- CONTENTS - Holding the Guitar and Pick. the Guitar. Music Notation and Tablature Rhythm Notation and Time Signatures.. The Notes on the First String . Folk Song ..... Flamenco Fantasy. The Blues Beat... ‘The Notes on the Second String Jingle Bells.. ‘Aura Lee.. ‘The Boogie Shuffle Tied Notes .. ‘The Notes on the Third String. The Dotted Half Note. New Time Signature: 3/4 Down in the Valley ‘We Three Kings of Orient Are Repeat Signs. Red River Valley Singing Strings. New Rote A Danny Boy : Plaiser D'Amour - Bue Eyes Crying inthe Rai The Notes on the Fourth String ‘Amazing Grace. The House of | Eighth Notes. Ten Little Indians .. Spy 10 Spy .. Surfin’ Safari. ‘The Sharp Sign (F#), Aura Lee. Key Signatures. Golden Slippers. Simple Gifts CONTENTS cp Page # Track # The C, G & G7 Chords. A Folk-Rock Style Al The D & D7 Chords a2 New River Train. 43 Rock Workshop 1 ‘The Blues Progressi Blues Changes... Chuck B. Goode. The Notes on the Fi Brahms’ Lullaby. Cielito Lindo ... The C, A Minor & D Minor Chords... The Roots of Rock Eighth Note Strumming... Wrist Rock... Battle of Aughrim - Rock Workshop It Power Chords. a4 Spanish Serenade . Surf-Rock Bass. Rock Workshop Getting the Feel Rock Steady The Full G, Cra Rock Ballad... Scarborough Faii On Cloud Nine . The Rest Rest & Eighth Rest Etude. A Little Night Music Rock Workshop 104: The Blues Boogie Pattern . The Boogie Progression . Old Time Rock and Roll Guitar Chord Chart....Tuning Keys P Head Stock ‘Frets Pickup Selector ‘Tone & Volume Controls Guitar Cord Input Nylon String Acoustic Although any guitar can be used for virtu- ally any kind of music, the eleetric guitar is most commonly used in popular music Rock, Country, Jazz, etc.), especially when playing with a band. The electric guitar is usually played with a pick. ‘The steel string guitar is perfect for strumming and accompanying yourself. It can be played with a pick or finger-style. ‘The nylon string guitar is almost always played with the fingers and is ideal for solo and classical guitar styles.‘The pick should be held firmly between ‘The thumb should be placed behind the ‘the thumb and index finger. neck. The fingers should be placed right behind the frets, nt on top of, or in between them.Tuning, The Guitar Electronic Tuners: Many brands of small, battery operated tuners, simi i b similar to the one shown below, are available. Simply follow the instructions supplied with your tuner. ees ‘Tuning the Guitar to a piano: One of the easiest ways to tune a guitar is to a piano keyboard. The six strings of the guitar are tuned to the keyboard notes shown in the following diagram: Middle c Tuning the Guitar to Itself (Relative Tuning): 1. Tune the 6th string to E on the piano (or some other fixed pitch instrument). You can also use a pitch pipe or an elec- tronic guitar tuner, 2. Depress the 6th string at the Sth fret. Play it and you will hear the note A, which is the same note as the Sth string open. Turn the Sth string turning key until the pitch of the 5th string matches that of the 6th string. 3. Depress the Sth string at the Sth fret. Play it and you will hear the note D, which is the same note as the 4th string open. Tun the 4th string tuning key until the pitch of the 4th string matches that of the Sth string. 4, Depress the 4th string at the Sth fret. Play it and you will hear the note G, which is the same note as the 3rd string ‘open. Turn the 3rd string tuning key until the pitch of the 3rd string matches that of the 4th string. 5, Depress the 3rd string at the 4th fret. Play it and you will hear the note B, which is the same note as the 2nd string ‘open. Turn the 2nd string tuning key until the pitch of the 2nd string matches that of the 3rd string. 6. Depress the 2nd string at the Sth fret. Play it and you will hear the note £, which is the same note as the Ist string ‘open, Turn the Ist string tuning key until the pitch of the Ist string matches that of the 2nd string.Miusic Notation ‘There are seven natural notes. They are named for the first seven letters ofthe alphabet: AB C D EF G. After G, we begin again with A, Music is written on a staff. The staff consists of five lines with four spaces between the lines: Sth Line is ‘ih Line se 3rd Line Ls Ind Li 1st Line Ts Space, Atthe beginning of the staff is a treble or G clef. (The treble clef is known as the G clef because it encircles the 2nd line G.) The clef determines the location of notes on the staff. All guitar music is written on a treble clef. ‘The notes are written on the staff in alphabetical order. The first line is E: Notes can extend above, and below, the treble clef. When they do, ledger lines are % ‘added. Following is the approximate range of the guitar from the lowest note, open sixth “a string “E,” to “B” on the first string, 17th fret. 2 E. ES Soa Fe The staff is divided into measures by bar lines, A heavy double bar line marks the end of the music: __— Bar Lines. Measure Measure Measure Tablature is a type of music notation that is specific to the guitar; its use dates back to the 1600's. Tablature illustrates the location of notes on the neck of the guitar. Tablature is usually used in conjunction with a music staff. The notes and rhythms are indicated in the music staff; the tablature shows where those notes are played on the guitar. “The location of any note is indicated by the placement of fret numbers on the strings. Sida | [=e —+- a 3rd sing aise shin a Sen In this book, tablature will be used with all new notes and fingerings, Tab" 48 an aid to learning the more challenging arrangements; thereby making the will also be used on all pop songs and learning process easier and more fun.Hhythm Notation ana © Signatures At the beginning of every song is a time ‘signature. 4/4 is the most common time signature: FOUR COUNTS TO A MEASURE A QUARTER NOTE RECEIVES ONE COUNT ‘The top number tells you how many counts per measure. ‘The bottom number tells you which kind of note receives one count. ‘The time value of a note is determined by three things: I)note head: . nam J J 3) flag: d © This isa whole note. The note head is open and has no stem. In 4/4 time, a whole note receives 4 counts. d ‘This is @ half note. It has an open note head and a stem. A half note receives 2 counts. s ‘This is a quarter note. It has a solid note head and a stem. A quarter note receives 1 count. 4 ‘This is an eighth note. It has a solid note head and a stem with a flag attached. An eighth note receives 1/2 count. Whole Note: 0 Count: 1 2 Half Note: Count: 1 Quarter Note: Count: 1 tiited 2a ad 0 gd Comt:1 & 2 & 3 & 4 & eeeew Ren eee ‘Count out loud and clap the rhythm to this excerpt from Jingle Bells. Foor Counts Per Measure Jin = gle bells! Jin ~ gle bells! Jin - gle all the way! Ve od 1d. hl 32, “By Be de 8 ae ge RO 2 aig ‘A Quarter Note Receives One Count LM. FURTADO & .@ MUMBAI - 2. -qd E@pen F (Ist Fret) G (3rd Fret) Important: A whole note gets 4 counts: © =4 counts Atalfnote gets? counts: 2 = 2.counts Aqua note gets | count: = 1 count Play all notes with a downstroke (m). (Strike the string with a downward attack of the pick.) 1] Whole Notes: a] HurNced, Play slowly, with a steady beat, Com: 1 82 3° 4 3] Quarter Notes: Say note names aloud, Count: 123 4 Drm notre eon at temting he oar ee Teory Workshop books of Betwin's 21st Century Guitar Library.Note: Throughout the book, gray chord symbols are for teacher accompaniment. Folk songz GiB Am Dm G © AS ‘Suggested Teacher Accompaniment. c GIB Am Dm Gm Am Dm ¢ Peheene E e Always count with a steady beat—tike the ticking of a clock. Don't slow down, speed up or pause. The Blues Beat o " a ‘As. Sugeested Teacher Accompaniment: (Shame fee) co fw or or, rm o exo oo Fors compete rock uta method, see the Rock Shop books of Ben's 2131 Century Guitar Library. oeB (Open) C (ist Fret) Com: 1 2 3 4 String Combination Study: Say notes aloud as you play, 0) Fermor ons i ony td feng tba, he Thay Workshop bat Bens Century Guar Lt lw’ 2131 Century Guitar Librarysie Jingle Bells @ fest fle bells! Jin - gle bells! Jin = le all the way! Oh, what fun it is to ride a — one-horse 0 - pen sleigh. Jin + gle bells! Jin = gle bells! ' r a “ Jin gle all the way! Oh, what fun it ist ride @ —one-horse 0 - pen sleigh Aura Lee ‘radtional American Folk Song Slowly f Ga o r ‘As the black - bird inthe spring, ‘neath the wil - low tree, sat and piped 1 heard— him Suggested Teacher Accompaniment: ‘Giowly) The Boogie Shuffle Neca vetd ” ° © As. ‘Suggested Teacher Accompaniment (Medium tempo - shut fee) o a7 cr " cr Grant) LM. FURTADO & L. @ MUMBAI -2.‘A curved line connecting two notes of the same pitch is called a tie. Play the first note and hold it for the time value of both notes combined. Do not play the second note, All Tied Up 4 Beats al aay all night, sea - shore sift - ing sand. ‘Mar = y Ann, —___ down 1-3 Beats Mar - y Ann, All the by the sea - shore 5 Beats — Te down lit - tle chil ~ by dren sift - ing sand, __ Power Rock rs Hs ‘Suggested Teacher Accompaniment: (Straight-cighth rock) me Fs = AS.Not all songs begin on beat 1. Many songs begin with an incomplete measure. e Notes played before the first complete measure are called pick-up notes. The missing beats are usually found in the last measure of the song. Pick-Up Piece and When The Saints Go Marching In both begin on the second beat of an incomplete measure. Count the missing beat (1) out loud and then begin playing on 2. Pick-up Piece (pick-up notes) (missing beat) Count: (1) 203 4 1 When the Saints Go Marching. In Traditional Jazz Fast s—=_ _——~, Oh when the saints go marching in, oh when the Coun: (192-3 Saints pp march = - ing im Tag | O-- Fingering Frets: AZ Strings ex ito Xx 000 Xx 0 00 ‘The next example shows how you can create a good guitar part by holding down a chord and picking each note separately. Use all downstrokes. Folk-Rock Style no nmann © AD7 Xx 0 D7 Chord Chord Study: « ‘Often the rhythm of the chord accompaniment is indicated by rhythm slashes. The shythm slashes indicate the strumming pattern. Rhythm Slashes: /=J=1count J=d=2counts + =o =4.counts In the next song, the accompaniment part is indicated by rhythm slashes placed above the melody. Learn both the accompaniment and melody parts. Wew Biwer Train DD) ) _cominuesmnpaters op Medium tempo =) ) fd Ym nding on thenew riv-er tain, I'm _rid-ing on thenew riv-er train. D br 6 c ‘car-ry me a-way. The Fermata Sign (7%) tells you 10 . Fate inicded nore or chord beyond ts normal duration. @ same old — train that brought me here. It's soon gon-na‘The “Blues” is the most common song form in rock music. The busic blues chord progression is 12 bars long and is built on three chords. In the key of G these three chords are: G, C and D. Often 7th chords are used: G7, C7 and D7. “The three chords in a 12-bar blues are called the I (G), IV (C) and V (D) chords. The blues chord progression always follows the same basic form (with many possible variations): x x x | + 109? ylegceprianed al | i; vo | sx l, 1) | x | vw | # pom 2 Le er ‘This next song combines single notes and chords to get the feel and sound of a rock/blues Progression. Use all downstrokes for a solid, driving rhythm. ‘Natural Signs (4): Notice the natural sign next to the F in bar 4. A natural sign cancels a ‘sharp or flat for the rest of the measure. Wlues Changes Moderate tempo AS. it, 8 o Anan ¢ or‘The feel of this next song is straight-ahead Rock and Roll and was first popularized by ‘Chuck Berry. The single note lines are typical of what both the bass player and the guitarist might play on this type of song. This basic pattern continues to be the foundation ‘of many new rock tunes. Notice the use of the IV chord (C), instead of the V chord (D) in bar 10. This is the most ‘common variation on the basic 12-bar blues progression. Chuck B. Goode 1 Fast Rock & Roll G Fora complete rock guitar method, see the Rock Shop books of Belwin's 21st Century Guar Library.Cc ‘Third Finger Third Fret B (nd Fret) fF String Combination Study: Say notes aloud as you play. ©] _—_ ron ret tng. try audit or he Theory Wortshp hak of Beli 2 Cn Gr LiModerate tempo : Brahms ‘Suggested Teacher Accompaniment: (Moderate tempo) 3 Bo emp ¢ CG vy pos G i coe op G Cielito Lindo Lively a A 7 Mexican Folk Song, a ii ne - gros, Ci gt Con - ty nolo - res,____ por - que can- tan - do se'a - le - gran, Cie = - i - © Lin- do, los co m= 0 Suggested Teacher Accompaniment: ively)‘So far you have been playing the C chord on four strings. Here is the full five string form ‘of the C chord. The A minor chord is also a five-string chord form. The D minor chord uses four strings. c Am Dm xoxo Fingering Tip: When moving from C to Am, keep your first and second fingers in place. Just shift your third finger. When moving from Dm to G7, keep your first finger in place and lift your second and third fingers. Chord Study: c Am c The Roots of Rock consists mostly of chords played one note at a time. This is called “arpeggio style.” Hold each chord down for a full measure, Do not finger each note separately. Glide Picking: Instead of alternate picking, allow the pick to glide from string to string as shown (all down strokes). For guitar parts like this, glide picking is easier and sounds smoother than alternate picking. Stowy "ne Roots of Rock e ies De or noon AS. mn 5 n Eontinue simileThis next song uses nn eighth note rhythm to make the strum pattern more inter- ating, Use an upstroke to strum on “an” Important Tip: When strumming up and down, from the wrist. The pick should pivot three strings (I, B and G) are accentuated, always swing your pick hand loosely femi-circle, x0 that on the up stroke, the top Wrist Rock Am f BAVA ny Cue urine pain tm Battie of Aughrim wm" S)ITT) ) FTN Irish c (continue sirum pattern)Power chords are the foundation of many blues, rock and metal tunes. Power chords are two-note chord voicings. They are perfect for hard-driving rhythm Buitar parts and are often played in unison with the bass line to provide a “big” sound with lots of bottom. Power chords are notated by the letter name of the chord (its root) followed by a 5: AS, DS, etc. AS AS DS Xo x x x XX 0x x © Notice that although AS is played on the fifth and fourth strings and DS is played on the fourth and third strings, they both look alike and are fingered alike—with the first finger at the second fret. Power Study as Ds‘Metalurgy shows how the 12-bar blues form has chords are AS (I), DS (IV) and ES (V)—more o a feel reminiscent of Anthrax and Iron Maiden, is been adapted to Heavy Metal; the three ES later. The song is a blues in “A” with First and Second Endings; =*ing tee ‘Repeat othe begining Metalurz:y Hard rock feel as AS. ARAMA An A (continue downstrokes) Fora complete rock gtr method, se the Rack Shop books of Belwin's 21st Century Guar Library. @F First Finger First Fret F (Ist Fret) G Grd Fret) so Note: The notes on the sixth string are the same as on the first string—E, F and G. String Combination Study: Say notes aloud as you play. © _—_ Ferme ont eat ey an ndertnding eto he They Worthy hocs fens 2 Cem Gir ireySpanish serenade You've heard variations on this next guitar part hundreds of times, especially in the music of the early “surf” and Rockabilly guitarists, like The Venturas, Dick Dale, and Duane Eddy. The song is built on the 12-bar blues form (in E minor). To get a really authentic sound, use an electric guitar on the lead pickup with lots of reverb, sSurf-Rock Bass Moderate rockGetting the right “feel” is everything when playing rock guitar. Two techniques that will help you get that feel are: Accents and Palm Muti Palm Mute: Gently lay the palm of your pick hand on the bridge of your guitar. If your hhand is too far in front of the bridge, the strings will be too muted and not produce any tone at all. If your hand is too far behind the bridge, the strings will not be muted enough. The palm mute produces a short, muffled, percussive attack which greatly adds to the shythmie drive and intensity of your playing. The palm mute is indicated by the abbreviation: P.M. The ES Power Chord has its root on the sixth string. Notice that although each of the three power chords (ES, AS and DS) are played on different string groups, they all look alike and are fingered alike—with the first finger atthe second fret. ES ES ox xxx ® In the following three examples, work on getting a short, percussive attack on the muted chords, Note the contrast between the muted and unmuted sections. | ,Accents: An accent mark (>) tells you to emphasize a note or chord, The accents in this next example form a pattern which breaks the eight notes in each measure into thres groups. You may want to try counting the pattern as shown, until you can “feel” its eee rg] Muted rhythm with accents: Rock Steady is a 12-bar blues in “A.” The three chords are: AS (I), DS (IV) and ES (V). Use the palm mute throughout and the accent pattern where indicated. Meium roc |= SE ROCK Steady AS. Annannaan z < = P.M. throughout Fora comple ck ltr mad se the Rok Shop book of Belvin's 2s Contry Gtr Library. @®Here are the complete, six string chord forms for G and G7, along with a new chord: E minor. G ooo En ° ooo G Chord G7 Chord Em Chord Notice how similar the G7 chord shape is to the To change between the G and D7 chords, slide ea; C chord shape. To change between C and G7, your third finger along the first string while simply move each finger tothe next sting. shifting your first and second fingers. Chord Study 1 Chord Study © 7 eg ic 6 Loch Lomond tia woe (MG TE DA j Eos Scottish of) e By yon bon - nie banks, and by yon bon - nie braes, where the ‘g(continue same strumming pattern) 3 é or sun shines bright on Loch Lo - mond, where © me and my true love were pe ‘ : : y ) 4 ev - er want to gae, on the bon-nie, bon-nie banks of Loch Lo - mond. @ae ‘The sixth string F§ is played at the second fret with the second finger: F# (second fret) i The next song consists of two sections, labeled [A] and [B]. The song follows the form: AAB A. Many pop songs follow this same form. The [A] section is played arpeggio style. The [B) section changes to strumming style. This is the kind of rhythm guitar part you ‘might play on a recording session for a soft rock ballad, Rock Ballaa Em c Six String Note Review: Say notes aloud as you play.(On Clout Nine (Teacher's Pam) He Str reper eptie marti teers @e@ A rests a period of silence. Each type of note has a corresponding rest: Whole Rest=r=0 =4 beats Half Resta =d = 2 beats Quarter Rest: % =d = 1 beat Eighth Rest: 1 = 2) = 1/2 beat ‘When playing a note followed by a rest you should stop that note from ringing. To stop a fretted note from ringing, release the finger pressure on that note. To stop an open string from ringing, you can either gently touch the string with your left hand, or use the palm of your right hand to deaden the note. pea t ‘Count out loud and tap your foot in the following studies. Rest & Roll Count the following exercise carefully. Move your pick in a constant down-up motion. When no note is played on the downbeat move your pick down anyway—only miss the string. This will put your hand in position to play the next note with an upstroke. Eighth Rest Etude iy Anes ¢ a ”y omy nv’ nv This excerpt from A Little Night Music utilizes both the quarter and eighth note rests. Count carefully and tap your foot on each beat. (The foot should go down on beats 1, 2, 3 and 4 and up on “and.”) A Little Night Music Medium tempo n 1&2&3I&4E ary Wolfgang Amadeus Mozart voA von A‘The blues boogie pattem is based on alternating between the basic two-note power chord and a two-note sixth chord: ES ES ox x x x = 1 hold +} ‘When changing from ES to E6, keep your first finger on the B as you place your third finger on the C¥. Note: C# is at the fourth fret, one fret above C. i] gs Es Es Bs ES A ee ms awe Es 6 ne A A Now try alternating between AS and A6. When changing from AS to AG, keep your first finger on E as you place your third finger on F¥: AS AS A6 xox x x Xo x x x ota DY 3Now alternate berween DS and DS, Wt ‘ron changing thom DS to D6, keep your frst finger a A a8 You phase your thin finger on nB. Notice that you are now playing & on the thind sardas (Roath fevt) nse othe second siring (open On the guitar, most notes ean be pays in more than one looation, DS Notice that when alternating BS/86, AS/A6 and DS/D6 the fingeting pattem remains the ‘same—even though each is played on a different string group. Now, let's combine the three patterns into a 12-bar blues, You've heant this pattern in the Sougs af Chuck Bemy, the Beatles, the Stones, Clapton, Stevie Ray Vaughan, Van Halen and just about every band that's ever played rock, The Boogie Progression Rin as as Ae AS eas as Foeacomples mck ur mathe te Rik Sy ok of Bins 370 Cen Gta iy ®F i ime Rock & Roll. Note that the Everything you've studied so far comes together in Old Time Roc fee disdin rhythm guitar part is based on an 8-bar version of the basic boogie progressi Rock Workshop 104: Ino veel ee ly el ete eal ‘The Cf found in measures 2 and 6 is located one fret above C: second string, second fret. (The small size notes and tab numbers [called cue size) indicate variations on the melody in the second and third verses.) Ola Time Rock & Holl Words and Music by GEORGE JACKSON and ‘THOMAS E. JONES Il} Verse: Up-tempo Rock & Roll 4 as 46 1, Just take those old re-cords. off the shelf: _ I sit and lis-ten to them (2.3.4) See additional lyrics. To-day's musi ain't corm rr naasess sons soon a “is aren Carb My MUSCLE Son E SOND OS OO nena fpapricund baa se aa @] __ ror nerepo and rock songs wih compte ay aoa ecg tet Sng rssh Bevis 2 Conary Guta ban73, 2.4. BS RS ES BAS AG AS. AAS NIC, (Nochord) ASNC. T like that old time. rock and roll, 2 Don't try to take me to a Siill like that old time (end Rhy. Fig. 1) Chorus: 1 (Rhythm Guitar) AS as as as as a6 Ds that kind of mus -ic just soothes. the nisce about the days of old, Verse 2: Verse 3: Don’t try to take me to a disco, Won't go to hear ’em play a tango. You'll never even get me out on the floor. T'd rather hear some blues or funky old soul. In ten minutes I'll be late for the door, ‘There's only one sure way to get me to go, like that old time a rock and roll. Start playing old time rock and roll. (To Chorus:) Verse 4 Call me a relic, call me what you will, Say I'm old-fashioned, say I’m over the hill. Today's music ain’t got the same soul. like that old time rock and roll. (To Chorus:)The following chart shows all of the most commonly used guitar chords. © indicates an open string. x indicates the string isnot to be played. AT — oe ‘nteeateaf DOES DE 2 | G ‘7 87, ee T L 2 3 4 2 S 4 D Dm D7 x0 xoxo x x0 i ONKE @ 2 |@ 3 E re ° oo ° © i OG DE 1® F G G7 _ = oa L ® © = @ eee no Ds ek Seek x0 x x 1 i T