Should you need a print-out of the song, PDF versions (without banners or adverts) are available from the link at the bottom of most song pages. To avoid large slow to load pages only the first page is displayed, in these cases you will need to DOWNLOAD the PDF file to all the song pages. Many of the song pages, particularly those including tablature, extend to several pages. Many of these song pages include playing hints and methods for the songs. Although primarily intended for guitar these chords should also be suitable for use with other instruments such as Ukulele or Banjo, the remainder of the songs identified by the "lyrics" suffix to the title provide lyrics only. They are being shared on this site for educational purposes only, please see our copyright page for more info.Ībout two thirds of these songs include Guitar Tablature and lyrics with chords marked. Some of these songs are in the public domain or traditional categories, however this cannot be guaranteed, and should you wish to use them as a basis of a performance or for any non-personal study purpose you are advised to contact the copyright holders (where available, copyright info has been included with the song).These transcriptions are made by many different individuals from all over the world for their own research and instruction, and as such are liable to great variation in in interpretation and opinion. Also the keys and chord sequences chosen may also vary considerably between versions by different artists. Although many of the songs mention artist names, this may not be accurate and these these songs should not be considered as definitive versions representative of any particular performance or artist. The nice thing about this type of arrangement is that it provides both melody and accompaniment.THE BLUES SONGS IN THIS SECTION are a mixture of traditional type songs commonly performed in the blues idiom. Notice how the open B and high E strings at the end of bar 1 conveniently facilitate a shift back down to first position.įinally, FIGURE 9 puts everything together into a Travis-picked 12-bar blues, with a three-note pickup leading into bar 1 of the progression. I begin by picking the sixth and third strings together then hammering on from D# to E on the third string, followed by a cascade of ringing notes played across the top four strings. FIGURE 8 is a Jerry Reed–style single-note phrase, played across bars 11 and 12. Notice that bar 2 includes both a hammer-on and a pull-off on the B string.įIGURE 6 shows the one-bar pattern we’ll use for the five chord, B7, and FIGURE 7 provides the one-bar version of A7 that falls in bar 10 of the progression. Here, the thumb alternates between the fifth and fourth strings while the fingers pick out notes on the top three strings, based around an open A7 chord shape. FIGURE 5 illustrates the two-bar pattern we’ll use for A7. We’ll use the patterns I’ve already shown you for the one chord, E7. In the key of E, the three chords used in a basic 12-bar blues are E7, A7 and B7, which are the one, four and five chords, respectively. Repeat this pattern until it feels comfortable and coordinated under your fingers, then tackle FIGURE 4, which is a two-bar phrase that includes the pattern introduced in bar 3 of FIGURE 2.Ī great way to use Travis picking is to apply it to a 12-bar blues progression. The phrase ends with the open high E note followed by a low G note on the sixth string, to which I apply a slight, quarter-step bend for a “swampy” effect.Ī useful practice technique is to take a one-bar pattern and loop it, as shown in FIGURE 3. This is followed by the “middle” E note on the fourth string’s second fret, picked with the thumb, after which I pick the open B string and hammer-on to the third-fret D note while thumb-picking the middle E note on the fourth string again, momentarily breaking the alternating octaves bass pattern. I begin bar 3 by simultaneously picking the outer strings with the thumb and middle finger, then pull off from the high G note on the first string’s third fret to the open note. The thumb and index finger then simultaneously pick the fourth and third strings, immediately followed by a hammer-on from the open G note to G# at the first fret, creating a bluesy sound. On beat two, the thumb picks the open low E string, followed immediately by a middle-finger pluck of the open B string. In FIGURE 2, I add melody notes on the higher strings, beginning in bar 2.
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