Full Version: Acoustic Gigs
Hey so ive decided i want to start doing some acoustic gigs and such; but I dont want to be the guy who sits there and plays 10 songs using everyone's "favorite" open chords in the key of G. So im looking for some nice solid songs that will showcase my guitar playing but aren't impossible to sing over. Thanks in advance!
Do you play fingerstyle? (As in things like alternating-bass, syncopated, etc.) Often simply putting down the pick (if you're mostly a strummer) can add a great deal of interesting texture to ones playing. (Even to the simple open Gee-Cee-Dee stuff! 
) What kind of venues do you anticipate? Mostly... like classic-rock acoustic, or places where less-mainstream stuff can be injected (like acoustic-blues, old-time, etc)?
One thing that can often greatly enhance acoustic-solo playing is adding a harmonica where it might be appropriate. Playing rack-harmonica need not be difficult or complex. It can be, but doesn't have to be to add a lot of... fullness to a solo guitar. Even simple rhythmic chugs and things like that really tend to fill out the sometimes "thin" sound of a single guitar. And people seem to LOVE harmonica. And to the non-player even the simplest harp-work sounds great. (As long as it's not actually bad harp-work.) And for the beginning rack-player there's a lot that can be done with just the simplest of almost no-brainer blows and draws. (Think early Dylan.) (Actually, he's still not very skilled, but look at what it's added to his sound.)
It's a good idea to be as well-rounded as possible to work as many venues as possible. It's nice to have a good mix of styles even though you might have one particular genre you're mostly into. Myself, I'm into old-time pre-war country-blues, but I could do (and have done) a couple of sets of country (like Hank and Merle) or classic-rock or light-jazz or even old-time Brit/Celtic if necessary.
Anyway, probably the biggest thing that can really make a difference is to not be limited by the pick/strum thing. There's of course a time and place for doing that, but coffee-shops and open-mics are full of people who can't do anything else and that's where you don't wanna be. Explain more about what and how you play and maybe we all can suggest some actual tunes and more ideas.
) What kind of venues do you anticipate? Mostly... like classic-rock acoustic, or places where less-mainstream stuff can be injected (like acoustic-blues, old-time, etc)?One thing that can often greatly enhance acoustic-solo playing is adding a harmonica where it might be appropriate. Playing rack-harmonica need not be difficult or complex. It can be, but doesn't have to be to add a lot of... fullness to a solo guitar. Even simple rhythmic chugs and things like that really tend to fill out the sometimes "thin" sound of a single guitar. And people seem to LOVE harmonica. And to the non-player even the simplest harp-work sounds great. (As long as it's not actually bad harp-work.) And for the beginning rack-player there's a lot that can be done with just the simplest of almost no-brainer blows and draws. (Think early Dylan.) (Actually, he's still not very skilled, but look at what it's added to his sound.)
It's a good idea to be as well-rounded as possible to work as many venues as possible. It's nice to have a good mix of styles even though you might have one particular genre you're mostly into. Myself, I'm into old-time pre-war country-blues, but I could do (and have done) a couple of sets of country (like Hank and Merle) or classic-rock or light-jazz or even old-time Brit/Celtic if necessary.
Anyway, probably the biggest thing that can really make a difference is to not be limited by the pick/strum thing. There's of course a time and place for doing that, but coffee-shops and open-mics are full of people who can't do anything else and that's where you don't wanna be. Explain more about what and how you play and maybe we all can suggest some actual tunes and more ideas.
Well I'm quite an avid fingerpicker, and I've developed a nice little thumb slap technique to give my playing a rhythmic edge, I have a few solid Dave Matthews and John Mayer tunes, and some nice James Taylor but I'm having troubled finding any other semi-pop songwriters that have any sophistication (that is a solid technique and a nice hint of jazz and blues). But i would also love to do some pure acoustic blues and maybe a few more listenable jazz pieces. Thanks! And i definitely want to start using a harmonica so maybe 1 or 2 pieces with the harm.
I have a lot of acoustic fingerstyle tunes I've tabbed up, generally old blues, but other things as well. You mentioned listenable-jazz (which I tend to think is fairly "light" jazz, as opposed to real jazz more for jazz-aficianadoes, etc). I just happened to finish tabbing an arrangement of the old Fats Waller piano-jazz standard "Ain't Misbehavin' " for a friend who asked me to do a version that was more fingerstyle-intensive with just a touch of jazziness. Most of the versions he found were either plain jazz comp-chord stuff or waaaay-out jazz (Thelonius Monk, etc). So he asked me to improv a version and then tab it out for him, which I just finished. I also did some sound-bytes to go with the tab to make it easier to work with and d/'ed them to SoundClick. Below I'll post my tab and the SoundClick links. (And please understand the sound-bytes are of a pretty poor quality. Just free-ware and a crappy dictation-mic into my comp using a guitar I have hanginging here in my office. Purely utilitarian. It wasn't meant to be a great recording. (I just put the mic on my desk and played and tried to talk down into it so it was understandable. Not something I'd wanna put out on a CD, but functional. ) It might give you a few ideas.
Anyway, here it is...
LINK -Part 1
Link -Part 2
) It might give you a few ideas.Anyway, here it is...
LINK -Part 1
Link -Part 2
CODE
#-----------------------------------PLEASE NOTE-------------------------------#
# This file is the author's own work and represents his interpretation of the #
# music below. It's intent is for study or scholarship purposes only and is #
# not intended for publication, nor for any other commercial use whatsoever. #
#-----------------------------------------------------------------------------#
For copying: Originally tabbed in Microsoft Notepad using Courier New 10-Font.
==============================================================================|
AIN'T MISBEHAVIN'
(1929) Lyrics by Andy Razaf
Music by Thomas "Fats" Waller and Harry Brooks
Fingerstyle Solo Guitar Instrumental
(arr: John M. 3/3/09)
=====================================================
Links to SoundClick Sound-bytes to Work With This Tab:
(Part 1)
http://www.soundclick.com/bands/page_songInfo.cfm?bandID=83982&songID=7461879
(Part 2)
http://www.soundclick.com/bands/page_songInfo.cfm?bandID=83982&songID=7461856
=====================================================
Key of C
(First Verse Progression)
...Starting with C=(3)32010 to partial G (best held TxOOOO)...
E)-------------3p0-----0-----------------0--3----------------
B}------------------4--------------0--3----------------------
G)--------------------------0h2h3--------0------(0)----------
D)--------------2------------------0------------(0)----------
A)-----0--2--3---------3-------------------------------------
E)--3-----------------------3-----------------3--------------
...back to C then partial Fm7 xx1111(+pinkie/3) and back to C...
E)----3p0-----0--1------3--1-3-1----------------0---1--------
B}---------4-----------1-----------1----1----3---------------
G)------------0-------1------------1--------------------0----
D)-----2-------------1-----------1--------------2-------2----
A)--3-----------------------------------3-------------3------
E)-----------------------------------------------------------
...to partial G(TxOOOO), then C-C7-F-G#-C to a turnaround G7#5
E)--5--3--5--3----0-------------------------------------------
B}-----------------------1---------1----1----1-----4---(x4)---
G)----------------------(0)---3---(2)--(1)--(0)----4---(x4)---
D)--------0-------0----------(2)---3----1----------3---(x3)---
A)-----------------------3----3--------------3-----2----------
E)--3----------3-----------------------------------3----------
(Next Verse Progression)
...Starting with C and into G (partial) again, adding 7th note...
E)-------0---3----------------------0-1-------------------------
B}---1h3----------------------0--3------------------------------
G)--------------------0h2--3---------------0--------------------
D)----2-----------------------0------------0--------------------
A)--3--------3--------------------------------------------------
E)---------------------3----------------3-----------------------
...back to C, and (substitution for Fm7, three inversion run of Cdim7)
E)-------3p0---0--3------------5------8------11-------------------
B}-----------3----------------4------7------10----10--------------
G)---------------------------5------8------11---------------------
D)--------2-----------------4------7------10----------------------
A)--3--------------3----------------------------------------------
E)----------------------------------------------------------------
To C xx5558 to A xx7655 to D9(13) x54555(7) to G, walk chord-frags C-C7-F G#-C
E)--8---5----------5----------5--7--5--0----3---0--------------------------
B}-(5)----8--5----5----5-----5-------------(0)--------1-------1----1----1--
G)-(5)-----------6----------5--------------(0)-------(0)--3--(2)--(1)--(0)-
D)--5-----------7----------4---------------(0)-----------(2)--3----1-------
A)------------------------5-----------------2---------3---3-------------3--
E)------------------------------------------3------------------------------
(Bridge "...Like Jack Horner..." etc)
Walk down 5-string to Am to (using thumb on 6-string) partial-F to D7
E)-----------------------------------------------------------------------
B}----------------------1p0----1----------1p0----1----------1p0----1-----
G)---(0)--(0)--(0)------(2)--2---2--------(2)--2---2--------(2)--2---2---
D)-----------------------2-----------------3-----------------0-----------
A)--3---2----1------0----------------------------------------------------
E)---------------------------------0--1--------------1--2----------------
Go to simple A (x02220) to D (x00232) to D13 (x54557) and D9 (x54555)
E)-------0------------------2--0--2-----7--5--7------------
B}--1/2-----2--------------(3)----------5------------------
G)-------------2------------2-----------5------------------
D)--1/2----------------0----------------4------------------
A)------------------0----------------5---------------------
E)---------------------------------------------------------
...and into partial-G, etc, and to G7#5
E)----------------0--1--0--3---------4----------
B}----------0--3---------------------4----------
G)---0h2h3--------------------0------4----------
D)----------0-----------------0------3----------
A)---------------------------------2----------
E)----3---------------------3--------3----------
(Back to Verse Progression)
...(Pretty much the same as first beginning tabbed line)
E)-------------3p0-----0-----------------0--3----------------
B}------------------4--------------0--3----------------------
G)--------------------------0h2h3--------0------(0)----------
D)--------------2------------------0------------(0)----------
A)-----0--2--3---------3-------------------------------------
E)--3-----------------------3-----------------3--------------
Back into C and partial-Fm7 position, then to C xx5558 (barred
5th fret with index, adding pinkie for the other 1st-string
notes) and slide that barre up into the Fmaj7 (xx10/10/10/12)
E)----3p0-----0--1------3--1-3-4--3--1----5-7-8---12--10----
B}---------4-----------1-------1----------5-------10--------
G)------------0-------1--------1----------5-------10--------
D)-----2-------------1--------------------5-------10--------
A)--3-------------------------------------------------------
E)----------------------------------------------------------
This run can be done from that Fmaj7 position with
simple finger additions
E)------------------------------------------------
B}--13-10----------10--------0--------------------
G)--------10----------10-----------5--------------
D)-----------12----------12-----------------------
A)------------------------------------------------
E)------------------------------------------------
Back into the C (xx5558) position, this "walk" is similar to
what's often called the "Robert Johnson A Turnaround" except
of course this is in C and uses a doubled ascending/descending
walk on the 2nd and 3rd srings.
E)------------------------8--8-8--8---8------8-------8--------
B}------------------------5--------------5---6---5---7--------
G)-[5 from above into]->--5-----------------------------------
D)------------------------5-------8---8------7-------6--------
A)------------------------------------------------------------
E)------------------------------------------------------------
Then a little single note end-run (out of that same C-chord)
into the G7#5, resolved on the C9 (x32333) and ended with
that single 13th-note on the 1st-string/5th-fret.
E)---8--5----------------------------3----5-------
B}---------8-----5---------------4---3------------
G)------------8-----5------------4---3------------
D)---------------------7--5------3---2------------
A)-------------------------------2---3------------
E)-----------------------------3------------------
And that's about it. This is just kind of an example of doing
the tune in this style. Similar licks and phrases can of course
be used instead or mixed in different ways or combinations to do
the tune or for adding more verses. I did it this way because it
seems most arrangements of this tune are more chorded modern-jazz
influenced and I wanted to do it with more fingerstyle work and
less chording, which I think is more reminiscent of the original
old piano style version first done by Fats Waller.
Anyway, I hope that gives you a few ideas.
=================================================
AIN'T MISBEHAVIN'
Lyrics by Andy Razaf
No one to talk with,
All by myself,
No one to walk with,
But I'm happy on a shelf
Ain't misbehavin'
I'm savin' my love for you.
(Next Verse)
I know for certain,
The one I love.
I'm through with flirtin'
It's you I'm thinkin' of.
Ain't misbehavin'
I'm savin' my love for you.
(Bridge)
Like Jack Horner,
In the corner,
I Don't go nowhere,
But what do I care?
Your kisses are worth waitin' for.
Be-lieve me...
(Verse)
Don't sniff no more cocaine,
Don't smoke no reefer tea.
I can go to dreamland
Just thinkin' 'bout you and me.
Ain't misbehavin'
I'm savin' my love for you.
(Instrumental Break: Verse + Bridge)
(Verse)
I don't stay out late,
Don't care to go,
I'm home about eight,
Just me and my radio
I ain't misbehavin',
I'm savin' my love for you.
(Third verse was edited from the original 1928 version
due to content prior to its actual publication in 1929
and therefore rarely included on sheet lyrics.)
======================================================
# This file is the author's own work and represents his interpretation of the #
# music below. It's intent is for study or scholarship purposes only and is #
# not intended for publication, nor for any other commercial use whatsoever. #
#-----------------------------------------------------------------------------#
For copying: Originally tabbed in Microsoft Notepad using Courier New 10-Font.
==============================================================================|
AIN'T MISBEHAVIN'
(1929) Lyrics by Andy Razaf
Music by Thomas "Fats" Waller and Harry Brooks
Fingerstyle Solo Guitar Instrumental
(arr: John M. 3/3/09)
=====================================================
Links to SoundClick Sound-bytes to Work With This Tab:
(Part 1)
http://www.soundclick.com/bands/page_songInfo.cfm?bandID=83982&songID=7461879
(Part 2)
http://www.soundclick.com/bands/page_songInfo.cfm?bandID=83982&songID=7461856
=====================================================
Key of C
(First Verse Progression)
...Starting with C=(3)32010 to partial G (best held TxOOOO)...
E)-------------3p0-----0-----------------0--3----------------
B}------------------4--------------0--3----------------------
G)--------------------------0h2h3--------0------(0)----------
D)--------------2------------------0------------(0)----------
A)-----0--2--3---------3-------------------------------------
E)--3-----------------------3-----------------3--------------
...back to C then partial Fm7 xx1111(+pinkie/3) and back to C...
E)----3p0-----0--1------3--1-3-1----------------0---1--------
B}---------4-----------1-----------1----1----3---------------
G)------------0-------1------------1--------------------0----
D)-----2-------------1-----------1--------------2-------2----
A)--3-----------------------------------3-------------3------
E)-----------------------------------------------------------
...to partial G(TxOOOO), then C-C7-F-G#-C to a turnaround G7#5
E)--5--3--5--3----0-------------------------------------------
B}-----------------------1---------1----1----1-----4---(x4)---
G)----------------------(0)---3---(2)--(1)--(0)----4---(x4)---
D)--------0-------0----------(2)---3----1----------3---(x3)---
A)-----------------------3----3--------------3-----2----------
E)--3----------3-----------------------------------3----------
(Next Verse Progression)
...Starting with C and into G (partial) again, adding 7th note...
E)-------0---3----------------------0-1-------------------------
B}---1h3----------------------0--3------------------------------
G)--------------------0h2--3---------------0--------------------
D)----2-----------------------0------------0--------------------
A)--3--------3--------------------------------------------------
E)---------------------3----------------3-----------------------
...back to C, and (substitution for Fm7, three inversion run of Cdim7)
E)-------3p0---0--3------------5------8------11-------------------
B}-----------3----------------4------7------10----10--------------
G)---------------------------5------8------11---------------------
D)--------2-----------------4------7------10----------------------
A)--3--------------3----------------------------------------------
E)----------------------------------------------------------------
To C xx5558 to A xx7655 to D9(13) x54555(7) to G, walk chord-frags C-C7-F G#-C
E)--8---5----------5----------5--7--5--0----3---0--------------------------
B}-(5)----8--5----5----5-----5-------------(0)--------1-------1----1----1--
G)-(5)-----------6----------5--------------(0)-------(0)--3--(2)--(1)--(0)-
D)--5-----------7----------4---------------(0)-----------(2)--3----1-------
A)------------------------5-----------------2---------3---3-------------3--
E)------------------------------------------3------------------------------
(Bridge "...Like Jack Horner..." etc)
Walk down 5-string to Am to (using thumb on 6-string) partial-F to D7
E)-----------------------------------------------------------------------
B}----------------------1p0----1----------1p0----1----------1p0----1-----
G)---(0)--(0)--(0)------(2)--2---2--------(2)--2---2--------(2)--2---2---
D)-----------------------2-----------------3-----------------0-----------
A)--3---2----1------0----------------------------------------------------
E)---------------------------------0--1--------------1--2----------------
Go to simple A (x02220) to D (x00232) to D13 (x54557) and D9 (x54555)
E)-------0------------------2--0--2-----7--5--7------------
B}--1/2-----2--------------(3)----------5------------------
G)-------------2------------2-----------5------------------
D)--1/2----------------0----------------4------------------
A)------------------0----------------5---------------------
E)---------------------------------------------------------
...and into partial-G, etc, and to G7#5
E)----------------0--1--0--3---------4----------
B}----------0--3---------------------4----------
G)---0h2h3--------------------0------4----------
D)----------0-----------------0------3----------
A)---------------------------------2----------
E)----3---------------------3--------3----------
(Back to Verse Progression)
...(Pretty much the same as first beginning tabbed line)
E)-------------3p0-----0-----------------0--3----------------
B}------------------4--------------0--3----------------------
G)--------------------------0h2h3--------0------(0)----------
D)--------------2------------------0------------(0)----------
A)-----0--2--3---------3-------------------------------------
E)--3-----------------------3-----------------3--------------
Back into C and partial-Fm7 position, then to C xx5558 (barred
5th fret with index, adding pinkie for the other 1st-string
notes) and slide that barre up into the Fmaj7 (xx10/10/10/12)
E)----3p0-----0--1------3--1-3-4--3--1----5-7-8---12--10----
B}---------4-----------1-------1----------5-------10--------
G)------------0-------1--------1----------5-------10--------
D)-----2-------------1--------------------5-------10--------
A)--3-------------------------------------------------------
E)----------------------------------------------------------
This run can be done from that Fmaj7 position with
simple finger additions
E)------------------------------------------------
B}--13-10----------10--------0--------------------
G)--------10----------10-----------5--------------
D)-----------12----------12-----------------------
A)------------------------------------------------
E)------------------------------------------------
Back into the C (xx5558) position, this "walk" is similar to
what's often called the "Robert Johnson A Turnaround" except
of course this is in C and uses a doubled ascending/descending
walk on the 2nd and 3rd srings.
E)------------------------8--8-8--8---8------8-------8--------
B}------------------------5--------------5---6---5---7--------
G)-[5 from above into]->--5-----------------------------------
D)------------------------5-------8---8------7-------6--------
A)------------------------------------------------------------
E)------------------------------------------------------------
Then a little single note end-run (out of that same C-chord)
into the G7#5, resolved on the C9 (x32333) and ended with
that single 13th-note on the 1st-string/5th-fret.
E)---8--5----------------------------3----5-------
B}---------8-----5---------------4---3------------
G)------------8-----5------------4---3------------
D)---------------------7--5------3---2------------
A)-------------------------------2---3------------
E)-----------------------------3------------------
And that's about it. This is just kind of an example of doing
the tune in this style. Similar licks and phrases can of course
be used instead or mixed in different ways or combinations to do
the tune or for adding more verses. I did it this way because it
seems most arrangements of this tune are more chorded modern-jazz
influenced and I wanted to do it with more fingerstyle work and
less chording, which I think is more reminiscent of the original
old piano style version first done by Fats Waller.
Anyway, I hope that gives you a few ideas.
=================================================
AIN'T MISBEHAVIN'
Lyrics by Andy Razaf
No one to talk with,
All by myself,
No one to walk with,
But I'm happy on a shelf
Ain't misbehavin'
I'm savin' my love for you.
(Next Verse)
I know for certain,
The one I love.
I'm through with flirtin'
It's you I'm thinkin' of.
Ain't misbehavin'
I'm savin' my love for you.
(Bridge)
Like Jack Horner,
In the corner,
I Don't go nowhere,
But what do I care?
Your kisses are worth waitin' for.
Be-lieve me...
(Verse)
Don't sniff no more cocaine,
Don't smoke no reefer tea.
I can go to dreamland
Just thinkin' 'bout you and me.
Ain't misbehavin'
I'm savin' my love for you.
(Instrumental Break: Verse + Bridge)
(Verse)
I don't stay out late,
Don't care to go,
I'm home about eight,
Just me and my radio
I ain't misbehavin',
I'm savin' my love for you.
(Third verse was edited from the original 1928 version
due to content prior to its actual publication in 1929
and therefore rarely included on sheet lyrics.)
======================================================
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