Folk drills
Campfire, ballad, and lok hands. The whole style is one split: the thumb keeps a bass pulse, the fingers or pick answer on the off-beats. Get that split honest and most folk songs are already playable.
Technique path: Drills · Exercises · Folk exercises · this page
Why it matters even if folk is not your style: this is where you learn to change chords without stopping the right hand, and where the capo turns six shapes into every key. Rock strumming and fingerstyle both grow out of it. Where a drill is a shape or a picking pattern, TAB sits next to the explanation (high e on top). How to read it: Foundations · TAB.
One drill sounds at a time. Play becomes Stop on the same button. Loops follow the metronome in the practice bar — start near 60 and only move it when nothing rushes.
Suggested order
- Boom-chick — bass, strum, bass, strum on one chord.
- Alternating bass — root on 1, fifth on 3.
- G–C–D — the folk workhorse, one bar each.
- Am–F–C–G — same right hand, harder left hand.
- Capo drill — same shapes, new key.
- Thumb bass + brush — the fingerstyle seed.
- 3/4 waltz — bass, chick, chick.
- Lok pulse in 6/8 — the lilt behind a lot of Nepali folk.
- Boom-chicka and the Travis seed.
- G–Em–C–D, D–G–A, Am–C–D–F.
- Walk-down to Em, then lok with a change.
- First pieces — titles and play-along, no printed tunes.
Beginner
Boom-chick on G only. Then G–C–D, one bar each, downs. Capo stays off.
Intermediate
Alternating bass. Am–F–C–G. Capo 2 or 3, same shapes. Waltz bass-chick-chick.
Advanced
Travis seed. Walk-down to Em. Lok 6/8 with a change. Then a first piece — G–C–D or Resham Firiri shapes.
Bass and strum
Hold G and let the right hand do the work. The neck below lights the shape the loop is playing; click any intersection to hear a single note.
1 · Boom-chick
Beat 1: the lowest chord tone (boom). Beat 2: downstrum (chick). Beat 3: the same bass again. Beat 4: downstrum. Country, lok, and a lot of film-song guitar share this pulse.
1 2 3 4 e|-------3-----------3-- B|-------0-----------0-- G|-------0-----------0-- D|-------0-----------0-- A|-------2-----------2-- E|-3-----------3-------- G
2 · Alternating bass
Same pattern, but beat 3 takes the fifth instead of the root. In G that is the open D string; in C the open G string; in D the open A string; in Am the open E string. The bass starts to walk instead of thud.
1 2 3 4 e|-------3-----------3-- B|-------0-----------0-- G|-------0-----------0-- D|-------------0-------- A|-------2-----------2-- E|-3-------------------- root, then 5th
3 · Bass only, then strum only
Split the drill. First pass: bass notes on 1 and 3, silence elsewhere. Second pass: strums on 2 and 4, no bass. Then put them back together. If the combined version rushes, one half is not steady yet.
bass only strum only
E|-3-----3---- e|-------3-----3--
B|-------0-----0--
G|-------0-----0--
Changes
The right hand must not pause while the left hand moves. Change on beat 1; if you are late, arrive on 1 with only the bass note fretted and let the strum catch up.
4 · G → C → D → G
One bar each with the boom-chick running underneath. Three chords, dozens of campfire songs. Say the next chord name out loud on beat 4.
G C D e|-3---------------0-----------------2-- B|-0---------------1-----------------3-- G|-0---------------0-----------------2-- D|-0---------------2-----------------0-- A|-2---------------3-----------------x-- E|-3---------------x-----------------x--
5 · Am → F → C → G
The minor-start version. F is a barre — if it is not clean yet, play the loop as Am–C–G and add F when the barre stops buzzing (see Barre chords). Listen to the model first; the bass notes are A, F, C, G.
Am F C G e|-0---------------1-----------------0-----------------3-- B|-1---------------1-----------------1-----------------0-- G|-2---------------2-----------------0-----------------0-- D|-2---------------3-----------------2-----------------0-- A|-0---------------3-----------------3-----------------2-- E|-x---------------1-----------------x-----------------3--
6 · Two-beat changes
Half a bar each: G, C, G, D. Twice the changes in the same time. This is the honest test — keep the boom-chick, do not slow down.
1 2 | 3 4
G C
1 2 | 3 4
G D boom-chick still running
Capo — same shapes, new key
The capo is a moveable nut. Clamp it just behind a fret, keep the shapes you already know, and the song comes out higher. Fret 2 turns G–C–D into A–D–E; fret 4 turns it into B–E–F♯. Nothing about your left hand changes.
7 · Capo drill
Play the same G–C–D boom-chick with the capo model at fret 2, then fret 4. The shape on the neck stays put; the pitch moves. Useful when a singer needs the song in another key — same idea as moving Sa in Singing.
same TAB as drill 4 capo 2 → sounds A–D–E capo 4 → sounds B–E–F♯
Thumb and lok
8 · Thumb bass + brush
Thumb plays a bass string on the beat; the fingers brush the top three strings on the ands. Not full Travis picking and not classical pima — just the folk seed. Loop it on G, then hold Am and run the same right hand.
1 & 2 & 3 & 4 & e|----0-----0-----0-----0-- B|----0-----0-----0-----0-- G|----0-----0-----0-----0-- brush D|------------------------- A|------------------------- E|-3-----3-----3-----3----- p
9 · Waltz — 3/4
Bass, chick, chick. Three beats to the bar, the bass only on 1. The practice bar switches to 3/4 for you. Many older Nepali and Western folk songs sit here.
1 2 3 e|-------3-----3-- B|-------0-----0-- G|-------0-----0-- D|-------0-----0-- A|-------2-----2-- E|-3-------------- G
10 · Lok pulse — 6/8
Counted 1 2 3 · 4 5 6 with weight on 1 and 4. Bass on 1, brush down on 3, bass on 4, brush up on 6 — a lilt rather than a march. The same 3+3 grouping a madal player uses. Keep it light; folk lok is a shuffle, not a stomp.
1 2 3 · 4 5 6 e|--------0----------0-- B|--------0----------0-- G|--------0----------0-- brush D|---------------------- A|---------------------- E|-3-----------3-------- bass
Past the seed
11 · Boom-chicka
Bass on 1 and 3; on 2 and 4 a down–up instead of a single down. The extra upstroke is the country / bluegrass lift. Keep the bass louder than both strums.
1 & 2 & 3 & 4 & e|----------3--0--------3--0-- B|----------0--0--------0--0-- G|----------0--0--------0--0-- D|----------0-----------0----- A|----------2-----------2----- E|-3--------------3----------- p ↓ ↑
12 · Travis seed
Thumb still owns the bass. Index and middle pick one string each on the offs — not a brush. On G: p on low E / D, i on G, m on B. This is the folk door into pima, not the full method.
e|----------------- B|--------0-----0-- m G|-----0-----0----- i D|----------------- A|----------------- E|-3-------3------- p
13 · G → Em → C → D
I–vi–IV–V in G. Same boom-chick, a minor colour in the middle. The 50s / ballad loop on Play along.
G Em C D e|-3---------------0-----------------0-----------------2-- B|-0---------------0-----------------1-----------------3-- G|-0---------------0-----------------0-----------------2-- D|-0---------------2-----------------2-----------------0-- A|-2---------------2-----------------3-----------------x-- E|-3---------------0-----------------x-----------------x--
14 · D → G → A
I–IV–V in D. Three shapes you already have; the bass notes sit on D, G, and A. Capo-friendly for singers who live higher than G. Play-along twin: A–D–E is the same map one tone up.
D G A e|-2---------------3-----------------0-- B|-3---------------0-----------------2-- G|-2---------------0-----------------2-- D|-0---------------0-----------------2-- A|-x---------------2-----------------0-- E|-x---------------3-----------------x--
15 · Am → C → D → F
The slow 6/8 or 3/4 minor door (House of the Rising Sun is the famous title — we do not print the melody). Boom-chick still runs; F is the barre test. If F buzzes, hold Am–C–D and add F later.
Am C D F e|-0---------------0-----------------2-----------------1-- B|-1---------------1-----------------3-----------------1-- G|-2---------------0-----------------2-----------------2-- D|-2---------------2-----------------0-----------------3-- A|-0---------------3-----------------x-----------------3-- E|-x---------------x-----------------x-----------------1--
16 · Walk-down G to Em
Bass walks G (low E fret 3) → F♯ (fret 2) → Em. One beat each, then boom-chick on Em for a bar. The walk is the sentence; the Em is the full stop. Do not grab a full G♯ chord in the middle — one bass note is enough.
e|----------------- B|----------------- G|----------------- D|----------------- A|----------------- E|-3--2--0-------- G F# Em
17 · Dead-string chick
Bass rings; the chick is a left-hand mute (release the shape without lifting off the strings). The contrast makes the boom speak. Same G boom-chick, muted strums.
1 2 3 4 e|-------x-----------x-- B|-------x-----------x-- G|-------x-----------x-- D|-------x-----------x-- A|-------x-----------x-- E|-3-----------3-------- boom rings, chick is mute
18 · Lok 6/8 with a change
Same 1–2–3 · 4–5–6 pulse as drill 10, but the chord moves G → D each bar. Change on 1; keep the lilt. Play-along twin: Lok pulse.
bar 1 G bar 2 D e|-3-----------------2-- B|-0-----------------3-- G|-0-----------------2-- D|-0-----------------0-- A|-2-----------------x-- E|-3-----------------x-- same 6/8 right hand
First pieces
Folk “pieces” here are progressions you already drilled — not printed tunes. Public-domain songs you may sing; famous titles are a recognition aid only. Open the matching loop on Play along.
How to start
- Run the right-hand drill on one chord until it does not think.
- Add the progression at one bar each.
- Sing or hum the tune if you know it — we do not print it.
Beginner piece
G–C–D boom-chick. Amazing Grace, Oh Susanna, Resham Firiri (shapes only).
Intermediate piece
G–Em–C–D or Am–C–D–F. Waltz or 6/8 once the 4/4 is honest.
Advanced piece
Travis seed under G–C–D. Capo 2 or 3 for a singer. Lok 6/8 with a change.
Public-domain doors (sing them)
| Tune | Progression | Hear the harmony |
|---|---|---|
| Amazing Grace · Oh Susanna · This Land Is Your Land | G · C · D | Three-chord backbone · Ghar loop |
| Greensleeves (traditional) | Am · G · Em · Am colour | Am folk |
| Simple Gifts · many 3/4 hymns | G · C · D in 3/4 | Waltz |
Melody and lyrics stay in the public-domain songbook or your memory — not on this page.
Famous titles (chords only)
| Recognition | Progression | Hear it |
|---|---|---|
| Knockin’ on Heaven’s Door · many campfire ballads | G · D · Am · C | G–Am–D is the nearby map; run G–D–Am–C on the G–C–D drill |
| House of the Rising Sun | Am · C · D · F | Drill 15 on this page |
| Wagon Wheel / four-chord campfire | G · D · Em · C | Four-chord song |
| Stand By Me colour | G · Em · C · D | 50s / ballad |
Nepali / lok doors
| Title (recognition) | Progression | Hear it |
|---|---|---|
| Resham Firiri · many lok tunes | G · C · D | Ghar loop · Lok pulse |
| Sajha Pokhara colour · campfire Ghar | G · C · D · G | Ghar loop |
| Nepali pop once F is honest | Am · F · C · G | Am–F–C–G |
We do not print those melodies. The right hand is the piece until the tune is already in your ear.
Practice note
How long: 10–12 minutes. Two on boom-chick, four on a change loop, two on Travis or walk-down, then one first-piece progression.
Listen for: the bass note landing exactly on the click, and every strum having the same weight. The bass should be a little louder than the strum — that contrast is the sound of the style.
Common mistake: stopping the right hand to make the chord change. The silence is more noticeable than a fuzzy chord. Keep strumming even if only two strings are fretted on beat 1.