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E~in .Ie~tung ., Introduction '" , .. , " .. , .. , .. " . ~ i ~ ••• 'F • " ., " " .' •• ~ • ~ • ~ ,. j. " i' ~ .•. ~ .• ~ .• ,. " • ~ •• , '" •

Svm bole · 5:.-·y·' ·:m····· b 1I"'ii1'!f.

l}' '. ~ " . ' ~ V_r.,;Jl.I •• 1 r •• til i til -i Ii] ,Ii ii' ~ !Ii ~ -Ii !l!l 'i!!! !I '!I ! '!I ! II!!I [!II • rll • III • !II • ill iii ii, ~ !II fI !II! !II .!II! lI!!l ~ III ~ ,II III II JiJ li i lii i Ii! 'Ii !!l

DieGitarrenhal~tUlng " H'o/ding the Gu',i'tar .' ~ , ~ ... ' ~ 0 " •• ' ,. j, i i, ,'i' i m , ••. ~ .' ' •• ~ '0 ., '0 ., , •• ~

D A "'n, d' S· Abdi'. f- T'l.. Th b S-: 0 .

as n re'lill en 1~.le'F sarte ~:-., :>al:mp en- rne ,~um" snap ........... ·,Q',mplng 'i H.'"

Der GrUf mlt dem llr ken Daurnan i, Le'ftrh1umb C:hord,Fingering ,. ~ , .. ,,' i ~ ,i.",

Dtl'I'e" l' 2·'· -ta ktl g' 0 8'1 ue sf ..... rm ., 'n""o l' "=B~""'r:' B:lues Fonn

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D~e [Bi~ues-Tonlei'ter · The Blues Scaie .. , ,; r m i ~ .••. ~ •. " 0 " 0 ., ' •• , •• , •• m •• , ,. r ~ • ~ ., " .• " " .• ~ '. Fingers: yle-Ubunqen ~ Fing,ersryfe Exercises .. , ,i i, ,i i, ~ i '. ~ .• , '. , " •• , •• , ,. j, ,i i ~ i ~ ~ ,.~. Fi"'9 e rstyl e B I ues= 0 bun 9 en· Fi.nfJer:5'tyJe 8,/ues Exercise: ~ . ~ i ~ ,. , ~ , " ., .' ' •• " • m • j,

S' I d~' . IN"'- 4' S·.;.- d ",,~. 4'

I L!JJ I ]e .. _ r'!l I til _.'ir~U·· rY ~1·Y.IOil' . ~!! [fI If! till l!I !!, 'fI • i!I •• 1 r. .1 I. i iii i ill rli I' .e .' ~ II !II I! !!I rp I!!I r!ll • til •• 1 liil III til i. !i! -ij !I~ ~ !II ~ !II! I!!I II

Studle Nr~ 5 · St,udy N'o., 5 .. i'" -s- .. ·' •. ~ .... ~"., .. ' •• ".0, i ., , •• ,,' • '" • ~., ,.., .' ' ...... , .. ' •• , , •• , .. i jJ" ., ...

S .....!II· N 6' 5 d N-' 6'

_ tudre ". r~ :'1· .' rUe; Y' ~ ':'.'0" ---: .•• ' , ••••• , , •• , ,. j, ~ i· ... j ,. " ,. ~ , ... 0 ... , • , •• ~ ••• ;, ,. i, ,. i ....... ,. ' •• , .. ' •• J , •• ,

.3 4 7 8 9

10 14- 1.5 19

27' 28 2:9 .310

31: 32,

K,D. m posltlo n en ,Ii COI.mp\o,s'ifio'n's·

t My 'Gllralndfatherjs Clock ' ~ ,J OJ .' ••• i ,i " ,. .. '" '" '" ~ ~ ,. , , " , • ' •• '. " .. ~ 'J .. i, i •• , ., '. '. .. .. 34-

.2., Booqle W'oog'[~!e Bo,ogie , , 0' , '. '. '. ~ .. ~ ., j, i, i, i' i , ' •• '. '. '. ' ,. .... , ., • i •• ,i ... .,., ,316

3., 8,II,8i,(lk IEye Blules "'J' , " • ,. " " " j, ., " ,. i' .' •. , ., ' ..... '!' , ., ., •• iii' " '" ,. .' ,. ,J .' ., • , •. ,. " ",i ·40

~" Tlhr,ee' B,~'u,e M,oo,ds .. , .. , '. ' , .. , j, • ii' .•. , ~ ,. " ., ~ •••••• ,. " ~ .' •.•• , .,. , •• ,. ,. 4,2

5 .. IRol(llk:'in'" BI~ues ,.,. .. , i, •.• i' • i ., .. '" " II' .. ,. .' .' , 0 , •• ,. ,. , '" i, ,. ,. , •.• , '. '. r " ,. " .J ., j, i i' • " ".. 44

16 .. Swinginlg Blues ~ .. ,. ,. .' .' .' .... ,. , ,; .. " ... , ., , .. ' ... '0 " '. , , ,. ,. j, j, i, i, iii 'i ., ~ " ' i i 4-7

7. BIILWf'S F'or N'inlQ 'i ........ ,. .. '" .' • , , • " ,. '. ,. ,. ,. ., ., i, i ••••. , '" ' .' " •••• ,. " , " 0'" 50

8. M,aglgyJs B,!'ues, , , , '. ,. ,. " ,; .. j, OJ i, i i ., i ., ., ., '" " .... ,. " ., ••• ,. ,. ,. ,i " , '" "' i, • ,. , , ' •• " ,. " .. '" •• .. 52

9' .. Brea kfasit 0 rflhe G,n~'en ~ ~ ~ " " ,. ,. ,",,,': ."' ... , .. ~ ,. ,. ,. ,. ~ .,;, i" i "" '. '. '. ~ .,;, ~ 54

10 .. ,AII',_ ~at B,~ ue:s, jJ ~ 'i • i ., •• 'i ~ '. ~ ~ ' ,. .' ••• ,. ,. ,. " " " ~ ill ., ••••. , , .•• , ., " ~ " .' .J ~ ., i 'r .•.• ~ .. '. ~ ,516

U ms"c::hi agfot,os Uln dUm sch 13gg ~$;talltu ngl: Mia nlf.red jp'o.lll,e'rt Fotus: IMlia nfred POII~ eft

ILayo ~·tr. Satt und ~ o.ten glrafi k~' Ma nfrred Wol,e·rts.

Oberse'tzung illi1lls 'IEng~i:!!H=he: Steve Baker l'e ktorrai{: An ii"Il@ IR.MdlE! Ii", Gerd Ktatzirlt Pr,odulktion: Gerd KJratnt

Ei~n.sp:flel un'gen itll.f del" CD: f:lfa,ncQ M,oro nle GirarTe Aufnahmle und Abmijischung:: .Alndre·,a Marc,a Ri,c(j clo N.ash:.a Digital Stud~:o.r. Calstenaso.r Btillcgln8l~ It.allier:n

Besondere r Oa nk ,cUlI Gerd Kratzalt~ Steve lB\aker~ Ma nfr'ed P'OI~ ertl· ./\ Imrdrea R iicci~. Eve' 'Cabo

u nd lE.Hxi r Sui ng s..

e 2007 by ,Ac'o!us~UC Musk; GmbH '& Co, t(GJ. Osoabmr~lck.

Das Nlotenbill,d is.t urhebenechtl~ch glesc-hu't2.! und darf :nicht ohiliiile Geneh m ig uri! 9 d es. 'Ver~ ag,es vell'vi,e I'falltigt werden..

MI!J..Ilsi,c eng ray-min 9 ,c'Opyri'g h,t protect.ed.

Best.-Nr.: AMIB 306.3 ISBIN 97 8r-3-93 6579\,.09 .. 8 ISMN M-7002S3.--09'-1 www ... acoust~(-m.u~k.d e'

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" "llle :' 'ee,_stnngl ,'mJ\US II,gltarr'e l~am 1m!!: o €!'m ...::',_ues,

" " .' 'erst w]cht~ig zur Gie~t:Uln,gll und melstens wurde der B,~ues, auch auf der Stee,ls.tr'ing ge'sp'i,el~t., IBe,v,or lch diese No,t,enaUls,glabe konzJpiJert,e und dle Stucke komponlerte, habe kh vlel Zeit daraluf verwendet, den Meis= te-rn der Bluesqltarre wle 81 i nd BllakeJ. Re-v,en~n d G,aryDavis, B,iIQ IB'I II~ B,woonzy u nd vie I en a nde'r'eml zu zu ho ren und deren G~tarn~~n~,A[rangelments zu studleren, Aber anstatt " lese ,a~it,en Ve,rsii,onen l,edi'gIUich nachzuahmen, e ntschl OSS ~,ch m lch, mel nen ei gleii1lerru 'B lues mit me lner p e r:so n I 'itCihe n 'Ion spra ch e un d i h ren Cha ra.1kteJiis,tm ken ,ZIJI komponteren, Elne sokhe V'orgehensweis1e wird dern Geist der Originale aim ehesten qerecht, Elne Kopl e dew al lten Ver:si,o,nen 'wzbe led rng I~ i ch e'~ n Ab kl ats e h

d b .,- " t'·

essen 'Qle,w,es en" w'as .~ e rerts ex!s, te rt,

Und wie schon tee! R,o'y Jones ifn selnem Bueh .Peopile of the blues" bemerkt, 'kUngt der Blues der afro-

·'11.. + h M" t W ,. n .' -I

am e n r'\aJ n I~SC .. en' . lel~ s er, we n In e r vo nv . eusen g espie t:

wi rd, n h~lm a Ills so w'i e da s 0 ri'g lna I ~ Es i st ver'g I,eli ch ba r mliit z:w'ei~ IE1elrn" die' auB,erlirch ide' tlsch sind, wobe'i das ei~ n e ,2;} b er I ee'f un d da s an dere vo~ I ist, Ku rz '9 esaqt, es

.. .,,' Ii' h d'· G f'" h~1 d 11II d-~ S n dl

tst unmlogl rc I; [~.I,e '-Ie u ~Ie uno VOII a_~e[m :c me ':,ee~e' I~'=

ser alten Aufhalhme'nt exakt 'wieder,zuge,ben..

COU'ntIrY-'; IBllue-s-= und Folkmusfker ,_ ob schwarz oder we'i'B - haben iihlre M,IUSii k nur sa lten zu Pa!lpi:@1l' qebracht. Ana~ph,abetentum war unter die'J I~,and~i(hen BevtHlkerungl stark verbreltet, Zurn anderen tst B,lues, bekannt= Illich ,s.chwi:e,riig zu notiieren", w'e,H vi,e~,e Tone verwendet we rden, dwe z'wi schen d,en Tone n de r '12 .. 'on .. Ska~a II:i,fE.-' Igen,,'Viel,e Musik'er haben ,auB'erdem i1hre Stulck,eJedes= ma I an de,rs 19 espi,e-i:t.

D'ie Spllie~w'e'i's,e hat :s~ch Igener1eill biis, heut,e sehr stark 'Ve ra n de rt bzw~ wE!'itelie ntw'i,('ke.lt u ndl unite rsc h e idlet sich s.olm~t: deut!'j,ch 'Vom alteren Stil~ D~e enormJlen ZWII$chenz,eitUchen Veranderungen in der Aufnahm,etech~ n m k h albe n UJ n sere H Qlrg ewo h Iil h e'ite nun d die Vors.te II u n 9 vo m KI al n 9 e,j' n,er at ku:s:t i schen G'itallr re ,e.lrh elbil'i c h beeinfllu5st. A~lle'in di,es,e Tatsache mla,cht e's s,chw,er~, den all~t,en So-und e-xakt zu kop'i,ere'n~

I~'h'-' ba,' lII"~c'-h't'iI!2I' 'dJ Qehc ':!il~b' m" e· ~In'-'Cii "111nI ·d'I'·I~'lFe·· r II ~I iIIsg :=!iib' 0. 'uo--' f"-

1'6, . ''b ~I '-'I' . ",",. ,_ ~,..;,i!' IIQII a '--, ! ~ !;_ ~J II ~- C;J!,·." ,M'~, '! . "g ,1,,= 1j!' ",

ge,s,te'l~it,e Mlus'ik als z,eilt'genossischen Blues odem" be:s.~ (,enfalls, als eine' Stnrl,chtungl, d~'e ,e'~ne'n be'sti!mm ;,en Elntwiick~lungs:s.tand i1nne;rhallb der fo~kmusik Irepr.asen= ti~ewt., Ich hoffe',. dass. euch dle Obungen und K()mpos~tJ~ on@n neue Anlreglungen g[eben w1erden" enJr,en ,e'j'ge'nen Blue;s zu k,omponieren.

V" e~1 Spa 11 un d 9 utes Ge,lrnnglen!

Franco. M'al'on€.

Tll'e .5tef'lstnng ocoustk: gultor first r:ea#y c:o'm'€ into' tts ,o,w:n wit,h the blues, ,and the blues was o rig In la'J'ly play ted on thE! Slife/string'" f~'efore}' thought ofbri,ng'lng out t.his book. or composed me pieces heora beie; " spen r a

. ..J I f' ~t·.. '. "to, , f' I.oh

tg'reat aea 0' ume dstenlng 'fa lJI€' ma.s'te,fS 0" I,i' e ,Q'I(OlUS-

- .

ric bhses guitar such a.s Blind Blake~ Reven€'nd G,Q',ry Dravis,.

Big BiN B'fO 0 nzy' and m,an y a thers, in order to' s.tudY thei, arr:Cf'ng',e'mients and various di'fterent approcches to tbe

· B . 'i- d f':' ,".", t· ',.to.. "

instrument: I . ',ut msteo '" 0 51'm'pty tmtta ~'ng' r'l,e'lf Vef5JO.ns~

J' decided to- compo.s€! my own bItNZ:S:,r IWJitn its o'wn fOIn-aJ

'n," "(.., '"M' -, " .. d c t;.,- , * '., Tb ~ .c' a--p" ". ',' h' c,.· ',~', ned c"I' ,'-,,' -

VVCIQU u~,a ry an. C,r J atac I,er., ,~. _'~S : p ,.oa,(' _' seem .' I·' ... loser

to' 'the sp,,;'rit ot tbe origin(Jls~ To (o:P'Y' them would sjmp'~Y have been a p:- cor im;itation of 5.om,e't.hi:ng:~ 'whlch a}:r:earA/i'

I - - (' Y',"

exi s ted:

A- ~ - R J" ,if", ,,,"M·' :!<',.om k d" - h ~',It" ,f."ook up - - .- Jo ,nf-

_s tee ' 'O:Y,' O,nl€5' ,J ~,~!;j iI1 & .' ar(!.::~ In' ·'1;;' ,Lr.· .•.•.. i=reopte u

the tuues; the music of the Afro~Ame.,itr:on biue» masters never sounds. th e same ,Q'S "hl€' orfginal 'when I)/ayed by whit.e ,m'usiclans'" 1't1S (~'/mo5.t. .like.' two td:en'ti,callooking eggs, lone' ofwh"nl ls fuJI and the otner of which is empty: '.0 short; It i5'n~t,posslb'le to eXQ',ct,y dupIJicat:e the' leeJ and

., .fll If." •• ,- II:.. ,i'd' d'

eSpeCiQ'.uJl 'tn'€' ,SPU'lt 0.' 'trieS,e.' ,O'J~ re(~)-r:;I.ng's~

Th'e 5 i:tua'tion IS' .further com1pllcQ red' by :thle fae t that co W' in t'ry' b 'uD-t" ""n·d· s-u ... m: c ;;; tstaa ' ns wh---lfiI1rf-h: ..0(, b"'J''''''C'~T or 'wh: ;"'*"iI!!I'

[ V.I~I , ,,:. :"fl_~ ~dI ~II I I. '. ,r~rl!-J',f\ Y.JI~' ,~i. _" I' .. ' IJG I i !t;'L. . U'., ~ . _._ r .[~ Ill. ~I

'.

"are/y' wrote down their music. Dine of ttJ'tf!: rea s'on 5' m~y

have been a 9'eneraJ.1y low level of li:te.mcy' among the fUrtl'{ popula.tion IQ t the time. A notner ,IS tbat trad; rit(JntJI btues ~s,'··- n" o torioustv d:;"C'U'ifo "0': notate oaurateiv d 'U' ,/D to' '.

,. ._'.-',iJIi 'I: I '. ·.I~!Ib#',~ [~-', '.~'~J.' '_ ,III,'J . r~ ',1 .. ·. . ul,U'!Ic. W~IIJ- ~!11 Y _elll" ". II;;. .....

rh,e' fact that it e'mploys mllny not,es 'whlch lie' bE'rween' th,e' notes. of the' 11-l:i()M,e' sea',le and m[anJl ,mus/ci:QtJs n',f;'",e.t

,,- '-·d - .-!' " th' -.-', '. t· ,," -'~'-' .'. ' -'

praye' a p',~le'Ce .. e same way ·Wt(-e ~n an,YcQs(!,.

Playing rechn;;'qu€'S have' also changed' [and developed during' t.he' interveni'rl':g ye,Q'fS (ltl d few players today Ct1',n [(j,'o'im to ha ve mas tet~ed :tfhtz older styt:e 5. Th € e,n o,r.mioU's c:htJnne's in: recxJirdlng··. te,chno/og·-'y-'·: h'(l've als'o contri'buted

' __ .~!. I ._',_' __ 1_: •• I!'_' __ I,' ,I, .,' _ . 1 _.-

to our liste'nin'g' ha'bi'ts !(l'fJd ha ve cho'nged .0 ur ,P-i't:ture' of wha t Q'(OUS. ti,e guitars should ,sound like. Th.ls a'lon,€! would make i:t dlffl:c,t#r' :to exa,c:t/y copy rhe histo,r:ic:aJ sound.

For til'is' re,Qson,' would',prefe., to ,f;egard the ,music,presented' ,here IQ'S slmpty be'lng' oon tempo~Q'fy ,b/'u;es; whi-'c his at best repre:sentativie' aflel ,cerrain sta'l€' ofdevielapment

W;"'h' ,$n today,'s ,trr.,'~k·· s',e' ,c"ne~_ t hop~',e"'- th,' -,,"t· ,.;"t.,f'se exe'lic',i5es and

~I'JI _~ , __ .. ~ ,": ~. I uJI. "IW~;·" _ ~ [,' ~ "r J. __ ' __ " ,~i_. ~

.. . 'f~ ~ J bJ

cio,mipo,SttJ'ons WJ'.~'i st:imU~o.te you (:01 create YO'I)'" own . ['JueS'

and wish YiO'U much enjoymen:t ,Q'.ild' every' success (J'h:J'ng'

the 1"""'0" y' t

· . "-".~!' Jl

· ~ ~. _: _ .. __ • l!I

fr.a nC()1 Morone T.r:ans.lation: Stieve Saket

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ID1ii@' Tab 1_laltudini[en unterha b des Notensystems reprasentleren d~ie sechs Salw1lte.n der Gitarr,e: e - h ~ 9 ~ d ~ A. ~ IE

'The ta bla (ure line's bel:ow 'the m u'S'i'cal' no:tation ,riep,eSIf}'nt the six .str:ings of the g uaar:

E~B~'G-.D~A.-E'

Die Zahlen auf den l·ini'e'n zeigen die j@we[i'lIigen Bunde an, die 'gegrjlffen we~de I" In dem Beh;pie,~ wi~rd der Ton F tm ~I., Bund der 6 .. SaU1e (der E-Sait'e'l' geglr'ifi1e.n und der Ion A, mlt ~ ee rer i('u ng eg ~ 'iffe[n er) 5. Sa lte [A~ Sa'ite) [ges pilleht.,

T~ID ms mbers ani the .. · ,'~n'" es in' ,.JIii"".-"!Iit~, IAi;£..!,iC,: n" .rQ#~ ':I'ra !to·.~. ",",;0 -t.:;A[Ii"l'I£[J'lFe[...i!' J·t'TIl;fLe· . e ;y,FI'm'-·"'n~e' the n·.·,o·+:~' F' ;'[(t

~ f(l~ . I" . _ ~.~ ~ _ .. ,'-., _ t,: _ ~ [~ I Ulr!L..IU!~!t:, 'If!Vf[I~'. t~1 ~ltl'~ ~!I!!I!;: l,l_ IUl~ J.#~ ',Jblll! U-II' J"J.I" '1#" _ A,IW ",t, (/ lfi~.' ( . ~J~" ild

played on tbe 7.5. t. (ret of tbe 16th string' (Jow f s'td'n.g) and 'the no':te A on :th € ope'" 5th (A)' s f.fin9'~

'D" - - ID'~ d b- D' SiO d booen verbl d t ~ .. '" I· h 'To I ' h ~ .. "h d ,. t

. er i!ll nc 'e ~ 'oglen · .A'iU ': II nc IfD'Og en ve r .' ·'.1 n .. e I zwel~ lone' 9 e'l C . e r lion" [0 .. e un -I zlemg : an,

dass dl~e[ zW'eite' Not[e dle Dauer der erste .. Not.e v,erlangert und demnach nkht anqeschlaIgen 'wi rd .. Der Bin,deboglen wlrd innarhalb des, Notensyste'm:s, benutzt.jedoch nkht ln der 'Tab ub.durr.

Th[e r.e' j Ties- are curved lines which' connect cwo' notes of the some p-it,ch' and ,indica:te tlliat the second note [extends' the' du"aNon of the ';;,st and is. not plucked .sepa'fQ re[ty, so t:h a t, tbe "Io'te tosts io« tbe c:o,mbined l:e-ngrh otme .two notes. ttes ore used in musical' f1iota't[ta,n~ but not ,;'n the ;~a'b.'atu.fe'.

lObi- Aufschla,glsbindUlngl I(H,2Imlmler-On) " ID'i'e, ,Aufs,chlalgsb~ndung und die nachfolgendien Bilrndung,en W,ell'del~ diurc:lh B,ogen ,angez€'iigt, die' zwe'j Tone, verschledener Tcnhdhe rnltelna nde r verlbi'nd~n. Dlese Bog en werd en SOW'IO h I ~im 'Note nsystern al s auch i~n der Tabulatur

VS,IIrW''''''''Il1' d· et

1110..11 .. .'I~: •• b.',

Die .A ufschl[8[Qlsbindung w~rd durch Aufhamm!ewn ei'n,es IFi'nge'Fs der liinlken Hand auf di'e' SaIU:[e 'in dem IBund ausQlefruhrt"j der lr der Tabulatur ami IEnde des Boqens anqezelqt wiird., Auf unser Beiispiel be,zog[en bedeutet das: N,achdem, der Ton c (1 ,. Finrg'e'r hn ~l., B'Und) auf der n-S[ait:e' [gezulplft wurde, sch iiigt der 3. Fiinglelr lrn 3~ Bund auf' dle Salte, ohne dass dle h-Satte m iit der rechten Ha nd erne ut ge.zu pft w'ird.

Th[e Ha,mmer:-On ~ The hammer-on as well leu' ;t.n[e fO'I:lowing ways ofconne1cting nares are indielated by.slut'S wh';ch l'o()k like ties, ,fuJ t connect' nores of dlff'e~e'n r. ,pi'rch~ Th ese sllulfs are: used both In no"tat:ion and in' thief tia bJ;(J'ture,.

A, harnmer-on [is executed bjl' hammering one of the fin9,e,5. of til e ,'eft hand onto. :the string at the ,("et ,indica:te.,o at the end of the' slU.r In the rabJ,Q tut€~ In the ,example' thi~ ,m[eOflS :that one" p'Juckin'9' dl'f note C (Jst fi,n9'fJ" on 1st iret of rh"t!, B' s'rtlnig)J' the 3td fj'lget na,mmers the .sa,me string' on ;the 3rd ffet so that the ,no're D sr),unds' wi't:h out t.he srrin,g ,being pl,ucked loglQ'ln with tite rlghr band:

AMB 3063 . e 2.007 by ACOLlstijC Music Gm bH & Co. KG~ Osnabruck

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Abzugsbiind.ung (,Pulll .. 01ff) ,~ Die ,Abzullgsbindung 'wmrd folqenderrnalsen aus,gefuhrt: Der Fing,elr diem" linken Hand, der den ersten "()in spleh, lur;lirdl zur Se'ib:! Qlezogen und re]f!t darnlt die Sa~te an, walhrend der Pi nge r~ dew den zwelten 'Jbn 'glre'i'ft, schon verb ereltet lst, Bel m

. "+ .. "'f': ..... ;, d d' c'. b ·,t v"· 'd' ". s- .. ur . . lt ....!J'- ·Il!..t····· H ····0 .' C ht ... '. d ., C •• , • .:ild:-

zwenen Ion W~L •.• ' re oe rei lien •• e' ,,',2)11!t'@ rm cer reCrlll"enl anc men WI,e· er gezulPIIrIIL~

The' Pu,II~Oi,fI' ii' Th e pu/J'~off is played as to #01 W5<;' Wh jJie' tbe finger used "0'(' the' secon d of the two notes is aire,ady in position, t:h e linger of ttu?left hand whi:c.n plays ;the first. niote is ,p\~.J'lie,(l :to one sJ:d€;" thus. ,p'ltu;:kin~g' ;tfu~ string and sounding the second' ncre, Once tJg'QJn d1'€ st!cond no'te' is not'

,~' I.....J £... ',I.. '" £.. b d

p" U'c,~eu Of me n,g.r ~'t'an ,.',

Delr S-lli~,e" lG'-lii,j!"S' and '0" '!l!i'i'14.uiir~if' und a~'w-'§lr-"'1!l"1Ii Ii [D'''' Ie iI1" ·S·~ III 'I dJ ,e'" W·-· lrd :~I" I~!f"g' ,ofu"" hrt tn dem m . an den

·,',IIIU,~O,II,.,,!U,·· 'uuIlIW'a ':',;;;J ". ,.Ugi 111.""1-.111 '.'·111 ""lu,.:Jo.r;;;;UI II'g, •. 10;;" _1_,Ui._ ,~'_

F:i n g.e r~ de r auf d a s G rlffbrett d rO ckt, vorwal rts oder ~rO(lkwa rts zu m n ach:s,ten To n gil elte n lasst 'D:' ,eii;' '5, ~1"ld: ,e'" ·W-· "IIiI'·d·-·,- m ""I' It' ,c.~'I"n~··,~lr-l~ln:- ~IQj an g- [~C?'..::Ir"I'g·'·' *' d :1.9, "'iI"·W· 'e::'[~ -Nn't'.t:::::I11ini m iltelnand er 'io,J",c,-r·b"IN'n,-r4[e·;t·1 Der

IQ.;;i!,.;l<.-, • .::_-~I ,~"II. _ ... I!I" '. I _ .1, 'I<;'I!'. _~'. _~ __ ~"i;; 191 __ ~ ~,~'!O;;_ .~. I(\!!,.I!"";; "" __ ,.,P. v~~~, ~I .1:_- ,ti l'l~n [!I· .. '!<:;;: ¥~ ·.llllllIil.i '" .... 11;

Bi- ..,JJ1· .. ·b··c be 'd' c. tet d ·_·.C, d'-" '. -·"'t·· T:-···· .r. ht .". . ft·", .. ' d

,In'ue'_Joglen oeoeure e : ass I@~ :;Z,W,€IIII,e ~IIOIIlil rue ' gezupllll, wmr.,

The' Slide' (upwa~d ,and d(n~tV,nwl1rd' g,lissQ'n do) ~ S'lld:es are executed by mrJving the' r,:nger whj:c;,h is frerting the strin,g up or down the n'ng'fiJrboQ',nd ro the next. note~ white ,ma.lnfalnlng tb« pres-

i't.. t '. 'T,I:.. ,j'"d" d' ~..J' b I' '.',., ~l... ~ t Th I +11 t til

sure on me 5'nng" L! ne S'J'f e '5 ,~rl ~',(Ch-eu 'JI !Q' ttU!!'Jo,~n~',n9 (n'e 'dMt) no, es. ., ". e sur meanS' it-,., .. 'a~ '~.: e

;s'eco.n d note is' not pJ.'tJcked.,

~n:(:ht g'e'b ulndlen,~s Gli,s:saln d 0 (IUJlgenwec,hse ,) ~ 0 bwoh! da s G lelten ,2:,w'ischen 2:w,ei Tone n mliit: demselbe n Fliinger' der n nke n Ha nd alusgefU~rt 'w~ilrd, werden be kle Tone mit diem"' rechten H:~ [nidi g~" e zu p' -lift' .

. • ,v,~ . _ ~I ~ ,1 '. '~:" '--.- I'. _, . ,.

,ft,~., . I' . ,. ,~, ' .. ~"' . .,.011'.... ,. tu . I " f' .. ,,:,,":., ;'1 tn« "'h' :tlk .. :~'~'d" '. &..- . - . 'I.p·, iF - '~h·'· " c ,,;,t.., - , r., . .0-".'

,¥,on"e,gddJ S\~lueS I~,C, dll,ge' 0',. pO'SJ~,u'n:. ~ , ,rJ,O'ug' me 5~:lc,e trom one ,nO~tr:: ~.O iL.e omer ts ~X=

eaned by moving' the' ,fjn~}'er of :the left htJ.ruJ, both notes are plucked with th'e righ t bond.

Va r dem e'igentlh:h!en Jon emn setzendes ode r a us,klll:i ng,en des IG~ lssando, A, s,t/de 'i/1V,h.ich ,ieo(Js.' up :[0 the no'le or sounds otter it:

B'Blndiiing ~ gede,hntJln"' (giElZOg ~nlelr) 'Ton ;, 'D er IFhl'g e·r der Imn ke n He nd zte ht di e Saite, die' er w'eiterh i n ,a uf dern Gldffb rett 'gle dI ra ckt h a l't~ hoc h, nachd e'm sie m ~it: der rechte n IH a nd 'g'~'" zu Pitt worden lst.

Der 'JOin, d er d u rch d :i,e Deh n u ng (dlas Z.i e,h en des vo rhe,rgliehJiende n l()I~,es) erzeu gt we rd e n sell, wlrd lrn N otensystem mit d em Ze,j'ch en v ve rsehen, d as Iii nks n eben d lie Nlote g esetzt w'iwd"

In der Tabulatur 'wi rd di e Nurn mer des Bundes ln KJamml,€rn glesetzt, der g,egri:'ffen werde n

mlu sste, wen n der Ton ohne [[)elh nun 9 erzeuqt werd en 'wu: rde",

Das u mgeke hrt,e Ze'i (he n r... ,z,e i'gt .ani da s:s; die Sa ite, an den ,A,Ul'sga ngspun kt ,zuru ckge,filj hrt[

w'erdelrll salt

Bendin~g (strefctdn,g o,r pulling ,the' st,r~:ngs) .. rille' n'nge,f of 'the left hand continue,s to fret the st.fin,g after the no te tJ'ClS been p,lucke,d ~y the rig,h it .hand and ,pulls it to one .i-ide, til us sJretc.hing thi(£!' 5't,r,in,r) a no ,rais.in,g the {Jilt',n of ;th'€ note.,

The' tid1'tget no:tt? pro,d'u'lc€d ,by bfn,d1:n,g 'the first no:te is indica't€,d by the sym bol v 'to its le'ft

The' nu.mlbe" O'f rhe fret wn,e',e: :the farget note I(Quld be pJayed wif.,hou t befu:Jin,g is ,noted.in b'fCU:.:k= e:ts i'n the t.abula rur€~

The' reve,(SI€rd sy:mbo.l r., means r:ba't the puUed string' .is to be allowed to r~:tu.rn to its rest pos,i= ti:on.,

© 2007 by Acoustic Mu s ic Gm bH & Co. KG~ 05 na b ruck ,', AIMS 3063

16 . 5ymbote ~ Symbols

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S'chneUes, Arpeggio,;o, IDie'lone werden schneU nacheinander ~n der vern pf,eU angez,ei,gten IRi chtu ng anqeschl (]jIg€! n~ Das Sym bolersrhetnt nur i m N otensyste m.

- - '

Fas.t ,A,rpeSfJ'io' '"' The notes are ,p~'ayed rap,i'dly tone after anotberin a s ingt'e' stro,keT tne di:~ect.io,n of which' is. iruiicated b'v thl@QffOW"This5y,/m,bolisr(lIio/llusedinno,ttlrJ:an

•• •• - I _ • _' _. _- [ • !, ~ '.1' . ~ iI t. .• __ ,' _ _ _.., • _ [ • .7 __ ... '_ L I I . 1 _. I I.

Aufsc Ilag (laIPp:ing) t, Der Finger der Ilnken Hand sch[~,agrt: kraftig ln den entsprechenden Bund und I,~sst damlt den Ton Ikii'nge-n, ohne iihn mit der rechten IH,and anzuzupfen,

Iap:p'in',g 'F The :fh1'g',e', ,of the tett hCl'nd strikes rll'e nngierboQ'.~d' h'a~d at 'the design'a:ted (ret:;. so 'that tne note soun ds without [oe.ing ,plucked' by rh[e'r:igM't hone:

F~a'geo~e't,tton -, Ej'n FI,ag,eo~,ettton w'ird erzeuqt, lndem die' :Sa~lt,e dlrekt uber dem bezekhneten Bundstab mit €,inelm [F'inger der ~Iink,en Hand ~!e~icht: beruhrt wjlrd.,

Hiarm'onics 'I, H:arm'OM'lcs ore played by lightly touching the sttin;g directly ,abo¥e' th,e' des.ignated ,r"e't with oaeotthe ,fin,gets of the teitbana. Th~y are u.sua.lly'pluc/(:f:'d 9'[entIY.,

S'wing ~ Die.se' G11!,em,chung besaqt, dass al~le' A,I(htel~not,en iin twiQr~;iis(:her. Auftei~ung (Swing)

ge·~p"I'ont, w.t::!Ir-di-eil:"ii sollen

I :-:,-';., _. [ II~il., .,~' , .. , - .. [11[11 ,;;,). ,_f'., ,~

,(C ~ "1"', .... , ,,_".' d" t h- u" h- tb b t d .' ib t"~ c.:» th;, .,).w.ng ,I, ,~' HiS ,fquatJOn Ul' ,ca, es t : a:t QI,I' le"~r~ t - notes are ro ee p,,'aye,', 'Wltu IQ tnpte: feet~ so ',' Ch

the fir.st of leach patr la sts rwirC,e as: long las th'€ second on eO!

tenuto II! Der ang,e9'elbene Fjngler halit den Ton fest, da dleser Ikurz darauf noch elnrnal gespme~lt wlrd,

ti"nuto • Ibe :finget In tq'u,e.stlon should' continue to hold' dOW'fl the note" [a's it wil,l:soon ,be pJ[aye-d Q,ga.in.,

Giriff mit de'm ~irnk,en IDa umen E Das 'Qllfof3,e tJ.l'~ z~m[gt an, da 5$ m it de MI Daumen de rill n Ike. n H iJl n dI [9@'9 r'iffen w,,~ rd (5 i e h e Se'ite 9)..

Le',ft' th,um,b ,'hord hrJ'g'E'ring ~ The ([Q'P1i'tQ,' tette: ,qTN. indicates ch'ord fj:ng1etin g' usin_g. 'the left 'tn'umb (see' pag[e 9).

Ba r n§ g Ir'iff ~: m z,w'e;~It:en Bu nd U ber a II e Sali~t,en. BDr chord' on t.h,e' 2nd .fret ave'f all s:trings.,

Teli!~=Barre,glriff lm zwslten BUrn1d!luber die, ersten v~er Siaite.n~ Partial ba'" chord' on til e 2nd fret over the n'fst four st'('ing.s..

Pe'fcu,s:siion ~ D'j,e ,AblklurzUI'ng ~"p,elrcll' (engl~'i Percussion ~, :Sch~ag) ZE!'ig't einen perkussiven IKlang en, die'r erzeugt wlrd, lndern der Dalume'n der r,ecnten Hand auf die' Sa:~t,en ,schl~,aglt.

PI' T,J.. ,b ,t. .' '" iH n' A' ' ., d d' d- .t.. + "i".·' fh

ef'l'Us.'sl,on ~ ,Mi he ia,vvrevullt~on perc: maicate: a peuusstve soun~ proaucec ()Y S'tflr,Jng me

s tri.n qs 'wlth' tbe tiium Dr of th e r.~gllt hand .

.

AMB 3063 ' e 2007 by Acous.tic Mu sic GmbH '& Go" KG. Os na brulck

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. . .• ' I":' ". :-" - .. " - - ,.- :-.' _'-- _', ' ,.)

Die Itarre at ung .

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B l·d·~· 'h. -t:l

0····· ,····.-:'l .. n:·:·,,·.g.··- the .. ·.··.···, g.':. U.:·,].·'.·,1· .. -,a·:·'·,r-1":"

- - "_.. -'.~; .... / . . I, '~~ ... ". . ".' "_'", .

"' r- Bllue,,,gita~r~t@n ,habelll.lhre ~al1: lPers~nUche .1t' Glilita !fn::! n ha I tu I1g. M e I st'~n5 II e gt d II e G Ita rre jed DC h

auf dem rechten [.:lein (Abb., 1) lm Unte,rscn'ied zur klasslschen Pos~tion,. beii d1e1r' dle 'Girtarn! auf dem llnken lB,ein ruht (A.bb., 2').+ Bei der klasslschen IPositmon wilrd der I'linke Full auf' ,e'j ne IFu 8 ba n k Ql,est:,elilit oder man ve rwe nd et e i ne 'Gi"t.a wren stlutzle.,

IBei' der r,follkhalltungJJ nehmen dle Fing,e1r' der rechten Hand 'in B~zugl zum 'Griiffbrett eme schtal9'l! Posltlon eln, B,ei der klasslschen Haltunq stehen d Ie. Finger de r rechten He n d se n kre c ht zu m GI rtffb nett u nd den S,aite'n~ .50 dass deftln~liv ewn s,chonelrer KI'ang @rz,l!ugt

'" d

Wlln· .•

M:an~ bJ'u,es.gUitaris;ts have th'el.~~ o~n ,p1e'r.sonal ~!lY of h'oldl,ng the gUI tar., The ,m'Ojon ry ,,:e'5 t the gutta.". on tbe ~ight leg (photo JJ~ in ,contrast tit) th',e' ,c.la,S5icalpc'Jts'J-,

rio";.' wnere the' guitar ,res'ts on the leit ,leg' (pho to 2).1. In th e

.-::.,1..;-. a- =···.·- .. ;-"f .. "1 .,,. •.. - "'h .. ' , 'fi* ,~' ,:fro~. ,L"d' ." .' ,~, t;... +, ,

CU:~SSj,a~' posmon, ,L .f J€_~, ~'OO" IS tsacec on Q n.JQ~,eSiL a,r

'the. player u'Se.s Q' ,gui:tar re,st.

.Folk' gultQ,r.ls'ts ge,(l't(!raUy poslt/,on rh e fin gets' fJ,f rh,e' rigll t hand dia.gonaliY ro th e .s.:rring'sl' 'wh,ere,QS .in the cios.sical posi:tion me n,ng,ers' are a:t ,r:lg/1't tCUlgltes to the'strings an d 'the fing'erboar:d~, whi:ch definitelY' results in a bette',

sound.

U'Ul~JlU'm

.Abb,.1 Die Folk .. Gitarrn-enhaltung P heto " Folk; pO.slrion

e 2007 by Acous[[c Music. GmbH & en. ~ Osnab tick·, AMB 3063

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D .Anr ~D d S-· A"'hi d .11 C.

._ las "'/~_" ,-:- -<e,lli!Jen, I.-er ':'.' a1'~e -: .·_,_amp.-'i,en

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Th T,-· 'h. S····· .' D" •

,': ::,e··:··--:-·'-,' . ,> ··u··: m·· :.< 'PI.'"-. . .. ··.In·:'··-·a·'··· p..... . .. '_.. U·· .-:. mI.: : p.:-l··n-": .g' .

[ • • .' - ( I • ': • -...' _. _. ," • ~". _' I _ ...... ,I > __ -. . . .. _ ' _.'... ", . . ,.- -: ':.

. . . . '.~

'D"as, .r/AnreH3lenhi (Ze~iclru?1i11 » elner Sa~rt,e lst ein be. , ... ,' sonde,w·er Effekt,. der erzh?lllt we rde rill kann, w'en n man die Salte vonl unten mit dem Daumen der "Iec:h .. ten IHla nd lSI n reHlt und dann wh-=der [~osHiRt., Dadurch 5)(1 Uigt ,die Saite. heftii'gl geglen das Grrffibn~,tt und erzeugt' 10 einen Perkusslonseffekt, der belrn 1811 u essplel besonders hauTIQ ,eijinges,etzt w'ird (Abb. 3).

Urnl den Basstonan elne dunklere Klalnglchar,akt9ristlk zu vern'~,e~henf I~,egt man de'n Handballen der reehten IHa n d i nJ de r INa h e' des Steig es ga nz lei ch:t aluf d'j e d r,em ti efs tlen Sa lten (Ab b, 41l. IDlj;e.-se r Eft:e'kt wm rd .a.llls, II Dsim pferr" oder (f.-A bd a m pfe n" bezekh net,

A.bb., 3' ID,elr' D'au men de r n:~cht:EHll Ha nd I~ i eqt vo n hi nten a III de r lfi. Sa ~1t:1~,

Ph oto 3 The rhum Or of to e right hal1ld fnets rh e 6thl s rri'ng from bei: indo

. " he exp.ftessltJi.n Nth'u.mb snap,n (symbol >:J refer:s to' (1' 5,pecial eftect whlch is created ~y puillng the strin'g away' trom th'e ,gul:t(Jr with t'he' th,umb 10.f the rlg.ht hand and .rhe,(j' relea,sing it again .. Th'is' causes the sr.ring' to slap rag'a'ln[st the nngerboa,4 produ,c:ing Q percussive 50'und

ft h ,A" £..~ "f. ~ ., I·~· ::"1

o en . eora In' u~.ue,s. gUh,tl't' p~(J)#,n'9 1,1'[$ ~,ort), ~/"

./n order to giv'f:: the' bals! stfings. a muted sou'ndj!' -rhle pJ,ayer o,.ften lays' th e btl'll of th e .r:ighrt hand Ughtly on the bD ttom three' string,s, just tn .ffion t of :the bridge (s,ee pi,hoUJ' 4)~ 'This ,effect is k'fJ'own las #damplng ~

Abb.4: De'f IHandballll,effi'l1 der n~cht,en Hand d§'mpft die drel Balsssa~lt:@n; so dass dadurch der K~lang unterdrOlidkt wi~~d1- Photo 4 The ball o:f;fhe ,ig'hr hand damps tne three'

bass suinas to, suooress the sound' sl1'g. ht/tr

• .' ~ ", J • I _ •• t::2,:.:...J ' . .'_, . ~,... __ -l__:.l .~ ,r. " __ I • .: ,.J [' ( ~~I"

,

AMB· 3053· e 2007 by Acoustic Musk: GmbH & (.0. KG .. Osnabrutk

D Gr····· Iff lt d Ilnk .. ··1 -. ".

_ er.~-··'··~···-~ ... : mtt dern .. ·.-~-~~·!e:n ._ aumen

, ft·····-...- T"'''- .. 'h. b C" "h d Ei .'

· .. '~ ,. ··um·/·· ·····OT.·. .. .. ~ .ngenng

De'l" Daume : der ~h11k.e'n Hland kann glOck, j;c:he'rwe'i= ._ !$,e eiini'ge griifftechnwsche Probleme losen, mndem er um den Gitanlenhal~s herumqrelft CAb I_" 5). Film" diese Sp1we,Iweise wlrd das Zelchen NT" (-fur' fJ'thumbN == ID,ali.men) verwendet., IFu,r' d:i@j'eniigern1 die mit dleser SIP~eJwelse nicht vertraut smd slnd a I tie r Irru,ath,e, IGrirffi:! ang~= geben~

C ~ord fingering using the left, th.:um~;. The ,left :thu~b . . .. .. J'S o:frte.n used t.O sotve tinge'rlng ,proble,ms by gta sp'~

'., . , : , . .- . id ''*'h'' . -, ,~", ,(;,,: I _, if-!..e··· f.' ~i,n 'P' h·' '+1:' Cl T'k, Or n/,na o·f, Ing arou.n,. c;, e neCn J,t1om U~_- JJp- lol,·' Od)..},)'., f J d,.;J! '-,,'r&' .... -

n,n g,e.'rlng' is.' J:ndictJ'tied by IQ' F7N (for rn urn b). ,AJ't:erna rive ,fin',ger:ln,gs are shown for those unfa,mJJior with th'.i.s tech-

,Abb~ 5 'Glrrnff rnlt dem Daurnen {T) dar [~mn[k,en Hand Photo 5, 'Cho.rd nn,gt:r,ing using the left rniumb (T).

Hinweis: Es lst ratsam, dle Obu" gen lim aufstelqenden Schwi'elr'i'Qlke,jrt;sg r,ad zu e r,arbe:iten", Je nach Vorkenntn lssen und sp;helit,echniischen Ifahilgkeiten" di'e' man besltzt, kann man auf der entspreehenden Stufe e,ins,teigernl.

Stufe 11 LevE'1 l'

- IFi;nIQlers,tylle,-Obu n g,en N r.. 1-1.5 Fj'ngerstyle Exercises. No. 1'-'15 - Studien Nr~ 1 u ]d INlr~ 3

Studies No. 1 and N,(J', ,3

- My G'lf andf athe r's ell oc k

Sturlie 2/ Lev,ell

- fil~g ers~yl e 811 ues-Obu nge n INr. 20-,2'2, und Nr.25,-31

fJ,n,g,erstyle Blues Exercises No. 20'~22 and Na.25~3J

- S1:udi@n N[r: . .2 und Nr 4 Studies No.2 and ,No. -4 - Booqle WoolQ'mle BOlogie

-, B~ack Eye. Blues

Tl,p: It's advisable to appro(J'chrhe exercises I'n ,in cretl'si:ng ,orde, of difficulty, Depen d:,ng on p.revlou s experrrt!fJ,(}e and technical' Qbili~, ,you ,con choose the appro'p,r/atf!:' I;eve'/' ro

'1l'""',t'II'f-t n,fi ~lIlrUt .. lU'lll ~'I!

-, Three Blul€: M,oods ~ 81~ ues For IN i: no

Stuf@ 3/leve,I.3 ~ 'Fiingle i stylle' Blluesi-Ub . ngen Nw~ 23 rc _ nd 24 u __ d Nlr~ 32-413

Finge,rstyle' Blue's .fx;ercis,fs No: 23 and'.24 and No,. ,32~43'

~ Studien Nr, 5 und Nlr .. 6

Studie« N{jt 5 and N'o~ 6 - RockJn' B~ues

- Sw~nging Blue's

- M,a,ggy~s. B lues

- Breakfast On The Gr,een

AI~I That Blues

C 2007' by Acoustic Mus'c GmbH s Co. !KG, Osnab 'uck· AMB 3063

'10

Di' '.'. .L 2-'· takt "1,'- .g"'-' . B······l·· ,£1._ .• :.,-.,

.e ..• -taxrrge ...•... uesrorm

Th. .. e 1"'2:;' Ba .. irBhi es ·vo· .. · .. vrm.

: '. /..... _ ..... < -:, , .... _ .,'- ,_ ... _. I .<.I·~:::.,·_< .L' t .. · ..... "

We.n,n I~UI~ik!err z.~lsa,lm~en e'i~~~n BI,.U1e's S~i~;e:len wollen; haben 51e rnetstens die typlsche 12,-ta.lk=·

t:i 9 e B I u esfo rim i m Ko pf:, Sle i st d u rch le~' n e bes.tw rn mte Abfolge von IH armo n len 'Qlepr.a'glt.,

Das Blues-Schema setzt slch aus 3 Gruppen 'von

, - -

je:wlei~1 s "' Takte n zusam men und hat ln der Re'ge,1 folgenden harmonlschen AbIla uf

'la.kt·1--.,4: I {= '1., StufelGrundto,nar1 bzw. Toni ka)I' Tskt 5,-6.: IV (~ 4 .. S.tufe/Subdom,unante)l· Takt ']:=8:: I" ·Ta.lkt 9: 'V (=. 5. Stufe/Dommante), Takt 10: IIV~

Tal!k.t lll.~, Takt 112: I oder V

A.uf' der IG.irta rre 'Wf~ rd end te Ak ko rd e zu mel st d urich el n e zu s atz'l i ch e Sep,t~i m e' e rwelte rt, InC -IDu r s~eht d ~'e Fo'rm dann fo:iQlendermall,en ,BUS::

OJ c

r:;:;-, ~

W::~h:u~~;;n;e~~=,i ~~ r~:I:p~c!:~e;_~~;

verse torm: this' is ,ch'a.racf.erized by.o' specific harmonic prog're:ss/,Q,n.. The ·12 .. "bar form consists of three 4-bar sec = tions, which usually go ILlS follows:'

S,QtS 1'~·: I (;.... [lOlnl" Of ,FrO(),[ c h'O,rd);

bar: ,5'-16: IV' (= 5uibdomlnant)1.' bats ,7""""""18':' J~

bar 9: V (- dOI,m'inan'tJ, bar 10:.'.I~ bar 1'1: J~ bar 12;~ I 0,( V

O *'t..... , ·'t·,· t"" ,t.,- .. d: .' '. ,.. ,.;-,,~'I,,· . ··,M .... d' ' .. ' n· _t.

I .n un? gUt ,al; tne moras are usuany ,fhay,e as I U'

chotds. In the key rO.f t(-:' the t2-bar form Iwould look liKle 'fl"

ttus:

1m C.'7

z

. .,.

il/

I L

iT -' " L L it' ,
L ,.. L 7 [II F7

2

IT] c

m

.1 .I , .I .I , .I
, I ,I L .I I' I' ,I ,. .1 I .1 .I .I
L I' .1' I .1 .I' ,. ITJ

IGl7

F7

DIJI c

~ 121 G'7

.".

I .,

:1

7

7

z

E~n Bi~lues, bestent aus mehreren IOurchg,ang.en. :Siol~1 ein w·e'iit.erer D U IIC h ga n 9 =. a uch a I 5, ,nlCh 0 ru s" beze i ch net ~ fo l'9len, stsht a m En d e des Schem a 5 e in liT u rna rou n d/~, ,e~ n 0 bewg,a ng,. a n den sic h d er nac h ste Du rchg,a mig a nsc h Ilri e Bit Dl,a be i werd en die . etzten beid e n Ta kt,e d es Schemes va rl i ert, Oftm al~,s ve.rrw,ender!tt man d ~,es e beii= den Akkordfo I'ge n:

7

A btues conslsts of Q sequence of severat verses, It (ul,,)r:h er v€",se 0.' '~,h ()i,rU5"U is. planned~ th'e ,(u.rre.nt verS'le' frre'quen'tiy' ends with la' S,()-c(J.lled "turnaround; wbich leads to tbe

. . f t'lt., d usualtvconu t f'-' 't' ,

s.tarr· oe me new 'v;f'fse ani.··. us.ua,~'~y· ,(OnSI5 .5' 0, vani,J'J',O'ns.·

on the {i,o(J',i two bets of the verse, Often mese two ch ord sequences laJ~ used tOlf til is' pu rpose

IJD 112 I [ill [I[]

C C,7 F Frm elF:, ' G'7 ,i c C7 F' Fm C:

Ir~L~L~~7~1~_' ~2~1;...._~i~/I~;~~11~7~'~·~~"'~'~· ~7~L~./~~;Z~.?-· ~:HII IF-2~Z;""_~7~/I~C'~~"'#'~'==;~z~;--pl~7~'~~'~~~L~L~-;~L~'~~z~f~~:MII

AMB 3,063 .. Ie 2007 by AGOlJstiC Mu $ ic Gm bH 8i (0 .. KG,. Os nabr _ .. ck

The pause on the fin',a,' quarter beat oime 12th barh,e#:J's tn d· 'j'c' '",.,'.;0. .i'1'n· d . h'· ,;- : .. ~t·~· -.' ".'-:--'iQJ, "'''',0 e· ,In d'" .: 'f: ;.h·: e' '. C" h·' 'Of' U il" B"C' n,·h··· ,th .. -. iI\U',~ ~'tl,;;,' '1O.itl: C arQ.c: enz,~ IU h;;;. .u. 0_ !L' .', Y·.;;!'. IV~,'·:· ,_ ,e

pause and 'the tumaround chords can be p;~'a:yed in di'ffer= en: voiiatton s.

1~,~,_-- ,~,_/ __ ~,~L_/ ,~7 'I~I,~'_- __ ~7~'_/ __ ~'~'_-/ __ ~L~7 __ ~._~,_,_-- __ ~7'_<_-- __ ~L~7 __ ~7=,=-~~,~L_/ __ ~7~;'_/ __ ~L~-_~ __,I

I I z / il

Es fol~gle'n ,dii,esje[~ ben 12 Takte -CJ ~II e rd i~ n g s MliiI1t e'i ner and e=- H:f.lf(2 is the same 12-bcu'" verse 'with a d.'ifte'fent CJ',I1',d' ,mIOl'!€'

ren i nteressa ntere n A:k kordfo,~g e: In reresti:rJ'g chord seque,n1ce:'

F7

c

m F7

F

C7'

,A'7

, _I

IT] D'7'

G7-'

I-

,-

G7'

,7

/

z

j'

T

I I

L

7

INI u n mochte 'j c h lei; n ~'g @. 8eIs.pii'f~ le vorste I ~ ~ni d i IE! ze i glen:, 'wile die, I etzte n belden'Takte va ri'iielrt werd e n kon n en:

N,(J'w' f{J Nice' to use a Ico,upl;e:' ,ollexamp~e's fo de,mon.s:t~Q't.€' p,(J5slble vafi;~ tfo,ns f,r;.,r :thl€ tina'i twO' bars:

1111 I

C-

I

IF7'

c

,7 i'

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=U

7

[illl c

,

,

112J

c

DIJ 1'121

C7 IG;-:7 G'7

Fm--

- I

11'1 I II '1:2, II ,1111 I IL ~ 2 J

c sa D7 IGl7' C'7 !D~7 DI7

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e 2007' by Acoustk Musk GmbH & Co. KG,. Osna brUick " AiMS 3063

112 e Die '12-takrige Bluesform - The 12-Bar Blues Form

The 1,2-,[oa1' blues verse is' of co ur.s. e n[or the on(y common~y used iorm, even UJoU'gh i't. can. b€ ,reg a rdea as stan dard. So.m',e'ti:mles rh'€ leng:th of ;the Vierse C¢l'n be extended ro 131

l' 4 Of 16 bars and it can also, be teducea ro B, 910f l' 0 bars. 8'- and ,[ s-oar verse tom» are [(Iom.m'onest

J' strongly recommend tba t you transpose the fo,lIowi.'ng exomptes tnro various' di.ffe,rlf!.nt keys'., This Is all' [ex"i'('e'm,e'ljt u seiu J exerase:

Das IB[~ue:s,=Schem[a mit: 12 Takten list naturhch nlcht (Ue ieiinzij',ge, gebr.auc:hli'che Form, aucih wenn ste als Standard bezelchnet w,er'den kann, M,anc:hlma~ wtrd di,e Taktzahl auf 113" l4 oder 16 Takte erweitert oder auf 8, 9 ode r '1 0 Tekte redu tile rt, wobel 8- u nd 16r=takUge' Versformen am haufigsten vorkommen,

lch [e" m '·p1fehlllie d rln Ig, end - die ,to[~g:,e'n,den Be.i~slr\me[~e

c: I 1._,.. , .I_~ "'- - - --, - - '. ._- - - - - IF

, -

auch ~'n verschiedene andere Tonarten ZUI transponle-

ren, Da s i st e ~ n e 0 bsra u s n,lutzlll i ch e 0 b U 019.

rn C7

F7

C7'*

I . ,-

z

1 z

z

7

2

2

W 1=7

F~dim

I

A,1

L

,

z

L

I z

2

.~.

W

IDm'7

'G'~7'

"_',I_

z

z

2

.7

C7

T

z

.1

z

2

"

»

L

:~

"

* Der rC~'Dur-$eptim,enakkord r(C7)1 kann durch das Hinzu fO Q,e n vo n UI be rm,a B~gle n 0 der verrn i nderten 'Qu:! nten (:1.5" L,S:) und Nonen (19~ b'9) cd erlert werden,

OJ C7

F7'

* 'Th'e C7 chord can also be varied through the Q'dditJon ,of £Nlgme-n:ted or ,dimi.n,I,s.hed' fitth.s (I 5J! ~ 5) lor nin ms (N 9~

b9'>·'~

I. '.

~ ".;.' !

c

Gm7

C7

:z

~

7

W F7

A/~G

~ . -'.

Dm7

Em7

E~m7

7

7-'

7-1

,j!

L

L

,r

z

z

[I] Dlm7

(37

" _.1 II' ,.,

:z

2'

C7+,

A,7

II

!II

.AMB 3063, ,© 2007 'by Acoustic Music GmbH &:Co.lK:Gj Osnabnick

.I 1.1 .""1

~~ The Ab, ell ord ls played with Gb in the bass;,

Die 12-·ra'ktige ,B./uesform - The' '2~B(J'f Blues Farm . 13:

OJ

C7 F9

C13,

I 5 ~ F9

m G9

F9

I"

"

IzZ

7

2'

L 11 I C:7

F7'

I

[[J

F' 7' B 7'

_ -;-1~.

F~d1im

C7'

A7

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F9

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I 5 I F91

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~I

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.1 .1

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, L z'

:U

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12

'it

Fldim

cs

. ,', ",.

Gm7'

.'77

I L

t <t

z

z

m F9

,

.,

E.m7

Cm7

F9

7

"

I

Em7

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e 2007 by ACOUSltC Mus·ic Gmb.H & (,0_ KG. Osnabruck· AMB 306,3.,

14

- 1 ;U' .

. ..... .. , '. ,". '. . ',.- .'. - / . '. '. . '. ~ I ..... . _

DIe B.ues- ... o·eIter

The B';·II.·u: .. es Sc ia ·I-.Ie'· :'

.' "... -" " " .~. . . \. ". . _ -" "

D,:~,~ ~lue'S~e'I.~d'i[el~ ~i,~~ ~n_~er~el~e_1 a~f'~,e'r 1~IUlelS= _ Ska~lal-Tonh?l,ter ,au~gebaut~ Dlese baslert w~,eder=

urn auf' dem ,MtQlll-p,entaton~schen ,Modus, wobel das B,esondere' der Blues-Ionleiter dartn besteht, dass in ihr s pezlelle D'is,son anzen. die IB'lue' No*"~'c:~ vorkom men

.. ._, _. - .. --,r " - II' .. II,,; ..... ~ ',' . I ".'

Blue Nlo,tes sind beweg lithe' Tone, dte zwischen den 'fol~genden lntervallen sc:hwanken kdnnen; kletne lerz/ gr'Of3,e Terz ..... vermlnderte Ouinte/relne Quint,e - klelne S,eptime/groBe' Septlme.ln unserem Notensyste,m lassen slch die 'Blue Notes nur elnqeschrankt darstellen .. A,uf' C erqlbt slch folqende Blues-Tonletter:

•

AMB· 3063 . cO .2007' by Aooustlc M-u-s'ic GmbH & Co. KG. Osnsbruck

t: blue:s, ma'fj y melodies are constructed from :the 5C~~ calJ:ed ,bl'u,e's. scale. Tn is in tum is based on the minor

'. d' b. . • I'd""

pentaton«: moe e,. uur contains severo aissonances 0.(

;!Ib'~' , ". T .-£1 . - 'h' .. t. . '--' .... u:»: F . t:'h'" btues ' .. -J.. B:'~' .

. ' ~ue nCh;e.s w, "leu' are spe,ctu,( '!l,O "e '.' ues scate ... J~ue

notes are movi'n,g notes wbid: lie between the folJo,wing ln tevah: minor .3t'dlm ajor 3rd-dJminish ed 5'th/noruraJ .5;th~m'i.no',r 7t:hlrnajor 7th .. In our notation system~ these note's can t(J'nl.y b.e depkred apprQ~imQ teiy, a.s. they .lie between t:h e notes of 'the 12- tone scate .. Here Is. tiie biues scale in C~

•

.'.

F·"· -. ty'l U' '.'1,

.. ' ... , tngersty e- . ibungen

Fin. .... g,'.:" 'e'·:- - -S"-'~' t',y." , le E:·· zerc ....... ises

L' ~_ . " .. ,', " '.' ',',' ,.," ,', .. ' ' - ",~.I • I j ,", ' .

. ,', .

I'n dlesen ersten Obulo'ge'n sollte der Daumen i'lm~ 1m e r d ls [Ba:ssto,ne (dl i e N ote n rn [t nac h u nb~'111 g es t rlchenem Notenhalills) auf dem,.2 nd 4, Vi,elrtel des' aktes betonen, lch wurde' auch den fortqeschrltteneren SrpljiE!,1 ern ernpfehl en" ih re Sp,iie,lwelse' mit der auf de r COl zu 'Ie r'9ll,e lc hie n.

'. ." n thes,f' fj'r:S'f exercises, :th€ rh u,m'b s.i1'ou,id a/'ways accen-' :tu,at'f' the' btl,55' ,n o~e's' Cth'ey"re the ones 'wh,ere rll'e t1'o:te stern points down) whi~(,h fallon the' 2nd' and 4th auarter be,ats.' of tne bar. J would recommend even ,Q'dvan ced playe'rs. ro ,(:o',m'pa;;e' M'efr pJ;aying with tha;t on the CD.

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!oooo.,. r Becht'e Hiand': Der ,Ze'igefinige'r (0 splelt die 3.~ Salte (g)~ der ,Mitt)ellfingelr' (1m,) die 2, SaU:e ('h bz:w~ b mn :intern,atliol" nailer Schrelbwelsel und der IR'i 'gfinger (a) dle 1. S,aite (e]; Noter mlt dem Notenhals unten werden immer mit d em Dau men (p) gl,espii!e~t.,

Linke Hand: D'ie Zinelrn 11 bls 4 bezlehen slch auf dle F'i n 9 e r der I 'i n ken Hand:: 1 =' Z,eiig eft n gler~ 2 ~ 1M i tt1elllf]1 n- 19 e,r, 3 :- R i'n'gm In'glle~~ 4 - k ei n e r Fi nrg er, lst eii n e' d i ese r ZI,ffern mit elnem ,kleinen/tfJ (~t:,enuto.j gekennze:ir(ih~' net, SQ'U der betreffende F nqer den g,egriffenen 'lo! . festh a It9 n, da err ku rz da rau f no c h ei~ n m a I~ 9 esp i e,1 t w'ird~

*,R,~ght nand: 'The index fin-ge'f' OJ ,p,J:ays the 3rd' .5 frtng (6), :the middle fin,ger r(m) tbe 2nd s.tring rf,B) and the ring nng'er (a) me 1's't .string r(f)~ notes 'wbe're the note' st;E?'m po.ints ,down are always p'J:ayed with ;th1e thumb (p)~

t , '''t ,I:,., '., d: 'J".J." .. , ., .. b« ,1 4· reier +0· me ~ng· ·d.i'\f!' 1.""1" •.. +\~,~, !k/fh nr(lfJ,· ~ J He numers ,~ " .. it;; . t, a,. '. Uc:_' I;LJ.I 'v', ~"U'I;

left band: 1 =. index fj:nget, .2 :::::: ffJ.'.iddl;r;' fin,ge,r,3 -, ring nn-' 'fI',et'" 4 :::: litde' fin fJfe'r:: rlf one ,or( th ese n um,bers Is IQ,be.IJ:ed wi til Q s'm (J'II nrlll('::: t~nu ro) th is means tne (jng .. €r in q .. ues-

_ _ _ '. _ , - '" . - __ ._. ",' ,. . . , ,"", ....:. ," .

tio n· " s···l..'ou~d" ~,i"iintJ'n~ ;,~ !fB' ro t..o····'d··' .~n,I· .. ''''n-' ,,",iL.,o n· 0' te. n'l[' If" W" jU

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s,o,on be played again~

e 2007 by Acoustic Music GmbH & Co. KG.r Osna brOck· AMB 3063

4

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- AMi B 3063, .. e 2007 by AcousttL MusiJc GmbH '& Co. KG~ osn a b ruck

Finger.s tyl:e-Obungen - Fingl~rstyle Exercises" 1 '1'

'10

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* In :this lexer:rj5€ the ,firs t and tbe second nore of the metody (stem up) could be' p,;cked orplucke-d wit.h ttu:!. same finger of tbe righ t handi b U t It is bene: te,chnlque and

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T······ : hie folio'win,g exercises lare' not mt~,ely intend:ed 'to '.. tl'elp develop. .l'our ,pllaying' technJ'que" Th€'s'€ blues ex;cerpts ar.el ryplc;cd j~bu'i:lding bl:ocks ~ whi:,h ,~I IWD uld IJ:ke ro encou,rage you t;o u.se "rea tJ've,ly and JnCfJ'fpOrate fre1fl'Iy in to your own im,p tovis a nons.

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;it This and th'e fo/l~owing exercises should be perform,ed 1V~'fy slowly at ,first When you hove really mastered the €x€rcis,f3_.1 you Gan Slatt' gr:ad'ucdly' inCfe,Q'sing tbe temoo.

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22,· Finger5tyle Blues-Obungen - FingerstyJe Blues Exercises

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216" Fingerstyle Blue'5j'- Obungf'M - Fingerslyle Blues Exercis'(Es

26

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*rhe expression il.be.n d" ,me.,ans 'that the finger holding til € stdn,g down NputlsH Of ,s tretcbe» the string' sligh tly up 0' dQlwn,r SIO' that 'the piU::h of the note rises. NR,eJeas€·n. mEN:l'fl'S th at tbe s tring' is ,fJ,tlowed to ,rreturn ro ,i:ts restposition, so tbar the pitch, of the note fO'lls'i

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* Wh.ilre the open strtnqs are ,50undi.ng~, th'€ middJe and ring (jngers hamm',e'f' on to the .s trlng's and .slide in po'ral= te,1 two frets. up the ,fjnge,rbo'ord; on e after tne otner: Til e last n 0 tie' is ,picked' toqetber with :thi€ bass note [G' •.

AMB 3063, - ~ 2007 by Acoustic Music GmbH & Co, !KG, Osna bruck

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