Travis Picking Bootcamp pgs1-10
Uploaded by
Bernard GagnonTravis Picking Bootcamp pgs1-10
Uploaded by
Bernard GagnonTravis Picking Bootcamp
Do you love the music of Merle Travis, Chet Atkins and Thom Bresh?
The Travis picking style is based off of a few fundamental techniques.
For the next few sessions, we'll be doing a short series on Travis Picking.
You'll learn...
• Proper Travis Picking Technique
• Finger Independence and Palm Muting
• Alternating Bass on 6th, 5th and 4th String Chords
• How to Play “Freight Train”
Developing Thumb Independence
The main pulse – the engine - of Travis picking lies with the thumb. Some players playing Travis
picking use a thumb pick and some players just use their thumb.
The thumb will be playing the ROOT and FIFTH of the chords. The string that the root is on can be
on the 6th, 5th or 4th strings. Depending on which string the root is on determines where the fifth can
be found.
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Step One: Alternating the Bass – 5th String Roots
Let’s start with basic chords with roots on the 5th strings – C Major, A Minor, B7. Play through the
exercises slowly trying to get a clear sound with the thumb. Form the chord shown – even though
you are only playing the root note at this point. Finger notations are circled notes.
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Alternating the Bass - 6th String Roots
Now let’s move to chords with roots on the 6th string – G Major, E Minor, F Major. Each exercise is a
different combination. Form the whole chord shown.
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Alternating the Bass – 4th String Root
Finally, let’s move to chords with roots on the 4th string – the D Family, D Major, D Minor, D7.
Step Two: Adding Chords to the Bass Line
Now, let’s add the rest of the chord to our moving bass line.
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Now, add some fourth string chords walking through a I-vim-IV-V7 progression in D and A.
Step Three: Adding Syncopation to Chords
Now, let’s add some syncopation to the chords by displacing them from the bass rhythm.
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The next exercises go through the I-vim-IV V7 pattern in the keys of C, A, G, and D.
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For our final I-vim-IV-V7 progression in D, let’s add some bass movement between chords.
Step Four: Breaking the Chord Apart
The next step is to break the chord apart forming a syncopated arpeggio.
Starting on the 6th string open G chord, practice the following exercise repeating each measure
multiple times.
Then change the chord to other 6th string chords like G, G7, E, E7, Em, or F.
Notes with Up Stem Plucked with Fingers
3rd
2nd 1st
Notes with Down Stem Plucked with Thumb
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Now, let’s practice the same pattern on a 5th string chord like C.
Next, change to other 5th string chords like C7, A, Am, A7, B7, or Bm.
One final practice on a 4th string D chord. Notice the pattern changes on 4th string chords.
In the 3rd measure, we used the classical notation for fingers – p-i-m-a.
p = thumb, i = index finger, m = middle finger, a = ring finger
Finally, play this pattern on other 4th string chords like Dm, D7 or Dsus.
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Breaking the Chord Apart & Mixing Chords
Now that you are familiar with the arpeggiated pattern, let’s apply it to various chord combinations.
These next examples are written in slash notation to force you to play the correct pattern by
memory.
If you’re unsure about the proper bass line or pattern, look at the previous examples for reference.