Porch Swingin' Part 2 Guitar Lesson

Chapter 1: (01:05) Lesson Introduction Welcome back to the Phase 2 Fingerstyle Guitar Series with Steve Eulberg! In the first lesson of this series, Steve taught you the first section of an original piece called "Porch Swingin'." In the scenes that follow, he will explain how to play the remainder of this piece.

A recording of this song can be found on Steve's album entitled A Piece of It All. Click here to purchase this album from Steve's website. Chapter 2: (11:52) Second Half of Porch Swingin' Review of A Section

It's probably been awhile since you've played the first section of "Porch Swingin'." If necessary, review the first half of the piece at this time. You may want to watch the first lesson again if there is a section that you are still struggling with. Make sure that you can play through the first half comfortably before you tackle the new section that Steve teaches in this lesson.

Chord Progression for the B Section

The B section primarily centers around the V7 chord in E major, B7. Countless compositions modulate to the dominant key. This compositional technique adds needed tension to a bridge or B section. Remember that the dominant chord creates tension that must eventually be resolved.

Segment 1 (Measures 1-2)

This section uses many barre chord voicings based on the visual shape of the "open" E7 chord. The progression begins with the V7 chord in the key of E major, B7. This chord walks down chromatically from B7 to A7. The Bb7 chord functions as a chromatic passing chord between B7 and A7. The "open" E7 shape is used to play each of these chords.

In the key of E major, A7 functions as the IV7 chord. In most music, the V7 chord typically returns to I or resolves deceptively to vi (C#m). Chord progressions that feature a V7 chord that descends down to a IV7 chord have a distinct blues sound. This chord change is one of the key components that gives blues music its signature sound. The IV chord is often played as a dominant seventh voicing in the context of a major progression to give the progression an overall bluesier feel.

Watch and listen carefully at 01:47 as Steve breaks down this segment of the chord progression.

Accompaniment Rhythm

At 05:41 Steve demonstrates how to play this segment with the proper strumming rhythm. Play this segment along with him to make sure that you are playing the rhythm correctly. Tablature with the rhythm to this section can be found under the "Supplemental Content" tab. Steve often improvises the rhythms that he strums during this brief segment. Bass notes plucked by the thumb are interjected between strums of the chords. The tablature represents one possible way of strumming these chords. As long as the chords change in the correct rhythmic locations and the pulse remains constant, the strumming for each individual chord can be varied.

Strumming Technique

Notice how Steve uses his right thumb to strum each of the chords. Strumming with the fleshy pad of the thumb produces a softer, darker tone compared to a pick. When chords are strummed within a fingerstyle arrangement, the thumb is typically the preferred finger. To produce a brighter sound, Steve strums the strings by flicking them with the nails on the index, middle, and ring fingers. This technique is similar to the clawhammer, which is discussed in Jim Deeming's 11th Fingerstyle lesson.

Barre Chord Problems

If you are having problems playing the barre chords in this section, check out Matt Brown's 11th Rock lesson for some extra tips. You must apply the minimum amount of pressure necessary in order to fret the chord properly. Do not squeeze the neck with a death grip. Also, if your guitar is set up with very high action, you might experience some problems with barre chords. If this is the case, take your guitar to an experienced luthier or repair person to discuss your options.

Segment 2 (Measures 3-4)

In the next segment, the progression returns to B7. However, this time around Steve uses a second position voicing for B7 that is based on the visual shape of the "open" A7 chord. Once again, the descending B7 - Bb7 - A7 motif is repeated. All three of these chords are played using "open" A7 shaped chords. When playing these barre chords, you may find it helpful to use the middle finger as extra support. Reinforce the first finger with the middle finger to ensure that the barre is held down properly.

Steve breaks down this segment at 02:53. He loops the segment with the proper strumming rhythm at 07:20. The same strumming rhythm that was used in measures 1-2 can also be applied to this segment.

Segment 3 (Measures 5-6)

In segment 3, the progression once again returns to B7. A third voicing for B7 is introduced. Use the fingering listed below when playing this voicing.

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

Try this voicing along with Steve at 04:06 in the lesson video. Make sure that each of the strings are ringing clearly. You may need to arch your wrist out further when fretting this chord.

Note: Chord diagrams with proper left hand fingerings to all of the chords discussed in this lesson can be found under the "Supplemental Content" tab. Diagrams of these voicings are also written on Steve's marker board.

Embellishing Chords

The voicing for B7 listed above is embellished by C7. In this context, C7 functions as a chromatic neighbor chord to B7. C7 is not diatonic to the key of E major. Chords that are a half step above or below another chord are often used as embellishing chords in blues music. Typically, the same chord shape is used for both chords to ensure that the voice leading between them remains smooth.

You may not want to play the open second string in conjunction with the C7 chord. This B note clashes badly with the Bb note that is fretted on the third string. Mute the second string with the left hand third finger.

The B section concludes with a voicing for A7 that is commonly used in blues music. Study the fingering listed below if you are unfamiliar with this chord.

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

*Notes at the second fret are barred by the first finger.

**Steve prefers to fret this note with the fourth finger.

Steve plays this segment with the appropriate strumming rhythm at 08:26 in the lesson video.

B Section Play Along

Pause the lesson video and practice each individual segment along with a metronome. Then, string the sections together. When you feel ready, return to the lesson video and perform the entire B section along with Steve at 10:35. He loops the section several times. Chapter 3: (02:16) Alternate Notes On his marker board, Steve has written in some additional notes in red that can be added to the E7 barre chord shape. A G# note can be added to the B7 chord at the 9th fret of the second string. This note must be fretted by the pinkie finger. The inclusion of this note converts B7 into B13. In addition, a C# note can be added on the 9th fret of the first string. When this note is added, B7 becomes B9. You can either play one of these notes or both of them. When both notes are added, the chord is labeled B13. These extensions give the chord a jazzy flavor. An A note can be played on the 10th fret of the B string. This note is the b7 of the B7 chord. Consequently, the name of the chord does not change if this note is added.

At 00:47, Steve provides an example of how these notes can be used to embellish the basic B7 sound. Chapter 4: (11:00) Crucial Lick The lick demonstrated in this scene functions as a transition from the end of the B section back to the A section.

Measure six begins with an A7 chord played on beat one. Then, a lick derived from the E minor blues scale is played on beats 2-4. The first portion of the lick is played in third position. A position shift occurs on the final beat. Pay careful attention to the fingering that Steve uses for the lick in the lesson video.

On his marker board, Steve has written the third position notes in blue. The red notes are played in first position. Play the third position segment along with Steve at 02:48. Make sure that you keep your slurs even. Each note under the slur line must receive the EXACT same value. Do not cut the first note short by hammering on to quickly. Play the red segment with Steve at 04:50. He loops this segment several times in the proper rhythm. Then, practice the entire lick at 06:52 in the lesson video.

Alternate Lick

The lick can be played with an alternate ending. Now, the lick ends with pull-offs played in sixteenth notes on the fourth and fifth strings. Steve demonstrates this alternate ending at 08:50. Tablature to the alternate lick can also be found under the "Supplemental Content" tab. Chapter 5: (03:59) Entire Song Play Along Pause the lesson video and practice the entire B section along with a metronome. Also, review the A section from Lesson 1 if necessary. Once you can play through the entire song with a metronome set to about 80 beats per minute, return to the lesson video and play along with Steve in this scene. Remember that the song has an ABA form. After the lick at the end of the B section, the song returns to the A section.

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