Porch Swingin' Part 2 (Guitar Lesson)


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Steve Eulberg

Porch Swingin' Part 2

Steve Eulberg teaches the second half of his beautiful fingerstyle piece, "Porch Swingin'."

Taught by Steve Eulberg in Fingerstyle Guitar seriesLength: 30:21Difficulty: 2.5 of 5
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.

Video Subtitles / Captions


Member Comments about this Lesson

Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.


warmonger1143warmonger1143 replied on July 3rd, 2017

Neat song, but most frustrating lesson yet! The left hand isn't a problem, but I wish you'd explain the right-hand fingerpicking more! I can't figure out what you are doing, and the tabs are different than what you play. I wish there were tabks for what you are playing.

HURRICAINEHURRICAINE replied on May 14th, 2015

What is the right hand doing....? is there a tab sheet that I can follow....? Please let me know ,love the tune...

tasmanian deviltasmanian devil replied on June 25th, 2013

great lesson, great tune! thanks steve.

steveeulbergsteveeulberg replied on June 30th, 2013

Thanks, Tasmanian!

tonigreertonigreer replied on October 29th, 2012

I love this song!!! Im not great on the bar chords. But listeners get the idea. It took me a bit to figure out the stumming on the 2nd part since it wasnt to clear. but I got it eventually took some extra time.

kryaxis1kryaxis1 replied on August 31st, 2011

great lesson, thanks steve

tknolandtknoland replied on January 1st, 2011

I've been playing a long time, probably longer than I should admit no better than I am, but this is certifiably one of the funnest (is that a word) songs I have ever played. Steve, I'm in Oklahoma now and I know all about those hotter than hot lazy summers. GREAT Song.

horstwetjenhorstwetjen replied on December 22nd, 2010

Probably the worst lesson so far. It would be nice if the lesson TAB was close to what you are playing. How about publishing an updated TAB. A little more on right hand technique would have been nice, too.

maxiatmaxiat replied on May 14th, 2010

What about the right hand, bass line?? Nice song but bad lesson. Really not happy.

steven simpsonsteven simpson replied on November 18th, 2009

Steve, great lesson, but I wish you would have given more instructions on the right hand strumming techniques you use. I have watched the lesson a number of times and still have not figured it out yet.

dagchristiandagchristian replied on April 28th, 2009

Is it possible to get the tab with the version you play, not really the same with play along when your version is so much cooler :)

blackriderblackrider replied on April 10th, 2009

Hi Steve, great song, but the TAB is not correct here for what you play in this lesson. Can we get the complete song tab as you play it please.

toe2323toe2323 replied on April 5th, 2009

Is there any way we can get some tablature of part A the way Steve plays it in this section? The way we learned part A in lesson 1 is NOT the way he is playing it here. It is VERY frustrating trying to figure out how he is playing it and then learning it. If we could get the correct tablature for part A the way it is played here (which sounds more intricate and better all around) it would help VERY much. Thanks!

rarsenrarsen replied on June 19th, 2008

Hi Steve, Although I just love playin' this instrumentally only, people keep on askin' me about the lyrics but I can't find them. You're so reliable and ? certifiable, please don't deny the lyrics. Where can I find them? Ron

steveeulbergsteveeulberg replied on October 14th, 2008

The lyrics for Porch Swingin' are printed on my website: www.owlmountainmusic.com/apieceofitall.html

steveeulbergsteveeulberg replied on July 3rd, 2008

Hi Ron, Here are the lyrics for the CD, "a piece of it all", on which "porch swingin'" appears: http://www.owlmountainmusic.com/apieceofitalllyrics.html Steve

rarsenrarsen replied on June 19th, 2008

Hi JamPlay, How can I find porch swing part one again? Thanks, Ron

nessanessa replied on June 19th, 2008

You can find the first part of Porch Swingin' by clicking on "More From Lesson Set" then clicking on the lesson "Starting Fingerstyle" - that is where Part 1 is. :)

mattbrownmattbrown replied on April 30th, 2008

Steve! Great lesson. This song is so catchy. Let me know how I did on the tab. I know you have a recording of this, but I wanted to do it more like you played it in the lesson. Hope that works for you!

Fingerstyle Guitar

Found in our Beginner Lesson Sets

Fingerstyle guitar is the classic art of playing the guitar solely with the fingers. Fingerstyle playing opens up a whole new realm of possibilities on the guitar.



Lesson 1

Starting Fingerstyle

Steve introduces you to the world of fingerstyle guitar by teaching a few exercises and an orignal tune called "Porch Swingin'."

Length: 38:00 Difficulty: 3.0 Members Only
Lesson 2

Matteo Carcassi

Steve Eulberg teaches you to play Op. 60 (No. 1) composed by Matteo Carcassi.

Length: 42:00 Difficulty: 3.0 Members Only
Lesson 3

House of the Rising Sun

Steve teaches a fingerstyle arrangement of "House of the Rising Sun" by Animals.

Length: 29:00 Difficulty: 3.0 Members Only
Lesson 4

Freight Train

Steve covers some of the fingerstyle techniques created by Elizabeth, or "Libbis" Cotten.

Length: 24:00 Difficulty: 3.5 FREE
Lesson 5

Planxton's Farewell Part 1

Steve Eulberg teaches you how to play his original piece "Planxton's Farewell." This is part 1 of a 2 part lesson.

Length: 34:00 Difficulty: 3.5 Members Only
Lesson 6

Planxton's Farewell Part 2

This is part 2 of the fingerstyle song "Planxton's Farewell." In this lesson Steve teaches you the second half of this beautiful tune.

Length: 22:00 Difficulty: 3.5 Members Only
Lesson 7

Drop D Tuning

Steve discusses drop D tuning and how it is used. He also teaches an original song in this tuning called "Neither Lion Nor Lamb."

Length: 30:00 Difficulty: 3.0 Members Only
Lesson 8

Porch Swingin' Part 2

Steve Eulberg teaches the second half of his beautiful fingerstyle piece, "Porch Swingin'."

Length: 30:21 Difficulty: 2.5 Members Only
Lesson 9

Five Foot Two (fingerstyle)

Steve teaches a fingerstyle version of the classic song "Five Foot Two."

Length: 29:54 Difficulty: 2.5 Members Only
Lesson 10

Operator Introduction

In this lesson Steve shows how to play the introduction of the classic Jim Croce song, "Operator," in a fingerstyle fashion.

Length: 22:21 Difficulty: 3.0 Members Only
Lesson 11

Operator Verse

Steve returns to the beautiful Jim Croce song, "Operator," in this fingerstyle guitar lesson. This time around he demonstrates the verse.

Length: 12:58 Difficulty: 2.5 Members Only
Lesson 12

Operator Chorus

Steve finishes up the Jim Croche song, "Operator." He covers the chorus and brings the entire song together.

Length: 9:55 Difficulty: 2.5 Members Only
Lesson 13

Alternating Bass

Steve uses the classic childrens song, "Paw Paw Patch" to demonstrate how an alternating bass line can be played within a fingerstyle arrangement.

Length: 15:42 Difficulty: 2.0 Members Only
Lesson 14

We Wanted a King

Steve Eulberg teaches a beautiful fingerstyle arrangement of his original song, "We Wanted a King."

Length: 36:31 Difficulty: 2.5 Members Only
Lesson 15

Building the Thumb

Steve Eulberg guides you through a series of exercises meant to improve the dexterity and independence of the thumb.

Length: 12:52 Difficulty: 2.5 Members Only
Lesson 16

Mixing Up the Fingers

Steve Eulberg mixes up the fingers to create a dynamic fingerstyle exercise.

Length: 12:48 Difficulty: 2.0 Members Only
Lesson 17

Chopsticks

Steve Eulberg explains how to play the classic song "Chopsticks" using fingerstyle technique.

Length: 12:18 Difficulty: 2.0 Members Only
Lesson 18

Advanced Chopsticks

In this lesson, Steve Eulberg teaches an advanced version of "Chopsticks."

Length: 8:11 Difficulty: 2.5 Members Only
Lesson 19

Ode To Joy Part 1

Welcome to the first lesson in a 3 part series on the song "Ode To Joy". Steve has arranged a very unique fingerstyle lesson that starts from square one. This 3 part series can really help any beginner...

Length: 10:32 Difficulty: 1.5 Members Only
Lesson 20

Ode To Joy Part 2

In the midst of this three part lesson series, Steve continues his "Ode To Joy" song lesson by introducing a parallel movement. This will demonstrate a "skip a string" technique with the picking hand and...

Length: 7:25 Difficulty: 2.5 Members Only
Lesson 21

Ode To Joy Part 3

In his final lesson in the three part series of the song "Ode To Joy", Steve adds a few more additional fingerstyle techniques to the mix. By adding a harmony and a D string drone note, this will complete...

Length: 10:43 Difficulty: 3.5 Members Only
Lesson 22

Thumb Builder #1

In direct response to a common issue seen in his live Q&A, Steve crafted the following group of 9 lessons devoted to "thumb building". Learn all 6 variations of the exercise Steve teaches and practice...

Length: 16:38 Difficulty: 2.0 Members Only
Lesson 23

Thumb Builder #2

The second installment of Steve's Thumb Builder lessons continues to build your finger and thumb coordination with multiple pattern variations.

Length: 8:40 Difficulty: 2.0 Members Only
Lesson 24

Thumb Builder #3

Join Steve for the third installment in his Thumb Builder lessons. Keep pressing on and you should be finding that the mechanical movements are becoming more and more natural.

Length: 10:33 Difficulty: 2.0 Members Only
Lesson 25

Thumb Builder #4

It's time to challenge yourself by adding more fingers to the mix! Instead of just responding to the thumb with one finger, you'll be using different fingers on different strings.

Length: 8:42 Difficulty: 2.0 Members Only
Lesson 26

Thumb Builder #5

Things are getting a little more complicated and a little more challenging as Steve marches through some more thumb building exercises. Keep up the hard work and practice!

Length: 6:42 Difficulty: 2.5 Members Only
Lesson 27

Thumb Builder #6

Steve continues to build up muscle memory and coordination. In these exercises, the thumb is gonna start jumping around along with the fingers.

Length: 9:16 Difficulty: 2.5 Members Only
Lesson 28

Thumb Builder #7

Part 7 of Thumb Building Bootcamp! Good job for making it this far! Things keep getting more challenging, but you should definitely be noticing a marked improvement in your finger-thumb coordination...

Length: 8:03 Difficulty: 2.5 Members Only
Lesson 29

Thumb Builder #8

Steve introduces a handful of new patterns to keep on building up that thumb.

Length: 7:53 Difficulty: 2.0 Members Only
Lesson 30

Thumb Builder #9

Good work! You've made it to the final installment of thumb builder exercises. Learn some of the patterns that Steve commonly uses in his own playing.

Length: 6:48 Difficulty: 2.0 Members Only
Lesson 31

Walkin' Down the Trail

Sometimes we hear the word exercise and it just sounds like work... That probably won't be the case when you listen to the exercise Steve teaches in this lesson. It will take some work, but you'll walk...

Length: 19:30 Difficulty: 2.5 Members Only
Lesson 32

Frere Jacque Fugue

In this lesson, Steve takes the familiar Frere Jacque and teaches how to play it in a round on the guitar.

Length: 6:28 Difficulty: 2.5 Members Only
Lesson 33

Michael, Row Your Boat Ashore

Turn this classic folk tune into a beautiful fingerstyle arrangement.

Length: 13:24 Difficulty: 2.5 Members Only

About Steve Eulberg View Full Biography An Award-winning multi-instrumentalist and singer-songwriter, Steve Eulberg weaves mountain and hammered dulcimers with a variety of unusual instruments to create thought-provoking, smile-inducing, toe-tapping acoustic experiences.

He has sung and composed for religious communities, union halls, picket lines, inter-faith retreats, mountain-top youth camps, as well as the more familiar venues: clubs, coffeehouses, bookstores, festivals, charity benefits and showcase concerts.

Born and raised in the German-heritage town of Pemberville, Ohio, Steve was exposed to a variety of music in his home. Early piano lessons were followed by trumpet in school band, and he became self-taught on ukelele and guitar and harmonica. Mandolin was added at Capital University where, while majoring in History, he studied Ear Training, Voice and took Arranging lessons from the Conservatory of Music.

While at college, he first heard hammered and mountain dulcimers, building his first mountain dulcimer just before his final year. Seminary training took him the west side of Denver where he built his first hammered dulcimer. With these instruments, he was able to give voice to the Scottish, English and Irish traditions to which he is also heir.

Following marriage in 1985 to Connie Winter-Eulberg he settled in Kansas City, Missouri. There he worked cross-culturally in a church of African-Americans, Latinos and European Americans, with music being a primary organizing tool. He moved with his family in 1997 to be nestled beside the Rocky Mountains in Fort Coillins, Colorado.

Founder of Owl Mountain Music, Inc. he teaches and performs extensively in Colorado and Wyoming with tours across the US and the UK. He delights in introducing the “sweet music” of dulcimers to people in diverse settings and in addition to his own recordings, has included dulcimers in a variety of session work for other musicians.

In 2000 he was commissioned to create a choral composition featuring dulcimers for the Rainbow Chorus in Fort Collins. It was recorded in the same year (BEGINNINGS). He is currently at work on a commissioned symphony that will feature hammered dulcimer and Australian didjeridu.

Eulberg passionately believes that music crosses cultural and language barriers because music builds community. Influenced by a variety of ethnic styles, his music weaves vital lyric with rap, rock, folk, gospel and blues. Audiences of all ages respond well to his presentation and to his warm sense of humor.

Steve is a member of Local 1000 (AFM), The Folk Alliance, BMI and BWAAG (Better World Artists and Activist's Guild).

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