“=2ARN TO PLAY pe) GUITAR | SS Learn to play all the important basic open chords, Rhythm ‘ patterns, strumming techniques / and chord progressions. / GARY TURNERContents Introduction s Page 3 Turnaround Progression in the Approach to Practice. 3 Key of D Major. Types of Guitars 4 = Turnaround Progression in the Amplifiers, Strings. 5 Key of G Major Styles of Playing Guitar 6 Using the Recording 7 LESSON 6 Tuning Your Guitar to the Recording 7 C7 Chord. Music Notation. 8 B7 Chord. Chord Diagrams, Rhythm Symbols 9 How to Hold the Guitar 10 LESSON 7. Sixteenth Note Rhythms. LESSON 1 Page 12 Major Seventh Chords. C Chord. ~~ 12 Cmaj7 Chord, Fmaj7 Chord Strumming 12 Gmaj7 Chord, Amaj7 Chord The Seventh Chord, D7 Chord...... 13° Dmaj7 Chord, Emaj7 Chord. The Half Note Strum. 13, Chord Progressions. - 13. LESSON 8. Pivot Finger 13 Minor Seventh Chords G Chord 14 Dm7 Chord, Am7 Chord. Slide Finger 14 Em7 Chord Alternative Chord Shapes LESSON 2. Page 15 E7 Chord, A7 Chord. AChord 15 Em7 Chord, Am7 Chord. Rhythm Patterns. a D Chord. 15 LESSONS E Chord. 16 Major Sixth Chords. 12 Bar Blues. a 17 D6 Chord, G6 Chord. 12 Bar Blues in the Key of A Major 17 E6 Chord, A6 Chord. Rock Chords. LESSON 3. Page 18 A Rock Chord Shapes. Eighth Note Rhythms. 18 DRock Chord Shapes. Eighth Note Rhythm Patterns. 18 E Rock Chord Shapes £7 Chord, A7 Chord 19 12 Bar Blues in A G7 Chord 20 LESSON 10. LESSON 4 vm Page 21 Rhythm Rests. Silent Strums and Continuous Rhythms.........21 Staccato Strumming Silent Strum Symbols 21 Suspended Chords. Minor Chords. me i .22 Dsus, Asus, Esus. Dm Chord, Am Chord. 22 Augmented Chords 12 Bar Blues in A Minor. . 23 Diminished Chords Em Chord 23° 12 Bar Blues. Turnarounds. LESSON 5. Page 24 F Chord “s ‘ 24 How to Tune Your Guitar... Turnaround Progressions. 25 Notes on the Guitar Fretboard. Turnaround Progression in the Sharps and Flats Key of G Major. li 25 The Chromatic Scale Alternative Chord Fingerings a 25 How to Read Sheet Music. Turnaround Progression in the How to Transpose Key of C Major. . 25 Chord Chart. Eighth Note Triplet Rhythms .26 Chord Symbols. B Minor Chord 26 26 26 Page 27 28 Page 29 30 30 31 32 Page 33 33 34 35 35 35 Page 36 36 36 37 38 38 39 39 39 Page 40 40 40 41 a 42 42 43 43 46 47 48 49 52Introduction 10 EASY Lessons: Teach Yourself Rhythm Guitar assumes you have no prior knowledge of music or playing the guitar. Starting with the different types of guitars available and the different styles of playing you are 1. Introduced to all the important open chord shapes for major, minor, seventh, sixth, major seventh, minor seventh, suspended, diminished and augmented chords 2. Leam to play over 50 chord progressions, including 12 Bar Blues and Turnaround progressions. 3. Learn to play basic rhythm patterns using easy read rhythm notation. This book also has special sections on tuning, how to read sheet music and a chord chart After completing this book you will have a solid understanding of open chords and will be ready for the study of bar chords with 10 Easy Lessons: Teach Yourself Bar Chords. We also recommend 10 Easy Lessons: Teach Yourself Guitar which will teach you how to read and play guitar music using traditional music notation and easy read tab. All guitarists should know all of the information contained in these books. The best and fastest way to learn is to use this book in conjunction with: 1. Buying sheet music and song books of your favourite recording artists and learning to play their songs: 2. Practicing and playing with other musicians. You will be surprised how good a basic drums/bass/guitar combination can sound even when playing easy music and; 3. Learning by listening to your favourite CDs. Particularly in the early stages it is helpful to have the guidance of an experienced teacher. This will also help you keep to a schedule and obtain weekly goals. COPYRIGHT COND No part of this prox form without the written consent of the p © 2000 LTP. Publishing Ply Lid Approach to Practice From the beginning you should set yourself a goal. Many people learn guitar because of a desire to play like their favourite artist (e.g. Eric Clapton), or to play a certain style of music (e.g. Rock, Blues etc.). Motivations such as these will help you to persevere through the more difficult sections of work. As your playing develops it will be important to adjust and update your goals. It is important to have a correct approach to practice. You will benefit more from several short practices (e.g. 15-30 minutes per day) than one or two long sessions per week. This is especially so in the early stages, because of the basic nature of the material being studied. In a practice session you should divide your time evenly between the study of new material and the revision of past work. It is a common mistake for semi-advanced students to practice only the pieces they can already play well. Although this is more enjoyable, it is not a very satisfactory method of practice. You should also try to correct mistakes and experiment with new ideas. Itis the author's belief that the guidance of an experienced teacher will be an invaluable aid in your progress.Acoustic Guitars Classical Guitar (Nylon Strings) The classical guitar has nylon strings and a wider neck than the other types of guitar. It is most commonly used for playing Classical, Flamenco and Fingerstyles Generally it is much cheaper than other types of guitar and is recommended for beginning guitarists. Steel String Acoustic The steel string acoustic has steel strings and is most commonly played by strumming or fingerpicking groups of notes called chords. This is the type of acoustic guitar you will hear in most modem styles of music @.g. Top 40 Rock and Pop music. Electric Guitars Electric guitars have pick-ups (a type of inbuilt microphone) and need to be plugged into an amplifier (amp) to be heard The solid body electric is commonly used in Metal, Rock, Blues and Pop Music, Famous solid body guitars are the Gibson Les Paul and the Fender Stratocaster. The hollow body electric (semi acoustic) is most commonly used in Jazz and Blues music. Acoustic guitars can be amplified by using a microphone placed near the sound hole or by placing a portable pick-up on the body of the guitar e.g. for performances at large venues where the acoustic guitar needs amplification to be heard.Electric Guitar (played through an amplifier) Solid Body Electric Hollow Body Electric (semi acoustic) eave at ese | i. keyes ot Pets iad | | s er z | 4—Plekups———— | Bridge—— | — | Bat whe contra BE ae E Amplifiers Combo Stack (combined amp and speaker) (separate amp head and speaker) Strings Itis important to have the correct set of strings fitted to your guitar, especially if you are a beginner. Until you build enough strength in your hands to fret the chords cleanly, light gauge or low tension Strings are recommended. A reputable music store which sells guitar strings should be able to assist with this. Do not put steel strings on a classical guitar or it will damage the neck of the guitar.Styles of Playing Guitar The guitar is the most versatile musical instrument and can be used to play virtually all music styles including Classical, Rock, Pop, Blues, Jazz, Country, Funk, Metal, Folk, Rock ‘n’ Roll etc. There are. many different styles of playing guitar and all these styles can be played on any type of guitar. All guitars have six strings and are tuned the same. You would usually play lead on an electric guitar but you could play lead on a classical guitar or you could play fingerpicking style on an electric guitar. It all depends upon the sound you are looking for. 1. Rhythm mn = GUITAR, Used to accompany a lead instrument (e.g. melody sung by a vocalist). The left hand holds a chord shape (a group of notes) and the right hand strums the strings with a pick. To learn how to play more chords and rhythms, see 10 Easy Lessons for Rhythm Guitar and 10 Easy Lessons for Bar Chords. Used to play only one or two notes at a time. It can either be a melody line or an impro- vised solo. Most lead players use a pick. To lear how to play lead gui- tar see 10 Easy Lessons for Lead Guitar. ae Fingerpicking mm The left hand holds a chord shape and the right hand fin- gers pick one or two notes at a time with the fingernails. Used to accompany a lead instrument or vocalist. To leam how to play fingerpick- ing guitar see 10 Easy Lessons for Fingerpicking Guitar. Uses both rhythm and lead guitar techniques and sounds. Rock music is mostly in 4 time. It makes use of both open chords and bar chords, along with scales, riffs and improvised solos. Rock is usually played on electric guitars. To learn how to play Rock guitar, see 10 Easy Lessons for Rock Guitar. Like Rock, Blues uses elements of both rhythm and lead guitar. Contains many bends, slides and other techniques. Blues also makes use of triplets and swing rhythms. It can be played with a pick or fingerstyle. To learn how to play Blues gui- tar, see 10 Easy Lessons for Blues Guitar.Using the Recording It is recommended that you have a copy of the accompanying recording that includes all the examples in this book. The book shows you where to put your fingers and what technique to use and the recording lets you hear how each example should sound. Practice the examples slowly at first, gradually increasing tempo. Once you are confident you can play the example, strumming evenly without stopping the beat, try playing along with the recording, You will hear a drum beat at the beginning of each example, to lead you into the example and to help you keep time. To play along with the CD or DVD your guitar must be in tune with it (see page 44). If you have tuned using an electronic tuner your guitar will already be in tune with the CD and DVD. A small diagram of a compact disc with a number as shown below indicates a recorded example. ae FD 12. — Track Number Electronic Tuner The easiest and most accurate way to tune your guitar is by using an electronic tuner. An electronic tuner allows you to tune each sting individually to the tuner, by indicating | Whether the notes are sharp (too high) or flat (too low). If you have an electric guitar you can plug it directly in to the tuner. If you have an acoustic guitar, the tuner will have an inbuilt microphone. There are several types of electronic guitar tuners but most are relatively inexpensive and simple to | Operate. Tuning using other methods is dificult for beginning guitarists and it takes many months to master, so we recommend you purchase an electronic tuner, particularly if you do ot have a guitar teacher or a friend who can tune it for you. Also if your guitar is way out of tune you can always take it to your local music store so they can tune it for you. Once a guitar has been tuned correctly it should only need minor adjustments before each practice session. To learn to tune the guitar using other methods see page 44. Electronic Tuner Tuning Your Guitar to the Recording Before you commence each lesson or practice session you will need to tune your guitar. If your guitar 's out of tune everything you play will sound incorrect even though you are holding the correct notes. On the accompanying recording the first six tracks correspond to the six strings of the guitar. For a ‘complete description of how to tune your guitar, see page 44. 1. sth string 2. sth String G3. ath String E Note (thickest string) A Note D Note 4. 3rd string 5. 2nd String G6. Ist String G Note B Note E Note (thinnest sting)Music Notation ‘These five lines are called the staff or the stave. Fourth Space —» —— — <— Fit ine The Treble Clef The Treble Staff This symbol is called a treble clef. Astaff with a treble clef written on itis called There Is a treble clef at the beginning a treble staff of every line of guitar music. eo e BAR LINES are drawn across the staf, which divides the music into sections called BARS or MEASURES. A DOUBLE BAR LINE signifies either the end of the music, or the end of an important ‘section of it. [= = ae Number Bar Line ouble Bar Line The Four Four Time Signature These two numbers are called the four four time signature. They are placed after the treble clef. The # time signature tells you there are four beats in each bar. The Common Time Signature (( ) G This symbol is called common time. It means exactly the same as 4 Music Notes The Quarter Note There are only seven letters This music note is used for notes in music. They are: |—-stom called 2 quarter note ABCODEFG d A quarter note lasts for ES SE These notes are known as the os fete cae Rune toes Moe musical alphabet. Guitar music bar of } time. notes are written in the spaces and on the lines of the treble staff Music notes are not studied in this book but we recommend you understand the basics of note reading as outlined in 10 Easy Lessons for Guitar. Notes, Rhythms and Rests Note Rhythm Rest Whole Note o ce (4 beats) Wi if = Half Note o o Y Y (2 beats) z : # amee @ « 6« « VVVV (1 beat) / nme de ded VAVAVAVA 4 ———————OwO ee eeeChord Diagrams Chords are leamt with the help of a chord diagram. This will show you exactly where to place your left hand fingers in order to play a particular chord. A chord diagram is a grid of horizontal and vertical lines representing the strings and frets of the guitar as shown below. Left Hand Fingering ,,,, (Cauca sian The black dots show you @ index Finger is where to place your left hand © Middle Finger ~ fingers.The white number tells eae re you which finger to place on the ing FOGeL: string just before the fret. If © Little Finger Fret there is no dot on a string, you play it as an open (not fretted) 5) string 6 5 4.3921 A String Number A The 6th The ts string is string is the the thickest thinnest The other chord diagram symbols used in this book are summarised with the following two chord shapes. Dm7< Chord symbol for D Xx Gmaj7 <— chord symoo! tor bit minor seventh chord. hea major seventh chord iat A dotted — string ‘ah An X on the string Fret indicates that string Fret indicates that string ea is not to be oy is to dampened by Frei strummed. A small Fret another finger lightly as bar connecting two ra touching it The string black dots indicates Fret is stil strummed as they are held down @ part of the chord by the same finger 2 but itis not heard. This is called barring. Bs4 321 4 aie A notes Do not play this Dampen this string dotted sting with the second Finger by ighily touching t Rhythm Symbols \ /7 This is a half note strum. This is a quarter note \ Itlasts for two beats. V/s strum’ it iasts tor ‘one There are two halt note strums beat, There are four Count1 2 in one bar of # time. Count 1 quarter note strums in one ‘These are a pair of eighth note strums. bar of 4 time, Each strum lasts for half a beat. THaselSeuelaiela are VA There are eight eighth note strums Gheioiconth cateatank Each strum lasts for one downward strum louder. V A Quarter of a beat. There Seal This is a group of three eighth oo.44 @ a “\\_ note triplet strums. Each strum °°!” cou + none bar of 4 time. Play the larger V A are sixteen sixteenth note strums in one bar of 4 time. s Play the larger downward in the group lasts for one third of Vv VV 2 beat. There are twelve eighth Soe note triplet strums in one bar of A broken strum symbol Cont + a 4 time. Play the larger downward indicates that the strings Strum louder. are not to be strummed.How to Hold the Guitar Sitting Standing 1 Sit up straight on the front part of the Use a wide guitar ‘strap and adjust it to a chair as shown in the photo below. comfortable length. 2. Raise your right leg by crossing it over ee your left leg or by placing your right foot | On a footstool (as shown in the photo | below). Then place your guitar on your right leg. 3. The guitar should be close to your body in an upright position with the neck pointing slightly upwards. The main aim is to be comfortable and have easy access to the guitar fretboard. A music stand will also be helpful ee ] a | Spe at steele Right Hand Position Using the Pick The right hand is used to play the strings by plucking them with a pick. A Pick is a piece of Plastic shaped like a triangle. Hold the pick lightly between your thumb and first finger, as shown in the following photo. Use the tip of the pick to play the string,WW The correct position for your right arm is shown in the photos below. Notice that your forearm rests on the upper edge of the guitar, just below the elbow. Be careful not to have your elbow hanging over the face of the guitar, or your right hand too far along the fretboard. Also when you are playing single notes, support your right hand by placing the second and third fingers on the body of the guitar If you are playing an acoustic If you are playing an electric guitar pick the strings over the guitar pick the strings between sound hole as this makes the best the pick-ups. sound Acoustic Electric ae if you are strumming a chord, do not support your right hand with your fingers on the body of the guitar but stil rest your forearm on the upper edge of the guitar. Left Hand Position Left Hand Placement The left hand fingers are Your fingers should be ON THEIR numbered as such: TIPS and placed just BEHIND the frets (not on top of them). Be careful not to allow the thumb to hang too far over the top of the neck (Photo A), or to let it run parallel along the back of the neck (Photo B). © Photo A: INCORRECT Photo B: INCORRECTLesson 1 | Before commencing each lesson or practice session, make sure that your guitars in tune. See page 7 to lear how to tune the guitar, The C Major Chord A chord is a group of three or more notes that are played together. Chords are used to accompany @ singer, oF an instrumentalist who is playing the melody of a song, The first chord you will learn the € major chord, usually just called the C chord. Major chords are the most common chords The C major chord is indicated by the letter C. Chords are written on chord diagrams as introduced on page 9, (e C Major Chord Chord Symbol ! te ts Z To play the C chord, place the € 1 first finger of your left hand . just behind the first fret of the second string, the second finger just behind the second fret of the fourth string and your third finger just behind the third fret of the fifth string ‘To play the C chord, play all six strings with the pick at the same time using a downward motion. this is called a strum. Hold the pick lightly and strum from the wrist. Keep you wrist relaxed. If any notes buzz or sound deadened you may have to press harder with the left hand fingers and make Sure that your fingers are just behind the fret (not too far back) Nutt ist Fret 2nd Fret 3rd Fret Strumming This is a quarter note strum. Itlasts for one beat. There are four quarter note strums in one bar of { time. Count: 1 Inthe following example there are four bars of the © major chord. The chord symbol is written above the staff and a new chord symbol is placed at the beginning of each bar. Play the chord with four Guarter note strums in each bar. To make the example sound finished always end with one strum of the first chord, Ts Strum 4 Vvv Vvvyv Vvvyv a 4 SS ZA 4 PU Sora th Bm pe os alee oe The two dots at the end of the staff before the double bar lines are called a repeat sign And mean that you play the example again from the start.’ The Seventh Chord Another type of common chord is called the dominant seventh chord. It is usually referred to as the “seventh” chord. The chord symbol for the seventh chord is the number 7 written after the alphabetical letter. The symbol for the D seventh chord is D7. D Seventh Chord _ Chord Symbol J Nut 1st Fret ond To play the D7 chord, use the Fret first three fingers of your left 5a hand as shown in the diagram, Fret not strum the 6th string (as but strum only five strings. Do indicated by the dotted line). The Half Note Strum Do not strum dotted stings = \\ 7 This is a half note strum. \V/ Itlasts for two beats. / There are two half note strums in one bar of > 8. Count: 12 4 time In the example below there are four bars of the D7 chord. Play the D7 chord with two half note strums in each bar. The bold numbers tell you to strum the chord, the smaller numbers indicate to hold it until the next strum: D7 Db’ pi 1 a Cont 1 > 3 4 1 |, Sastre il 34 1 34 Chord Progressions = 9. The following chord progression contains the C and D7 chords ic D7 ic D7 ie vVvvv voev Vvvv vVoev Comt 1 2 3 4 1 2 3 4 12 3 4 L 26) ged Pivot Finger When changing between the C and D7 chords, do not move your first finger as it is common to both 7 chords. The first finger acts as a pivot around which the other fingers move. This will make the chord changes easier. Practice slowly and evenly and count or tap your foot as you play to help you keep time. t There are four beats in each bar. These chord examples are called chord progressions. When strumming, only your wrist should move. Do not move your arm and keep your forearm resting on the Upper edge of the guitar. Remember to keep your left hand fingers just behind the fret. If you place it on i top of the fret, the note will sound deadened. If you place it too far back from the fret the note will buzz 4nd you will have to press down harder to prevent it. If you have an acoustic guitar, pick the string over Peter nd hole ac thic racic in tha hact crus14 Nut G Major Chord Chord Symbol To play the G chord, place the first, second and third fingers of your left hand as | shown in the diagram. Strum alll six strings. Ist Fret 2nd Fret ra Fret Slide Finger When changing from & to D7, do not lft your third finger off the string, but slide it down to the Second fret. Only touch the string very lightly as you do this. Always end a chord progression bya single strum of the opening chord. &— 10. G D7 G D Strum VoVoV ov Vvvy gt a = = a = ‘ fe La ow ar ar pinta i eaten nau 4 S 11. The following chord progression uses all three chords leamt so far. Don't forget to use the slide and pivot when changing chords. G D7 Cc D7 Strum VV vy vVoev v v = a I 64 — ——— = Count 1 23 @ 1 x 3 4 1 2 3 4 1 2 a 4 S&S 12. This progression contains two chords in each bar. Each chord receives two beats G Ci G D7 G Cc G Strum vv Vent vov f= eg 4: Sa 4k | ae a a eae aeLesson 2 J A A Major Chord Chord Symbol wat i 1st A 3 y { > | Toplay the A chord, n ¥ fo play the A chord, place fe 1-* the first, second and third od i ~ fingers of your left hand as 1 shown in the diagram ; Strum all six strings. Rhythm Patterns Instead of changing the strumming for each bar it is quite common to play the same pattern of strums throughout the chord progression. This is called a rhythm pattern. It is placed above the staff and represents which strumming pattern is played in each bar of music. 65 4 3 1 Rhythm Pattern = 13. When changing between the A and C chords use your second finger |W V Vv as a pivot. 1 Seder 4 G A G D? © D Major Chord Chord Symbol e D a the D chord, ple the i 70 play the D chord, place the _ Pe | © first, second and third fingers a of your left hand as shown in Fret the diagram, but strum only five strings. Do not strum the 6th string (as indicated by the £ dotted line). Do not stum dotted strings Su Rhythm Pattern When changing between D and A use your first finger as a NaN pivot. Use your second finger as a pivot when changing oir aes: between A and chords. a , = Cc = =E Major Chord Chord Symbol Nu Fre ie To play the E chord, place Fret the first, second and third a fingers of your left hand as shown in the diagram. Strum all six strings. — 15. tytn Pate | In the following chord progression there are two chords in each bar. [yp W Each chord is played for two beats. The rhythm pattern has two half note strums, so each chord is strummed once. This progression is Ve ess two bars long. @ E A D A When changing between E and A, slide your first finger along the third string (only lightly touching i). When changing between the A and D chords, use your first finger as a pivot. The first finger remains in contact with the third string throughout the entire chord progression. The next three progressions use a two bar rhythm pattern. Rhythm Pattern Vv Vv V vVov Leon 35. 4c | aati SS 16. Fist bar —— Second Bar —— Always look for slide and Pivot fingers to make your chord changes smoother, faster and easier. Rhythm Pattern 7 WV VeVi V = 4 1 2 3 4 Fister ——— ——Secona Bar — V 17 Ahythm Pattern Nalin IV VE eiciewing ctiord) progression"is' two” Tea nym abn ec ‘—— First Bar ———1 Second Bar ——— A G 12 Bar Blues 12 Bar Blues is a pattern of chords which repeats every 12 bars. There are hundreds of well known jongs based on this chord progression, i.e. they contain basically the same chords in the same order. 12 bar Blues is commonly used in Rock music and is the basis of Blues music. Some well known Rock ‘n’ Roll songs which use this 12 bar chord patter are: Original Batman TV Theme Good Golly Miss Molly - Little Richard Hound Dog - Elvis Presley Shake, Rattle and Roll - Bill Haley Rock around the Clock - Bill Haley Barbara Ann - The Beach Boys Roll Over Beethoven - Chuck Berry Johnny B Goode - Chuck Berry Blue Suede Shoes - Elvis Prosiey Dizzy Miss Lizzy - The Beatles In the Mood - Glen Miller Surfin USA - The Beach Boys This pattern of chords will probably sound familiar to you. Instead of writing a chord symbol above ach bar of music it is common to only write a chord symbol when the chord changes, e.g. the first our bars of this Blues are an A chord ‘To help keep time accent (play louder) the first strum of every bar. End this 12 bar Blues by irumming an A chord. Rhythm Pattern 19. 12 Bar Blues in the Key of Adda Ai 1 2 3 4Lesson 3 | Eighth Note Rhythms All the rhythm patterns you have played so far involved playing a downward strum (\Y), on the first, second, third and fourth beat. To make rhythm patterns more interesting, eighth note rhythm Patterns can be used. An eighth note rhythm is a combination of a down and an up strum within one beat. The downstrum “on the beat” is played louder than the upstrum which is “off the beat’. An up strum is indicated by a A\ , and is played on the “and” section of the count. To play an up ‘strum start the strum at the first string (the thinnest string) and strum all six strings. There are two eighth note strums per beat. There are eight eighth note strums in one bar A of music in 4 time. 1 + The downstrum “on the beat” is played louder than the upstrum which is “off the beat” (the one and +’ section of the count). Eighth Note Rhythm Patterns Here are some eighth note rhythm patterns in 4 time. Any rhythm pattern can be used on any chord progression. Practice the following eighth note patterns holding a C chord and then apply these patterns to the chord progressions in Lessons 1 and 2. & 20. Count: 8 1..M NAVOV | 5, VEN YAW") 9. (WEIR 1 2 +3 4 1 2 a+4 i+ 2+ 3+ 4+ 2.|V VaVaV | 6. IVAVAVAVAl io, (VAVAV Va 1 a+ 34% Pt+2ta+at i+ 24+ 3 4+ 3.]VAV VV | 7IVAVAV V 4/44. /VaVaVaV it es 1+2+3 4 1+2+434+4 4.|\V VV Val g.|VaV VaV laa [V VaV Va 1 2 = 4+ 1 + 2 a+ 4 I 243 4+finger The following chord progression contains an E7 chord and uses Chord Symbol iz To play the E7 chord, use the first and second fingers of your left hand as shown in the diagram, and strum all six strings. The E7 chord shape is just the E chord shape with the third finger lifted of. E Seventh Chord B21 22. is progression contains wythm pattern 7. eighth note rhythm pattern 1 Rhythm Pattern When changing between D and E7 use your first finger as a slide Vv vi us Y W = « A7 A Seventh Chord Chord Symbol A’ To play the A7 chord, use the second and third fingers of your left hand as shown in the diagram, and strum all six strings. The A7 chord shape is just an A chord shape with the first finger lifted off Rhythm Pattern VaVav V ihe oes an A7 chord and uses eighth note AT Ds20 G Seventh Chord Nut ist Feet and Fret 3rd Fret SE 23. This progression includes the G7 chord and uses eighth note rhythm pattern 2. When changing between C and A7 use your second finger as a pivot. aT 4¢—_" Chord Symbol 8 To play the G7 chord, place the first, second and third fingers of your left hand as shown in the diagram. Strum all six strings. Rhythm Pattern V VaAVaV 1923 eb —> 24 Rhythm Pattern The following progression uses a two bar VAVAVAV IV VOV OV thythm pattern. The first bar of this rhythm [1 +2+3+4 |1 2 3 4 —— First Bar pattern is eighth note rhythm pattern 11. G Rhythm Pattern Nag) See: ViVi Lez VaVaVaV 1+24+34+4 UO First Bar —— Second Bar ——4ae a Lesson 4 J Silent Strums and Continuous Rhythms The basic 4 rhythm pattern learnt in lesson 1 consisted of four down strums, ie. Vi Va Be sin ae ae, ae After playing the first strum, your right hand moves upwards in preparation for the second strum. The strings are not played on this upward movement. This upward motion can be represented by a broken upward strum symbol (4) which indicates that the strings are not strummed (a silent strum) So the basic rhythm above could be written as: VAVAVAV L+2+3 +44 The above two rhythm patterns sound exactly the same. Ifyou watch your right hand you will notice that it actually moves up and down in a continous motion but it only makes contact with the strings on the down strum. Also when you play eighth note rhythms you will see that your right hand also moves up and down in a continuous motion sometimes making contact with the string and sometimes not. Silent Strum Symbols ‘When an upward strum is made without contacting the strings it can be represented by # ‘When a downward strum is made without contacting the strings it can be represented by’ "Some very useful and interesting rhythm patterns can result by incorporating eighth note rhythms “with silent down strums. & 7 — 2. V Va¥aV Try the following rhythm holding a € chord, DUS ae ate This rhythm is the same as eighth note rhythm pattern 2 in Lesson 3, except the down strum on the third beat does not make contact with the strings. Practice this rhythm until you perfect it. You can apply it to any chord progression you like. This is a very important rhythm and will be the basis of many other rhythms. Try the following variations and make up your own, All these suggested Variations are in 4 time but the same principle can be applied to } time. Also note that in all these thythms your right hand moves up and down in a continuous motion. These rhythm patterns can or “off the beat”. This is called syncopation.Minor Chords There are three main types of chords: Major, Seventh, and Minor. The chord symbol for the minor chord is a small ‘m’ placed after the letter name. Dm D Minor Chord Chord Symbol nut ——— dst Dm fe Dm | a To play the Dm chord, use Fret the first, second and third 3rd fingers of your left hand as Fret shown in the diagram. Strum only five strings. 664324 t Do not strum dotted strings Rhythm Pattern = 28. In the following progression use a pivot finger when changing from C to A7 and Dm to G7. Use a slide finger between A7 and Dm. A A Minor Chord Chord Symbol Am | To play the Am chord, use the first, second and third fingers of your left hand as shown in the diagram. Strum all six strings Nut ist Fret 2nd Frot ara Frot Rhythm Pattern<> 30. 12 Bar Blues in A Minor @ following Blues uses minor chords and is in the key of A minor. shord progressions and songs can either be in a major key or a Rhythm Pattern 6 7 Dm Am 0 W E Minor Chord To stri The following chord progression uses the three minor chords ftroduced above. Use your first finger as a pivot when changing between Dm and G7. Use your second finger as a pivot when changing between G7 and Em. Am Dm == Rhythm Pattern E = Chord Symbol “im | play the Em chord, use the second and third fingers of your left hand as shown in the diagram. Strum all six ings. The Em chord shape is just the E chord shape with the first finger lifted off. Rhythm Pattern VaVa¥ 1+24+34+4 VaVa¥aV te aac tea, First Bar ——> second Bar ——24 Lesson 5 J Nut | —eeneesne Ist Fret 2nd. Fret 3rd Fret F Major Chord difficult at first. The F chord is easier to pl and second before positioning the first fi Remember that you can use any rhythm pattern you like on any Chord progression as long as they have the same time signature e.g. } time. > 33. Am _ 64 — > 34. The following progression is in the key of © major. Progression is called a turnaround progression Chord Symbol wate] To play the F chord, use the first, second and third fingers of your left hand as shown in the diagram. Strum only five strings. The first finger bars across the first two strings. This is quite lay if you position your third inger. Rhythm Pattern VAVAVAV 1+2+3+4 Rhythm Pattern This Ny any, eae a G7 Rhythm Pattern VaVa¥aV 1+2+344 \— First Bar ——— ‘Second Bar ——Turnaround Progressions N Lesson 2, you were introduced to the 12 bar Blues chord progression, Another important chord fogression to learn is called the turnaround. Like 12 bar Blues, it is the basis of many songs, and will probably sound familiar to you also. The chord progression on the previous page is a umaround in the key of © major. Unlike 12 bar Blues where the progression occurs over a fixed number of bars, the turnaround gression may vary in length, e.g. examples 36 and 37 are 4 bar turnarounds but examples 39, 40 and 41 are 2 bar turnarounds. However the chord sequence remains the same. Some of the biggest hit records of all time are based upon a turnaround progression. Every year since the inning of Rock music there have been hit songs released which are based upon 12 bar Blues or jumarounds. Some songs that are based upon a turnaround progression are: Stand by Me - John Lennon Can't Smile Without You - Barry Manilow | Will Always Love You - Whitney Housten Please Mr Postman - The Beatles Retum to Sender - Elvis Presley Blue Moon - various artists All| Have to do is Dream - The Everly Brothers Tell Me Why - The Beatles Be My Baby - The Ronettes, Let's Twist Again - Chubby Checker Everlasting Love - U2 Rhythm Pattern 36. Turnaround Progression in the VV VaAV Key of G Major Reng aes Em a Alternative Chord Fingerings To make the chord changes in the above progression easier, play the Em chord with your first and second fingers. This will allow the use of pivot fingers between G to Em and Em to C. A pivot can also be used between C and D7 and a slide finger between G and D7. Altemative fingering for any chord shape can be used to make chord progressions easier to play. Rhythm Pattern 37. Turnaround Progression in the NONE Nae, Key of C Major Li Binitin SoethS) = = : ee ‘| ice the similarity in sound of the above two Tumaround progressions. They are the same gression but in two different keys. See page 43 for more information on Turnaround and 12 bar lues progressions.Eighth Note Triplet Rhythms a Vv Count: 1 + a one ah and Triplets are easy to play and understand if you listen to the CD. Bm Nut ist Fret and Frat 31d Fret © 39. Turnaround Progression in the Key of D Major There are two chords per bar in this turaround progression. ae The following two progressions are turnarounds in the key of G major. Once again there are two chords per bar. © 40. Turnaround Progression in the Key of G Major Bm iG D? <*> 41. Turnaround Progression in the Key of D Major Bm G G = = = AT B Minor Chord Eighth note triplet rhythms are three evenly spaced strums within one beat. One bar of eighth note triplets in 4 time would Consist of four groups of three strums. There are 12. strums per bar but still only four beats. Play the first downstrum of each group of three strums louder. S&S 38. Play the following rhythm pattern holding a Bm chord, Rhythm Pattern VvvVvvVvvVvvy ee a Pea ee Ae Chord Symbol “bm | To play the Bm chord, use the first, second, third and fourth fingers of your left hand as shown in the diagram. Strum only four strings. Rhythm Pattern TORN Poe oN TaN VvvVvvVvvVvv jh a2 ae th a7 Lesson 6 | — Chord Symbol sce) To play the C7 chord, use the four fingers of your left hand as shown in the diagram, and strum all six strings. The C7 chord is a C chord with an added Bb note played by the fourth finger. Rhythm Pattern ees VaVav V ithe following chord progression use the second finger of your left Mi id as a pivot when changing between the F and D7 chords. uct Sai Tia raed c = pb? Rhythm Pattern e your second finger as a pivot when changing between the F nd Dm chords. Use your first and second fingers as pivots when anging between Am and C7. Dm_ Am Cr yys practice new chord progressions using a basic rhythm y_¥_¥_¥| Once you are confidentB? B Seventh Chord BR Rosso 4 Chord Symbol i To play the B7 chord, use all four fingers of your left hand as shown in the diagram. Strum only five strings. ‘Some guitarists deaden the 6th string by lightly touching it with the left hand thumb which reaches over the top of the neck. The 6th string can then be strummed but it won't sound as it is deadened. This technique can apply to any chord where the 6th string note is not a part of that chord shape ge = 2 S&S 47. The following progressions contain both C7 and B7 chords. Em D7 ct ot —— — —_ 48. ee = G — a Rhythm Pattern Ahythm Pattern VavV V V Ieee as Rhythm Pattern VaVaVaV Lt2+3 4429 Lesson 7 J Sixteenth Note Rhythms lesson 3 you were introduced to eighth note rhythm patterns. Eighth note strums In eighth note rhythm pattems there are 2 eighth note strums per beat AV i Vv i ‘ ‘ and 8 eighth note strums in one bar of 4 time. The strum on the ‘+’ count is an up strum. sixteenth note rhythm patterns there are 4 strums per beat. Sixteenth note strums VavaVavaVavaVava 1erterzdert es of e460 4+ 2 Say One ee and ah Two ee and ahThreeee and ah Four ee and ah re are 4 sixteenth note strums per beat. lere are 16 sixteenth note strums in one bar of 4 time. lay the first down strum of each group of four strums louder, this will help you keep time and make sixteenth note rhythm easier to play. When playing a sixteenth note rhythm the strum on the ° int is a down strum. f@ are some sixteenth note rhythm patterns. Practice the following patterns holding a G chord and n apply them to any chord progression. When there is eighth note strums and a sixteenth note im in the same bar, the strum on the ‘+’ count of the eighth note rhythm is also a down strum. 50. 8e five rhythm patterns combine sixteenth ‘These five rhythm pattems combine sixteenth strums with quarter note strums. note strums with quarter, eighth and silent strums. 49. Count Vv VavaV 6.|VavaV Viv Vava 2 3etad tetaz 3 as 4e+a vaV Vv Vv 7. [MUM Vi VEEN. e+a2 3 4 1 + Z - se+aa4 avaV VavaVv 8.|\VavaVv Vv V e+a2 3Zetad Le+a2 *- $ 4 Vavav Vava v Vava 2e+a3 4eta + 4eta VavaVavaVava Vie, 2Zetazxset+adet+a + 430 Major Seventh Chords Another chord type you will need to know is the major seventh. The major seventh chord symbol is maj7. Here are the six most common open chord shapes for maj7 chords Cmaj7 C Major Seventh Chord Chord Symbol ast oe a aaall Cmaj | ahs Fret To play the Cmaj7 chord, oe 4 4 strum all six strings. ai is Notice that the Cmaj7 a chord shape with the first | chord shape is just a © finger lifted off. S&S 51. The following chord progression contains the Hii Patter € major seventh chord and uses sixteenth note strums in the third beat of the rhythm pattem. Use Vv v Va Ms av pivot fingers when changing between Cmaj7 to Am es and Dm to G7 Am G Fmaj? F Major Seventh Chord Chord Symbol Nut ——— 7 a P Fmaj | st z ce | To play the Fmaj7 chord, 23 strum all six strings. The at Fmaj7 chord shape is just Fret an F chord without the F a note on the 1st string. I SS 52. The following chord progression contains Fmaj7 chords and uses sixteenth note rhythm pattern 8. Va Ms Use a pivot finger when changing between Fmaj7 and Dm. Rhythm Pattern VENI ON ON: 2 (Bee Se 4 Cmaj?_ Fmaj?_Cmaj? Fmaj7__Cmaj? Fmaj7_ Dm G7x Gmaj7 G Major Seventh Chord : = bes =O ite 7 | hand lightly touches the Sth string, which deadens it, so even wi No sound, = 53. Apply sixteenth note rhythm pattern 10 to the following chord progression. Fret d | | 65 4 3 avaV le+a2 Cmaj’ A Major Seventh Chord ] | r S&S 54. In the following progression, use your first finger as a slide between finger does not lose contact with the 3rd string thro thythm pattern combines quarter, eighth, sixteenth, and silent strums Rhythm Pattern 31 Chord Symbot m i7| Strum all six strings to play this Gmaj7 chord shape. The X above the Sth string indicates that note is not in the chord and is deadened. In this chord shape the second finger of the left hen you strum the Sth string it makes Rhythm Pattern v v Vv er cag Dm Cmaj’ 4 4 Hl Chord Symbol Amaj’| Strum all six strings. The Amaj7 chord shape is an A chord shape with the first finger playing the first fret instead of the second fret. all chord changes. The first ughout the entire progression. The two bar Vv Vv VavaV VvVv¥v0V 1 a 3e+ad 1 a 2 + 3 + 4 DD Major Seventh Chord Nut ast Fret 2nd Frot 310 Frot S&® 55. a, i Practice the chord changes with an easy rhythm pattern Pattern before using the suggested rhythm pattern Dmaj7 co Emaj7 E Major Seventh Chord Nut ist Fret 2nd Fret rd Fret S&S 56. The following chord progression contains alll the major seventh chord shapes learnt in this lesson. Rhythm Pattern Chord Symbol Dmaj | Strum only five strings. Use the first finger to bar all three notes on the 1st, 2nd and 3rd strings of the second fret. hang cord it an ur on Chord Symbol Emaj’| Strum all six strings. The Emaj7 chord shape is the same as the E chord shape except for the note on the 4th string, Practice this progression with an easy strum pattern first. Once you are confident with the chord changes, use the suggested rhythm pattern. A E Emaj7 As Amaj’?_—s OD GtE Minor Seventh Chord Chord Symbol Em? Strum all six strings. This Em7 shape is like an Em shape with the third finger lifted off. Rhythm Pattern S&S 59. Use a pivot finger when changing between Am7 and D7. 4 Gmaj’ Em7 Am? b7 Rhythm Pattern VavaVvu Vv Vv Lena] * 3 * 4 Rhythm Pattern VaVaVav SE 61. 1+2eH34+4 Em7 Am7 Dm? G7 SS een B VVVV SE 62. 1 2 3 4 & Cmaj?__Dm7_ Em7 Fmaj?_ Em7 Dm? Cmaj?Alternative Chord Shapes There are many different chord shapes that can be used for a particular chord type. Here are some common alternative chord shapes that you should learn. Apply these new shapes to the progressions in this lesson and earlier lessons. Certain chord shapes sound better or are easier to play in some chord progressions than others. E Seventh A Seventh er oe } * 654321 This E7 shape is an E chord with an additional s note played by the fourth finger. note played by the fourth finger. Rhythm Pattern AT Db? G7 E Minor Seventh Am7 A Minor Seventh be We 6 + i 2 ' ty \ 2d “ a @ This Em7 shape is an Em chord with an This Am7 shape is an Am chord with an additional note played by the fourth finger. additional note played by the fourth finge Rhythm Pattern Vavav v VavaV le+a2 3e+ad Dd’ Gmaj?_ Em7 Am7 Db? Em? E’E6 E Sixth Chord Nut ist Fret ona Fret a0 Fret oa In the following chord progression use the alternative E7 chord shape given in the previous lesson. Hold the E chord shape throughout and move only the fourth finger to change chords. A Sixth Chord Nut ist Fret 2a Fret 3rd Fret S&S 68. In the progression below use the above fingering for the A6 chord For the A7 chord, just slide the fourth finger to the third fret of the 1st string. This will make the chord change easier AG Al ‘AG AG Chord Symbol ebb] The E6 chord shape is an E chord with the additional note played by the fourth finger. Rhythm Pattern Vina Vial Vary, 2 4 1 Chord Symbol aed The A6 chord shape is an A chord with the additional note played by the fourth finger. Another way of playing this shape is to bar all four strings with the first finger. Rhythm Pattern Mai Wea, IAS Ad Ay A&38 — 69. Ahythm Pattern Play this Blues in E using the previous two progressions. There VIVE Ive VY. are four chords in each bar, each receiving one strum, except the es bars 9 and 12 where a B7 chord is played. : ee — 7 z 3 E_E® £7 ES E E® E7 BS B E6 E7 E6 Eo E7 ES 44 A® AT ASA AS A7 AS EEO ET RO — “AAS _A7 AS E E67 6 0 w nt iF Rock Chords When playing Rock or Blues styles, guitarists commonly use chords where only two strings are Played. These two note chords are useful as alternative shapes for major, sixth, and seventh chords. A Rock Chord Shapes Written below are the two string Rock chord shapes for A, A and A7. In all three chord shapes only the 5th and 4th strings are strummed. A AT indicates that you keep mA played. Nah t : Play the following chord progression using the above rock chord shapes. Use eighth note strums and only play the Sth and 4th strings. Use only down strums as this sounds better when playing the Rock chords in the following examples & 70. —S 72. Play examples 70 and 71 as a two bar pattern.39 ! D Rock Chord Shapes Written below are the two string rock chord shapes for D, D6 and D7. Play only the 4th and 3rd strings. p? Play the following two bar chord progression using the above rock chord shapes. Use only downward eighth note strums. Vv DD 4 + 1 + 2 + 3 + vv vvvvV DS D Dé D D? D ES lay the following two bar chord progression using the above rock chord shapes. Use only ward eighth note strums. the following 12 bar Blues in the key of A using rock chords. If you are unsure of the 12 bar Blues sssion, see example 19 (page 17). When there are two bars of a chord, substitute the two bar rock yessions above. Eg: for the A chord in bars 1 and 2, 3 and 4, 7 and 8, use the two bar progression in example 72 . For the D chord in bars 5 and 6, use the two bar progression in example 73. For each chord the last four bars, substitute the second half of the rock chord progression. Try to play this 12 bar Blues memory. If you hope to play in a band or even jam with your friends, the ability to play songs from mory is an important skill to develop.40 Lesson 10 | Rhythm Rests Interesting rhythms can be created by periods of silence are called rests. It indicates one beat of silence. g This symbol is a quarter rest. in rhythm guitar playing rests are achieved by stopping all six strings sounding by placing the edge of the right hand over the strings (as shown in the photograph). Practice the two rhythm patterns containin: to the chord progression below. — 7. ar = V Rhythm Pattern y including periods of silence in the rhythm pattern. These This symbol is an eighth rest. Itindicates a half a beat of silence. ig rests below holding a G chord and then apply each one Rhythm Pattern VaVai V Ato ee VaVaTaVv 1+ O13 + 4 Em ——=- below holding an Amaj7 chord. — 78. Rhythm Pattern Staccato Strumming The dot placed above the strum symbol indicates that the strum is to be played staceato i.e, cut short, When playing a staccato strum all six strings are stopped from sounding immediatly after the strum. This is done with the right hand, It is the same technique used to play rhythm rests except that it is much faster. Practice the two staccato strum pattems small count numbers are placed under rests 4 c D7 Rhythm Pattern VV Ny coe ee Apply the sixteenth note staccato pattern to the following chord progression Amaj’ a Dmaj’ Maeva oo, le+a2 3 4 Gma Cmaj’7 Gmaj” SSS ET4 Chord Symbol Suspended Chords Su: | The chord symbol for a suspended chord is the major chord symbol plus the word sus (or ometimes sus4).The suspended chord is quite often used to add interest to a progression if there is a long section of music containing only one chord. The three most common open suspended chords are as follows. The open circle indicates that you hold the major chord shape and add the suspended chord note with your fourth finger. Dsus Asus Esus @ ™ mm 90 a 9 = I I t 24 654321 654321 A suspended E suspended (Change chord on this upstrum i following progression uses the three suspended chords hythm y ven above. Change to the suspended chord on the ‘s’ Pattern VAVATAVA 1+24 344+42 Augmented Chords Ft or At+ or Db*+ at Fret Chord Symbol aug or + | The chord symbol! for an augmented chord is + or aug. This augmented chord shape uses only the first four strings and has three different names. Do not strum the fifth and six strings. The augmented chord can take its name from any note in the chord, e.g. the shape to the left contains the notes F (twice), A and D flat (Db). So this shape can be either Faug, Aaug or Deaug. If this shape was moved up one fret, it would be Ffaug, Boaug or Daug. If the shape was moved up two frets, it would be Gaug, Baug or Ebaug etc. So to locate any augmented chord, simply play this augmented shape so that it includes the letter name of the chord. Rhythm Pattern VaAVaTaV erat sy D+ Dm E Chord Symbol Diminished Chords dim or cl Eb° or Ae or Co or Kee The chord symbol for a diminished chord is © or dim. The full name of this chord is diminished seventh but it is usually refered to as a diminished chord This diminished chord shape uses only the first four strings and has four different names. The diminished chord can take its name from any note in the chord, e.g. the shape to the left contains the notes E flat (EB), C, A and F sharp (F4). So this shape can be either Exdim, Cdim, Adim or Fadim. If this shape was moved up one fret it would be Edim or Cédim, Bodim or Gdim. etc. To locate any diminished chord simply play this diminished shape so that it includes the letter name of the chord. Rhythm Pattern WE AY A A ee Gee Am G° Am? bp12 Bar Blues In Lesson 2 you were introduced to the 12 Bar Blues progression. 12 Bar Blues progressions ntain the first I fourth IV and fifth V chords of a particular key. I N v E.g. Blues in the key of C contains— C FO G7 Blues in the key of Gcontains- G C D7 Blues in the key of Dcontains- D G AT Blues inthe key of Acontains- A DET Blues inthe key of Econtains- E A B7 The V chord is usually a seventh chord. Call the key chord | and count up to the fourth ( 1) and fifth (¥) chords. Here is a 12 Bar Blues with the chord numbers only. This 12 bar pattern remains the ‘same and from it you can work out the chords for a Blues in any key. === I<1 Turnarounds In Lesson 5 you were introduced to Turnaround progressions. There are two basic types of Wand ¥ chords of a particular key. i v | - E.g. Turnaround one in the key of C contains- G7 The Wi chord is oe Turnaround one in the key of G contains- G D7 nes Turnaround one in the key of D contains- D AT Turnaround one in the key of Acontains~ A E7 Turnaround one in the key of Econtains- B7 oh ————" =e Turnaround two consists of the i, I , ¥ and ¥ chords of a particular key. Te Ml, (how f : E.g. Turnaround two inthe key of C contains~ G Em F G7 — cralichon baways mines. Tumaround two in the key of Gcontains- G Bm C D7 — wpitothe ii, Wand Vchords, Tumaround two in the key of Dcontains- D Fim G A7 Tumaround two in the key of A contains— A Cim D E7 Turnaround two in the key of Econtains— E Gtm A B7 (SSS Sees SSE eee Study the Turnarounds on pages 25 and 26 to see if they are Turnaround one or Turnaround two.44 How to Tune Your Guitar Before you commence each lesson or a practice session you must tune your guitar. If your guitaris out of tune everything you play will sound incorrect even though you are holding the correct notes. If you want to play along with the CD your guitar must be tuned to ‘concert pitch’. This is a standard tuning that all musicians tune to so that they can play ‘in concert’ with each other. It is possible for a guitar to be in tune with itself (e.g. you strum a chord and it sounds in tune) but out of tune with a piano which would be tuned to concert pitch. Outlined below are the methods you can use to tune to concert pitch i.e. electronic tuner, tuning to another instrument, tuning fork and pitch pipes. Also discussed is a method of tuning all guitarists must know i.e. tuning the guitar to itself, This tuning method is essential to know because when tuning to concert pitch you may only be given one note (usually the open 5th string A) so you have to know how to tune the other strings to this note. To tune your guitar using an electronic tuner (see page 7). How to Tune Your Guitar to the CD At the beginning of the recording, the six open strings of the guitar are played. You should tune each string of your guitar to each of these notes. These notes are the same pitch as an electronic tuner 80 if you have tuned to an electronic tuner your guitar will be in tune with the CD. The first note played is the open sixth string (E note). If the open sixth string on your guitar sounds the same as the note on the recording, your string is in tune. Proceed to the next string. If the note on the recording sounds higher, it means your sixth string (E note) is flat. Turn the tuning key slowly in @ counter-clockwise direction. This will raise the pitch of your string. Play your sixth string again and compare it with the recording. Keep doing this until your sixth string (E note) sounds the same as the recording. Usually you will not have to turn the tuning key very far. If the note on the recording sounds lower, it means your sixth string is sharp. Turn the tuning key slowly in a clockwise direction. This will lower the pitch of your string. Play your sixth string again and compare it with the recording. Keep doing this until your sixth string (E note) is the same as the recording. Follow this procedure for the other strings. To check if your guitar is in tune strum a G chord (see Lesson 1). Most students find it easier to tune up to a note, so you may wish to detune your string to slightly below the recording, and tune up from there. Tuning to Another Instrument If you are playing along with another instrument, it is essential that your guitar be in tune with that instrument. Tune the open strings of your guitar to the corresponding notes of the accompanying instrument. E.g., To tune to a piano, tune the open 6th string to the E note on the piano, as shown on the keyboard diagram. Then tune your guitar to itself from this note using the method outlined on the following page, or tune each string of your guitar to those notes of the piano shown on the keyboard diagram. Guitar Open String Note 6 5 4 a 2 4 Piano Middle C45 Tuning Fork Pitch Pipes Tuning Fork Pitch Pipes A tuning fork a produces a note Pitch pipes pro- (usually the 5th Ge ve duce notes that string A Note) | correspond to which you tune each of the six one string to. ae open strings Then you tune the fang. Bal ____] that string. | Tuning the Guitar to Itself Unless you are using an electronic tuner, to be able to tune the guitar accurately usually requires many months of practice. You will probably need your music teacher or musician friend to help you tune when you are learning If you do not have another instrument to tune to, you can tune the guitar to itself by using the following method. 1. Place a left hand finger on the 6th string (thickest string) at the the fifth fret, and play the string ©®OOG@®® 2. Play the open Sth string (an A note). If this note sounds the same as the note you played on the 6th string at the fifth fret, the A note is in tune. 4 4 3. If the open A string sounds higher, it means that it is sharp. Turn the tuning key slowly in a clockwise direction. This will | lower the pitch of the string. Play the two strings again and compare the notes. Keep doing this until the open A string | sounds the same as the E string at the fifth fret. 4, If the open A string sounds lower, it means that itis flat. Turn the tuning key slowly in a counter-clockwise direction. This will raise the pitch of the string. Play the two strings again and compare the notes. Keep doing this until the open A string GQ) sounds the same as the E string at the fifth fret. || Sth 5. Tune the open 4th string (a D note), to the note on the fifth fret fret of the Sth string, using the method outlined above. 6. _Tunealll the other strings in the same way, except for the open 2nd string (a B note), which is tuned to the note produced on the fourth fret of the 3rd string. (See diagram). 7. Tocheck the tuning, strum a G chord. (see Lesson 1). Tuning Hints One of the easiest ways to practice tuning is to actually start with the guitar in tune and then de-tune one string. When you do this, always take the string down in pitch (i.e.loosen it) as it is easier to tune ‘up’ to a given note rather than ‘down’ to it. As an example slightly detune the 4th string (D). If you play a chord now, the guitar will sound out of tune, even though only one string has been altered (so remember that if your guitar is out of tune it may only be one string at fault) Following the correct method, you must tune the open 4th string against the D note at the fifth fret of the Sth string. Play the note loudly, and listen carefully to the sound produced. This will help you fetain the correct pitch in your mind when tuning the next string. Now that you have listened carefully to the note that you want, the D string must be tuned to it. Play the D string, and turn its tuning key at the same time, and you will hear the pitch of the string change (it will become higher as the tuning key tightens the string). It is important to follow this procedure, so that you hear the sound of the string at all times, as it tightens. You should also constantly refer back to the correct sound that is required (i.e. the D note on the fifth fret of the 5th string).46 Notes on the Guitar Fretboard Notes in the Open Position ‘The open position of the guitar contains the notes of the open strings and the first three frets, Outlined below are the position of these notes on the staff, Tab, and on the fretboard. Also shown is an example of two separate octaves, an octave being two notes that have the same letler name and are eight consecutive notes apart. f 1 Octave a 1 Octave , oh Sino Sis AS] roSkng] —ondsting— f-tetSHing 1 E ¥F G A B € D E FE G A B c D E G a oe ° eS = a ft —— — 7? = = Si Z =a | ‘ = ile ee i|A eae iae Seems a String Number This is called TABLATURE and it is another way of notating guitar music, The six lines represent the six strings of the guitar and the number represents the fret number of the note. Sharps and Flats Asharp (#) raises the pitch of a note by one semitone (1 fret) A fat () ) lowers the pitch of a note by one semitone. In music notation the # and b signs are placed before the note on the staff. Notes on the Here is a fretboard diagram of all the notes on the guitar. Play the notes on each string from the the open 6th string is an E note and the note on the 12th fret of the 6th string is also an E note, ein String (Thinnest String) @47 The Chromatic Scale With the inclusion of sharps and flats, there are 12 different notes within one octave as shown below. The notes EF and BC are always on semitone apart (1 fret). The other notes are a tone apart (2 frets). Sharps (#) and flats (») are found between the notes that are a tone apart: c% DK EFS G % A % BC This scale is called the chromatic scale and contains all the sharps (#s) and flats (b's) possible. © sharp (C) has the same position on the fretboard as D flat (Db). They are the same note but can have different names depending upon what key you are playing in. The same applies to D# / Eb, Fé / Gp, Gt/ Ab and A# / B>. These are called enharmonic notes. Written below are all the notes on the guitar including these sharps and flats. Also notice that The Sth fret of the 6th string (A note) is the same note as the open Sth string. The 5th fret of the Sth string (D note) is the same note as the open 4th string. The 5th fret of the 4th string (G note) is the same note as the open 3rd string The 4th fret of the 3rd string (B note) is the same note as the open 2nd string. The 5th fret of the 2nd string (E note) is the same note as the open 1st string. These note positions are important to remember because they are the basis for tuning your guitar to itself. (see page 45). All the notes on each of the six strings are shown on the fretboard diagram below. All the notes on the 6th string have been notated on a music staff and TAB below the fretboard diagram. Guitar Fretboard open notes to the 12th fret. The note on the 12th fret is one octave higher than the open note e.g. but is one octave higher. 0j-@ 1 © @ @48 How to Read Sheet Music Most of the sheet music you will buy will be arranged for piano. Piano music is written using two or three staves, with the chord symbols written above the top staff. It may also contain unfamiliar symbols and terms. At this stage you need only look at the top staff, which contains the melody line (tune), the lyrics and the chords. In some sheet music chord diagrams may also be included. As most sheet music is arranged by keyboard players quite often the guitar chord shapes given are incorrect, unnecessary or impractical, and many piano arrangements of guitar based. songs do not sound anything like the recorded version. Guitar tablature versions of sheet music are gradually becoming more popular and in many cases are very accurate arrangements of the song. Also many piano arrangements are in difficult keys for a beginning guitarist and quite often use unnecessary chords. Piano sheet music also gives no indication of how to sirum the chords. So piano sheet music is only a guide for a guitarist but is useful for lyrics and a general chord guide. If the song contains chords that you are not familiar with you can: 1. Learn how to play this new chord. Refer to the chord chart on pages 50 and 61. 2. Substitute an easier chord. Use the easy chord table below which lists the type of chord you may see in the sheet music (on the left of the table) and the simpler chord you can substitute (on the right of the table). If you know how to transpose and substitute chords you can play almost every song ever written using only @ few basic chord shapes. It is recommended that you do further chord study and at least learn how to play bar chords. See 10 Easy Lessons for Rock Guitar. Easy Chord Table When you see an unfamiliar chord, consult the table below to find an easier chord to play. This chord will still sound correct. E.g., when you see a Cmaj7 symbol, play a C chard instead. For a Cm6, you can substitute a Cm chord, etc. Chord Written on Sheet Music Use This Chord 7 ~~ Seventh 6 = Sixth Major maj? - Major Seventh sus - Suspended 9 * 9th M1 - Eleventh Seventh (7) 13__- Thirteenth m6 Minor Sixth m7 - Minor Seventh Minor (m) m(maj)7-_ Minor Major Seventh49 3. Change the key of the song. Transposing (or Transposition) is the process of changing a song or piece of music from one key to another. There are two reasons for transposing into another key: A. If the song is too high or too low to sing, the song can be changed into a lower or higher key. Changing the key of a song does not change the sound, pattern or timing of the melody but simply changes how high or how low it is sung. B. If the song is hard to play or contains difficult chords you can transpose it to a key with easier chords. e.g. If a song is written in the key of Bb (which many songs are) it would contain chords like Bb, Eb and Cm which may be difficult for a beginning guitarist. If the song is transposed into the key of G major the chords would then be G, C and Am, which are easier for a guitarist to play. How to Transpose If the sheet music is in the key of E flat (E+) major and contains difficult chord shapes, you can transpose it to another major key with easier chord shapes. Keys that contain easy shapes for beginners are C major and G major, or if the song is in a minor key, A minor (Am) or E minor (Em). Write down the chromatic scale (see page 47) of the key the sheet musics in (usually the first chord is the key chord). Then underneath it write down the chromatic scale of the key you wish to change to. E.g. to change a song from the key of E> to the key of G, write down the chromatic scale starting with the note E> and then undemeath it write down the chromatic scale starting on the note G. Ebchromatic scale) E> E F Gb G Ab A Bb B C D> D Eb ‘ 1 Orly te tee te teat) Yoel G chromatic scale: G Gt A At B C CH D DR E F FRG The letter name of the chord is written on the top line and the letter name of the new chord in the new key (in this case G) will be directly underneath it Note that the chord type never changes. If the chord is a minor chord in the key of E> major it will also be a minor chord in the major key it is transposed to. e.g. an E> chord in the key of E> major becomes a G chord in the key of G major. e.g. an Ab chord in the key of Eb major becomes a C chord in the key of G major. e.g. a Cm chord in the key of E> major becomes an Em chord in the key of G major e.g. a Bbm chord in the key of E> major becomes a Dm chord in the key of G major. The easiest keys for fingerpicking guitar are: G major, C major, D major, A major, E major, A minor and E minor. These keys contain chords that have open strings in them and are generally easier shapes to hold.Chord Chart Here is a chart of the types of chords you will most commonly find in sheet music. The shapes given are all based around the first few frets. The most useful chord shapes are outlined with a box. The other shapes are given for your reference only but in most cases would be better played holding a bar chord shape. Bar chords, although a little difficult at first are ultimately easier and more convenient to play than most of the non-outlined shapes. All good guitarists play bar chords. For more information on bar chords see 10 Easy Lessons: Teach Yourself Bar Chords. The boxed shapes are generally easier to play and should be memorised. These open chords sound particularly good on acoustic guitars and for fingerpicking, Major Chords aims Chord Symbot Seventh Chords ReviMinor Seventh chores nia me FS Pa H Het i | | ' Major Seventh Chords a rie ae k sae Sixth Chords A thes a suspended chords A | ra eames chores Pa ee Re Dated cherChord Symbols In sheet music notation,there is a lack of uniformity in writing chord symbols. For example the C major seven chord can be written as Cmaj7 (used in this book), CA7 or CM7. The table below outlines the symbols used in this book, together with correct pronunciation and alternative symbols used for each chord type. Symbols used inthis Series Name Alternative Symbols (None) Major Maj, M sus ‘Suspended sus4 5 Major Flat Five bs add 9 Major Add Nine m Minor min, mi, + Augmented #5, +5, aug 6 Major Six Majé, A6, M6 6/9 Major Six Add Nine 6(add9), § Maj6(add9), Mé(add9) m6 Minor Six mi6, min6 meio Minor Six Add Nine mi6(add9), min6(add9), mé(add9) 7 Dominant Seven (Seventh) Dom7 Tsus Seven Suspended sus7, 7sus4 m7 Minor Seven mi7, min? m7b5 Minor Seven Flat Five 97, Yedim7, mi7b5, min7b5, m7-5 ° Diminished Seven °7, dim7, -7, dim 7s ‘Seven Sharp Five +7, 745 75 Seven Flat Five 75 maj7 Major Seven AT, M7 m(maj7) Minor Major Seven m(Maj7), m(A7), m(+7), mi(+7), min(+7) 7h9 Seven Flat Nine 79 Tésbo Seven Sharp Five, Flat Nine 745-9 Maja Major Nine 49, M3 m9 Minor Nine mi9, ming, -9 ots Nine Sharp Five +9, 945 9b5 Nine Flat Five 9-5 oF Nine Sharp Eleven ott m9(maj7) Minor Nine Major Seven m9#7, min9#7, m9(A7), m9(Maj7), m9(M7) mit Minor Eleven mitt, mint, -11 13 Thirteenth M13, M7(add6) 1359 Thirteen Flat Nine 13-9 13)5)9 Thirteen Flat Five Flat Nine 13-5-9 mi3 Minor Thirteen mi13, min13, m7(add6), -13 In sheet music, chord symbols which indicate the bass note to play are sometimes used. For example, C/G indicates a C chord with a G bass note (it may also be written C/G bass). The bass note will not always be a note of the chord; for example, Am/G is an A minor chord with a G bass note, which could also be called Am7.