Partial Capo Part 3 Guitar Lesson
Partial Capo Part 3
Randall returns to the world of the partial capo. In this lesson, he talks more about playing songs and chords. He also introduces a second capo.
Taught by Randall Williams in Lessons with Randall Williams seriesLength: 9:41Difficulty: 1.5 of 5
E5
(Strum all six strings.)
E_x_
B_x_
G_4_
D_x_
A_x_
E_x_
E_0_
B_0_
G_4_
D_2_
A_2_
E_0_
B7sus4
(Strum the five highest strings.)
E_x_
B_x_
G_x_
D_4_
A_x_
E_x_
E_0_
B_0_
G_2_
D_4_
A_2_
E_x_
F#m7add11/C#
(Strum the five highest strings.)
E_x_
B_x_
G_x_
D_x_
A_4_
E_x_
E_0_
B_0_
G_2_
D_2_
A_4_
E_x_
Eadd11/G#
(Strum all six strings.)
E_x_
B_x_
G_x_
D_x_
A_x_
E_4_
E_0_
B_0_
G_2_
D_2_
A_2_
E_4_
F#m11
(Strum all six strings.)
E_x_
B_x_
G_x_
D_x_
A_x_
E_2_
E_0_
B_0_
G_2_
D_2_
A_2_
E_2_
Asus2
(Strum all six strings.)
E_x_
B_x_
G_x_
D_x_
A_x_
E_5_
E_0_
B_0_
G_2_
D_2_
A_2_
E_5_
B7sus4
(Strum all six strings.)
E_x_
B_x_
G_x_
D_x_
A_x_
E_7_
E_0_
B_0_
G_2_
D_2_
A_2_
E_7_
Aadd9/C#
(Strum all six strings.)
E_x_
B_x_
G_x_
D_x_
A_x_
E_9_
E_0_
B_0_
G_2_
D_2_
A_2_
E_9_
Amaj9/C#
(Strum the five highest strings.)
E_x_
B_x_
G_x_
D_6_
A_4_
E_x_
E_0_
B_0_
G_2_
D_6_
A_4_
E_x_
D6/9(no 3rd)
(Strum all six strings.)
E_x_
B_x_
G_x_
D_x_
A_x_
E_10_
E_0_
B_0_
G_2_
D_2_
A_2_
E_10_
Emaj7sus4/D#
(Strum all six strings.)
E_x_
B_x_
G_x_
D_x_
A_x_
E_11_
E_0_
B_0_
G_2_
D_2_
A_2_
E_11_
Lesson Objectives
-Review the cut capo chord voicings Randall has demonstrated in the past few lessons.
-Learn a new strumming rhythm.
-Apply these concepts to an arrangement of "Blowin' In The Wind" by Bob Dylan.
Communication
The "Comments" section within each lesson and the forum area are two of the most important components of JamPlay.com. Your comments give the instructors a clear idea of things that need to be explained in greater detail. They also help the instructors plan and structure future lessons to better meet your needs. Most importantly, these sections of the site provide you with an opportunity to ask an instructor for extra help with lesson materials. If you ever have any questions, comments, or criticisms, feel free to contact Randall here on JamPlay or at whereisrandall.com.
Review of Chords
If necessary, review all of the chord voicings that Randall has taught in the past couple of lessons. So far, he has demonstrated a few different voicing options for each of the diatonic chords in the key of E major. He has also demonstrated an effective voicing for the bVII chord in this key. At this point, it is essential that you understand how each of these voicings function in the key of E major. In other words, you must know the proper Roman numeral designation or the "Nashville number" that corresponds to each chord. The actual chord names (E5, B7add11, etc.) are not quite as important at this point. Randall will explain why a chord is named a certain way as he gradually delves deeper into music theory concepts. For now though, simply knowing the function of a specific chord will allow you to play tons of songs.
Note: Randall provides a quick review of cut capo chord shapes at 00:50 in Scene 1. He continues his review in the second scene.
Blowin' In The Wind
This classic Bob Dylan song from the 1963 album The Freewheelin' Bob Dylan. can be played by using the chord shapes that Randall has demonstrated in the past few lessons.
Note: A transcription to the original Bob Dylan recording as well as the version that Randall demonstrates in the lesson video can be found under the "Supplemental Content" tab. Lyrics to the song can be found under this tab as well.
Randall applies a new strumming rhythm to "Blowin' In The Wind." This pattern involves strumming in a downward and upward direction. Alternating the direction of a strum inevitably causes problems for all beginners. However, with time, practice, and the proper instruction, this technique can easily be mastered.
The right hand element of the song features a down-down-up strumming pattern. The rhythm produced by the pattern begins with a quarter note followed by two eighth notes. Then, the final strum is held for an additional two beats. A tie is used to notate this rhythm. A tied note or chord is not struck. Instead, the note or chord is simply held for the rhythmic value indicated by the tied note.
Performing Up-strums
Follow the same basic right hand guidelines discussed in Scene 1 when performing an upstroke. When performing an up-strum, the strumming motion is still generated from the wrist and forearm muscles. Remember to maintain a relaxed grip on the pick. Otherwise, the pick might get hung up on one of the strings. However, in contrast to a down-strum, the angle of the pick must tilt slightly in the opposite direction when performing an up-strum. This is accomplished by turning the wrist in a manner similar to turning a door knob. Watch Randall in the lesson video for a clear demonstration of this technique.
Note: Visit lesson 7 from Jim Deeming's Phase 1 series for detailed instruction pertaining to up-strums.
Practice Tip: Isolating the Hands
Whenever possible, isolate and practice the technique performed by each hand. This will allow you to focus all of your attention on one hand at a time. Consequently, your playing will improve in the most efficient manner possible. To isolate the right hand strumming pattern, play the strumming rhythm while muting all six strings with the left hand. Simply apply some light pressure to the strings to prevent them from ringing. Randall demonstrates this idea at 00:30 in Scene 3. Make sure that you have the right hand pattern on auto-pilot before you begin to add in the chord progression with the left hand. Practice the strumming pattern in time with a metronome to ensure rhythmic accuracy.
Pick Vs. no Pick
You can either strum with your thumb, a fingernail, a thumbpick or a flatpick. Keep in mind that all of these approaches produce their own unique tone, which may or may not be desirable within the context of the song that you are playing. Strumming with a flat pick or the fingernails produces a tone that is much brighter than strumming with the flashy pad of the thumb. Experiment with all of these options and make a mental note of the differences in tone.
Note: For detailed information concerning the difference between playing with a flatpick and a thumbpick, check out lesson from Hawkeye Herman's Phase 2 Blues Series.
Song Demonstration
Randall provides a demonstration of "Blowin' In the Wind" at 01:07 in Scene 3. Compare and contrast Randall's version with the original Dylan recording here.
What differences do you notice? Pay careful attention to rhythm and the chord voicings used. How do these differences affect the overall performance and mood of the song.
Singing with Guitar
When singing any song, always make sure that the key of the song is appropriate for your vocal range. You may have to transpose the song to a new key if the original key of the song is too low or high for your voice. Using a full six string capo will enable you to play the song in a different key. Simply place the full capo two frets behind the location of the short cut capo. For example, placing a full capo at the second fret and a short cut capo at the 4th fret transposes Randall's version of "Blowin' in the Wind" to the key of F# major. Moving the capo up the neck essentially raises the tonal center to a higher pitch. However, as you continue to move the capos higher up the neck, you will encounter a key that will allow you to sing the melody an octave lower. Transposing the melody down an octave will put it in a range that is appropriate for your voice. Randall transposes the song to the key of A major to illustrate this point.
All of the chord shapes that you have learned and can still be used in the new key. The spatial distance between the fretted note(s) in each chord and the short cut capo remains the same. Randall demonstrates this concept at 02:50 in Scene 3. He places the full capo at the 5th fret and the short cut capo at the 7th fret. This changes the key of the song to A major. Notice how the fretted note within the I or tonic chord is still played two frets above the short cut capo. The ii and V chords are still played two frets above the short cut capo as well.
Additional Practice
Play some additional songs using the short cut capo and the concepts that Randall has shown you. Follow these steps when working through this process:
1. Determine the Roman numeral analysis or the "Nashville numbers" for the chord progression. For example, is it a I-IV-V progression? a ii-V-I? Familiarize yourself with where these voicings are played in relation to the cut capo.
2. Determine the key that is most ideal for your vocal range. You may need to experiment with several different keys before you find the best one. Keep in mind that this might not necessarily be the original key that the song was played in. Use two capos to transpose the song to this new key if necessary.
3. The Roman numeral analysis will tell you which chords are used in the song. Using the voicings that Randall has shown you, work through the chord progression in the key that you have chosen.
Supplemental Learning Material
Lessons with Randall Williams
Found in our Beginner Lesson SetsRandall Williams is a dynamic, powerful, classically trained acoustic musician who interest is found in the dynamic and relevant world of folk. One of Randall's specialties includes the style of cut or partial capo.
Lesson 1
Useful Music Theory
In his introductory lesson, Randall Williams discusses music theory in a useful and practical context. This knowledge will be required for his future lessons.
Length: 26:39 Difficulty: 1.5 Members Only
Music Theory Part #2
Randall Williams returns with the second part of his lesson on useful music theory. In this lesson, he talks about using a capo, ornamenting chords, and the minor scales.
Length: 36:38 Difficulty: 1.5 Members Only
Open Tuning
In this lesson Randall introduces the concept of open tuning. He will talk about how open tunings work as well as how they alter your chords and scales.
Length: 31:48 Difficulty: 2.0 Members Only
Open Tuning Part 2
Randall Williams returns to the world of open tunings to talk about open d, open g, and open c. He also give tips on slide guitar and playing in these tunings.
Length: 41:30 Difficulty: 2.0 Members OnlyLesson 5
Partial Capo for Total Beginners
In this lesson Randall introduces the partial capo (using a short-cut capo by Kyser) and talks about how it can make the life of a beginner easier.
Length: 12:46 Difficulty: 0.5 FREE
Partial Capo Part 2
In this lesson Randall returns to the world of the partial capo (or cut-capo). He covers additional right hand techniques and a few sample songs.
Length: 18:00 Difficulty: 2.0 Members Only
Partial Capo Part 3
Randall returns to the world of the partial capo. In this lesson, he talks more about playing songs and chords. He also introduces a second capo.
Length: 9:41 Difficulty: 1.5 Members Only
Partial Capo Part 4
Randall returns with the fourth part of his partial capo for total beginners lesson set. Randall introduces more right hand patterns and talks about playing with a disability.
Length: 11:28 Difficulty: 0.5 Members Only
Randall's Toolbox
Randall Williams shares his technique toolbox in this lesson. He explains over twenty different rhythmic patterns that can be applied to a chord progression.
Length: 27:38 Difficulty: 3.0 Members Only
Randall's Toolbox Part 2
Randall shares part two of his toolbox mini-series.
Length: 25:47 Difficulty: 3.0 Members Only
Partial Capo Techniques
Randall Williams shares many new ideas in part one of his Partial Capo Techniques mini-series.
Length: 38:25 Difficulty: 2.5 Members Only
Partial Capo Techniques Part 2
Randall Williams shares part two of his fantastic Partial Capo Techniques mini-series.
Length: 16:30 Difficulty: 3.0 Members Only
Partial Capo Techniques Part 3
Randall shares part three of his Partial Capo Techniques mini-series.
Length: 19:29 Difficulty: 3.0 Members Only
Partial Capo Techniques Part 4
Randall Williams continues on to part four of his exciting Partial Capo Techniques mini-series.
Length: 29:34 Difficulty: 3.0 Members Only
Partial Capo Techniques Part 5
Randall concludes his Partial Capo Technique mini-series.
Length: 32:08 Difficulty: 3.0 Members Only
Exploring Songs Part 1
Randall Williams explains and performs the song "Causeway" by Daithi Rua.
Length: 8:24 Difficulty: 3.0 Members Only
Exploring Songs Part 2
Randall Williams takes a look at his original song "Stronger For Your Flame" and offers a wonderful performance.
Length: 10:18 Difficulty: 3.0 Members Only
Exploring Songs Part 3
Randall Williams shares an inspiring, original song called "Draw the Line."
Length: 6:06 Difficulty: 3.0 Members Only
Exploring Songs Part 4
Randall Williams shares his beautiful original tune, "Praying for Land" in this lesson.
Length: 7:50 Difficulty: 3.0 Members Only
Exploring Songs Part 5
Randall Williams teaches his original song "Ghost in the Machine."
Length: 9:37 Difficulty: 3.0 Members Only
Exploring Songs Part 6
Randall Williams shares his touching original song, "I Will Come For You."
Length: 8:38 Difficulty: 3.0 Members Only
Performing
After sharing many great tunes in his Exploring Songs mini-series, Randall Williams says a few words about performing.
Length: 10:29 Difficulty: 0.5 Members Only
Short Form Songwriting
Randall Williams creates a song with you from scratch in this fascinating lesson about short form songwriting.
Length: 31:18 Difficulty: 3.0 Members Only
Singing with the Guitar
Randall Williams presents his introductory lesson on singing with the guitar.
Length: 10:36 Difficulty: 1.0 Members Only
Singing with the Guitar Part 2
Randall explores more singing topics in this lesson. He provides sample exercises and encourages you to sing along.
Length: 26:15 Difficulty: 0.5 Members Only
Exploring Songs Part 7
Randall Williams shares another beautiful original tune called "Guatemala" in this lesson.
Length: 6:55 Difficulty: 2.0 Members Only
Songwriting Part 1
Randall Williams continues his exploration on songwriting. In this particular lesson, he focuses on musicality and the creative process.
Length: 14:39 Difficulty: 2.5 Members Only
Songwriting Part 2
Randall Williams continues his discussion on musicality and creating songs.
Length: 23:34 Difficulty: 2.5 Members Only
Songwriting Part 3
Randall continues his discussion on songwriting in part 3 of his songwriting mini series.
Length: 21:06 Difficulty: 2.5 Members Only
Songwriting Part 4
Randall Williams concludes his mini-series on songwriting in this lesson.
Length: 13:24 Difficulty: 2.5 Members Only
About Randall Williams
View Full Biography
He felt that classical music lacked the inclusiveness of folk music, and that the inevitable division between performer and audience was unbearable. And so Randall returned to the world of traveling with his guitar, writing songs in train stations and sleeping on couches, then singing and playing on street corners, cafï, and pubs. For a time he lived aboard a 20' sailboat that he bought for $800, teaching himself how to sail by single-handing through the Baltic and North Seas with his guitar sleeping in the berth beside him at night. He wrote a book about the trip, which begins with the story of almost getting squashed by a tanker before dawn one morning in the North Sea.
He moved to North Africa, then set off across the Sahara by hitching with locals - bouncing through a minefield on the way that made his mother have bad dreams. He loved the adventure, but he missed the music.
In 2005, Randall returned stateside to scrounge up a career as a performing songwriter, hoping it wasn't too late. So far, it hasn't been. As the "Partial Capo Guy," Randall has written two books for Hal Leonard, recorded a DVD for Kyser Musical Products, and given workshops at some of the biggest festivals in United States. As a performer, Randall has been a finalist in the Founder's Title and Mid-Atlantic Song Contests, A regional finalist at Kerrville, a showcase artist at Northeast and Midwest Folk Alliance, and at the International Folk Alliance in Memphis, and an Audience Favorite at the Falcon Ridge Folk Festival. His 2007 live release, "One Night in Louisiana" made a respectable dent in the folk DJ charts (One single, "Lebanon," was #8 in May,) and he's generally a nice guy to have around, capos or not.
Randall is as much at home in a Bangkok slum or a Senegalese village, at the Kennedy Center in D.C. or the Fine Arts Palace in Brussels sandwiched between a twitchy orchestra and a full house, or shoeless on the floor of your living room. Randall has sung in a dozen languages in over 35 countries.
Lynne Andrews: "When Randall left the confines of classical music largely behind, they lost a great talent, but the world gained a good friend - a friend who will tell its stories with grace, compassion, humility and humor."
Randall began playing guitar seriously in 1988, and played his first open mic one year later. Randall kept playing and learning more and more. Randall began teaching guitar in 1992, while studying musical composition, analysis, and performance. Randall got his undergraduate music degree in 1996, then studied flamenco for about a year (1997) before beginning studies at the royal conservatory of music in mons, belgium.
From 1998 to 2001, Randall studied voice, analysis, and harmony at the conservatory, with classical guitar lessons on the side for about 6 months. Randall's undergraduate study and the conservatory courses added a degree of musical structure to his improvisational ability, and gave him a strong music theory base. He recieved the premier prix for concert singing from the conservatory in 2001.
Randall's most recent discoveries: how to build a structure for creating chords in open tunings, and learning how to structure placement of partial capos in standard and alternate tunings.
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Member Comments about this Lesson
Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.Hallo Randall Been enjoying this lessons, they are eye-openers for me. I have a question how to handle when a piece of music is in A but the key is to high to sing so we play it in G. But that makes the solo more complex because of open string that comes in Because G is lower than A we didn't use a capo because this makes the pitch go up higher instead of down. Right? Did this makes sense or could I have use a few capo's instead? IMO you use a capo to change the pitch to a higher key so it will fit the singer. How can we use it to lower it so it suits the singer? Thanks for your time
You keep the main thing the main thing. Thanks for being honest and true.
Randall, I'am getting tons of help out of these lessons. I have a Dystrophy,but am still able to play the Chords in the regular way,but this is great for the day I may not be able to use my hands correctly.I live in a Retirement Community and some have ask me about learning how to play. WOW! what a way to get them, going.Thanks,Dennis
You did a fantastic job, more teachers should explain things as well as you have done
:)!
:) thanks everybody - enjoy. Right hand should be soon. And if you need even more capo stuff, I have a book that's got a bunch of partial capo theory in it.
Hey Randall, this is opening some cool sounds for me. I just got the capo yesterday, and found alternate voicing for A, D, E right away. I am looking forward to these alternate voices and new chords! Thanks.
i neeeeed the righthand lesson now, it sounds way to cool for you to keep it for yourself!!:)
Love these cut capo lessons!!!!!! Keep sending them on!!!! PLEASE!