Free Bouzouki Tutorial

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Gerry McKee

Gerry McKee is a true innovator in the tradition of Irish style bouzouki playing. His style is rhythm driven with a strong emphasis on bass runs and substitute chords. Included in Gerry's many teaching invitations are, the Master's Degree in Traditional Music Performance at University College Limerick, and at the Blas Festival held on the same campus. Gerry has also taught in Italy, Denmark, the US and France, where he now tours regularly. He also gives private tuition.

The tutorial caters for all levels from the absolute beginner to very advanced players. The tutorial also includes a performance piece and an interview with the tutor.

In the beginners' section Gerry demonstrates the basics of the bouzouki including chord shapes, rhythmic patterns, and dampening. He then demonstrates these skills in GDAE tuning (with reference to the GDAD tuning system) using easy, slow-paced Jigs and Reels. With the basic chords introduced Gerry then suggests substitute chords that may be used to increase the harmonic colour. The individual parts of the tunes are demonstrated on video at a slow pace and the full tune is subsequently demonstrated at a medium pace so that you can play along.

How to Hold the Bouzouki

This depends on the shape of your bouzouki, but in general the body should sit comfortably between your legs, neck pointing up just above elbow level. I recommend using a strap to balance the bouzouki better. You should rest your right arm (just below the elbow joint) on the body and the ball of your hand just behind the bridge. Hold the plectrum comfortably (not too tightly) and strum between 3 and 4 inches away from the bridge ensuring that you hit all of the strings evenly.

Let the neck sit just between the base of your index finger and your thumb with your fingers resting at a 45-degree angle across the fret board. It’s important to get your left hand in a comfortable position when you hold the bouzouki so you move from chord to chord with ease.

Beginners - Morrison's

The parts of the tunes can be divided into two four-bar phrases and subdivided again into four two-bar phrases. Generally speaking, the traditional musician would not delineate these phrases in his playing; instead he would mask them by playing through them using ornamentation and general improvisation. The first time the D major is sounded it is on beat 4. However, in bar four I play it on beat 3 giving an anticipatory feel that gives the tune an impetus, pushing it into the next phrase which begins on bar five.

A tune may have a different first and second time ending for the B part and this is one such example. Many of the standard tunes with these "built-in" variations are included in this tutorial.

The same chords are used here but they are in different positions. Like the rhythms, it’s important to become aware of the aural effects these slight positional differences have on the tune. Notice the late A in bar 4 of the first part.

Advanced - Leslie’s Reel

The same syncopated pattern appears again in the second half of the first part. It is interrupted the second time by the late penultimate chord. I like the run of chords in the second part, though you might find it a little difficult at first because there are two chords for every bar except the last two. Sing the line to yourself to get it "in on" your ear.

The syncopated idea appears in the second half of the first part again, and again it is interrupted at the end. Notice how accented the of 2 is in the penultimate bar because I dampen the chord with my little finger. The open B chords in the second part comprise of the two bass strings only.