Planxton's Farewell Part 1 Guitar Lesson

Chapter 1: (00:53) Intro Music Welcome back to the Phase 2 Fingerstyle Guitar series with Steve Eulberg! Steve begins lesson 5 with a performance of an original piece entitled "Planxton's Farewell." In the scenes that follow, Steve will explain the techniques essential to this piece. Chapter 2: (05:36) Start Planxton's Farewell Techniques Involved in the Piece

-Unlike "Freight Train," an alternating bass pattern is not used to accompany the melody. The accompaniment consists of an arpeggio figure that is applied to each chord in the progression. Chords are occasionally strummed with the thumb to add variety.

-Similar to pieces discussed in previous fingerstyle lessons, the melody line is played by the middle and ring fingers on the second and first strings.

-Some rather advanced chords that may be new to you occur throughout the progression. Challenging chords such as diminished chords and minor seventh chords are used. Steve will break down the appropriate left hand fingering of these difficult chords. In addition, chord diagrams with proper left hand fingerings are included under the "Supplemental Content" tab.

Chord Progression

"Planxton's Farewell" is played in the key of D major. As expected, the song begins with a tonic D major chord. The tried and true "open" voicing is used for the tonic chord throughout the piece.

For the most part, "Planxton's Farewell" uses chords that are diatonic to the key of D major. Common diatonic chords are the I, IV, V, ii, and vi chords. Respectively, these chords are D, G, A, Em, and Bm in the key of D major. However, non-diatonic chords are occasionally used to add extra color to the progression. For example, the second chord in the progression is A fully diminished seventh (Ao7). This chord is not diatonic to the key of D major. It contains an Eb note, which is not within the key signature.

Diminished Chord Voicings

Steve plays the diminished chords in this piece with a common movable voicing. This voicing is played on the upper four strings.

Typically, this diminished voicing is fingered as follows:

6th String: omitted
5th String: omitted
4th String: 1st finger, 4th fret
3rd String: 3rd finger, 5th fret
2nd String: 2nd finger, 4th fret
1st String: 4th finger, 5th fret

Use this fingering when playing the diminished chords in "Planxton's Farewell." It is most conducive to playing the melody in a smooth, legato fashion.

Note: For more information about diminished chord voicings, refer to lesson 47 of Brad Henecke's Phase 2 Classic Rock series.

Function of Diminished Chords

Diminished chords either function as dominant chords or as embellishing chords. When a diminished chord tonicizes the chord that follows, it carries out a dominant function. When a half step movement occurs between the root note of a diminished chord and the chord that follows, it carries out a dominant function. In this scenario, the diminished chord is said to "tonicize" the chord that follows. In other words, the diminished chord makes the following chord tonic, or home base. For example, in the progression Bo7 - C major, Bo7 carries out a dominant function. A half step occurs between the root notes of these chords. Bo7 tonicizes C major.

A diminished chord is embellishing in function when it share ones or more common tones with the chord that it follows. In the case of the first measure, Ao7 embellishes the first chord, D major. Both D major and Ao7 contain the notes F# and A.

Symmetrical Nature of Diminished Seventh Chords

A fully diminished seventh chord is formed by stacking minor third intervals above the root. This gives the chord a symmetrical structure. Due to the symmetrical nature of diminished chords, there are only three possible diminished chords available. When a specific diminished chord is shifted up or down three frets, the chord is simply inverted. The Ao7 chord that is used in the first measure is later shifted down the neck three frets to first position. When the chord is played in this position, it still contains the same notes. The notes are simply stacked in a different order. Diminished chords built on the roots C, Eb, F# and A are identical. Since these chords are identical, any note within the chord can be referred to as the root note.

Compare the spellings of the following diminished chords below.

Co7: C, Eb, Gb, Bbb(A)
Ebo7: Eb, Gb, A, Dbb(C)
F#o7: F#(Gb), A, C, Eb
Ao7: A, C, Eb, Gb

As you can see, these chords contain the same notes.

Practicing the D to Ao7 Change

During the first measure, Steve arpeggiates the D major chord with his right hand. Remember the right hand rules that have been discussed in past fingerstyle lessons when performing all arpeggios. The thumb plucks all notes located on the three bass strings. The index finger plays all notes on the third string. Second string notes are played by the middle finger. Finally, the third finger plays all notes on the first string.

After the arpeggiation of the D chord on beat 1, the chord is strummed with the thumb on beat 2. Steve uses the fleshy pad of his thumb to produce a soft timbre. This chord can also be plucked with all of the right hand fingers. Compare the sound of these two techniques to determine which sounds best to you.

A similar arpeggio pattern is also applied to the Ao7 chord. This right hand pattern occurs frequently throughout the A section of "Planxton's Farewell." Subsequently, significant practice time should be devoted to mastering it. Steve breaks down this arpeggio figure in detail at 04:25 in the lesson video. Practice the D to Ao7 chord change along with Steve to ensure that your rhythm remains accurate. Also, make sure that your right hand remains accurate. Chapter 3: (06:42) More of Planxton's Farewell Em7 Chord

The next chord that occurs in the progression is Em7. This chord can be fingered two different ways. Each fingering possesses its own advantages. The fingering used by Steve is least awkward to play at first. However, once the second fingering is mastered, it is slightly easier to use within the context of a chord progression since fewer fingers are needed. This simplifies things when switching from chord to chord. Also, the second fingering option leaves the pinkie finger free to fret melody notes. You may need to use this technique in the context of a future solo arrangement. Since each fingering has its own advantages, spend time experimenting with both versions.

Fingering 1

6th String: Omitted
5th String: Omitted
4th String: 1st finger, 2nd fret
3rd String: 4th finger, 4th fret
2nd string: 2nd finger, 3rd fret
1st String: 3rd finger, 3rd fret

Fingering 2

6th String: Omitted
5th String: Omitted
4th String: 1st finger, 2nd fret
3rd String: 3rd finger, 4th fret
2nd string: 2nd Finger, 3rd fret
1st String: 2nd finger, 3rd fret

Within this fingering, the second finger must barre the first and second strings. This requires a high level of finger independence as well as a large reach between the first and third fingers.

Practicing Chord Changes

Due to its awkward fingering, the Em7 chord poses difficulties when used in a progression. Switching to and from this chord is not an easy task. Consequently, you should spend a significant time practicing the chord changes that occur in the first two measures. Practice switching back and forth between Ao7 and Em7. Also, practice switching from Em7 to the E half diminished seventh chord that follows it. At first, simplify the right hand component as much as possible. Strum the chords evenly in quarter notes. Then, add in the right hand arpeggio pattern that is indicated in tablature.

Half Diminished Seventh Chords

An E half diminished seventh chord occurs in the second half of measure 2 . Similar to the fully diminished seventh chord, the half diminished seventh is written with a degree symbol followed by the number 7. A slash is written through the degree symbol to indicate a half diminished chord.

Half diminished chords sound slightly less dissonant than their fully diminished counterparts. This difference in sound is due to the seventh degree of each chord. The half diminished seventh chord features a flatted seventh (b7), where as the fully diminished seventh chord features a double flatted seventh (bb7).

Compare the formulas for these two chord types.

Half Diminished Seventh: 1, b3, b5, b7
Fully Diminished Seventh: 1, b3, b5, bb7

Listen at 01:58 in the lesson video as Steve compares the sound of a E half diminished seventh and E fully diminished seventh.

Practicing the First Two Measures

Once you have mastered the basic right and left hand components that are involved in these measures, begin to practice them as they are written under the "Supplemental Content" tab. Work through these measures along with Steve at 04:05 in the lesson video. Chapter 4: (07:08) Next Portion of the Song Measure 3

The third measure of the piece is very similar to the first measure. Both measures are comprised of a tonic D major voicing and an Ao7 chord. This time around, the Ao7 chord is played in first position instead of fourth position. As discussed earlier, diminished chords can be slid up and down the neck by three frets. When this happens, the chord is simply played in a different inversion. Both of these voicings for Ao7 contain the same notes. However, they sound slightly different since the notes are stacked in a different order.

Measure 4

A. ii V I Progression

In measure four, an arpeggiation of the ii and V chords occurs. Respectively, these chords are E minor and A major. As expected, the V chord resolves to tonic in the following measure. This results in a ii V I progression. The ii V I progression is one of the most commonly used progressions in music. Along with the IV V I, the ii V I progression is frequently used to bring a musical section to a strong cadence point.

Walk-up

A parallel walk-up occurs on beat 4 of the fourth measure. This walk up is quite similar to the walk-up Steve demonstrated in the first lesson pertaining to "Porch Swingin'." Double stops consisting of major third intervals plus an additional octave are played in an ascending, parallel fashion. Overall, the walk-up lick implies the sound of an A major chord with some additional passing notes thrown in. Watch at 01:23 as Steve breaks down the basic mechanics of the lick. Pay careful attention to the left hand fingering that he uses.

Practice Time

Pause the lesson video and practice measures 3 and 4 on your own. If you need additional help, watch at 02:23 as Steve slowly works through these measures. Later, at 05:36, he loops the first four measures of "Planxton's Farewell." Practice along with him to match his rhythm and interpretation.

Rubato Feel

"Planxton's Farewell" is played with a flowing, rubato rhythm. "Rubato" literally means "robbed time." In this time feel, a certain segment is typically sped up. When this occurs, the rhythm of another segment must slow down slightly. This gives the rhythm a flowing, pushing and pulling feel.

Always keep in mind that rubato is not the same as free time. In "free time" the rhythm is literally free to be interpreted at will. In a rubato feel, the rhythm ebbs and flows, yet still maintains a definite sense of time. Chapter 5: (05:22) Finishing up the First Half Measure 5

Measure 5 features the same chord changes as measure 1. However, the melody is slightly different at the end of these measures. In measure 5, the melody continues to descend instead of descending back down.

Measure 6

The IV chord, G, appears for the first time in this measure. This chord is played using the visual shape of the "open" D chord in seventh position. Simply shift the fingering for a D chord into seventh position. Leave the D note on the open fourth string ringing. This produces a G/D chord.

In the second half of measure 6, the G major chord is converted into a minor chord voicing. The major IV chord is frequently converted into a minor chord in the context of major key progressions.

Watch closely as Steve breaks down measures 5-6 at 01:33 in the lesson video. Chapter 6: (08:37) Putting it Together Measure 7

This measure begins in a similar fashion as measures 1, 3, and 5. However, Steve throws in a curve ball in the second half of measure 7 to signal the end of the section. Instead of Ao7, the vi chord is played. Steve elects to play this chord as a Bm7 barre chord. The visual shape of this chord is based on the "open" Am7 voicing. Pay careful attention to how Steve fingers the melody line within this chord shape.

Measure 8

-A final ii V I progression closes out the first section of "Planxton's Farewell." Both the I IV V progression and the ii V I progression are effective ways to draw a piece of music to a close.

-A double hammer-on is applied to the tonic D chord at the end of this measure. Both the first and second fingers perform a hammer-on simultaneously within the context of an open D major voicing. This technique can be quite tricky if you are new to it. To produce the clearest hammer-on possible, bring the fingers down simultaneously in a deliberate motion. Both notes must sound at the same time with equal volume.

Practice / Play Along

Steve works through the final phrase (measures 7-8) at 02:07. Practice along with him to ensure that you are playing this phrase correctly.

Right Hand Improvisation

When performing this piece, Steve takes some liberties with the right hand. Unlike a classical piece, it's not always necessary to play exactly what is written on the page. The chords can be arpeggiated differently from one performance to the next. This will keep the piece interesting for the audience as well as the performer. Experiment with various arpeggio patterns as you learn this section of "Planxton's Farewell."

Performing the Entire A Section

Steve plays through the entire A section at 04:40. Once you have mastered the individual phrases, begin to string them together. Practice the first eight measures on your own with a metronome. When you feel ready, return to the lesson video and play this section along with Steve.

Preview of Lesson 6

Steve teaches the remainder of "Planxton's Farewell" in the following lesson. The second half of the piece remains in the key of D major. The B section is mainly comprised of the I, IV, and V chords in this key. Within the B section, the chord changes occur at a much quicker pace. Practice up on your chord changes to prepare for the new challenges that await in lesson 7.

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