3/4 Time and a Song Guitar Lesson

Chapter 1: (00:34) Lesson Introduction Jim gets things started with a fingerstyle arrangement of "Bicycle Built for Two." In the following scenes, Jim will provide you with the necessary materials to play this song.
Chapter 2: (12:56) 3/4 Timing 3/4 is commonly referred to as "waltz time." The waltz is a popular dance played in this time signature.

Alternating Bass in 3/4

In past lessons, Jim taught you how to play an alternating bass line in 4/4 time. Within this pattern, the root note of the chord is played on beat 1. Then, a chord is typically strummed on beat 2. The lowest fifth in the chord is played on beat 3. Finally, on beat 4, the chord is strummed again.

Jim uses the song "Bicycle Built for Two" to demonstrate how bass patterns within a fingerstyle arrangement must be altered in 3/4 time. Within this time signature, an alternating bass line can still be performed. The root of the chord is still played on the first beat of the measure. From here, the pattern changes. On beats 2 and 3, the chord is plucked or strummed. In the following measure, the fifth of the chord is played on beat 1. Strums or plucks of the chord follow this bass note on beats 2 and 3.

Adding Syncopation

Similar to how you learned some syncopated variations for the alternating bass line in 4/4 time, these same syncopation ideas can be applied to 3/4 to make the accompaniment more interesting. Watch closely at 05:05 as Jim demonstrates this concept. He plucks the G string of a C major chord on the "+" beat of 1. The rhythm of this measure is counted, "1+ 2 3." Practice this rhythmic figure with all of the first position chord shapes that you know.

Note: Open the "Supplemental Content" tab for tablature / notation to all of the exercises presented in this lesson.

Adding Arpeggio Patterns

Various arpeggio patterns can also be applied to the alternating bass line in 3/4 time. Jim provides one such example at 07:35. The bass note is still played on the first beat of the measure. Then, the arpeggio pattern alternates between the G and B strings in an eighth note rhythm for the remainder of the measure. Count "1+2+3+" when playing this rhythm figure. Apply this arpeggio pattern to I IV V progressions in a wide variety of keys. Chapter 3: (01:58) Variation Jim demonstrates a slight variation on the arpeggio pattern that you learned in the previous scene. This time around, the third finger plays at the same time as the second finger. The third finger plucks the chord tone on the high E string. The addition of this extra note produces a much fuller sound. Apply this variation to I IV V progressions in a variety of keys. Remember to start slow! Accuracy and steady rhythm should be your highest priorities. Then, gradually increase the tempo.
Chapter 4: (11:19) Using the Thumb The rhythm patterns that Jim presented in the previous scenes are examples of accompaniment figures. In this scene, he demonstrates how to play a bass line in 3/4 while simultaneously playing a melody line.

The thumb must pluck the tonic bass note on the first beat of the measure. A simple arpeggio pattern is often played as a bass line in this meter. Jim demonstrates this idea within a C major chord at 01:20 in the lesson video. On beat 1, he plays the root note. On beat 2, he plays the next highest chord tone, which is the third. To finish the pattern, the fifth is played on beat 3.

In many situations, this pattern may need to be altered to accommodate the melody line. For example, the melody may feature a note played on the third string on the third beat of the measure. In this case, repeat the third of the chord on the final beat of the measure. This will place the final bass note on the fourth string instead of the third string. This frees up the third string for melody notes.

"Bicycle Built for Two"

When learning any fingerstyle arrangement, it is always beneficial to isolate the individual parts. Begin to practice this arrangement by playing through the melody line. Then, go back and play the bass line. This process will provide you with a firm understanding of how each part functions independently. When you can successfully play both parts individually, begin to play them together. Remember that the melody is sacred in any piece of music. Consequently, it should be played louder than the bass line. One way to accomplish this is to play the bass line with slight palm muting.

As you work through the arrangement, make a special note of any bass segments that stray from the typical pattern that Jim introduced earlier in the scene. One such example is the F chord played in measure 6. The easiest way to finger this passage is by using the thumb to fret the low root note of the chord. Within this fingering, the fifth string is left open. This open string note sounds rather out of place within the context of a bass line. Consequently, Jim applies an alternate bass figure to this chord. He plays the lowest root note on beat 1. On beat 2, he plays the root note one octave higher on the fourth string. The third of the chord is played on the third string on the final beat of the measure.

Adding Extra Voices

In addition to the bass line and the upper melody, some inner harmony voices can be added to the arrangement to create a fuller sound. Whenever a melody note is plucked, one or two additional chord tones can be played. Typically, the third finger is used to play melody notes in this arrangement. This leaves the first and second fingers free to pluck harmony notes on the third and second strings. Watch closely as Jim uses these techniques when playing through the first several measures of the arrangement. Chapter 5: (10:45) Finishing up the Song Jim continues to teach his arrangement with "Bicycle Built for Two" beginning with the fifteenth measure. A D7 chord harmonizes the melody in this measure. You have several options when applying the bass line to this chord. The root note can be held for two beats followed by the fifth of the chord for one beat (beat 3). Or, you can play the third of the chord as the lowest bass note. Thumb must come up over the top of the neck to fret the note F# on the low sixth string. Then, you are free to follow this note with the root and fifth of the chord in a steady quarter note rhythm.

A couple options are available when playing a bass line with the G and G7 chords as well. You can either play the sixth, fifth, and fourth strings in a quarter note rhythm or the sixth, fourth, and third strings in a quarter note rhythm.

Right Hand Fingering for the Melody

It is possible to play the entire melody line using the first finger. This is most likely the way in which a guitarist such as Merle Travis would finger the melody. Using this simple technique creates a marcato style that you may or may not find desirable. If you apply additional harmony notes to each chord, use the index finger for all notes played on the third string. Use the middle finger for all second string notes. Then, use the ring finger for notes played on the high E string. If you choose not to add inner harmony notes, Jim recommends that you use the index finger for sustained notes on the third and second strings. In this scenario, the middle finger plays notes on the first string. When the melody switches to a steady quarter note rhythm, alternate between the index and middle fingers.

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