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More Fingerpicking Guitar Lesson

Home > Guitar Lessons > Beginners > Basic Guitar with David Anthony > More Fingerpicking
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David Anthony

More Fingerpicking

David Anthony will take the techniques he taught in the last fingerpicking lesson and apply them to some pieces of music. You will learn several beautiful chord progressions and more!

Taught by David Anthony in Basic Guitar with David Anthony seriesLength: 22:30Difficulty: 3.0 of 5
Chapter 1: (1:15) Opening Music David plays a short piece that exemplifies some of the material covered in Lesson 15. This piece combines blocked chords with arpeggios in the right hand.
Chapter 2: (3:16) Lesson Introduction In this lesson you will learn how to play a single progression several different ways. The three variations involve finger picking techniques discussed in the previous lesson. The first progression features an arpeggiation of each chord. Chords are blocked in the second progression. Finally, the third progression combines a simple bass line with abbreviated jazz chord voicings.

These chord progressions can easily be played with a pick. However, playing these progressions with your fingers generates an overall different texture that may be more desirable in the context of what you are playing. As mentioned in the previous lesson, jazz guitarists frequently opt to “comp” with their fingers instead of a pick to create a softer and more punctuated sound.
Chapter 3: (6:09) Finger Picking Progression 1 Note: This exercise is primarily designed to build control with the thumb. Thus, two consecutive thumb strokes are used for the lowest two notes in the chord. Keep in mind that this is only an exercise. Two repeated thumb strokes should only be used in an arpeggio when no other option is available. Rather than using two consecutive thumb strokes, the annular finger should be added to the arpeggio pattern. The right hand fingering David demonstrates for this arpeggio should be used until you have gained sufficient control over your “A” finger.

Here are the appropriate right hand fingerings with the annular finger added:
5th string: P
4th string: I
3rd string: M
2nd String: A
This fingering will allow you to arpeggiate this chord progression with greater speed and accuracy. Chords in this progression that have a bass note on the sixth string, such as AMI7, will utilize the same right hand pattern. P will play the lowest note. The other fingers will play the 4th, 3rd, and 2nd strings respectively.
Chapter 4: (3:19) Finger Picking Progression #2 Typically, jazz guitarists play this type of progression with a pick. For the sake of improving your finger picking, blocked chords in this exercise are plucked with the fingers. Make sure that the tip of each finger is passing through the string all the way into the palm of the hand. This will generate the highest quality tone.

When you begin to practice these exercises, play them as slow as you need to. Rhythmic consistency is always the most important musical aspect to focus on.
Chapter 5: (8:47) Finger Picking Progression #3 Note: Once again, keep in mind that this is an exercise designed to practice your thumb skills. However, the 4th string in this pattern is typically played with the I finger. This fingering becomes much more practical as the bassline gets more complicated. The two highest strings in each chord should be played with M and A respectively.

This exercise provides the groundwork for playing a walking bassline/chordal accompaniment. This technique involves playing a walking bassline with P. On the “and” beat of 1, the I, M, and A fingers pluck the designated chord.
  • Fingerstyle Exercises
  •  
  • A Major 7th Chord
  • D Major 7th Chord
  • G Minor 7th Chord
  • Am7 Chord
  • G Major 7th Chord
  •  
  • Progression #1
  • Progression #2
  • Progression #3
  •  



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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.


usemlabusemlab replied on June 1st, 2011

nice finger picking at the end, been trying to do it myself but I can't get it... seems you go on F, 4string, A second string, and something back to E 4string... can you quickly show that, sounds pretty good.

juan2playbluesjuan2playblues replied on May 29th, 2011

I am playing the Am7 and Gm7 with the thumb and forefinger barring the d, g, and b strings. Is this bad form? Should I try to play as described by the teacher or does it matter?

canadianbuddycanadianbuddy replied on September 6th, 2010

I have been watching david Jazz finger picking as well as many other instructors. Sure sounds great on acoustic and electric. I would like to know your opinion on acoustic electric guitars

dylane1dylane1 replied on March 23rd, 2010

I thought David was supposed to have a Jazz series? I only see a phase 1 series for David.

dagchristiandagchristian replied on August 2nd, 2009

When will you be back with more lessons in beginner David ?: )

obandofobandof replied on April 28th, 2008

Hi David, I started practicing your lessond and find them very rewarding however I have a comment on the sup=lemental material. I think it would be easier for all to have Progression or notes on the classes in a PDF format. It would be easier for everyone to print it and obtain a much better copies. An I guess it applies for all classes in the site. Regards, Fernando

JamPlay UserJamPlay User replied on March 8th, 2008

nice stuff David..im not even close to being at that level of play yet. Still refreashing on chords, but hope to be their soon..thanxs for the aweseom lesson..

Basic Guitar with David Anthony

Found in our Beginner Lesson Sets

David Anthony is an acoustic guitar aficionado. In this series you will learn basic concepts that are essential to playing any style of guitar music.



About David Anthony View Full Biography David Anthony was born David Anthony Volckmann, on November 9th, 1982, in the small town of Mount Hope, NY. As a child he absorbed the church flavored musical environment that his parents provided. With this influence he realized at a young age that music would not simply be a passive experience for him. It was not until the age of 15 that he decided to string up his first guitar. Relying solely on his father for his foundational chord knowledge, he quickly became enamored with the possibility of endless melodic structures, and the goal of becoming a fantastic player himself.

His early shredder influences came from Kirk Hammet of Metallica. During his first few years of guitar playing, he developed a very workable knowledge of pentatonic, major and minor scales. Over the years his musical interests swayed from rock to standards, from jazz to classical, and a strong love of the art of flamenco guitar; Spanish finger style. It was not until the age of 18 that he decided to surround himself entirely with the music of Steve Vai and Joe Satriani. This influential exclusivity enabled him to learn more about thinking outside of the musical box. In one year he had learned than in the prior 3 years. Picking up multiple ways to structure melodies, create chords and use different modes, his writing and improvisational abilities grew exponentially. In his senior year of high school, he was responsible for the development of the first Musical Appreciation class in the schools history, and had aided the instructor in the teaching of those classes.

After high school, his focus started to rest mainly in writing. With this he realized that he would need additional, abstract influences to develop a unique style of writing. After a couple more years of playing in a small band, and writing some decent material, he greeted 2004 with a move to Nashville, TN. There he found the exact influence that would change his opinion of the guitar forever. Attempting to weed out a strong foundation in shredding and solo techniques, he began learning finger style guitar, and quickly realized the options that his door would open for him.

As he picked up more complex chord structures and jazz scales, his style became a passion for him that continues to drive him and push him to learn more. He feels strongly about the connection between musical input and the music you write. He notes that his subconscious pool of influence, developed from the music he listens to, is almost directly responsible for the type of music that he writes. He adamantly believes that in order to create a unique, soulful style, the pool must remain unpolluted by substandard music. What's that mean? As David puts it, "If you don't want to play crap, don't listen to crap."

David currently teaches Jazz guitar in Fort Collins, Colorado, with plans to move back to Nashville in the spring to pursue a career in writing.

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