Page 36: Arpeggio Song Example

[Help!I'maRock!]

on the second line, you've got this chord progression:

| C G/B | D | C G/B | Em7 | A |

the way you've got the arpeggios running, my natural inclination is to play the G/B with my pinky on the D note of the chord (3rd fret, 2nd string). but when moving to the next chord (either the D or Em7, doesn't matter) that note ends up either buzzing or not sounding for the full duration because i've got to completely move my hand for the next chord.

there's got to be a better way. suggestions?

[Mark Wein]

I typically play the G/B with the fingerings on Page 33, with the 3rd finger on the D on the 2nd string 3rd fret and the pinky on the 1st string 3rd fret...it gives you a common finger for many of the chords on that page but also allows for more continuity in that particular section.

Sometimes I'll play that chord with my second finger on the 5th string and 4th finger on the 2nd string in situations where I might go C G/b Am, though...If you use that fingering for the G/B then I would try the 4th finger on the 3rd string for the D Major...let me know if that helps!

[Help!I'maRock!]

also, do you have a target BPM that these pages (34-36) should be played at? you say 60bpm on page 17, but that's it.

[Mark Wein]

I usually work them with the students between 60 and 80 bpm. I am very specific about keeping the pick direction as written, too...

[Help!I'maRock!]

I usually work them with the students between 60 and 80 bpm. I am very specific about keeping the pick direction as written, too...


my problem is simply that my default picking pattern is different than what's in the book. so the exercise is good for me because it makes me retrain my hand into a different picking pattern.

as for the chords in question, my problem is that you've got the first finger on playing the C on the first fret of the second string and then it immediately has to move to the B on the 2nd fret of the 5th string as the first note of the G/B chord. its much easier for me to use a my 2nd finger on that B and my pinky on the D (3rd fret, 2nd string), but then it complicates the next chord.

i think i got it though.

[Mark Wein]

Cool!

The thing with that section of the book is that there is no real "right" way to play any of it, but the pattern I have is what I think feels most natural.

You basically pick one direction until you run out of notes in that direction and then pick the other direction until you run out of notes and so on. Another way I might approach it is to alternate pick the pattern like I was strumming keeping the down picks on down beats and up picks on up beats...the feel ends up being a little different even though the rhythm is the same.

[Help!I'maRock!]

yeah, i know where you're coming from. the thing for me is that even though i understand the concept, the student i'm using this book with will end up trying to play that section verbatim. and so i feel its my job to have to do the same thing he does in order to get it down.

i got up to page 40 tonight and stopped. now i'm on the Mel Bay book again. Totally_jammin_out

[Mark Wein]

I just got the "Amazing Slow Downer". I'm going to learn "Cliffs of Dover" during my break, I think biggrin

[Eminence_Front]

hey mark can you tab out Allman Brothers "Jessica"


biggrin

[Mark Wein]

:facepalm: