“But there’s another way to understand it. “We’ve been looking at DADGAD through the lens of our I, IV and V chords,” says Simpson. “By changing registers,” Simpson adds, “You’ll begin to realize what bass and melody each contribute to an arrangement.” Some fingerings will “click,” and you’ll quickly multiply your harmonic options. Here’s a tip: Whenever you discover a new DADGAD voicing, try shifting any note up or down an octave. The two minor seconds (F#-G and C#-D) lend a welcome clang to the otherwise straight-laced D major scale. For instance, if you keep your 3rd and 4th fingers planted on F# and C#, as indicated by the “hold” markings in FIGURE 4B, you’ll wind up with FIGURE 4C’s deliciously dissonant four-string cluster. ![]() This “park your fingers until needed elsewhere” technique creates a jangly harp-like effect. ![]() In the upper octave, played on the top four strings, he leaves his fingers on fretted notes long after they’re attacked. You can fill out D5, Gadd2 and A7sus4 using notes from this D major scale pattern.”Īs he plays FIGURE 4A, Simpson is careful to keep all the strings sustaining as long as possible. “The next step,” says Simpson, “is to ornament three ringing chords with scale-tone runs. In addition to opening your ears to the lush melodic and harmonic possibilities of DADGAD, this lesson’s exercises will invigorate your fingerstyle chops. ![]() Like a classical guitarist, Simpson uses his thumb ( p), index ( i), middle ( m) and ring ( a) fingers for chordal passages. Carefully follow the picking-hand fingering.
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