ œ n ‰ œ œ n ‰ œ œ # œ œ ‰ jœ # œ #œ Jœ n œ

J

œ .œ œ ‰D‡ G E

01 0 3 -212 0 0 1

0 2 4

2 3 0

& ###

Ô.œ

jœ n œ œ œ œ œ œ œ ‰3

œ œ œ .œ .œ n .œ Jœ n Œ

(A)

-53 5 5 5 5 3HP220 0

2 04 3

0

œ jœ n jœ # œ jœ œ ..˙̇

.œ

.œ

.˙

E E‡

0 03

1H0 12

0 0

& ###

Ô

jœ

—92

œBå

œ œ œ n œ œ œ œ œ œ œ œ œ œ

.œ .œ .œ .œ

A‡

9 9 9 9 9 9 9 98 8 8

9

0 00 0

œ n œ b œ œ œ œ œ œ b œ œ œ œ

.œ .œ .œ .œ

A≤‡

8 8 8 8 8 8 8 87 7 7

8

0 00 0

&###

Ô

jœ # œ # œ n œ œ œ n œ œ œ œ œ ‰

.œ .œ .œ œ Jœ Jœ

A‡

-98 9 9 9 9 9 98 8

9-72

0 00 0

œ n œ œ œ œ # œ n œ œ jœ Œjœ

.œ .

œ Jœ #

.œ i

œ Jœ n8H7 7 5 5

10H8 8 69 7 5 W

20

3



28

& ###

Ô

œ jœ n œ œ œ œ jœ œ œ œ .œ .œ .œ Jœ # Œ

D‡

3 15 2 2 2

4 40 3

5 2

jœ œ jœ n œ œ œ œ jœ œ œ œ

Jœ n .œ .œ .œ Jœ # Œ

3 15 2 2 2

-42 40 3

-53 2

& ###

Ô

jœ œ œ œ n œ œ œ œ œ œ jœ œ œ œ œ ‰ œ # œ

.œ .œ

.œ .œ

A‡

9 9 9 9 9 9 08 8 8 8 8 8 8 4

-92

0 00 0

& ###

Ô

œ œ #ggggggg

ggg

œ œ œ œ b œ œ n œ n jœ œ # i

jœ .œ

.œ .œ .œ œ œ œ #9H8 5 0 5

5 58 7 5 5 W

0 4 5 60 0

&###

Ô

Œ jœ œ œ ..

œ œ œ . œ œ œ œ œ

jœ œ œ œ

.œ œ Jœ .œ E‡

0 7 0 75 5 107y 7 11

667 5

7

œ n œ œ œ n œ œ œ œ œ œ n

œ œ .œ .œ .

œ .œ

A‡ (E‡)

8 7P 0 010 8 12 0

11 910 12H12

0 110



& ###

Ô

Œ . jœ n œ jœ œ jœ œ ‰3

œ œ œ .‚ .œ n .œ Jœ n Œ

A

-53 5 5 5 5 3HP22

04 3

12 •

œ jœ n jœ # .œ ..˙̇.œ œ

Jœ .˙E E‡

0 03

1H0 12

20

&

###

Ô

ENDING jœ

7

œ n œ œ œ œ œ œ œ

gggg

œ n œ œ œ nggg

g

œ œ œ ‰

œ .œ ‰ œ ‰ œ ‰

8 0 010 12– 10 8 3 1–

13 7ggggg

5ggggg6 411 12H

9 7 5

& ###

Ôœ

œ œ nœ œ œ n œ

œ n œ œ œ œ œ .œ œ ‰ .œ œ # ‰

5 3 0 P7P58 5 7 53

2 5 70

0 4 6

jœ œ œ #n

‰jœ #

jœ œ œ œ

.

....˙˙̇̇̇

ggggggggJœ Œ .

9 0 2 H 0 3gggggggggg

8 -21 29 2

207

Documents

Finger Picking Blues Guitar Solos