Partial Capo Part 4 Guitar Lesson
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.
Taught by Randall Williams in Lessons with Randall Williams seriesLength: 11:28Difficulty: 0.5 of 5
All chords in this lesson information section are played with a cut capo placed on the fifth, fourth, and third strings at the ninth fret. The first chart listed under each chord instructs you where to place the left hand fingers on the fret board. The second diagram for each chord is a composite of the notes fretted by the left hand and the cut capo. The numbers within the diagrams represent fret numbers NOT finger numbers.
E5(add9)
(Strum all six strings.)
E_x_
B_x_
G_x_
D_x_
A_x_
E_x_
E_0_
B_0_
G_9_
D_9_
A_9_
E_0_
E5(add9)
(Strum all six strings.)
E_x_
B_x_
G_x_
D_x_
A_x_
E_12_
E_0_
B_0_
G_9_
D_9_
A_9_
E_12_
F#m11(no 3rd)
(Strum all six strings.)
E_x_
B_x_
G_x_
D_x_
A_x_
E_2_
E_0_
B_0_
G_9_
D_9_
A_9_
E_2_
Eadd9/G#
(Strum all six strings.)
E_x_
B_x_
G_x_
D_x_
A_x_
E_4_
E_0_
B_0_
G_9_
D_9_
A_9_
E_4_
A6/9(no 3rd)
(Strum all six strings.)
E_x_
B_x_
G_x_
D_x_
A_x_
E_5_
E_0_
B_0_
G_9_
D_9_
A_9_
E_5_
Bsus4
(Strum all six strings.)
E_x_
B_x_
G_x_
D_x_
A_x_
E_7_
E_0_
B_0_
G_9_
D_9_
A_9_
E_7_
C#m11
(Strum all six strings.)
E_x_
B_x_
G_x_
D_x_
A_x_
E_9_
E_0_
B_0_
G_9_
D_9_
A_9_
E_9_
D6/9
(Strum all six strings.)
E_x_
B_x_
G_x_
D_x_
A_x_
E_10_
E_0_
B_0_
G_9_
D_9_
A_9_
E_10_
Emaj9/D#
(Strum all six strings.)
E_x_
B_x_
G_x_
D_x_
A_x_
E_11_
E_0_
B_0_
G_9_
D_9_
A_9_
E_11_
Lesson Objectives
-Learn how people with special needs can play the guitar with the aid of a short cut capo.
-Learn some new chord voicings by changing the location of the short cut capo.
Think of chord voicings like paints on a palette. The tried and true "open" chord shapes and barre chords can be compared to the basic colors like blue, red, green, etc. These are the chords / colors that are used the most often. As a guitarist, you will find that these basic chord shapes or "colors" are not adequate for all situations. Learning new chord voicings provides you with a wider color palette to choose from. Thus, knowing a variety of chord voicings will enable you to express yourself more accurately.
Horizontal E major scale
In Scene 1, Randall reviews how to play a horizontal E major scale across the sixth string. Do not just memorize the fret locations of where the notes are played! You must also memorize the note name that is produced by each fret location. Say each note name aloud as you play through the horizontal scale. These notes function as the root notes of the new chord voicings that Randall demonstrates in the lesson.
Moving the Capo
In this lesson, Randall changes the location of the short cut capo from the 2nd fret to the 9th fret. The capo is still clamped on the 5th, 4th, and 3rd strings. Since the short cut capo is now in a new location, a different set of notes is produced when the strings are strummed without any fretting fingers. Now, the notes produced from low to high are E, F#, B, E, B, and E. With the capo at the second fret, Strumming the strings without any fretting fingers results in the notes E, B, E, A, B, and E when the short cut capo is clamped at the 2nd fret. Moving the short cut capo from the 2nd fret to the 9th fret essentially eliminates the A note and replaces it with an F#.
When the capo is moved to this new location, many of the voicings that you learned in the key of E major will no longer work. To play the diatonic chords in E major, simply fret the appropriate root note on the sixth string and strum all six strings. These new voicings will sound slightly different due to the inclusion of the F# note and the removal of the A note. However, these new voicings sound similar enough to the voicings presented in past couple lessons that they can be used in the same context. The specific chords produced by each fretted note on the sixth string are listed below.
open 6th string: E5(add9)
2nd fret: E5(add9)/F# or F#m11(no 3rd)
Note: Even though this voicing is technically an inverted version of the I chord, it still sounds similar enough to the ii chord (F#m) that it can be used in its place in most situations.
4th fret: E(add9)/G#
Similar to the previous voicing, this chord is technically an inverted voicing of the I chord. Once again, this chord sounds enough like the iii chord that it can be used as a iii chord in most situations.
5th fret: A6/9(no 3rd)
7th fret: E5(add9)/B
This chord sounds similar enough to the V chord (B or B7) to be used as a V chord.
9th fret: C#m11
The fifth (G#) is omitted from this voicing.
10th fret: D6/9
Remember that the bVII chord (D major) is often used in the rock, folk, blues, and jazz progressions instead of a vii diminished chord (D#o).
11th fret: This chord can be analyzed a few different ways. Depending upon the context in which it is used, this chord can either be called Emaj9/D#(no 3rd), or B(add11)/D#.
This voicing will NOT work for the vii chord in the key of E major (F#o). It is most effective when used as an additional option for the V chord (B major).
Practicing / Experimentation
Practice strumming through these new chord voicings using the down - down strumming pattern and the down - down - up strumming pattern. Refer back to the previous couple of lessons if you need a review of these accompaniment patterns. Randall provides a demonstration of how you can practice these skills at 01:42. He simply ascends through the diatonic chords in the key of E major while applying these strumming patterns.
New Strumming Rhythm
Randall demonstrates a new strumming rhythm in Scene 2 that can be applied to the songs that he has covered in the previous lessons. The direction of the strums follow this pattern: down - down - up - up - down - up. The rhythm consists of a quarter note followed by two eighth notes. Then, a tied eighth note occurs. Remember that a tied note or chord is held but not attacked with the pick or fingers. The strumming pattern concludes with three final eighth notes. Refer to measure 22 of "Lesson Exercises (1)" to see how this rhythm is notated. Count "1 2+ +4+" aloud while you strum. Many musicians find that counting while playing helps keep the rhythm smooth and even.
This rhythm sounds slightly more interesting than the other strumming patterns that Randall has demonstrated. The rhythm of the pattern is much busier, which tends to make it sound slightly more complex. In addition, the rhythm features some light syncopation. Syncopation results from rhythms placed predominantly on the off beats.
Practice Tip
Before you begin to strum chord progressions with this new rhythm, practice it with muted strings. Remember that it is always easiest to learn a new skill if you can isolate each of the hands. Practicing the pattern with muted strings will ensure that the right hand component is completely second nature when the left hand element is added in.
Blowin' In the Wind
The chord voicings explained earlier in the lesson as well as the new strumming rhythm can be applied to Bob Dylan's classic song "Blowin' in the Wind." This time around, the IV chord is substituted for the ii chord. Compare the differences between this new version of the song and the version that Randall taught in the previous lesson. In addition, compare Randall's two versions of the song with the original Bob Dylan recording of the song. What effect do the new chord voicings and the new strumming pattern presented have on the overall feel of the song?
Note: Listen to the original recording of "Blowin' in the Wind" here.
When playing this song, make sure that you're fretting finger doesn't get caught up on the partial capo when switching between the I and IV chords. Move the fretting finger over top of the portion of the capo that is actually clamping down the strings. Do not move the finger up and around the top part of the capo that sticks out from the guitar. This will waste left hand movement and may cause your chord changes to sound disconnected from one another.
John B. Sails
"John B. Sails" can also be played with the same voicings as the new version of "Blowing in the Wind."
Randall applies a different strumming pattern to this song. On beats 1 and 3, he strikes the low root note of the chord with the thumb. On beats 2 and 4 of each measure, he strikes the four highest strings with the nail on the index finger. This strumming pattern can also be performed with a thumb pick or a flat pick. This song and strumming pattern are demonstrated at 02:40 in Scene 2.
Playing with Special Needs
The short cut capo can be an extremely helpful tool for players with disabilities such as arthritis or injured or missing fingers. Attaching the short cut capo at the 9th fret allows you to play a wide variety of music with the greatest of ease. By simply strumming or smacking all six strings with the right hand, a beautiful chord is produced. A fretting finger isn't even necessary to play the remaining diatonic chords in the key of E major. You can fret them with the forearm or the side of the hand if necessary. Even if you inadvertently mute some of the strings like the 5th, 4th, and 3rd strings, the chord will still sound appropriate within the context of the song. In addition, it is not necessary to hold the guitar in the traditional manner when playing these chord voicings. Instead, you are free to lay the guitar flat against your lap. This is advantageous for players with shoulder or spinal issues. When the guitar is played in this position, strumming can be accomplished by holding the hand parallel to the top of the guitar. Then, move the wrist in a motion similar to waving hello to someone. Strike the strings with one of the left hand nails as the waving motion passes through the strings.
Randall performs "John B. Sails" using these techniques at 02:55 in Scene 3. He imitates the performance example that he provided in the previous scene. The rhythmic accompaniment is almost identical. The only real difference is that a few of the strings are now muted. As mentioned before though, muting a few strings doesn't really affect the overall integrity of the performance.
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.hey will there b more lessons added to this series?? :D
Yesirree.. Actually I will be returning to the world of Randall Williams once I finish the Miche material i'm working on.
I have been having the roughest of luck trying to listen to a song that I want to play and just not get the rhythm
yes dont forget right hand and if you could explain rhythm you are the best in jam play thanks
Hey Craig (really in Tibet?) I did a whole segment on right hand that should get posted soon. Drop me a PM or a note with more for the wishlist for when I go back to tape with Jeff.
How about some more right hand strumming???