A New Tune a Day for Acoustic Guitar Book 1 (Gnv64)

N E W T I T L E

S F R O

M T H

E W O R L D '

S B E S T - S E L L I N

G S E R I E

S

BOOK 1

by John Blackwel l

A

si Tu ne A Day Acoustic Guitar

Boston Musi c Company / Musi c Sale s Furtado s part o f Th e Musi c Sale s Grou p

Foreword Since its appearance i n the earl y 1930s , C. Paul Herfurth' s

The following extrac t from th e foreword t o the origina l

original A Tune A Day serie s ha s becom e the mos t popula r

edition remain s a s true toda y a s the da y i t was written :

instrumental teachin g metho d o f al l time. Countles s music students hav e bee n se t on their pat h b y the clear ,

The value of learning to count aloud from the very

familiar, prove n material , an d the logical , sensibly-pace d

beginning cannot be over-estimated. Only in this way can

progression through th e lesson s within th e book .

a pupil sense rhythm. Rhythm, one of the most essential elements of music, and usually conspicuous by its absence in

The teacher will fin d tha t th e ne w book s hav e bee n

amateur ensemble playing, is emphasised

throughout.

meticulously rewritte n b y experienced teachers : instrumental technique s an d practice s hav e bee n update d

Eventual success in mastering the instrument depends on

and the musica l conten t ha s bee n completely overhauled .

regular and careful application to its technical demands. Daily practice should not extend beyond the limits of

The student will find dearly-presented , uncluttere d

the player's physical endurance — the aim should be the

material, with familia r tune s an d a gentle introductio n

gradual development of tone control alongside assured

to the theoretical aspect s of music . The book s ar e no w

finger-work.

accompanied b y audio CD s of examples an d backin g track s to hel p the studen t develo p a sense of rhythm , intonatio n

Music-making i s a lifelong pleasure , and a t it s hear t i s a

and performanc e a t a n early stage .

solid understandin g o f the principle s o f soun d productio n and musi c theory. These book s ar e designed t o accompan y

As in the origina l books , tests ar e given following ever y

the studen t o n these crucia l first steps : th e reward s fo r

five lessons . Teachers ar e encouraged t o presen t thes e

study an d practic e ar e immediat e an d lasting .

as an opportunity t o ensur e that th e studen t ha s a good overview o f the informatio n studie d u p to this point .

2

Welcome t o the worl d o f music !

Contents a division o f Musi c Sale s Limited .

Rudiments o f musi c

Unauthorised reproductio n o f an y par t o f this publicatio n

Before you pla y

This boo k © Copyrigh t 200 6 Bosto n Musi c Company ,

by any mean s includin g photocopyin g i s an infringemen t o f copyright . Edited b y Davi d Harriso n Music processe d b y Pau l Ewer s Musi c Desig n Original composition s an d arrangement s b y John Blackwel l Cover an d boo k designe d b y Chloe Alexande r Photography b y M a t t h e w War d Model: Marti n Hadle y Printed i n the E U Backing tracks b y Guy Dagu l CD performance b y John Blackwel l an d Davi d Harriso n CD recorded, mixe d an d mastere d b y Jonas Persso n an d John Ros e Sincere thanks to th e Cit y Literar y Institute , London , for thei r invaluable help .

www.musicsalas.com

Lesson Lesson Lesson Lesson Lesson

1 2 3 4 5

Test for Lesson s 1 - 5

Lesson Lesson Lesson Lesson Lesson

6 7 8 9 10

Test for Lesson s 6 - 1 0

Lesson Lesson Lesson Lesson Lesson

11 12 13 14 15

Test for Lesson s 1 1 - 1 5 CD track 1.stin g

4 6 8 10 14 18 22 27 28 31 34 36 40 43 44 48 52 55 59 63 64

3

Rud iments o f musi c The stave Music i s written o n a grid of five line s called a stave. At the beginnin g of eac h stave is placed a special symbol calle d a clef to describ e the approximat e rang e of the instrumen t for whic h the musi c i s written . This example show s a treble clef, generally use d for melody instruments . The stave i s divided int o equa l section s of time , called bars or measures, by barlines.

Note values Different symbol s ar e used to sho w the time valu e of notes, and each note value ha s an equivalent symbo l for a rest, representing silence .

—

r

r -

7

£

# w VJ

The quaver (o r eighth note), ofte n use d to signif y a half beat , is written wit h a solid hea d and a stem with a tail. The quaver res t i s also shown .

The crotchet (o r quarter note), ofte n use d to signif y one beat , is written wit h a solid hea d an d a stem. The crotchet res t i s also shown .

The minim (o r half note) i s worth t w o crotchets . I t i s written wit h a hollow hea d and a stem. The minim res t i s placed on the middl e line .

The samibrave (o r whole note) i s worth t w o minims . I t i s written wit h a hollow head . The semi breve res t hang s from the fourth line .

Other note values

r

Note values can be increased b y half b y adding a dot afte r the not e head . Here a minim an d a crotchet ar e togethe r worth a dotted mini m

Grouping quavers Where two o r mor e quavers follow eac h other, they ca n be joined b y a beam from ste m to stem .

+

P P"L

Time signatures The number o f beat s i n a bar i s determined b y the time signature, a pair o f number s place d afte r the clef . The upper numbe r show s ho w man y beat s each ba r contains , whilst th e lowe r numbe r indicate s wha t kin d of not e valu e is used to represen t a single beat . This lowe r numbe r i s a fraction o f a semibreve s o that 4 represent s crotchet s and 8 represents quavers . C, for common time, i s f mean s si x quaver s to the bar . o

another wa y t o writ e ^

ii ^ mean s four crotchet s t o the bar .

\ mean s three crotchet s t o th e bar .

4

Note names Notes ar e name d afte r th e first seve n letter s o f the alphabe t an d are written o n line s o r spaces on the stave , according to pitch .

D

E

F

G

A

B

C

D

E

F

G

Accidentals The pitch o f a note ca n b e altered u p or down a half ste p (o r semitone) b y the us e of shar p and flat symbols . These temporary pitc h change s ar e know n a s accidentals . The sharp (ft ) raises the pitc h o f a note. Th

e natural return

XL

jZEH

I

s the not e to it s original pitch .

O

The flat (b ) lowers the pitc h o f a note .

Ledger lines Ledger lines are use d to exten d the rang e of the stav e for lo w o r hig h notes .

#

11

11

D

Bar lines Various different types o f ba r line s ar e used : Double bar line s divide on e sectio n o f musi c from another .

t

Final bar line s show the en d of a piece of music .

t

Repeat marks sho w a section t o b e repeated .

Before you play : • Tunin g peg s

Which guitar? The standard acoustic, or 'Western' style guitar, has steel strings. Be sure the body of the guitar is not too big for the player comfortably to reach the strings with the right hand. Always keep a spare set of strings in the case, and a cloth for wiping away moisture after playing.

• Nu t

Classical o r Wester n styl e guitar s ar e equall y suitable fo r th e beginner , an d they ar e tuned i n exactly th e sam e way . Th e Classica l guita r wil l

Neck

have a wider neck , which suit s student s w i t h large r hands, and - w i t h nylo n string s - make s left-han d technique a littl e les s strenuous. Th e Wester n styl e guitar ha s steel strings , an d these ar e harde r t o press onto th e fret s an d ten d t o hav e large r bodies , but ar e the instrumen t o f choic e fo r t h e traditiona l folk, roc k an d countr y sound . I f choosing steel , i t is important t o chec k t h a t th e string s ar e no t to o

• Fret s

high abov e the fret s t o mak e pressin g t h em d o w n a problem . B e sure to tak e a n experience d guitaris t w i t h yo u whe n shopping . • Cap o

• Plectru m

• String s Tuning for k • Soun d hol e

• String s

• Bridg e • Saddl e • Duste r

Care of the guitar

Basic posture

If your guita r come s with a hard shel l case , then thi s i s

When playing , si t i n a chair

the bes t plac e to stor e it . If you carr y your guita r wit h you ,

that allow s you to si t quit e

you migh t wan t t o inves t i n a lighter, soft gi g bag . As wit h

upright. A dining chai r i s

any wooden instrument , th e guita r i s very susceptibl e t o

usually best , although talle r

temperature an d humidity . B e sure to kee p your guita r

players ma y nee d a higher seat .

away from radiators , sunlight, an d the damp .

In any cas e the chai r shoul d

Accessories

allow the fee t t o si t squarel y on the floo r wit h th e knee s a t

A tuning fork i s useful, an d a n electronic guita r tune r ma y

right angles . The guitar shoul d fee l

be an asset i f tuning i s a challenge. A set of soft , mediu m

supported an d no t likel y to fall forward. Som e student s

and firm plectrum s ma y als o b e useful when strummin g

will lik e to res t the guita r o n crosse d legs , right ove r left .

for a n extended period . A music stan d will greatl y improv e your practic e comfort .

A note for left handed students: Unlike most instruments, the guitar can be completely reversed for left-handers. It is possible to restring

The six open strings

in the opposite order, and read all the diagrams accordingly. If you are struggling to play the conventional way, you might like to consider this option.

Play w i th th e note s i n this lesso n w i th th e t h u m b o r fingertip ,

EAD G B E

The string s o n th e guita r ar e al l name d afte r differen t letter s o f th e alphabet . Notice ho w th e t w o oute r string s ar e bot h calle d E: more abou t thi s i n late r lessons .

Right hand technique whichever i s mor e comfortable .

Play the strings either with the thumb or fingers of the right hand, in a gentle plucking motion. The hand should stay relaxed: aim for an easy, fluid stroke. Count ou t lou d a s you pla y the f o l l o w i n g exercises .

Exercise i : Semibreves last for four beats. Pluck the string and let it ring while steadily counting 1, 2, 3, 4. The sound should begin with the first count and last until the end of each bar. Minims last for two beats each. Play the first note in each bar with a count of 1, 2 before playing the next note with a count of 3, 4.

Crotchets last for one beat. Tou should be playing one note for each of the counts 1,2,3,4.

8

B Count: 1 2

3

3

1

4

G

D

1

I

o E

A 3

4

3

1

4

2

3

4

Exercise 2 :

B Count: 1 2

3

1

G 2

3

B Count: 1 2

3

4

1

4

1

A 3

4

G 2

3

1

3

4

V A

D 3

4

1

3

4

3

1

1

-»'•

2

^

4

:

— 3

4

T7

E 1

E 1

3

— 2

:

3

4

Pieces for Lesson 1 Chimes

Blackwel!

All Through The Night

W e l s h Luilab y

m®

00

m®

Teacher Sleep, m

Student

Ode

y chil d an d peac

e at-ten

d thee , al

it To

l throug

h th

e night

.

o

Beethoven

J o y (them e fro m 9t h Symphony ) 0

0

Teacher

Student

0

0

0

1. Lef t hand position 2. Firs t and second string note names The fingers of the left hand are numbered, from 1 to 4, according to the picture below.

Left hand position Aim fo r a clear soun d w i t h o u t buzzin g whe n th e strin g i s picked , and brin g th e fingertip ont o th e fre t boar d a s close to righ t angle s a s possible .

New notes Left han d finge r 1 o n fre t 1,1s t strin g

Left han d finge r 3 on fre t 3,1s t strin g

10

3. Ne w notes on the stave 4. Crotche t rest

Lesson

2

Left han d finge r i o n fret i , 2nd strin g

A comfortable left hand position is essential. Let the thumb rest gently on the back of the neck (see lesson 4) and bring the fingers onto the firet board at right angles to the strings, close to the fret wire.

u Left han d finge r 3 on fret 3 , 2nd strin g

Exercise i : In this exercis e the note s F and E ar e played . B e sure to coun t th e not e values . I n the 4t h bar , you wil l se e t w o crotchet rests : £ Count i bea t fo r eac h o f th e crotchet s an d their rests , bu t d o no t pla y an y soun d w h e n yo u se e the rests .

Count: 1 2

3

4

1 2

3

4

1

2

3

4

1

2

3

4

1

2

3

4

11

Exercise 2: You will pla y the not e G with your 3r d (ring) Finger , The other not e i s an open strin g you learne d i n lesso n 1.

GE Count: 1 2

3

4

G 1 2

E 3

4

1

G 2

3

E 4

1

G 2

3

2

3

4

1

2

3

4

4

1

2

3

4

1

2

3

4

Exercise 3: Pressing down th e 2n d string on the 1s t fret wil l giv e you a C note.

CB Count: 1 2

C 3

4

1

B 2

3

4

1

C 2

3

B 4

1

C

Exercise 4: Pressing down o n the 3r d fret o n string 2 will giv e you a D note. Us e your 3r d (ring) finger .

DB Count: 1 2

D 3

4

1

B 2

3

4

1

D 2

3

B 4

1

D 2

3

4

Fingering numbers In these piece s you will hav e to remembe r th e position s o f the note s on the fret board . The small number s nex t to the note s are the finger numbers . Fo r now , they wil l b e the sam e as the fre t numbers i n each case. A zero indicates that th e strin g i s played open.

Pieces for Lesson 2 jingle Bells

Jin - gle bells , j i n - g l

one hors e o

way, o

- pe n sleig

e bells , j i n - g l

h hey

h wha t fu n i

e al l th e way

! Ji

ti

n - gl e bells , ji

st

o rid

ea

on

,o

h wha t fu n i

n - gl e bells , ji

e hors e o

ti

st

o rid e a

n - gl e al

- pe n sleigh

.

l th

e

Pieces for Lesson 2 Skip To My Lou America

Be m

Be m

y par

y par

t - ne r ski

t - ne r ski

n Fol k Son g

pm

pm

y Lou

y Lou

,b

,b

em

y par

em

y par

t - ne r ski

pm

t - ne r da

r-

An Clair de la Lune Frenc

Au clai

Pre -

Ode

rd

t e mo

To

el

it

al

a pl

u-

u-

y Lou

ling

.

h Fol k Son g

ne

m

, mo

e pou

J o y (them e fro m 9t h Symphony ) Beethove

na

re

-

c-

m

i Pie

rir e u

r-

n mot

rot

.

.

.

n

New notes A Left han d finge r 2 on 2n d fret, 3r d strin g Be sure not to touch the strings either side of the 3rd string, and aim for a smoothly curved middle finger that comes down as near as possible at right angles to the finger board.

Exercise i : Play the A not e o n th e 3r d string , usin g your lef t han d 2n d (middle ) finger , an d the G note learne d i n lesso n 1.

AG

A

G

A

A

G

G

A

G

A

Dotted minims A dot besid e a note add s hal f the lengt h o f th e note :

Exercise 2 : T h e me f r o m Peer Cynt

Grieg

Notice the ne w t i m e signatur e - ^ Each ba r ha s three crotchets . Loo k a t th e dotte d mini m i n ba r 8 : this last s for thre e beat s - a whole bar . 0

Uml

0

The nex t fou r exercise s introduc e commo n combination s o f note s o n the to p thre e strings .

14

Lesson

Exercise 3 : Play the C and E together: fre t C on the B string an d pla y i t together wit h th e E (ope n is t string) . They should bot h soun d clearl y without an y damping o r mufflin g o f the strings . :?f=

Exercise 4 : Now try G and D together. This time mak e sur e that th e finger frettin g th e D doesn't interfer e wit h th e ope n 3r d string .

Exercise 5 : Here, t wo finger s ar e require d a t the sam e time. Again , ai m fo r a crisp, clear sound .

Exercise 6 : The 3rd finger o n the is t string , playin g G and B (open 2n d string ) together .

Picking strings together After strikin g the string s th e t h u mb rise s u p and bac k to bagataglffii^dmayairiitorlfflli l haaibtot o pic k usin g th e Keep the righ t han d relaxed , an d clos e to the strings . righ

t han d finger tips .

3

Pieces for Lesson 3 Ave Maria Bach

/Gounod

Try either par t o f this piece , or pla y i t a s a duet w i t h anothe r guitarist . Aim fo r a steady puls e an d a smooth sound .

Student 1

Student 2

Gymnopedie No 1 Sati

Teacher

Student

16

e

Pieces for Lesson 3 Frere Jacques Frenc

h Fol k Son g

Teacher Fre - r e Ja

c - que s Fr

e - r e Ja

c - que s Do

r - mez - vous ? Do

r - mez-vous ?

Student

Son-nez le s m a - ti - nes , Son-ne

z le s m a - ti - nes . Din

I Know Where I'm Going

, dan , don . Din

_

, dan , don .

Scottish Baiiad

17

4. Stru m notation 5. Chor d box diagrams 6. 2/4 time signature

Finger 2 on 2n d fret, 4t h strin g

Finger 3 on 3r d fret, 4th strin g

Make sure the fingers are supported, by the thumb in the correct position on the back of the neck.

Exercises 1 & 2 : Try these t wo exercise s usin g the 4t h string . Don't forge t t o suppor t th e han d shap e w i t h th e t h u m b a t th e bac k o f th e guita r neck .

18

D

D

D

D

D

D

Chord box diagrams The lef t han d finger position s i n a chord ca n b e shown w i t h dot s o n a picture o f the fre t board . Notice ho w th e chord box diagram relate s to th e guita r neck , w i th th e string s runnin g straigh t d o w n an d th e frets acros s the box . The X an d O symbols abov e certai n string s indicat e eithe r t h a t a string i s played ope n (O ) or else no t playe d (X) .

Dm

What does the'm' in Dm mean ? Turn to lesson 9 for an explanatior

X X X

Strumming notation Each bea t for whic h a chord i s strummed i s w r i t t en a s a diagonal slash . I n the thre e exercise s t h a t follow , eac h slash i s w o r th a crotchet .

Exercise 3 : Remember t o kee p a steady beat , an d us e the t h u m b t o stru m gentl y dow n acros s the strings .

G

C

E

G

C

E

1

2

3

4

1

2

3

4

F

G

B

F

1

2

3

4

1

2

3

4

4

1

2

3

4

Exercise 4 :

G

B

Exercise 5 : For the D m chord , ad d a n A on the 3r d strin g to th e 2-not e chor d i n Ex . 5, lesson 3 .

AD

F

A

D

F

1

2

3

Pieces for Lesson 4 C a n

C a n Ofte

n bach

This piec e use s a new time signature : ^ Eac h ba r i s worth t w o crotchets .

Teacher

Student

Some Folks Do Foste

20

r

Pieces for Lesson 4 Santa Lucia Cottra

u

Look at the doubl e dot s a t the en d o f ba r 8 : this i s a repeat mark . When you reac h this sign , go bac k to the beginnin g an d pla y the first 8 bars again . Notice als o ho w bar s 9 to 1 6 are enclosed i n repea t marks : at the en d o f ba r 16, return to th e star t o f ba r 9 and pla y again - bu t o n the repeat , go straigh t int o th e second time bars , missing out th e first time bars . Repeat mark s an d differen t ending s ar e a common wa y o f savin g spac e and paper !

Teacher Now 'neat h th

e si

l - ve r moo n o

- cea n i

s glo

w-

ing .

Student

O'er th

e cal

m bi

Who the n wil l sai

-ci -

a

Sa

l-

l w i th me ? I

n- t aL

lo

w sof

nm

u- c i-

t wind

y boa

a

Sa

t o'e

s ar

e blo

r th e se a Sa

n- t aL

w-

n-

ing .

t

u- c i-

aL

a

u

Upbeats Music doesn' t alway s star t w i t h a complete bar . Some o f the piece s i n this lesso n begi n w i t h a shorter ba r (a n anacrusis ) whic h i s balance d b y another shorte r bar a t th e en d o f t he piece . These t wo bar s together ad d u p to on e complet e bar . Where th e anacrusi s i s w o r th a single beat , this i s known a s an upbeat .

New chords D7

In this chord the 1st finger should form a barre across the top two strings on the first fret. This is shown by the arched symbol in the diagram. Roll the 1st finger onto the outside edge for the best contact - and don't squeeze too hard! Placement is more important than pressure here.

22

Exercise i The 3rd finger i s used on the 1s t string i n bot h chord s here . Try to kee p the 3r d finger o n the strin g throughout , sliding i t int o positio n rathe r tha n liftin g an d replacin g each time .

Exercise 2 : Be sure to wait unti l bot h fingers ar e perfectl y i n positio n fo r th e F chord befor e playin g it .

Ties and tied notes Two note s o f the sam e pitc h ca n b e joined together t o mak e a longer not e b y tying the m together . A curve d line is drawn from on e to the othe r t o sho w this. The not e i s then hel d o n for th e combined value o f the t w o notes. This i s usually neede d i f a note need s to carr y o n int o the nex t bar . Here are some examples .

Is held for 3 beat s I

s held for 6 beat s

Exercise 3 Try working ou t th e lengt h o f the note s i n this exercis e befor e playing , and kee p a steady coun t a s you g o through it .

Keeping a steady bea t i s essential to playin g an d readin g music . Practise counting th e bar s and beat s ou t lou d whe n yo u pla y unti l you ar e confident tha t yo u ar e playin g wit h a solid beat . When readin g a piece of musi c for the first tim e i t i s a good ide a to chec k the ke y signature an d to loo k fo r th e highest an d lowes t notes . You can then mak e an y awkwar d fingering change s a s smoothly a s possible .

23

Pieces for Lesson 5 She'll Be Com in' 'round The Mountain America

n Traditiona l

Teacher She'll b e com

- i n " r o u n d th e mou n - tain whe n sh e come s whe

n sh e comes . She'l

lb e

D7G

Student

com - in ' 'roun d th e m o u n - t a i

n whe n sh

com - in ' 'roun d th e m o u n - t a i n

, she'l l b

com - in ' 'roun d th e m o u n - t a i

24

e comes

e co

n whe n sh e comes

, whe

n sh

e comes

. She'l

m - in ' 'roun d th e m o u n - t a i n

, whe

n sh e comes

. She'l

lb

e

, She'l l b

e

lb

e

11 ieces for Lesson 5 Grandfather's Clock

H

. C . WOR K

Teacher My gran

d - fa-ther' s cloc k wa s to o larg

e fo

r th e shelf

,s

oi

t stoo

d nine-t y

Student

years o

n th e floor

f, thoug

hi

.I

t weighe

t wa

d no

ta

pe

s tal

l-

e rb

y hal

n - n y - weigh t more

f tha

n th e ol

.

d ma

n hi m -

Pieces for Lesson 5 Amazing Grace Traditiona

l

Teacher A-

ma

z-

in

g Grace

, ho

w swee

t th

e sound

, tha

i

Student

saved a

26

wretc

h lik

e me

.I

once wa

s lost

, bu

t no

wa

blind bu

t no

wI

se

m found

e

, Wa

s

1. Nam

e the notes

Write the name s o f the following note s belo w eac h one .

(12) 2. Rhythmi

c values

Give the coun t o f eac h not e o r rest .

(14) 3. Nam

e the chords

Write th e name s o f these chor d symbols .

(10) 4. Guita

r Parts

What i s the nam e o f the following part s o f the guitar ? • Th

e hol e a t the fron t o f the bod y

• Th

e lon g ar m o n whic h th e fingerboard i s mounted . .

• Th

e knob s that chang e the tensio n o f the string s .

• Th

e wires tha t divid e the fingerboar d int o section s .

5. D.S

(8)

. . .

. al Fine

Describe what happen s whe n D. S al Fin e is writte n

(6)

Total (50) 27

New notes

high C

Finger 4 on 4th fret , Finge

A

r 2 on 2n d fret, Finge

4th strin g 1s

t string 5t

r 3 on 3r d fret, Finge h strin g 1s

r 4 on 5t h fret , t strin g

Tones and semitones The frets divid e th e string s int o interval s know n a s semitones. Look a t the wa y the note s you hav e learn t s o far ar e set out : you wil l notic e that som e pairs , such as G and A, or D and E , have t wo semitone s (on e tone) betwee n them, whereas othe r pairs , such as B and C , or E an d F, are just on e semiton e apart .

The major scale The note s o f the majo r scal e follow a particular patter n o f intervals . Most o f the note s ar e a tone apart , bu t betwee n th e 3r d and 4th note s o f the scale , and agai n betwee n th e 7th an d 8t h note s o f the scale , the interva l i s only hal f a s much: a semitone .

Tone Ton

1

28

e Semiton

2

3

e Ton

4

e Ton

e Ton

5

e Semiton

6

e

7

8

Exercise i : C m a j or scal e These are the note s playe d whe n startin g o n C and following th e majo r scal e sequence .

Exercise 2 : G m a j o r scal e Here is the sam e scale , but thi s time startin g o n G . Notice how , to preserv e the sequence , the F is raised b y a semitone t o F# .

New Notes

Key signatures So far al l the piece s you've playe d ar e i n the ke y of C : they don' t us e any sharps . The piece s overleaf ar e i n the ke y of G , which require s a n Fjt . This i s shown b y the # symbol a t the beginnin g o f the piec e - know n a s the ke y signature .

Single quavers an d a quaver res t Quaver

s i n pair s Quaver (worth on e crotche t pe r pair ) (

s a s a group a minim's worth )

29

1 leces i or Lesson 6 Streets Ot Laredo America

n Traditiona l

G major

As i

-

walke

I walke

d ou

spied a

youn

g co

up i

n whit

e li

d ou

to

to

n th

nL

r

e-

w - bo y wrappe d u

pi

n-

a-

e street

e

n an

d col

so

d

fl

o on

n whit

da

a-

r

e day

n-

e clay

Botany Bay Australia

Sing-ing to

too -

ra l -

too -

ra l -

bound fo 30

o - ra l - l i o

l

io

o-

li , o

r th

o-

eB

a-

r a-

o-

en , wrappe d

.

n Traditiona l

o - ra l - l i a

r

s

,I

e li

s th

e - do , a

l

l

t

ia

an

i ay

d - d i - ty , sing-in

. Sin

g - in g

d - d i - ty , fo

y Ba

g

y

r we'r e

New 4-note chords D7 G xxo xxoo

G o xxoo

7C oX

F XO O X

X

The 4-note versions of these chords are extended versions of the 3-note shapes you have already learnt. Eventually you will learn 5-note and even 6-note versions of some of these chords.

C: To add anothe r strin g to th e C chord, the 2n d fret o n th e 4t h strin g i s playe d w i t h th e 2n d finger . F: Add th e 3r d finger o n the 3r d fret o f th e 4t h strin g for thi s 4-not e versio n o f F .

Exercise i : C o u n t r y Garden s Teacher :

Student ;

Dotted crotchets As discussed i n lesso n 3 , a dot afte r a note increase s it s value b y half . This i s true o f an y not e value , an d i n the followin g piec e a dotted crotche t i s coupled w i t h a quaver t o mak e t w o complet e beats .

31

Pieces for Lesson 7 Home On The Ran ere America

n Traditiona l

Teacher Oh, giv G7 C

em ea hom sel-dom i s hear F

e wher da

e th e bu f di s - cou C

f a - l o roa m an rag-in g wor d an

d th e dee r an d th e

d the

Student

an -

t e - lop e pla

y Wher

day Home

deer an

-cou -

32

d th e a

ra-gin g word

e skie

, hom

n - t e - lop e pla

, an

e o n th

y Wher

d th e skies ar

s ar

e range

e no t clou

, wher

e sel-do

e no t clou

d-

y al l da

d-

mi

y

y

al

l

e th e

s hear

da

di s -

Acoustic Guitar Chord Chart

T Twelve-strin g acoustic : Essentially identica l to a standard Wester n guita r excep t fo r th e inclusio n o f a n extra si x strings . The twelve string s ar e arranged i n pairs , or 'courses' , i n a manner reminiscen t o f the lute : the botto m fou r standard E , A, D and G strings ar e each coupled wit h a string a n octav e higher , whilst th e to p t wo B and E string s each hav e an identica l twin . The resul t i s a very full, somewhat jangly tone . .

7

A X OO

A xO

O

x x o

x x

o

Am O X

D7

D

X X

7

Oo

Am x

oo

Dm OO

7

o

A*"* x

E7

E O

OO

O

0

0

B7 Bm7ft»5

)C

x

XO

X

Em Edi 0 O O

O X

X

Cmaj O

O

mF X X

X O O

G X O O

7

C

OX

G O O O

O

7 O

A Classica l guitar: Traditionally associate d with Spanis h and classical music , this guitar i s also used in folk an d country . The nylon strings (formerly gut) are set wider than o n a steel-stringed guita r to enabl e the righ t han d fingers to pic k accurately. The combination o f smaller bod y and thicker, softer string s gives the classical guitar a mellower tone .

Pieces for Lesson 7 Early One Morning E n g l i s

h Fol k S o n g

Teacher Ear -

l

y on

e mor

n-

in

g jus

ta

s th

e su

n wa

le

yb

s ri

s-

ing

,I

Student

heard a

"Oh, don

how coul

mai

d - e n sin

't d

e-

d yo

ceiv

u us

g - in g i

n th

e me

, oh

ea

poo

e va

l-

,n

e-

r mai

e-

ve r leave

d - e n so?

lo

w

_ me

,

"

33

New notes

BF

Finger 2 on 2n d fret, Finge 5th strin g 6t

G

r 1 o n is t fret , Finge h strin g 6t

r 3 on 3r d fret , h strin g

FG The lo w note s introduce d i n this lesso n ar e grea t fo r bas s lines : a n importan t par t o f guita r technique . Play the followin g exercis e w i t h th e t h u m b an d kee p a steady beat . The'/. symbol shows that the bar is a repeat of the previous bar: it is often used in guitar music where a pattern repeats across several bars. In these next two exercises, aim for a smooth movement in the left hand. Tou might find it tricky to reach the 6th string at first: make sure your left hand thumb is in the correct position and that the guitar is sitting upright.

34

txercise i :

Exercises 2 & 3 :

Pieces lor Lesson 8 Song Of The Volga Boatmen Russia

n Traditiona l

Teacher's chord s

Dixie *

Teacher

Student

The Dalston Dra Tparhpr'c rhnrH c

35

New chords CA

mG

7G

E

m

C: Th e basi s o f this chor d i s the sam e a s the 4-not e C chord i n lesso n 7 , w i th th e additio n o f the 3r d finger o n the 3r d fret o f the 5t h string . The 1st and 2n d fingers ar e i n the sam e positio n a s for th e C chord. No w just ad d th e 3r d finger o n th e 2nd fret o f the 3r d string .

G 7 : Stretc h ou t t o plac e the 3r d finger o n th e b o t t o m strin g an d th e 2n d finger o n the 5t h strin g befor e placing the 1s t finger o n the t o p string . G : Plac e the 1s t finger o n th e 5t h string , an d th e 2n d finger o n th e 6th , then pu t th e 3r d finger o n th e top string .

Em: The secon d finger

i s place d o n th e 5t h string , w i t h th e 3r d finger o n th e 4t h string .

M I N O R CHORD

j B g g s s s s s s s

S

•• ••.••• • • ...-.••.. • The 'm' i n Am an d E m stands fo r minor. Play these chord s an d compar e them w i t h C and G . You will fin d tha t th e mino r chords soun d someho w darke r an d mor e melanchol y tha n th e others . C and G are major chords , and soun d brighter . Where a chord nam e ha s n o ' m ' afte r th e letter , i t i s a major chord . D and F , for example, ar e also majo r chords , whereas th e D m learn t i n lesso n 4 i s minor .

Dynamics Music use s Italia n words t o describ e ho w loudl y o r quietl y t o play . These words o r abbreviation s ar e called 'Dynami c Markings' . Piano (writte n a s p) =

36

quiet

Mezzo forte (writte n a s mf) =

moderately lou d

Forte (writte n a s f ) = loud

Pieces for Lesson 9 Away In A Manger Kirkpatric

A-

lit -

wa

ti

stars i

lit -

yi

e Lor

n th

ti

e Lor

na

dJ

ma

e-

e brigh

dJ

n - ger , n

su

s lai

t sk

e-

k

su

d dow

y looked

sa

o cri

n Hi

_ dow

-

b fo

slee

r Hi

s swee

n wher e H

po

s bed

. Th

t head

e lay

n th

e

. Th

e

. Th

e hay

e

.

37

Pieces for Lesson 9 Jingle Bells Traditiona

Jin - gl e bell

oh wha

t fu

Jin - gl e bell

oh wha

38

t fu

s ji

ni

n-

ti

s ji

ni

ti

l

gl e bell

st

o rid

n-

gl e bell

st

o rid

s ji

ei

n-

na

on

s ji

ei

e hors e o

n-

na

on

gl e al

gl e al

e hors e o

l th

e wa

y

- pe n sleig

l th

e wa

- pe n sleig

h hey

y

h

!

Pieces for Lesson 9 O Come, All Te Faithful

wade

Notice the dynamic marking s i n this piece . Towards the end the piec e is quiet, growing through moderatel y loud , to lou d at the finish .

0 come r

, al

,0

Come an

db

come, le t u

sa

r

come, le

tu

e fait

h-

ful

, Jo

y - fu l an r

r

come ye a K^ i r

ly

sa

com

m

ey

e - hol d Him

-

dor e Him

-

dor e Him,

et

o Bet

, bor

,O

h-

l

d tr

e - he

r

n th e Kin

go

fA

, le t u

sa

-

come

_ Chris

t th

i-

u m-

phant

,O

m

n-

gels

!O

dor e Him

e Lord

,O

.

39

Strumming Up to now , you hav e strumme d dow n acros s the string s onc e o n ever y beat . Strumming u p in-betwee n create s mor e possibilitie s fo r rhythmi c variety .

Down strum

Up strum

Strumming should be light and relaxed, using the backs of the fingers and thumb. Try to rotate the wrist - not the elbow - to move the hand across the strings. Imagine you are holding a soft ball to keep the thumb and fingers in a nice rounded position.

Count: 1 40

Try to kee p the han d clos e to th e strings , steerin g the finger s an d t h u m b ver y carefull y a s you tur n th e wrist . The d o wn stru m i s playe d w i t h th e bac k o f th e fingertips : th e finge r nail s lightl y strok e th e strings . The u p stru m i s played w i t h th e bac k o f the t h u m b nail . Experiment b y varying th e spee d o r pressur e o f th e stroke s unti l th e string s sin g out togethe r crisply . In the f o l l o w i n g exercise s arrow s ar e use d to sho w dow n strum s ^ an

d u p strum s ^

To w a rm up , try exercis e i , s t r u m m i n g dow n onc e o n eac h bea t w i t h a n E m chor d usin g the back s o f th e fingers i n a light brushin g motion .

Exercise i : Now pla y the sam e thing, bu t thi s t i m e brus h u p w i th th e bac k o f th e t h u m b in-betwee n th e dow n strokes .

2

3

4

1

2

3

4

1

+ 2

+

3

+

4 +

1

+ 2

+

3

+

4

+

Finally, try this version: her e you shoul d mov e the han d u p and down acros s the strings , bu t only mak e contact when the notatio n require s a strum. Keep going up-down-up-down al l the wa y through, eve n where n o strum i s needed .

Exercise 2:

Pieces for Lesson 10 The Drunken Sailor Se

a Shant y

Now it's time to pu t al l this strummin g int o practice . Notice how, in each of the three following pieces , the strummin g rhyth m remain s the sam e from ba r to bar . Try to make the strum s sound constant an d steady, while rememberin g to begi n ever y ne w chor d righ t a t th e beginning of the bar . It might hel p to memoris e eac h piece in sections s o you ca n concentrate o n playin g rathe r than reading .

What shal l we do wit

Count:

1

2 + 3

what shal l we d o wit

h the drun k - en sai

4

+

1

2 + 3

h the drun k - e n sai

l - or , wha

4 +

l - or , ea

t shal l we do wit

h the drun k - en sai

l - or ,

e mor

.

etc.

r- l yi

n th

n-

ine

41

Pieces for Lesson 10 Yellow Rose Of Texas

There's a ye

Count:

l - lo w ros e o

1

o - the r fe

cried s

if I

42

o whe

e

2

3 + 4 +

l - lo w know

nI

v-

f Te

lef

e r find

x - as , t h a

1

s her , n

t her

J.K.

,i

_ her , W

2

tI

3 + 4 +

o-

t lik

en

bo-dy

et

e-

a

m goin ' t

o see

.N

o

etc.

,o

n-

o brok

ve

em

l

y me

. She

y heart , an

r mor e wil l part

.

_

d

1. Nam e the notes Write the name s o f the following note s belo w eac h one .

(12) 2. Pla y the rhyth m Clap or tap this rhythm .

(5) 3. Nam e the chords Write the name s o f these chor d symbols .

(10) 4. Fil l in the blanks Draw i n the diagram s for th e followin g chords .

(6) 5. Symbol s What d o these sign s mean ?

(12) 6. Scal e intervals Write i n the correc t sequenc e o f interval s for a major scale .

(5)

Total (50) 43

New chords EA

On the E chord , the firs t It' finger i s added t o th e E m finger shape alread y studied . allo

D

s importan t t o plac e the Thi s accuratel y her e to differen w al l the fingertip s t o tha

s i s a completel y t fingerin g n fo r D7 .

find thei r correc t position .

Chord families Often a song will us e a group o f chord s t h a t 'relate' : man y song s us e exactly th e sam e se t o f chords . The mos t commo n chord s i n a particular ke y ar e the chord s whic h hav e their bas s note s o n th e first , fourt h and f i f t h note s o f the scale . Here are all the simple three-note bords in the key of C. The I, IV and V chords are all major, and are the most ommon chords to use within a key.

In the ke y o f C , these ar e C , F and G . In the ke y o f G they woul d b e G, C and D . Roman numeral s ar e use d to describ e th e positio n o f eac h chor d w i t h i n a key , so these chord s woul d b e calle d I, IV and V . Often chor d V i s a '7' chord: s o i n C , for instance , G would becom e G 7 ; in G , chord V would b e D7 rather tha n plai n D .

Finger picking The righ t han d t h u m b play s the bas s strings whil e the 1st , 2nd an d 3r d fingers pla y the uppe r strings . The 4th finge r i s no t use d i n picking . Tr y to mak e smooth, relaxe d stroke s w i t h th e finger s an d thumb. If your righ t han d nail s ar e t o u gh an d lon g enoug h (they just nee d to pee k ove r th e fingertips) , us e t h e m fo r a brighter, loude r sound . Otherwis e us e the tip s o f the fingers .

44

Look at the exercis e below : you will se e it i s written i n a different typ e o f notatio n calle d tablature, ofte n use d to show finger picking . Eac h line represent s a string on the guitar , an d the number s sho w whic h fret s th e lef t hand fingers shoul d b e on. The letter s refe r to righ t han d fingers.

Exercise i : Play either the 4th , 5t h o r 6t h strin g w i th th e t h u mb a t the beginnin g o f eac h ba r (dependin g o n the chord) , and follow o n with eac h of the three fingers i n turn o n the 3rd , 2nd and 1s t strings .

R.H. fingers:

Count:

t

1

i

2

m

a

3

t

4

1

i

2

m

3

a

4

t

1

i

2

m

3

a

4

t

1

i

2

m

3

a

4

Exercise 2 : This time, with thre e beat s i n the bar , a pattern i s made i n two-bar sections . You could think o f this a s timami an d remembe r i t tha t way . Sim, or simile, indicate s that yo u shoul d continu e i n a similar fashion .

Count:

1

2

3

1

2

3...

Exercise 3 : Finally, try this exercis e on a D chord. Aim for a smooth sound , and think o f the patter n a s a single shap e rathe r tha n a s lots of littl e picks . The arrow across the note s i n the final ba r indicate s a strum .

Count:

45

Pieces for Lesson 11 For the final third o f this book , left han d fingerings fo r melodie s hav e bee n removed . As you ge t to eac h ne w piece , spend a moment workin g ou t the mos t logica l fingering for yourself base d o n the scale s an d exercise s studied s o far.

Scarborough Fair Englis

h Traditiona l

Play the top (melody ) par t i n standard notatio n o r the botto m (picking ) par t i n tablature .

Are yo

Count:

u goin

1 + 2 + 3 +

sage, ros

-mem -

was a

46

gt

r-

bo-roug h Fai

r Pars-ley

,

1 + 2 + 3 +

e - m a - r y an

be

o Sca

rm

et

tru

e lov e o

d thym

o on

f min

eR

e wh o live s there

e

e

, sh

e onc

e

Pieces for Lesson 11 Amazing Grace T r a d i t i o n a

A ma a

z-

ing

c

l

_ Grace , ho n

Count:l + 2 + 3 +

w swee t th

s blin

A

t save d a_wretche

A

d but

e was

_ no

r

_ lost , bu

wI

see

r\

t no

wa

goin' t n

nA

o Lou

e fro m A

'A

s

m

r

-

i-

e

.

Oh! Susannah Foste I com

d lik

1 + 2 + 3 +

I onc

found, Wa

e sound , tha

A

a

l

a - b a - m a wit

-

n

am

yS

u-

hm

sa

y ba

n- j oo

n - na h fo

rt

nm

o see

y knee

n

. I'

m

.

47

New chords A? E

7 Use the sam e fingerin g a s you woul d fo r E , but leav e the 3r d finger out . B e sure to le t the D string rin g ou t clearly .

Bass pick strumming Many guitar picking and strumming techniques aim to emulate, or reflect, the sound of a band. Bass picking gives a typical 'boom-ching boom-ching' feel that would normally be played by the drums, bass and piano together. Try to keep this sound in mind as you work through this lesson.

Rather tha n s t r u m m i n g fou r beat s t o th e bar , you ca n pla y w i t h mor e rhythmi c variet y b y adding singl e note s into the pattern . The mos t importan t singl e not e i n the chor d i s the roo t (th e not e afte r whic h th e chor d i s named , an d usuall y the botto m note ) an d thi s not e ca n b e playe d togethe r w i t h strum s t o provid e interest .

Exercise i :

Count: 1

2

3

4

1

2

3

4

1

2

3

4

1

2

3

4

Alternating bass When pickin g bas s note s o n th e is t an d 3r d beat s o f the bar , further variet y ca n b e achieved b y alternating th e root w i t h anothe r not e o f the chord . I n exercise 2 , notice ho w th e bas s note s shif t f r o m on e strin g to anothe r in eac h bar .

Exercise 2 : If possible , you shoul d alternat e betwee n th e roo t an d th e nex t strin g d o w n o n th e sam e fret (i f the roo t string i s open, the lowe r on e wil l b e open too) . Wher e th e roo t i s already o n the botto m string , you'll nee d t o go u p for th e alternat e note . Fo r an E chord , g o u p to th e 5t h string ; an d fo r a G chord, g o u p to th e 4t h string .

48

D major scale As with C major an d G major, the D major scal e follows th e T T S T T T S sequenc e outline d below . Tone Ton

e Semiton

e Ton

e Ton

e Ton

e Semiton

e

Exercise 3 : The D major scal e require s a key signature o f t wo sharps : Fi t and Cj}.

Pieces for Lesson 12 C a n

Count:

C a n Offenbac

1

2

3

4

h

1

2

3

4

sim.

49

Pieces ibr Lesson 12 Streets Of Laredo America

n 1 raditional

This piece is in triple time, that is , three beat s to the bar . The boom-ching fee l no w become s boom-chingchirig. Aim to kee p the bas s note a t the beginnin g of the ba r nic e and solid . The strums that follo w th e bas s note can b e light, and you migh t eve n try insertin g som e up-strum s i n between fo r variety .

As I

walke

Count:

out o

up i

50

1

nL

d ou

2

a-

n white l

3

r

e-

to

1

d o on

n th

2

e day

i - nen , wrappe d u p i

e street

3

so

1

fL

2

a-

r e - do , a

3

1

,I

spie

da

n whit e l

i - ne n an d col

2

sI

3

youn g co

da

s th

walke

d

sim.

w - bo y wrappe d

e clay

.

Pieces for Lesson 12 Banks Of The Ohio America

n Traditiona l

This piece uses the sam e alternatin g bas s picking a s exercise 2 . If you remembe r a couple o f simpl e rules , thi s will soon become a natural par t o f your accompanimen t technique . If the root not e i s on the 4t h o r 5t h string , simpl y alternat e t o th e nex t strin g down on the sam e fret . If the root not e i s on the 6t h string , you'll nee d to alternat e up : for E , alternate fro m th e 6t h to th e 5t h string ; and for G, alternate fro m th e 6t h t o the 4t h string .

I aske d my lov

Count:

et

1 2

just a l i t - t l e walk . Dow

down b y th

e bank

so

o tak e a walk

3

4

1

2

3

nbe-

.T

4

sim.

side

, wher

f th e O - h i -

o tak e .a. _ walk ,

e the wa t - er s flow

o

,

.

51

New notes Bb Ct

tF

Finger i o n ist fret , Finge 5th strin g 5t

r 4 on 4t h fret , Finge h strin g 6t

#G

r 1 o n 2n d fret, Finge h strin g 6t

#

r 4 on 4th fret , h strin g

New chord B7 The 1st, 2nd an d 3r d fingers ar e grouped just a s they ar e for D 7 - bu t t w o string s lower . Once they ar e i n place , carefully positio n the 4t h finge r o n the 2n d fret o f the to p (1st ) string . In the following piece s you wil l se e the bas s note s writte n ou t a s a melody - us e the TA B to hel p you se e where th e note s shoul d b e played . This kin d o f bas s lin e 'walks ' u p and down , usin g mainl y chor d note s w i th som e other note s from th e scal e to help ste p betwee n th e chor d notes .

Exercise i : This i s a typical bas s lin e for boogi e o r rock'n'roll . Notic e the D : this i s the '7 ' of E7.

52

Exercise 2 : Here's the sam e t h i ng fo r A 7 - w i t h a G for th e '7' .

Exercise 3 : And finally th e sam e walkin g bas s lin e for D7 : this t i m e you'l l begi n o n t he 4 t h string , the lin e 'walks ' righ t u p

An octave is this distance between two notes with the same letter name but eight scale notes apart. The open bottom E string is an octave lower than the E on the 2nd fret of the 4th string, and two octaves lower thati the open top E string.

into the 2n d string .

Pieces for Lesson 13 12-Bar Boogie Blackwel

l

53

I'ieces for Lesson 13 Mama Don't Allow A m e r i c a Aim for a firm an d steady feel: the bas s line needs to b e right o n the beat .

54

n Traditiona l

1.

New chord: C7 C7 is just lik e

C, but w i t h th e 4t h finge r o n th e 3r d fret o f the 3r d string .

More strumming The strumming pattern s i n lesso n 1 0 omitted certai n up - strum s t o creat e interestin g rhythms . In the following exercise s you wil l leav e ou t som e down-strums : thi s give s a feeling o f pushin g forwards .

Exercise 1: Practice these carefully with your favourite chords, and remember to count a steady pulse.

Exercise 2 :

Exercise 3 :

F major scale Beginning a major scal e o n F requires th e 4t h note , B to b e flattened i n orde r t o preserv e th e T T S T T T S sequence.

55

Pieces tor Lesson 14 Jamaica Farewell'•_ Caribbea

56

n Traditiona l

Remember: kee p the strummin g han d movin g u p and down o n each beat even where n o strum i s required . This way you'll kee p a steady bea t and always b e strumming dow n o n the onbeat an d u p on the offbeat. Watch out for the chang e of strumming rhyth m i n the secon d par t o f this tune !

57

1I ieces ror Lesson 14 This Train Is Bound For Glory Spiritua

l

In this piece , the strumming par t i s written i n TAB, complete with a n alternating bass . Try to emphasis e the 1st and 3rd beats to create a steady bas s line. It migh t hel p to work ou t which strings are needed for the alternating bas s before playin g through the song .

This trai n i

This trai n i

58

s boun

s boun

d fo r gi o -

d fo r gl o -

ry , thi

s train .

ry , thi

Thistrain i aA

s boundfo r gl o - ry , don' "7 n

thistrain i AF

s boundfo 7a

r gi o - ry , thistrain

s trai n

t carry no-thing , bu t th e right-eou s and the ho - l y n ?

.

Picking with two fingers together In the following pieces , the fingers ar e often require d t o pluc k mor e than on e strin g a t the sam e time . Make sur e the correc t finger i s chosen for eac h strin g to avoi d confusio n an d kee p the flow .

Generally, for finge r picking , the three fingers pla y the top thre e string s a s shown, while th e t h u m b plays the bas s strings .

Passing bass notes Often, a bass lin e will includ e note s that hel p to 'move ' from on e chor d to the next . Look at Creensleeves, for example : i n the first ba r the bas s line walks u p from A . The B is the not e that step s betwee n A and C . In ba r 3 an i

s played to ste p

between G and the E i n the followin g bar . These intermediate note s ar e know n a s passing notes. Greensleeves includes many passin g note s an d alternatin g bas s note s that giv e a n interestin g counter-melody t o the tune .

59

Pieces for Lesson 15 Greensleeves Attribute

A - las , m

I hav

Green -

Green -

60

y love

, yo

e loved_yo u oh

sleeves_wa

sleeve

s al

ud

,s

lm

s was my hear t o

om

d t o Henr y VII I

e wrong

, t o cas t m

,d

e - ligh t - in g i

o long

y joy

, Gree

f gold

, an

n-

e of

s - court - eou s - ly . An

n you

sleeves

d wh o bu t my l

f di

a-

r co m -

, wa s m y d

d

y Gree n -

p'ny

.

e - light .

sleeves

.

d

Pieces for Lesson 15 God Rest Ye Merry Gentlemen

God res

Sa -

viou

t y e mer-ry , gen-tle-me

r wa s bor

we wer e gon e a

joy O

ti

n le t no-thin

n o n Christ-ma s day

- stray . O

d-

ti

ing

.T

d-

so

f co

Traditional

g yo u di s - may . Fo

o sav

ing

m-

s o f co

for t an d jo

e u s al

m-

rJ

e - su s Christ,ou r

l fro m Sa-tan'

for t an d joy

s powe r whe n

, corn-for

t an d

y

61

Pieces for Lesson 15 Danny Boy Iris

h Traditiona l

Rit. or Ritard . mean s 'gradua l slowin g down' .

Oh, Dann y Boy

e pipes,thepipes are call - ing , fro

gone, an

d al l th e ro-se s fal

back whe

n su m mer' s i n th e me

there i

62

, th

n su n shin e o r i

l - ing

, it'

a dow

n sh

,o

a - dow

m glen to glen , anddow

s you,it' s yo

u mustg

r when the va

, oh

l-

ley'

, Dan-n y Boy

o an d I

n the mountai n sid e Thesummer'

mus t bid

e Butcomey

s hush' d an d white wit h sno

, o h Dan-n y Bo y I

s

e

w 'Ti

love

yo

s I'l l b e

u so

.

1. Nam e the notes Write the name s o f the followin g note s belo w eac h one .

(12) 2. Nam e the TAB notes Write i n the name s o f the followin g note s belo w eac h one .

(12) 3. Nam e the chords Write the name s o f these chor d symbols .

(10)

4. Fil

l in the blanks

Draw i n the diagram s for th e following chords .

(6) 5. Alternat e bass picking Fill in the missin g alternat e bas s note s for eac h chord where indicate d (abov e eac h star) .

(10)

Total (50) 63

CD backi n tracks 1 Tunin

g Not e E

2 Tunin

g Not e A

3 Tunin

g Not e D

4 Tunin

g Not e G

5 Tunin

g Not e B

6 Tunin

g Not e E

7 Virtuos

73 Ca n Can backing only

39 Grandfather' s Cloc k backing only

75 Street s O f Lared o backing only

40 Amazin g Grac e

demonstration

41 Amazin g Grac e backing only 42 Street s O f Lared o

o Performanc e

8 Chime

s

9 Chime

s backing only

demonstration

demonstration

43 Street s O f Lared o backing only 44 Botan y Ba y

demonstration

45 Botan y Ba y backing only

74 Street s Of Lared o demonstration 76 Bank s Of The Ohi o demonstration 77 Bank s Of The Ohi o backing only 78 12-Ba r Boogi e

demonstration

79 12-Ba r Boogi e backing only

10 Al l Through Th e Nigh t demonstration

46 Hom e O n The Rang e demonstration

80 Mam a Don' t Allo w demonstration

11 Al l Through Th e Nigh t backing only

47 Hom e O n The Rang e backing only

81 Mam a Don' t Allo w backing only

12 Od e To Joy

48 Earl y One Mornin g demonstration

83 Jamaic a Farewel l backing only

demonstration

82 Jamaic a Farewel l

demonstration

49 Earl y One Morning backing only

84 Thi s Train I s Bound Fo r Glor y demonstration

50 Son g Of The Volga Boatme n demonstration

85 Thi s Train I s Bound Fo r Glory backing only

17 Ski p To My Lo u backing only

51 Son g Of The Volga Boatme n backing only

86 Greensleeve s

18 A u Clair d e l a Lun e demonstration

52 Dixi e

19 A u Clair de l a Lun e backing only

88 Go d Res t Ye Merry Gentleme n demonstration

54 Th e Dalsto n Dra g

13 Od e To Joy backing only 14 Jingl e Bell s

demonstration

15 Jingl e Bell s backing only 16 Ski p To My Lo u

20 Od e To Joy

demonstration

demonstration

21 Od e To Joy backing only 22 Av e Maria

demonstration

23 Av e Maria backing only 24 Gymnopedi e N o 1 demonstration 25 Gymnopedi e N o 1 backing only 26 Frer e Jacques backing only 27 Frer e Jacques

demonstration

28 I Know Wher e I' m Goin g demonstration 29 I Know Wher e I' m Goin g backing only 30 Ca n Can backing only 31 Ca n Can

demonstration

32 Som e Folk s Do

demonstration

33 Som e Folk s Do backing only 34 Sant a Luci a

demonstration

35 Sant a Luci a backing only 36 She'l l B e Comin"roun d The Mountain backing only 37 She'l l B e Comin"roun d The Mountain demonstration

64

38 Grandfather' s Cloc k demonstration

demonstration

53 Dixi e backing only

demonstration

87 Greensleeve s backing only

55 Th e Dalsto n Dra g backing only

89 Go d Res t Ye Merry Gentleme n backing only

56 Awa y I n A Manger

9 0 Dann y Bo y

demonstration demonstration

57 Awa y I n A Manger backing only 58 Jingl e Bell s

demonstration

91 Dann y Bo y backing only

demonstration

59 Jingl e Bell s backing only 60 O h Come, All Ye Faithfu l demonstration

How to use the CD After trac k 1 , which give s an ide a

61 O h Come, All Ye Faithfu l backing only

of ho w th e guita r ca n sound, th e

62 Drunke n Sailo r

in which they appea r i n the book .

demonstration

63 Drunke n Sailo r backing only 64 Yello w Ros e Of Texa s demonstration 65 Yello w Ros e Of Texa s backing only 66 Scarboroug h Fai r

backing tracks ar e liste d i n the orde r

Look for th e ( j , symbol i n the boo k for th e relevan t demonstratio n o r backing track .

demonstration

67 Scarboroug h Fai r backing only 68 Amazin g Grac e

demonstration

69 Amazin g Grac e backing only 70 Oh ! Susanna h

demonstration

71 Oh ! Susanna h backing only 72 Ca n Can

demonstration

123456789

BOOK!

SeelnsW«°v''»°'

Mck

"St,"g

I J

if

Acoustic Guitar

Since i t first appeare d i n the 1930s , the concise , clear conten t o f the best-sellin g A Tune A Day series ha s revolutionise d music-makin g i n th e classroom an d the home . Now, for the first time , C Paul Herfurth' s origina l book s hav e been completely rewritte n wit h ne w musi c an d the lates t i n instrumental techniqu e fo r a new generatio n o f musicians . The A New Tune A Day book s hav e the sam e logical , gentle pace , and kee n attention t o detail , bu t wit h a host o f innovations : the inclusio n o f a n audio C D - wit h actua l performance s an d backing t r a c k s - w i ll mak e practic e eve n mor e fun an d exciting , and the explanator y diagram s an d photograph s wil l hel p th e student t o achiev e the perfec t technique an d tone . This book contains: Advice on equipmen t Instructions for an effective technique and a comfortable postur e Explanatory section on reading music Easy-to-follow lesson s on clear, uncluttered page s Audio CD with a virtuoso performance , backin g tracks and audio example s Great musi c including duets Tests to check progress and comprehensio n Useful pull-out char t giving note position s and common chords Bos

t Music Company/ Boston Music Sales Furtados part of The Music Sales Croup www.musicsales.com www.musicsalesfurtados.in

Mew Tune a Day lor Acoustic Guitar . A -1 -CD

began to pla y the guita r a t the ag e of six . Largely self taught, h e studied Natura l Science s at Cambridg e Universit y but , o n becoming presiden t o f the Universit y jazz club , found hi s true callin g i n music. John ha s taught a t Westminster Schoo l for 2 0 years, where h e is now Hea d of Jazz, and run s the jazz guita r cours e at London' s Cit y Literar y Institute. John regularl y perform s wit h hi s own trio an d quartet .

I S B N 978-1-78038-823-

6