Chords for Ulli's Tutorial - "Right Here Waiting for You" | Lesson 2/3
Tempo:
116.75 bpm
Chords used:
G
C
D
Am
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Hello and welcome to lesson number two of my fingerstyle guitar arrangement of Richard Marx, right here waiting for you.
In the first lesson, we concentrated on the melody.
Our task in lesson number two is to add more voices in order to create a fingerstyle solo guitar arrangement.
But before we go ahead, we have to talk about tone and dynamics.
If you want to play a melody very expressively, turn your right hand a little and try to stretch index and middle finger.
After plucking the string, the finger rests on the adjacent string.
[Em]
Let's play the melody of Right Here Waiting once again using this Apoyannu technique.
One and two.
[G]
[E] [C] [D]
[G] [C] [B] [G]
[D]
[Em] [C]
Now [D] [G] [D]
[C] [G]
let's talk about the [Eb] bassline.
First step is to add the root basses according to the melody.
I extract these basses from the harmonies used by Richard Marx, [C] which are C [G] major, G major, [Am] A minor, [F] F major [G] and G major again.
If you would sing the song, you would pick these chords in the pattern position for accompaniment.
In the pattern position, your thumb is responsible for the bass [D] strings,
while the index finger [G] plucks the G string, your middle finger the B string and your ring finger the E string.
[C]
[G]
[Am] [F] [G]
[C]
[G] [A] [Am]
[F] [G]
[C]
For our purposes, we extract only the root basses, which are C from C major, [G] G from G major, [A] A from A minor, F and G.
[G]
Since we need the third finger for playing the basses, we have to change the fingering of our left hand.
The fourth finger starts the melody on the third fret on the E string.
[B]
One and two and three and [C] four and one and two.
[G]
[A]
[Am] [F]
[C] [G] [C]
[G]
[C] [Am] [D]
[F] [C] [Em] [C]
The bassline sounds much more interesting if we exchange the note G [B] in the second bar with a B.
The note B is [G] part of the G major harmony [Ab] because it is the third related to the G.
One and two [C] and three and four and one and two.
[Bm] [Am]
[D] [F]
[C] [G]
Now we have two voices, the melody on top and the root basses at the [C] bottom.
Our next task is to fill in more notes that fit harmonically.
To defer them from melody and bass, let us call them simply filling notes.
To keep the melody standing out clearly, we have to talk about an important issue,
which marks the difference between playing an exercise and playing music.
This topic is called dynamics.
We have to pick these filling notes much softer than the melody notes.
And please note, since we need the first finger to pluck the G string,
the fingering for the right hand has changed in bar one and two.
Three and four and one and three [Bm] and four and one and three and [Am] four and [D]
[Dm] [C] [G] [C] one.
[Bm] It [Am] [D]
[F] [G]
is a principle in music that our ear perceives the highest note of a chord the best.
For this reason the melody notes should always be on top.
Below the melody notes we can play more filling notes, which do not interfere with the melody line.
The fingering gets more tricky, because we have to combine the pattern position with the alternating fingering.
Fortunately, we play a relatively [Gb] slow ballad, so we can cope with it.
One and two and three [Eb] and four [C] and
[Bm]
[C] [D]
[Dm] [G] [C]
[Bm]
[Em] [C] [D]
[G]
In the first lesson, we concentrated on the melody.
Our task in lesson number two is to add more voices in order to create a fingerstyle solo guitar arrangement.
But before we go ahead, we have to talk about tone and dynamics.
If you want to play a melody very expressively, turn your right hand a little and try to stretch index and middle finger.
After plucking the string, the finger rests on the adjacent string.
[Em]
Let's play the melody of Right Here Waiting once again using this Apoyannu technique.
One and two.
[G]
[E] [C] [D]
[G] [C] [B] [G]
[D]
[Em] [C]
Now [D] [G] [D]
[C] [G]
let's talk about the [Eb] bassline.
First step is to add the root basses according to the melody.
I extract these basses from the harmonies used by Richard Marx, [C] which are C [G] major, G major, [Am] A minor, [F] F major [G] and G major again.
If you would sing the song, you would pick these chords in the pattern position for accompaniment.
In the pattern position, your thumb is responsible for the bass [D] strings,
while the index finger [G] plucks the G string, your middle finger the B string and your ring finger the E string.
[C]
[G]
[Am] [F] [G]
[C]
[G] [A] [Am]
[F] [G]
[C]
For our purposes, we extract only the root basses, which are C from C major, [G] G from G major, [A] A from A minor, F and G.
[G]
Since we need the third finger for playing the basses, we have to change the fingering of our left hand.
The fourth finger starts the melody on the third fret on the E string.
[B]
One and two and three and [C] four and one and two.
[G]
[A]
[Am] [F]
[C] [G] [C]
[G]
[C] [Am] [D]
[F] [C] [Em] [C]
The bassline sounds much more interesting if we exchange the note G [B] in the second bar with a B.
The note B is [G] part of the G major harmony [Ab] because it is the third related to the G.
One and two [C] and three and four and one and two.
[Bm] [Am]
[D] [F]
[C] [G]
Now we have two voices, the melody on top and the root basses at the [C] bottom.
Our next task is to fill in more notes that fit harmonically.
To defer them from melody and bass, let us call them simply filling notes.
To keep the melody standing out clearly, we have to talk about an important issue,
which marks the difference between playing an exercise and playing music.
This topic is called dynamics.
We have to pick these filling notes much softer than the melody notes.
And please note, since we need the first finger to pluck the G string,
the fingering for the right hand has changed in bar one and two.
Three and four and one and three [Bm] and four and one and three and [Am] four and [D]
[Dm] [C] [G] [C] one.
[Bm] It [Am] [D]
[F] [G]
is a principle in music that our ear perceives the highest note of a chord the best.
For this reason the melody notes should always be on top.
Below the melody notes we can play more filling notes, which do not interfere with the melody line.
The fingering gets more tricky, because we have to combine the pattern position with the alternating fingering.
Fortunately, we play a relatively [Gb] slow ballad, so we can cope with it.
One and two and three [Eb] and four [C] and
[Bm]
[C] [D]
[Dm] [G] [C]
[Bm]
[Em] [C] [D]
[G]
Key:
G
C
D
Am
F
G
C
D
_ Hello and welcome to lesson number two of my fingerstyle guitar arrangement of Richard Marx, right here waiting for you.
In the first lesson, we concentrated on the melody.
Our task in lesson number two is to add more voices in order to create a fingerstyle solo guitar arrangement.
_ But before we go ahead, we have to talk about tone and dynamics.
If you want to play a melody very expressively, turn your right hand a little and try to stretch index and middle finger. _
_ _ _ _ _ _ _ _
After plucking the string, the finger rests _ on the adjacent string. _ _ _
_ _ [Em] _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ Let's play the melody of Right Here Waiting once again using this Apoyannu technique.
_ One and two. _ _
_ [G] _ _ _ _ _ _ _
[E] _ _ _ [C] _ _ _ [D] _ _
[G] _ _ _ [C] _ _ [B] _ _ [G] _
_ _ _ _ [D] _ _ _ _
_ _ _ [Em] _ _ _ _ [C] _
Now [D] _ _ [G] _ _ [D] _ _
[C] _ _ _ [G] _ _ _ _ _
_ _ _ _ _ _ let's talk about the [Eb] bassline.
_ First step is to add the root basses according to the melody.
I extract these basses from the harmonies used by Richard Marx, [C] which are C [G] major, G major, [Am] A minor, [F] F major [G] and G major again. _ _
If you would sing the song, you would pick these chords in the pattern position for accompaniment.
In the pattern position, your thumb is responsible for the bass [D] strings,
while the index finger [G] plucks the G string, your middle finger the B string and your ring finger the E string. _
_ _ _ [C] _ _ _ _ _
_ _ [G] _ _ _ _ _ _
[Am] _ _ _ _ _ [F] _ _ [G] _
_ _ [C] _ _ _ _ _ _
[G] _ _ _ _ _ [A] _ _ [Am] _
_ _ [F] _ _ _ [G] _ _ _
[C] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _
For our purposes, we extract only the root basses, which are C from C major, [G] G from G major, [A] A from A minor, F and G.
_ [G] _ _ _
Since we need the third finger for playing the basses, we have to change the fingering of our left hand.
The fourth finger starts the melody on the third fret on the E string.
[B] _ _ _
_ One and two and three and [C] four and one and two.
_ _ [G] _
_ _ _ _ _ _ [A] _ _
_ [Am] _ _ _ _ [F] _ _ _
[C] _ _ [G] _ _ _ [C] _ _ _
_ _ _ [G] _ _ _ _ _
[C] _ _ [Am] _ _ _ _ [D] _ _
[F] _ _ _ [C] _ _ [Em] _ _ [C] _
_ _ _ _ _ _ _ _
_ _ _ _ _ The bassline sounds much more interesting if we exchange the note G [B] in the second bar with a B.
_ The note B is [G] part of the G major harmony _ [Ab] because it is the third related to the G. _ _ _
_ _ One and two [C] and three and four and one and two. _ _ _
[Bm] _ _ _ _ _ _ [Am] _ _
_ _ _ [D] _ _ [F] _ _ _
[C] _ _ _ [G] _ _ _ _ _
_ _ _ _ _ _ _ _
_ Now we have two voices, the melody on top and the root basses at the [C] bottom.
Our next task is to fill in more notes that fit harmonically.
To defer them from melody and bass, let us call them simply filling notes.
_ To keep the melody standing out clearly, we have to talk about an important issue,
which marks the difference between playing an exercise and playing music.
_ _ This topic is called dynamics.
_ _ We have to pick these filling notes much softer than the melody notes. _
_ And please note, since we need the first finger to pluck the G string,
the fingering for the right hand has changed in bar one and two. _ _ _ _
Three and four and one _ and three [Bm] and four and one and three and [Am] four and _ _ _ [D] _ _ _
[Dm] _ _ [C] _ _ [G] _ [C] one. _
_ _ _ [Bm] _ _ _ It _ _ [Am] _ _ _ _ [D] _ _
[F] _ _ _ [G] _ _ _ _ _
_ _ _ _ _ _ _ _
is a principle in music that our ear perceives the highest note of a chord the best. _
_ For this reason the melody notes should always be on top.
_ Below the melody notes we can play more filling notes, which do not interfere with the melody line.
_ The fingering gets more tricky, because we have to combine the pattern position with the alternating fingering.
_ Fortunately, we play a relatively [Gb] slow ballad, so we can cope with it. _ _
_ _ _ One and two and three [Eb] and four [C] and_ _ _ _ _
_ [Bm] _ _ _ _ _ _ _
_ _ [C] _ _ _ [D] _ _ _
[Dm] _ _ [G] _ _ _ _ [C] _ _
_ _ _ [Bm] _ _ _ _ _
[Em] _ _ _ _ _ [C] _ _ [D] _
_ _ _ [G] _ _ _ _ _
_ _ _ _ _ _ _ _
In the first lesson, we concentrated on the melody.
Our task in lesson number two is to add more voices in order to create a fingerstyle solo guitar arrangement.
_ But before we go ahead, we have to talk about tone and dynamics.
If you want to play a melody very expressively, turn your right hand a little and try to stretch index and middle finger. _
_ _ _ _ _ _ _ _
After plucking the string, the finger rests _ on the adjacent string. _ _ _
_ _ [Em] _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ Let's play the melody of Right Here Waiting once again using this Apoyannu technique.
_ One and two. _ _
_ [G] _ _ _ _ _ _ _
[E] _ _ _ [C] _ _ _ [D] _ _
[G] _ _ _ [C] _ _ [B] _ _ [G] _
_ _ _ _ [D] _ _ _ _
_ _ _ [Em] _ _ _ _ [C] _
Now [D] _ _ [G] _ _ [D] _ _
[C] _ _ _ [G] _ _ _ _ _
_ _ _ _ _ _ let's talk about the [Eb] bassline.
_ First step is to add the root basses according to the melody.
I extract these basses from the harmonies used by Richard Marx, [C] which are C [G] major, G major, [Am] A minor, [F] F major [G] and G major again. _ _
If you would sing the song, you would pick these chords in the pattern position for accompaniment.
In the pattern position, your thumb is responsible for the bass [D] strings,
while the index finger [G] plucks the G string, your middle finger the B string and your ring finger the E string. _
_ _ _ [C] _ _ _ _ _
_ _ [G] _ _ _ _ _ _
[Am] _ _ _ _ _ [F] _ _ [G] _
_ _ [C] _ _ _ _ _ _
[G] _ _ _ _ _ [A] _ _ [Am] _
_ _ [F] _ _ _ [G] _ _ _
[C] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _
For our purposes, we extract only the root basses, which are C from C major, [G] G from G major, [A] A from A minor, F and G.
_ [G] _ _ _
Since we need the third finger for playing the basses, we have to change the fingering of our left hand.
The fourth finger starts the melody on the third fret on the E string.
[B] _ _ _
_ One and two and three and [C] four and one and two.
_ _ [G] _
_ _ _ _ _ _ [A] _ _
_ [Am] _ _ _ _ [F] _ _ _
[C] _ _ [G] _ _ _ [C] _ _ _
_ _ _ [G] _ _ _ _ _
[C] _ _ [Am] _ _ _ _ [D] _ _
[F] _ _ _ [C] _ _ [Em] _ _ [C] _
_ _ _ _ _ _ _ _
_ _ _ _ _ The bassline sounds much more interesting if we exchange the note G [B] in the second bar with a B.
_ The note B is [G] part of the G major harmony _ [Ab] because it is the third related to the G. _ _ _
_ _ One and two [C] and three and four and one and two. _ _ _
[Bm] _ _ _ _ _ _ [Am] _ _
_ _ _ [D] _ _ [F] _ _ _
[C] _ _ _ [G] _ _ _ _ _
_ _ _ _ _ _ _ _
_ Now we have two voices, the melody on top and the root basses at the [C] bottom.
Our next task is to fill in more notes that fit harmonically.
To defer them from melody and bass, let us call them simply filling notes.
_ To keep the melody standing out clearly, we have to talk about an important issue,
which marks the difference between playing an exercise and playing music.
_ _ This topic is called dynamics.
_ _ We have to pick these filling notes much softer than the melody notes. _
_ And please note, since we need the first finger to pluck the G string,
the fingering for the right hand has changed in bar one and two. _ _ _ _
Three and four and one _ and three [Bm] and four and one and three and [Am] four and _ _ _ [D] _ _ _
[Dm] _ _ [C] _ _ [G] _ [C] one. _
_ _ _ [Bm] _ _ _ It _ _ [Am] _ _ _ _ [D] _ _
[F] _ _ _ [G] _ _ _ _ _
_ _ _ _ _ _ _ _
is a principle in music that our ear perceives the highest note of a chord the best. _
_ For this reason the melody notes should always be on top.
_ Below the melody notes we can play more filling notes, which do not interfere with the melody line.
_ The fingering gets more tricky, because we have to combine the pattern position with the alternating fingering.
_ Fortunately, we play a relatively [Gb] slow ballad, so we can cope with it. _ _
_ _ _ One and two and three [Eb] and four [C] and_ _ _ _ _
_ [Bm] _ _ _ _ _ _ _
_ _ [C] _ _ _ [D] _ _ _
[Dm] _ _ [G] _ _ _ _ [C] _ _
_ _ _ [Bm] _ _ _ _ _
[Em] _ _ _ _ _ [C] _ _ [D] _
_ _ _ [G] _ _ _ _ _
_ _ _ _ _ _ _ _