She Caught the Katy - The Melody Line.
She Caught the Katy - The Lesson explained
Here's part 2 of the "She Caught The Katy" lesson. The first was the rhythm part, this one incorporates the melody line into that rhythm part. For once, I just played this without too much refining and simplifying, so it's more of an improvisation than arrangement. You'll hear that I don't play the repeats the same way each time and that it's all much looser than the usual lessons I put together.
We're still in the key of A. You'll hear lesson 1, the rhythm part, fill the gaps in the melody line. There's nothing too difficult in this one, no big stretches or finger twists. The challenge with this kind of playing is keeping that underlying pulse going while switching back and forth between the various elements. The pulse is everything, without it there is no music. You can play all the bits and pieces perfectly but unless you can string them together in the 'pulseline' -- a new term I just coined -- there is no music. The converse is true too: you can play all the parts imperfectly but still be making great music so long as you can string them together in the pulseline.
I use an unusual V chord in this, the Eaug, E augmented. The 'augmented' suffix means that the 5 in the chord has been raised in pitch by a semitone. In the case of E, it means that the usual B tone in the chord has changed to C. That happened automatically when I added the melody note -- C -- to the underlying chord -- E.
There's a D# diminished 7th chord there and twice I take advantage of its symmetry (bars 13 and 29). By that I mean that the tones in a dim7th chord are -- for once-- spaced evenly ... they're all a minor third apart, or three frets. On a fret board, that means that you can move the shape (or shape fragments or single tones) up or down three frets in pitch and still be playing the same chord in a new inversion. (Taking that logic one step further, it means that in reality there are only 4 diminished 7th chords, not the usual 12.)
The percussive 'slap' comes into this version as it did in the rhythm lesson, although not as regularly. It adds a lot, I reckon.
I'll leave it at that for this one. As I mentioned before, this is more of an improvised part which I have tabbed out than a lesson, so going into too much detail seems pointless. The main thing to try and capture I think is the 'feel' of this, and that has to do with the flow, the pulse. Take whatever bits and pieces you like out of this and come up with your own way of interpreting the tune as a whole.
As always, make it fun. What's the point if you're not having fun?
Guitar Lesson by Kirk Lorange
As well as putting together these free 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.