Guitar Method 3

xT&m $Lj nwxHYLr B00| ffim 3

LEONARI

eru{} ffiY W*LL $eilWg* ffiffiilffi Kffiil$ Ihe M a jSocr a l e . . ..........2 T h e F i r s.t.N o e l ........4 HiffinD ........5 Sixtee Nnotthe .s .....6 ArkansasTraveler .......7 E x oRt iocc k ......B F r e eR dom c. .k ........8 E i nkel e i N n ea c h t m u s i k .........8 D o t tEeidg hNtoht e. s ........9 Tramp,Tramp,Tramp .....9 IheChromaticScale.. ......10 T hEe n t e r t.a. i. n. .e r .........11 lntheHall oftheMountain King . . ......12 E$ud . io .......12 S t . L o u i s.B l u e s .......13 BarreChods .......14 0lassicRock ....11 Swingin' .......18 Alterna Rtoi vc.ek. .....18 S l oR wo c k .....18 M i nG or oove . . . . . . .. . 1 8 l a z z. y ........19 B o sN sa ova ....19 H aB dock ......19 B a nEex a m .....19 TravisPicking ......20 lFeel Sometimes Like aMotheiless Child . ......21 Freightlrain ....22 DropDTuning ......23 Pop/Bock ......23 Grunge. .......23 Folk/Rock ......23 Movable Scales . ....24 M i sMs c l e oRde' .se. l . . . .. . . . . 2 5 God Re$ YeMerry Gentlemen . . . .26 FifthPosition .......28 DeepRiver .....28 B o u r. e e .......28 Hock l|eavy ....29 Jazin'theBlues. ......29 T hKe eoyfF . . . . . .. 3 0 SloopJohnB..... .....30

.........31 Compoundllme.. lSawThreeShips. .....31 SlowBlues .....31 Afticulation ......,.32 TheSlide ....32 BouncyBlues .........32 PowerChordSlides. ....32 TheHammer-0n..... ......33 Folk Pattern .. . .33 Rock'n'Hammer .......33 AcousticBock.. .......33 BoogieBlues ....33 ThePull-0ff .......34 PowerPull .....34 BluesWalu ....34 B l u e gRr au.sn. s. . . .. . . 3 4 . . . .. . . . . 3 5 T hSe t r iBn eg n. .d Bocklick ......35 .......35 SwampyBlues. D o u b l eB- S e tn.od .p ....35 .......36 Jam Session Pop/BockBallad. ......36 Funk.. ........36 ........36 SmoothJazz.. L a tRi no c k .....36 .......37 Country JazWalt .....37 Reggae ... . . . . . 3 7 H aR r do c k . . . . .. 3 7 Blues. ........37 J a zR o c k ......37 GrandFinale .......38 ReferenceSection .........40 CircleofFifths.. .......40 Three-Note Chod Foms . .... . .40 M i s c e l l a n e o.u s C h o r d s. . . . . . . . 4 1 0 h o0r od n s t r u. .c. t i o n .........42 ........46 Gear.. Definitions forSpecial Guitar Notation . . . .47

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V fHAL.LeorueRD' L - a c o R p o R A - r t o N 7777 W. BLUEMOUND RD. PO.BOX I3AI9

M I L W A U K E E .W I 5 3 2 I 3

Copyrlght@ 1 9 7 7 ,1 9 8 0 , 2 0 0 2b y H A L L E O N A R DC O R P O R A T I O N International CopyrightSecured All RightsReserved F o ra l l w o r k sc o n t a i n e dh e r e i n : U n a u t h o r i z ecdo p y i n ga, r r a n g i n ga, d a p t i n gr,e c o r d i n o g r p u b l i cp e r l o r m a n cies a n i n f r i n g e m e notf c o p y r i g h t . In{ringersare liableunderthe law. V i s i tH a l L e o n a r dO n l i n ea t

Koopnorou 4 ToL242Mf,,Fic2t2857 54623,0€troqiiuim

THE MAJOR SCALE

A s c a l ei sa s e ri eosf n o teasrra n g e i nda specific or derPer . haps themostcomm on isthem ajor scale s c al e. l t i s us ed asthe b a s ifso rc o u ntl eme ss l o d i eris, ffs, pr ogr essions so l o s, a ndchor d

Scales areconstructed using a combination ofwhole (Remember: steps andhalfsteps. ontheguitar, a halfstepisthedistanc of onefret;a whole stepistwofrets.) Allmajor scales arebuiltfromthefollowing steppattern

_ WHOLE _ HALF _ WHOLE _ WHOLE _ WHOLE _ HALF WHOLE T h i ss e r i eosfw h o l ae n dh a lste s em ajor f pgs i veth scale itschar acter istic sound.

CMAJOR SCALE Tobuilda C major scale, startwiththenoteCandfollow thesteppattern fromabove.

1 2 3 4 5 6 7 8(1) "home" Thefirst(andeighth) degree ofa major scale iscalled thekeynote ortonic. Thisisthe toneonwhich mostmelodies end P r a c t rtcheeC ma j osca r laesce n d ianngdd escending infir stposition.

1

Trythis:start0nsecond string, firstfretCandplaya major scale upthesecond string using thepattern ofwhole andhalfsteps

p r o g r e ssi a o re n sa l sod e ri vefro is inthek eyof C ontheC m ajor scale , : r-l c h o r d d mscales. A piece of music based . : : 'e v e r yk e yt,h e re noteofthemajor scale. a rese veco n rre sp o n dchor i ng ds- one builtoneach Dm

Em

iii

rv

v

'tote: (three-note ('1-3-5,2-4-6, location r,rthin numerals areused to label a chord's a kev Triads chords) useevery othernoteofa scale etc.). Roman

triads andfifthnotes ofthe lookateachoftheseven chords, notice thatmajor arebuilt0nthefirst,lourth, :".nga closer tr iadisbuilt0nthes ev enth note a diminished , - m in o r t r i aadrseb u i lot nth ese co nth d ,i rda, n dsi xthnotes ofthescale;and -= s c a l eT.h es e v ecnho rdasreco mmoto (eno notes the m ai or the of C s c al contain 0nlv n th eke vof C because allseven "rso rf l a t s )l t. i s i m p o rtato to allm ajor scales. n tme mo rith zei sse q uence ofchor types, d asit applies p laying theC major s c al e. W hen f ollow i negx a m p laes thentr yim pr ovising using rei nth eke yo f C .P ra cti ce thechor ds; T .hen, wor koverthechor ds m i xup howthenotes n n ing t o i m p r o v i spel a, yth esca laesce n d ianngdd escending andnotice n o t e slt.h e l ptso e m ph a sithze ech o rd to n e s.

OTUNTNGNoTES

-RACK 1

o

TRACK 2

play B times

a

TRACK 3 nlnrr R firnac

a

TSACK 4 nlatt

R firna<

|J'u)|v

Section attheendofthisbookformoreinformation onchordconstruction. SeetheReference

GMAJOR SCALE

Tobuilda Gmajor scale, startwiththenoteGandapply themajor-scale steppattern. TheFissharped to complete thepattern whole

G 1

wnore

A 2

whole

har{

wholp

whole

half

B 3

Thetriadsbuiltonthenotes intheG maiorscale are:

rf,oim

I

V

V

vi

Practice theG majorscale infirstposition. Remember: thekeysignature (F{) forG majoris onesharp

No wp l a ya w e l l -kn o me w n l o duysi n g n o teasndchor fr d omtheG major scale.

s

TBACK 5

THE FIRST NOEL

vii"

: ',IAJOR SCALE - 1 D major scale, startwiththenoteD andapply themajor-scale steppattern.

E 2

F# 3

, . 'a d sb u i lot nt h en o teisnth eD ma i osca r laere : D

t

Em

i

i

r#m

iii

c#oim

tv

v

vi

vii'

r-a c t ict he eD m a j osrc a laesce n d ianngdd e sce n diinng fir stposition. for istw os har ps Rem ember the:keysignatur eD major : : andC# ) .

RIFF IND

Themajor steppattern to anyrootnoteto create scale canbeapplied lf youstartonE,youwillhave anEmajor anymajor scale. lf youstartonF,youwillhave scale. anF majorscale. lf youstartonF{,youwillhave andsoon. anFfmajorscale, b

SIXTEENTH NOTES Thesixteenth notehasa solidovalhead witha stemandeither lt lastshalfaslongastheeighth twoflagsortwobeams. note :

c )) ) . ) o ) = a a . a = a youhavelearned. Thefollowing chartshows therelationship notes to alltherhythmic values of sixteenth '1Whole Note o

= 2 HalfNotes

)

= 4 Quarter Notes

)

)

a

)

)

= B Eighth Notes

a

= 16Sixteenth Notes

a

a

a

-J-J-.,]

a

a

!l-

a

a

a

a

a

a

a

a

a

a

"e"and"a "( pr onounc" uh" ed ) . o teisno n eq u ar ter thesyllables S i n cteh e r ae r ef o u rsi xte e nnth notebeat, thembyadding count Th ec o u n t i nwgo u l d be:

? . t ? .t ? l . . t ? a ? t . ?t ? t . ?l . t t t

1

-

e

-

-

&

l

-

a

2

e

&

a

3

e

&

a

4

e

&

a

playing Practice thefollowing noteexercises. thenincrease thetempo. Tapyour sixteenth Begin themslowly andaccurately, footoneachbeatofthemeasure.

11 &

a

2(e) &

a

3

,t - V -(V)- V v

1

e

&

l

a

2

e

&

a

3

e

& 4

e

&

1

e

&

a

2

&

a

3

e

&

notegetsonebeat. andthequarter : Te therearetwobeatspermeasure

TRAVELER ARKANSAS c - V - V

Y - v --

Fiddle Tune

EXOTIC ROCK 13

FREEDOM ROCK TBACK 9

14

EINE KLEINE NACHTMUSIK (ALittle Night Music)

15

Mhi:-

you've played, notes thevalue thedotafteranei0hth noteincreases olthenotebyone-half. * (etheother dotted to it to complete thebeat^ receives isadded thedotted onlya partofa beatin t , \, or I time,a sixteenth Srrce eighth ,

7

=

+ 'lz Beal

'/, Beat

)

+

rlr Be?t

N

at

'l' Beat

1 Beat

m0reaccuThiswillhelpyouplaytherhythm wayto learn istothinkof it asthree tiedsixteenth notes. in easy a dotted eighth "atelv. thefollowino Practice exercise untilvoucanolavthesubdivision ofthebeateasilv.

a

IRACK 1I

TRAMP TRAMP, TRAMP

SCALE THE CHROMATIC y oupl a:=,=fr etonthef r etb oarl fd. y willuseeveravailable ther eforite, e pe n ti reol yfh alf- steps; T h ec h r o m a st ica c l ei sma d u chromatic scale. a one-octave fret,youwillbeplaying fromtheopennoteto thetwelfth fretona given string thatshar ps Notice ar eus edfot':- = oneachstr ing. s youascend hen e xte xa mp lheo, l dd o w nyourfingeras W h e np l a y i nt g whilef latsareusedforthedescent. scale ascending

fr ets r vithin thefir sttwelve t o wasl lo fth en o tes T h ed i a g r aamtth eri g hsh each below n gech r omatic exer cises o f t h eg u i t afri n g e rb o aPrdra. cti cith r n g edre xte rity ly cre ayo andaccur acy. seu fi d a yw i l lg r e a t in

E F

A

G B

Af/Bb Dfi/E' GilA'

FilGu B 3rdFret G

D

C

E

A

F

A{8,

GVA6CTID6FfrIG', B sthFret A

D

G

C

E

C

F

lothFret D

G

A

D

A1IBODqE'

C

F

F

C

CillDbFVG, D

G

DVE',GVA, A

E

ATiB' DTIE6Gfi/A' Gf/DT F TthFret B

E

AfrIBV

FVG., G

C

A

D

DrlEbGilA, CrlDbFrlG6 AUB", l2thFret E

10

A

D

G

B

E

g . A n o t h e r w awyroi tfi n!g t i m e ( t w o b e a t s p e r m e a s u r e annodtteh e h a l f : n T i m e C r s a n o t h e r wwaryi toi nf N

THE ENTERIAINER

SmnJrplin

Fss$*wxT

tm c

$ c3o"

l l ye ed Playthen e xpt i e ce tw i ce a n dg ra d u asp up.

Q

INTHE HALL OF THE MOUNTAIN KING

TRACK I3

22

ESTUDIO TRACK I4

ST. LOUIS BLUES

the eve- nin' sun like| feel

I hate to seeFeel-in' to - mor - row

Hate to see Feel to - mor

the eve - nin' I r k e|

row_

WIHandy

go down.to - day.

sun go down. feel to - dav.

;t',li: ,r

Causemy ba - by l'll pack my trunk

he done left this town.makemy get - a - way.-

St.Lou-is

r1.., iI:

pulls that man 'round the man I love

with her d i a - m o n d a n d f o r store- bought

wom-an pow-der-

| | 2.,"" ."."

by her a - pron wouldnot gone no

'Twantfor

strings. where.-

Gotthe

;1,.:i

Lou - is B l u e s just as i;:::r"l:il

iitii

i:l:i'

;:,

a heart like

;,.

blue li'

he-

would- n't have g o n e -

j,,. {:

l!,lr

cast-

rocK

That-

l_

as_

!l:.

I

else

rr,\.ij,

sea-

in ir::

so-

far-

from-

me.

13

BARRE CHORDS

Mostbarre cover fiveorsix thesame finger. chords inwhich twoor morestrings using Barre chords arechords aredepressed upor downt henec kto di ffer en s.h efi n ger ing ar emovable andcanbeshifted s t r i n gasn dc o n ta innoo p e nstri n g T shapes po s i t i otnosp r o d u ce quality. o th ech r o rdosfth esa me

E.TYPE BARRE CHORD movable barrechords is theone Oneof themostuseful TherootnoteofthisEshape is based ontheopenEchord. rei,ssh a pw e i llbeusedto ont h es i x t hs t r i n gT. h e re foth playmajorchords upanddownthesixthstring. these steps to formtheE-type barre Follow chord. 1 . Pl a yano p e nE ch o rdb, u tu seyour2nd,3r d, a n d4thfi n o e rs. -.fr.

2 . Sl i dth sh a puepo n ef re t,andaddyour e i sch o rd 1 s tf i n g ear cro ss th el stf re t,fo rming a bar r e.

eachnoteoneata timetotest Strike Make stringringsoutclearly. to playyourfirstbarre chord. sureeach Strum allsixstrings forclarity. to anyrootnote thissame shape Youcanapply itsrootis Fonthesixthstring. Thisparticular barre chordis F majorbecause al o ntgh es i x t hs tri n g :

E B G D A E 7th Fret

shape. to getusedto thefeetofthemovable Nowtrythefollowing barre chordexercise Ff

F

,+

{Jllf}

a l I t a o

|f|ft l a a | lr

G

,-

2 fr

{Jllf{3

[-T-R-I

roloaqonraqqrrra

| | l??l 134211

fT-R-|

"l E^f rE ^d ^- v^P^l v J J u r E

l??ltl 134211

tr

pressure rerease

withthebasic feelandmovement to adapt thisshape to form majorbarre it is easy 3nceyouarefamiliar oftheE-type chord, ri nor,s e v e n tahn, dm i n ose r ve nbtha rre ch o rd s. r n df in g efrro mth ema j obr a rre your4thfi nger youhave f yous ub t r aycot u 2 lf yousubtr act f r om chor d, a m inor bar rchor e d. you your2ndand4thfingers fromthemajorbarre :ie malorbarre chord, havea seventh barre lf yousubtract chord, chord. p h o tos hav e m i n o s r e v e nth b a rre ch o rd . th e a S tu d y and diagr am below. s ..ou

Fm

Fm7

F7

,'fr\

,'fr\

z-r

intheexamples Tryusing these newbarre chords below.

Bm

A

5TTT5a7rr

{fJlff

IttI|l

t a a | |l

fi-flTr

rI-R-|

{Jllf}3

fT-R-|

Cm7

Gm7

fr {Jfff}3 t-t-t-l-t-t

{Tfffas fr

{Jfffi3fr

t ? | t l 1 3 1 1 1 1

| il 't 1? 31111

c

ITT]TI

F

{Jlff}5

134211

134111

fr

rT-nTt t??| l

{TTTT} s tr

IT-RTI t??| l

T-mt

Am

{TTTII s tr

n|-|t t e a | |l

fr

t??| l 134211

Gm7

rfi-T-rl

A

G s fr

eI

ttt

rT-nTt I t t l t l

G7 {TfTf}3 rr. t-l-tfl f{Tfl 131211

tavingdifficulty atfirstin playing Here barre chords is normal. aresometipsto helpyou: . Instead yourfirstfinger thethumb. totally of holding flat,rotate it a little0nt0itssidenearest . Place yourleftthumbdirectly thefirst-finger foradditional support. behind barre . Move yourbodyatthewaist. y0urelbow ofyourleftarmin close to yourbody, to thepointthatit'stouching even

15

S o m seo n gcso n t a b i no thb a rre ch o rdasn do p e n ch or ds.

JAZZY IRACK 2I

Am

G

ilms

^ fr {TTTI}3 f.

rrr rrrr Lt|_r_r 1Lt|_l_.i 134111 342i1

F

E

^ {TTTTI

Am

G

rT.-{T1

a t t t a o

f|-trn fa{T]-] nTTTt tlTfn isnztt

Am

E

F TTT'T'] l.# t??| l

231

ffif |_-sTn

{TTTII5 fr

rTI]]

n-n-n

t??| l 134111

38 Thenextsongintroduces a newA-type barre chord: themajor Alsofeatured isa syncopated seventh chord. strumpattern that jazz. is common to Latin

BOSSA NOVA IRACK 22

Cmai7 ITTTT] 3 fr

r-ft-ilt |?t?l 13241

39 Dm7 \-^

Db7

- ,r r .

G7

C majT

fTTm4 fr.

ll ll l15

r-T-[Tt |?| l

FTTT} 5 i,

fT-mt

.TTTI' 3 tr. m-TTl

T.fli.t |?| l

| | ? t ? l 13141

l-rlrn

131211

C majT faTTTl3 fr

n||l |?t?l

13241

N o wt rym i x i nbga r rceh o rdws i thsi n g lneo te s.

HARD ROCK IHACK 23

ru

BABRE EXAM

TRACK 24

G c

cc^

rfifit tl-tiTt [T-R-I llllllr??rr 231

134211

F#m

A ^

rTET'l {TTTI+3 fr.{fllf}5

134211

fr

B

A

-,A

^

^

ITIT

rTt-il

134111

tt||

nr.]-l tt|tl

134211

134211

{TTT512fr.{TTTL5 fraTTT-a7fr. tee|t

E

G

t a a i lt l | l a | |- -|; z|- - | t a a | l iaa2i

t1 ^ fr. l-JTTTl3 l...l....|+

| | l,+.1 |

3331

3331

[TTil '1

E

D ITT|R5 [-FFN

tTfffl '1

ff

A

a l a ^ l l l a l l a l l l Q Q o r l

[aTfR7 fr t-t-FFIt ITTT|I 13331

j

F#m

A

B

{TTTIi 5 fr. {Tl-IIi 2 fr.{TTTTl 5 fr {Jllf}

7 {r

rfRT t??r l

|Tm t??|t

rfnTt m-iTt te?|t ttt||l

134211

134111

134211

134211

MOVABLE SCALES Youalready knowhowto playscales infirstposition. Tobecome a skillful soloist andproficient guitarist, all-around youmust learn to playscales anywhere onthefingerboard.

Theconcept of movable scales is similar to thatof power chords andbarre chords. youwilllearn Foreachscale twomovable patterns, onewithitstoniconthesixthstring andanother withitstoniconthefifthstring. Byusing these tonics asa pointof yOucanmovethescales reference, upanddowntheneckto accommodate anykey.Simpiy matihoneof thetonics to its respective noteonthefingerboard, andtherestofthepattern follows accordingly.

THE MAJOR SCALE Study thefollowing movable patterns. majorscale Tonics areindicated withanooencircre.

Tonic onSixth String

AMajor Scale

DMajor Scale

Tonic onFifth String

exerglses' scale major thefollowing picking aSygupractice JSealternate

Pattem Scale GMajor

REEL MCLE()D,S MISS

THE MINOR SCAI.E

S t u dtyh ef o l l o w i nmo g va bmi l e n osca r lpea tter ns.

Tonic onSixth Stilng

Tonic onFifth String

AMinor Scale Pattern

a

TRACK 3I

55

GOD REST YEMERRY GENTLEMEN

SCALE PENTATONIC MINOR THE

patterns. scale minorpentatonic movable thefollowing Study

String Tonic onSixth

Stdng Tonic onFifth

Riff Pentatonic GMinor

Lick Pentatonic CMinor

SCALE PENTATONIC MAJOR THE

patterns scale majorpentatonic movable thefollowing Study

String Tonic onSixth

Riff Pentatonic CMajor

String onFifth Tonic

"0 ricks inahisher position onthe neck Finsers 1,2,3,and 4 ptav IJiJlfJ1:S:I:ouXf J:3ffi:JliJ;lf iXill,il:fli,o:fi'; Notice thatsomenotes canbeplayed inanalternate position onthe fretboard. shiftyourfirstfinger downto fretnotes thatneed to be played onthefourth fretandstretch yourfourth finger to fretnotes thatneed to beplayed ontheninthfiet.

CMajor Scale

Gf/Ab Cfi/DL

ArtBbDilEbG#/Arcr/or F F

E

9

F

A

s

DFf/Gri

A7B, DlE, G

Cf/Db Ff,lGb B

A*lB',

Fifth Position Fingering

C - This

note can also be played at the third string,fourthfrer.

Gf/ArC#/Dr

DEEP RIVEB

TflACK 32

African-America Spiritua G7

59

"5.

IBACK 33

SLOWFAST

BOUREE

JSBach

HEAVY ROCK

BLUES JAZZIN'THE IRACK 35

THE KEY OF F Thekeysignature forF hasoneflat.AllBsshould beplayed onehalfsteplower.

FMajor Scale, First Position

p Pla tyh em e l o dt yo " S l o oJo h n8 ."i nfi fthp o sr tr on, thenfigur out e howto playthechor ds to thesongus i ng thebar rfor e ms y o ul e a r n e0dnp a g e1s4 -1 9yo . uma va l sowishto tlr playing picking theTravis accompaniment frompageizo-zz.

m

SLOOP JOHN B.

IBACK 36

F7

Refer to the"Circle of Fifths" 0npage 40formoreonkevs. 30

Bb cr*

Iaribbea

TIME COMPOUND e p l a yetidmesi g n a tu re i c sof i nw thequar ter noter eceived onebeat( eg, tr , ?t, t) . Ther hy thmpul ua v e s h i ch U n t ilno w y o h note, notes equal on equar ter notes, twoeighth r xteenth notes eighth t hesteim es i g n a t u ri sedsi vi si bbl e ytw o -fo u si equaltwo pulse iscalled com pound ti m e.T he isdivisible bythr ee . ti mesi g n a tui re nwhich ther hythmic e meA e t cT. h i si sc a l l esdi mp lti n me d a re$ andt$. mo sct o m m oenx a m p loefsco mp o uti

n youthatthere gets youthattheeighth tells number tells note onebeat andthetopnumber tn I timethebottom P nnnf I rrrrLare note. totheeighth inonemeasure. Allnote andrest values areproportionate sixbeats U \ a'

I

e or t

t

. or I

Eighth= 1 Beat

a.

= 2 Beats Quader

)

or a.

DottedQuarter=3Beats

e h i p s" i nfi fthp o si tion. Besur eto follolv thecount car efully. Practicep l a y i n"lgS a wT h reS

s

I SAW THREE SHIPS

TRACK 37

'ta6' i. ,

K^ \J

ro

principte isbased as $ timeIn signature onthesame ]lr E,,'rrnotegetsonebeat. rneeronth

lUtt

s

ls?there permeasure and aretwelve beats

SLOWBLUES

38 TRACK

c7

G7 It

65

a l

)

-

t

10 11

12

1- 2 3 - 4 - 5 - 6 7 - B - 9 - 1 0 - 1 1 - 1 21 - 2 3 - 4 - 5 - 6 7 - B I - 1 0 - 1 1 - 1 2

c7

Bm7

Am7

Am7

Eb7

G7

Bb7

Eb7

BbmT

A.67

ARTICULATION Articulation refers to howyouplayandconnect notes ontheguitar. lf pitches andrhythms arewhatyouplay, articulation is hOwyouplayslides,hammer-ons, pull-ofls, and bends all beiong to a special category of articulations cuitro "slur" legato. Legato techniques allowyout0 twoor morenotes together to create a smooth, flowing sound andhelpgiveyourmusic flavor andexpression.

THE SI.IDE Theslideis played byfollowing these steps: . Depress the stringwiththe lefthandfinger. . Pickthestring withtherighthand . Maintain pressure as you move yourleft-hand fingerup or down thefretboard position tothesecond snown.(Thesecond noteis nor p i c k e d .)

s

BOUNCY BLUES

TRACK 39

Ar-e

ru

TRACK 4O

POWEB CHOBD S|.IDES C#5D5

32

cls D5

a

THE HAMMER-ON Thehammer-on isnamed fortheactionoftheleft-hand fingers onthefretboard. Toplaythehammer-on follow these steps: . Depress thestring withtheleft-hand finger. . Pi c kt h es t r i ng w i thth eri g hht a n d . . Maintain pressure press asyouquickly downonto (higher) thefretof thesecond noteonthesame string, using theinitial attack to carry thetone.

s

FOLK PATIERN

s

R()CK'N' HAMMER

IRACK 41

IRACK 42

ACOUSTIC ROCK

l e t r i n gt h r o u g h o u t

ru

IRACK 44

BOOGIE BLUES

THE PU|-L.OFF Thepull-off istheopposite ofthehammer-on. Toplay thepull-off follow these steps.

e

. Depress thestring withtheleft-hand finger. . Pi c kt h estri n w g i thth eri g hht a n d . M a i n tapi nre ssuare l el eft- hand syo up u lth fingertowardthe palmof yourhandto s o u ntdhen o teb e h i ni d t o nth esa me str ing. using theinitial attack to carrvtherone.

TRACK 45

POWER PULI

ru

THACK 46

- o n sp, u l l -o ffs, Hammer a n dsl i d easrea l lu se di nthenextexam ple n r

alr

TBACK 47

SLOWFAST

34

BLUEGRASS RUN

B|.UES WALTZ

BEND THE STRING these steps: follow Tobenda string rock,andpopguitar. thevocal-like sound of blues, Thestringbendproduces . D e p r etshses tri n w d fi nger . g i thth el e ft-h a 3n rd . M a i n t api nr e ssuare g pwaror d pullit downwar d. syo up u shth estri n u . U s ey o u fri r s a fo ra d d i tional suppor t t n dse co nfidn g e rs Be n dasrei n d i c a t iendmu si cb ya p o i n tesld u ri n standar d- , 75 e e. n o l n;tri g n gt;;iti not at ioann da n a r r o win ta b l a tu re g u i ta rs the i s mo st e a stly on a n d d o n e beson t st e e l - s t r i n g firstthreestrings. bends: Totheriqhtaresomecharacteristic

s

48 TRACK

ROCK LICK

pitc h. pr essur to itsor iginal thebend back asey0ulower Ma . i ntain a sb e n d a n dre l e a se o n ta i n Th enexet x a m pcl e

BLUES SWAMPY 49 TRACK

ti me Nowtry b e n d i nt w g os t ri n gastth esa me * 5O TRACK

BEND DOUBLE-STOP

35

JAM SESSION No wi t i st i m et o u seth ech o rdasn dsca l eyou s knowto m ake some ofy0urownmusic. pr ov i des Thissection pr otenc hor d g re s s i ofnosu n d i nva ri o umu s sistyl c eY s.o ucaneither follow thechor sym d bols andstr um along, or usethes ugges ted s c al es e p r o vi siLnigste t o p r a c t i ci m . to n th ere co rd ing andcopythesololicks; y0urqwnsolos. thentr ycr eating l f y oudon'thav the e recording, taketurnsplaying rhythm andleads withfriends y0urgwnrhythm or record tracks andplayleadoverthem. Each ofthejamtracks begins withGregKochplaying solosoverthefirsttwotimes through. Usethese asa model forwhatyou p c a n l a yo nt h er e ma i n isi n gxti me th s ro u g h .

$

IRACK 5I

POP/ROCK BALLAD

S u g g e ste d l eG sca s:ma j oar n dG major pentatonic G

D

C

play B times

79

s

IRACK 52

Su g g e ste d l eA.mi n opr e n ta tonic sca A7

FUNK

D7

play I trmes

80

s

SMOOTH JAZZ

d l eC sca s:ma j oar n dC major pentatonic THACK 53 S u g g este G majT

F majT

Dm7

G7

ptay a ilmes C m aj T

B'7

A7 Dm7 play B times

81

s

IRACK 54

LATIN ROCK

S u g g este d l eD sca s:mi n oar n dD minor pentatonic Dm7

36

AT

Dm7

s

scale: G majorpentatonic TRACK 55 Suggested G

COUNTRY

D

play B trmes

3

ru

56 IRACK

JAZZWALIZ

scale: C major Suggested

Dm7

CmajT

G7

C maiT

ptay a ilmes

t4

s

d l eD. ma i opr e n ta to n i c 57 Su g g e s tseca TRACK

REGGAE

Bm

nlett R fimac

i5

HARD ROCK

s.mi n oar n dE mi n opr entatonic Su g g e s tseca d l eE

D

Em

Em nlatt l\ttul

R lirnaq

v

6

s

IRACK 59

F minorpentatonic scale: Suggested

BLUES c7

B'7

F

play B trmes

17

s

ROCK JATZ

E major scale: TRACK 6O Suggested EmaiT

l8

F#m7

EmaiT

F#m7

EmaiT plavB ttmes

afi)

L'za IRACK 61 SLOWiFAST

89

Am /

38

-\,

39

CIRCLE OF FIFTHS

REFEBENCE SECTION KEY

Thecircleof filthsis a useful toolif youwantto knowwhat chords arec'mm'nwithin a key.Major keysrinetheoutside of thecircle; theirrelative minors linetheinslde.

t

'

C

Right now,theboxis highlighting chords thatbelong to bothC majoranditsrelative A minor. Tofindthechords foranother key,justmentally rotate thebox.

pb

Bbm (Ebm1 Gam

;-

Dnm / Ff,

(cb)

THREE.NOTE CHORD FORMS These movable three-note shapes areeasy to playandcommonly usedinpop,funk,andreggae payattention styles. totheroot ineachvoicing; it tellsyouwhatchord y0uareplaying

Major

A

D G B G$/Ab c A

CillDb FfrlGb

AillBv D

I

I

root

root

I

B

DfrIEvGilAu

5th Fret

x x x

A CtlDr F

7th Fret

1

I

root

G

root

Minor

rool

F

AtlBs

D

FfrlGu B

E

G#lA6CiltDb

I

root FTIG' AilIBi Dr/Eb 12thFret

40

CHORDS MISCELLANEOUS uptothispoint. yo uhave notlear ned ch o rdws h rch 3e lo w a res o m el e s sc 0 mm0onp e n

c7

c6

CmajT o o o

"suss- four i ththe or")someti mwes w i ththefour thasin sus4( pr onounced th eth i rdo f a ch o rd , ur e p l a ce l n s u sc h o r d ys o malor is neither that sound aninteresttng butcreates or unr esolved i s i n co mplete g und a s, i n s u s 2T. h ere su l ti nso se c ond no rmin o r .

Dsus4 x x o

Dsus2 x x o

o

Asus4 x o

Asus2 o o

x o

Esus4 o o

x

d add lf youtakea C c hor and youaddanextr note. a to which (su ch chor d) a sa ma jor c o rd i s s i m p layb a sich Anaddc h o r d hasno which from Csus2' is different This chord C-D-E-G). youhavea Cadd2 chord(withnotes a D noteto it,forexample, tr

Cadd9 x

o

Eadd9

o

Fadd2

Aadd9

o

x x

Em(add9) o o o

o

a chord chordis'simply, A slash of mustc. to allstyles andflavor thataddspice chords interesting arecolorful, Slashchords "G to therightofthe (pronouncedoverB").Totheleftof theslashis thechorditself; asin G/-B witha slash(/) in itsname, slashisthebassnoteforthatchord.

c/G o

G/B o o o

D/F# o o

Dm/A x o o

Faddg/A x o

41

CHORD CONSTRUCTION Allchords areconstructed usingintervals. Aninterval isthedistance between anytwonotes. Though there aremany typesof intervals, thereareonlyfivecategories. perfect, major, minor, augmented, anddiminished. Interestingly, themajorscale containsonlymajor andperfect intervals:

Scaledcgree: 1

€> Root

P5

T h em a j osr c a laelsoh a p p e to n sb ea g re astar t ting point fr omwhich to constr uct chords. Forexample, if westartattheroot(C)andaddtheinterval ofa major third (E)anda perfect fifth(G),wehaveconstructed a C malor chord. I nor d etro c o n s t r uact ch o rd o th eth r a na ma j or chor datleast oneofthemajor or perfect intervals needs to bealtered. Forexample taketheC majorchord youjust c o n s t r u c taendd,l ow eth r eth i rdd e g re(E e )o n ehalfstep. we nowhave a C m inor c h o r dc:- r b - eByl o w e ri nthgema j o rth ibrdyo nehalfstep, wecr eate a newinter v alc a l l eadm i n otrh i rd . we c a nf u r t h earl t eth r ech o rd b yfl a tti nth g ep er fect . chor d fifth( G)The is nowa Cd i mC: - E b - G I hteGtre p re sean d tsi mi n i sh fifth ed inter val.

C major

C minor

C diminishcd

T h isl e a dusst o a ba siru c l eo fth u mb to h e l prem ember inter val alter ations: A m a j oirn t e r vlaolw e reodn eh a lste f pi sa mi n or inter val

A p e r f e icnt t e r vlaolw e reodn eh a lste f pi sa d i minished inter val.

A perfect interval raised onehalfstepisanaugmented interval. e aug-5

Halfsteps andwhole steps arethebuilding blocks of intervals; theydetermine quality-major, aninterval's minor, etc.0n the guitar, a halfstepisjustthedlstance fromonefretto thenext. A whole stepis equal to twohalfsteps, ortwofrets.

No t i ct e h aw t ea s s ig nae nd u me ri ca l va ua e ch tol e noteinthemajor scale, aswellas labeling theinter vals Th.esnum e er i c al v al ues,termed scaledegrees, allowusto "generically" construct chords, regardless key. of Forexample, a major chordconsists oftheroot(1),major third(3),andperfect f ifth(5).Substitute anymajor fortheCmajor scale scale above, select scale degrees 1 ,3 ,a n d5 ,a n dy o uw i l lh a ve a ma j och r o rd fo rthescale vouselected. D major scale Scaledegree:

Interval: Root

42

M2

D rnajor chord

-. c h a nb e l o w m el h00 thescale d egr ee ( based onthekeyofC only)using d i sa co n stru ctisu o nmmaoryf4 4chor types NAMT CH|IRD

TYPE CHllBD rnalor tifth(powerchord) fourth suspended

C.E-G

C

C-G c-l'-G

c5

second suspended addedninth

C-D-G C-E-G-D

sirth sirth,addedninth

C-E-G-A

majorseventh rnajorninth shatpeleventh majorseventh,

C-E-G.B C-T-G-B-D

C-E-G.A-D

Csus4 Csus2 Cadd9 C6 C6/L) CmaiT Cmai9 CnaiTf11

rnalorthirteenth

c-E-G-B-r'f, C-E-G-B-D.A

minor minor,addedninth

c-F,b-(; C-Er-G-t)

Cm Crn(add9)

minorsixth minor,flat sixth

C - l r - ( l -\ -(i-\r C-L-r

Cm6 Cmb6

minorsirth,addedninth

(.-Eb-G-\-D

Cm6/9

minorseventh flat fifth ninor seventh,

C - E -r t i - Br C-Ez-(ir-B:

Cm7 Cm7b5

minor,majorseventh minorninth minorninth,flatfifth

C-Er-G-B

Cm(mai7)

C-Ez-G-Br-l)

cm9

C-Eb-Gz-Br-I)

Cm9h5

minorninth,maiorseventh minoreleventh minorthirteenth

T) C-Eb-G-B

Cm9(maj7)

C-Eb-G-Be-D-[ C-Eb-G-8, -D-F--\

Cmll Cm13

Cmai13

dominantseventh fourth suspended seventh,

t-3-5-b7 t-4-5-b7

C-E-G-Br

flat fifth seventh, ninth fourth ninth,suspended

t-3-r5-b7

c-E-ct-Bt

-L) r-3-5-b7 -9 t-4-5-b7

ninth,flat fifth flatninth seventh,

-L) r-3-r5-r7 -r9 t-J-5-b7 r-3-5-b7-i9

t-3-il5-r7-e l -3 -f5- t7- t9 I 3 f5-t7-fi9

C-E.G-Bb-D c-r'-G-Bb,D D C-EG'-tsb C-E-G-B'-Db c-E-c-Bt-Df c-E-Gt-Bt-Dil C-G-Bb.D-F' c-E-c-Bb-Ff C-E-G-Bb-D-A C-F-G-Bb-D-A c-E-Gfl c-E-G#-Bt c-E-cf-Bt-D c-E-c{-Bt-Dt c-E-Gf-Bb-Dil

C7 C7sus4 c7b5 C9 C9sus4 c9b5 c7b9 c7f,9 (f9) c7b5 cll c 7 #Il cl3 CI 3sus+ Caug CaugT Cau99 Caugrb9 Caug;f9

r-b3-r5

c-Et-ct

Cdint

1-b3-b5-bb7

c-Eb-Gt-Bbb

Cdirn-

sharpninth seventh, flatfifth,sharpninth seventh, eleventh sharpeleventh seventh, thirteenth fourth suspended thirteenth, augmented sharpfifth seventh, ninth,sharpfifth sharpfifth,flat ninth seventh, sharpfifth,sharpninth seventh, diminished seventh diminished

| 3-r5-r7-il9 r-5-bi-9-11 II 1-3-5-b7-f t-3-5-b7-9-r3 t-4-5-b7-L)-r3 l-3-f,5 r-3-#5-b7

C-F-G-Bn

la

Triads Themostbasic chords arecalled triads. A triadisa chord thatismade upofonlythree notes. Forexample, a simple Gmajor chord isatriadconsisting ofthenotes G,B,andD.There areseveraltypes oftriads, including major, minor, diminished, augmented, and suspended. Allofthese chords areconstructed bysimply altering therelationships between therootnoteandtheintervals.

G diminished

Sevenths Tocreate moreinteresting y0ucantakethefamiliar harmony, triadandaddanother interval: theseventh. Seventh chords are c o m p r i soefdf o u rno te s: th eth re n e o teosfth etr iadplusa major orm inor seventh inter val. Forexam ple, you if us etheGm aj or triad(G-B-D) andadda majorseventh interval (Ff),theGmajT chordis formed. Likewise, if yousubsiltute theminorseventh int e r v(aFl )f o r t h eFf,yo uh a ve a n e wse ve nchor th d. theG7Thisisalsoknown asa dom inant popul arus l yed seventh chor d, inb l u eas n d i a zmu z si c. A sw i thth etri a d s, se venth chor ds come inm any types, including m ajorm, inordim , i ni s hed, augm ented,su s p e n daend,do th e rs. G major triad

Extended chords Extended chords arethose thatinclude notes beyond theseventh scale degree. These chords havea rich,complex harmony t hati s v e r yc o m m0 n i n i amu zz si c. T h e se i n cl ude ninths. elevenths, andthir teenth chor ds. Forexam ple, if y outak ea Gm aj T chord andadda major ninthinterval (A),you_get a Gmal9 chord(G-B-D-Ff-A). Youcanthenaddanadditional interval, a major (E),toforma Gmaj13 thlrteenth chord(G-B-D-Ff-A-E). Note thattheinterval ofa major eleventh isomitted. Thisis because fhe maj oer l e v e nst oh ni caco l l yn fl i cts w i thth ema j or thirinter d val. cr eating a dissonance. Gmu19

Gmaj l -l

e

M9

M13

Bytheway,youmayhavenoticed thatthese last_two chords. Gmajg andGmaj13, contain fiveandsixnotes, respectively; howy0llonlyhave ever, fourfingers inthelefthand! Since theuseofa barre chord oropen-string possible, chord is notalways you oftenneed to choose thefournotes of the chord that play. are most important to Below are two examples to demonstrate these c h o r "t d r i m m i n gs."

Gmaj9 (four notes.)

Gmaj13 €>

Gmajl3 (four notes) €>

Generally speaking, theroot,third, andseventh arethemostcrucial notes to include inanextended chord, along withtheuppermostextension (ninth, thirteenth, etc.). 44

Inversions &Voicings Th isb r i n gusst o o u rl a stto p i c. T h o u gahtyp i cal chor d m ight consist ofonlythr ee orfournotes- aCtr iad, forex am prce, onsistsofjusta root,third,andfifth;a G7chord consists ofa root,third,fifth,andseventh-these notes donotnecessarily have to appear inthatsameorder, frombottom youplay.Inversions to top,intheactual chords areproduced wheny0urearrange t h en o t eosfa c h o rd :

1st inversion

root position

2nd inversion

2nd inversion

3rd inversion

Practically speaking, ontheguitar, notes ofa chordareofteninverted (rearranged), (used doubled morethanonce), andeven omitted to create different voicings. Each voicing is unique andyetsimilar-kind of likedifferent shades ofthesame color.

--*-__--->

{} (_ lst

E 3rd

G 5th

theconstruction Study ofthechords below.

Amajor scale: A-B-C#-[)-E-Ff-Gf

A x o

A E A CIE ( 15 1 3 5 )

A

Dmajor scale: D-E-F#-G-A-B-Cf

m x o

A E A C E ( 15 1 ' 3 5 )

D x x o

D A D F I ( 15 1 3 )

D

m

x x o

D A D F (1 51b3)

D A 4 D F , ( 1 1 51 3 )

45

GEAR Fo l l o w ianrges o meb a sigcu i d e l i nto e co s n si der when choosing electrguitar ic equipm ent.

Guitars

T h e raer et h r e g e en e ra l typo efesl e ctrigcu i ta rsolidbody, s: hollowbody, andsem i- hollowbody. gui tar Thesolidb ody i sas s oc i at e dm o sw t i t hr o ck, b l u e s, co u n try, a n dso u lThe popular , . most models include theFender Sir atocaster , on Gi bs Lespaulpaul Reed Smith, Fender Telecaster, Gibson SG,andlbanez RG.Thesolidbody guitar istypically heavier thanothers. perltsdensity mitsmoresustain andmakes it better suited playing. for high-volume guitaris thechoice Thehollowbody jazz'guiof most t a r i s t sl t.i sd i s t i ng u i sh b yei d tsa rch eto d pa n dback, f- shaped sound holes, anddeep sides. Themostpopul ar m odeli nc s l ude t h eG i b s oEnS - l 7 5Gi , b soLn-5Gi , b soSnu p e r 400, Epiphone Emper or , itage Her Eagle, Guild Manhattan an d,v ar i ous m ak es by D'A n g e l iD c o' A, q u i sto a n,dB e n e d e tto .to neofthehollowbody The guitar is m or eiubdued thanthatofth es ol i dbody , i ti and basidc e s i gm n a keist b e ttesu r i tefo d rl o wto m idvolume playing. Thesem i- hollowbody guitar hasa thins, em i - hol ibody ow wit ha s o l i dw o o d estri n pi nth ece n teTr.h emo stpopular models include theGibson fS- 9S5, Gibson ES- 3 45, Gui l Star d fi rl V, e He r i t a g He- 5 3 5a,ndE p i p h oS nh e e ra tol tni .s mostcom m only jazz- r ock, usedbyblues, ts , i s k nowfor andr ockguitar i sand n p ro v i d i tnhgeb e sot f b o thw o rl disnte rms o ftone: mor ecr isp thana hollowbody andm or emellow thana s ol i dbody . Theplayability ofvarious guitars electric issubjective. Intrying to decide guitar, 0na pr0spective considerthe neckradius, scale len g t h n ,e c km a t e ri(ro a l se w o oma d , p l e ,b o n y) gauge, , ing str andfr etsize.

Amps

There aretwogeneral types ofamps: tubeandsolid-state. Tubeampsareso-named because theyarepowered byandgettheir t o n acl h a r a c t e ri sti frocs mva cu u tu m b e sT h e pr y oduce a war m, sm ooth clean toneand,when thevolume i stur ned up,a naturaldistortion. Theyarefavored bymostblues. country, guitarists. androots-rock Solid-state lazz. ampsusetransistors for pow earn dt o n eT' h eay retyp i ca lmo l y rere l i a ble andver satile thantubeam ps andhave y earisnter m s com a e longwayinr e c ent o f b e i n ag b l et o p ro d u ce a w a rmto n eIn . th el ate1990s. digital modeling technology hasenabled solid- s tate am ps to ac c es s ana s s o r t m e on fctl a ssituc b ea mpto n easn da myr iad ofeffects pr efer r ed Solid- state am ps ar e bym ostm oderrnoc kgui tar i s ts , b u ta r ea l s ow i d eluyse d fo rp l a yi nagl lmu si cal styles

Effects Effects aredevices thatplugin between yourguitar youto alteryoursignal andampandenable ina variety ofways. Theyare av a i l a balsei n d i vi d uuanli ts, p e d a l s, ca l l efo d ot or asanall- r n- one pr ocesso r . l ow iing box,called a mulfi- effecG Fol sa 1s tof themostpopular effects.

Distortion

S i mu l a te thseso u nd ofa guitar signal dr iven toohar d for theam p;the e thi ng effect canpr oducany fro ma b ri g hfu t, zztone y to a thick, dir tytone.

Chorus

S i mu l a te thseso u nd s oftwoguitarplaying atonce; theeffect canpr oduce any thi ng fr oma l us h, ch i mi nso g u nto d a war bled, flutter ing sound.

Delay or Echo

Simulates therepetition ofsound; theeffect canadddepth toyourtonebyproducing anything f rom " sl a p a sh o rt, b a ck" delay to a longer , am bient looping sound.

Reverb

Simulates thenatural echoproduced in various ro0ms; theeffect canproduce anything froma w a sh y, d i sta n t-sounding am biance to a live, air ysound.

Wah'Wah Pedal Produces a sweeping, vocal-like tonebyrocking thetreble backandforth.

Pickups l e so f p i cku p hs:u mbucking Th e r a e r et w og e n e ra typ ( double- coil) andsingle- coil. picku ps Humbucking pr oducaedar k , 'slngle-coil mellow sound whenplaying witha clean toneanda thick,heavy tonewhenplaying witha distorted ione. pickups produce percussive a glassy, soundwhenplaying witha cleantoneandan aggressive, playing bitingtonewhenwitha distorted tone.

46

NOTATION GUITAR SPECIAL FOR DEFINITIONS H A L F - S TB EE P N DS: t r i k teh en o t ea n db e n d u p 1 / 2s t e p .

W H o L E - S TB EE P N DS: t r i k teh en o t ea n d b e n du o o n es l e p .

G R A CN Eo T EB E N DS: t r i k ieh en o t ea n d i m m e d i a t ebleyn du Pa s i n d i c a t e d .

S L I G H(TM I C R O T 0 NBEE)N 0S: t r i k ten o t ea n db e n du o 1 / 4s t e P

ANd thcNO1E StTi|(E BEND ANDRELEASE: de , nr e l e a sbea c kt o b e n du oa si n d i c a t et h l n eo r i g r nnaol t e0. n l yt h ef i r s tn o l el s s t r u c k

P R E - B E NBDe:n dt h en o t ea s i n d r c a t e d t h e ns t r i k ei t .

AD N DR E L E A SBEe: n dt h en o t e PRE-BEN h eb e n d a s i n d i c a t eSdt.r i k ei t a n dr e l e a st e b a c kt o t h eo r i g i n anlo t e .

U N I S OB NE N DS: t r i k teh et w on o t e s s i m u l t a n e o uasnl ydb e n dt h el o w e rn o t pL 0 t o t h ep i t c ho f t h eh i g h e r .

b.vrapd '/ Thestringis vrbrated VIBRATo: b e n d i nagn dr e l e a s i nt hgen o t e\ ' /t h t h e f r e t t i nh ga n d .

oh : ep i t c hl s v a r i e td0 a W I D EV I B R A TT g r e a t edre g r ebeyv i b r a t i nwgi t ht h ef r e t t i n g nan0

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