Sean McGowan, Part 5: Sean Plays “Get Me to the Church on Time”

from: Advanced Fingerstyle Workshop with Teja Gerken

This lesson is part of the course Advanced Fingerstyle Workshop with Teja Gerken.

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Meet 15 of the best players in the international fingerstyle guitar community, as they demonstrate their techniques, playing styles, and signature tunes.

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ED GERHARD

In this lesson, Ed Gerhard teaches his popular fingerstyle arrangement of the traditional tune “The Water is Wide.” Gerhard used dropped-D tuning and a capo at the third fret. Because he tunes his guitar down a half-step from standard pitch, this results in his performance sounding in the key of E. If you prefer, you can leave your guitar in standard dropped-D tuning and place the capo at the second fret instead. Gerhard stresses the importance of supporting the tune’s melody and gives pointers for effectively building an arrangement in a dynamic fashion. virtuerecords.com

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SEAN McGOWAN

Sean McGowan, Part 1: Sean Plays “On the Street Where You Live”

Sean McGowan, Part 2: Sean Teaches Jazz-Blues Comping

Sean McGowan, Part 3: Sean Teaches Jazz-Blues Bass Lines

Sean McGowan, Part 4: Sean’s Brad Nickerson Guitar and Henriksen Amp

Sean McGowan, Part 5: Sean Plays “Get Me to the Church on Time”

Sean plays his arrangement of “Get Me to the Church on Time,” which is also on his My Fair Lady CD. Using a highly polyphonic fingerstyle approach to the main parts of the tune, Sean also impresses with his creative unaccompanied single-note soloing and ability to keep the listener engaged with harmonic and rhythmic variations. seanmcgowanguitar.com

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← Sean McGowan, Part 4: Sean’s Brad Nickerson Guitar and Henriksen Amp

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Paul Asbell, Part 1: “Bill Bailey, Won’t You Please Come Home” →

Previous Lesson

← Sean McGowan, Part 4: Sean’s Brad Nickerson Guitar and Henriksen Amp

Next Lesson

Paul Asbell, Part 1: “Bill Bailey, Won’t You Please Come Home” →

Previous Lesson

← Sean McGowan, Part 4: Sean’s Brad Nickerson Guitar and Henriksen Amp

Next Lesson

Paul Asbell, Part 1: “Bill Bailey, Won’t You Please Come Home” →