|What you learn:
Auld Lang Syne|
Storm: Here's the last song in the holiday guitar
series, a jazz arrangement of 'Auld Lang Syne'. For this arrangement we'll use more jazzy,
'extended' chords in a 'chord melody' style. This arrangement will be more of a
challenge the the other songs in the
series. I use a mix of
fairly stock jazz voicings and some chords that may be new to most of you.
This arrangement 'Auld Lang Syne' is a 32-bar form in the Key of C. Here are the first 4
play this arrangement fingerstyle without any preset technique. Let your
right hand fingers go where they want, sort of like jazz
itself. I still use the thumb, index, middle, ring fingers for
efficiency. One approach worth experimenting with is holding a pick and using a hybrid pick and
finger approach. The Dm7 to
G7 fit nicely to illustrate the idea of 'voice leading' making a smooth connection from the
notes in one chord to the next. Three of the notes are common tones and the fourth
moves neatly down a half-step.
is commonly played on Nylon String Acoustic or Hollow Body Electric guitars.
Most Jazz players use heavier gauge strings than most styles. Notice how each chord voicing
include the melody notes on 'top'. This is one of the aspects that makes this style so
demanding, say for instance, not just knowing a C7 chord, but a C7 chord with an E note on
Storm: This section
introduces a bass line on strings 6 (E) and 5 (A). A bass line will usually mix in scale
tones, chord tones, and chromatic 'approach' tones.
Storm: Bars 13-16 have a good example of
chromatic notes used in a bass line. The next few bars introduce the second section of the song. Much
of the same chord progression, only slightly different melody.
Storm: This section has one of my
favorite 'fake' bass lines. Simply move down a 1/2 step from the root of the
chord and then back again. It sounds like you're moving without having to work too
There are some fun chords in those 4 bars; altered dominant chords, diminished
Storm: Winding down the home stretch of the
Storm: The last bar uses the 'harp harmonics'
technique. Jazz great Lenny Breau used this technique to great
effect. Here the chord is held at the 7th
position and then outlined with the right hand index finger lightly touching the
string 12 frets higher. The thumb picks the string to produce a harmonic. The
riff mixes these notes with standard notes plucked with the right hand middle
Storm: If you are not
familiar with the chords presented remember Jazz is the most demanding
style of your chord vocabulary. Most chords can be related back to
familiar major, minors and dominant chords. This lesson shows many
substitutes for standard major chords, for instance.
Storm: OK. let's make a New Year's resolution
to improve our guitar playing each day. Thanks for joining me for my Holiday
<< load notation from left
<< load audio from left
<< load audio from left