Rick Payne’s

S k i n
i c k e n
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Play Fingerstyle Guitar

RY COODER STYLE
WARM UPS
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 INTRODUCTION

Ry Cooder is undoubtedly best known for his slide playing, but he is also
acknowledged as one of the finest fingerstyle guitarist from the folk/blues boom days
of the early sixties through to the present time.

In his role as folklorist and vast collector of roots and world music styles he has
managed to place them all in a great melting pot and create something that is
uniquely the 'Cooder Style' of fingerstyle guitar. These ingredients have included
early Delta blues, Folk, Celtic, Country, Gospel, Ragtime, Jazz, Tex Mex, Spanish,
Indian, African, Cuban, Hawaiian and more.

With the development of these styles it is evident that he could never be content to
play simply an alternating thumb pick or repetive arpeggio roll. Instead he cleverly
weaves the harmony between low and high end strings often using open tunings to
create different textured chords and great sounding inversions. It is obvious in his
own fingerstyle technique that he has searched out the more interesting and
harmonic players of early roots guitar; players like Blind Blake, Rev. Garry Davis,
Sleepy John Estes and Joseph Spence, and then adding his own inventions taken
from the vast selection of styles mentioned above.

From an early age Ry Cooder was adept at a whole array of stringed instruments
most notably the banjo, mandolin and, of course, the guitar. An ambitious player he
was able to hear and take lessons from some of the legends of the early blues and
ragtime including Rev.Garry Davis and Sleepy John Estes and is known today
to continue his learning on anything unusual with strings lying around.

As a fingerstyle player I have been inspired and learned a great deal about fingerstyle
guitar just by listening to Ry Cooder. In Chicken Skin 2 I'll be sharing with you
some of the ways you can incorporate that special 'Cooder fingerstyle' into your own
playing with these 'Cooder style fingerstyle warm ups'

So, dust down those fingers put away the pick and

Cooder On!!

Copyright Rick Payne 2011

 USING THE MANUAL

SOFTWARE INSTALLATION
To view this manual correctly you need to have installed the latest version of Adobe Acrobat
if you can't view the videos, or hear the MP3's then install the PDF reader here.

Videos are formatted as Quicktime movies so you should have a player installed. If not, download
free player here.

It is essential to have the Powertab program installed in order to use the interactive Powertab
pages. These will enable you to play, slowdown, loop and make your own changes to the tab
and help speed up your learning. If you haven't already installed please do so here.
Mac users please check here

Powertab overview

THE MANUAL
This study program is very effective if you follow the recomendations below:

1. Make full use of the videos, MP3's and powertab. Adobe pdf will ask you if you wish to open
these files - please say yes! - and don't ask me again.
2. Adapt the exercises to suit your own style - make changes.
3. Check out the Cooder warm ups. Listen and watch the study tunes
4. Visit the Cooder web links for more information and ideas.
Familiarise yourself with the icons below which will enable you to view the multimedia content:

Copyright Rick Payne 2011

 NOTES ON COODER

Biography
Ry Cooder born 15 March 1947, in Los Angeles, California. Career spans from
the early 60's till the present day, releasing fourteen solo albums, notably 'Into The
Purple Valley' and 'Bop Till You Drop'.Six collaborations notably the hugely
successful 'Buena Vista Social Club'. Fourteen movie sound tracks, notably the
ground breaking, 'Paris Texas' and 'Crossroads'. View all

Although most famous for his slide playing, he is a master of many stringed
instruments including the banjo, mandolin and bajo sextet. As a session player he
has played on numerous artists albums. To mention just a few: The Rolling Stones,
John Lee Hooker, Aaron Neville, Mavis Staples, John Hiatt, Randy Newman, Van
Morrison, T Bone Burnett, Nick Lowe, Eric Clapton, Arlo Guthrie.
View all

Influenced By
Robert Johnson, Muddy Waters, Gabby Pahinui, Fred McDowell, Tampa Red,
Blind Blake, Bonnie Raitt, Lowell George, Elmore James, Rev Gary Davies, Blind
Willie Johnson, David Lindley, Son House, Joseph Spence, Duane Alman, Josh White
Kokomo Arnold, Casey Bill Weldon, Bukka White, Furry Lewis, Sleepy John Estes,
Bix Biederbecke and many more......

Guitars
Cooder has used a wide variety of guitars for fingerstyle between the 70's and present
day. These include an eclectic mix of acoustic and electric models. Acoustics range
from vintage Martin D35's and 000-18's, Gibson SJ-200, Gibson Roy Smeck, Kay
and junk shop oddities. Although his fingerstyle is best heard on his acoustic playing he
excelled at mixing both slide lead and fingersyle on both electrics and acoustic.

Copyright Rick Payne 2011

Tunings
Ry favours a variety of tunings for fingerstyle. These include Dropped D, Open D
open G and a selection of 'Slack Key' variations.

Fingerstyle Technique
Ry uses a mix of fingerstyle ( No picks or plectrums ) for acoustic and electric guitar.
A skillful banjo player he is adept at sometimes complex, syncopated fingerstyle patterns.
This style is often played in between slide riffs or in solo instrumental pieces.
Read more

Slide Guitar Playing and Technique

Please check out 'Chicken Skin Slide' for all information on Cooder's Slides and slide
technique.

Copyright Rick Payne 2011

 FINGERSTYLE WARM UPS

Ry Cooder is quoted as saying that he is dead against using a plectrum and always
preferred the sound of nails and fingers on strings for the natural connection and
feel. This is an essential ingredient to his fingerstyle, and it enabled him to play quite
complex passages.

As I mentioned in the introduction, he seems mostly to avoid all the norms of folk and blues
fingerstyle consisting of the constant or alternating thumb patterns or rolling
arpeggios. He favours the more complex arrangements and syncopated styles of
piano like ragtime or even tradional spanish guitar playing. His influences are
extensive in these styles and his own self training and learning, one to one, with great
fingerstyle players like Rev.Garry Davis is evident.

It is certainly difficult to take on these techniques overnight and if you're new to the
style it is definitely worth trying these crash course exercises to help master the kind
of finger and note movements essential for Cooder fingerstyle.

To get the thumb and fingers moving try this harmonized G scale:

Try to keep to a logical fretting hand fingering and use the video as a guide:

Regular tuning check

g4 V V V V V V V V V V V
I 4 V V V V V V V
V V V V V V V V V V
V V V V

0 2 3 5 7 7 5 3 2 0
T 0 1 3 3 1 0
A 0 2 4 5 5 4 2 0
B 0 2 3 3 2 0
3 3

Now this syncopated version:

c c c c c
g4 k c k c k k k V k V k V V
V V V V
I 4 V V V V V
V V V

0 2 3 5 7
T 0 1 3
A 0 2 4 5
B 0 2 3
3

Copyright Rick Payne 2011

 Here's a similar exercise in E:

gggg 4 V V V V U
I 4 U
V V V V U

0 2 4 2 0
T
A 1
B 0 2 2
4 0

This exercise introduces a familiar Cooder twist:

gg V V V V U
I g g 44 V V U
V V V V U

0 2 4 2 0
T
A 4 2 1
B 0 2 2
4 0

To help achieve Cooder's Spanish and Tex Mex flavour of fingerstyle it is worth practising
these note movements in 3rds.

This first example is a harmonized scale in the key of D:

g VV VV
I g 44 VV VV VV VV VV VV

0 2
T 0 2 3 2 3
A 0 2 0 2 4
4 2 4
B 5

Copyright Rick Payne 2011

 This is a similar exercise using a wider 6th interval and also introducing the thumb
for more Cooder flavour:

gg V
I g 44 V V
V fV V
V U
UV UU

T 2 3 5 3 2
A 2 4 5 4 2
B 0 0

You can extend this exercise up the fretboard as follows:

V V V fUU
gg V V fV fV
I g 44 VV V
V fV V V V V
U
U
2 3 5 7 10 10
T 2 3 5
A 2 4 6 7 10 12
2 4 5 0
B 0

Back in the key of D, try introducing sliding movements between the intervals for a
more Spanish feel:

g V V V V V V
I g 44 UV
V V V Vj Vj W
W
W

2 3 5 3 2 0
T 3
A 2 4 6 4 2 0
0 4
B 0
sl.

Copyright Rick Payne 2011

 MORE WARM UPS
AND ROOTS OF COODER FINGERSTYLE
In this next section we'll continue to use regular tuning and then begin to explore the
tuning alternatives that added to the Cooder fingerstyle.

Cooder uses the following motif in many of his fingerstyle and fingerstyle and slide combos.
It's almost a trademark riff and occurs in a variety of tunings which we'll look at more closely
later. For now, here's an example in regular tuning:

k V c
gggg 2 V V V V c V V V V V V W
I 4 V W
V W W W
u
0 4 0 0 0 2 0
T 0 2 2 2 0
A 1
B 4 2
0 2 0
H

You can add more flavour with these low or high end tail outs:

k V c
gggg 2 V V V V c V V V V V VV
I 4 V V V gVV f VV W
W
V W W V fV V
V V W
u
0 4 0 0 0 2 0 0 0 0 0
T 0 2 2 2 0
A 1 4 3 2 1
B 4 2 3
0 2 0 4 2 0
H

k V c
gggg 2 V V V V c V V V V V f VVV V
I 4 V V V gVVV f f VV WW
W
V W W
V V W
u
0 4 0 0 0 2 0 4 0 2 0
T 0 2 2 2 0 3 2 1 0
A 1 4 3 2 1
B 4 2
0 2 0 0
H
Copyright Rick Payne 2011
 As I mentioned earlier Cooder favours less of an alternating thumb and finger
technique preferring a more syncopated style. This example evokes typical
Cooder fingerstyle:

c k k c k c k k c k
gggg 4 j j k V V V V V V V V V V V V V
I 4 k k k k
V V V V
u u u u
0 0 0 0
T 0 2 0 0 2 0 0 2 0
A
B
0 0 0 0
H H H

Here's the same kind of pick this time using a moving bass pattern:

c k Vc k ck k Vc
U VV Vk V
I 44 j j k V gV V gV k k V gV V k k
V gV V
gV V gV V V V V V
u u u u
0 3 0 0 0 0 0
T 0 2 0 0 2 0
A 2 4
B 2 4 0 4
0 4 0 0 0 0
H H

This jerky, syncopated style crops up in Cooder's adaptations of ragtime blues tunes
like in this Sleepy John Estes type riff:

gg k f Vc k c j k c
I g g 44 j j j 3
V V Vj f V gV V k f V V V V f V gV fV
V V V

T
A 0 1 2 0 1 0 1 2 0 1 0
4 2 4
B
j j
0 0 0
gg
Igg
3
V V Vj f V gV V Vj fV V V V f V gV
V V V

T
A 1 2 0 1 2 0 1 2 0 1
4 4 4
B
0 0 0
Copyright Rick Payne 2011
 As an add on to the previous warm up try this intro, it's very different from the norm and
very typical of the way Cooder maintains harmonic interest:

k V gV V V V gV fV gV V
4 gV V
I4 V gV fV e WWW
V W

0 4 7 5 7 2 3 4
T 5
A 6 4 2
1
B 5 4 3 2
0 0
sl.

Continuing the ragtime theme, it is clear from listening to Ry Cooder's fingerstyle that he
borrowed riffs and ideas from the great finger pickers like Rev Garry Davis or
Blind Blake.

Inspired by the harmony and chords the following passage from Davis's 'Hesitation
Blues' once again evokes an example of a Cooder pick style:

VVV V VVV V j VVV k V V gV V V V

I 44 V gVVV V gVVV V eV V
V V V V V V V W V V V

0 0 0 0 0 0 1 2 3 0
T 1 0 1 0 1 1
A 2 1 2 1 2 3
2 2 2 2 2 2
B 0 2 0 2 0 0 3
0 0 0 3

From the same piece this thumb and finger roll makes a great Cooder fingerstyle
warm up:

k k V V eV V
I 44 V V V
V UU
UU
W W V gV V V

3 1 0
T 4 1 1
A 0 0
0 2
B 3 2 0 2 3
3 3 4

Copyright Rick Payne 2011

 This Blind Blake riff - a transition between D7 G and G7 - once again conjures up
the Cooder style:

k V k V gV fV k V
I V V V V V V V V
gV V V V V V V V

3 2 1
T 0 1 3 1 0 3
A 2 2 0 0
B 0 0 2
2 2 2 3 3

Or with this example - another typical Blind Blake riff:

c 3

I gVV VV VV V V V V V V V V
V V V V V V eV V V W

3 3 3 0 1 0
T 2 2 2 3 3 3 0
A 2
2 2 2 0
B 0 0 0 1 2 2
P

Of course Blind Blake's Ditty Wa Ditty is a firm indication of the Cooder fingerstyle link to
ragtime blues

Here's the instantly recognisable Cooder slant on the the Ditty intro from the album
'Paradise And Lunch':

c
4 j j j k VV VV VV V V kV V V V V VV
3
V V VV j
I4 V VV VV V V V V V V
u V V V V V V V V V V
V V V V V V
M
1/2

T 1
0
1
0
1
1
0
3
1 1
3
1
3 1
3
O1 3 1 3
1
A 0 0 0 0 2 2 2
2 0 2 2
B 3 3 3
3 3 0 1 1 1 1 1 3
H
H

Copyright Rick Payne 2011

 Cooder is very adept at including single note runs within his fingerstyle similar to the
one below, once again borrowed from the ragtime playing of Rev. Garry Davis and
Blind Blake:

C C7

4 eV fV V W eV fV V V V eV V W V eV U
I4 V V
0 3 0 3 5 3
T 4 4 4 3 1 0
A 3
B 3 3

Dropped D tuning

Cooder uses a variety of tunings to achieve his distinctive fingerstyle technique. One of the
most prevelent is dropped D. Many of his finger style arrangements are adaptations
of the great Bahamian player 'Joseph Spence'. Tunes like 'Great Dreams From Heaven',
'Coming In On A Wing And A Prayer, use the favoured Spence tuning of dropped D which
Cooder took and made it his own.

Dropped D is simply tuning down the low E to D:

D A D G B D
V
I 44 V V V
V V

0
T 0
A 0
0
B 0
0

Copyright Rick Payne 2011

 The low D string instantly conjures up the Spence / Cooder type runs, as in this first
example.

The chords run through Bm G D and A:

Bm G D A7 D
c
g V V V
I g 43 V V V V V V V V WW
V V V W W W

0 2 0
T 3 3 2 3 3
A 0 2 2 0 2
B 2 0 0
4 5 0

Or in this style of run from E7 to D moving through A7:

E7 A7 D

g V V k
I g 44 gV V V fV V U
U
W W U

0 0
T 3 2 3 3
A 1 0
4
B 0
2 0

And in this more intricate transition:

D A Bm G D A7 D

gg 4 j j j l V V V VV V VV V VV V V V W
I 4 V V V V W
V V V V V V W

2 0 0 2 0
T 3 2 3 3
A 2 4 2 2 2 4 0 2 0
0 4
B 0 2 0 0
4 5 0

Copyright Rick Payne 2011

 This phrase starting with Em is very Cooder:

Em D A7 D
g V V W W
I g 24 V W W W
W
V W W W
0 3 2 0
T 3
A 0 2 0
4
B 0 0
2 0

This next Dropped D riff shows the use of varied harmony and use of inversions
that gave Spence, and of course Cooder, an almost hymn like style.

D D7 G Em D A D

gV V V V VV gV V VV
I 44 V V
gV V V V VV
V gV
V UU
V V U
2 5 3 0
T 3 0 0 0 3 2 3 5 3 3
A 5 0 2 2 2
0 4 0
B 4
5 2 0

As well as using the Dropped D tuning style of Joseph Spence, Cooder also borrowed
from the Dropped D ragtime blues of Blind Blake.

Here's a taste of Blakes 'Bad Feeling Blues' to give you the idea:

V
3 3 3
g V V V f V gV V V V V fV V V V f V gV V V V V V V fV
3
V V V fV
Ig V V VV V
eVV V V V V V V V V V V V V V
V

2 2 1 2 0 1 0 5 1 2 0 1 2
T 3 3 3 3 3 3 3 0 0 3 3 2 1
A 2 2 2
0 0 0 0 0 0 0 0 0
B 0 1 2 2 0 0 0 0
0
sl.

Copyright Rick Payne 2011

 Cooder uses this ragtime blues sting in his tune 'Tamp Em Up Solid' - very Blind
Blake too!

f VV VV k k V V V
I U
V V V V V V V V
V V V V V V V V

1/2 M M
1/2

5 5 7 5
T 6 6 6
A 7
0 0 0 0 0 0 0
B 0
0 0 0 0 0 0 0 0
P

Cooder is very skillful at changing and adapting tuning to give an even greater texture of sound.
A big fan of 'slack key', he often changed Dropped D by going down a whole step. This would mean
the low E is now D then take that note down a further whole step to C, as below:

C G C F A D

I 44 V V V V
V V

0
T 0
A 0
0
B 0
0

Copyright Rick Payne 2011

 OPEN D TUNING

I mentioned earlier that Cooder used a variety of open tunings and also 'slack key'
versions of these, in both his slide and fingerstyle playing.

Open D is a firm Cooder favourite and can produce a great basis for fingerstyle.
By no means a Cooder invention open D tuning can be heard in many forms of blues
and ragtime picking.

If you're new to open tunings here's open D:

D A D b
F A D
g
I g 44 V V V V
V V

0
T 0
A 0
0
B 0
0

Once again Blind Blake is a strong influence and can be heard in Cooder's version
of 'Police Dog Blues'.

Here's the fabulous introduction and a great use of open D:

g k
Ig V V fV V V V V V V f V gV V V fV V V
f V gV
W V eV W
V V U
M
1/2

2 0 0 0
T 0 3 2 0 0 3 2 0
A 1 0 0
3 3
B 0 0 1 2
0 0 (0)

Copyright Rick Payne 2011

 Let's try a few open D phrases that instantly conjure up that distinctive Cooder
flavour.

This one has a hint of Joseph Spence:

g V VV V V V V V V V V V
I g 44 j j j
V V V V V V U
U
W W U

0 2 4 4 2 0 2 2 0 4 2 0
T
A 0 1 3 1 3 1 0
0
B 0
sl.0 sl. 0

And now what I like to call the Cooder hook:

k gV V
I 44 V V V V V W
gW
V V V
V W

4 0 0 0 2 0
T 2 2
A 0
B 2 0
0 2 0

Same again, this time with an outro:

rit.

k gV V gV V
I 44 V V V V V V
gV V gVV fV W
W
V V V
V U W

4 0 0 0 2 0 4 0 2 0
T 2 2
A 0 3 2 1 0
B 2 0
0 2 0 0

Copyright Rick Payne 2011

 Cooder demonstrates his skill at syncopated fingerstyle with this example in open D
tuning:

k Vc V k Vc V
I 44 j j k V V V V k V V V V k V V V
V V V V
u u
0 0 0 0 0 0 0
T 0 2 0 2 0 2
A
B
0 0 0 0

And this typical Cooder fingerstyle shuffle:

I 44 j j k V V V V V VV
gV
V V V V
V
V V VV
gV
V V V V
V
V V
V V V V V V

0 0 0 0 0 0 0 0 0 0
T 0 2 0 2 0 0 2
A 0 1 0 0 1 0
B 2 2
0 0 0 0 0 0

Cooder used this classic turnaround device in open D:

g k
I g 44 V V
fV
V V V V V V c VVV
VV
VVV
VV
V eV V V V
V

0 0 0 0 0 0 0 0 0
T 0
A 1
2
B 3 2 1 0 0 0
0 4
sl.

Copyright Rick Payne 2011

 Or this outro - a favourite especially when in tandem with slide:

g k
I g 44 j j j V V V V V V
V V c c
V eV W V V V fV V eV V fV V V
0 2 0 0 0
T 2
A 1 0
B 0 1 2 0 2 0 3 2 1 0
3 0

Great combinations of rolls and syncopated picking in this flourish:

g W k Vc
I g 44 j V V V V W V VV Vj V V V U
fV V V fV
V V V V V U

0 4 2 0 0
T 0 2 2 0 2 2
A 3 1
0 2
B 0 3 2 0
0 4 5 0 3 0
H sl. H P

Copyright Rick Payne 2011

 G TUNING

One of Cooder's favoured tunings, especially in the early days of albums like 'Into
The Purple Valley', is open G tuning. Although interspersed with slide guitar, there is
still an abundance of fingerstyle played in his own distinctive style. His G tuning
picking clearly stems from his abilities as a banjo player. You can hear the almost
country style picking on these early albums. Tracks like 'How Can You Keep On
Moving' and 'Money Honey' have a banjo flavour to them - fast clipped chords and
rolling runs - very different from the previous sounds in dropped D and open D.

Here's open G tuning:

D G D G B D

I 44 V V V V
V V

0
T 0
A 0
0
B 0
0

A good exercise to get you started is this octave pick pattern:

g4 V V V V V V V fU
I 4 V V V V V V V V fU
V V V V V V V
V V
0 2 0 5 0 2 0 3
T
A 0 2 4
0 2 0 2 0 5 0 2 0 3
B 0 2 4
0 2

Copyright Rick Payne 2011

 You can hear this octave style in the classic intro to 'Money Honey':

I 44 V V V V eV fV
V V V V eV V V
V V V eV fV V V V eV V V
V V

T
A 0 2 3 4 0 4 3 2 0
0 2 0 2
B 0 2 3 4 0 4 3 2 0
0 2 0 2
sl.

You can hear the banjo influence in this intro from 'How Can You Keep Moving'
especially with the rolling octaves and clipped chords:

g V WW VV VV V j f VV V V
I 44 V V VV V V V V VV
j j V
VV V V V V UU
V V V V W W

5 7 5 3 5 3
T 1 1 1 5 5 5 5 5 3 1
A 0 2 0 0 2 2 0 0 2 0
0 2 0 5
B 0 2 0 0 0 0 5
H H sl. H P

These clipped chords form a good part of the accompaniment fingerstyle to many of
the songs in open G:

c VV VV VV VVV VV V c
I 44 j j j k VV
V V V V V V V V V V VV V V V
V

T 0 5 5 6 5 6
A 0 5 5 5 5 7 5 5 5 5 5
0 5 5 7 5 7 7 7 5
B 5

Copyright Rick Payne 2011

 This distinctive use of open G grew to become a classic Cooder trade mark and
instantly recognised in the intro to 'Little Sister' from the album Bop till You Drop

c c c c
g c V eV
I 44 j e VV VV VV VV f VV V
V
e VV V VV V k f VVV VV
V V V VV VV e VV
k V V V k VV
fV

T 3 3 3 3 4 3
A 3 5 3 5 3 0 3 3 3 3 3 5 3 3 3 5 3
5 5 3 0 5 5 5 3 3 5 3 5 5 3
B
c
g e VV c V V V V e e VV k c V V k VV VV k V V V fV e VV VV UU
IfV V VV V V V V V U
V V VV V V V
T 3 4 3 3
A 3 5 3 3 3 5 3 5 3 3 3
3 5 3 5 5 0 3 0 3 3 0 3 3
B 5
5 5

As a marked contrast to the sometimes complex picking styles that you encounter
in Cooder's open tuning playing, you often hear simple rolling patterns like in this
final exercise in open G:

g V V V V V V V V V V V V t t t t
I 44 V V V V V V V U V

let ring N.H.

12 12 [7]
T 7 8 10 12 12 10 10 8 8 [7]
A 0 0 0 [12] [7]
12
B 7 9 11 12 11 9

Copyright Rick Payne 2011

 JAZZ FINGERSTYLE

You can't study Cooder's fingerstyle technique without even a brief look at his
playing style from the critically acclaimed 'Jazz' album period. Strangely, this has
often been dismissed and disowned by the man himself, but it's still an important factor
in his style.

He has a clever way of working jazz style melodies with fingerstyle and I'm sure he is
aware that this style demands a life time of study. You need a thorough knowledge
of harmony and the way chord inversions work together at the same time maintaining
full control of your thumb and fingers.

If you're new to this style begin by finding a simple melody and work out ways
to combine the single notes and chords. Listen to some of jazz guitar greats like Joe Pass,
Barney Kessel, Tal Farlow and familiarise with this style of playing more.
.

Back in regular tuning here's a few examples of the ways Cooder combined his
single notes and chords into fingerstyle, inspired by the 'Jazz' album.

This one uses a mix of major, 7th and diminished chords to produce a typical Cooder
jazz style run:

E/A ` E°/G ` b
E °/F E E7 E°7 b
F °7 E7open
V ee V
gg
I g g 44 VV V ee V V ee V V f VVV f VVV V
f f VV eegVVV f VVV
V eV V V
eV fV V V
0 0 0 0 7 6 5 4
T 0 5 5 4 3
A 4 3 2 1 7 6 5 4
2 2 1 6 5 4 2
B
4 3 2 0

Copyright Rick Payne 2011

 And with this run:

gggg 4 V V V
I 4 gV f VV V
V
V f V V V
4 0 0 0
T
A 4 3 2 1
B 3
4 2 0

This is a great fingerstyle exercise for the perfect jazz turnaround:

E7 D7 C7 b b
C7 b
F7 C7 B7 F7 E

gg
I g g 44 V
f VV fV V V
f V V V gV V V gVV
f V
e VV f VV VV UU
V V fV U

T
A 7 5 4 4 3 3 2 2 1
6 4 3 3 2 2 1 1 2
B 7 5 4 3 2
4 2 1 0

This chord run has the recognisable Cooder 'Jazz' flavour:

gggg 4 f VVV gVVV

I 4 V V gVV f VV UU
U
V fV
U
2 4 0 0 0
T 1 2 0
A 1 2 3 2 1
1 2
B 4 3
0

Check out Cooder fingerstyle study modules>>

Copyright Rick Payne 2011