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DALE TURNERrsquoS GUIDE TO

ACOUSTIC

ROCK GUITAR THE ULTIMATE DVD GUIDE



1 HARVESTReaping the benefits of Neil Youngrsquos

pick-style acoustic moves

2 CRASH COURSEA look at Dave Matthewsrsquo revolutionary

rhythm playing on ldquoCrash into Merdquo

3 TAYLOR MADETackling the timeless sweet fingerpicking

style of James Taylor

4 CAPTAIN NEONDissecting John Mayerrsquos unorthodox

fingerstyle grooves

5 THE FREEWHE ELINrsquo

STRUMMERA look at Bob Dylanrsquos relaxed and groovy

acoustic style

6 UNPLUGGINrsquo AT

THE CROSSROADSEric Claptonrsquos smooth acoustic fingerstyle

approach

7 FLEET-FINGERED

MAC-OUSTIC MADNESSDelving deep into Lindsey Buckinghamrsquos

unique Travis-picking rhythms

8 TAKE THIS PAIR OF

STRINGS amp LEARN TO FLYExamining Paul McCartneyrsquos ldquotwo-fingerrdquo

magic in ldquoBlackbirdrdquo

9 STRUMrsquoS THE WORDExploring the elements of Pete Townshendrsquos

energetic acoustic rhythm style

10 BLUEGRASS

BARN-BURNINGYour prescription for flawless flat-pickinrsquo

the great Doc Watson








fingerstyle grooves

5 THE FR EEWHEELINrsquo


acoustic style

6 UNPLUGGINrsquo AT


approach

7 FL EET-FINGERE D



8 TAKE THIS PAIR OF





10 BLUEGRASS



C O N T E N T S



HARVESTReaping the benefits of Neil Youngrsquos pick-style acoustic moves

CHAPTER

1

NEIL YOUNGrsquoS CAREER

now spans half a century and with

more than 30 albums under his

belt the Canadian born folk-rock icon has

shown time and again that hersquos adept at

wielding electrified axes (In the Sixties and

Seventies his blues-rock riffing in Buffalo

Springfield and Crazy Horse rivaled that

of Cream and Led Zeppelin profoundly

influencing Nirvana Pearl Jam and Sonic

Youth) But for many fans worldwide itrsquos

the magic that happens when Young puts a

Martin D-45 in his hands and picks through

haunting classics like ldquoNeedle and theDamage Donerdquo (from his classic 1972 album

Harvest) that has kept him in high rotation

on their play lists for decades

To grasp some of the many elements of

Youngrsquos acoustic style in this chapter wersquoll

examine how a progression based solely

upon open ldquocowboycampfirerdquo chordsmdash

like those in FIGURE 1 (D Em G C A)mdash

gets ldquostylizedrdquo with the types of techniques

Young uses in ldquoNeedlerdquo By the end of this

chapter we will have modified these basic

chords with 1) upper-register common tones

2) open-chord ornamentation and 3) Youngrsquos

ldquooutsiderdquo pickingstrumming ingredients

that should inspire you to similarly tinkerwith your own chord changes

Instead of opting for mundane ldquostalerdquo

chord sounds Young is a fan of adding

ldquocolorfulrdquo tones to his open shapesmdashas the

fancier chord names in FIGURE 2 reveal In

bar 1 of this example the simple changing

of notes along the first string mutates D to

Dsus4 and Dsus2 However itrsquos the chords

in bars 2-4 that really get the unique Young

treatment Here the fret-handrsquos ring finger

remains anchored on the note DmdashB string

third fretmdashand is played in tandem with

the open high E throughout This creates

the atmospheric and ldquomodernrdquo flavors

associated with chords like Em7 G6 Cadd2and A7sus4mdashsounds that in addition to

ldquoNeedlerdquo also enrich other Harvest tracks

like ldquoHeart of Goldrdquo

Country-tinged accompaniment moves

also figure prominently in Youngrsquos acoustic

style sounds derived in part from a guitar

approach popularized by Maybelle Carter in

the country standard ldquoWildwood Flowerrdquo In

FIGURE 3 this ldquoCarter strummingrdquo takes our

initial chord sequence a step further adding

melodic ornaments (beat threersquos hammered-on

notes performed with the fret handrsquos index finger)

and strums on beats two and four Speaking of

strumming now that wersquore getting into deeper

Young territory itrsquos worth noting that in contrastto his Seventies singersongwriter contemporaries

players like James Taylor Paul Simon and John

Denver Young is not a fingerstyle acoustic player

but rather a very inventive pick-style strummer yet

another component of his distinctive sound Hence

in tackling this example make sure you use the

alternating pick strokes as indicated

Now that wersquove got Young-style chord

enhancements under our fingers letrsquos add the

final touch to capture his ldquoNeedlerdquo vibe ldquoOutsiderdquo

pickingstrumming played with a triplet feel

groove as depicted in FIGURE 4 To cop a triplet

feel subdivide a four-beat pulse into triplets (three

evenly spaced attacks per beat) picking only the

first and last bits of each triplet grouping (countedone-uh-let two-uh-let three-uh-let four-uh-let)

with alternate down and up strokes As your pick

hand locks into this groove pay strict attention to

the note pairs indicated throughout this examplemdash

especially in bars 2ndash4 Here downstrokes strike

each chordrsquos lowest note pair while upstrokes

alternately focus on strings 2-3 and 1-2 on the

delayed (due to the triplet feel) upbeats If you

execute it properly yoursquoll almost hear a melodic line

in the upper register of each passing chord

0 0 0 0

0

D

0232

Em

022000

G

320003

C

32010

A

02220

0D

0232

FIGURE 2

D

0232

Dsus4

0233

D

0232

Dsus2

0230

0

Em7

02

2030

0

G6

32

0030

0

Cadd2

3

2030

0

A7sus4

0

2030

0

D

0232

FIGURE 3

Dsus2

let ring

0

30

= downstroke

0

230

sim

Em7

0

= upstroke

030

02

2

030

G6

3

030

00

2

030

Cadd2

3

030

A7sus4

00 2

030

=

3

FIGURE 4

D

let ring

Dsus4

02

32

02

33

D Dsus2 Em7

02

32

03

02

03

02

30

02

03

sim

G6

00

20

32

03

32

30

32

03

Cadd2

00

2

0

A7sus4

32

03

32

30

02

03

02

30

F I G 2

F I G 3

F I G 1

F I G 4





TAYLOR MADETackling the timeless sweet fingerpicking style of James Taylor

CHAPTER

3

IN 1968 THE BEATLES signed

a young singer-songwriter by the

name of James Taylor to their label

Apple Records releasing his self-titled

album that same year (It would be JTrsquos

only Apple album James Taylor was later

re-released by Warner Bros in 1972)

Despite his connections with the Fab

Four Taylorrsquos brand of folk-pop and unique

fingerstyle approach didnrsquot catch on until

1970 with the release of Sweet Baby James

Spearheaded by the track ldquoFire and Rainrdquo

(which reached Number Three on the

charts) Sweet Baby James put the spotlighton Taylorrsquos commanding acoustic guitar

presence That light shines just as brightly

today He recently came off the ldquoTroubadour

Reunionrdquo tour working his cedar-top SJ

model Olson acoustics while sharing the

bill with Carole King In this chapter wersquoll

examine the playing techniques in the song

that started it all ldquoFire and Rainrdquo a master-

work of chord ornamentation and pianistic

guitar sounds (Note Though Taylor plays

this song with a capo across the third fret

wersquoll forego capo-ing in this chapter)

Letrsquos kick things off by examining a sig-

nature James Taylor sound yoursquore perhaps

most familiar with the decoration of open-position chord shapes with hammered-on

pulled-off embellishments All these moves

involve fingerstyle plucking using your

thumb ( p ) index ( i ) middle ( m ) and ring ( a )

fingers as specified beneath the TAB staff

If you look at the open D chordrsquos

treatment in FIGURE 1 yoursquoll notice its

highest note Fs (first string second fret)

is sounded by a hammer-on from the open

first string Be sure to arch your fret-hand

fingers so that their tips point straight

down onto the strings You donrsquot want

your fret-handrsquos ring finger crowding the

first string and damping the effect of the

hammer-ons (and ensuing pull-offs) Allchord tones should ring clearly throughout

after theyrsquore plucked FIGURE 2 shows this

same approach applied to an open A chord

which along with D Taylor plays similarly

in this songrsquos intro and verses

In the chorus JT opts for a contrasting

accompaniment texture trading some

ornament activity for a piano-like sound

similar to FIGURE 3 a passage that features

a descending bass line (like a pianistrsquos left

hand) and upper-register chords (like a

pianistrsquos right hand) At first glance yoursquoll likely

ldquodefaultrdquo to fingering these chordsmdashD (played the

conventional way) DCs Bm11 and E7sus4mdashwith

your fret-handrsquos ring finger fixed on the second

stringrsquos third fret throughout switching around

the other fingers as needed To alleviate this finger

scrambling in these types of passages Tayloractually reverses the ldquoouterrdquo fingers traditionally

used to fret an open D shape using his index finger

to fret the highest chord tone Fs (first string

second fret) and middle finger for A (third string

second fret) This makes it possible to keep both

the middle and ring fingers planted throughout this

chord sequence

FIGURE 4 similarly depicts another ldquopianisticrdquo

portion of the chorus Here descending sixth-

string bass notes (each fretted with the middle

finger) are plucked simultaneously with notes on

the third string creating harmonious-sounding

10th intervals (a 10th is two pitches 10 scale steps

apart) Again arch your fret-hand fingers from

above to achieve maximum note clarity this time

to make room for the droning open D string struck

between the 10th intervals A sweet E7sus4-E7

move caps things off in bar 2Wersquoll conclude this chapter with FIGURE 5mdasha

full ldquoin the style ofrdquo passage that juggles Taylor-like

ornaments (on open D and A chords) with some

familiar seventh-chord sounds (E7sus4 and E7) as

well as some new shapes (Gmaj7no3) The opening

moments of this example are spiced up with sliding

triad moves on the top three strings of standard A D

and E sixth-string root barre chords Pluck the bass

notes (the open A D and E strings) that correspond

to each shape as you slide up the third string then

arpeggiate for maximum Taylor-esque tastiness

p

FIGURE 1

let ring

p = thumb m = middle finger i = index finger a = ring finger

Dsus2

mi

D

p

0

30 2

mi

Dsus2

p mi

232 0

0

D

30 2

2

FIGURE 2

p

Asus2let ring

mi

A

p

0

20 2

mi

Asus2

p mi

222 0

0

A

20 2

2

i p

FIGURE 5Alet ring

a m

0

4 6

5

i i p

D

56

a m

09 11

10

i i p

E

1011

a m

0

11 13

12

ami

p

A

()12

0

9109

p

D

mi

0

9109

0

Dsus2

m p

Asus2

32 0

3

0

mi

A

m p

Asus2

2

20 2

i p

Gmaj7(no3)

0

02

i m a p

3

03

2

m i p

E7

strum

3

30

0

E7sus4

a

2010

2

0

p strum

E7

00

02010

2010

am p

FIGURE 3

Dlet ring

i am p

DC

i am p

Bm11

0

32

2

4

32

2

i am p

E7sus4

2

30

2

0

30

ami

p

0

A

0222

FIGURE 4

m p

Glet ring

i m p

DF

i m p

E7sus4

3

40

2

20

i m p

Em7 E7sus4

0

20

0

00

020200

strummed

E7

0020100

020100

F I G 1

F I G 3

F I G 5

F I G 4

F I G 2



p

All examples played fingerstyle p = thumb i = index finger

FIGURE 1

let ring Em

i p

0

2

i

FIGURE 2

p

Emlet ring

0

2

i p

0

2

i

FIGURE 3

i ppre-positioning of finger

Em

00

i i p

X

X 0

i

X

X 2

FIGURE 4

FIGURE 5

CAPTAIN NEONDissecting John Mayerrsquos unorthodox fingerstyle grooves

CHAPTER

4

EQUAL PARTS ELECTRIC

bluesman acoustic guitar phenom

and pop singer-songwriter John

Mayer is a master of numerous styles who

has garnered the respect of his musical

peers (collaborations with BB King Eric

Clapton and Buddy Guy) along with chart-

topping success His eclectic playing style

satisfies hardcore guitar heads while it

exposes a new generation of players to his

heroesmdashStevie Ray Vaughan Jimi Hendrix

and othersmdashwithout turning off his singer-

songwriter fan base

Letrsquos examine the musicianrsquos fingerstyleprowess by digging deep into the unortho-

dox fingerstyle groove of his song ldquoNeonrdquo

While Mayer originally played the song on

electric guitar on his 2001 breakthrough

album Room for Squares nowadays he com-

monly performs it on his Martin OM-28

John Mayer signature model acoustic

The groove approach Mayer uses in

ldquoNeonrdquo is (in his own words) ldquoinspired by

jazz guitarist Charlie Hunterrdquo who employs

an eight-string guitar to cover a wide range

of sonic territory and complex contrapun-

tal ideas Though we will forego detuning

in this chapter Mayer actually detunes his

sixth string down two whole steps to C inldquoNeonrdquo to emulate the low-register content

of Hunterrsquos style and alternates his pluck-

ing handrsquos index finger ( i) and thumb ( p ) to

infectious percussivesyncopated effect

Letrsquos break down the technique Mayer

uses in this song into manageable bits

applying each element to an open Em

chord Before attacking the octave shape

in FIGURE 1 position your plucking hand

over the strings almost as if yoursquore preparing

to ldquostrumrdquo themmdashnot ldquostiff-armingrdquo style

but rather with your wrist slightly bent

for a relaxed ldquorotating at the wristrdquo-type

movement donrsquot rest your hand on the

bridge or any other part of the guitarrsquos bodyNext with your thumb pointing toward the

headstock give a powerful thumb strike

(like a slap bass player) to the sixth string

pushing through it until your thumb rests

up against the fifth string (whatrsquos known

as a rest stroke ) Then hook the fourth

string with the tip of your index finger

and use a quick upward pulling motion

to sound the string The two movements

combined should feel relaxed like a down

up strum motion from a ldquolooserdquo wrist Try

doing thismdashalternating with your thumb and index

fingersmdashin an even eighth-note rhythm as written

FIGURE 2 adds the open G and B strings to the

equation which are attacked in the same manner

with the thumb and index fingers respectively

This requires the somewhat awkward move

of bringing the thumb over to hit the G string

immediately after plucking the octave shapemdashby farthe most complicated part of the entire groove

FIGURE 3 depicts the last part of this right-hand

patternmdashthe simultaneous thumb smack on the

muted sixth string indicated by an x (lightly lay

your available fret-hand fingers across the strings

to deaden them) and the preparatory touching or

ldquoplantingrdquo of your pick-hand index finger on the G

string in anticipation of the next move so you can

catch it then snap it back with a pluck FIGURE

4 puts these three bits together into Mayerrsquos

complete two-beat ldquoNeonrdquo pattern

Now wersquore ready to have some fun with this

technique You may have noticed that wersquore only

plucking strings 6 4 3 and 2 Good news Any

chord voicing that falls on these four strings can

have this groove applied to it Letrsquos first test this

theory using the various Em inversions (same notes

different low-to-high arrangement) illustrated in

FIGURE 5 FIGURE 6

takes these inversions andemploys Mayerrsquos ldquoNeonrdquo groove to carry them up

and down the neck

Of course the most common chord types using

strings 6 4 3 and 2 are sixth-string-root major

and minor barre chords sevenths extended and

suspended shapesmdashsimilar flavors to what Mayer

uses in ldquoNeonrdquo Despite eschewing Mayerrsquos Drop-C

tuning the voicings in FIGURE 7mdashCm11 EfAf

Bfsus4 and G7f9Bmdashmanage to cop a similar vibe

Try carrying the ldquoNeonrdquo plucking pattern through

these and other chords

FI G 1 F I G 2 F I G 3

F I G 7

6fr

2 3 4 1

Cm11

E

A

4fr

1 4 4 4

B

sus4

6fr

T 3 4 1

G7

9B

6fr

2 1 3 4

let ring

p

Em

i p i i p

pre-positioning of finger

0

20

0

i i p

i

4fr

2 1 3

Em

1

Em

8fr

2 3 1

Em

X

X

0

X

X 2

FIGURE 6Em

F I G 5F I G 4

let ring

p

FIGURE 6Em

i p i i ppre-positioning of finger

0

20

0

i i p

i sim

X

X

0

X

X 2

0

54

5

X

X 4

X

X 5

0

79

8

X

X 9

X

X 9

0

54

5

X

X 4

X

X 5

F I G 6



FIGURE 1

0

G

320003

= downstroke

0

C

3201

0

= upstroke

Csus2B

2001

0

DA

00232

0Th

DF

X2

0232

0

G

320003

FIGURE 2

let ring G

3

000

3

3

000

3

sim

C

3201

Csus2B

2001

DA

0023

2

Th

DF

2

023

2

G

3

000

3

3

000

3

FIGURE 3

Glet ring

3

0003

003

3

sim

C

0003

003

3

Csus2B

201

01

2

DA

001

01

0

Th

DF

0232

232

2

G

0232

232

3

0003

003

3

0003

003

FIGURE 4

let ring

G

3

0003

C

3

003

0003

003

3

Csus2B

201

01

2

DA

001

01

0

D

0232

232

0

DF

Th

2

G

3

0003

0

3

0003

003

THE FREEWHEELINrsquo STRUMMER A look at Bob Dylanrsquos relaxed and groovy acoustic style

CHAPTER

5

IN THE EARLY Sixties Bob

Dylan lit up the hipster folk music

scene in New York Cityrsquos Greenwich

Village with socially-conscious poetic and

often politically-charged lyrics memorable

melodies and tons of attitudemdashall supported

by understated (yet deceptively intricate)

guitar playing Back then Dylanrsquos penchant

for penning ldquoanthems of peacerdquo prompted

journalists to refer to him as a protest singer

(Furthermore songs like ldquoThe Times They

Are A-Changinrsquo rdquo and ldquoBlowinrsquo in the Windrdquo

were adopted as anthems by civil rights and

anti-war activists) But Dylan would havelasting appeal even in mellower times Today

more than 60 years into his career the singer-

songwriter is still going strong even recently

receiving the Pulitzer Prize for his ldquoprofound

impact on popular music and American

culture marked by lyrical compositions of

extraordinary poetic powerrdquo

In this chapter wersquoll focus on country

folk-like strumming in the style of ldquoBlowinrsquo

in the Windrdquo the opening track on Dylanrsquos

second studio album The Freewheelinrsquo Bob

Dylan released in May 1963 and his first hit

While the original version has Dylan playing

with a capo at the seventh fret various other

performancesmdashclips on Martin ScorsesersquosDylan documentary No Direction Home for

examplemdashshow him playing with a capo in

different positions or with none Hence we

will forego the capo for this chapter

Before we get started herersquos a little

commentary Overly ldquotechniquerdquo-minded

guitarists often donrsquot ldquogetrdquo what Dylan

is about as a player many have a hard

time recognizing andor appreciating the

subtleties of his style For starters Dylanrsquos

pick-style acoustic playing always sounds

very natural relaxed and spontaneous (In

ldquoBlowinrsquo in the Windrdquo hersquos also singing

and blowing harmonica while playing

guitar) With the goal of sounding ldquorelaxedand groovyrdquo in mind to help the chops-

obsessed cop the right vibe each figure will

include a technical explanation of how to

not sound technical But first get a grip on

the open G C Csus2B DA DFs and G

shapes in FIGURE 1

The first Dylanesque element wersquoll tackle

is the ldquoboom-chick boom-chickrdquo move in

FIGURE 2mdashpicking the bass notes on ldquoonerdquo

and ldquotwordquo and alternately strumming the

remaining upper notes of each chord with

a downstroke on the ldquoandrdquo of each beat As you

pick through implement our first ldquonon-technicalrdquo

tip Pick a little lighter than you ordinarily might

so that all the subtleties and nuances of your pick

handrsquos dynamics come out Also donrsquot squeeze

your pick tightly hold it relatively loose (the pick

should just be ldquosittingrdquo in your hand in a relaxed

grip) so that as you rake the pick across the stringsa little extra percussive ldquoclickrdquo accompanies your

strums Yoursquoll find the combination of these two

small things makes a big difference in producing an

airier more ldquoopenrdquo acoustic sound

Now letrsquos add double strumming to the picturemdash

hitting the notes in the upper register of each chord

twice (two eighth notes) using a down-up strum

after each bass note as in FIGURE 3 Due to some

of the upstrokes occurring right before each chord

change you may find it tricky to redeploy your

fret-hand fingers to the next chord shape in time

But fret not Herersquos another ldquoanti-techniquerdquo tip

Itrsquos perfectly okay to lift your fingers off the strings

on that last eighth-note strum before each chord

change (without modifying your strumming) This

will allow you ample time to reposition them while

at the same time (as your pick hand is still grooving

along) causing the top three or four open strings

to ring briefly These ldquoall-purpose passing chordsrdquoare part of what makes passages like this one sound

natural relaxed and ldquoDylanrdquo-like

FIGURE 4 is a spontaneous-sounding mixture

of all the ldquoBlowinrsquo in the Windrdquo elements wersquove

just examinedmdashquarter-note bass notes and chord

strums interspersed with down-up eighth-note

strumsmdashas well as a more active ldquobassrdquo part and a

touch of ornamentation (hammering-on to the root

of the G chord from the open sixth string) Now all

thatrsquos missing is your voice and harmonica as you

strum along

F I G 1

F I G 2

F I G 3

F I G 4



UNPLUGGINrsquo AT THECROSSROADSEric Claptonrsquos smooth acoustic fingerstyle approach

CHAPTER

6

ERIC CLAPTONrsquoS SIXTIES

work with John Mayallrsquos

Bluesbreakers Cream and Blind

Faith established him as a pioneer of modern

electric blues and rock guitar Dubbed ldquoSlow

Handrdquo in his early days (a reference to his

tasty blues phrasing as well as the speedmdashor

lack thereofmdashwith which he changed strings

onstage) Clapton began to branch out on

his own in the Seventies following his now

legendary recording with Derek and the

Dominos As a solo artist he cut such classic

rock staples as ldquoLay Down Sallyrdquo and ldquoI Shot

the Sheriffrdquo while in the Eighties his musicwas featured in movies (1984rsquos The Hit and

1987rsquos Lethal Weapon ) and commercials

(ldquoAfter Midnightrdquo for Michelob in 1987)

Then to the surprise of many at

the height of the electric guitar herorsquos

popularity Clapton put down his signature

Strat and performed on MTVrsquos live show

Unplugged a concert that premiered on the

network in March 1992 and was released

on CD the following August The album

which included the somber ldquoTears in

Heavenrdquo (written in tribute to the memory

of Claptonrsquos five-year-old son) received a

Grammy for Album of the Year and quickly

climbed to Number One on the Billboard charts The Nineties also saw Clapton

contibute ldquoChange the Worldrdquo another

classic acoustic moment to the soundtrack

to the movie Phenomenon While Clapton

is still going strong today playing both

electric and acoustic it is his particularly

ldquounpluggedrdquo era that wersquoll focus on in this

chapter

ldquoTears in Heavenrdquo opens with one of the

most recognizable acoustic guitar intros of

all time a passage kicked off with an open-

A-chord move involving hammer-ons and

pull-offs to and from the chordrsquos sus4 tone

(D third fret B string) FIGURE 1 illustrates

a similar approach applied to both the Aand open E shapes For the A barre across

strings 2 through 4 with your index finger

and use your middle finger for the hammer

pull ornamentation Fret the E chord

conventionally using the pinkie for the sus4

embellishment on the third string Be sure

to follow the pick-hand fingerings shown

beneath the tab FIGURE 2 focuses on the

fingerpicking groove employed throughout

the songrsquos vocal sections Here Clapton uses a form

of accompaniment reminiscent of how a pianist

would accompany a singer quarter-note chord

partials in the upper register (the guitarrsquos second

and third strings) sounded over syncopated bass

notes (plucked with the thumb on the sixth string)

Again fret the A using an index-finger barre to

facilitate the AndashEGs changeNow letrsquos look at some of the chord voicings and

accompaniment moves Clapton uses in ldquoChange

the Worldrdquo FIGURE 3 features chord shapesmdashE

Aadd2E and E7mdashsimilar to those heard in the

songrsquos verses These chords are the result of moving

a sixth interval (two notes that are six scale steps

apart) along the third and fifth strings with the first

second and sixth strings ringing open Note the x on

the fourth string in the tablature mute this string

throughout (with the fleshy pad of your fret-hand

middle finger) Meanwhile between Claptonrsquos vocal

phrases in ldquoChange the Worldrdquo yoursquoll often hear an

accompanimental fill that features the open first and

second strings plucked in alternation between hits

of the open low E string This is similarly depicted in

FIGURE 4mdasha nice break for your fretting hand

FIGURE 5 combines many of the techniquesgleaned from ldquoTears in Heavenrdquo and ldquoChange the

Worldrdquo and plugs them into a progression similar

to that heard in the chorus of the latter song using

familiar open shapes (E and A) barre chords (Gs

and Csm) the occasional ldquoslashrdquo chord (EB and

BA) and other tones In extended passages such

as this to avoid frustration get comfortable with

the basic chord shapes first then grapple with the

plucking-hand intricacies

F I G 6

p

FIGURE 1

All examples played fingerstyle p = thumb i = index m = middle a = ring

A

i m

0

2

i p

E

2 3 22

p mi

0

2

p

FIGURE 2

mi

p

A

10

2 12

p mi

p mi

p

EG

0

22

0

22

0

p mi

p

4

45

4

45

4

3 3

FIGURE 3

FIGURE 4

p p

FIGURE 3

E

02X100

Aadd2E

04X200

E7

FIGURE 4

p

E

05X

04

0

m p

0

0

i p m p

0

0

0

i p

0

0

0

m

0

0

FIGURE 5

p

FIGURE 5

p i p

E

3 4

2

p mi

0

2

p mi

p

G

10

2 12

p mi

mi

p

C

m

4

54

4

54

4

65

p mi

p

EB

4

65

4

65

47

45

7

45

7

3

mi

p

A

p mi

BA

p mi

p

F m7

0

22

0

44

0

p mi

p

B7

p mi

p

E

2

20

2 7

75

7

m p

0

09

0

i p m p

0

0

0

i

0

0

0

p i

0

3 4

2

FI G 1 F I G 2

F I G 3 F I G 4

F I G 5



FLEET983085FINGEREDMAC983085OUSTIC MADNESSDelving deep into Lindsey Buckinghamrsquos unique Travis-pickingrhythms

CHAPTER

7

WHEN LINDSEY Buckingham

joined Fleetwood Mac in late 1974 he

helped transform the veteran British

blues-rock band into an incredibly successful

mainstream pop act In his formative years

Buckingham drew inspiration from Elvis

Presley guitarist Scotty Moore who was an

early practitioner of Travis picking within a

poprock and roll context This somewhat

country-like fingerstyle approach was named

after Fifties country session musician Merle

Travis Buckingham was also a huge fan of

Chet Atkins Couple these influences with

his experience playing banjo as a youngsterand you have the foundation for the unique

fingerpicking guitar style which Buckingham

employed to great effect during his tenure with

Fleetwood Mac

In this chapter wersquoll tackle his famous

polyrhythmic Travis picking style via a pas-

sage modeled after parts in ldquoLandsliderdquo from

1975rsquos Fleetwood Mac Buckingham performed

the studio version with a capo across his

Martin D-18 acousticrsquos third fret Wersquoll forego

capoing in this lesson

Letrsquos begin by building up Buckinghamrsquos

intricate fingerstyle passage over the Cadd2

chord in FIGURE 1 While holding down this

chord and those that follow Buckinghamplays a quarter-note bass line alternating

between different chord tones (plucked

with the thumb p ) as in FIGURE 2 Over

this Buckingham arpeggiates a descending

cascade of notes on strings 1 through 3 a

repeating three-note passage played in eighth

notes plucked with the ring ( a ) middle ( m )

and index ( i ) fingers (a ldquobanjo-stylerdquo roll)

as seen in FIGURE 3 Note that the first six

eighth notes ( two groups of three think of it

as ldquo1 2 3 1 2 3rdquo) are capped off with the two

eighth notes (think ldquo1 2rdquo) at the measurersquos end

Buckinghamrsquos use of ldquo1 2 3rdquo notes plucked

in a rhythm of twos creates whatrsquos referred

to as a polyrhythm the simultaneous convey-ance of two or more contrasting rhythms

This particular polyrhythm has its own

name hemiola the rhythmic relation of three

against two Yoursquoll find plucking this arpeggio

part over Buckinghamrsquos bass line is trickymdasha

groove that could be illustrated as (bass notes

occurring where underlined) ldquo1 2 3 1 2 3 1 2rdquo

Letrsquos break this passage down into

bits adding one string at a time from the

arpeggiated figure over the thumbed bass notes

beginning with the first string (pluck with ring

finger) as in FIGURE 4 Take note of each moment

your thumb and other plucking-hand fingers sound

notes simultaneously coordinate those first and it

will become easier to add the ldquobetween the bassrdquonotes FIGURE 5 adds the second string (plucked

with the middle finger) to the picture while FIGURE

6 incorporates the third string (plucked with the

index finger) for Buckinghamrsquos complete figure

FIGURE 7 runs Buckinghamrsquos complete plucking-

hand pattern through Cadd2 Em7 A7sus4 and G

chords Notice that each of these chords shares

the same note pair on the top two strings The only

mechanical difference between FIGURE 6 and the

approach in FIGURE 7 is that the thumb plucks the

sixth string for the Em7 and G chords to sound their

respective roots

We described FIGURE 3 with the terms

polyrhythm and hemiola In that example a repeating

three-note pattern (ldquo1 2 3 1 2 3rdquo) is capped off with anextra pair of ldquocompensatingrdquo notes (ldquo1 2rdquo) creating

a user-friendly passage repeatable at each chord

change If yoursquore up to the challenge FIGURE 8

shows the result of a relentless ldquo1 2 3rdquo pattern (a true

hemiola) yielding a groove that feels like ldquo1 2 3 1 2

3 1 2 3 1 2 3rdquo with the bass notes occurring on the

underlined beats As chords change (at beat ldquoonerdquo)

the first upper-register note plucked will be on a

different string each time

2 1 3 4

Cadd2

p

FIGURE 1

All examples played fingerstyle p = thumb i = index finger m = middle finger a = ring finger

FIGURE 2

Cadd2let ring

3

p

2

p

3

p

2

FIGURE 3

a

Cadd2let ring

m i a m

33

0

3

i a m

30

33

a p

FIGURE 4

Cadd2let ring

3

3

p a p

2

3

3

a p

2

3

FIGURE 5

a p

Cadd2let ring

m p a m p

3

33

2

3

3

3

a p

m

FIGURE 6

a p

Cadd2let ring

2

33

m i p

a m p

3

33

20

3

i a p

m

3

30

2

33

a p

FIGURE 7

Cadd2let ring

m i p

a m p

3

33

20

3

i a p

m a p

Em7

3

30

2

33

m i p

a m p

0

33

20

3

i a p

m a p

A7sus4

0

30

2

33

m i p

a m p

0

33

20

3

i a p

m a p

GB

0

30

2

33

m i p

a m p

G

2

33

00

3

i a p

m

3

30

0

33

a p

FIGURE 8Cadd2

let ring

m i p

a m p

3

33

20

3

i a p

m i p

Em7

3

30

2

33

a m p

i a p

0

0

3

2

30

m i p

a m p

A7sus4

0

33

20

3

i a p

m i p

0

30

2

33

a m p

i a p

GB

0

0

3

2

30

m i p

a m p

G

2

33

00

3

i a p

m

3

30

0

33

F I G 1

F I G 4

F I G 7

F I G 8

F I G 5 F I G 6

F I G 2 F I G 3



CHAPTER

8

THE BEATLESrsquo ldquoBLACKBIRDrdquo

performed entirely by Paul

McCartney using his Martin

D-28 was released on the 1968 album The

Beatles (commonly referred to as the White

Album) From a guitar standpoint the songrsquos

roots and inspiration can be traced back to

McCartneyrsquos early experimentation with a

well-known piece by JS Bach titled ldquoBoureacutee

in E Minorrdquo which he woodshedded in his

youth (Lyrically ldquoBlackbirdrdquo was penned in

reaction to escalating racial tensions in the

US in the late Sixties) To this day guitar

teachers find that the tune is one of the mostcommonly requested songs among their

fledgling fingerstyle students Letrsquos examine

what makes this classic track tick

Throughout ldquoBlackbirdrdquo McCartney

uses his pick-hand thumb ( p ) and index

finger ( i ) to sound strings while fretting

only two notes (mostly on the A and B

strings) plucking the open G string on

the eighth-note upbeats For the basics

of this technique have a look at FIGURE

1 As indicated pluck the first two notes

simultaneously with your pick-hand thumb

and index finger These two notes along

with the open G string imply a C chord (C E

G) As the figure unfolds this shape frettedwith the same two fingers is shifted up

the neck with the notesrsquo spacing modified

slightly to accommodate notes in the C

major scale (C D E F G A B) Pluck the open

G string in between each shifted shape with

your thumb

Additionally in ldquoBlackbirdrdquo McCartney

plucks passages like the one shown in

FIGURE 2 In this ldquobusierrdquo groove as

your thumb alternates between the A and

G strings your pick-handrsquos index finger

strikes notes on the B string between

thumb-picked notes

Now letrsquos look at how these kinds of

moveable two-note shapes can implya chord progression In the following

examples wersquoll extract two notes at a time

from stock chord shapes yoursquore likely

already familiar with such as those shown

in FIGURE 3 Next wersquoll play these note

pairs (on the A and B strings exclusively) at

different spots on the neck plucking them

McCartney style

To illustrate in FIGURE 4a three

different pairs of chord tones from C (C E G)are fretted along these two strings plucked in

conjunction with the open G Use your index finger

and pinkie to fret all the notes A7 (A Cs E G) gets

a similar treatment in FIGURE 4b Notice that

this chord has four different notes in it yielding

an extra shape at the end of the example G (fifth

string 10th fret) and A (second string 10th fret)

fretted with the ring finger and pinkie respectively

For Dm (D F A) locate the chord tones on the

fifth and second strings and then pluck the threeresultant shapes illustrated in FIGURE 4c

FIGURE 5 illustrates this approach in an expanded

progression that incorporates a variety of chords

Notice the new shapes involving notes on the first

string For these fret the fifth- and first-string notes

with your middle and index fingers respectively

The passage ends with an interesting C voicing the

result of shifting a common open G chord shape five

frets up the neck to C

TAKE THI S PAIR OF STRINGS

AND LEARN TO FLYExamining Paul McCartneyrsquos ldquotwo-fingerrdquo magic in ldquoBlackbirdrdquo

i p

FIGURE 1 C major scale in ldquo10thsrdquo intervals

let ring fingerstyle

3

5

p

0

i p

5

6

p

0

etc

7

8

p = thumb i = index

0

8

100

10

120

12

130

14

150

15

170

FIGURE 2

i p

C

3

5

p i p

05

i p

3

50

F I G 1 F I G 2

FIGURE 3

0

C

32013

0

A7

02023

0

Dm

0231

FIGURE 4

a)

i p

C

3

5

p

0

i p

7

8

p

0

i p

01013

i p

b) A7

0

2

p

0

i p

4

5

p

0

i p

7

8

p

0

i p

01010

i p

c) Dm(add4)

5

6

p

0

i p

8

10

p

0

i p

01215

i p

FIGURE 5C


3

5

p i p

05

i p

3

50

i p

A7C

4

5

p

0

i p

4

3

p

0

etc

Dm(add4)

5

60

6

5

60

B7D

6

70

6

5

0

Em

7

80

8

7

80

Fadd2

8

10

8

100

10

8

G

10

120

E7 9G

11

10

0

Am7

12

130

13

11

130

A maj7

11

130

13

11

130

11

130

13

11

130

Dm(add4)

5

60

G7F

8

7

0

CE

7

8

08

7

80

C

8

0088

F I G 3 F I G 4

F I G 5





CHAPTER

10

FLAT-PICKING PHENOM

Doc Watson just celebrated

his 88th birthday and he still

wails like no other maintaining a regular

touring schedule to this day Arthel Lane

ldquoDocrdquo Watson was hugely responsible for

popularizing the acoustic guitar as a lead

instrument in folk country and bluegrass

and his style seamlessly melds ultra-fast

open-chord strums with ripping single-note

runs reminiscent of bluegrass fiddle licks the

guitarist picked up in his youth

In the Fifties Watson (who was stricken

blind by his first birthday) spent equal timeplaying electric and acoustic guitars banjo

and even some harmonica During this era

Watson was regularly employed as an elec-

tric guitarist in country swing bands Hersquod

often find himself in a lineup without a fiddle

player (an instrument that plays a key role

in country swing) and would be asked to cop

some fiddle lines to authenticate the bandrsquos

sound By the Sixties at the dawn of the folk

music revival the guitarist transferred this

approach to his acoustic (a Martin D-18 and

later a Gallagher G-50) and the sound for-

ever associated with Doc Watson was born

This chapter features numerous exam-

ples inspired by Watsonrsquos blistering per-formances of ldquoBlack Mountain Ragrdquo a con-

cert staple that features many of his trade-

mark techniques (Docrsquos recorded versions

of this song go back as far as 1963 and con-

tinue to the present day Many of these fea-

ture his late son Merle on second guitar)

FIGURE 1 illustrates a chord and ldquofiddlerdquo-

like riff similar to that heard in the song Flat-

pick notes from the C major pentatonic scale

(C D E G A) between the cracks of a ldquodouble-

strummedrdquo open C shape (strum down-up on

the ldquoandrdquo of beat ldquoonerdquo throughout) Keep all

fingers fixed to your C chord using only your

fret handrsquos middle finger to hammer-on and

pull-off to and from the notes on the D and Gstringsrsquo second frets Allow all notes to ring

together as much as possible

FIGURE 2 depicts another approach

taken by Watson in ldquoBlack Mountain Ragrdquo

that of mimicking both fiddle lines and

bass guitar parts Here the last two notes

of each measure function as ldquoapproach

tonesrdquo pointing to the root of a forthcoming

chord The C chordrsquos root is preceded by an

ascending AndashB scalar line and the F chordrsquos

arrival is set up with the notes D and E

Meanwhile in FIGURE 3 our familiar C chord gets

elevated to C7 status (bar 2) In addition to middle-

finger hammer-ons and pull-offs this passagefeatures pinkie pull-offs from Bf (G string third fret)

to the open string and requires some tricky ldquocross

pickingrdquo Follow the picking suggestions above the

tab staff to avoid any kinks that may exist when

playing this passage at full speed

Watson is also renowned for blazingly fast

alternate-picked runs played in open position

executed at a ldquostop-time breakrdquo (where the band

or sole rhythm guitarist stops playing and a solo-

ist erupts in an improvisation) FIGURE 4 a spi-

raling sequence of notes within the lower strings

of open C illustrates one Doc-style run Alternate

picking is used throughout save for the pull-offs

at the beginning and end of bar 2 which are usedto help smooth out the line

FIGURE 5 is a barn-burning ldquoin-the-style-ofrdquo

passage that will melt some picks It combines

many of the techniques explored in this chapter

weaving in a few new chords as well including an

open G7 and a ldquothumb voicingrdquo of F (fret the low

E string with your fret-handrsquos thumb)

Approach all these examples slowly at first

gradually increasing the tempo as you try to

keep you pick hand as relaxed as possible while

minimizing the amount of movement

BLUEGRASS BARN983085BURNINGYour prescription for flawless flat-pickinrsquo the great Doc Watson

FIGURE 1

let ring

C

= downstroke

0

2010

010

0

2 0

= upstroke

0

2010

010

2

03

FIGURE 2

let ring

C

3

010

010

0

2

F

3

211

211

0

2

F I G 1 FI G 2

FIGURE 3

C

3

010

010

C7

0

201

3

31

02

21

FIGURE 4

NC(C)

00

201

3

2

3

0

2

0

2

3

0

2

03

2

0

3

0

1

2

FIGURE 5

let ring

C

0

2010

010

0

2 0

0

2010

010

2

03

F

1

211

211

3

211

211

3

211

211

2

03

G7

0

001

001

0

20

3

001

001

0

2

0

F

1

211

211

3

211

211

0

1

2

03

NC(C)

3

2 3

0

(G)

2

0

2

3

0

2

03

C

2

0

0

2

3

2

010

2

03

GC

0003

C

0003

2

1

F I G 4F I G 3

F I G 5










fingerstyle grooves

5 THE FREEWHE ELINrsquo


acoustic style

6 UNPLUGGINrsquo AT


approach

7 FLEET-FINGERED



8 TAKE THIS PAIR OF





10 BLUEGRASS










fingerstyle grooves

5 THE FR EEWHEELINrsquo


acoustic style

6 UNPLUGGINrsquo AT


approach

7 FL EET-FINGERE D



8 TAKE THIS PAIR OF





10 BLUEGRASS



C O N T E N T S




CHAPTER

1
















































































0 0 0 0

0

D

0232

Em

022000

G

320003

C

32010

A

02220

0D

0232

FIGURE 2

D

0232

Dsus4

0233

D

0232

Dsus2

0230

0

Em7

02

2030

0

G6

32

0030

0

Cadd2

3

2030

0

A7sus4

0

2030

0

D

0232

FIGURE 3

Dsus2

let ring

0

30

= downstroke

0

230

sim

Em7

0

= upstroke

030

02

2

030

G6

3

030

00

2

030

Cadd2

3

030

A7sus4

00 2

030

=

3

FIGURE 4

D

let ring

Dsus4

02

32

02

33

D Dsus2 Em7

02

32

03

02

03

02

30

02

03

sim

G6

00

20

32

03

32

30

32

03

Cadd2

00

2

0

A7sus4

32

03

32

30

02

03

02

30

F I G 2

F I G 3

F I G 1

F I G 4






CHAPTER

3

































































chord sequence






















p

FIGURE 1

let ring


Dsus2

mi

D

p

0

30 2

mi

Dsus2

p mi

232 0

0

D

30 2

2

FIGURE 2

p

Asus2let ring

mi

A

p

0

20 2

mi

Asus2

p mi

222 0

0

A

20 2

2

i p

FIGURE 5Alet ring

a m

0

4 6

5

i i p

D

56

a m

09 11

10

i i p

E

1011

a m

0

11 13

12

ami

p

A

()12

0

9109

p

D

mi

0

9109

0

Dsus2

m p

Asus2

32 0

3

0

mi

A

m p

Asus2

2

20 2

i p

Gmaj7(no3)

0

02

i m a p

3

03

2

m i p

E7

strum

3

30

0

E7sus4

a

2010

2

0

p strum

E7

00

02010

2010

am p

FIGURE 3

Dlet ring

i am p

DC

i am p

Bm11

0

32

2

4

32

2

i am p

E7sus4

2

30

2

0

30

ami

p

0

A

0222

FIGURE 4

m p

Glet ring

i m p

DF

i m p

E7sus4

3

40

2

20

i m p

Em7 E7sus4

0

20

0

00

020200

strummed

E7

0020100

020100

F I G 1

F I G 3

F I G 5

F I G 4

F I G 2



p


FIGURE 1

let ring Em

i p

0

2

i

FIGURE 2

p

Emlet ring

0

2

i p

0

2

i

FIGURE 3


Em

00

i i p

X

X 0

i

X

X 2

FIGURE 4

FIGURE 5


CHAPTER

4













songwriter fan base

































































FIGURE 5 FIGURE 6


and down the neck











F I G 7

6fr

2 3 4 1

Cm11

E

A

4fr

1 4 4 4

B

sus4

6fr

T 3 4 1

G7

9B

6fr

2 1 3 4

let ring

p

Em

i p i i p


0

20

0

i i p

i

4fr

2 1 3

Em

1

Em

8fr

2 3 1

Em

X

X

0

X

X 2

FIGURE 6Em

F I G 5F I G 4

let ring

p

FIGURE 6Em


0

20

0

i i p

i sim

X

X

0

X

X 2

0

54

5

X

X 4

X

X 5

0

79

8

X

X 9

X

X 9

0

54

5

X

X 4

X

X 5

F I G 6



FIGURE 1

0

G

320003

= downstroke

0

C

3201

0

= upstroke

Csus2B

2001

0

DA

00232

0Th

DF

X2

0232

0

G

320003

FIGURE 2

let ring G

3

000

3

3

000

3

sim

C

3201

Csus2B

2001

DA

0023

2

Th

DF

2

023

2

G

3

000

3

3

000

3

FIGURE 3

Glet ring

3

0003

003

3

sim

C

0003

003

3

Csus2B

201

01

2

DA

001

01

0

Th

DF

0232

232

2

G

0232

232

3

0003

003

3

0003

003

FIGURE 4

let ring

G

3

0003

C

3

003

0003

003

3

Csus2B

201

01

2

DA

001

01

0

D

0232

232

0

DF

Th

2

G

3

0003

0

3

0003

003


CHAPTER

5















































shapes in FIGURE 1









































strum along

F I G 1

F I G 2

F I G 3

F I G 4




CHAPTER

6



































chapter
















































F I G 6

p

FIGURE 1


A

i m

0

2

i p

E

2 3 22

p mi

0

2

p

FIGURE 2

mi

p

A

10

2 12

p mi

p mi

p

EG

0

22

0

22

0

p mi

p

4

45

4

45

4

3 3

FIGURE 3

FIGURE 4

p p

FIGURE 3

E

02X100

Aadd2E

04X200

E7

FIGURE 4

p

E

05X

04

0

m p

0

0

i p m p

0

0

0

i p

0

0

0

m

0

0

FIGURE 5

p

FIGURE 5

p i p

E

3 4

2

p mi

0

2

p mi

p

G

10

2 12

p mi

mi

p

C

m

4

54

4

54

4

65

p mi

p

EB

4

65

4

65

47

45

7

45

7

3

mi

p

A

p mi

BA

p mi

p

F m7

0

22

0

44

0

p mi

p

B7

p mi

p

E

2

20

2 7

75

7

m p

0

09

0

i p m p

0

0

0

i

0

0

0

p i

0

3 4

2

FI G 1 F I G 2

F I G 3 F I G 4

F I G 5




CHAPTER

7

















Fleetwood Mac


















































respective roots












2 1 3 4

Cadd2

p

FIGURE 1


FIGURE 2

Cadd2let ring

3

p

2

p

3

p

2

FIGURE 3

a

Cadd2let ring

m i a m

33

0

3

i a m

30

33

a p

FIGURE 4

Cadd2let ring

3

3

p a p

2

3

3

a p

2

3

FIGURE 5

a p

Cadd2let ring

m p a m p

3

33

2

3

3

3

a p

m

FIGURE 6

a p

Cadd2let ring

2

33

m i p

a m p

3

33

20

3

i a p

m

3

30

2

33

a p

FIGURE 7

Cadd2let ring

m i p

a m p

3

33

20

3

i a p

m a p

Em7

3

30

2

33

m i p

a m p

0

33

20

3

i a p

m a p

A7sus4

0

30

2

33

m i p

a m p

0

33

20

3

i a p

m a p

GB

0

30

2

33

m i p

a m p

G

2

33

00

3

i a p

m

3

30

0

33

a p

FIGURE 8Cadd2

let ring

m i p

a m p

3

33

20

3

i a p

m i p

Em7

3

30

2

33

a m p

i a p

0

0

3

2

30

m i p

a m p

A7sus4

0

33

20

3

i a p

m i p

0

30

2

33

a m p

i a p

GB

0

0

3

2

30

m i p

a m p

G

2

33

00

3

i a p

m

3

30

0

33

F I G 1

F I G 4

F I G 7

F I G 8

F I G 5 F I G 6

F I G 2 F I G 3



CHAPTER

8

































your thumb







thumb-picked notes









McCartney style






















i p



3

5

p

0

i p

5

6

p

0

etc

7

8

p = thumb i = index

0

8

100

10

120

12

130

14

150

15

170

FIGURE 2

i p

C

3

5

p i p

05

i p

3

50

F I G 1 F I G 2

FIGURE 3

0

C

32013

0

A7

02023

0

Dm

0231

FIGURE 4

a)

i p

C

3

5

p

0

i p

7

8

p

0

i p

01013

i p

b) A7

0

2

p

0

i p

4

5

p

0

i p

7

8

p

0

i p

01010

i p

c) Dm(add4)

5

6

p

0

i p

8

10

p

0

i p

01215

i p

FIGURE 5C


3

5

p i p

05

i p

3

50

i p

A7C

4

5

p

0

i p

4

3

p

0

etc

Dm(add4)

5

60

6

5

60

B7D

6

70

6

5

0

Em

7

80

8

7

80

Fadd2

8

10

8

100

10

8

G

10

120

E7 9G

11

10

0

Am7

12

130

13

11

130

A maj7

11

130

13

11

130

11

130

13

11

130

Dm(add4)

5

60

G7F

8

7

0

CE

7

8

08

7

80

C

8

0088

F I G 3 F I G 4

F I G 5





CHAPTER

10

FLAT-PICKING PHENOM















































































FIGURE 1

let ring

C

= downstroke

0

2010

010

0

2 0

= upstroke

0

2010

010

2

03

FIGURE 2

let ring

C

3

010

010

0

2

F

3

211

211

0

2

F I G 1 FI G 2

FIGURE 3

C

3

010

010

C7

0

201

3

31

02

21

FIGURE 4

NC(C)

00

201

3

2

3

0

2

0

2

3

0

2

03

2

0

3

0

1

2

FIGURE 5

let ring

C

0

2010

010

0

2 0

0

2010

010

2

03

F

1

211

211

3

211

211

3

211

211

2

03

G7

0

001

001

0

20

3

001

001

0

2

0

F

1

211

211

3

211

211

0

1

2

03

NC(C)

3

2 3

0

(G)

2

0

2

3

0

2

03

C

2

0

0

2

3

2

010

2

03

GC

0003

C

0003

2

1

F I G 4F I G 3

F I G 5




CHAPTER

1
















































































0 0 0 0

0

D

0232

Em

022000

G

320003

C

32010

A

02220

0D

0232

FIGURE 2

D

0232

Dsus4

0233

D

0232

Dsus2

0230

0

Em7

02

2030

0

G6

32

0030

0

Cadd2

3

2030

0

A7sus4

0

2030

0

D

0232

FIGURE 3

Dsus2

let ring

0

30

= downstroke

0

230

sim

Em7

0

= upstroke

030

02

2

030

G6

3

030

00

2

030

Cadd2

3

030

A7sus4

00 2

030

=

3

FIGURE 4

D

let ring

Dsus4

02

32

02

33

D Dsus2 Em7

02

32

03

02

03

02

30

02

03

sim

G6

00

20

32

03

32

30

32

03

Cadd2

00

2

0

A7sus4

32

03

32

30

02

03

02

30

F I G 2

F I G 3

F I G 1

F I G 4






CHAPTER

3

































































chord sequence






















p

FIGURE 1

let ring


Dsus2

mi

D

p

0

30 2

mi

Dsus2

p mi

232 0

0

D

30 2

2

FIGURE 2

p

Asus2let ring

mi

A

p

0

20 2

mi

Asus2

p mi

222 0

0

A

20 2

2

i p

FIGURE 5Alet ring

a m

0

4 6

5

i i p

D

56

a m

09 11

10

i i p

E

1011

a m

0

11 13

12

ami

p

A

()12

0

9109

p

D

mi

0

9109

0

Dsus2

m p

Asus2

32 0

3

0

mi

A

m p

Asus2

2

20 2

i p

Gmaj7(no3)

0

02

i m a p

3

03

2

m i p

E7

strum

3

30

0

E7sus4

a

2010

2

0

p strum

E7

00

02010

2010

am p

FIGURE 3

Dlet ring

i am p

DC

i am p

Bm11

0

32

2

4

32

2

i am p

E7sus4

2

30

2

0

30

ami

p

0

A

0222

FIGURE 4

m p

Glet ring

i m p

DF

i m p

E7sus4

3

40

2

20

i m p

Em7 E7sus4

0

20

0

00

020200

strummed

E7

0020100

020100

F I G 1

F I G 3

F I G 5

F I G 4

F I G 2



p


FIGURE 1

let ring Em

i p

0

2

i

FIGURE 2

p

Emlet ring

0

2

i p

0

2

i

FIGURE 3


Em

00

i i p

X

X 0

i

X

X 2

FIGURE 4

FIGURE 5


CHAPTER

4













songwriter fan base

































































FIGURE 5 FIGURE 6


and down the neck











F I G 7

6fr

2 3 4 1

Cm11

E

A

4fr

1 4 4 4

B

sus4

6fr

T 3 4 1

G7

9B

6fr

2 1 3 4

let ring

p

Em

i p i i p


0

20

0

i i p

i

4fr

2 1 3

Em

1

Em

8fr

2 3 1

Em

X

X

0

X

X 2

FIGURE 6Em

F I G 5F I G 4

let ring

p

FIGURE 6Em


0

20

0

i i p

i sim

X

X

0

X

X 2

0

54

5

X

X 4

X

X 5

0

79

8

X

X 9

X

X 9

0

54

5

X

X 4

X

X 5

F I G 6



FIGURE 1

0

G

320003

= downstroke

0

C

3201

0

= upstroke

Csus2B

2001

0

DA

00232

0Th

DF

X2

0232

0

G

320003

FIGURE 2

let ring G

3

000

3

3

000

3

sim

C

3201

Csus2B

2001

DA

0023

2

Th

DF

2

023

2

G

3

000

3

3

000

3

FIGURE 3

Glet ring

3

0003

003

3

sim

C

0003

003

3

Csus2B

201

01

2

DA

001

01

0

Th

DF

0232

232

2

G

0232

232

3

0003

003

3

0003

003

FIGURE 4

let ring

G

3

0003

C

3

003

0003

003

3

Csus2B

201

01

2

DA

001

01

0

D

0232

232

0

DF

Th

2

G

3

0003

0

3

0003

003


CHAPTER

5















































shapes in FIGURE 1









































strum along

F I G 1

F I G 2

F I G 3

F I G 4




CHAPTER

6



































chapter
















































F I G 6

p

FIGURE 1


A

i m

0

2

i p

E

2 3 22

p mi

0

2

p

FIGURE 2

mi

p

A

10

2 12

p mi

p mi

p

EG

0

22

0

22

0

p mi

p

4

45

4

45

4

3 3

FIGURE 3

FIGURE 4

p p

FIGURE 3

E

02X100

Aadd2E

04X200

E7

FIGURE 4

p

E

05X

04

0

m p

0

0

i p m p

0

0

0

i p

0

0

0

m

0

0

FIGURE 5

p

FIGURE 5

p i p

E

3 4

2

p mi

0

2

p mi

p

G

10

2 12

p mi

mi

p

C

m

4

54

4

54

4

65

p mi

p

EB

4

65

4

65

47

45

7

45

7

3

mi

p

A

p mi

BA

p mi

p

F m7

0

22

0

44

0

p mi

p

B7

p mi

p

E

2

20

2 7

75

7

m p

0

09

0

i p m p

0

0

0

i

0

0

0

p i

0

3 4

2

FI G 1 F I G 2

F I G 3 F I G 4

F I G 5




CHAPTER

7

















Fleetwood Mac


















































respective roots












2 1 3 4

Cadd2

p

FIGURE 1


FIGURE 2

Cadd2let ring

3

p

2

p

3

p

2

FIGURE 3

a

Cadd2let ring

m i a m

33

0

3

i a m

30

33

a p

FIGURE 4

Cadd2let ring

3

3

p a p

2

3

3

a p

2

3

FIGURE 5

a p

Cadd2let ring

m p a m p

3

33

2

3

3

3

a p

m

FIGURE 6

a p

Cadd2let ring

2

33

m i p

a m p

3

33

20

3

i a p

m

3

30

2

33

a p

FIGURE 7

Cadd2let ring

m i p

a m p

3

33

20

3

i a p

m a p

Em7

3

30

2

33

m i p

a m p

0

33

20

3

i a p

m a p

A7sus4

0

30

2

33

m i p

a m p

0

33

20

3

i a p

m a p

GB

0

30

2

33

m i p

a m p

G

2

33

00

3

i a p

m

3

30

0

33

a p

FIGURE 8Cadd2

let ring

m i p

a m p

3

33

20

3

i a p

m i p

Em7

3

30

2

33

a m p

i a p

0

0

3

2

30

m i p

a m p

A7sus4

0

33

20

3

i a p

m i p

0

30

2

33

a m p

i a p

GB

0

0

3

2

30

m i p

a m p

G

2

33

00

3

i a p

m

3

30

0

33

F I G 1

F I G 4

F I G 7

F I G 8

F I G 5 F I G 6

F I G 2 F I G 3



CHAPTER

8

































your thumb







thumb-picked notes









McCartney style






















i p



3

5

p

0

i p

5

6

p

0

etc

7

8

p = thumb i = index

0

8

100

10

120

12

130

14

150

15

170

FIGURE 2

i p

C

3

5

p i p

05

i p

3

50

F I G 1 F I G 2

FIGURE 3

0

C

32013

0

A7

02023

0

Dm

0231

FIGURE 4

a)

i p

C

3

5

p

0

i p

7

8

p

0

i p

01013

i p

b) A7

0

2

p

0

i p

4

5

p

0

i p

7

8

p

0

i p

01010

i p

c) Dm(add4)

5

6

p

0

i p

8

10

p

0

i p

01215

i p

FIGURE 5C


3

5

p i p

05

i p

3

50

i p

A7C

4

5

p

0

i p

4

3

p

0

etc

Dm(add4)

5

60

6

5

60

B7D

6

70

6

5

0

Em

7

80

8

7

80

Fadd2

8

10

8

100

10

8

G

10

120

E7 9G

11

10

0

Am7

12

130

13

11

130

A maj7

11

130

13

11

130

11

130

13

11

130

Dm(add4)

5

60

G7F

8

7

0

CE

7

8

08

7

80

C

8

0088

F I G 3 F I G 4

F I G 5





CHAPTER

10

FLAT-PICKING PHENOM















































































FIGURE 1

let ring

C

= downstroke

0

2010

010

0

2 0

= upstroke

0

2010

010

2

03

FIGURE 2

let ring

C

3

010

010

0

2

F

3

211

211

0

2

F I G 1 FI G 2

FIGURE 3

C

3

010

010

C7

0

201

3

31

02

21

FIGURE 4

NC(C)

00

201

3

2

3

0

2

0

2

3

0

2

03

2

0

3

0

1

2

FIGURE 5

let ring

C

0

2010

010

0

2 0

0

2010

010

2

03

F

1

211

211

3

211

211

3

211

211

2

03

G7

0

001

001

0

20

3

001

001

0

2

0

F

1

211

211

3

211

211

0

1

2

03

NC(C)

3

2 3

0

(G)

2

0

2

3

0

2

03

C

2

0

0

2

3

2

010

2

03

GC

0003

C

0003

2

1

F I G 4F I G 3

F I G 5






CHAPTER

3

































































chord sequence






















p

FIGURE 1

let ring


Dsus2

mi

D

p

0

30 2

mi

Dsus2

p mi

232 0

0

D

30 2

2

FIGURE 2

p

Asus2let ring

mi

A

p

0

20 2

mi

Asus2

p mi

222 0

0

A

20 2

2

i p

FIGURE 5Alet ring

a m

0

4 6

5

i i p

D

56

a m

09 11

10

i i p

E

1011

a m

0

11 13

12

ami

p

A

()12

0

9109

p

D

mi

0

9109

0

Dsus2

m p

Asus2

32 0

3

0

mi

A

m p

Asus2

2

20 2

i p

Gmaj7(no3)

0

02

i m a p

3

03

2

m i p

E7

strum

3

30

0

E7sus4

a

2010

2

0

p strum

E7

00

02010

2010

am p

FIGURE 3

Dlet ring

i am p

DC

i am p

Bm11

0

32

2

4

32

2

i am p

E7sus4

2

30

2

0

30

ami

p

0

A

0222

FIGURE 4

m p

Glet ring

i m p

DF

i m p

E7sus4

3

40

2

20

i m p

Em7 E7sus4

0

20

0

00

020200

strummed

E7

0020100

020100

F I G 1

F I G 3

F I G 5

F I G 4

F I G 2



p


FIGURE 1

let ring Em

i p

0

2

i

FIGURE 2

p

Emlet ring

0

2

i p

0

2

i

FIGURE 3


Em

00

i i p

X

X 0

i

X

X 2

FIGURE 4

FIGURE 5


CHAPTER

4













songwriter fan base

































































FIGURE 5 FIGURE 6


and down the neck











F I G 7

6fr

2 3 4 1

Cm11

E

A

4fr

1 4 4 4

B

sus4

6fr

T 3 4 1

G7

9B

6fr

2 1 3 4

let ring

p

Em

i p i i p


0

20

0

i i p

i

4fr

2 1 3

Em

1

Em

8fr

2 3 1

Em

X

X

0

X

X 2

FIGURE 6Em

F I G 5F I G 4

let ring

p

FIGURE 6Em


0

20

0

i i p

i sim

X

X

0

X

X 2

0

54

5

X

X 4

X

X 5

0

79

8

X

X 9

X

X 9

0

54

5

X

X 4

X

X 5

F I G 6



FIGURE 1

0

G

320003

= downstroke

0

C

3201

0

= upstroke

Csus2B

2001

0

DA

00232

0Th

DF

X2

0232

0

G

320003

FIGURE 2

let ring G

3

000

3

3

000

3

sim

C

3201

Csus2B

2001

DA

0023

2

Th

DF

2

023

2

G

3

000

3

3

000

3

FIGURE 3

Glet ring

3

0003

003

3

sim

C

0003

003

3

Csus2B

201

01

2

DA

001

01

0

Th

DF

0232

232

2

G

0232

232

3

0003

003

3

0003

003

FIGURE 4

let ring

G

3

0003

C

3

003

0003

003

3

Csus2B

201

01

2

DA

001

01

0

D

0232

232

0

DF

Th

2

G

3

0003

0

3

0003

003


CHAPTER

5















































shapes in FIGURE 1









































strum along

F I G 1

F I G 2

F I G 3

F I G 4




CHAPTER

6



































chapter
















































F I G 6

p

FIGURE 1


A

i m

0

2

i p

E

2 3 22

p mi

0

2

p

FIGURE 2

mi

p

A

10

2 12

p mi

p mi

p

EG

0

22

0

22

0

p mi

p

4

45

4

45

4

3 3

FIGURE 3

FIGURE 4

p p

FIGURE 3

E

02X100

Aadd2E

04X200

E7

FIGURE 4

p

E

05X

04

0

m p

0

0

i p m p

0

0

0

i p

0

0

0

m

0

0

FIGURE 5

p

FIGURE 5

p i p

E

3 4

2

p mi

0

2

p mi

p

G

10

2 12

p mi

mi

p

C

m

4

54

4

54

4

65

p mi

p

EB

4

65

4

65

47

45

7

45

7

3

mi

p

A

p mi

BA

p mi

p

F m7

0

22

0

44

0

p mi

p

B7

p mi

p

E

2

20

2 7

75

7

m p

0

09

0

i p m p

0

0

0

i

0

0

0

p i

0

3 4

2

FI G 1 F I G 2

F I G 3 F I G 4

F I G 5




CHAPTER

7

















Fleetwood Mac


















































respective roots












2 1 3 4

Cadd2

p

FIGURE 1


FIGURE 2

Cadd2let ring

3

p

2

p

3

p

2

FIGURE 3

a

Cadd2let ring

m i a m

33

0

3

i a m

30

33

a p

FIGURE 4

Cadd2let ring

3

3

p a p

2

3

3

a p

2

3

FIGURE 5

a p

Cadd2let ring

m p a m p

3

33

2

3

3

3

a p

m

FIGURE 6

a p

Cadd2let ring

2

33

m i p

a m p

3

33

20

3

i a p

m

3

30

2

33

a p

FIGURE 7

Cadd2let ring

m i p

a m p

3

33

20

3

i a p

m a p

Em7

3

30

2

33

m i p

a m p

0

33

20

3

i a p

m a p

A7sus4

0

30

2

33

m i p

a m p

0

33

20

3

i a p

m a p

GB

0

30

2

33

m i p

a m p

G

2

33

00

3

i a p

m

3

30

0

33

a p

FIGURE 8Cadd2

let ring

m i p

a m p

3

33

20

3

i a p

m i p

Em7

3

30

2

33

a m p

i a p

0

0

3

2

30

m i p

a m p

A7sus4

0

33

20

3

i a p

m i p

0

30

2

33

a m p

i a p

GB

0

0

3

2

30

m i p

a m p

G

2

33

00

3

i a p

m

3

30

0

33

F I G 1

F I G 4

F I G 7

F I G 8

F I G 5 F I G 6

F I G 2 F I G 3



CHAPTER

8

































your thumb







thumb-picked notes









McCartney style






















i p



3

5

p

0

i p

5

6

p

0

etc

7

8

p = thumb i = index

0

8

100

10

120

12

130

14

150

15

170

FIGURE 2

i p

C

3

5

p i p

05

i p

3

50

F I G 1 F I G 2

FIGURE 3

0

C

32013

0

A7

02023

0

Dm

0231

FIGURE 4

a)

i p

C

3

5

p

0

i p

7

8

p

0

i p

01013

i p

b) A7

0

2

p

0

i p

4

5

p

0

i p

7

8

p

0

i p

01010

i p

c) Dm(add4)

5

6

p

0

i p

8

10

p

0

i p

01215

i p

FIGURE 5C


3

5

p i p

05

i p

3

50

i p

A7C

4

5

p

0

i p

4

3

p

0

etc

Dm(add4)

5

60

6

5

60

B7D

6

70

6

5

0

Em

7

80

8

7

80

Fadd2

8

10

8

100

10

8

G

10

120

E7 9G

11

10

0

Am7

12

130

13

11

130

A maj7

11

130

13

11

130

11

130

13

11

130

Dm(add4)

5

60

G7F

8

7

0

CE

7

8

08

7

80

C

8

0088

F I G 3 F I G 4

F I G 5





CHAPTER

10

FLAT-PICKING PHENOM















































































FIGURE 1

let ring

C

= downstroke

0

2010

010

0

2 0

= upstroke

0

2010

010

2

03

FIGURE 2

let ring

C

3

010

010

0

2

F

3

211

211

0

2

F I G 1 FI G 2

FIGURE 3

C

3

010

010

C7

0

201

3

31

02

21

FIGURE 4

NC(C)

00

201

3

2

3

0

2

0

2

3

0

2

03

2

0

3

0

1

2

FIGURE 5

let ring

C

0

2010

010

0

2 0

0

2010

010

2

03

F

1

211

211

3

211

211

3

211

211

2

03

G7

0

001

001

0

20

3

001

001

0

2

0

F

1

211

211

3

211

211

0

1

2

03

NC(C)

3

2 3

0

(G)

2

0

2

3

0

2

03

C

2

0

0

2

3

2

010

2

03

GC

0003

C

0003

2

1

F I G 4F I G 3

F I G 5



p


FIGURE 1

let ring Em

i p

0

2

i

FIGURE 2

p

Emlet ring

0

2

i p

0

2

i

FIGURE 3


Em

00

i i p

X

X 0

i

X

X 2

FIGURE 4

FIGURE 5


CHAPTER

4













songwriter fan base

































































FIGURE 5 FIGURE 6


and down the neck











F I G 7

6fr

2 3 4 1

Cm11

E

A

4fr

1 4 4 4

B

sus4

6fr

T 3 4 1

G7

9B

6fr

2 1 3 4

let ring

p

Em

i p i i p


0

20

0

i i p

i

4fr

2 1 3

Em

1

Em

8fr

2 3 1

Em

X

X

0

X

X 2

FIGURE 6Em

F I G 5F I G 4

let ring

p

FIGURE 6Em


0

20

0

i i p

i sim

X

X

0

X

X 2

0

54

5

X

X 4

X

X 5

0

79

8

X

X 9

X

X 9

0

54

5

X

X 4

X

X 5

F I G 6



FIGURE 1

0

G

320003

= downstroke

0

C

3201

0

= upstroke

Csus2B

2001

0

DA

00232

0Th

DF

X2

0232

0

G

320003

FIGURE 2

let ring G

3

000

3

3

000

3

sim

C

3201

Csus2B

2001

DA

0023

2

Th

DF

2

023

2

G

3

000

3

3

000

3

FIGURE 3

Glet ring

3

0003

003

3

sim

C

0003

003

3

Csus2B

201

01

2

DA

001

01

0

Th

DF

0232

232

2

G

0232

232

3

0003

003

3

0003

003

FIGURE 4

let ring

G

3

0003

C

3

003

0003

003

3

Csus2B

201

01

2

DA

001

01

0

D

0232

232

0

DF

Th

2

G

3

0003

0

3

0003

003


CHAPTER

5















































shapes in FIGURE 1









































strum along

F I G 1

F I G 2

F I G 3

F I G 4




CHAPTER

6



































chapter
















































F I G 6

p

FIGURE 1


A

i m

0

2

i p

E

2 3 22

p mi

0

2

p

FIGURE 2

mi

p

A

10

2 12

p mi

p mi

p

EG

0

22

0

22

0

p mi

p

4

45

4

45

4

3 3

FIGURE 3

FIGURE 4

p p

FIGURE 3

E

02X100

Aadd2E

04X200

E7

FIGURE 4

p

E

05X

04

0

m p

0

0

i p m p

0

0

0

i p

0

0

0

m

0

0

FIGURE 5

p

FIGURE 5

p i p

E

3 4

2

p mi

0

2

p mi

p

G

10

2 12

p mi

mi

p

C

m

4

54

4

54

4

65

p mi

p

EB

4

65

4

65

47

45

7

45

7

3

mi

p

A

p mi

BA

p mi

p

F m7

0

22

0

44

0

p mi

p

B7

p mi

p

E

2

20

2 7

75

7

m p

0

09

0

i p m p

0

0

0

i

0

0

0

p i

0

3 4

2

FI G 1 F I G 2

F I G 3 F I G 4

F I G 5




CHAPTER

7

















Fleetwood Mac


















































respective roots












2 1 3 4

Cadd2

p

FIGURE 1


FIGURE 2

Cadd2let ring

3

p

2

p

3

p

2

FIGURE 3

a

Cadd2let ring

m i a m

33

0

3

i a m

30

33

a p

FIGURE 4

Cadd2let ring

3

3

p a p

2

3

3

a p

2

3

FIGURE 5

a p

Cadd2let ring

m p a m p

3

33

2

3

3

3

a p

m

FIGURE 6

a p

Cadd2let ring

2

33

m i p

a m p

3

33

20

3

i a p

m

3

30

2

33

a p

FIGURE 7

Cadd2let ring

m i p

a m p

3

33

20

3

i a p

m a p

Em7

3

30

2

33

m i p

a m p

0

33

20

3

i a p

m a p

A7sus4

0

30

2

33

m i p

a m p

0

33

20

3

i a p

m a p

GB

0

30

2

33

m i p

a m p

G

2

33

00

3

i a p

m

3

30

0

33

a p

FIGURE 8Cadd2

let ring

m i p

a m p

3

33

20

3

i a p

m i p

Em7

3

30

2

33

a m p

i a p

0

0

3

2

30

m i p

a m p

A7sus4

0

33

20

3

i a p

m i p

0

30

2

33

a m p

i a p

GB

0

0

3

2

30

m i p

a m p

G

2

33

00

3

i a p

m

3

30

0

33

F I G 1

F I G 4

F I G 7

F I G 8

F I G 5 F I G 6

F I G 2 F I G 3



CHAPTER

8

































your thumb







thumb-picked notes









McCartney style






















i p



3

5

p

0

i p

5

6

p

0

etc

7

8

p = thumb i = index

0

8

100

10

120

12

130

14

150

15

170

FIGURE 2

i p

C

3

5

p i p

05

i p

3

50

F I G 1 F I G 2

FIGURE 3

0

C

32013

0

A7

02023

0

Dm

0231

FIGURE 4

a)

i p

C

3

5

p

0

i p

7

8

p

0

i p

01013

i p

b) A7

0

2

p

0

i p

4

5

p

0

i p

7

8

p

0

i p

01010

i p

c) Dm(add4)

5

6

p

0

i p

8

10

p

0

i p

01215

i p

FIGURE 5C


3

5

p i p

05

i p

3

50

i p

A7C

4

5

p

0

i p

4

3

p

0

etc

Dm(add4)

5

60

6

5

60

B7D

6

70

6

5

0

Em

7

80

8

7

80

Fadd2

8

10

8

100

10

8

G

10

120

E7 9G

11

10

0

Am7

12

130

13

11

130

A maj7

11

130

13

11

130

11

130

13

11

130

Dm(add4)

5

60

G7F

8

7

0

CE

7

8

08

7

80

C

8

0088

F I G 3 F I G 4

F I G 5





CHAPTER

10

FLAT-PICKING PHENOM















































































FIGURE 1

let ring

C

= downstroke

0

2010

010

0

2 0

= upstroke

0

2010

010

2

03

FIGURE 2

let ring

C

3

010

010

0

2

F

3

211

211

0

2

F I G 1 FI G 2

FIGURE 3

C

3

010

010

C7

0

201

3

31

02

21

FIGURE 4

NC(C)

00

201

3

2

3

0

2

0

2

3

0

2

03

2

0

3

0

1

2

FIGURE 5

let ring

C

0

2010

010

0

2 0

0

2010

010

2

03

F

1

211

211

3

211

211

3

211

211

2

03

G7

0

001

001

0

20

3

001

001

0

2

0

F

1

211

211

3

211

211

0

1

2

03

NC(C)

3

2 3

0

(G)

2

0

2

3

0

2

03

C

2

0

0

2

3

2

010

2

03

GC

0003

C

0003

2

1

F I G 4F I G 3

F I G 5



FIGURE 1

0

G

320003

= downstroke

0

C

3201

0

= upstroke

Csus2B

2001

0

DA

00232

0Th

DF

X2

0232

0

G

320003

FIGURE 2

let ring G

3

000

3

3

000

3

sim

C

3201

Csus2B

2001

DA

0023

2

Th

DF

2

023

2

G

3

000

3

3

000

3

FIGURE 3

Glet ring

3

0003

003

3

sim

C

0003

003

3

Csus2B

201

01

2

DA

001

01

0

Th

DF

0232

232

2

G

0232

232

3

0003

003

3

0003

003

FIGURE 4

let ring

G

3

0003

C

3

003

0003

003

3

Csus2B

201

01

2

DA

001

01

0

D

0232

232

0

DF

Th

2

G

3

0003

0

3

0003

003


CHAPTER

5















































shapes in FIGURE 1









































strum along

F I G 1

F I G 2

F I G 3

F I G 4




CHAPTER

6



































chapter
















































F I G 6

p

FIGURE 1


A

i m

0

2

i p

E

2 3 22

p mi

0

2

p

FIGURE 2

mi

p

A

10

2 12

p mi

p mi

p

EG

0

22

0

22

0

p mi

p

4

45

4

45

4

3 3

FIGURE 3

FIGURE 4

p p

FIGURE 3

E

02X100

Aadd2E

04X200

E7

FIGURE 4

p

E

05X

04

0

m p

0

0

i p m p

0

0

0

i p

0

0

0

m

0

0

FIGURE 5

p

FIGURE 5

p i p

E

3 4

2

p mi

0

2

p mi

p

G

10

2 12

p mi

mi

p

C

m

4

54

4

54

4

65

p mi

p

EB

4

65

4

65

47

45

7

45

7

3

mi

p

A

p mi

BA

p mi

p

F m7

0

22

0

44

0

p mi

p

B7

p mi

p

E

2

20

2 7

75

7

m p

0

09

0

i p m p

0

0

0

i

0

0

0

p i

0

3 4

2

FI G 1 F I G 2

F I G 3 F I G 4

F I G 5




CHAPTER

7

















Fleetwood Mac


















































respective roots












2 1 3 4

Cadd2

p

FIGURE 1


FIGURE 2

Cadd2let ring

3

p

2

p

3

p

2

FIGURE 3

a

Cadd2let ring

m i a m

33

0

3

i a m

30

33

a p

FIGURE 4

Cadd2let ring

3

3

p a p

2

3

3

a p

2

3

FIGURE 5

a p

Cadd2let ring

m p a m p

3

33

2

3

3

3

a p

m

FIGURE 6

a p

Cadd2let ring

2

33

m i p

a m p

3

33

20

3

i a p

m

3

30

2

33

a p

FIGURE 7

Cadd2let ring

m i p

a m p

3

33

20

3

i a p

m a p

Em7

3

30

2

33

m i p

a m p

0

33

20

3

i a p

m a p

A7sus4

0

30

2

33

m i p

a m p

0

33

20

3

i a p

m a p

GB

0

30

2

33

m i p

a m p

G

2

33

00

3

i a p

m

3

30

0

33

a p

FIGURE 8Cadd2

let ring

m i p

a m p

3

33

20

3

i a p

m i p

Em7

3

30

2

33

a m p

i a p

0

0

3

2

30

m i p

a m p

A7sus4

0

33

20

3

i a p

m i p

0

30

2

33

a m p

i a p

GB

0

0

3

2

30

m i p

a m p

G

2

33

00

3

i a p

m

3

30

0

33

F I G 1

F I G 4

F I G 7

F I G 8

F I G 5 F I G 6

F I G 2 F I G 3



CHAPTER

8

































your thumb







thumb-picked notes









McCartney style






















i p



3

5

p

0

i p

5

6

p

0

etc

7

8

p = thumb i = index

0

8

100

10

120

12

130

14

150

15

170

FIGURE 2

i p

C

3

5

p i p

05

i p

3

50

F I G 1 F I G 2

FIGURE 3

0

C

32013

0

A7

02023

0

Dm

0231

FIGURE 4

a)

i p

C

3

5

p

0

i p

7

8

p

0

i p

01013

i p

b) A7

0

2

p

0

i p

4

5

p

0

i p

7

8

p

0

i p

01010

i p

c) Dm(add4)

5

6

p

0

i p

8

10

p

0

i p

01215

i p

FIGURE 5C


3

5

p i p

05

i p

3

50

i p

A7C

4

5

p

0

i p

4

3

p

0

etc

Dm(add4)

5

60

6

5

60

B7D

6

70

6

5

0

Em

7

80

8

7

80

Fadd2

8

10

8

100

10

8

G

10

120

E7 9G

11

10

0

Am7

12

130

13

11

130

A maj7

11

130

13

11

130

11

130

13

11

130

Dm(add4)

5

60

G7F

8

7

0

CE

7

8

08

7

80

C

8

0088

F I G 3 F I G 4

F I G 5





CHAPTER

10

FLAT-PICKING PHENOM















































































FIGURE 1

let ring

C

= downstroke

0

2010

010

0

2 0

= upstroke

0

2010

010

2

03

FIGURE 2

let ring

C

3

010

010

0

2

F

3

211

211

0

2

F I G 1 FI G 2

FIGURE 3

C

3

010

010

C7

0

201

3

31

02

21

FIGURE 4

NC(C)

00

201

3

2

3

0

2

0

2

3

0

2

03

2

0

3

0

1

2

FIGURE 5

let ring

C

0

2010

010

0

2 0

0

2010

010

2

03

F

1

211

211

3

211

211

3

211

211

2

03

G7

0

001

001

0

20

3

001

001

0

2

0

F

1

211

211

3

211

211

0

1

2

03

NC(C)

3

2 3

0

(G)

2

0

2

3

0

2

03

C

2

0

0

2

3

2

010

2

03

GC

0003

C

0003

2

1

F I G 4F I G 3

F I G 5




CHAPTER

6



































chapter
















































F I G 6

p

FIGURE 1


A

i m

0

2

i p

E

2 3 22

p mi

0

2

p

FIGURE 2

mi

p

A

10

2 12

p mi

p mi

p

EG

0

22

0

22

0

p mi

p

4

45

4

45

4

3 3

FIGURE 3

FIGURE 4

p p

FIGURE 3

E

02X100

Aadd2E

04X200

E7

FIGURE 4

p

E

05X

04

0

m p

0

0

i p m p

0

0

0

i p

0

0

0

m

0

0

FIGURE 5

p

FIGURE 5

p i p

E

3 4

2

p mi

0

2

p mi

p

G

10

2 12

p mi

mi

p

C

m

4

54

4

54

4

65

p mi

p

EB

4

65

4

65

47

45

7

45

7

3

mi

p

A

p mi

BA

p mi

p

F m7

0

22

0

44

0

p mi

p

B7

p mi

p

E

2

20

2 7

75

7

m p

0

09

0

i p m p

0

0

0

i

0

0

0

p i

0

3 4

2

FI G 1 F I G 2

F I G 3 F I G 4

F I G 5




CHAPTER

7

















Fleetwood Mac


















































respective roots












2 1 3 4

Cadd2

p

FIGURE 1


FIGURE 2

Cadd2let ring

3

p

2

p

3

p

2

FIGURE 3

a

Cadd2let ring

m i a m

33

0

3

i a m

30

33

a p

FIGURE 4

Cadd2let ring

3

3

p a p

2

3

3

a p

2

3

FIGURE 5

a p

Cadd2let ring

m p a m p

3

33

2

3

3

3

a p

m

FIGURE 6

a p

Cadd2let ring

2

33

m i p

a m p

3

33

20

3

i a p

m

3

30

2

33

a p

FIGURE 7

Cadd2let ring

m i p

a m p

3

33

20

3

i a p

m a p

Em7

3

30

2

33

m i p

a m p

0

33

20

3

i a p

m a p

A7sus4

0

30

2

33

m i p

a m p

0

33

20

3

i a p

m a p

GB

0

30

2

33

m i p

a m p

G

2

33

00

3

i a p

m

3

30

0

33

a p

FIGURE 8Cadd2

let ring

m i p

a m p

3

33

20

3

i a p

m i p

Em7

3

30

2

33

a m p

i a p

0

0

3

2

30

m i p

a m p

A7sus4

0

33

20

3

i a p

m i p

0

30

2

33

a m p

i a p

GB

0

0

3

2

30

m i p

a m p

G

2

33

00

3

i a p

m

3

30

0

33

F I G 1

F I G 4

F I G 7

F I G 8

F I G 5 F I G 6

F I G 2 F I G 3



CHAPTER

8

































your thumb







thumb-picked notes









McCartney style






















i p



3

5

p

0

i p

5

6

p

0

etc

7

8

p = thumb i = index

0

8

100

10

120

12

130

14

150

15

170

FIGURE 2

i p

C

3

5

p i p

05

i p

3

50

F I G 1 F I G 2

FIGURE 3

0

C

32013

0

A7

02023

0

Dm

0231

FIGURE 4

a)

i p

C

3

5

p

0

i p

7

8

p

0

i p

01013

i p

b) A7

0

2

p

0

i p

4

5

p

0

i p

7

8

p

0

i p

01010

i p

c) Dm(add4)

5

6

p

0

i p

8

10

p

0

i p

01215

i p

FIGURE 5C


3

5

p i p

05

i p

3

50

i p

A7C

4

5

p

0

i p

4

3

p

0

etc

Dm(add4)

5

60

6

5

60

B7D

6

70

6

5

0

Em

7

80

8

7

80

Fadd2

8

10

8

100

10

8

G

10

120

E7 9G

11

10

0

Am7

12

130

13

11

130

A maj7

11

130

13

11

130

11

130

13

11

130

Dm(add4)

5

60

G7F

8

7

0

CE

7

8

08

7

80

C

8

0088

F I G 3 F I G 4

F I G 5





CHAPTER

10

FLAT-PICKING PHENOM















































































FIGURE 1

let ring

C

= downstroke

0

2010

010

0

2 0

= upstroke

0

2010

010

2

03

FIGURE 2

let ring

C

3

010

010

0

2

F

3

211

211

0

2

F I G 1 FI G 2

FIGURE 3

C

3

010

010

C7

0

201

3

31

02

21

FIGURE 4

NC(C)

00

201

3

2

3

0

2

0

2

3

0

2

03

2

0

3

0

1

2

FIGURE 5

let ring

C

0

2010

010

0

2 0

0

2010

010

2

03

F

1

211

211

3

211

211

3

211

211

2

03

G7

0

001

001

0

20

3

001

001

0

2

0

F

1

211

211

3

211

211

0

1

2

03

NC(C)

3

2 3

0

(G)

2

0

2

3

0

2

03

C

2

0

0

2

3

2

010

2

03

GC

0003

C

0003

2

1

F I G 4F I G 3

F I G 5




CHAPTER

7

















Fleetwood Mac


















































respective roots












2 1 3 4

Cadd2

p

FIGURE 1


FIGURE 2

Cadd2let ring

3

p

2

p

3

p

2

FIGURE 3

a

Cadd2let ring

m i a m

33

0

3

i a m

30

33

a p

FIGURE 4

Cadd2let ring

3

3

p a p

2

3

3

a p

2

3

FIGURE 5

a p

Cadd2let ring

m p a m p

3

33

2

3

3

3

a p

m

FIGURE 6

a p

Cadd2let ring

2

33

m i p

a m p

3

33

20

3

i a p

m

3

30

2

33

a p

FIGURE 7

Cadd2let ring

m i p

a m p

3

33

20

3

i a p

m a p

Em7

3

30

2

33

m i p

a m p

0

33

20

3

i a p

m a p

A7sus4

0

30

2

33

m i p

a m p

0

33

20

3

i a p

m a p

GB

0

30

2

33

m i p

a m p

G

2

33

00

3

i a p

m

3

30

0

33

a p

FIGURE 8Cadd2

let ring

m i p

a m p

3

33

20

3

i a p

m i p

Em7

3

30

2

33

a m p

i a p

0

0

3

2

30

m i p

a m p

A7sus4

0

33

20

3

i a p

m i p

0

30

2

33

a m p

i a p

GB

0

0

3

2

30

m i p

a m p

G

2

33

00

3

i a p

m

3

30

0

33

F I G 1

F I G 4

F I G 7

F I G 8

F I G 5 F I G 6

F I G 2 F I G 3



CHAPTER

8

































your thumb







thumb-picked notes









McCartney style






















i p



3

5

p

0

i p

5

6

p

0

etc

7

8

p = thumb i = index

0

8

100

10

120

12

130

14

150

15

170

FIGURE 2

i p

C

3

5

p i p

05

i p

3

50

F I G 1 F I G 2

FIGURE 3

0

C

32013

0

A7

02023

0

Dm

0231

FIGURE 4

a)

i p

C

3

5

p

0

i p

7

8

p

0

i p

01013

i p

b) A7

0

2

p

0

i p

4

5

p

0

i p

7

8

p

0

i p

01010

i p

c) Dm(add4)

5

6

p

0

i p

8

10

p

0

i p

01215

i p

FIGURE 5C


3

5

p i p

05

i p

3

50

i p

A7C

4

5

p

0

i p

4

3

p

0

etc

Dm(add4)

5

60

6

5

60

B7D

6

70

6

5

0

Em

7

80

8

7

80

Fadd2

8

10

8

100

10

8

G

10

120

E7 9G

11

10

0

Am7

12

130

13

11

130

A maj7

11

130

13

11

130

11

130

13

11

130

Dm(add4)

5

60

G7F

8

7

0

CE

7

8

08

7

80

C

8

0088

F I G 3 F I G 4

F I G 5





CHAPTER

10

FLAT-PICKING PHENOM















































































FIGURE 1

let ring

C

= downstroke

0

2010

010

0

2 0

= upstroke

0

2010

010

2

03

FIGURE 2

let ring

C

3

010

010

0

2

F

3

211

211

0

2

F I G 1 FI G 2

FIGURE 3

C

3

010

010

C7

0

201

3

31

02

21

FIGURE 4

NC(C)

00

201

3

2

3

0

2

0

2

3

0

2

03

2

0

3

0

1

2

FIGURE 5

let ring

C

0

2010

010

0

2 0

0

2010

010

2

03

F

1

211

211

3

211

211

3

211

211

2

03

G7

0

001

001

0

20

3

001

001

0

2

0

F

1

211

211

3

211

211

0

1

2

03

NC(C)

3

2 3

0

(G)

2

0

2

3

0

2

03

C

2

0

0

2

3

2

010

2

03

GC

0003

C

0003

2

1

F I G 4F I G 3

F I G 5



CHAPTER

8

































your thumb







thumb-picked notes









McCartney style






















i p



3

5

p

0

i p

5

6

p

0

etc

7

8

p = thumb i = index

0

8

100

10

120

12

130

14

150

15

170

FIGURE 2

i p

C

3

5

p i p

05

i p

3

50

F I G 1 F I G 2

FIGURE 3

0

C

32013

0

A7

02023

0

Dm

0231

FIGURE 4

a)

i p

C

3

5

p

0

i p

7

8

p

0

i p

01013

i p

b) A7

0

2

p

0

i p

4

5

p

0

i p

7

8

p

0

i p

01010

i p

c) Dm(add4)

5

6

p

0

i p

8

10

p

0

i p

01215

i p

FIGURE 5C


3

5

p i p

05

i p

3

50

i p

A7C

4

5

p

0

i p

4

3

p

0

etc

Dm(add4)

5

60

6

5

60

B7D

6

70

6

5

0

Em

7

80

8

7

80

Fadd2

8

10

8

100

10

8

G

10

120

E7 9G

11

10

0

Am7

12

130

13

11

130

A maj7

11

130

13

11

130

11

130

13

11

130

Dm(add4)

5

60

G7F

8

7

0

CE

7

8

08

7

80

C

8

0088

F I G 3 F I G 4

F I G 5





CHAPTER

10

FLAT-PICKING PHENOM















































































FIGURE 1

let ring

C

= downstroke

0

2010

010

0

2 0

= upstroke

0

2010

010

2

03

FIGURE 2

let ring

C

3

010

010

0

2

F

3

211

211

0

2

F I G 1 FI G 2

FIGURE 3

C

3

010

010

C7

0

201

3

31

02

21

FIGURE 4

NC(C)

00

201

3

2

3

0

2

0

2

3

0

2

03

2

0

3

0

1

2

FIGURE 5

let ring

C

0

2010

010

0

2 0

0

2010

010

2

03

F

1

211

211

3

211

211

3

211

211

2

03

G7

0

001

001

0

20

3

001

001

0

2

0

F

1

211

211

3

211

211

0

1

2

03

NC(C)

3

2 3

0

(G)

2

0

2

3

0

2

03

C

2

0

0

2

3

2

010

2

03

GC

0003

C

0003

2

1

F I G 4F I G 3

F I G 5





CHAPTER

10

FLAT-PICKING PHENOM















































































FIGURE 1

let ring

C

= downstroke

0

2010

010

0

2 0

= upstroke

0

2010

010

2

03

FIGURE 2

let ring

C

3

010

010

0

2

F

3

211

211

0

2

F I G 1 FI G 2

FIGURE 3

C

3

010

010

C7

0

201

3

31

02

21

FIGURE 4

NC(C)

00

201

3

2

3

0

2

0

2

3

0

2

03

2

0

3

0

1

2

FIGURE 5

let ring

C

0

2010

010

0

2 0

0

2010

010

2

03

F

1

211

211

3

211

211

3

211

211

2

03

G7

0

001

001

0

20

3

001

001

0

2

0

F

1

211

211

3

211

211

0

1

2

03

NC(C)

3

2 3

0

(G)

2

0

2

3

0

2

03

C

2

0

0

2

3

2

010

2

03

GC

0003

C

0003

2

1

F I G 4F I G 3

F I G 5

daleturner_tabs.pdf

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