Chapter One ; FOLK PROGRESSIONS onsider this the introductory chapter. Many of the terms used throughout this book will be Cc introduced here. The chapter focuses on open-position chords, folk-style progressions, and basic strumming and finger-picking patterns. Progression 1 is a Ima-Vma-IVma-limi (G-D-C-Ami) in the key of G. The suggested rhythm pattern is a classic folk strum that works in countless situations. Be sure to attack the downbeats with a downstroke and the upbeats with an upstroke. This strumming pattern translates to: down-down— up-up-down. ° fe aia Cry EEE a a a ee es = =| om. ry. sie Play times FEE, Progression 2 is an eight-bar progression that uses the same strumming pattern. The same chords (|, IV, V, and Imi) are also employed, but in a different order, and this time in the key of A major. cr a oy rl a a a a — a ‘ont hy simileProgression 3 is in a folk-tock vein. A sixteen-bar progression, it employs the Imi, blllma, Vm bvima, and Pviima (Emi, G, Ami, C, and D) chords in the key of E minor. The strumming pattern is @ driving, mostly eighth-note rhythm. Here's a tip for making a smooth transition to each new voicing On the last eighth note (and of 4) before the next chord, release your fretting fingers and strum any, oral of the top four open strings (high E, B, G, and D). This “secret strum” technique allows you time to get your fingers in position for the next voicing. As all four notes belong to the key of E minor, it's easy for the “ear” to accept this temporary open voicing. On Progression 4 calls to mind the “hootenanny” folk music popularized in the 1960s. In the Key of A minor, it utiizes the Imi, Pilima, Vmi, and bViIma chords (Ami, C, Emi, and G), and a IVma chord (D) borrowed from the parallel key of A major (modal interchange). Make sure you shuffle the eighth-note rhythms.Chapter 1 Progression 5 is a folk-rock example that revolves around the Ima (G) and the IVma (C) chords of G major. Notice how the Ima-VImi cadence (GEmi) established in the first four bars is reflected in the IVma-limi (C-Ami) moves in the subsequent measures. Be aware that this example employs a two-bar strumming pattern that “anticipates” the chord changes in measures 2, 4, 6, and 8. > +-m g En 2 = Ty = = = SSS SSS ne ami, Ge Ami, & : ; a rq a EE E po ao ides + B ‘ =a Progression 6 is a folk-ballad example employing barre-chord voicings. II's a modal-interchange progression that juggles chords from the parallel keys of A major (A, C#mi, Bmi, and D/F# chords), and A minor (G and F chords). It employs the same strumming pattern from the first two examples, but this time it's set against a half-time fee! from the rhythm section. Regarding those barre-chord voicings—for the utmost clarity, position your thumb (behind the neck) parallel to your index finger “bar,” and squeeze in a vice-like manner. For the D/F# chord, wrap your thumb up over the top of the neck to fret the low E string. cim S | Bmi OD tatrtimerea J = 126 A ps0 on ii at aa it Se = GFA ‘cont rh. sie Dirt or Gas TT | ee T= Thumb Progression 7 is in the style of the lush, folk-ballad arrangements of the 1960s. Don't overlook the subtle orchestration of this © major chord progression: A common-tone "G" unifies the changes in the first six measures (C, F2, Emi7/B, and Ami7), while “F” ties the Dmi7 and G7 chords in measures 7 and 8. Here's a tip for dealing with 6/8 time signatures at moderate tempos such as this: Treat the eighth notes like you would quarter notes (strum down), and the sixteenth notes as you would eighths (strum down-up).