Part 2:

The following chart shows five common positions for the 7th chord, the root is noted with a diamond (note: the numbers 1-5 across the top are there to identify these forms for our purposes, they aren’t the proper names).  Depending on the chord and position you may be able to utilize open strings as well, for example C7 using the 4th position will sound fine if you let the high and low E strings ring out, but a D#7 with the same form will sound very dissonant. Directly below are some examples of how to alter these forms to get the 9th and 13th.

The following is a chart for the 7th chord in the above positions, take notices of how the forms are used in each key and the fret board will suddenly seem a little smaller.

Once again, remember that you aren’t stuck with these five forms; there are as many ways to play a 7th chord, or any other chord for that matter, as you can come up with. Take those four notes and come up with as many inversions as you can, figure out which are possible, and add them to your arsenal.

*To View images larger either click or open in a new window*
Click Here for Lesson 13 Part One.

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Part 1:

The list of chords, their positions and inversions is pretty exhaustive and seemingly endless. Instead of writing a huge chart for you to try and memorize, we’re going to save a little time and space (and avoid possible carpal tunnel) by keeping this list basic, and throwing in a little bit of theory so you understand how these chords are made and how to figure out your own. (There will be a chapter explaining scales and theory in more depth later on)

Hopefully at this point you know a few major and minor chords. Major and Minor chords are both formed with three notes from the corresponding scale. For example, an A major is formed with the 1st, 3rd and 5th notes of the A major scale, listed here:

A B C# D E F# G#
1 2 3   4  5 6   7
T T S   T  T  T  S

T=Whole Tone, S=Semitone

While the A minor is formed with the 1st, 3rd and 5th notes of the minor scale:

A B C D E F G#
1 2 3 4  5 6 7
T S T T  T T S

All other chords are basically extensions or augmentations based on those three notes.
Confused? Not for long.
A 7th chord is a four note chord, it can be major or minor. The added note is the seventh note of the scale. Staying with our trusty A major chord and scale, add a G to it and we have the A7.

If we add the 6th note of the scale, in this case the F#, we have the A6.

But, if there are only seven notes in a scale, how do they come up with these crazy 9th and 13th chords? Here is the trick. When you count past 7 you get to the root again an octave higher. Staying with our example the 8th note is A, counting up from that the 9th note would be B. Just remember, anything you add from this point will be based on the 7th chord. If we wanted to make an A9 we would have this five note chord:

To make it an A13 chord we add the note F# and have this:

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Are you ready to move on? Make sure you’re comfortable playing the previous patterns before continuing. Good, now it’s starting to get interesting. This next pattern is a variation on the first; you’ll notice there are a couple extra notes. We’ll continue to call the patterns E & A for now. Follow the procedure you used in part one to learn these.

Pattern #3

Once you’re confident with your ability to play it, apply it to this progression. Remember to start with the A pattern, and notice that the last two notes of each bar are a walk down/up to be played with the thumb.

Pattern #4

This next pattern has a slightly different emphasis timing-wise than our previous examples:
Pattern #5

Once you’re comfortable move on and apply it to this progression:
Pattern #6

This next one is again a new timing:
Pattern #7

It sounds natural to the ear, but to your fingers it probably won’t seem to flow until you grow used to the feel. Take your time, when you’re ready apply it to this progression:
Pattern #8

Take note of how small changes can alter the feel dramatically. Try the above over different chords and different progressions. Listen to some of your favorite players and you’ll find some of these patterns jumping out at you. Pick out what they’re doing that draws you to their playing and make it yours. Capture the feel. Don’t think you have to stick with these patterns; create some of your own and remember to always challenge yourself.

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Before we start it’s important to note that these patterns are not cure-all, end-all answers to your playing. They are a great way to begin and a large percentage of fingerstylists use these frequently, but don’t get caught in the mindset of thinking that this is all there is. For every song that uses one of these patterns there are two that have a completely unique approach. If you end up relying too heavily on anything it’s going to stifle your creativity and originality. Use these as a starting point and they’ll take you a long way towards your goals.

This first pattern is demonstrated on the E major and A major chords, but as you’ll see it can be used over any chord combinations. For the sake of simplicity we’ll call these the ‘E pattern’ and the ‘A pattern.’
Play them slowly, and don’t move on to the A pattern until you can play the E.

Once you can play each one individually without thinking about it too much, play them together using the following progression. Repeat it until you can perform it smoothly.

Do the same for this pattern, a slight variation which makes it sound a lot more interesting:

Once you get the hang of changing between those two chords, apply it to the following progression, be sure to use your ring finger to hit the alternating bass note on the B7 (marked with a T).

Now that you have this down, add a simple variation by changing the chords and the order. Play the ‘A’ pattern over a C major chord, and the ‘E’ pattern over a G major chord. Remember that on the C chord you’ll have to move the bass like you did for exercise 5 in Lesson 7, Starting With The Thumb: Independence Exercises.

When you’re ready, move on to Finger Patterns Part Two

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When you first look at a piece of tablature, especially for fingerstyle, at first glance it looks like an impossible number of random notes that you somehow have to figure out a way to memorize.

What a nightmare!

The easiest way to approach something like this is to identify patterns and shapes. Use the bass notes to figure out what chords are being played, or being implied. Secondly, figure out what picking patterns are being used. Sometimes it changes from bar to bar, or doesn’t seem to make sense at all. Luckily this example does. Once you’ve figured out these two things the headache inspiring tab above will turn into this:

Now the only thing left to do is figure out the finger patterns he’s using.

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Fingerpicking is not easy, it takes time and work to establish a solid technique. With that said, it’s also not as mystifying as it might first appear. After the thumb is established the basics can be broken up into a few distinct pieces. How do you coordinate your fingers to accompany the thumb? If you’ve worked through the exercises in the previous chapter you’ve already encountered two of them.

This first is the pinch. It might seem obvious now, but the concept throws a lot of beginners for a loop. The idea is to pinch one or more strings with your fingers at the same time you play a bass note. Go back and look at Exercise 1, the first note is the thumb (E string open), the second is a pinch (D string 2nd fret and High E open). Try this again now, aware of the pinch.

Second is the pluck. This is adding a note between the bass notes being played. Go back and look at example two, play it again and notice the pluck. It doesn’t have to be a dotted note as in the example; it could easily be played on any rhythmic interval, arpeggiated run, or whatever you can dream up.

Damping. As mentioned in the previous chapter, damping is lightly pressing the heel of your right palm on top of the bass strings to stop them from sustaining or ringing, this creates a more rhythmic, pizzicato effect. If you karate chopped your guitar right above the bridge, this would be the same position your hand should be in to apply this effect, although you should use considerably less force. Experiment with the angle, make sure as you play the bass strings are slightly muted, but not enough to stop the pitch of the notes to come through, the treble strings should ring loud and clear.

Some left hand techniques to consider are hammer ons, pull offs and slides. Don’t be afraid, I’m sure you’re having visions of Eddie Van Halen or Mr. Miyagi from Karate Kid right now. As you are probably already aware, these are ways of playing two (or more) notes with one pick of the string. Here’s a simple example of each:

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You will quickly come to find the most important foundation is a solid rhythm. The focus of these first lessons is traditional roots style music, and if you break it down two distinct profiles begin to emerge, Travis style and Alternating Bass. Both are equally valid and invaluable in the proper situation.

Travis style, named after the inimitable Merle Travis who popularized it, is a widely used term that encompasses a variety of fingerpicking styles. It’s characterized by a syncopated melody over a driving rhythm, often on two bass strings playing the root and 5th. It’s also been called Cotten Picking, after guitarist Elizabeth Cotten.

Alternating bass is an extension of the Travis style. It adds another note, often the 3rd, making it sound much more sophisticated.

Here’s an example:

Before you get started:

-Read the tab, and listen to the audio example.

-If you’re having trouble, begin by playing only the bass notes and add the top strings when you can keep a solid rhythm.

-Nobody likes a metronome, especially me, but when starting out using one will help you’re timing immensely. Remember to start very slowly and make sure every note is sounding out clearly, tap your foot and get used to the rhythm.  80bpm might seem painfully slow to you, but if you can’t play it slowly you’ll never play it properly fast. These basics movements are very important, so take the time to get the master these simple lessons before moving on.

-Once you can play them, try increasing the speed of the metronome gradually, 5-10 bpm at a time. Don’t increase it again until you can play it flawlessly.

-The top strings are labeled with the recommended picking fingers.

I=Index
M=Middle
R=Ring
P=Pinky

It’s important to note that all of these exercises can be performed with alternate fingers. There are no hard fast rules for these; the fingerings listed are to get your right hand ready for what’s to come. Try switching it up when you have them under your belt.

-These first exercises are all played holding down an E major Chord. The right hand is what we’re focused on here, so if you want to sit in front of the television or read a book while working on your muscle memory try tuning the guitar to a chord like open G (DADGBD) and play all the strings open.

-Lastly, when you play these, dampen the lower strings so bass notes have a nice rhythmic ‘chunk.’ (see The Main Elements of Picking for more info)

The next two examples make use of a dotted note, listen to the example for timing, and don’t forget to swing it!

These next two are a real workout. Remember to start slowly and make the notes ring out clean.

This final one is the same as the above, but played over a C chord. Try using the patterns from both 4a and 4b.
To hit the note on the 6th string move your left ring finger, indicated by the T:

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