Aura Lee Guitar Lesson

Chapter 1: (04:29) Lesson Introduction Aura Lee

"Aura Lee," or "Aura Lea" as it is sometimes spelled, is an American folk song from the Civil War era. The words to the song were written by W. W. Fosdick. George R. Poulton composed the famous melody line. The famous Elvis Presley song "Love Me Tender" utilizes the same melody line.

Learning Fingerstyle Arrangements

A. The Melody

Jim applies the concepts that you have learned in the first five lessons to your first full fingerstyle arrangement.

When learning any new arrangement, the first logical step is to learn the melody. You must be able to perform the melody by itself before adding the bass line and chords. This will yield the highest quality performance in the most efficient manner.

The melody to "Aura Lee" is quite simple. All melody notes are played within the first position pattern of the C major scale. Only the three treble strings are utilized in the melody line. The rhythm of the melody is also very simplistic. The entire melody consists of quarter notes, half notes, and whole notes. No syncopation occurs. If you are unfamiliar with this tune, watch and listen as Jim performs it at 02:48 in the lesson video.

Note: Tablature and notation to the melody line can be found under the "Supplemental Content" tab.

B. Chord Progression

Note: Fretboard diagrams to all of the chords discussed in this lesson can be found under the "Supplemental Content" tab.

The progression features some chords that are not typically used in the key of C major. You are probably used to harmonizing a melody with the I, IV, and V(7) chords. The IV chord, F, isn't even used in this song. Instead, the vi chord in the key of C major, Am, is used. Some additional secondary dominant chords are used as well. For example, D major functions as dominant to the V chord, G. E major is dominant to the vi chord, Am. A circle of fifths progression is applied in measures 9-12. These measures begin with a tonic C major chord. On beat 3, an A7 chord is played. This chord functions as dominant to the D chord in the next measure. As mentioned earlier, D functions as dominant to G. As expected the G chord resolves to the tonic C chord in the final measure of the song.

Note: For more information about circle of fifths progressions and secondary dominant chords, please refer to Lesson 16 of Steve Eulberg's Phase 1 Series. Chapter 2: (22:42) Breaking Down the Song After you have mastered the melody and chord progression by themselves, the next logical step is to play the melody in conjunction with the appropriate chord shape. This will force you to accommodate the melody line within the fingering of each chord. At this point, do not worry about adding an alternating bass line to the arrangement. Jim breaks down the bass line later in the lesson.

A. Verse Section

Measure 1

Look at the first measure of the musical score provided under the "Supplemental Content" tab. The melody is harmonized with a tonic C chord in this measure. While the melody is played, the second and third fingers remain planted on the fourth and fifth strings respectively. Typically, the first finger frets the note C at the 1st fret of the second string within an "open" C chord. However, the first finger must lift up from this fret accommodate the open B note that occurs on beat three. It then returns to the 1st fret to play the C note on beat 4.

Measure 2

The melody is harmonized with a D chord in this measure. Within the context of this chord, no fingers need to be lifted to play the melody line. The thumb is used to fret the third of the chord F# at the 2nd fret of the sixth string. Since the first string is not used in the melody, it is not necessary to fret this string with the second finger. Fretting this note is simply a waste of left hand energy. When playing complex fingerstyle arrangements, remember to keep all technical aspects as simple as possible. This concept will become even more important as you progress to pieces that are more challenging from a technical perspective.

If you are not yet comfortable with using the thumb to fret bass notes, try the fingering for D/F# listed below.

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

Measure 3

The harmony changes to a G major chord in measure 3. Once again, no melody notes occur on the first string. As a result, it is not necessary to plant the pinkie finger on the first string. Simply fret the sixth and fifth strings with the third and second fingers respectively. On beat one, the first finger must fret the second string to play the C note that occurs in the melody. The second finger must also release from the fifth string to play the A note on beat three.

Measure 4

A tonic C chord concludes the progression in the first four measures. No left hand alterations need to be made to this chord when playing the melody line.

Repeat Signs

A closed repeat sign occurs at the end of the verse section. An open or beginning repeat sign is not indicated in the score. When no open repeat sign appears in a score, it is assumed that the piece repeats from the beginning of the song. Once the end of measure four is reached, return to the beginning of the song and play the verse again.

Metronome Practice

Practice these four measures along with a metronome to ensure that you are changing chords in time. Begin at a slow tempo such as 60-70 beats per minute. Then, gradually work your way up to 120 beats per minute.

B. Chorus Section

Measure 5

The melody is quite simple in this measure. An open E note is struck three times while an "open" C major chord shape is held.

Measure 6

In most beginner arrangements of "Aura Lee," the melody is harmonized by a C chord in measure 6. To make the arrangement more interesting, Jim chooses to substitute an E major chord. No left hand adjustments need to be made when playing the melody in the context of this chord. The melody segment in this measure is identical to the previous measure.

Measure 7

An Am chord occurs in this measure. Fret this chord as you normally would. Use the pinkie finger to play the D notes at the 3rd fret of the second string.

Measure 8

An open E note is held for a whole note within the context of a C major chord. Consequently, no left hand adjustments are necessary.

Measure 9

An A7 chord harmonizes the melody. Fret this chord with the second and third fingers. This fingering is most conducive to playing the melody, harmony, and bass line simultaneously. An F note occurs in the melody on the first beat of the measure. Fret this note with the first finger. When F is added to an A7 chord, an A7 augmented or A7+ chord is formed. The "+" symbol indicates that the fifth of the chord is raised by a half step.

Measure 10

This measure is identical to measure 2 in the verse section. Once again, no modification of the chord fingering is needed when incorporating the melody line.

Measure 11

Begin this measure by fretting the notes on the bass strings with the second and third fingers. The first finger must be used to play a C melody note on the second string. Fret the D note on beat four with the pinkie finger. Do not fret any notes on the first string! Conservation of energy is a key component to proper left hand and right hand technique.

Measure 12

The song concludes with a tonic C note. A C chord is strummed in conjunction with this note to give the song a definite sense of finality.

Metronome Practice

Practice through this portion of the song along with a metronome. Begin with a tempo similar to what Jim demonstrates at 06:26 in the lesson video. This tempo is roughly 50 beats per minute - just under half the speed of the final goal tempo.

Adding the Bass Line

Before you attempt to play the bass line and melody simultaneously, practice the bass line within each chord shape. Practice through the entire progression once you have mastered the bass pattern for each individual chord. Play the bass line with some light palm muting. This will bring the melody line to the foreground of the arrangement once it is added back in.

Note: For additional information concerning palm muting, check out Lesson 18 from Jim's Phase 1 series.

The alternating bass line is comprised of a three string pattern. In the previous lesson, a two string pattern was applied to "Leader of the Band." A three string pattern is often used in conjunction with a very simple melody to increase the overall interest level of the arrangement. Since the rhythm of the melody is straightforward, a three string pattern is ideal for this arrangement.

Bass Line with a C Chord

When playing a C chord, remember to alternate the third finger between the fifth and sixth strings. Or, it is possible to re-finger the C chord. Fret the root note with the pinkie finger. Then, fret the fifth of the chord (G) with the third finger. Although you do not need to play a melody note with the pinkie in this song, you will need to in countless other fingerstyle arrangements down the road. Consequently, it is better to develop former technique as soon as possible.

Bass Line with a D/F# Chord

Notice how the root note is not used as the first note within the bass line for D/F#. This exception to the alternating bass rule is quite common when chords are played in first inversion.

Bass Line in Measure 3

Notice how the 6, 4, 5, 4 alternating bass pattern must be broken in measure 3. This is due to how the melody line is fingered fingered. Instead, Jim chooses to play a two string alternating bass line between the sixth and fourth strings.

Playing the Melody and Bass Line

Once you can successfully play through the entire bass line, incorporate the melody back into the arrangement. If you have each individual component memorized, this step will be much easier. If necessary, break up each measure into small, repeatable exercises. Jim demonstrates this practice technique with the first measure of the song. Difficult pieces become easier to master when broken up into smaller, more manageable chunks.

Focus on measures that are more difficult for you. The second measure may be difficult due to the bass note being fretted by the thumb. Measure 3 might also seem challenging due to the large leap that the second finger must make between the fifth and third string.

Metronome Practice

Play the melody and bass line together at a slow tempo with a metronome. However, do not play too slowly. Fingerstyle arrangements that involve a great deal of mental and physical coordination become even more difficult at extremely slow tempos. Begin with your metronome set at around 55-60 beats per minute and work up from there. Emphasizing the first beat of each measure will help keep you on track while practicing the arrangement. However, you do not want to emphasize the first beat when performing the song.

Play Along

Practice the verse section along with Jim at 20:52 in the lesson video. Remember the repeat sign! Chapter 3: (14:43) The Chorus Use the same process outlined for the verse section as you practice the chorus. Break up the arrangement into small, manageable sections. For example, work on the first measure of the chorus by itself (measure 5). Then, work on the following measure. Next, work on stringing these measures together. Switching between these two measures may seem awkward, since the bass pattern changes.

Extra practice time may need to be devoted to measure 9. The melody is quite active. Also, the chords change twice in this measure.

Adding Additional Harmony Notes

Measures 5-8 feature some additional notes played with the bass line and melody. All of these extra notes are part of the chord played in these measures. These additional notes can be added when the melody is played on the high E string. In measure 5, the index, middle, and ring fingers pluck the third, second, and first strings respectively. Play slightly harder with the ring finger since it is plucking the melody notes. Fewer harmony notes are played along with the A minor chord in measure seven since melody is predominantly played on the second string.

Bass Runs

A scalar bass run can be applied to beats two and three of measure 3 to create a smooth transition between G and the tonic note of the C chord in the next measure. Play open A on beat 3. On beat 4, play B at the second fret of the fifth string. Fret the B bass note on beat 4 with the first finger. This will eliminate the awkward leap that the second finger must make between the bass line and the melody.

Also, A scalar bass line can be added as in introduction before the melody comes in. Jim demonstrates this line at 13:29 in the lesson video. Walk up the C major scale from a G note back up to C. Start this line on beat two of the bass pattern. Chapter 4: (01:26) Finishing up the Song Jim demonstrates the introduction bass line within the context of the arrangement. This same bass line can also be added to measure 4.

Preview of Upcoming Lessons

In future lessons, Jim will continue to explain the process of arranging simple melodies for fingerstyle guitar. Melodies and chord progressions will become more difficult as Jim advances through the series. Along the way, additional techniques will be added to your arsenal such as new bass runs and lead fills.

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