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ACOUSTIC GUITAR 017: Folk Fingerpicking Patterns - Vol. 1

Posted by Andrew Wasson Sunday, January 28, 2018

Acoustic Guitar 017:

Folk Fingerpicking Patterns - Vol. 1...

The first volume of this two-volume lesson plan explores some of the important basics that are involved with performing folk fingerpicked guitar patterns.

Vol. 1 breaks down how to play various fingerstyle sequences using; open position chords, moveable arpeggiated patterns, double-plucked 16th-note ideas, and fingerpicking patterns performed in triple-meter time.

Daily Deal:

Study the basic elements of folk pattern playing. Learn how to cover both "in position" and "moveable chords," and how straight-time and triple-meter time signatures may operate...

Watch the Video:

PART ONE:
Example one, applies mixed fingerpicked patterns using two-note chords (dyads) and single-note lines. The patterns all relate to using a four-string layout in the key of "D Major."

Study the chord shapes, and the fingerpicking patterns applied across each measure, (the 4-string pattern of this example is applied to the chords of; "D, A, Bm7 and G").

Example two, explores the idea of using arpeggiated patterns alongside melodic lines. This is a very popular sound for folk fingerstyle players. The patterns in example two are anchored off of each chords bass-note performed from an open (lower) string.

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PART TWO: The exercise in example three breaks down another popular folk fingerstyle approach that involves double-plucked down beats (two-note plucks upon the beats of one and three).

This fingerpicking pattern has a rhythmic feel that is very balanced rhythmically. Its design maintains a uniform rhythmic duration that is performed upon every chord.

Example four, operates around a unique continuous triple-meter feel. The key of "G Major" chord progression covers a busy series of chord changes through, "Dadd4, C/E, D7/F#, G and C."

Each chord is highlighted by way of a steady 2-part plucking pattern. The first half of the pattern is focused upon the first two beats of the measure and is centered upon the lower tones of the chord. The second half of the pattern extends the range of the chords coverage to include the use of more upper register tones.