Loading the player...

Giorgio Serci - Creative Fingerstyle Guitar Advancing Studies Part 8: Study n.24

Lesson Notes

** As featured in issue 38 **

In this column we'll be looking at another solo fingerstyle guitar composition of mine called Study n. 24.

As always, all short acoustic guitar pieces I write for Guitar Interactive feature various compositional ideas I really enjoy using. Composition could be compared to a game with its own rules and the added benefit of allowing us to use our creative side of the brain as well as the pragmatic one. Composing entirely with our pragmatic side could easily result in uninspired, square or cold pieces. Similarly, relying exclusively on the divine inspiration might mean having to wait days or weeks before we can actually complete a piece. The moral of the story, as nearly always, is that both sides have to work in a collaborative manner, meeting halfway. This ‘should’ ensure compositions that transpire internal logic as well as invention.

This piece features a few compositional and arranging ideas gravitating on what is known as ‘quartal harmony’, which consists of using intervals of 4ths to construct less predictable harmonic structures, with a distinct quality compared to the more common triadic harmony. Once a melodic idea consisting of a descending E Mixolydian mode (Major scale with a b7) was conceived, each melody note was harmonized in diatonic fourths, as evident in bar 1 etc.

Another strategy evident from the beginning of the piece is the ‘ostinato’ bass figure played by the ‘p’ finger, which acts as a pedal note, but also as rhythmic propeller, particularly when juxtaposed to the chords played by the ‘i, m, a’ fingers, at times implying a polyrhythm, including a 5/8 against a 4/4. This is evident in bar 3, 4 etc.

The harmonic content of this piece can be described as follows, and it could be described as 16 bars Blues.

E7

               %

               %

               %

               %

               %

               %

               %

A7

A#O7

E7

C#7#9

F#m7  E/G#    A7    A#O7

B7

E7

B7

As always, I would like to recommend exploring the above-mentioned techniques in order to compose your own pieces. We have to allow ourselves to make mistakes and reflect on the reasons why we like or not a particular sound, a chord progression or modulation. Eventually, these sounds will become part of your musical lexicon and you’ll be able to use these with fluidity and effectiveness.

The picking-hand pattern is predominantly as follows:

(Please note E=low E string, e= high E string)

‘p’ focuses of the bass lines, while ‘i, m, a’ play the melody and countermelody or harmony part.

Play this part in a relaxed and clear manner, making sure your thumb is a little forward compared to the ‘i, m, a’ fingers, in order to prevent it from colliding with the ‘i’ finger. As always, focus on attack and tonal consistency. The melody and the supporting harmonies will be played with the ‘a’ finger, so more attack is needed to outline the melody.

Next we are going to look at the left hand part (chord shapes):

Bar 1-2: The ‘ostinato’ E bass will alternate with the following chord shapes:

Ring f on fret 12 of e, middle f on fret 12 of B and index on fret 11 of G.

The same shape played down 2 frets.

Index on fret 7 of G, ring f on fret 9 of B and little f on fret 9 of e.

Index plays 3/6 barre’ on fret 7.

Bar 3-4:  Same ‘ostinato’ E bass with the following chord shapes:

Ring f on fret 12 of e, middle f on fret 12 of B and index on fret 11 of G.

The same shape played down 2 frets.

Index on fret 7 of G, ring f on fret 9 of B and little f on fret 9 of e.

Index on fret 6 of G, middle and ring f on fret 7 of B and e.

Same shape down two frets.

Middle f on fret 3, index on fret 2 of B and ring f on fret 3 of e.

Same chord shape, slides up a semitone.

Bar 5-8:  As from bar 1 till 4, except the final fill.

Bar 9-10: The ‘ostinato’ A bass will alternate with the following chord shapes:

Ring f on fret 5 of e, middle f on fret 5 of B and index on fret 4 of G.

The same shape played down 2 frets.

Open G, middle f on fret 2 of B and ring f on fret 2 of e.

Index on fret 1 of A, open G and e, while the middle f is on the 2nd fret of B.

At this point, play an arpeggio featuring the A# played above, hammer-on to fret 4 of A, middle f on fret 2 of D.

On the ‘+’ of 4 play and E minor with the open E, G, B and e strings and add index on fret 1 of G. Next, fret 2, 4 and 2 of A.

Bar 11: Open E, index on fret 2, middle f on fret 3 and then fret 4 of the same string.

Bar 12:  Index on fret 2 of D, and of A. Middle f on fret 3 of A, and ring f on fret 4 of the same string. Next, play a C#7(#5#9), with ring f on fret 4 of A, middle f on fret 3 of D, index on fret 2 of G, open B and e. On the ‘+’ of 4, play an F#m with barre’ on fret 2 and little f on fret 5 of e.

Bar 13: Play a E/G# with barre’ on fret 4 and middle f on fret 5 of B. Next, play an A7 with open A, G and e with the middle f on fret 2 of B. Finally, add index on fret 1 of A.

Bar 14:  Play a B7 with middle f on fret 2 of A, index on fret 1 of D, ring f on fret 2 of G and open B. Next, the fill with ring f on fret 9 of e, middle f on fret 8 and then 9 of B (by sliding), open e, B and e with G on the ‘+’ of 4.

Bar 15:  Open e, little f on fret 4 of E, open A, index on fret 1 of A.

Bar 16: Play a B7 as per bar 14. Play lick, featuring fret 2 of D, fret 3 and 4 of A, fret 3 and 2 of E and open E.

Repeat the 15 bars from the top and take the final bar.

Final bar: Fret 2, 4 and 2 of A. Fret 2 of D. Finish with an E7#9 chord (middle f on fret 7 of A, index on fret 6 of D, ring f on fret 7 of G, little f on fret 8 of b, open e and E.

Congratulations, you have completed Study n.24!

As always, you will be able to download a transcription by selecting the menu option in this page.

I strongly recommend experimenting with a few picking variations, changing the chords as you wish in terms of voicing (higher or lower), as well as trying the same picking pattern on a different chord progression, or using a ‘capo’ on fret 2 for a brighter outcome.

When repeating any section twice or more, you may want to play ‘sul ponticello’, (closer to the bridge) or ‘sul tasto’ (over the frets) for more contrasting results.

Make sure you highlight the melody (singing is a great strategy to play the melody in more assertive and singing-like manner)

Focus on minimum-movement approach, as this will help delivering the piece in a more accurate and consistent manner, while saving energy.

This will complete this creative fingerstyle lesson.

I hope you will enjoy playing this study piece and that this will give you some ideas on how to write your own solo guitar compositions.


Up Next

Giorgio Serci - Creative Fingerstyle Guitar Advancing Studies Part 13: Study n.30

Giogio Serci teaches you how to play a solo acoustic guitar piece inspired by a ...

Giorgio Serci - Creative Fingerstyle Guitar Advancing Studies Part 12: Study n.29

Giorgio Serci presents a great fingerstyle acoustic guitar study for learning about tritone substitutions & ...

Giorgio Serci - Creative Fingerstyle Guitar Advancing Studies Part 11: Study n.28

Giorgio Serci takes you through how to play another fingerstyle acoustic guitar piece in this ...

Giorgio Serci - Creative Fingerstyle Guitar Advancing Studies Part 10: Study n.27

Giorgio Serci teaches you how to play a wonderful fingerstyle guitar piece using voice leading ...

Giorgio Serci - Creative Fingerstyle Guitar Advancing Studies Part 9: Study n.26

Giorgio Serci teaches you a Samba inspired acoustic fingerstyle piece in this harmonically rich acoustic ...

Giorgio Serci - Creative Fingerstyle Guitar Advancing Studies Part 8: Study n.24

Learn how to play a solo acoustic guitar piece using quartal harmony in this fingerstyle ...

Giorgio Serci - Creative Fingerstyle Guitar Advancing Studies Part 7: Study n.23

Learn another amazing fingerstyle guitar composition using pedal tones and rhythmic displacement in this acoustic ...

Giorgio Serci - Creative Fingerstyle Guitar Advancing Studies Part 6: Study n.22

Giorgio Serci teaches another inventive and finger pleasing fingerstyle guitar study in this acoustic guitar ...

Giorgio Serci - Creative Fingerstyle Guitar Advancing Studies Part 5: Study n.21

This fingerstyle guitar study piece focuses on creative chord inversions. Giorgio Serci teaches this fingerstyle ...

Giorgio Serci - Creative Fingerstyle Guitar Advancing Studies Part 4: Study n.20

Join Giorgio Serci for another essential acoustic guitar study lesson, designed to take your fingerstyle ...

Giorgio Serci - Creative Fingerstyle Guitar Advancing Studies Part 3: Study n.19

Giorgio Serci teaches you an original fingerstyle solo guitar piece in ¾ time, in this ...

Giorgio Serci - Creative Fingerstyle Guitar Advancing Studies Part 2: Study n.18

Giorgio Serci teaches another great solo acoustic guitar study in this fingerstyle guitar lesson featuring ...

Giorgio Serci - Creative Fingerstyle Guitar Advancing Studies Part 1 - Study n.17

Learn how to play this acoustic guitar piece which uses chromatic descending bass lines in ...

You May Like

Andy James - Metal Edge Part 1: 10 Pentatonic Shred Licks

Andy James teaches 10 ground breaking fast pentatonic shred guitar licks in this metal guitar ...

Nick Jennison - Creating Drums On Acoustic Guitar

In this percussive acoustic guitar techniques lesson, Nick Jennison shows you how to emulate drums ...

Sam Bell - Extended Range Secrets Part 2: Seven String Guitar Approaches

Sam Bell continues our series of 7 string metal guitar lessons, stepping into the world ...

Nick Jennsion - Extended Range Secrets Part 1

Nick Jennison steps into the world of extended range guitars with this exclusive 7 string ...

Nick Jennison - An Introduction To Slide Guitar

Get started with slide guitar playing in this beginners guide to slide guitar with Nick ...

Giorgio Serci Creative Fingerstyle Guitar Inspirational Pieces Part 17: Englishman In New York

Learn how to play this amazing fingerstyle guitar arrangement of Englishman In New York by ...

Sam Bell Rhythm Guitar Concepts Part 11: Using Simple Syncopated Rhythm Parts In Arrangements

In this rhythm guitar lesson, Sam Bell shows you how to create space within your ...

Giorgio Serci Creative Fingerstyle Guitar Inspirational Pieces Part 18: Lullaby

Take this fingerstyle guitar lesson and learn how to play the beautiful solo classical guitar ...

Giorgio Serci Creative Fingerstyle Guitar Inspirational Pieces Part 16: Yesterday

Giorgio Serci teaches you how to play The Beatles classic Yesterday as a full fingerstyle ...

Sam Bell Rhythm Guitar Concepts Part 9: Chordal Tapping Extensions

Learn how to play the fundamentals of chordal tapping guitar techniques with this great guitar ...

Giorgio Serci Creative Fingerstyle Guitar Inspirational Pieces Part 15: The Lonely Man

Giorgio Serci teaches you how to play The Lonely Man for classical guitar; made famous ...

Danny Gill - Pentatonic Sequences That Can Be Used Anytime, Anywhere, And On Any Song Part 3

Rejuvenate your pentatonic guitar soloing with these great guitar exercises, sequences and routines in this ...

Chris Buck - Rock & Soul Part 5: Play With Repetition Part 2

Chris Buck presents you with more reasons to use repetition in your guitar solos as ...

Danny Gill - Pentatonic Sequences That Can Be Used Anytime, Anywhere, And On Any Song Part 2

Uncover some game changing pentatonic sequences and guitar licks with the help of Danny Gill ...

Giorgio Serci Creative Fingerstyle Guitar Inspirational Pieces Part 14 - Momentum (aka Matteo)

Giorgio Serci takes you through his fingerstyle guitar composition Momentum in this creative acoustic guitar ...

Sam Bell Rhythm Guitar Concepts Part 8: Using Triads To Create Melodic Movement Within A Part

Add a sense of melody and movement to your rhythm guitar parts using triads. In ...

Danny Gill - Pentatonic Sequences That Can Be Used Anytime, Anywhere, And On Any Song Part 1

Play more interesting pentatonic guitar licks and runs with the power of scale sequences. Danny ...

Giorgio Serci Creative Fingerstyle Guitar Inspirational Pieces Part 13: A Walk In The Park

The jazz influenced fingerstyle solo guitar piece A Walk In The Park is taught by ...

Sam Bell Rhythm Guitar Concepts Part 7: Spread Triads

Sam Bell gives you an insight into modern guitar chord voicings using spread triads to ...

1 2 3 18
Top magnifiercross linkedin facebook pinterest youtube rss twitter instagram facebook-blank rss-blank linkedin-blank pinterest youtube twitter instagram