Jesu, Joy of Man's Desiring - A Fingerstyle Lesson (Part 2)
Guitar Lesson by Kirk Lorange
Difficulty Rating: Intermediate-Advanced
As well as putting together these fingerstyle guitar lessons, I am also the author of PlaneTalk - The Truly Totally Different Guitar Instruction Package, which teaches a mindset, a way of thinking about music and a way of tracking it all on the guitar fretboard. Yes, there IS a constant down there in the maze of strings and fret wire, a landmark that points to everything at all times. I call it The Easiest Yet Most Powerful Guitar Lesson You Will Ever Learn and many testimonials at my site will back up that rather superlative description. If your goal as a guitar player is to be able to truly PLAY the guitar, not just learn by rote; to be able to invent on the fly, not memorize every note; to be able to see the WHOLE fretboard as friendly, familiar territory, not just the first 5 frets and to do it all without thinking about all those scales and modes, then you should read more here.
Part 2 is a little trickier than Part 1. Instead of just doing a melody line/bass line arrangement, I've made this more of an arpeggio picking type of thing. Have a listen and you'll hear what I mean.
Before I go into it: the video looks darker than usual for the simple reason that I forgot to turn on my bright flood lamps. I usually send 1500 watts up into the white ceiling and walls to brighten everything up for the cameras. I guess I'm just losing my marbles, but I was halfway through editing the video for this when I realized my goof. I didn't have the heart to start all over again.
You'll hear me playing the three G chords that end the verse section in part I, then I launch into the bridge section. (there is in fact a line that fits into that space but I left it out so your brain and fingers can prepare for part II). This is a simple as I could keep it and still retain the flavor. This section consists of the same sort of melody/bass lines as part I, but sandwiched between those parts are a couple of picked eight notes that keep popping into existence. Most are just part of the underlying chord shapes, but a couple of them are a little trickier. You soon find out which. That applies to the top and tail of this section ... in the middle, over the D7, there's a stand-alone section that breaks the pattern. It starts out as single notes, then becomes double stops, then goes back to single notes. Those double stops will need a few run-throughs at least to get them to flow -- at least they did for me -- but they're fun to do once you get them. If you prefer, you can leave those harmony notes out and just play the top line.
There's another little speedbump at bar 11 where the timing and the fingering do weird little crinkle into bar 12 ... you'll notice that the B notes are played on the open 2nd string, but the in-between note, a C, is played on the 3rd string. Not the most natural of moves and it will take a bit of convincing for your fingers to do it. You can just play the C on the 2nd string, but it doesn't flow quite as nicely as the way I did it here, and flow is everything.
Other than that, not much to say. You'll hear me start up Part 1 again at the end.
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