A Guitar Technique Lesson with Del Casher

G Whiz Blues and Right Hand Picking Techniques

by Del Casher - edited by David Oakes

Editors note: Del has recently visited my website and came away excited by what he found
and wanted to contribute a lesson to the cause. Del has been on the music scene in LA for
almost five decades. He is an arranger, composer, session player and inventor. He is credited
for inventing the wah-wah pedal. He has the most fluid (pick style) right hand technique that I
have ever seen or heard from any guitarist. Yes, I know that this is supposed to be a fingerstyle
website for classical guitarists, but if John Williams can learn to play with a pick then so can
we. This song can also be played fingerstyle and the melody is very reminiscent of a tune by
Jerry Reed called Blue Finger. The left hand fingerings for this composition will use standard
classical guitar fingerings with a little jazz thrown in. Del has the ability to play this song with
different left hand fingerings. He can play it with the left hand thumb handling all of the bass
notes as well as being able to play this work with standard left hand fingerings and no thumb.
Del recommends that you learn to play this piece with and without using the left hand thumb.
He would also recommend that you try to play this work without the use of a left hand bar. If
you have a wide classical neck using your fingers is a must. If you are playing this piece on an
electric guitar or an acoustic guitar, then try to use your left hand thumb. In the right hand, this
work could be played with either the pick or the fingers. This is an etude in flexibility.
Del is all about having fun with the guitar and he really likes giving students fun things to
practice and play without them knowing that they are really working on their technique and
musicianship at the same time. This tune is a perfect example of that teaching strategy. Take a
moment to let Del know if you enjoyed this lesson. His email is:
[email protected]
Also, check Del Casher out on YouTube:
http://www.youtube.com/delcasher

The first two bars of this blues is simply a right hand picking exercise to get locked in with the
time and get the right feel. These bars set the feel of one of many styles of blues. Once you are
comfortable playing the repeated bass note you can vary and experiment what suits your tastes.
These two bars as well as the entire piece should have a very improvised fresh feel as though you
have improvised it for the first time. The transcription shows one possible way to play it.
At measure 3, letter A, there is a four bar vamp. Many guitar books show chord formations and
name the chord only one way. The analysis of any chord on the guitar is important because three
notes can spell different chords depending on how its used and its relation to a progression.
I often see arrangements where the writer has no idea of the correct name of the chord and
confuses the player even though the music sounds the same. Misspelled harmonies are always
confusing.
G Whiz Blues - A Lesson From Del Casher - edited by David Oakes
Copyright leddel music co. ASCAP - 2008 - All Rights Reserved

G Whiz Blues
The first voicing appears to be called a Gm7 chord as seen in every chord book, but in this case
the guitar is played as an orchestra. Because the chord progression is related to the key of G
and blues harmony, we must correctly name this chord Bb/G to an F/G to an open G chord.
Listening to chord resolutions teaches one to hear movement of progressions. In this case the G
is a bass pedal as other chords pass over it. Therefore the first chord is not a Gmi7, but a Bb with
a G in the bass.

Measure 7 begins section B that introduces us to the bass line. This is a great exercise that breaks
the assumption of most books that the guitar must be played only in positions. There is a time and
place for position playing but this is not one of them. Learn to work on playing the line on the 6th
string while accurately playing the open 3rd string G in-between the bass notes. Remember this
is an exercise for the player to move up and down the fingerboard.
Finally we reach measure 15, and after all of these groove elements and techniques have gotten
us in the mood to play the blues, we have the major theme of the 8 bar blues progression with
the melody being played against the bass line. It is important to keep this section sounding fluid,
smooth and improvised. Once this etude is mastered, improvisation is possible to suit ones
tastes. By this I mean to expand and improvise on my melody and bass line with rhythms and
different phrases that may sound good to you. Just remember, its about the MUSIC, NOT your
guitar playing.
Bars 23 through 30, section C, brings back the groove to keep us locked into the time.
Slide into the C9 and D9 chords and let the 1st string E ring through the chords. Keep the
improvised feel in this section as well.
The 8 bar blues with the melody comes back at section D - measure 31. Try some different
things here. If you analyze this section with the 1st time through, you will notice some different
ideas here. I suggest you to open up your freedom and play as you feel. The chord in the last
two bars of this section is a C9/D. Notice you will hear some open 3rd strings as well as open 1st
strings. Those notes are part of the C9 chord and adding these sounds will add a ringing quality
to the descending 3rds.
Measure 39 section E, our 3 chord blues vamp for some more groove time. The A7 chord is
one of my favorite simple but interesting chord voicing. Fret the 3rd and 7th at the 11th fret and
then let everything else be an open string. The diminished chords in bar 44 create a II V sound
that resolves nicely back into the groove.
Bar 49 section F, brings the 8 bar blues progression back for a 3rd time. This time, we are
combining the bass line with a triplet rhythm on the open 3rd string. This is a part of the etude
that develops the right hand wrist and is a great picking exercise. The first time you may miss
hitting the 3rd string and that is what this exercise is designed to develop-right hand wrist co
ordination with precision. Play as accurately as possible using this picking technique.
Bar 57, brings back the diminished 7th chord up the fingerboard in minor 3rds. Notice the open
1st string being used to make the shifts a little smoother.


G Whiz Blues - A Lesson From Del Casher - edited by David Oakes

Copyright leddel music co. ASCAP - 2008 - All Rights Reserved

G Whiz Blues
The final chords move up the neck chromatically. Learn to move up the fingerboard quickly with
no hesitation. Precision musicianship is a must both in interpretation, timing, and smoothness as
you move over the fingerboard.
This piece will help to develop your LINEAR visualization of the fingerboard along with ear
training and technique. This etude provides the opportunity of learning along with the musical
enjoyment of the guitar. Having fun with anything you do in life is everything. Playing the guitar
is one of them.
Del Casher - July 17, 2008

G Whiz Chord Diagrams

A section

Bb/G

F/G

bar 13

D+(9sus4)

 

1
3 2

3 3 3
3

10 2
3 3

Bars 27 - 30

C9

bar 43

D9

D13

A9
1

1
3

12
3

3 4

2
4

Gdim7 - Bbdim7
C#dim7 - Edim7

D7(b9)

 

bar 57 - 58

bar 44 and 59

A7(b9)

 

bar 60
 

 

G6

3
5

2
4

2
4

2
3
5

F6

F#6

2 1

1
3

14

C#dim7

2
4

Bbdim7

2
3

11

2
4

G6

Gdim7

2
3

Bar 60

Edim7

2
3

G Whiz Blues - A Lesson From Del Casher - edited by David Oakes

Copyright leddel music co. ASCAP - 2008 - All Rights Reserved

g whiz blues
Del Casher
Transcribed by David Oakes

44
_ _ _ _ _ _ _ l _ _ _ _ _ _ _ =l l
l=======================
&
_
_ _j
_ _ _ _
_ _ _ _ _ _ _ _
_j
N/C

Bb/G

Bb/G

b ..
n ww
b

l=========================
& _ _ _ _ l _ _ . _ _ _ _ _ l _ _ _ _ l w _ _ _ _ _ _ _ l l
_J _ _ _ _ _ _
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _




p
p
p
p
p p p p p p
B
G
G/B
C
C#dim
G/D
C#dim
C
D sus
7

.
j

#_ j
l j
#_ j
l _ j
l
l=========================
& __ __ __ __ _ . _J .l _ j

F/G

F/G

p p

b
11
b_
_
_
_

j
l j
j
l l l l
l=========================
& __ j
#_
_

G/B

C#dim7

D+9sus4

C#dim
G/D
C#dim
C
D+ sus

15

b
_ _ _ _ _ j
_ _..

bj

#j
#j

#j
.

n
l=========================
& _
l _
l
l _
l

#_
#_

G/B

C#dim7

.. _ .. _j
_j


_ b_j
_ b_
19

_
_
_

j
j
.
b nj
j

#j

l=========================
& __
l _
l
. l
l l
#
_

6
4
6

G/B

C/D

Copyright leddel music co - ASCAP - 2008 - all rights reserved