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Mel Bay Study Group

The Mel Bay Method For Guitar According To  "The Principles"

CHECKPOINT 12,  PAGE 36-40 ....In the Evening by The Moonlight

    Checkpoints:1-2-3-4-5-6-7-8-9-10-11-12-13-14-15-16            

ULTIMATE FOLK CHECKPOINTS 1-2-3-4-5-6-7


 

 

 

 

 

"In The Evening By The Moonlight"

Measures 1-2   We have a floating arm in the beginning, so make sure you keep the hand/arm/shoulder relaxed. Make sure your 3rd finger stays close, relaxed and ready for the F natural coming up.

Keep the arm weight through the 3rd finger while you play the A note, and then as you transfer to the 2nd finger in measure 3. Place the 2nd BEHIND the 3rd before releasing the 3rd.

Measure 3  The switch to the C minor chord can be tricky. If you do it intelligently, it is EASY! This means making the change according to the principles of left hand movement outlined in "The Path Level One".

Use "supported movement" as your first movement strategy, rather than dive-bombing. Place the 1st finger on the Eb, and then swing the 2nd finger onto the C note, moving the elbow outward as you do so.

If you give this proper no tempo practice you will find that you will soon be able to do the change using "dive-bombing" if you choose to. Play the following A note with the 3rd finger.

 Measures 4-6  All open strings here, all floating arm. Keep the 2nd finger relaxed, close, and ready. When you place the 2nd, be aware of the 1st finger. Keep it close to the 4th string, ready to go down on the E note on the 1st beat.

 

 Measures 7

 

Use the 2nd finger on the A note. Watch the 4th finger closely (and I mean literally watch it!). It will definitely want to tense and pull away from the strings, and then you will find yourself struggling to get into the chord form coming up in the next measure.
Measure 8 Keep the 2nd on the A from the previous measure, using it as a reference point (and keeping the heavy arm), stretch out the 4th finger to the F#.

IMPORTANT! Use posing on this stress point EVERY DAY. Re-read these concepts in The Principles if you need to. Breathing relaxation into the whole body while holding this position is required for everyone.

Pay attention to what the other side of your body does while reaching out with the 4th finger. You will most likely find yourself holding your breath, and tensing the other side of your body, and pulling the pick away from the string as well. Also, watch the 3rd finger as 4 stretches out. It will want to rise up. Keep it as low and relaxed as you can. It will get better every day.

 

Harmonic Analysis

It is interesting to note here that the chord progression used for this song is exactly the same as the chord progression used in the Eagles classic "Desperado". Play it, you'll see (obviously, the duration of the chords is somewhat altered).

Here are a few vitally important music theory concepts to mediate upon, and fix firmly in your mind.

1. Every major scale has 7 notes.

2. Every note gets two other notes added to it, stacked on top of it, to become a "chord". All the notes are 3 letters away from each other. (G-B-D; A-C-E; B-F#-D, etc.)

3. This results in 7 chords that constitute the chords of that key.

4. The 1st, 4th, and 5th chords are all "major" chords. They are called the "principal chords of the key" in Mel Bay.

5. The 2nd, 3rd, and 6th notes are "minor" chords. (The 7th is diminished).

6. The 5th chord is special. It is called the "dominant chord". It usually has an extra note added to it, the 7th, which means the 7th letter from the root note. In the key of G, that chord is D7. The "7th" added to it is the note C, 7 from the root note "D".

7. This 5th chord with the added 7th is called "The Dominant 7th Chord". It is the most important chord in the key. It is special, because each key has only one dominant 7th chord. In other words, every key has two major chords, or two major 7th chords, or 3 minor 7th chords, but there is only one dominant 7th chord for every key. This means we can uniquely identify a key by identifying its dominant 7th chord.

8. This means every time I see a dominant 7th chord, I can tell what key I am in. if the song contains a number of dominant 7th chords (anytime a chord just has a letter and a 7 after it, it is a dominant 7th chord, such as G7, D7, A7, but not Am7, or Dmaj7), it is actually changing key every time a new dominant 7th chord is used!

This has big implications if you are improvising. It means you need to play out of a different major scale for each one of those keys. You must play out of the major scale from the key that has that chord as its V chord. So, for a G7, play C major, D7, play G major, etc.

 


Notes on "A Daily Drill".

Again, watch that 4th finger. Of course, watch every finger, but the 4th will be the hardest to control. Keep all fingers low and light and relaxed when inactive. Keep a constant focus on the upper arm and shoulder as well. Use alternate picking.

Both sides of the body!


Notes on "Accompaniment Styles in G".

 

Make sure you learn these, and then use them in a good number of songs. You are learning the "Root-Strum" accompaniment, and the "Root-Strum-5th-Strum" accompaniment.

Use them with pp. 17-23 in the "Ultimate Folk Book".

 


Notes on "Etude".

 

Measure

Hold 1&2 and use 3 & 4 on the D and B. You can learn it with a shift up of 1 & 2 as well, but being able to do 3 and 4 here is very useful. It keeps you in 1st position. Keep the elbow out, it will want to come in.

Measure 3

 Careful on that 2-4 spread for the A/F#. Relax that shoulder going into it. Pose on it.

Measure 7

3 and 4 on the D/B again. Use 2 and 3 for the D/F#.

Measure 8 to end

Use 4 on the top G, and place the next chord while this is down, then remove the 4 from the G.

Heavy arm for measures 7-8.

 

Keep following the same fingering logic to the end.

 

 


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