Country Blues Guitar In Open Tunings
Stefan Grossman
Language: English
Pages: 51
ISBN: B00062J0MG
Format: PDF / Kindle (mobi) / ePub
Stefan Grossman - Country Blues Guitar in Open Tunings
Open tunings have always been an integral part of the Country Blues Guitar tradition. In this approach the guitar is tuned to a full chord. Most blues players began playing the guitar in an open tuning as it made playing much easier yet gave the guitar a much stronger and richer sound. For a minimum of effort you can produce a maximum of sound, rhythm and music.
The most popular Country Blues tunings were the Open G tuning, also called Spanish tuning and the Open D tuning, also called Vestapol tuning. Also used by a few Delta guitarists such as Skip James and Bukka White was the Crossnote tuning where your guitar is tuned to an Open Em chord. In this lesson we will explore all three tunings with seven exciting fingerstyle blues arrangements. Also discussed are Delta blues ideas in Open G tuning as well as applying bottleneck techniques in an open tuning setting.
Tunes include: Open D Tuning: Vestapol, John Henry, If You Don't Want Me Open G Tuning: Working On The New Railroad, Special Rider Blues Crossnote Tuning: Hard Time Killin' Floor Blues and I'm So Glad.
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Country Blues Guitar In Open Tunings taught by by taught Stefan Grossman EXPLANATION OF THE Generally for fingerpicking styles you will 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. “…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,
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. 5) PULL-OFF: “P” designates a “pull-off.” Fret both the seventh 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
0 8 0 0 0 2 0 0 œœ 1 0 j ‰ œ œ w œ œ œ œ 0 2 0 œ ˙ 0 0 0 6 œ 0 œ 0 j j nœ œ œ œ œ 0 8 0 0 2 œ 0 9 P7 0 0 0 j œ œ œ œ j œ 0 2H 0 j œ 0 j œ œ œ œ 2 0 2 0 2 0 D œ œ 0 œ œœ Œ œ 0 jœ jœ œ œ œ œ œ 0 0 A‡ œ 0 2H 0 2 0 0 & 0 0 0 ## 0 0 0 0 j œ & ## j œ œ œ œ Ô j j nœ œ œ. 9 P7 œ œ œ œ Ô 9 P7 0 0 2 # # œj œ & œ Ô 0 2 0 2 j j œ œ œ 2 2 j œ œ. œ 2 -4 Ó œ œ #œ 0 0 0 0 D ‰ œ œj œ œ œ œ ˙ 0 2 0 0 2 1
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
string. In the diagram below the zero is on the second string and indicates the open second string is played. The 1 is placed on the third 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. 0 2 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
