Acoustic Guitar Essentials Vol. 2

Laurence Juber
Acoustic Guitar Essentials volume 2
Understanding DADGAD
and Building Repertoire
Contents
page 2 Introduction to DADGAD
page 8 Amazing Grace
page 10 Greensleeves
page 12 Wayfaring Stranger
page 14 Shebeg and Shemore
page 17 Shenendoah
page 20 When The Saints Go Marching In
page 22 Take Me Out To The Ball Game
DADGAD Tuning
D-A-D-G-A-D presents 3 D strings, 2 A strings and 1 G string.
The 5th, 4th and 3rd strings are identical to those strings in standard tuning.
The 1st and 6th strings are pitched an octave above and below the 4th
string respectively, so the familiar fingerings on that string are repeated on strings 6 and 1.
Likewise the 2nd string A is an octave copy of the 5th string.
Unlike standard, which is tuned all in 4ths except for the major 3rd
between string 3 and 2, here the relationships are more varied:
Strings 6 and 5 are a 5th apart; 5 and 4 are a 4th; 4 and 3 are a 4th;
3 and 2 are a 2nd; 2 and 1 are a 4th.

EX 1
EX 2

4
11
12
l.h.fingers 0

0

4
11
10
12

4
10
12
11
12

12

0
0
0
0
0
0

0

7
11
12
3
Most obvious is the 3rd and 2nd string, G-A relationship. Having two adjacent scale tones on
adjacent strings, opens up the fingering to cascading scale patterns.

Ex 3

0

0

0

Ex 4
The ability to access the same notes on adjacent strings allows for
multiple fingerings from the same position:

Ex 5
2
3
2
0

4
5

4
2
0
6
4
Here are a few DADGAD Chord shapes.
Some are closed and moveable.
Others have open strings that create extended chord tones or suspensions
as the grip is moved up the fingerboard.
Ex 6
Root on
6th string

Em

2 3 4
2 314

Ebmaj7
2 314

2 3

3
0
3
0
0
3
0
0
3
Bb

2 3 4

2
0
0
4fr
2 31
Gm add2
Gadd2
4fr

31

3
3
3
5
4
0
2
0
0
0
0
0
2
4
0
0
4
5
0
0
4
0
0
0
3
0
D(sus4)
D
11fr

234
1 4
3 4111
2 300
3
2
3
0
8

F6add9
2
0
2
0
1
0
1
Gm7 sus4

2 3 4
Fadd2
2
1
2
8fr
2 3 4
Fsus2

0
0
0
0
0
0
12
12
11
0
0
0

30
Root on
5th string

Bb
Am
Am7sus4
114

103
4
2
2
0
7
6
7
0
2
3
2
2
0
0
3
0
2
0
324

1132
Em7sus4
Bm7
C9
Bbmaj7
7fr

134

0
0
3
3
1
3
3
1
32 1
32 4
13400

3
0
2
3
0
1
0
2
3
134
134
0
1
0
2
3
0
0
9
9
7

Intervals - to create inversions, transpose the notes from the 6th to the 1st string,
Ex 7 or reverse the position of notes on strings 5 and 2

min10th

maj10th

min6th
maj10th
min6th

min10th

3

maj6th
5
3
Example of scale harmonization combining 10ths with open strings

Ex 8
maj6th

0
0
4
0
0
5
0
0
7
0
0
9
0
0
11
10
12
6
The open strings can also supplement traditional harmony and voice leading,
as in this example from Bach.
Ex 9

Dm
Bb
F/A Gm7 F
0
3
5
3
1
3
2
3
0
3
3
0
0
3
Bb6 C
0
3
1
2
3
F A7/C# Dm
2
0
0
0
0
3
7
6
7
0
3
0
0
A7
Dm

0
0
7
6
5
0
The cluster of a 2nd plus a 4th that is created by the top 3 strings serves to thicken
a melody line. Supported with a contrary motion bass line, the result demonstrates how
DADGAD lends itself to more 'suspended' harmony.
C add2/E
F sus4
A9 no3
G sus2
D
4fr
5fr

1
444
1 2

Ex 10
111

5
5
5
3
3
3
0
0
0

0
0
2
0
2
0
4
0
Cross-picking produces a resonant blend of melody, harmony and texture:

C7(9)
8fr
8fr
Ex 11

4
10
10
3 124
1

0
9
134

0
10

0
10
10
8

r.h.index finger

Here's an example of a propulsive DADGAD groove from my composition

"The White Pass Trail":
Ex 12

0
Octaves are a powerful resource in the tuning. Here's the riff and part of the solo
from "Cobalt Blue":
play with side of thumb, then do not restrike with r.h.

Ex 13

Ex 14

3
3

0
0

0
0

LJ

For further DADGAD study please refer to my books and DVDs

available from Solid Air Records.
Enjoy,

Amazing Grace
Traditional arranged by Laurence Juber
A7
A7sus4
A13
A9/C#
4fr
1244
Dsus2
2111
11
D7
7fr
23
134
1244
32 1
F#+7
G('2)
7fr
4fr
4fr
43121
C9
6fr
E'9/G#
E9
10fr
234
Bm7
Bb7/A
5fr
9fr
3211
141
32
Tuning: DADGAD

11
12
7
7
6
5
0

0
0
11

8
7
6

Bb7/A
A7
Bm7
0
9
11
10
12

7
6
5
E9

4
5
4
6
7

2

4

Juber Music 2007

7
7
7
0

0
Dmaj9
D7

4
10
Dsus2

0
0
0
9
10
A7

9
7
7
8
9
A/C#

0
9
G('2)
F#+7
D7
D/F#

8

5

11
F#sus4

14
F#

9
9
G('2)
F#+7

0
0
0
9
10
7
7
8
9

E'9/G#
Bm7
0
0
4
4
2
A9/C#
4
7
4
2
2
0
0

18
C9
0
1
0
2
3
1
2
F#
2
0
2
2

2
0

A13

4
4
4
5
0
2
2
0

0
0
0

A7sus4
0
0
0
2
0

0
Em7 F#m

22

1/2 IV
F#m7

3
0
0
2
0
10
Greensleeves
Csus2
Am
1132
D9
C/D
10fr
trad. arranged by Laurence Juber
Fsus2 F#m7('4) Gsus2
Em
9fr
2 3 4
G('2)
5fr
3121
324
2 314
2 3 4
2 3 4
3 111
G('2)/B
4fr
Tuning:DADGAD

Am
3
2
2
0
2
3
2
2
0

Gsus2
0
0
0
0
0

3
2
2
0
Am
0
2
2
0
1/2 II____

5

2
1
2
2
2

3
0
3
3

1
2

4
2
3
2
4
0
0
Gsus2

Am

Em
0
0
0
0
2
2

3
2
2
0

D9
Fsus2

Am
0
2
2
0
0
2
2
0
Juber Music 2007

0
11

C
G'2/B
0
0
0
2

13
2
1
2

16 Am'2
3
4
2
0
Em
2
0

Csus2
0
10
0
10
Em
0
2

4
5
C/D

Am
0
2
2
0
0
0
7
8
0
6
II
E/B

10
9
10
0
0
10
0
2
Am

10
G'2 F#m7'4 Em

0
0
4
0
2
2
2
0
2

0
2
2
0
12
Wayfaring Stranger
Am
Am('2)/C A('2)/C# B+7
Am7
B+7#9
5fr
314
Cmaj7
3111
2111
Em
Cm6
21
21
Em7('4) F#m7('4)
G
4fr
11
2 3 4
31
234
3 111
Tuning: DADGAD
1.

Em
2
2
2

5
Em

8
0
0
0
2
2
2
0
0
2
0
5
5
5
Em

2
0 2 0

2
2
0
2
0
2
Juber Music 2007
0
0
2
0

0

Am7

0
0
0
1
2
0
2
B+7#9
0
0
1
2
2
0
2
2
B+7

2
0
2
2

Am7
2.

2

2
0
2

10
13

C
0
2
3
Cmaj7
0
0
0
2
0
Am
Em

13
Dsus4
0
0
0
2
2
2
0
0
0
0
0
2
7
5
7
0
Am/G
Am
2
2
0
Em7

16
F#m7('4) B+7
2
2
2
2
0
1
2
A/C# Am('2)/C
0
1
2
2
2
2
4
2
2
2
Em/B
2
2
2
2
0
2
Em
Cm6 B+7
2
2
2
0
0
0
1
3
3 2 0

slap 12th fret
harmonic
Em
20

Am
B+7
0
0
2
0
0
0
1
2
Em7add4
play 3 times
2
2
0
0
0
2
2
2
5
5
5
0
0
1
2

2
2
2
0
0
0
14
Sheebeg and Sheemore

O'Carolan arranged by Laurence Juber
A7
Bmin7
A7/C#
A7 no 3
D/F#
7fr
5fr
124
211111
F#+7#9
4fr
4fr
0 4 00
3 4
Gadd2
7fr
431
4fr
G6
4fr
32111
11
Tuning: DADGAD
D

2
0

2
0
0
0

4
0
Bmin7

0
0
0

0

0
A7 no3

1

Dsus

4

0
Juber Music 2007
A7/C#

2
0
0
4
0
0
4
0

2
2

9

4
0
2
0
0
Bm7

9

7
2
4
0 2

0
0
2
0
0
0

A7
4
1
2
0
Bmin
F#7/C#

18
F#/A#

15

D/F#

12
15
II

1
0
9

0
11
11
G/B

2
4
0
2
0
0
4
16

21
2 4

Bmin

7
7
3
7
8
9
0
0
Am
G'2

9
7
0
0
4
7
5
0
II

4
6
7

27

30
7
6
5
0

2
4
0
2

11
2 4 2

0

4

0
0
0

0

0
10

4

D/F#
A7

2
4
1
G6
2
0

Bmin
F#7/C#

F#/A#
0
0
2
0
0
0
24
17
Shenendoah
Traditional arr. Laurence Juber
C%
C6
Em7('4) Em7('4) Em/A
Gsus2
G9
5fr
32
32
2 3
2 3
3 12
To Coda
Tuning: DADGAD
q = 86

Em7('4)
Gsus2
0
0

0

4

3

2
0
0
2

Copyright Juber Music 2007
0
0

0
2

0
Em7'4

2.

D
C6
D/F#

6
1.

4
3fr

D/F#

0
0
4

18
8
Em

Em

0

0
5
G/B

2
0

Em

2
0
0
2

2
0
2
0

0

0
4
0
0
Em/A
G/B
D/F#
0
0
0
3

2
3

C%
0
0
G/B

0
0
Em/D
2
0
2

4
3
10
G9

19
Em'4

2
0
0
2
2
0

D.C. al Coda
(make repeat)

Em
4
7
Em/D#
0
5
4
6
Em/D

0
2
Em/A

2
0
2
0
0
4
0
0
0
rit.
0
4
4
G/B
Am/C
Coda
Em/C#
Cmaj7
2
0
2
3
20
When The Saints Go Marching In

A7sus4/E Bm7
A13
A7
211
3 114

4

1
11
111

Juber Music 2007

A13
7
0
2
2
2
0
Em sus4
8fr
444

4231
4fr
7fr
Tuning: DADGAD
D'9/F# Em/A Emin sus4 Gm sus2/Bb
D9
7fr
4fr
4
4
4
5

4
4
4
5
A7

2
0
0
2
21

10
D9
9
9
10
0
0
0
0
0
0
0
0
Emin/A

15
0
0
0
2
2
0
17

Bm7

slap on strings
7
7
7

9
7
7
9

4
0
2.
0
0

10
10

1.
D'9/F#
7
9
9
10
Gm sus2/Bb
G/B

A7sus4/E

13

0
22
Take Me Out To The Ballgame

Bb/D
Bb6
Bbm/Db
C7(9)
Albert Von Tilzer/Jack Norworth arranged by

Laurence Juber
C+7
Db7/D
D7
C7(9)
8fr
3 141
13
2 113
F('2)
2133
F6
3 112
3 124
312
G('2)/B
G9
F/C
312
Gm Gmin sus2
5fr
3fr
2 3
133
2 3
2 3 4
3 12
2 134
Tuning: DADGAD

4

F6

3
0
0
0
D7/F#

3
3
2
3
3
3

0
3
3

0
3
3
0
2
C7

3
3
2
3

Gm
Gm sus2

C7(9)
0
0
0
0
0

F6

6

F'2

0
0
0
Juber Music 2007
0
0
0

0

0
0
0
G'2/B

G7/B

9

C7(9)

10
9
8

10
0
0
0
10

0
2

3

0
3

Bb6

Bb/D
Bbm/Db
3
5
3
0
3
4
3
4
F/C
3
3
2
3

0
D7 Db7/D D7

3
2
4
2
1
3
3
2
4

G9
C+7
0
0
4
3
2
1
1
3

F
3
3
2
3

0

3
2.

18

0
2
1.

15

0
9

12
23
3
3
2
3

10
10
9
15
15
14

r.h. index finger

3

CREDITS
For more information on Laurence Juber: www.laurencejuber.com
For more acoustic recordings and videos on Solid Air Records, visit:
www.SolidAirRecords.com
www.AcousticMusicResource.com
Transcription and Engraving: Laurence Juber

Video Production: AIX Media Group (www.aixmediagroup.com)
All Video Content 2007 Solid Air Records. All Rights Reserved.
All Music Content 2007 Juber Music

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Laurence Juber

Acoustic Guitar Essentials volume 2

Example of scale harmonization combining 10ths with open strings

Cross-picking produces a resonant blend of melody, harmony and texture:

Here's an example of a propulsive DADGAD groove from my composition

play with side of thumb, then do not restrike with r.h.

For further DADGAD study please refer to my books and DVDs

Traditional arranged by Laurence Juber

Juber Music 2007

trad. arranged by Laurence Juber

Fsus2 F#m7('4) Gsus2

Juber Music 2007

Am('2)/C A('2)/C# B+7

Juber Music 2007

slap 12th fret

Sheebeg and Sheemore

Juber Music 2007

Em7('4) Em7('4) Em/A

Copyright Juber Music 2007

When The Saints Go Marching In

Juber Music 2007

D'9/F# Em/A Emin sus4 Gm sus2/Bb

Take Me Out To The Ballgame

Albert Von Tilzer/Jack Norworth arranged by

 

Juber Music 2007

  

 r.h. index finger

Transcription and Engraving: Laurence Juber

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r.h. index finger