Fingerstyle Guitar Accompiment Arrangements
Fingerstyle Guitar | Arrangements - In this free guitar lesson learn about the accompaniment fingerstyle guitar track and how to lay it down and use it as the final building block for your arrangement.
- Fingerstyle Accompaniment Arrangements Tips
- Bass + Lead Track Tab
- Bass, Lead, Accompaniment Track Tab
Once you have your Rhythm and Alternating Bass Tracks finished, and you have finished the lead and combined this with the Alternating bass on its own track, we need to add the finishing touches to the song by adding all of the fill-ins, ornamentation, bass runs and just general tweaking of the arrangement.
I liken this step as adding the fine clothes, dress shoes and leather accessories to the song. This can be both the most fun and the most frustrating step in the series and you shouldn't become discouraged if it doesn't make a lot of sense to you right away.
This step is what separates the professional from the beginners or intermediate guitar players. Knowing just what to do and where only comes from experience and knowledge.
Just follow along with our recommendations and apply them to another song and try to get similar results with a different melody.
You will also develop your own bag of "tricks" or bag of "licks" that you can apply to other songs. As your list of licks grows you will become more diverse in your playing and not sound so repetitive.
The first thing we will want to do is to preserve what we have done so far. It is recommended that you copy and paste the track for the last lesson called Alt Bass + Lead Guitar into a completely new track and call it something like Combined Tracks or Alt Bass, Lead, Accompaniment.
The first thing we will address is the lead-in or the pickup notes. With fingerstyle guitar this can vary from one, two or three notes to several measures or more.
Here, let's keep it simple and just add a 3-note bass run with a quarter note rest at the very beginning to round out the 4 beats in the pickup measure.
One of the easier things to fill-in the melody with accompaniment notes is to add-in notes from the chord form you are playing.
In the second measure, the chord form is C major. So if we hold the C chord we can add 2 fill-in notes
- one after the first quarter note and
- one after the second quarter note.
This changes this measure into (4) eighth notes for the first half of the measure and the second half is untouched with just the Alternating Bass Notes.
The eighth notes added are a C note and and E note. Repeat this with the next or 3rd measure, only modify the added eighth notes to a G and a C to mix it up a bit.
Something you should note with the way we arranged this to add the notes. In the first measure the second lead note or the "E" was shifted to an off-beat location by 1/2 beat - or off the same stem as the G bass note.
This creates a very syncopated feeling for the passage and is used VERY often in this type of fingerstyle song.
The same thing was done in the next measure and subsequent measures employing this technique. Memorize this method as you will see it a lot. We will also be highlighting this method in our PDF file for purchase below.
Test out your arrangement so far. Only solo this track and nothing else. If your arrangement sounds choppy, try selecting all the notes in your measures and tag them with a "Let Ring" tag. This will smoothen things out quite a bit.
This method adds a running bass to transition between chords.
In this example a transition from the C chord in the third measure to the G chord in the fifth. The 4th measure is used as the transitional measure.
Note also that we drop one of the lead notes in 4th beat of the 4th measure. This was done to simplify the passage and make it more playable.
Often in fingerstyle, lead notes are dropped and we are not always completely true to the lead notes. The notes can be inferred or substitued for an easier-to-play note or even to skip the note.
The ear and our brains fill-in these notes as long as the rhythm remains steady.
Refer to measure 9. In this measure we make a simple adjustment by adding chords to the piece. In this case it is a C major triad on the 2nd and 4th beats of the measure.
This gives a bit of relief to a steady stream of fingerstyle picking, but yet fills a void in the music.
Refer to measure 10. Here we add a triad chord on the 2nd beat and for the remaining 2 beats we have added a couple of notes to fill in and augment some musical gaps.
This makes this passage very syncopated and gives a lot of interest to this portion of the arrangement.
Immediately afterwards in the next measure - 11, We keep it quite simple and revert back to a similar method that was used in measures 2 and 3.
The open E that starts off this measure also makes it easier to transition from the more difficult passage at the end of measure 10.
The last of the more difficult areas are located in measures 13 and 15, where we add several notes to each measure.
The lead is shifted to some degree and we have introduced syncopation to each of these measures in doing so.
For more lessons in this series, just select a lesson from the pull-down menu and select the GO button.
If you would like all of the PDF files, plus our "Guitar Notes" electronic teaching and the actual Guitar Pro file, you can purchase it for $2.49.