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LE0NAHD
IAL LiUIIAH
l\/lLIHUU
HUU
MY
WLL
$Ti.NMIil
Ai\JD
IRIG
it[[
T hAemC h o.d ......2 TheFChord ........28
S i n nMear n . . . . .. z PickingChords ........28
Dotted 0uailer Notes . .. .....3 H o u s e o f t h e R i s i n g S u n .. . . . . 2 9
T hDem C h o.r d ......4 CarterStyleSolos.. ........30
Syncopation . . . .. . . . . 5 H o w , R o w , R o w Y o u r B o a t. . . . . 3 0
Joshua Foughtthe BattleofJericho .......b M a n o f C o n s t a n t S o n o w. . . . . . . , 3 0
H o c k - a - M. .y.-. S o u l ..........6 Wildwood Flower . ... . .31
J a m aFi caar e w e l l .......1 B a fsisu n s . . . .. . . . . 3 2
TheA0hord ........8 Goin'DowntheRoad ....33
T hKe eoyfD. . . .. . . . 9 I h e8 7C h o r d .......34
0 h , M a r y l ) o n ' t Y o u W e e p... . . . . . 9 WeThreeKings .......34
D eC o l o r e s .....10 T hKe eoyfE . . . . . ., 3 b
Endings .....11 B y t h e W a t e r s o f B a b y l o .n. . . . . . 3 b
A n g e l s W e H a v e H e a r d.o. n . .H. .i.g. ,h| 1 Battle Hymn oftheRepuhlic . . . . .35
CatchyRiff .....11 T r i p l .e t s ....38
SecondPosition.... .......12 Jesu, JoyofMan's Desiring . . . . .36
Marianne ......12 D e eBpl u e s .....37
B l u e s / R o. .c.k R i f f .....13 [o$intheShuffle . ... ..37
T h e H i g h A. N o t e .........13 The Pentatonic Scale . . .... .38
T h e W a b a s h C a n n o n b a. .l .l . . . . . 1 3 Rocklick ......38
T hEeC h o d ........14 Country/Rock Lick .. ... .38
L ah a m b a . . . .. . , | 4 H aB r do cLki c .k. . . .. . . 3 8
T hKe eoyf A. . EluegrassLick... ......39
.....1b
JoytotheWorld. C o u nl -tircy.k. ........39
......lb
PowerChords Blueslick ......39
......16 Rock'n'RollLick
Tablature .......39
. . ..jl Blues/Rock Lick..
SteadyGroove ... ..40
........1j Pentatonic Lead Guitar
T hSe h u f f l e . .....40
. . . .. . . . 1 8 lmprovising
P o wCehr oSr hd u f .f l e . . . . .. . . 4 1
.........lg 0penJam
MidnightSpecial ......41
.......19 Movahle Power Chords .. ....42
TheBlues .........20 PopBiff .......43
BluesinA.... ........20 E a i l y B o c.k. R i f f ......43
C.C.Rider ......20 HardRockRiff... ......43
S h u fHf lief f .....21 Pop/BockRiff... ......43
T hKe eoyA
f m. .....22 RockahillyBiff... ......44
Wayfaring Stranger .....22 0lassic Rock Biff. . . ... .44
Hava Nagila . ...21 Heavy Rock Biff. . .....44
Fingerutyle
Guitar . .. . ..... .24 P a lMmu t i n g .......4b
Swing Low, Sweet Chariot . .....28 MutedGroove .........45
S c a r b oFr oaui. r.g. h ....28 Accented Rhythm ......45
T hW e a tlesW r ide ......27 GrandFinale ....46
ISBN D-hlq_01,313_0
I_ {
7l HAL.LeoNeRD'
, - c o R p o F l A - r t o N
{
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7777 W. BLUEMOUND RD. PO,BOX I3AI9 M I L W A U K E E .W I 5 3 2 1 3 I
C o p y r i g hOt 1 9 2 2 ,1 9 8 0 ,2 0 0 2b y H A L L E O N A R DC O R P O R A T T O N I
lnternational CopyrightSecured All RightsReserved I
F o r a l l w o r k sc o n t a i n e dh e r e i n :
U n a u t h o r i z ecdo p y i n ga, r r a n g i n ga, d a p t i n gr,e c o r d i n o g r p u b l i cp e r f o r m a n cies a n i n f r i n g e m e notf c o p y r i g h t
I
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V i s i tH a l L e o n a r dO n l i n ea t {
 AmCH0RD
THE
Am

rractice inthefollowing
chords
changing Playslowly
examples. sothereis nohesitation
andsteadily chords.
between

Am Em Am
- - - V cont.strumpattern

c Am
- r rv l - V cont.s trumpattern

S TUNTNGNoTES
I
TRACK

MAN
SINNER Tmditir

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 You've learned
already thata dotaftera noteincreases byonehalf.
thevalue

o
II
+ . r d .
I
2 beats 1 beat 3 beats

A dotaftera quarter
notealsoincreases
itsvaluebyone half.

a + . r J .
1 beat 12beat 172beats

theriffsbelow,
Practice whichusedotted notes.
ouarter

1 (2)+ 3 + 4 +

Am D Am
- V - V -V i - V - V
8

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 THE
DmCH0RD
Dm

Dm Am
. cont.strumpattern
'10

Dm Dm c Dm
- - V -
11

notelookslikethis:
restforaneiohth
Theeouivalent

Y o uc a ne i t h el irf t y o ul re ft-h a fi
nn d g e rs
o ffth ech or or
d dampen withyourr ighthand.
thestr ings

(3 ) + 4
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 is thestressing
Syncopation of notesonthe"ands"of beats.
or accenting Theaccent
maybea resultof tyingeighthnotes
or of placing
together quarter
notesontheoff-beats.

picking
Usealternate throughout
thefollowing
exercises.
When youseea countin parentheses,
simplymissthestring
andlet
thesound you
ring.Bydoingthis will play pattern
thesyncopated withthecorrect stroke
ofthepick.

fi V n V - 1.1 V missV - t'l v V n

13
1 & 2 & 3 - 4 1 & {2) & 3 - 4 & (2)
- V - V - V n V - V ll VmissV - -

14
1 & 2 & 3 & 4 & 1 & 2 & (3) & 4 &
n V - V n - V miss miss - -

15
& (2 &) (2 &)

Following
aretwocommon strumpatterns.
syncopated Practice withvarious
these chords.

- V - V m i s s V -

1 & 2 & ( 3 &) 4 & 1 & 2 & ( 3 ) & 4 &

r r t l \ 1 r \ 1 r r \ / \ / r \ /
I t t v m t s s v t t v t t I v m t s s v t t v

17

(&) 2 (&) 2

JOSHUA
FOUGHT
THE
BAITLE
OF
JERICHO Afriran
American
Spiritual
A7 Dm

18 tFl
-
- - a
I I
- - r

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 a - ., = : 1 U U . ,l.r l U I l5 l l l g d S i / U US i fu l - i i l c C n 0 f 0 ST 0 f l n e n e X IS 0 n 0

o
-.-l\
{
ROCK.A.MY
SOUL African.Ameri

Rock-a-my in the bos - om br a - ham ,

rock -a - my soul in the bos- om of A br a - ham , SOUI in the

bos-om of A b ra- h a m, r o c k - a- m y s o u l .

Em Em
-

le lea syeo u rl e f t - h a p
n rde s suwreh e na ne i g h th
re sti s i n dicated
inthenextexam ple.

D C D
- - V

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 JAMAICA
FAREWELL Itaditinnal
Iaribbe
stowFAST
G

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 THE
ACHORD

0ptional (string
Fingering 1 is n0tplayed)

0nthenextexample,
trymuting
thestrings
0neachrestwithy0urleft-hand
fingers

Hereisanother
typeofmuting Asyoustrumthemuted
effect. chord(X),touchthestrings
withyourpalma splitsecond
before
youstrike
themwithyourpick.

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 Thekeyis anothername fora tonalcenter
of a song.Songs endontheirkeynote.Sofar,youhaveplayed
usually inthekeys
of C (nosharps
of flats)
andG (one
sharp).

THE
KEY
OFD
forD hasanF-sharp
Thekeysignature beplayed
AllFsandCsshould
anda C-sharp. onehalfstep(fret)higher.

ru
TBACK
6 ()H,
MARY
D()N'T
Y(]U
WEEP Traditional
Stiritual
Verse

28
sure- ly would,- standon the rock wherethe

my got- drown ded, Ma - ry don't you weep.

A7 D

Oh, Ma r y d o n ' ty o u w e e p , d o n 'yt o u m o u r n ,O h , M a rydon'tyou weep,don'tyou mourn.

Pha-roah's drown Ma - ry don't you weep.

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 byplaying
inyourfourthfinger
3uildupthemuscles these
exercises.

- natural
sign(t) cancels inthekeysignature
a sharp ofthemeasure.
fortheremainder
t\
Y/ DECOLORES [olkSon
Mexican
IRACK
7
D
ifrl I

29 1 l
a

I
----
- - - -

Atl the col - ors, all the col-ors that bl oom i n the
De CO lo - res, de co - l o - r e s se vis - ten los
A7

are col- ors of spring- time.

mead-ows
cam-pos en la pri - ma - v e - r a .

the col - ors, all the col-ors that d anc e i n the

co - lo-res, de co - lo - res son los pa-ja-
D

sky are th e col-ors of rain -

ri - tos que vie-nen de a fue

All th e col - ors, all the col- ors of na-turespring

De co lo - res, de co - l o - r e s es el ar-co
D7 G

forth to make my heart srng. Then I knowwhy the col - ors of

-
i ris que ve - mos lu clr, y por e - s o l o s gran-des a -
D A7 D G A 7 D

are bring-ingme joy and a hear tfull

springtime love.
mo res de mu-chosco- lo- resme gus- tan
- mf.
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 s0nghasa firstandsecond
Thefollovring ending
indicated withthenumbers
bybrackets 1 and2.

Whenyoureachtherepeat sign(,1; in thefirst

g o
endin , b a c k t o th e b e g i n n i n0gn.th ese co nd
t im et h r o u gshk, i pt h efi rste n d i nagn dg oo ntothe
s e c o nedn d i n g .

o
TBACK
B
ANGELS
WEHAVE HIGH
ON
HEARD Tradttional
Iren:-

D
i,',

30
An - gels we have heard on high sweet- ly sing- ing o' er the p l a i n s ,

A D A D

and the moun-tains in re - ply e c h - o- ing their joy - ous strains.

D ffi? EM A7 D G A7

i n e x - c e l -s i s d e - o , in ex - cel- sis

gll
r llt
lL ttt
RIFF
CATCHY
J$ffc,$'q

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 Finger Throughout Book1 anduntilnowin Book2 youhaveplayed infirstposition,
0 withthefirstfingerinthefirstfret,thesecondfingerin thesecond fret,and
s00n.Thename 0fyourfingerposition isdetermined
bywhere youplace your
firstfinger.

{l
---2
lf thefirstfingeris placed
left,youwillbeplaying
atthesecond lretasindicated
in whatis called
playinfrets3,4, and5 asindicated.
second
bythediagram
position.
Fingers
atthe
2,3, and4

*3 | thatopennotescanalsobeplayed
Notice position
in analternate onthefret-
board.
-jl |
Theprincipal of playing
advantage position
inthesecond liesintheease
with
passages
whichcertain canbefingered.

Drac t itchees o n gb e l o w
i nse co npdo si ti ounsi n g
b oththeopen- str notes
ing andtheiralter nate
finger ings
onthefr etboar d.

IBACK
IO
MARIANNE Iaribbean

n i g h t-,

sea - side- sift- ing sand.

A7

ren- love Mar - ri - anne.

by- the sift - ing

Afterplaying themelody to "Marianne," try playing someof thesyncopated y0u've

strums already Youcanalsogo
learned.
b a c tko p a g e1s0a n d11a n dp l a yth o se position.
me l o d i ienssecond

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 --a ':
t o st 0 na n cs : : - r - Jp c s :c n
s e l , ' , efet rns p
a , ' ., g c e c es n r f tD

o
i rLl\
RIFF
BLUES/ROCK

position.
Playthenewnote,A,withyourfounhfingerin second

THE CANNONBALL
WABASH l|obr
Song

D D7 G
II IL
Tl_ t
34 'll I

Lis - ten to the jin - gle, r um - ble and the roar.

D

R i d - i n g th ro u g h wood- lands to the hills and the shore. H earthe

D7

m i g h t- y ru sh o f th e e n - g r n e , hearthe lone- some ho - bo squall.

A7 D

R i d - i n g th ro u g h j u n- g l e on the Wa - bash Can - non - ball.

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 THE
ECHORD
W.''',,
sryry'*
M',", -. ^... l

E D A I E D A
- - - - - - Vr -
l5

LABAMBA Tradilirnal
Latitt

Pa - ra bai- lar La bam Pa - r a bai- lar La bam -

D E A D

ba. Se ne - ce-si tct u-na po-co oe gra

D E

mu - cna Ay mu - cha-

mu - cha - chos!Bai - lar La bam

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 OF
KEY
THE A
: . : . s r q n a t uf or e
rA h a st h r e seh a r pFs -: s h a rc-shar
p and p. thediagr am
p, G- sharstudy to lear wher
below n the
e newGf,
, . : Sx ' 3 O l a y e d

r a 'l J o yt o t h eW o r l din
" se co npdo si ti o n .

TO
JOY WORLD
THE Handel

I
w o rl d , Lord

E A

earth

pare- H i m- room. And

heav'n and na - ture- sing, and - heav'n and na - ture- sing, and -

A D D A E

heav'n- and heav'n and

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 POWER
CHORDS
T h ep o w ect h o r di s co mmo nul yse di n ro cka ndothercontem p0rmarusic.
y M ostchor ds
have power
thr ee0r m0renotes;
chords have justtwo.Also,notice thatpower chords withthesuffix"5."
arelabeled

E5 A5 D5
x x x x x o x x

h - -
:
F ffi -
F F F

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l6
 graphically
Tablature theguitarfingerboard.
represents Eachhorizontal
linerepresents
a string,
^ J-^r
andeachnumber
represents
d ilut.

stnng
,l

2
3
4
5
6

E A BandE
(string4, fret2) (string5, open) (strings
1 and2, open,
playedtogether)

Thes ame
in f o r m a t i o
sgi
n ve o
n nth emu si ca l ffa n dintablaturPractice
sta e. reading
both.
-lt

Ille[,]? STEADY
GROOVE

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17
 ln traditional
styleslikebluesandiazz, notesareplayed
eighth Playthefirstnotetwiceaslongasthesecond.
unevenly.

1 - 23
long short

a
t b
al
Playing inthiswaywillgiveyouthedesired
notes
theeighth 0r "swing"
shuffle feel.

- POWER SHUFFLE
CHOBD
IlAfi[^19 A 5 E5
-

42

Holddownlirstfinger - - - -
I

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1B
 Pra c t ict heef o l l o w i ns g g ep o w ech
o n gu si nth r o rd
sh uffle you
accompanim justlear ned.
ent 0r ,playthemelody
us i ng
thes huf-
fl er hy t hm.

s
TRACK
17
MIDNIGHT
SPECIAL Prisrn
Sung

Well you wake up in the morn i n g ,- hear the ding- dong

E7

n n g ,- Go march- ing to the see the same darn

A A

thing, Knifeand fork are on the noth- in'in my pan,-

if you say a thing a - bout it,- you're in trou- ble with the

Chorus
D

the mid-night spe- cial,- shineitslighton - you,_

L e t t h e m i d - n i g h t s p e - c i a l - s h i n ei t s e v - e r l o v - i n ' l i g h to n you.

' T r yp l a y i n"M
g i d n i gShpt e ci aalg" a i u
n si n a
g neven
eighth
noter ockfeel.
TBACK
I8
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t9
 THE
BLUES
^ : 1, ,p c t \ / l\p^ / 2ocr i g i n a te
i nd
th ee a rl 1
y 9 0 0bsyAfr ican fr omtheM lssissippi
Amer icans Blues
Delta. becamane i m por tant
- i n c o un ro
try. ck. a n do th efo
r rms o f popular
m usic.
; ': or e n t l a z z .
-^ :
mo stty p i c abl u es i stw e l ve me a su re (bsa rs)
l ong. Many1Z- bar
blues follow
thischor d belowU.s ethepow er
pr ogr ession
, 'ords h u f f vl eo uh a ve i u stl e a rn e d .

IBACK
IS
BLUES
INA

a
RACK
20
C.C.
RIDER Iraditirnal

45
C. see what you have
Tell what is on your
A

C. C. rid- er, see what you have done.-

Tell me rid- er, what is on y o u r m i i n d-.
E D A

m a d e me roveyou, now your friendhas come.-

tell me why you treat me so un - kind.-

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20
 o

J7 III
I III

TRACK
21
SHUFFLE
RIFF

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 -re
THE
KEY
OFAM
keyofA minorhasa keysignature
of nosharps A minoriscalled
orflats. it shares
minorof C maiorbecause
therelative
.resameparent
keysignature. minoralways
Therelative beginstwonoteslowerthanthemaiorkey(C-B-A).

\Vayfaring isa well-known

Stranger" theSouthern
Harpspiritualfrom
Sacred United
States.

o
TRACK
22
Am
WAYFARING
STRANGER Harp
Sacred
Spiritual

I D

47 tFl

l'm just a poor way- far - ing stran- ger, trav-'ling

through this world of woe. But there'sno sick- ness-

no toil or d a n - g e r,- in that br ight land to w hi c h I

l 'm g o - i n g ther e to see my fa - ther,

c
T^
there nomoreto roam. l'm just a

Dm Am

ing o-ver Jor - dan, l'mjust a - go o-ver home.

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 , '/ heanG fi sa d d eto
d A n a tu ra mtnl o ir,t i s ca l l ed
thehar m onic
m inorFind
. alloftheG#notes( onefr ethig her
thanG 0r or :
'" etlo w etrh a nA) b e fo re
p l a yi n"gH a va
N a g i l aNotice
." that"Hava Nagila"
speedsuponther epeatthensl ow sdow nonr r =
: s tl i n e .

o
TRACK
23 HAVA
NAGILA lsrael
0,--.

48
Ha-va n a- g i -l a , ha-va n a -g i - l a , h a- v a vay ni s- m '- c ha
Am E
- - V - V

Ha-va n a- g i -l a , ha-va na-gi-la, ha-va vay

Dm E

H a - v a n ' r a - n e - n a h , h a - v a n ' r a - n e - n a h , h a - v a n , r a - n e - n a h vay n i s - m ' - c h a .

Dm E

I J

H a - v a n ' ra- n e -n a h , h a - va n' r a- n e -n a h , h a - v a n ' - r a- n e -n a h , vay

Am

chim, u - r u a c h i mb ' l e v - s a m e - a c h ,

u-rua-chimb' lev-sa u -rua-chim b' m e- ach, u- r ua- chimb' lev - s am e- ac h,

E Am

U - r u a- c h i m , lev - sa me

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 GUITAR
FINGERSTYLE
a sfi n g e rp i ckii ns g
Fin g e r s t yal el s, okn o w n styleof guitar
a ,ver ypopular accompanimwhich ( br ok en
ent usesar peggi os
c ho r d si n) s t e aodf stru mmech d o rd Ts.h ed i stinctive of
sound finger picking
com fr
es omthethumbandfinger pl
s uc k i ng
onl y
ones t r i n ega c h i nsu cce ssi o n .

T h er i g h t - h afni ng
d earn dth u mb
l e tte rs i nthisbookar ebased
u se d on
theinternationally accepted system of Spanish wordsandletters:

p p u rg a r = thumb
i indice = i ndexfinger
m medio = m i d d lf ei n g e r
a anular = r ingfinger

these
Follow steps howto fingerpick:
to learn

. T h et h u m b (p )p l u cksstri n g4s,5 ,a n d6 dependinguponwhich

stringis thebassor rootof thechord. Thismotion
is a down-
w a r ds t r o k eU.seth el e ftsi d eo fth eth u mb
andthum bnail.

. T h eo t h efrin g e rs
(i ,m,a ) p l u ck th estring in anupwarstr
d oke
with t h ef l e shti
y po fth efi n g ear n fi
d n g er nail.

. T h ei n d efxin g e(ir )a l w a ys
p l u cks
stri n 3.
g

. T h em i d d lfien g e(m) p l u cks

r a l w a ys 2.
string
. T h er i n gf i ng e(a p l u cks
r )a l w a ys stri n 1
g.

T h et h u m ba n de ach r stp l u ck
fi n g emu perstr oke
o n l yo nestr ing overseverstr
andnotbr ush ( This
al ings. w oul d
bea s tr um .)
Le t h es t r i n grsi n gth ro u g h othuetd u ra ti oonfthechor d.

POSITION
RIGHT.HAND
Us ea h i g hw r i s ta; rchyo u p
r alma si fyo uw e reholdinga ping-
po n gb a l lK. e etph eth u mb o u tsi daen da w afrom
y thefinger s,
andl e tt h ef i n g e rsd oth ew o rkra th eth yourwhole
r a nl i fting
hand. Study thephoto attheright.

patterns
thefingerpicking
Practice Worktoward
below. oneachstringplucked.
anevensound

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 o
.BACK
24
SWING
LOWSWEET
CHARIOT

Swing low, com - in' for to car - rv me

p t m a p t m a

Swing-low, char ro car-ry me home.

ver Jor - dan, and what did I com - in' for to car- rV me home?

band of an - gels com - in' af - ter com - in' for to car - rV me

p t m a p

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25
 Thefingerstyle usedin "scarborough
pattern in I time.
usedforsongs
Fair"is commonly

s 25
TRACK
FAIR
SCARBOROUGH British
Ballad

Mel

51

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2E
 to "nTth eWa tel rsWi d e"
. f n g e r s t yalcec 0 m p a n i me uses
twonewchor ds, ( Bminor
Bm /A withanA inthebassand
) D s us 2
- th anopenfirststring) thatareeasy to play.Study eachchord
framebelow
beforeplaying
theaccompaniment.

Bm/A Dsus2

THEWATER
ISWIDE tnglish
tolk
Sons

The wat- er is

B m/A

that can car

Dsus2

and we shall my true love and

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 FCHORD
THE
otherchords
Unlike youhaveplayed,theFchordhastwostrings depressed Thefirstfinger
byonefinger. formsa smallbatre
across it
1 and2.Youwillfindthat is easier
strings to roll
thisfinger so
slightly that
thestrings
are bytheoutside
depressed
thanthef latunderside
rather ofthef irstf inoer.

53

54

Another s u sea pick.

o p t i ofnorp l a yi nagrp e g g iiosto onthenextsong.
Tr ythis

Q
TRACK
27
CHORDS
PICKING

55

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 rl ayth eac co m p a n i m " H o u se
t oen o fth eR i si nSgu n e witha pickorfinger style.
" ither
t

F III
/Jhr

HI)USE SU[\l
RISING
[)FTHE Ballad
American
TBACK
28

many a

Lord-

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29
 CARTER SOLOS
STYLE
stylesolosarea famous
Carter guitarstylepopularized musiclegend
by Country Maybelle of theCarter
Carter family.
The
is
melody played
onthelower strings
andthespacesbetweenthemelody partial
arefilledbystrummed Emphasize
chords. the
notes
melody andplaylightly
onthestrums

$ 2g
IRACK
BOW
ROW,
ROWYOUR
BOAT kaditirn

Holdcchord ------l

i7 lll

MAN
OF SORROW
CONSTANT tlSBalli:
Sruthern
IBACK
3O

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 WITDWOOD
FLOWER Appalachan
tolkSnng

U
I I

! L V L U
L

U
I I I

L ! a u l u L

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31
 BASS
RUNS
A bassrunis a pattern of notes thatconnects thebassnotesoftwochords.Thebassrungives
youraccompaniment vanet,
a n dp r o v i d e
msome n tutomw a rd th en e wch or d.
Pr actice
these r unsbetween
bass GandCorGandD;then pl avthemr v i th
the
bl u e q r acsl sa s si"c,
Go i nD' o w th
n eR o a d ."

formoftheGto C runreplaces
Anoptional thesecond
beatstrumwithanother
bassnote.

32
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 -fiACK
G[)IN'
Dt}WN
THE
R()At) Bluegrass
32
G

l'm goin' the feel - in' bad Lord, Lord, t'm

U U U
v a

B a s s R u n- - l

oown

L
a U L

BassBun------) BassRun --------l

goin' down

D7 G

ain't gon treat - ed this

2 . l'm goin'wherethosechillywindsdon'tblow(3 times)

I ain'tgonnabe treatedthisa-way.

3 . l'm goin'wherethewatertasteslikewine(3 times)

I ain'tgonnabe treatedthisa-way.

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33
 THE
87CHORD
87i sy o u fri r s ft ou r-fi n gch e ro rdN, o ti ce
th athe finger
t second- fr s eplaced
et ar 1,3,and5.Ke epi ng
onstr ings pat-
thi sv i s ual
t e r ni n m i n dw i l lhe l pyo umo ve toth i sch o rd quickly.

B7

W h e yno uc h a ngfro
e mEo r E mto 8 7 ,ke e your
p second
finger
down.

B7

$
TRACK
33
WE
THREE
KINGS Iraditil
n:

Em B7 Em
, l

65 a

- -

We th re e ki n g s of Or are. Bear ing

trav - el West war d lead - i ng,

pro - ceed- ing, guide us to star.

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34
 THE
KEY
OFE
re guit atrh, ek e yo f Es ou n dgso o dl .t i sa ni d e ake andplaying.
l yforbothsinging

r erEh a sf ou rsh a rpF

, <eys ign a t uf o s:-sh a rp , a rp,
C -sh p. the
p, D- sharStudy
G- sharand
;'am below to learn where the new D# notesare played.

o
-::iK
34
BYTHE
WATERS
OFBABYLON Iailbbean

t h e wat- ers of wherewe sat down,

B7 E

And there we wept- when we re - mem- bered

o
-IACK
35
BATTLE
HYMNOF REPUBLIC
THE livilWar

hal le

Glo lY' glo - ry hal jah,

A B7

truth
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 Triplets
subdivide parts
a unitintothree oftwoparts.
instead In t o, 7,time,
twoeighth get0necount,
notes soaneight-n
willalsogetonecount.
triplet
3
I
I
a =
-l
r r t -'l t l
a o = a o o
Triplets
arebeamed
together
witha number simplysaytheword"tri-pl-et"
3.Tocounta triplet, Tapyourfoo
duringonebeat.
tothebeat,andcount
aloud:

1 2 t r i -p i -l e t 4 t r i -p i - l e t t r i- p i - l e t 3 2 & t r i -p i -l e t 4

68

lVrn-V- --V-nV--V-
69

ru
TRACK
3O
JESU, ()FMAN'S
J()Y DESIRING

70

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:RACK
DEEP
BLUES
37
Shuffle

t l
l l -r4
t l _

--r ple t s piece position

insecond
P l a th
c anals ob ea p p l i et oda 1 2 -b abrl u e s. y efo l lowing

\lr
'flACK LOST
INTHE
SHUFFLE
38

a
L ' L L L ^

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37
 THE
PENTATONIC
SCALE
Pentatonic
scales
arewidelyusedin stylesranging fromblues,rock,andcountry to variousworldmusics. Theeasies
pentatonic
(five-note
scale)to play onthe guitar
includesthenotes E,G,A,B,andD.lf youstartthisscale
onE,it iscalled
the
E minorpentatonic.
lf youstartit onG (relative
major) theG majorpentatonic.
it is called

G majorpentatonic

E minorpentatonic

ru
TBACK
3g
ROCK
LICK

s
IRACK
4O
COUNTRY/ROCK
LICK

s
TRACK
41
HARD
ROCK
LICK

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 a
TBACK
42
BLUEGRASS
LICK

COUNTRY
LICK

TBACK
44
BLUES
IICK
Shuffle
E

'N'
R[)CKR[)LL
IICK

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 BLUES/ROCK
LICK
46
TRACK
Shuffle

TBACK
47 PENTATONIC
LEAD
GUITAR
STOWFAST
Shuffle

81

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 IMPROVISING
setheE minorpentatonic youjustlearned to playsololeads overa 12-barbluesin E.lf youdon'thave
therecording,
take
'nspl ay inrh
g ythm
a n dl e a dw yo u rownr hythm
s i thfri e n dosr re co rd andplayleadover them .
tr acks

- Base
Home
HangAround yous0l0around
theroot(letter
name) played.
ofthechordbeing

Lessls More- Choose

yournotes
carefully; it'snotthequantity
sometimes it'sthequality.
- Usesyncopations,
WorktheRhythm triplets, patterns
andrepeating yoursolosinteresting
to helpmake and
distinctive.
. Tella S t o r-y L e ty o u rso l ota kesh a pw
e i tha b e g i nning,
m iddle,
andend.

41
Eg
: i C K4 8
OPEN
JAM

play 4 trmes

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41
 CHORDS
POWER
MOVABLE
Sofar,youhavelearnedthreepower
chords(E5,A5,andD5)thatuseanopenstring Nowuseyourfirstanc
andfirstfinger.
to forma power
thirdfingers chordthatcanbemoved upanddownthefingerboard.

Themovable power chordshapes belowarenamed thefirstfingeris placed

bywhere Youcanuseetthe
onthefretboard.
6 and5 or strings
strings 5 and4 to play
these
chords.

E A
ROOT
STRING
SIXTH FIFTH ROOT
STRING

3rd Fret

5th Fret

7th Fret

1OthFret

12thFret
Study thefingerboard attherightto identify
chart names
theletter ofnatural notes
onstrings 6 and5. lf youwantto play C5,locate string6
C oneither or 5
string
andapply thecorrect shape f romabove. Move to D5bysimply uptwof rets.
sliding
T h a t t' sh el o o i cb e h i nmo
d va bchl e o rd s.

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42
 POP
RIFF

.-,
r llt
v,
:t:( 50
EARLY
ROCK
RIFF
F5 G5 F5G5 F5 G5 F5 G5 F5 G5
A

HARD
ROCK
RIFF

RIFF
POP/ROCK
IRACK
52
D5

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 Thenexte x a m pul ese sb o thmo va bpl eo w er
chor ds power
andanopen- position chor you
d lear ned
ea r l i er
i nthebook .

* RIFF
ROCKABILLY
TRACK
53

87

Nowtrytworiffsthatmixpower
chords
withsingle
notes.

s
TRACK
54
ROCK
CLASSICRIFF
Ffis

s
TRACK
55
G5 Gfis
ROCK
HEAVY RIFF
A5 N.C.

89

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44
hlm muting youallow
inwhich
isa technique the
i:: 0r heel of yourpicking
handto restagainst
f = :ridge, 0r"muting"
muffling thestringsasyou
! 1 Usethistechnique whenyouseetheabbre-
r .. :n "P.M." under thenotes(betweenthestaff
r -- : a 0 ) .

s o u n dess p e ci aglol yo dw i thp o w ech

m u t ing r o rdasndsom am whenplaying
Tr ythis
e pdistor tion. thenexttwo
ex am pl es .

MUTED
GROOVE
D5 Cs A5 G5 A5

t r k( > ) w r i t t e n
a cc e nma ofbelow
a b o ve loudethan
to playthatnoteor chor dslightly
a n o teo r chor dindicates r the

ACCENTED
RHYTHM

PM.---l P . M-.- - - - - - - - - l P.M. -l P . M-. - - - - - - - - - 1

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45
 s 5B
THACK
FINALE
GRAND

92

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46
 { L U
L U

1 V L

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4t
 Tnr isdesigned
foranyoneju$learning
toplay orelectric
acoustic
guitar.
lt rshased0nyears ofteachingguitar
ofallages,
students anditalso
reflects
some ofthe
bestguitar ideas
teaching from theworld.
around

. Am, A,E,F,and
Dm, 87Chords
. Power
Chords
. Fingerstyle
Guitar
. Syncopations,
Dotted Triplets
Rhythms,
and
o Carter Solos
Style
. Bass
Runs
o Pentatonic
Scales
o Improvising
t . r

. Tahlature ':
' 92Great
Songs, andExamplr*
Riffs,
:

INCLUDES
CD TRACKS
57FUII.BAND
FOR OR
DEMONSTRATION
=
i..:

. s5s5.cD 54.00 = Pkg $9.95

: . ' . s n o is o l ds e P a r a t e l Y

_,:\ !-t3r.{-!131:-0

ililrlllll
tlil]||ililllil
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73999"97313',u o