Chords for Fingerstyle Jazz Guitar Lesson - Speed Rolls - Sean McGowan
Tempo:
124.9 bpm
Chords used:
D
G
E
F
F#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Another helpful technique that integrates the thumb along with the two fingers of the right hand, the index and middle fingers, is something that's called speed rolls.
Some people call these banjo rolls, but they're really effective, especially if you need to play a quicker scale.
As we've mentioned before, the thumb can play an important role not only in muting and shadowing the fingers of the right hand,
but also playing an active role by articulating the notes, especially on the low bass strings.
You can use it to create these nice three-note triplet patterns.
The way to do that is basically the combination will be thumb, index, middle.
There are a variety of ways or permutations that you can practice this.
You can start with the thumb and go P-I-M, or you can start with the thumb and go P-M-I.
I would recommend checking out both and seeing which one feels more comfortable and natural to you.
Sometimes it may be even helpful to start the roll with the middle, so now you're going backwards.
Middle, index, thumb, middle, index, thumb.
When you start this exercise, just start off playing an open string as indicated in your handout here.
The very first measure there just features triplet patterns on an open G string.
If you're going to isolate these three fingers, experiment starting the pattern with different fingers.
Maybe if I go middle, index, P, it'll be like this.
Middle, index, thumb, middle, index, thumb.
What you might find helpful to do is accent the first note of every triplet to keep your rhythm solid and keep your tone together.
You might just want to put a very subtle accent on the front of it.
Of course, you can start the permutation with the thumb as well.
If we did thumb followed by middle and then index, it would sound like this.
[F] Or I should say it would feel like that.
The goal is to have every permutation sound the same.
You don't want to have the tone compromised by your fingering combination.
You can also do this on two adjacent strings, such as the next measure in this example.
Now you're adding the D string.
It makes sense, because your thumb is lower than the fingers, to use the thumb for the open D string and then follow that up.
This is an example of probably where the P, M, I pattern would work really well.
You're starting off with the D string, [D] P, and [G] then M on the G string, I.
That's your three-note pattern.
[D]
Just gradually build up the speed.
[E] If you're playing this slower, you just want to notice that I muted out the D string so it's not ringing.
If you're playing it at a slower tempo.
[G]
As soon as I'm done plucking that D string, you notice that my thumb is muting it out there, so it's not just ringing.
[F] The tricky part is to add this technique to a scale pattern or a melodic pattern with the left hand.
It may be counterintuitive.
It may feel a little [G] strange at first, because your fingers are going in a particular direction as you move up.
It's going to be moving from this part of the hand to the back of the hand.
To play in that fashion, it may feel a little strange to do a motion with the right hand that's completely opposite of that.
That's why it's important to start off with the open string rolls and just really get that feeling on autopilot so you don't have to think about it.
Once you do that, you can apply these speed rolls to the three-note per string scale patterns, if you know any of those.
It sounds just as fluid as you would with using the I and M, but you can actually get a lot more speed.
[F#] [Em]
[D]
[Am] [E] [F#] It's effortless.
You just get the feel of rolling across each individual string.
Also, to keep it clean, simultaneously muting out the lower strings with your left hand thumb.
Check those out.
Once you can move across the strings using your typical scale patterns, then you can integrate this concept using hammer-ons and pull-offs.
To my ears, it might sound like something a saxophonist might do for a little [Am] run.
[C#]
[D] Get these [E] nice little flourishes.
[F] [G] [E] [B]
[Em]
Some people call these banjo rolls, but they're really effective, especially if you need to play a quicker scale.
As we've mentioned before, the thumb can play an important role not only in muting and shadowing the fingers of the right hand,
but also playing an active role by articulating the notes, especially on the low bass strings.
You can use it to create these nice three-note triplet patterns.
The way to do that is basically the combination will be thumb, index, middle.
There are a variety of ways or permutations that you can practice this.
You can start with the thumb and go P-I-M, or you can start with the thumb and go P-M-I.
I would recommend checking out both and seeing which one feels more comfortable and natural to you.
Sometimes it may be even helpful to start the roll with the middle, so now you're going backwards.
Middle, index, thumb, middle, index, thumb.
When you start this exercise, just start off playing an open string as indicated in your handout here.
The very first measure there just features triplet patterns on an open G string.
If you're going to isolate these three fingers, experiment starting the pattern with different fingers.
Maybe if I go middle, index, P, it'll be like this.
Middle, index, thumb, middle, index, thumb.
What you might find helpful to do is accent the first note of every triplet to keep your rhythm solid and keep your tone together.
You might just want to put a very subtle accent on the front of it.
Of course, you can start the permutation with the thumb as well.
If we did thumb followed by middle and then index, it would sound like this.
[F] Or I should say it would feel like that.
The goal is to have every permutation sound the same.
You don't want to have the tone compromised by your fingering combination.
You can also do this on two adjacent strings, such as the next measure in this example.
Now you're adding the D string.
It makes sense, because your thumb is lower than the fingers, to use the thumb for the open D string and then follow that up.
This is an example of probably where the P, M, I pattern would work really well.
You're starting off with the D string, [D] P, and [G] then M on the G string, I.
That's your three-note pattern.
[D]
Just gradually build up the speed.
[E] If you're playing this slower, you just want to notice that I muted out the D string so it's not ringing.
If you're playing it at a slower tempo.
[G]
As soon as I'm done plucking that D string, you notice that my thumb is muting it out there, so it's not just ringing.
[F] The tricky part is to add this technique to a scale pattern or a melodic pattern with the left hand.
It may be counterintuitive.
It may feel a little [G] strange at first, because your fingers are going in a particular direction as you move up.
It's going to be moving from this part of the hand to the back of the hand.
To play in that fashion, it may feel a little strange to do a motion with the right hand that's completely opposite of that.
That's why it's important to start off with the open string rolls and just really get that feeling on autopilot so you don't have to think about it.
Once you do that, you can apply these speed rolls to the three-note per string scale patterns, if you know any of those.
It sounds just as fluid as you would with using the I and M, but you can actually get a lot more speed.
[F#] [Em]
[D]
[Am] [E] [F#] It's effortless.
You just get the feel of rolling across each individual string.
Also, to keep it clean, simultaneously muting out the lower strings with your left hand thumb.
Check those out.
Once you can move across the strings using your typical scale patterns, then you can integrate this concept using hammer-ons and pull-offs.
To my ears, it might sound like something a saxophonist might do for a little [Am] run.
[C#]
[D] Get these [E] nice little flourishes.
[F] [G] [E] [B]
[Em]
Key:
D
G
E
F
F#
D
G
E
_ _ _ _ _ _ _ _
_ _ _ Another helpful technique that integrates the thumb along with the two fingers of the right hand, the index and middle fingers, is something that's called speed rolls.
Some people call these banjo rolls, but they're really effective, especially if you need to play a quicker scale.
As we've mentioned before, the thumb can play an important role not only in muting and shadowing the fingers of the right hand,
but also playing an active role by articulating the notes, especially on the low bass strings.
You can use it to create these nice three-note triplet patterns.
_ The way to do that is basically the combination will be thumb, index, middle.
There are a variety of ways or permutations that you can practice this.
You can start with the thumb and go P-I-M, or you can start with the thumb and go P-M-I.
I would recommend _ checking out both and seeing which one feels more comfortable and natural to you.
_ _ _ Sometimes it may be even helpful to start the roll with the middle, so now you're going backwards.
Middle, index, thumb, middle, index, thumb.
_ _ When you start this exercise, just start off playing an open string as indicated in your handout here.
The very first measure there just features triplet patterns on an open G string.
_ If you're going to isolate these three fingers, experiment starting the pattern with different fingers.
Maybe if I go middle, index, P, it'll be like this.
_ _ Middle, index, thumb, middle, index, thumb. _ _ _ _ _ _
What you might find helpful to do is accent the first note of every triplet to keep your rhythm solid and keep your tone together.
You might just want to put a very subtle accent on the front of it. _ _
_ _ _ _ _ _ _ _
_ _ Of course, you can start the permutation with the thumb as well.
If we did thumb followed by middle and then index, it would sound like this. _ _ _ _
_ _ _ [F] Or I should say it would feel like that.
The goal is to have every permutation sound the same.
You don't want to have the tone compromised by your fingering combination.
_ You can also do this on two adjacent strings, such as the next measure in this example.
Now you're adding the D string. _
It makes sense, because your thumb is lower than the fingers, to use the thumb for the open D string and then follow that up.
This is an example of probably where the P, M, I pattern would work really well.
You're starting off with the D string, [D] P, and [G] then M on the G string, I.
That's your three-note pattern. _
_ _ _ _ _ _ [D] _ _
_ _ _ _ Just gradually build up the speed.
_ _ _ [E] If you're playing this slower, you just want to notice that I muted out the D string so it's not ringing.
If you're playing it at a slower tempo.
[G] _ _ _ _
_ _ _ _ As soon as I'm done plucking that D string, you notice that my thumb is muting it out there, so it's not just ringing.
_ [F] The tricky part is to add this technique to a scale pattern or a melodic pattern with the left hand.
_ _ _ It may be counterintuitive.
It may feel a little [G] strange at first, because your fingers are going in a particular direction as you move up.
It's going to be moving from this part of the hand to the back of the hand. _ _ _ _ _
_ To play in that fashion, _ it may feel a little strange to do a motion with the right hand that's completely opposite of that.
That's why it's important to start off with the open string rolls and just really get that feeling on autopilot so you don't have to think about it.
Once you do that, you can apply these speed rolls to the three-note per string scale patterns, if you know any of those. _ _ _ _ _ _
_ _ It sounds just as fluid as you would with using the I and M, but you can actually get a lot more speed.
_ _ [F#] _ _ _ _ [Em] _
_ _ _ _ _ [D] _ _ _
[Am] _ [E] _ _ _ _ _ [F#] It's effortless.
You just get the feel of rolling across each individual string.
Also, to keep it clean, simultaneously muting out the lower strings with your left hand thumb.
Check those out.
_ _ Once you _ can move across the strings using your typical scale patterns, then you can integrate this concept _ _ _ using hammer-ons and pull-offs. _ _ _ _
To my ears, it might sound like something a _ saxophonist might do for a little [Am] run.
_ _ _ [C#] _
_ _ _ _ [D] _ Get these [E] nice little flourishes.
_ _ _ [F] _ _ [G] _ _ _ _ _ _ [E] _ _ _ [B] _
_ _ _ [Em] _ _ _ _ _
_ _ _ Another helpful technique that integrates the thumb along with the two fingers of the right hand, the index and middle fingers, is something that's called speed rolls.
Some people call these banjo rolls, but they're really effective, especially if you need to play a quicker scale.
As we've mentioned before, the thumb can play an important role not only in muting and shadowing the fingers of the right hand,
but also playing an active role by articulating the notes, especially on the low bass strings.
You can use it to create these nice three-note triplet patterns.
_ The way to do that is basically the combination will be thumb, index, middle.
There are a variety of ways or permutations that you can practice this.
You can start with the thumb and go P-I-M, or you can start with the thumb and go P-M-I.
I would recommend _ checking out both and seeing which one feels more comfortable and natural to you.
_ _ _ Sometimes it may be even helpful to start the roll with the middle, so now you're going backwards.
Middle, index, thumb, middle, index, thumb.
_ _ When you start this exercise, just start off playing an open string as indicated in your handout here.
The very first measure there just features triplet patterns on an open G string.
_ If you're going to isolate these three fingers, experiment starting the pattern with different fingers.
Maybe if I go middle, index, P, it'll be like this.
_ _ Middle, index, thumb, middle, index, thumb. _ _ _ _ _ _
What you might find helpful to do is accent the first note of every triplet to keep your rhythm solid and keep your tone together.
You might just want to put a very subtle accent on the front of it. _ _
_ _ _ _ _ _ _ _
_ _ Of course, you can start the permutation with the thumb as well.
If we did thumb followed by middle and then index, it would sound like this. _ _ _ _
_ _ _ [F] Or I should say it would feel like that.
The goal is to have every permutation sound the same.
You don't want to have the tone compromised by your fingering combination.
_ You can also do this on two adjacent strings, such as the next measure in this example.
Now you're adding the D string. _
It makes sense, because your thumb is lower than the fingers, to use the thumb for the open D string and then follow that up.
This is an example of probably where the P, M, I pattern would work really well.
You're starting off with the D string, [D] P, and [G] then M on the G string, I.
That's your three-note pattern. _
_ _ _ _ _ _ [D] _ _
_ _ _ _ Just gradually build up the speed.
_ _ _ [E] If you're playing this slower, you just want to notice that I muted out the D string so it's not ringing.
If you're playing it at a slower tempo.
[G] _ _ _ _
_ _ _ _ As soon as I'm done plucking that D string, you notice that my thumb is muting it out there, so it's not just ringing.
_ [F] The tricky part is to add this technique to a scale pattern or a melodic pattern with the left hand.
_ _ _ It may be counterintuitive.
It may feel a little [G] strange at first, because your fingers are going in a particular direction as you move up.
It's going to be moving from this part of the hand to the back of the hand. _ _ _ _ _
_ To play in that fashion, _ it may feel a little strange to do a motion with the right hand that's completely opposite of that.
That's why it's important to start off with the open string rolls and just really get that feeling on autopilot so you don't have to think about it.
Once you do that, you can apply these speed rolls to the three-note per string scale patterns, if you know any of those. _ _ _ _ _ _
_ _ It sounds just as fluid as you would with using the I and M, but you can actually get a lot more speed.
_ _ [F#] _ _ _ _ [Em] _
_ _ _ _ _ [D] _ _ _
[Am] _ [E] _ _ _ _ _ [F#] It's effortless.
You just get the feel of rolling across each individual string.
Also, to keep it clean, simultaneously muting out the lower strings with your left hand thumb.
Check those out.
_ _ Once you _ can move across the strings using your typical scale patterns, then you can integrate this concept _ _ _ using hammer-ons and pull-offs. _ _ _ _
To my ears, it might sound like something a _ saxophonist might do for a little [Am] run.
_ _ _ [C#] _
_ _ _ _ [D] _ Get these [E] nice little flourishes.
_ _ _ [F] _ _ [G] _ _ _ _ _ _ [E] _ _ _ [B] _
_ _ _ [Em] _ _ _ _ _