Manual

F IN GE RS TY LE E NC OR ES
How to Work with AGW’s
You will work your way through the course by viewing lesson pages within this manual and then
clicking on various icons to open the video, audio and PowerTab files that are associated with
each individual lesson.
The following will describe the various icons and file types that you will encounter throughout
the course.
POWER TAB ICON - This icon indicates that there is a Power Tab file available (for
Windows users only). Power Tab allows you to "hear" and "see" the tablature played
out. You can also control the speed without effecting pitch. Power Tab is a very
powerful instructional tool and you'll want to make sure you install and become
familiar with Power Tab. Look in the Power Tab folder on this CD, review the "Read
Me" file and then click on the install file.
VIDEO ICON - This icon indicates that a lesson example video file is available. The
video files are "Flash" files and will play in the TrueFire instructional player. If you
do not have the latest version of Flash, please download it here.
here. The player offers
several useful controls like zoom, speed control and looping. Please review the
Player How To page for complete details and instructions. Click on the icon to play
the file.
MP3 ICON
MP3 ICON - This icon indicates that a lesson example audio file is available. The
audio is in MP3 format and will play in whatever your default MP3 player is. We like
Real Player because the current version allows you to view the player in "Tool Bar"
mode so that the player is always visible as you shuttle between course elements.
Click on the icon to play the file.
If you have any questions about this course, please feel free to contact us at [email protected] or call 1-800-222-3366
C O N T E N T S
CINCINNATI FLOW RAG
Session 1 - Review Complete Tab and Video

Session 2 - The Structure
Session 3 - Descending Ragtime Lick
Session 4 - The Turnaround
Session 5 - C Ragtime Lick
Session 6 - Turnaround
Turnaround Variation
Session 7 - G Chord Variation

Session 8 - C Variation
Session 9 - C and G Variation
Session 10 - Flatpick Riff
Session 11 - Bluegrass Run in C
Session 12 - Chromatic Lick
Session 13 - Jazzy Turnaround
Session 14 - Comical C Chord Lick
Session 15 - Diminished Ragtime Run
Session 16 - Chromatic Run - Fast
Session 17 - Chromatic Run - Slow
Session 18 - Chromatic Run Accents
Session 19 - Rounding Up
THE GLORY OF LOVE

Session 2 - Adding Interest with Pick and Strum Technique
Session 3 - Bars 7 and 8 Improvisational Link
Session 4 - Improvising Round the C Blues Scale
Session 5 - More Improvisation Licks
Session 6 - Using Dissonance
Session 7 - Another Great Lick to Learn
Session 8 - Turnaround
Turnaround Riff in C
Session 9 - Adding Interest by Varying the Turnaround
Session 10 - A Delta Turnaround
C O N T E N T S
THE GLORY OF LOVE
Session 11 - Using
Using the
the C Blu
Blues
es Scale to Turnaround
Session 12 - Introducing the Second Part of the Melody
Session 13 - Varying the Chord Inversion

Session 14 - Ragtime Chord Progression
Session 15 - Chord and Scale Variation
Session 16 - Putting all the Ideas Together
ST LOUIS BLUES

Session 2 - Chord Substitution
Session 3 - More Substitutions
Session 4 - Reviewing the Substitutions
Session 5 - Improvising the Main Melody
Session 6 - Substituting a Blues Riff for Main Melody
Session 7 - Train-Like Blues Riff

Session 8 - Reviewing the previous Riffs
Session 9 - Turnarounds and Variations
Session 10 - The Second Melody Theme
Session 11 - Dampened Bass and Sliding

Session 12 - Extended, up Tempo Version Using the Preceding Ideas
F IN GE RS TY LE E NC OR ES MAIN MENU
CINCINNATI FLOW RAG

Session 1 Tab and Notation
“Cincinatti Flow Rag” by Rev Gary Davis is a real

grandstand piece of ragtime in the key of C, as most
pieces of ragtime are. This is a long one, but it will repay
your diligence to get this one under your belt. Dig in and
enjoy this fast and furious fingerstyle blues ride.
Review the tab and video on the next six pages.
More Fingerstyle Blues?

If you’d like to know more about the tricks, licks and techniques
involved with Fingerstyle Blues you might want to check out the
Acoustic Guitar Workshop’s:
60 Day Fingerstyle Blues Camp
Details on line at:
http://truefire.com/agw/fsbnew.htm
Cincinnati Flow Rag
(continued)
(continued)
(continued)
(continued)
(continued)
POWERTAB PICK HAND VIDEO VIDEO
CINCINNATI FLOW RAG

Session 2 - The Structure
“Cincinnati Flow Rag” revolves round G and C with a

connecting turnaround. It’s a testament to the skill of
Gary Davis that he managed to pour so much invention
and compositional ingenuity into this apparently simple
structure.
If you haven’t come across it before note the C shape at
the fifth position (fret 5). It’s a classic and indispensable
ragtime chord.
CINCINNATI FLOW RAG

Session 3 - Descending R a
agtime
gtime Lick
In this descending lick in the C chord section, Rick uses a

dampened, percussive effect. This is achieved with the
fretting fingers by holding the chord shape at a slight
distance from the actual frets.
Session 4 - The Turnaround
In bars 14 and 15 we get our first go at the famous Gary

Davis ragtime turnaround.
You can play the turnaround as a kind of pick and strum,
or arpeggiate it if you prefer. Rick demonstrates both
ways on the video segment.

CINCINNATI FLOW RAG

Session 5 - C R a
agtime
gtime Lick
In bars 24 and 25 Rick demonstrates a classic descending

ragtime lick, which is used to great effect as a variation
to the C part.
This tune really does lick along at 220 bpm, so your
Powertab* should come in handy. Use it to slow down the
tricky bits to see and hear what’s going on.
*(Note to Mac users Tabledit has a Mac version of the software

which does more or less the same thing as Powertab. You’ll need
to select the tab in the Tab Midi folders for this)

POWERTAB
Session 6 - Turnaround Variation
In bars 31 to 33 there is a fantastic variation on the

turnaround that both ascends and descends the fretboard.

CINCINNATI FLOW RAG

Session 7 - G Chord Variation
The first variation to the G chord theme crops up in bars

35 to 39.
The G chord is played as a G7 inversion at the fifth
position (fifth fret).
Session 8 - C Variation
In bars 40 and 41 the C variation employs a trademark

Rev Gary Davis lick. Slow down the Powertab if you’re
having trouble with this one.
You’ll notice that Rick is using his little finger to play this
lick. This isn’t compulsory. Use whichever finger is
comfortable for you.
However, if you do use the little finger you can easily fall
into the chords again because the other fingers are
hanging there waiting to strike. And you do need to be
nimble because the piece goes at breakneck speed.
Having said all that, you should of course practise it slow
to begin with.

CINCINNATI FLOW RAG

Session 9 - C and G Variations
Bars 50 to 61 plays through variations on both the C and G

part. If you’ve played country before, you’ll recognise
some bluegrass licks in there.
Session 10 - Flatpick R iiff

ff
In bar 50 there’s a typical flatpick type riff, beloved by

country and bluegrass pickers. Pay attention to your left
hand fingering and try to maintain the shape of the G and
C chords while you’re doing it.
Session 11 - Bluegrass R u

unn in C
Joining the two riffs together is a bluegrass run in C with

hammer-ons and bends.
When you pull this off with panache and style, it’s a real
crowd pleaser
pleaser..

CINCINNATI FLOW RAG

Session 12 - Chromatic Lick
A great chromatic run appears in bar 72. It’s a great

technique that supplies a kind of respite from the main
themes.
Like every thing else with this tune it has to be played
super fast. But practise it slow. Only increase the pace
when your fingers aren’t falling over it anymore.
To play it accurately and fast it’s a good idea to keep the
fingers in their position in the boxes and it will help to
stress the first note in each 4 note sequence.
Session 13 - Jazzy Turnaround
Bars 78 to 81 is another variation to the turnaround. This

one is a typical jazz turnaround and uses the following
chord sequence, all sevenths:
F | Fsharp dim | C | A | D | G | C
Two seventh shapes are employed throughout the
turnaround and the trick is to maintain the shapes. The
video segment will make this clear.

CINCINNATI FLOW RAG

Session 14 - Comical C Chord Lick
Bar 88 gives you another break from the main themes

with a comical C chord lick.
Session 15 - Diminished R a

agtime
gtime R u
un
n
As we get to end of the piece the turnaround is repeated

several times and a great ragtime diminished run is
introduced in bar 101.
This is a descending lick and you’ll find it a lot easier to
play if you maintain the same fingering for each part of
the lick.
Session 16 - Chromatic R u

unn - Fast!
Towards the end from bars 103 to 105 Rick plays a fast
Djangoesque type chromatic run, starting on the open low
E and finishing on the C (5th fret of G string).

CINCINNATI FLOW RAG

unn - Slow!
Towards the end from bars 103 to 105 Rick plays a fast
Djangoesque type chromatic run, starting on the open low
E and finishing on the C (5th fret of G string).
In this video segment Rick plays it much slower. Notice
how his picking hand mimics a flatpick on this part and
goes down up, down up etc to play the run.

unn Accents
Make sure you put the accent, ie emphasise the first note
of each 4 note grouping.
Session 19 - Rounding Up
So that’s “Cincinnati Flow Rag”. A fair bit of homework

for you here! Bear in mind that you don’t have to follow
the order in the tab. You can break it up, switch it round,
do what you like with it really. Rick Payne plays it a
different way each time. The key is to get to grips with
the main themes and the turnarounds and you’re good to
go in whatever direction pleases you.The main thing is to
have fun playing it and it really is fun and very impressive
when you pull it off at speed.
THE GLORY OF LOVE

Session 1 Tab and Notation
“The Glory Of Love” by Big Bill Broonzy is a truly great

song. Be sure and review the audio in the mp3 folder. In
this session Rick plays a straightforward version as written
in the tab.
Review the tab and video on the next two pages.

Details on line at:
(continued)
THE GLORY OF LOVE

Session 2 - Pick and Strum
There are many ways to make this piece more interesting.

The pick and strum technique is an obvious one to look
at. Why pick and strum as opposed to a purer fingerstyle
technique? The answer is that pick and strum gives a
looser, rougher feel that is in keeping with the spirit of
the blues. This technique also pushes the rhythm and
gives it a dynamic edge.

THE GLORY OF LOVE

Session 3 - Improvisational Link
You should never lose sight of the fact that ragtime blues
is an improvisational art. Think of the tabs you come
across as starting points. If you really want to ‘own’ the
tune, you’re going to have to improvise and introduce
your own licks and chord variations. The first obvious
opportunity for improvisation in this tune occurs in bars 7
and 8.
Session 4 - Improvising with the C Blues Scale
A great way to improvise and come up with riffs is with a

blues scale. Since this piece is in the key of C, you’ll be
using the C Blues Scale. There’s Powertab here for a low
and high inversion of the scale. So plenty of notes to play
with and plenty of scope to improve your improvisational
abilities when it comes to playing ragtime guitar. Most
rags are in C, so the best tip we can give you is: get very
familiar with the C Blues scale in all its forms!
Low inversion POWERTAB PICK HAND VIDEO VIDEO
High inversion POWERTAB

THE GLORY OF LOVE

Session 5 - More Improvisation
Here’s a neat riff idea that starts on the 4th fret of the
2nd string (B String) and resolves very sweetly to the
G7 chord. You’ll need to pay close attention to both the
picking video and the PIP video which shows both hands
simultaneously.
Session 6 - The Artful use of Dissonance
You can define dissonance in music as playing notes

simultaneously or consecutively that don’t belong
together. Obviously dissonance is popular in modern
classical music, but it also can play a part in the blues. In
this case an E flat is played against an E natural.
Notice how this riff relies on speed to work. Indeed when
Rick plays it slow he falls over it the first time. If you look at
the picking hand video closely you’ll see that the index
finger mimics the movement of a flatpick or plectrum.
This is a great way to get the speed necessary to execute
the riff properly.

THE GLORY OF LOVE

Session 7 - A Lick at the Nut
Here’s another lick idea starting on the low C (3rd fret

5th string). It’s a typical kind of bluegrass run favoured by
flatpickers such as Tony Rice and Clarence White.
Session 8 - First Turnaround
The first turnaround of the piece happens in bars 9 and

10. Remember a turnaround is a linking passage of music
designed to be a bridge between verses. It can resolve
back to the key chord, or often the dominant (fifth)
chord. In C the key chord is, naturally, C and the
dominant is the G.
This turnaround resolves to the key chord of C, actually
C7. Pay attention to your picking hand. Striking the wrong
string will not give you the desired effect.

THE GLORY OF LOVE

Session 9 - Varying the Turnaround
Turnarounds are a fertile ground for variation. If you keep

playing the same turnaround all the time your playing will
most likely be a little boring. For example, if your tune
had several turnarounds in it, you could add spice and
interest by varying the turnaround each time.
Here is a variation that starts in the fifth position
resolving down to the standard C7 at the nut.
Session 10 - A Delta Turnaround
Here’s another almost Delta turnaround to try. This one

starts way up on the 8th fret and resolves to C in the fifth
position. One of the hallmarks of a good fingerstyle player
is his or her ability to use the entire fretboard and not
always be stranded with chords and shapes at the nut.

THE GLORY OF LOVE

Session 11 - Using the C Blues Scale to Turnaround
Another interesting turnaround to add to your arsenal!

This one neatly utilises part of the C Blues Scale, starting
on the 4th fret of the 2nd string (B string) and resolves to
the standard C7 chord.
Session 12 - Second part of the Melody
All the previous turnarounds can be used as a link to the

second part of the melody. Let’s remind ourselves of how
that goes in bars 11 and 12.
Session 13 - F Chord Inversion Trick
Once this part of the melody has been established, you

could try varying the inversion of the somewhat difficult F
chord at the nut. You will get a slightly brighter sound if
you voice the F chord in the fifth position. It’s also easier
to play than the bear that is F at the nut, or first
position.
PICK HAND VIDEO VIDEO
POWERTAB
THE GLORY OF LOVE

Session 14 - Ragtime Chord Progression
The Glory of Love has a fairly typical ragtime chord

progression. Let’s review that progession at this point. As
a general rule of thumb you should do this with all pieces
you want to learn. If you work out the basic chords and
the progression first you’ll find it much easier to add in
the fingerstyle bits later.
Session 15 - Where to Improvise?
Once you have established the progression and the tune,

you can begin to mess about with scale and chord
improvisations. In this video example you’ll see how you
can use the C Blues Scale instead of playing the actual
melody.
The truth is that as long as there is a logic musically to
what you’re doing, you can bend the blues and ragtime
form around any which way you like. And by doing so you
will find your own voice as a guitar player and not simply
be a carbon copy of someone else.

THE GLORY OF LOVE

Session 16 - Putting it Altogether
Let’s play an extended version of the tune using some of

the ideas that we have discussed. For the first time you
will hear and see the song being played up to speed. This
is the kind of tempo you will need to aim for. However,
never try and play quicker than you can. The speed will
come. Start slow and you will surely get there. Have fun!

ST LOUIS BLUES
Session 1 - Tab and Notation
“St Louis Blues” by W C Handy is a great improvisational

piece that has been covered by countless artists,
including old masters like Big Bill Broonzy and
contemporary pickers like Duck Baker.
Review the tab and video on the next two pages.

Details on line at:

ST LOUIS BLUES
Session 2 - Chord Substitutions
Here we look at how you can add interest and variety by

using chord substitutions. For example with these E7
inversions:

ST LOUIS BLUES
Session 3 - More Substitutions
Check out another useful chord substitution you can use,

including this E7 at the 10th fret:
Session 4 - Reviewing the Substitutions
Play from the beginning of the piece, using the chord

substitutions you looked at in sessions 2 and 3.

ST LOUIS BLUES
Session 5 - Improving R o
ound
und the Main Melody
Instead of playing the melody as tabbed, try experimenting

with a cool chromatic lick.
Please feel free to experiment with your own lick ideas. You’ll
need to know your E Blues and Em Pentatonic scales to do this:
E Blues Scale
E Minor Pentatonic Scale

ST LOUIS BLUES
Session 6 - Substituting a Bluesy R iiff
ff for Main Melody
Instead of playing the melody as written you could try

this classic blues figure which employs a dynamic bend
and vibrato at the third fret of the high E string. This is
derived from the E minor pentatonic scale.
Session 7 - Train-Like Blues R iiff

ff
Instead of the riff at the third fret, try incorporating this

train-like riff at the seventh fret. Again a heavy bend and
vibrato is required to achieve that classic blues sound.
Session 8 - Riff R e

eview
view
In fact you can use both the riff at the third fret and the
one you tried at the seventh fret in the last session. The
point of all this is to encourage you to foster an
improvisational approach to your playing. Stay loose and
free. After all, this isn’t Bach! It’s the Blues. A great
player would play this tune differently every night.

ST LOUIS BLUES
Session 9 - Turnarounds and Variations
One thing that sets a highly polished performance apart

from a humdrum one is an imaginative variation of the
turnarounds after each verse. After all, why play the
same one all the time? You’ll bore yourself and sure as
eggs is eggs, you’ll bore the pants off your audience. So
collect as many turnaround ideas as you can. There are
three in this video clip. You’ll find them in the powertab
for this session.
Session 10 - The Second Theme
In bars 13 and 14 the melody changes. Again, you can

play it as tabbed and it will sound just fine. But if you
play it several times within a performance, some
improvisation using the E Blues scale will be required to
relieve the monotony.

ST LOUIS BLUES
Session 11 - Dampening the Bass
For truly authentic acoustic blues playing, the bass strings

are generally dampened. To do this you rest the fleshy
part of your palm on the strings. You need to experiment
with the pressure. Too much and the notes will be choked
off entirely; too little and no dampening will take place.
Move your picking Rest the fleshy part The classic Clawhand
hand towards the of your palm on the playing position
strings at the angle strings with enough
shown above pressure to dampen
the notes
Session 12 - Putting it all Together
Here’s where we put all the tricks, licks,

improvisations and substitutions into one performance
that would go down pretty well at a gig.
So your mission is to learn the tab as written and as
soon as you’ve got this under your belt, chuck it out
and use the tricks you’ve learned here. Plus some,
hopefully, of your own devising. Have fun and
remember to play loose and free.

Manual

Uploaded by

Copyright:

Available Formats

Manual

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Manual

Uploaded by

Copyright:

Available Formats

F IN GE RS TY LE E NC OR ES

How to Work with AGW’s

CINCINNATI FLOW RAG

Session 1 - Review Complete Tab and Video

Session 7 - G Chord Variation

THE GLORY OF LOVE

Session 1 - Review Complete Tab and Video

THE GLORY OF LOVE

Session 13 - Varying the Chord Inversion

Session 1 - Review Complete Tab and Video

Session 6 - Substituting a Blues Riff for Main Melody

Session 7 - Train-Like Blues Riff

Session 11 - Dampened Bass and Sliding

CINCINNATI FLOW RAG

“Cincinatti Flow Rag” by Rev Gary Davis is a real

More Fingerstyle Blues?

Cincinnati Flow Rag

POWERTAB PICK HAND VIDEO VIDEO

CINCINNATI FLOW RAG

“Cincinnati Flow Rag” revolves round G and C with a

CINCINNATI FLOW RAG

In this descending lick in the C chord section, Rick uses a

POWERTAB PICK HAND VIDEO VIDEO

Session 4 - The Turnaround

In bars 14 and 15 we get our first go at the famous Gary

POWERTAB PICK HAND VIDEO VIDEO

CINCINNATI FLOW RAG

In bars 24 and 25 Rick demonstrates a classic descending

*(Note to Mac users Tabledit has a Mac version of the software

POWERTAB PICK HAND VIDEO VIDEO

Session 6 - Turnaround Variation

In bars 31 to 33 there is a fantastic variation on the

POWERTAB PICK HAND VIDEO VIDEO

CINCINNATI FLOW RAG

The first variation to the G chord theme crops up in bars

POWERTAB PICK HAND VIDEO VIDEO

In bars 40 and 41 the C variation employs a trademark

POWERTAB PICK HAND VIDEO VIDEO

CINCINNATI FLOW RAG

Bars 50 to 61 plays through variations on both the C and G

POWERTAB PICK HAND VIDEO VIDEO

Session 10 - Flatpick R iiff

In bar 50 there’s a typical flatpick type riff, beloved by

POWERTAB PICK HAND VIDEO VIDEO

Session 11 - Bluegrass R u

Joining the two riffs together is a bluegrass run in C with

POWERTAB PICK HAND VIDEO VIDEO

CINCINNATI FLOW RAG

A great chromatic run appears in bar 72. It’s a great

POWERTAB PICK HAND VIDEO VIDEO

Session 13 - Jazzy Turnaround

Bars 78 to 81 is another variation to the turnaround. This

POWERTAB PICK HAND VIDEO VIDEO

CINCINNATI FLOW RAG

Bar 88 gives you another break from the main themes

POWERTAB PICK HAND VIDEO VIDEO

Session 15 - Diminished R a

As we get to end of the piece the turnaround is repeated