"My One and Only" is a slow ballad in drop-D tuning with the 6th string lowered from E to D. The piece consists of A and B sections that are each 16 measures long, played through twice with some variation, followed by a repeat of the A section with a coda to finish. It is really an instrumental love song and, as my wife and I have been married for 34 years, I'll let you guess who the subject is.

The whole tune is built on the hammer-on and pull-off D chord lick in the first two measures which acts much like a "hook" in a vocal song. Many of the pieces I write start with a single lick or phrase like this. Such lines can come to me at any time, but usually present themselves after a long practice session. I have learned to treat them with respect. I usually make a quick scratch recording of the line or phrase or write out the phrase in Finale on my computer. Then I can retain them, work on five or six at a time as I am right now, and expand and develop them into complete compositions.

While this first item can come to me in a sort of random whimsical way, the development and completion of a piece is very determined, methodical and focused. I hear or "imagine" very specific musical ideas and then strive to realize them on the guitar. Such was the case with this tune.

Following the initial D lick call, there is a response G and A chord lick in measures 4 and 5, and then back to the D lick to finish the 8 measure phrase. Notice the "D" shaped G chord in measure 4 with a full bar on the 5th fret. It looks like this:

Mark Hamre with his "One and Only" LaVonne at the vendors fair at the 2007 Walnut Valley Festival in Winfield, Kansas.

Understanding and using this position is the key to playing the whole piece. You need a clear sounding bar with your first finger across all six strings so you can hammer-on with your 4th finger on the 1st string and then pull-off with your 4th finger (again) on the 2nd string. If this is new and /or difficult for you, do not be discouraged. Techniques like this take time to master. Just playing through the measure a few times a day will yield more improvement over time than trying to master it in one sitting. So just put it into the piece the best you can and, along with a few isolated repetitions, it should gradually get better. Over the years I have mastered many pieces and techniques this way.

The first B section enters at measure 16. The transitional bass run here is very dramatic so make sure it stands out. Several measures of the B section are the same as in section A, so much work is already done. Using my right-hand palm, I slightly mute the two-measure eighth-note bass pattern that begins on the low G at measure 25. This leads to a 2nd-fret bar consisting of a D chord transitioning to a Bm chord. Be sure to use the first finger on the 6th string in measure 29 so you don't run out of fingers in the next measure. Then the climax A9 chord occurs in measure 32. As you strum through the chord hit the last note a little harder to make it stand out.

Now we play section A again but with a little variation. I have added a lick in measure 38 that is not on the recording. As composers do, I have added a little development which is present in the score, adding intensity to the second statement. There is also a new lick in the second B section at measure 54. It may seem difficult, but I think each element is quite doable. Be willing to practice out of time but in order from left to right. As you grasp the sequence of the movement you will be able to get the timing right. As before, practice makes perfect!

The A section coda starts in measure 74. I had to really practice as described above to get this right. Just because I think this stuff up doesn't mean I can play it, and this is a perfect example. It took weeks to master this single measure, but it was worth it! The next three chord positions are easy but make them clear. The whole piece hangs on that high D in measure 76 so make it sing! Then catch your breath, don't hurry the A9 chord, and be solid on the final D chord. Depending on the audience, hankies may be needed.

Until next time, keep practicing and enjoy what you play!

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Fingerstyle guitarist Mark Hamre is the inventor of the NeckUp Guitar Support which, along with his CDs, is available through his website at www.neckup.com.