Hi. I'll try to make a tutorial to play "The real folk blues"....
... following my arrangement uploaded at Youtube.
Many people have asked me for sheet or tab....
... which I haven't. I usually play the melody over the chords...
.... and I half-strum and half-improvise the accompaniment.
It's hard for me to transcribe it to a sheet or tab.
I someone dares to write it, well, great.
I remark, then, that this will not follow my published video note by note.
And probably the notes and chords will not agree exactly with the original music.
I'll play and explain my arrangement so that you, guitar players, hopefully can follow it.
Also, you will have noticed that I'm playing an acoustic guitar here...
... but I play with my fingers, so there should be little difference.
Let's begin. First verse.
Let's recap.
We start with a B minor (Bm) chord.
(You'll find overimposed on the video some chords diagrams...)
(Actually not just chords, but all left-hand finger positions)
(Including melody notes, main chord notes and ornamental-passing notes)
Bm is the main chord (tonic)
Most notes of the song are around the pentatonic scale of Bm.
First notes are e - f# (see red triangles in chord diagram)
Now we go to a D (relative major)
To change positions we slide (from a to b) just for confort.
Then we go to a E7 chord
From this (D) position...
The transition notes are F# E D
The E is played on an open string.
Here we change to an inverted E7 (bass on G#)
... and we return to Bm (tonic)
I'll play now all this without accompaniment/strumming, only melody and bass.
(I'm constantly strumming and improvising filling notes over the chords...)
Here we play a common A (major) chord...
... to which you can add a 9th (B note, 3rd string) as a little ornament.
Then we get a repetition of the verse.
But instead of playing the initial Bm chord here...
... I play it in a different position. (7th fret)
Actually is almost the same thing, same notes, just a little different colour...
Then, after the A chord...
Now we are in D, the same as in the first verse.
Just a little variation on the melody. Instead of that...
We now play this...
What follows is the same as before.
This time we don't go for the transitional A chord...
Now we have a "pre-chorus" sequence.
It starts with Em...
This would be a F#m7add11...
This chord is a half-dimished G# - or G#m7(b5)
(or if you prefer a E7add9/G# )
The a plain G major chord...
Some care must be taken when passing from the lower B note to the high B note....
The lower B note is alternatively played on the 3rd string and in the 2nd (open) string...
... but just before going for the upper octave, we must play the low B in the open string.
This G chord requires some finger extension....
Bass on the 3rd fret of 6th string, melody on 7th fret of 1st string.
... to fall into the F#7 chord (4th suspended at first)
F#7 is the dominant of Bm (tonic)
This builds the tension to fall into the refrain.
Once again...
Before going to the refrain, something to remark:
Many parts of the song, and especially the preceeding one is quite syncopated.
Syncopations occurs when the main notes of the melody fall BEFORE the strong beats.
Here, the bass strictly follows the beat.
Hence the syncopations shows in the melody attacking BEFORE the bass.
Let's see. I'll mark the strong beats with my foot.
I hope it's clear...
The main melodic note comes "early", before the bass...
This happens a lot on the whole song. Syncopation is essential in this kind of music.
Now,. from the F#7 chord, we enter the chorus or refrain.
The tension of the dominant seems to ask for a Bm (tonic) here....
... but we instead start the refrain with a E7.
In this position.
We can start the chord suspended (4sus), and afterwards resolve it.
To ease the transition from the F#7 to the E7 in 7th fret, we slide...
These are the notes of the melody.
This is the E7 chord. (optionally suspended first)
It's important that the high D note is sustained.
Here we go for a F#7 chord.
You could also play it with a bar on the 9th fret...
... but we would be a little unconfortable on a classical guitar.
Fell free to try it, especially if you play on an acoustic guitar or a classical with cutaway.
A little issue here, with the 1st finger:
It must help with the chord (4th string) and also with the melody (1st string)....
Furthermore, I use it to play with a 4th suspended. This is optional.
Let's recap this...
This is a Bm (the tonic, at last)
And the melody plays the pentatonic Bm scale.
Then we transition to A minor
Here we play brieflly a D chord.
This triggers a repetition of the chorus.
Let's recap once more the last part.
Going now for the chorus repetition...
We'll repeat the melody, and the chords, but with some variations.
The melody is played (in my arrangement) one octave lower.
Instead of that....
I play this
Furthermore, instead of a E7 chords, I play a G# half-dimished
or G#m7(dim5)
It functions here as a E7 chord, approximately.
I improvise a little here, over the notes of the chord.
This a Bb diminished chord....
... which agains, functions approximately as a F#7 chord (compare with the E7-F#7 sequence the first time)
The passing D note can be played on the 3rd string or the 2nd string, as you prefer.
Now, given that Bbdim7 functions here as a F#7 substitute, we would expect a Bm, like before.
But we instead go for a A minor chord.
A slight -and nice IMO- suprise.
Let's recap.
We have a Am(7) here...
We play the three chord notes before the melody...
But then we have a long jump to the 10th fret.
If that's too far, you can mute the chord notes, instead of sustaining them.
Here we can optionally play a D chord (D in the bass)
Again, a half-dim G#...
G chord (note the bass progression)
F# minor...
This E minor chord is just harmony, no melody here.
A dominant (still without melody) F#7, preparing the ending....
The final line has a bluesy augmented 9th
... to rest into the B minor (tonic)
Before going to the instrumental riff, let's recap this part.
As mentioned, I tend to add quite a bit of strumming and half-improvising
For that, it's essential to keep in mind the chord or scale you are playing.
Then we have the intermezzo-riff (also played as introduction in the original)
It's based on these few notes.
The third note can be repeated or prolongued
That is, we can play it thus...
or also...
What I do here is this:
Beginning with a Bm7...
... the bass starts a descending line, to A...
B, A G#, G ...
Again, I play it "dirty", strumming over the notes of the pentatonic scale.
Here we can play a full repetition.
I'll play a complete round.
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