Copyright, C 2004 Rock Star Recipes Ltd. All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, without the prior written permission of the publisher.
Contents Preface ..............................................................................................
5
Lessons: Lesson 1 - D Minor chord, bass note runs................................................
8
Lesson 2 - Major seventh chords, F major 7th, C major 7th, 16th note rhythm patterns....................................................................................... 11 Lesson 3 - A major 7, D major 7, G major 7, chromatic notes - first position..... .................................................................................................. 18 Lesson 4 - B minor chord, triplet rhythm................................................ 27 Lesson 5 - Major six chords, A6 chord, E6 chord, the A major scale................. 31 Lesson 6 - Barre chords, F barre chord, root six barre chord........................ 35 Lesson 7 - Percussive strum................................................................ 37 Lesson 8 - Root 6 minor bar chord........................................................ 40 Lesson 9 - Key signatures and scales..................................................... 48 Lesson 10 - F dominant 7 chord (Root six), music rests............................... 50 Lesson 11 - Deadening, eighth note rest within a strum.............................. 53 Lesson 12 - Major root 5 barre chords, staccato strumming.......................... 57 Lesson 13 - Chord progression concepts, blues pattern 1, blues pattern 2........ 65
Lesson 14 - Root 5 minor barre chord, 12 bar blues pattern 3................. 68 Lesson 15 - Palm muting............................................................. 78 Lesson 16 - Advanced rhythm techniques.......................................... 80 Lesson 17 - Root 5 dominant 7 barre chord, blues in D......................... 90 Lesson 18 - Reggae strum............................................................ 63 Lesson 19 - Minor scale............................................................... 103 Lesson 20 - Minor 7th chords, Fm7chord, Bbm7 chord........................... 105 Lesson 21 - Major 6 barre chords, F6 chord, Bb6 chord.......................... 116 Lesson 22 - Power chords, F power chord, Bb power chord..................... 119 Lesson 23 - Accents, compound meter.............................................. 128 Lesson 24 - C shape barre chord..................................................... 137 Lesson 25 - Suspended barre chords, Bbsus2, Bbsus4............................ 139 Lesson 26 - Root 6 and root 5 major 7th barres................................... 143
Supplementary Chord Reference.......................................................... 154 Index........................................................................................... 160
Preface How to get the most out of your Jamorama Kit By now you would have noticed that the Jamorama Kit contains a great deal of content. Let me tell you how to get the most out of this course. When purchasing the Jamorama course you would have noticed that you were sent a Clickbank order number via email. This order number is effectively your key to unlocking the doors to all the tools and secrets that will enable you to become the guitar player you have always dreamed about. Use it to log in to our members’ area at www.jamorama.com/members.php Within the ‘Members’ Area’ the full Jamorama course is available as a download, i.e. the books, the video examples, the songs, and all of the extra bonus software and tools such as Jayde Musica, Guit-ear-it, the Jamorama Metronome and Guitar Tuner pro. Let’s start by looking closer at the books. Basically the books are the cornerstone of the course. All of the bonus software and video examples accompany the books and their content. They have been written by me directly for you, with you the learner in mind. All of the lessons within the books have been written in guitar tablature and each lesson is accompanied by helpful video. The video lessons are excellent accompaniments to the book as you can SEE and HEAR exactly what you are meant to be doing. Icons have been added to the books at the relevant places to show you when and where there are video examples available. When you see this icon you will know that there is video available:
1 To access the video for each exercise, you will need to log in and download it from our members’ area. Essentially, the books are the foundation. Read them, study them, love them… then read them all again! The bonus software and games that come as part of the Jamorama course consist of the following: -
Jayde Musica Guit-ear-it Guitar Tuner Pro Jamorama Metronome
- How to tune your guitar - Advanced guitar learning techniques
These extra bonuses are tools to help motivate you and keep your interest levels up. I strongly recommend that you use these for at least 10 minutes each a day. This will very quickly improve your music sight reading, train your ear and increase your skill at playing in time. These programmes are available in our members area also. Install these programs onto your computer and use them from there.
What I can assure you is this: if you listen to what I have to say, practise daily and keep yourself motivated, you will see the results. And you’ll start seeing them quickly. I also must add that while this book is an invaluable resource for your guitar learning, the guidance of an experienced guitar teacher is also recommended as they will help keep you on task, motivated and can quickly point out important things about your technique that will help accelerate your learning that you may not notice yourself. Good luck with your guitar learning, it’s going to be a really life changing ride! Yours sincerely,
Ben Edwards Jamorama.com
Right now, I want to introduce you to the key that we will be using throughout this course. From time to time you will see icons at the side of the page. Below is a guide as to what each of them mean: This is a lesson or some advice that could save you a lot of valuable time. A hot tip can be a number of things: A quick pointer, a hard learned lesson or a cheeky shortcut to get you there faster. Take note of each tip and they will serve you well.
This is the warning symbol. We use this to steer you away from any guitar learning no nos and put you on the road of righteousness. Pay close attention to the warning symbol as bad habits can creep in unnoticed at any point in your development.
From time to time, I like to add some deeper thought into the mix; an idea, a belief, a word from the wise just to keep you on your toes and thinking about the way you think about playing and learning guitar.
Jam Track Icon. When you see this icon, it means there is a Jam Track available in the online members area. Basically, the Jamorama Jam Tracks are there to get you jamming with the band and to put all those newly learned skills into practise.
Did you know that the first guitarist to intentionally use a distorted guitar sound was Link Wray. He achieved the sound by punching holes in the speaker of his amplifier and it can be heard on the 1958 recording of his song ‘Rumble’. You guessed it! When you see this symbol you get a pretty trivial fact - useless, but interesting nonetheless.
Pretty self-explanatory really. This is something important that you really need to take note of and remember. When you see this icon, study up on the relevant information until you know it inside and out. That way you will be ready for everything in the lessons that follow.
Now that we’ve got that covered, it’s time to start learning. I hope you’re ready for the ride...
Lesson One
Imagine that you are filling in for Pearl Jam as they record a new version of the song ‘Betterman’ in the studio. Their second guitarist is sick. They hand you a sheet of music and on it are the chords and solos you are to play for the song. You calmly put the sheet of music on a stand and pick up the guitar. The sound engineer asks if you want a practise run to which you coolly reply, “No thanks”. The sound guy hits record and you play the whole song perfectly first time through, from off the page in front of you. Your track is ready for the mix. Does this situation sound real to you? I want to ask you, did you pick up this book and read the above section through perfectly without any mistakes? What’s the difference then between reading the English language and reading music? Consider that you’ve grown up reading the English language and by now you are quite good at it. Compare that to sight-reading music. There’s no trick to sight-reading, it just takes time and practise. It will get harder as you progress, just as the English language gets harder the more you study it. In the end, you will be able to pick up a piece sheet of music and know what to play, first time without mistakes. Start today, build up a collection of sheet music books, especially Piano, Sax or Brass Instruments as typically the sheet music for those instruments is heavily stave-based. Remember, memorizing a song isn’t sight-reading. You need to have a large selection of music to read so that you don’t get a chance to familiarize yourself to it. Mistakes are OK to start with. Try to keep the flow and speed and perfection will come.
The D Minor Chord
The D minor chord is constructed of the notes D, F and A .
3
2 1
44 Dminor T A B
3
2
0
1
1 3 2 0 X X
1
Exercise
Play the following chord progression using the suggested strum. Strum: Count:
34Am T A B
0 1 2 2 0 X
0 1 2 2 0 X
1 + 2 + 3 +
Dm
0 1 2 2 0 X
0 1 2 2 0 X
0 1 2 2 0 X
1 3 2 0 X X
G
1 3 2 0 X X
1 3 2 0 X X
1 3 2 0 X X
1 3 2 0 X X
3 0 0 0 2 3
C
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
0 1 0 2 3 X
0 1 0 2 3 X
0 1 0 2 3 X
2
0 1 0 2 3 X
0 1 0 2 3 X
Bass note runs
Sometimes the sound of the movement between two chords in a particular progression can become boring or cliche. Bass note runs can help ‘bridge’ two chords together, lending an element of interest to a piece. A bass note run is a ‘bridge’ constructed of single notes played on the bass strings.
Exercise:
Play the following piece that uses bass note runs:
T A B
34
Am
0
Dm
2
G
T A B
3
0
0
C
3
0
2
3
3
3 Well done! Becoming a great player and musician will take time and effort on your part, I really think you‘ve done so well to get to this point. This last exercise may be quite difficult at first with combining picking and strumming, however you will notice how good and ‘song-like’ it is sounding. You’re really coming together well now!
10
Lesson Two A Passion for Music
The people who really succeed at getting under way with their development are people who stick at it no matter what. These people have a real passion for their music. Passion is an attribute that will serve you well, if you can harness it. If you watch these people progress you will see that they immerse themselves in music. They begin to walk, talk and breathe music. They capitalize on their strengths and work through their weaknesses. Above all, these people love the music they play and are never fazed by what other people say. With passion, you will continue to improve every day.
Major Seventh Chords
In Chapter Seven of Book One we looked at dominant seventh chords. Now we will take a look at a different type of seventh chord; the major seventh. The major seventh chord is very closely related to the dominant seventh chord. The difference between the two chords is that the major seventh chord adds the major seventh note instead of the minor seventh note to the major triad. All major 7th chords use four notes, (the three notes taken from the major chord and a fourth note added to turn it into a major 7th). The major seventh is commonly used in jazz and blues.
The F major 7th Chord
The C major 7th Chord
The F major 7th chord is like the F major chord but with one finger less! It consists of the notes F, A, C and E.
3
The C major 7th chord is like the C major chord but also with one finger less! It consists of the notes C, E, G and B.
3 2
2
1
4
5 11
4 4
44 Cmaj7
Fmaj7
0 1 2 3 X X
T A B
0 1 2 3 X X
0 1 2 3 X X
0 1 2 3 X X
0 1 2 3 X X
0 1 2 3 X X
0 1 2 3 X X
0 1 2 3 X X
0 0 0 2 3 X
T A B
0 0 0 2 3 X
0 0 0 2 3 X
0 0 0 2 3 X
0 0 0 2 3 X
0 0 0 2 3 X
4
0 0 0 2 3 X
0 0 0 2 3 X
5
Exercise:
Play the following progression using the suggested strum: Strum: 1 + 2 + 3 + 4 +
Count:
44Cmaj7 T A B
0 0 0 2 3 X
1 + 2 + 3 + 4 +
Fmaj7
0 0 0 2 3 X
0 0 0 2 3 X
0 0 0 2 3 X
0 0 0 2 3 X
0 0 0 2 3 X
1 1 2 3 X X
Cmaj7
G
1 1 2 3 X X
1 1 2 3 X X
1 1 2 3 X X
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
0 0 0 2 3 X
0 0 0 2 3 X
6
12
0 0 0 2 3 X
0 0 0 2 3 X
Sixteenth Note Rhythm Patterns
So far we have used either quarter or eight note rhythms. If we take an eighth note and halve its value, we create a sixteenth note. From this we can create sixteenth note rhythms.
Example:
Eighth note:
(eight notes to a bar)
One eighth note = Two sixteenth notes.
Sixteenth note: Strum: Count:
1e +a
say:
one ee and ah two ee and ah etc...
2e+ a
3e+a
(Sixteen notes to a bar)
4e +a
Exercise: Try playing the following sixteenth note strums over the suggested chords. Strum: Count: 1 2 3 e + a 4
44 T A B
C major 7th
0 0 0 2 3 X
0 0 0 2 3 X
0 0 0 2 3 X
0 0 0 2 3 X
0 0 0 2 3 X
0 0 0 2 3 X
0 0 0 2 3 X
7 13
Exercise:
Play the following chords using the suggested rhythm pattern. Strum: Count: 1 e + a 2 3 e + a 4
44F 1 1 T 2 A 3 B X X
1 1 2 3 X X
1 1 2 3 X X
Fmaj7
1 1 2 3 X X
1 1 2 3 X X
1 1 2 3 X X
1 1 2 3 X X
1 1 2 3 X X
1 1 2 3 X X
1 1 2 3 X X
0 1 2 3 X X
0 1 2 3 X X
0 1 2 3 X X
0 1 2 3 X X
0 1 2 3 X X
C
0 1 2 3 X X
0 1 2 3 X X
0 1 2 3 X X
0 1 2 3 X X
0 1 2 3 X X
0 1 0 2 3 X
Cmaj7
0 1 0 2 3 X
0 1 0 2 3 X
0 1 0 2 3 X
0 1 0 2 3 X
0 1 0 2 3 X
0 1 0 2 3 X
0 1 0 2 3 X
0 1 0 2 3 X
0 1 0 2 3 X
0 0 0 2 3 X
0 0 0 2 3 X
0 0 0 2 3 X
0 0 0 2 3 X
0 0 0 2 3 X
0 0 0 2 3 X
0 0 0 2 3 X
0 0 0 2 3 X
0 0 0 2 3 X
0 0 0 2 3 X
8
Jam Track No. 1 Okay, so most of you will be quite used to these Jam Tracks from the first Jamorama book. For those of you who are not familiar with them here’s what they do. At Jamorama, we believe there is no point learning chords and techniques if you never get to put them into practise with a band. For this reason, I want this course to introduce you to the idea of contextual learning. Throughout the Jamorama course, we will take what you have learned and use Jam Tracks to put it into ‘context’. So here we are, you have been invited into the ‘Jamorama Band’ as the rhythm guitarist. Below is TAB of what you need to play (note that each Jam Track will only use skills that you have already learned). There are two audio tracks for each Jam Track, one with your guitar part being played and one that you can play along with where the rhythm guitar has been left out. Okay let’s get started.
14
Jam Track No. 1 Repeat once
C T A B
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
0 1 0 2 3 x
Strum
G T A B
3 0 0 0 2 3
Strum
C T A B
0 1 0 2 3 x
Strum
G T A B
3 0 0 0 2 3
Strum
15
C T A B
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
0 1 0 2 3 x
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
Strum
G T A B
3 0 0 0 2 3
3 0 0 0 2 3
Strum
C T A B
0 1 0 2 3 x
0 1 0 2 3 x
Strum
G T A B
3 0 0 0 2 3
Strum
16
3 0 0 0 2 3
Emin
0 0 T 0 A 2 B 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
F maj (root6)
0 0 0 2 2 0
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
Strum
Emin
0 0 T 0 A 2 B 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
F maj (root6)
0 0 0 2 2 0
1 1 2 3 3 1
1 1 2 3 3 1
Strum
Emin
0 0 T 0 A 2 B 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
F maj (root6) 1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
Strum
G
3 0 T 0 A 0 B 2 3 Strum
17
Lesson Three Knowledge is Power
It’s not all about playing, as you may have realized by now. The market is saturated with information that is valid and reliable. Music magazines are good reading as they often refer you onto books and videos that will aid your learning. Autobiographies of artists are always a good read also. They illustrate the luck and hard work that it takes in finding rock stardom. Anything can be found in a book. Whether it is the history of the guitar or how to buy a good amp, you should read a lot. The musicians who make it big are normally the musicians who have the most knowledge. Knowledge is power.
The Amaj7 Chord
The Dmaj7 Chord
2 3
1
1
9
10
18
44 A major 7th T A B
0 2 1 2 0 X
0 2 1 2 0 X
0 2 1 2 0 X
0 2 1 2 0 X
0 2 1 2 0 X
0 2 1 2 0 X
0 2 1 2 0 X
0 2 1 2 0 X
9
44 D major 7th T A B
2 2 2 0 X X
2 2 2 0 X X
2 2 2 0 X X
2 2 2 0 X X
2 2 2 0 X X
2 2 2 0 X X
10 The Gmaj7 Chord 2
1
11 19
2 2 2 0 X X
2 2 2 0 X X
4 4
G major 7th
2 0 0 0 X 3
T A B
2 0 0 0 X 3
2 0 0 0 X 3
2 0 0 0 X 3
2 0 0 0 X 3
2 0 0 0 X 3
2 0 0 0 X 3
2 0 0 0 X 3
11
Exercise: Major 7 Progression
Play the following chord progression using the suggested strum. Strum: Count:
1
2
44Gmaj7 2 0 T 0 A 0 B X 3
4
2 0 0 0 X 3
3
4e+a
Dmaj7 Gmaj7
2 2 2 0 X X
A
2 2 2 0 X X
2 2 2 0 X X
2 2 2 0 X X
Amaj7
2 0 0 0 X 3
2 0 0 0 X 3
Dmaj7 Gmaj7
2 2 2 0 X X
A
22 22 22 00 XX XX
2 2 2 0 X X
2 0 0 0 X 3
2 0 0 0 X 3
Dmaj7 Gmaj7
2 2 2 0 X X
2 2 2 0 X X
2 2 2 0 X X
2 2 2 0 X X
2 0 0 0 X 3
2 0 0 0 X 3
Dmaj7
2 2 2 0 X X
22 22 22 00 XX XX
2 2 2 0 X X
Amaj7 Gmaj7 Dmaj7 Gmaj7 Dmaj7
4
0 2 T 2 A 2 B 0 X
0 2 2 2 0 X
0 2 1 2 0 X
0 2 1 2 0 X
0 2 1 2 0 X
0 2 1 2 0 X
0 2 2 2 0 X
0 2 2 2 0 X
0 2 1 2 0 X
0 2 1 2 0 X
0 2 1 2 0 X
0 2 1 2 0 X
2 0 0 0 X 3
2 0 0 0 X 3
2 2 2 0 X X
2 2 2 0 X X
2 2 2 0 X X
2 2 2 0 X X
2 0 0 0 X 3
2 0 0 0 X 3
2 2 2 0 X X
12 20
22 22 22 00 XX XX
2 2 2 0 X X
Chromatic notes - First position
On stave, flats and sharps are placed directly before the note that they affect.
C#
#
Example:
You may have noticed that all flat notes share their position on the fret board with a sharp note. These notes are enharmonic. They have the same pitch but have different names. Here are the chromatic notes in the first position:
T A B
T A B
0
1
2
B
C
C#
2
3
Gb
b
4
or
Gb
G
or b
2
3
or
Db
D
or b
#
#
4
4
G
G#
Ab
#
0
1
b
or
or b
#
Ab
A
A#
#
4
or b
1
0
4
Bb
or
1
D# or Eb
E
F
or b
#
0
1
2
3
4
A
A#
or
Bb
#
or
b
#
1
G#
2
3
1
F#
3
B
4
C
T A B
F
1
F#
or
or
C#
or
#
or
E
2
Continued over page... 21
or b
4
E
3
Eb
0
4
F
F#
2
#
or
T A B
D#
#
1
or
Gb
or b
2
G
G#
b
D
Db
#
3
2
4
Exercise:
The following exercise uses flat and sharp notes to form its bass note runs.
3 4 T A B
E
A
0
0
2
4
1
2
3
1
#
#
2
3
34
D
T A B
0
1
2 +
3
#
0
1
2
3
0
2
4
1
2
3
A
0
0
1
2 + 3
1
2
3
1
13
22
Jam Track No. 2
A min
T A B
0
0 1 2 2 0 x
0 1 2 2 0 x
0
0 1 2 2 0 x
0 1 2 2 0 x
0
0 1 2 2 0 x
0 1 2 2 0 x
0 1 2 2 0 x
0 1 2 2 0 x
1 1 2 3 x x
1 1 2 3 x x
0 1 2 2 0 x
0 1 2 2 0 x
1 1 2 3 x x
1 1 2 3 x x
3
2
3
Strum
A min T A B
0
0 1 2 2 0 x
0 1 2 2 0 x
0 1 2 2 0 x
0
0 1 2 2 0 x
0
0
2
3
Strum
F T A B
3
1 1 2 3 x x
1 1 2 3 x x
3
1 1 2 3 x x
1 1 2 3 x x
0 1 2 2 0 x
0 1 2 2 0 x
1 1 2 3 x x
1 1 2 3 x x
3
3
2
0
2
3
3
2
0
3
Strum
A min T A B
0
0 1 2 2 0 x
0 1 2 2 0 x
0
0
Strum
F
T A B
3
1 1 2 3 x x
1 1 2 3 x x
3
3
Strum 23
A min T A B
0
0 1 2 2 0 x
0 1 2 2 0 x
0
0 1 2 2 0 x
0 1 2 2 0 x
1 1 2 3 x x
1 1 2 3 x x
0 1 2 2 0 x
0 1 2 2 0 x
1 1 2 3 x x
1 1 2 3 x x
1 3 2 0 x x
1 3 2 0 x x
0
0 1 2 2 0 x
0 1 2 2 0 x
1 1 2 3 x x
1 1 2 3 x x
0 1 2 2 0 x
0 1 2 2 0 x
1 1 2 3 x x
1 1 2 3 x x
1 3 2 0 x x
1 3 2 0 x x
0
2
3
3
1 1 2 3 x x
1 1 2 3 x x
0
2
3
3
2
2
0
2
2
Strum
F T A B
3
1 1 2 3 x x
1 1 2 3 x x
3
3
Strum
A min T A B
0
0 1 2 2 0 x
0 1 2 2 0 x
0
0
Strum
F T A B
3
1 1 2 3 x x
1 1 2 3 x x
3
3
Strum
D T A B
0
1 3 2 0 x x
1 3 2 0 x x
0
0
Strum
24
F T A B
3
1 1 2 3 x x
1 1 2 3 x x
3
1 1 2 3 x x
1 1 2 3 x x
0 1 2 2 0 x
0 1 2 2 0 x
1 1 2 3 x x
1 1 2 3 x x
0 1 2 2 0 x
0 1 2 2 0 x
1 1 2 3 x x
1 1 2 3 x x
3
1 1 2 3 x x
1 1 2 3 x x
0 1 2 2 0 x
0 1 2 2 0 x
1 1 2 3 x x
1 1 2 3 x x
0 1 2 2 0 x
0 1 2 2 0 x
1 1 2 3 x x
1 1 2 3 x x
3
2
2
0
2
3
3
2
2
0
2
3
3
2
2
Strum
A min T A B
0
0 1 2 2 0 x
0 1 2 2 0 x
0
0
Strum
F T A B
3
1 1 2 3 x x
1 1 2 3 x x
3
3
Strum
A min T A B
0
0 1 2 2 0 x
0 1 2 2 0 x
0
0
Strum
F T A B
3
1 1 2 3 x x
1 1 2 3 x x
3
3
Strum
25
D T A B
0
1 3 2 0 x x
1 3 2 0 x x
0
1 3 2 0 x x
1 3 2 0 x x
1 1 2 3 x x
1 1 2 3 x x
1 3 2 0 x x
1 3 2 0 x x
1 1 2 3 x x
1 1 2 3 x x
0
1 3 2 0 x x
1 3 2 0 x x
1 1 2 3 x x
1 1 2 3 x x
1 3 2 0 x x
1 3 2 0 x x
1 1 2 3 x x
1 1 2 3 x x
0
2
2
3
2
2
0
2
2
Strum
F T A B
3
1 1 2 3 x x
1 1 2 3 x x
3
3
Strum
D
T A B
0
1 3 2 0 x x
1 3 2 0 x x
0
0
Strum
F T A B
3
1 1 2 3 x x
1 1 2 3 x x
3
3
Strum
A min
0 1 T 2 A 2 B 0 x Strum
26
Lesson Four Guitars vary in so many ways, from shape, size and type of wood. To appreciate the differences between guitars it’s best to try and pick up as many guitars as possible. If you walk into a guitar shop and have time, play on guitars that you initially don’t like the look of. Guitars can be deceptive and you’ll most probably find a guitar - that you initially thought was ugly - could be the perfect feel for your hands. Guitar legends often get custom versions of their favorite guitars, asking the manufacturers for specific ideas they want in the guitar that feels the best for them.
Bm
The 5th and 6th strings are not played in the Bm chord.
4
44 T A B
3 2
1
Bm
2 3 4 4 X X
2 3 4 4 X X
2 3 4 4 X X
2 3 4 4 X X
27
2 3 4 4 X X
2 3 4 4 X X
2 3 4 4 X X
2 3 4 4 X X
14
Exercise: Play the following progression using the suggested strum.
Strum: Count:
44 T A B
2 3 2 0 X X
1
2e+a
D
3
4e+a
Dmaj7
22222 33333 22222 00000 XXXXX XXXXX
22 33 22 00 XX XX
2 3 2 0 X X
1 1 2 0 X X
Bm
11111 11111 22222 00000 XXXXX XXXXX
11 11 22 00 XX XX
2 3 4 4 X X
1 1 2 0 X X
G
22222 33333 44444 44444 XXXXX XXXXX
22 33 44 44 XX XX
2 3 4 4 X X
3 0 0 0 2 3
33333 00000 00000 00000 22222 33333
33 00 00 00 22 33
3 0 0 0 2 3
15
Triplet Rhythm
A triplet is three notes played in the time of two. In music a triplet is indicated by a beam or a curve with a number 3 placed above the notes on the staff.
=
=
3
28
3
=
Exercise: Eighth Note Triplet Strum
To play an eighth triplet strum, tap your foot to a quarter note pulse (count 1 2 3 4). Now, for every beat that you tap with your foot, play three evenly spaced downward strums (use a chord that you are comfortable with). 3
3
Note: Strum: Foot:
44 T A B
3
1
2
3
4
E
0 0 1 2 2 0
3
0 0 1 2 2 0
1
0 0 1 2 2 0
0 0 1 2 2 0
3
0 0 1 2 2 0
2
0 0 1 2 2 0
0 0 1 2 2 0
3
0 0 1 2 2 0
3
0 0 1 2 2 0
0 0 1 2 2 0
3
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
4
3
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
3
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
3
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
3
0 0 1 2 2 0
0 0 1 2 2 0
16
Many people have heard of the name Eric Clapton as being synonymous with guitar playing. He started his long and very twisted career in 1965 playing guitar in the infamous ‘John Mayall’s Bluesbreakers’. He then moved on in 1966 to form and play guitar in the band ‘Cream’. The band only lasted two years but established themselves around the world as a force to be reckoned with. Clapton style draws a lot of influence from early American blues guitar playing, namely Robert Johnson.
29
Exercise: Play the following chord progression using the provided eighth note triplet strum.
3
3
3
3
1 + a
2+a
3 + a
4+a
Strum: Count:
44 T A B
D
2 3 2 0 X X
44 T A B
A
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
Bm
2 3 4 4 X X
2 3 4 4 X X
0 2 2 2 0 X
Em
0 2 2 2 0 X
0 2 2 2 0 X
0 2 2 2 0 X
0 2 2 2 0 X
D
2 3 4 4 X X
2 3 4 4 X X
2 3 4 4 X X
2 3 2 0 X X
etc.
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
G
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
17
30
3 0 0 0 2 3
Lesson Five Major Six Chords
Major six chords are created when the sixth note of a major scale is added to the major triad.
Example:
Let’s look at the A major scale and see how the A6 chord is made up.
Note:
A
B
C# D
E
F#
G#
A
Note No.
1
2
3
5
6
7
8
4
The major six chord is used mostly in blues music.
The A6 Chord
The A6 chord consists of the notes A, D, E and F#.
2 4
3
1
18 31
4 4 T A B
A6
2 2 2 2 0 X
2 2 2 2 0 X
2 2 2 2 0 X
2 2 2 2 0 X
2 2 2 2 0 X
2 2 2 2 0 X
2 2 2 2 0 X
2 2 2 2 0 X
18
The E6 Chord
The E6 chord consists of the notes E, G#, B and C#.
3
2 1
4
44 T A B
E6
0 2 1 2 2 0
0 2 1 2 2 0
0 2 1 2 2 0
0 2 1 2 2 0
0 2 1 2 2 0
0 2 1 2 2 0
0 2 1 2 2 0
32
0 2 1 2 2 0
19
Exercise:
The following progression uses the A6 and E6 chords with major and seventh chords. Use your little finger to slide between sixth and seventh chords so that the progression is smooth and flowing. This symbol-means that you repeat the last written bar Strum: Count:
44A T A B
0 2 2 2 0 X
0 2 2 2 0 X
1+ 2+ 3 + 4+
1+ 2+ 3 + 4+
A6 A7 A6
2 2 2 2 0 X
2 2 2 2 0 X
3 2 2 2 0 X
3 2 2 2 0 X
2 2 2 2 0 X
2 2 2 2 0 X
0 2 2 2 0 X
0 2 2 2 0 X
2 2 2 2 0 X
2 2 2 2 0 X
3 2 2 2 0 X
3 2 2 2 0 X
2 2 2 2 0 X
2 2 2 2 0 X
0 2 2 2 0 X
44D T A B
2 3 2 0 X X
T A B
2 2 2 2 0 X
2 2 2 2 0 X
3 2 2 2 0 X
3 2 2 2 0 X
2 2 2 2 0 X
2 2 2 2 0 X
0 2 2 2 0 X
0 2 2 2 0 X
2 2 2 2 0 X
2 2 2 2 0 X
3 2 2 2 0 X
3 2 2 2 0 X
2 2 2 2 0 X
2 2 2 2 0 X
2 2 2 2 0 X
0 2 2 2 0 X
0 2 2 2 0 X
2 2 2 2 0 X
2 2 2 2 0 X
3 2 2 2 0 X
3 2 2 2 0 X
2 2 2 2 0 X
2 2 2 2 0 X
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
A A6 A7 A6
2 3 2 0 X X
44E 0 0 1 2 2 0
0 2 2 2 0 X
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
E6 E7 E6
0 0 1 2 2 0
0 2 1 2 2 0
0 2 1 2 2 0
0 3 1 2 2 0
0 3 1 2 2 0
0 2 1 2 2 0
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
0 2 2 2 0 X
2 3 2 0 X X
2 2 2 2 0 X
2 2 2 2 0 X
3 2 2 2 0 X
3 2 2 2 0 X
2 2 2 2 0 X
A A6 A7 A6 D
D
0 2 1 2 2 0
0 2 2 2 0 X
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
0 2 2 2 0 X
0 2 2 2 0 X
2 2 2 2 0 X
2 2 2 2 0 X
3 2 2 2 0 X
3 2 2 2 0 X
2 2 2 2 0 X
2 2 2 2 0 X
2 3 2 0 X X
20 33
The A Major Scale
Each scale contains its own number of flats or sharps. The A major scale has three sharps.
T A B
Note Number:
1
2
#
0
2
4
2
3
1
3
Step Pattern: tone tone
4
semi tone
#
5
6
0
2
4
4
5
6
tone
tone
#
7
8
1
2
7
8
tone
semi tone
Exercise:
Play the A major Scale from the previous page. Play from start to end and then play the scale in reverse back to the starting point at A on the 5th string. Use down/up picking.
T A B
0
2
#
4
# # # # # 0
2
4
1
2
2
1
4
2
0
4
2
21
34
0
Lesson Six Barre chords
The chords we have covered so far have all been in the open position and they all contain at least one open string, so they are sometimes referred to as open chords. Bar chords do not contain any open strings because the first finger holds a ‘barre’ across the fret board. Take the F major root six barre chord for example, look at the chord diagram below. Do note however that playing barre chords can be very tricky at first. Most players when initially learning, have trouble holding the strings down across the entire neck. Here are some tips to help keep barre chords clear and pristine:
1. Keep your barre finger pressed down hard 2. Keep the barre finger even across the fret (straight up and down) 3. Keep your other fingers perpendicular to the strings and not too flat.
The F Major Root Six Barre Chord
Hold the ‘barre’ down solid. This may be hard at first, but keep trying. Make sure each string is sounding.
4
3 2
1
4 4 T A B
F Major root 6 barre
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
22
35
1 1 2 3 3 1
Looking at the F major chord above you can see that apart from the first finger across the first fret, the chord shape is that of the open E chord. The root note is the note played on the sixth string (in this case it is F) and that is where the chord gets its name from, hence the term ‘root 6 barre chord’. If you move this chord shape up the fret board the chord changes, you will find the name of the chord is the same as the sixth string note (root note). So it is important to know these notes. They are written below on the fret board diagram: Fret:
Note:
0
1
2
E F
3
4
F# G Gb
5
6
G# A Ab
7
8
9
A# B C Bb
10
11
12
C# D Db
D# Eb
E
The root 6 bar chord concept means that you now have some new chords to play with, like the F# chord on the 2nd fret.
Exercise:
When playing the following chord progression, try to maintain contact with the strings at all times with your left hand. The chord shape should be held firm. Strum: Count:
44 T A B
1 1 2 3 3 1
1+
2+ 3+ 4+
F 1st Fret
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
A# 6th Fret
1 1 2 3 3 1
1 1 2 3 3 1
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
G# 4th Fret
6 6 7 8 8 6
6 6 7 8 8 6
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
C 8th Fret
4 4 5 6 6 4
4 4 5 6 6 4
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
23 36
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
Lesson Seven Most people know Dave Evans as ‘The Edge’ from U2. That is the name that he has adapted over the years. Personally I rate ‘The Edge’ as one of my all-time favorites. He runs his guitar signal through a series of delay and reverb units creating a cascade of sound and a wall of synthetic texture. He often plays subtle arpeggio motifs that create a sense of continuous rippling within the songs. He’s what I call a quiet achiever, creating beautiful guitar moments but not in an obvious up-front manner. He has a very destinctive
Percussive Strum
The percussive strum is achieved by deadening all six strings while playing a chord. There are two techniques of percussive strum, one for barre chords and one for open chords. The percussive strum is written as an x placed above or below the strum indicator, like this:
x
Strum:
x
Count:
1+ 2+
3+ 4+
You can see here that beat 2, and the + of 3, are both percussive strums.
Percussive Strum for Barre Chords
Hold the barre chord G with your left hand, but do not apply any pressure to the strings. Your fingers on your left hand should be touching the strings, but the strings should not be touching the fret board. When you strum this, you are playing a percussive strum.
Exercise:
Try playing the following percussive strum over the chord G root six Major. It may be hard at first. The key is to keep trying at it so that it flows.
Strum:
G x
x x
Count:
1+ 2+
24
x
44 G
3+ 4+ 3 3 4 5 5 3
T A B
37
3 3 4 5 5 3
3 3 4 5 5 3
x
3 3 4 5 5 3
x
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
x
3 3 4 5 5 3
x
Slow practise: When we’re first learning a skill we typically perform it slowly, but even once you’ve grasped the basics, slow practise can be very beneficial for building solid chunks and strengthening the pathways in your mind. By practising slowly you minimize the potential for mistakes, thereby ensuring that you don’t “learn” your mistakes. The more times you perform a task correctly, the easier it will be to do so the next time, regardless of how slowly you do it. You will also find it easier to join your chunks together if you do it slowly, since your brain will have time to think, “what is it that comes next?” and come up with the correct answer. Slow practise has the added benefit of making material seem easier, and thereby giving you confidence in your performance. A lack of confidence can be one of the largest contributors to mistakes and forgetfulness!
Percussive Strum for Open Chords
The open chord percussive strum is a little trickier to master than the barre chord version. First, hold the open chord C major, but do not apply any pressure to its notes. You will see that the 1st, 2nd and 6th strings are not deadened. To deaden them you must tilt your left hand to cover the 1st and 3rd strings. Use your thumb to deaden the 6th string.
Exercise:
Try playing the following percussive strum over the open chord C Major.
Strum:
Count:
44 T A B
C x
x x
1+ 2+ 3+
4+
C
0 1 0 2 3 X
0 1 0 2 3 X
0 1 0 2 3 X
x
0 1 0 2 3 X
x
0 1 0 2 3 X
0 1 0 2 3 X
38
0 1 0 2 3 X
x
25
Exercise: Play the following chord progression using the percussive strum provided.
Strum:
Count:
x 1+ 2+
44 G T A B
3 0 0 0 2 3
3 0 0 0 2 3
x 3+ 4+
C
3 0 0 0 2 3
x
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
x
3 0 0 0 2 3
0 1 0 2 3 X
C
G
0 1 0 2 3 X
0 1 0 2 3 X
x
0 1 0 2 3 X
0 1 0 2 3 X
0 1 0 2 3 X
0 1 0 2 3 X
x
0 1 0 2 3 X
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
x
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
x
3 0 0 0 2 3
0 1 0 2 3 X
0 1 0 2 0 X
0 1 0 2 3 X
x
0 1 2 2 3 X
0 1 0 2 3 X
0 1 0 2 3 X
0 1 0 2 3 X
x
0 1 0 2 3 X
26 Writing Music can be an overwhelming process because not only are you expressing yourself through your instrument, but more importantly, your voice, ideas and beliefs are heard by all. It’s a confidence thing, and the sooner you realize that you’re a good person and what you have to say is important, the sooner you will set on your songwriting path.
Strum:
Count:
x 1+
2+ 3+ 4 +
44G T A B
3 3 4 5 5 3
C
B
3 3 4 5 5 3
x
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
7 7 8 9 9 7
7 7 8 9 9 7
x
7 7 8 9 9 7
7 7 8 9 9 7
7 7 8 9 9 7
7 7 8 9 9 7
8 8 9 10 10 8
A
8 8 9 10 10 8
x
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
5 5 6 7 7 5
5 5 6 7 7 5
x
5 5 6 7 7 5
5 5 6 7 7 5
27 39
5 5 6 7 7 5
5 5 6 7 7 5
Lesson Eight Root 6 minor barre chord
Fm Root 6 Barre Chord
The root 6 minor bar chord is very much like the root 6 major bar chord in that it uses one chord shape that can be moved along the fret board to play different chords. The shape of the root minor 6 chord is the same as the Em open chord, the only difference being that it is ‘barred’ by your first finger. Take the Fm root 6 bar chord for example:
4
3 1
44 Fm Root 6 Barre Chord T A B
1 1 1 3 3 1
1 1 1 3 3 1
1 1 1 3 3 1
1 1 1 3 3 1
1 1 1 3 3 1
1 1 1 3 3 1
1 1 1 3 3 1
1 1 1 3 3 1
28
Removing your second finger from the major chord makes this minor chord. Like the major chord, the root 6 minor bar chord takes its name from the sixth string that it ‘barres’. If your first finger is ‘’barring’ the first fret, the chord would be Fm, if it were the second fret: F#m, the third fret: Gm etc. 40
Exercise:
Play the following chord progressions using the suggested strums.
x
Strum:
x
Count:
1+ 2+
3+
34
Gm
T A B
3 3 3 5 5 3
3 3 3 5 5 3
D#
Cm
3 3 3 5 5 3
3 3 3 5 5 3
x x
3 3 3 5 5 3
7 7 7 9 9 7
7 7 7 9 9 7
7 7 7 9 9 7
x
7 7 7 9 9 7
x
7 7 7 9 9 7
11 11 12 13 13 11
11 11 12 13 13 11
D
11 11 12 13 13 11
11 11 12 13 13 11
x x
11 11 12 13 13 11
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
x x
10 10 11 12 12 10
29
It stands to reason that if our ability to play the guitar stems from our ability to perform smaller tasks like playing chords, then we should make sure that we have these smaller skills well mastered before we attempt to set them all in motion. However, in our eagerness to demonstrate progress in a new skill we often tend to rush ahead before we master the basics. Many people try to cover too much ground too quickly, using the “once over lightly” approach and hoping to fill in the gaps with practise. This “in the deep end” or “sink or swim” approach is useful in activities such as swimming, but not so useful for complex tasks where one skill builds on the lessons learned previously. Instead of filling in the gaps, often all you do is develop bad habits and make mistakes that you end up practising (and undoubtedly become very good at!) that are then hard to “unlearn” once you develop enough expertise to realize what you’re doing wrong. The mastery method, despite the impressive sounding title, really just means that we learn best and progress faster when we take the time to master the small components of a skill before we move on to more complex tasks. This is where having a tutor can really be helpful, since in your early stages of learning you’re unlikely to recognize when you’re doing something incorrectly. In lieu of a teacher you could also use videos, audio CDs or software as a point of reference. With a little experience you’ll be able to recognize your mistakes yourself.
41
Strum: Count:
1e+a
2e+a
3e+a
4e+a
44 Am T A B
5 5 5 7 7 5
44 T A B
1 1 2 3 3 1
G
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
0 2 2 2 0 X
2 3 2 0 X X
2 3 2 0 X X
0 2 2 2 0 X
F
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
3 3 4 5 5 3
E open
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
30
Rock around the clock, one of the most famous rock songs which helped create the rock star era, was written and performed by Bill Haley and the Comets. Bill played an Aria Pro II PE-180. Keith Richards from the Rolling Stones played a White Custom Gibson SG on the band’s landmark tour of the U.S.
42
Jam Track No. 3
D T A B
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
A
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
Eminor
0 2 2 2 0 x
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
Strum
G T A B
3 0 0 0 2 3
D
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
0 2 2 2 0 x
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
A 0 2 2 2 0 x
Strum
D T A B
2 3 2 0 x x
A
Eminor 0 0 0 2 2 0
Strum
G T A B
3 0 0 0 2 3
D
A 0 2 2 2 0 x
Strum 43
D T A B
2 3 2 0 x x
A
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
0 2 2 2 0 x
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
0 2 2 2 0 x
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
2 3 2 0 x x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
Eminor 0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
Strum
G T A B
3 0 0 0 2 3
D
A 0 2 2 2 0 x
Strum
D T A B
2 3 2 0 x x
A
Eminor 0 0 0 2 2 0
Strum
G T A B
3 0 0 0 2 3
D
A 0 2 2 2 0 x
Strum
44
Eminor T A B
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
Strum
Eminor T A B
0 0 0 2 2 0
0 0 0 2 2 0
Strum
D T A B
2 3 2 0 x x
A
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
0 2 2 2 0 x
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
2 3 2 0 x x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
Eminor 0 0 0 2 2 0
Strum
G T A B
3 0 0 0 2 3
D
A 0 2 2 2 0 x
Strum 45
D T A B
2 3 2 0 x x
A
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
0 2 2 2 0 x
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
0 2 2 2 0 x
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
2 3 2 0 x x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
Eminor 0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
Strum
G T A B
3 0 0 0 2 3
D
A 0 2 2 2 0 x
Strum
D T A B
2 3 2 0 x x
A
Eminor 0 0 0 2 2 0
Strum
G T A B
3 0 0 0 2 3
D
A 0 2 2 2 0 x
Strum
46
G T A B
3 0 0 0 2 3
D
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
2 3 2 0 x x
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
2 3 2 0 x x
A 0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
0 2 2 2 0 x
Strum
G T A B
3 0 0 0 2 3
D
A 0 2 2 2 0 x
Strum
Don’t forget when you are working on the Jam Tracks make to sure you listen to all the instruments in that Track. For example listen to what the bass guitar is doing, where are his bass lines moving? What rhythm is he following? What about the drummer? Listen to how he lifts and lowers the song through his dynamic playing. Being a part of a band is all about playing ‘together’, the more you become aware of what the others in your band are playing, the more you will grow together as a musical unit. Imagine a band where everytime they practised or performed it was a a constant aural battle between each band member, each one trying to be louder than the rest, or each member playing his/her ‘own’ idea and not listening to the other members and whether all the ideas are ‘working together’. Can you imagine that? It would sound terrible wouldn’t it? Therefore, it’s a great idea to also use these Jam Tracks as ‘Band training’ - getting you used to listening to other instruments as you play your part, understanding their tone, and rhythm and where they ‘fit’ within a band situation. Keep up the great work!
47
Lesson Nine
Key Signatures
For the most part, melodies are built from notes within a scale. So far, we have looked at the C major and a major scale. You will remember that the C major scale has the following notes:
C
D
E
F
G
A
B
Strictly speaking, a melody in C would consist of these notes only. A melody in A would use notes from the A major scale:
A
B
C#
D
E
F#
G#
The A major scale has three sharps (#s). They are C#, F# and G#. On stave, instead of writing a sharp in front of every C, F and G, a key signature is used. A key signature is written at the beginning of a piece of music, on the stave. It indicates the scale you are playing by giving you the sharps or flats used in the piece.
A major scale
T A B
# # #
0
2
#
4
2
0
#
4
#
1
2
31 Each major scale has a specific number of sharps or flats unique to itself. Therefore, each major scale key signature is different. Here are some more scales with their key signatures: 48
D major scale
#
#
T A B
4
2
0
0
2
4
3
2
32 G Major Scale
#
T A B
0
2
0
1
3
0
2
3
33 E Major Scale
T A B
# # # #
0
2
0
1
3
0
2
3
34 Exercise:
Play each major scale from this lesson. Play from start to end and then play the scale in reverse back to the starting point. Use a down/up picking motion. 49
Lesson Ten F dominant 7 Root Six Barre Chord
F dom 7 (alternative fingering)
The F dominant 7 chord can be made as a root six barre chord (see the chord diagram below). This shape can be played right along the fret board.
The F dominant 7 chord can be played another way (shown below). It still uses the same notes as the first method shown.
3
3
4
4 4 T A B
1
2
44 F dom 7 root 6 barre (alternate)
F dom 7 root 6 barre
1 4 2 1 3 1
1 4 2 1 3 1
1 4 2 1 3 1
1 4 2 1 3 1
1 4 2 1 3 1
1 4 2 1 3 1
1
2
1 4 2 1 3 1
1 4 2 1 3 1
T A B
35
1 1 2 1 3 1
1 1 2 1 3 1
1 1 2 1 3 1
1 1 2 1 3 1
1 1 2 1 3 1
1 1 2 1 3 1
36
50
1 1 2 1 3 1
1 1 2 1 3 1
Exercise:
Play the following chord progression using root six chords and the suggested triplet strum. 3
Strum: Count:
1+a
44
44 T A B
3
2+a
3+a
x
3
4+a
C
8 8 9 10 10 8
T A B
3
xx x
1 1 2 3 3 1
Bb
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
x x x
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
x
8 8 9 10 10 8
8 8 9 10 10 8
F
1 1 2 3 3 1
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
x x x
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
x
6 6 7 8 8 6
6 6 7 8 8 6
F7
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
x x x
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
x
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 1 3 1
1 1 2 1 3 1
1 1 2 1 3 1
1 1 2 1 3 1
1 1 2 1 3 1
1 1 2 1 3 1
x x x
1 1 2 1 3 1
1 1 2 1 3 1
1 1 2 1 3 1
1 1 2 1 3 1
x
1 1 2 1 3 1
1 1 2 1 3 1
37
Did you know that the strings you use can greatly alter the sound the guitar makes? For an acoustic guitar you may be playing on steel strings, or nylon. Generally, steel strings are much ‘brighter’ or (obviously) ‘metallic’ sounding; nylon strings produce a softer, warmer feel to them. Even the ‘gauge’ of the string makes a big difference in both sound and ease of playability. ‘Gauge’ is the thickness of the string. The lighter the gauge (thinner strings), the easier they are to play but they usually have less volume and are also usually ‘brighter’ (thinner) in their sound. 51
Music Rests A rest is a section of silence. Every note value has an equivalent rest value as shown in the table below.
Notes:
Rests:
Whole note
Half note
Quarter note
Whole note
Half note
Quarter note
0
0
9
Number of beats note is held:
4
2
1
Eighth note
Eighth note
Sixteenth note
Sixteenth note
=
\
1/2
1/4
Many people seem to overlook one of the most understated and brilliant guitar players of pop history, George Harrison of The Beatles. Known as the quiet Beatle, George is often not credited for his brilliant and subtle work on Beatles’ albums. We all know how genius Lennon and McCartney were with their song-writing, however there are wonderful guitar playing moments on Beatles’ songs such as ‘Here comes the Sun’, ‘Blackbird’ and ‘While my guitar gently weeps’.
52
Lesson Eleven
Deadening
Deadening is a term used by guitarists to describe the act of silencing the guitar while playing. There are two types of deadening. One is done with your fretting hand and is called fret hand deadening. The other is done with your strumming hand and is called palm deadening.
Fret Hand Deadening
Fret hand deadening is achieved by lightly holding the fingers of your fret hand across the guitar strings so that all of the strings are deadened. This type of deadening is used when you play a percussive strum (you covered this in Chapter eight of this book).
Palm Deadening
Palm deadening is where you rest the palm of your picking/strumming hand against the bridge of the guitar so that any ring from the strings is silenced. It is the best way to silence your guitar strings so this is the method we will use to play rests.
53
Exercise: Palm Deadening Open Chords
Play the following progression using the strum provided. The strum requires you to palm deaden on beat two and hold that rest for beat three. You will need to play this slowly at first as the concept is new and can be a little difficult to learn.
99
Strum: Count:
44
2 3
D
2 3 2 0 X X
T A B
1
4
E
A
99
2 3 2 0 X X
0 2 2 2 0 X
99
0 2 2 2 0 X
E7
99
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 0 2 0
99
0 0 1 0 2 0
38
Exercise: Palm Deadening Barre Chords
Palm deadening can also be used with barre chords. Try the following barre chord progression with the suggested strum. You will have to deaden the strings on beat three and hold the ‘rest’ for the + (and) beat of three. Strum: Count:
44 T A B
3 3 3 5 5 3
1 + 2 +
Gm
3 3 3 5 5 3
9
3
4 +
D#
Cm
3 3 3 5 3 3
9
3 3 3 5 5 3
3 3 3 5 5 3
8 8 8 10 10 8
8 8 8 10 10 8
8 8 8 10 10 8
9
8 8 8 8 8 8 10 10 10 10 8 8
11 11 12 13 13 11
D
11 11 12 13 13 11
11 11 12 13 13 11
9
11 11 11 11 12 12 13 13 13 13 11 11
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
9
39 54
10 10 11 12 12 10
10 10 11 12 12 10
Playing Eighth Note Rests So far, you have either played each eighth note within a strum or you have let the chord hold for the duration of the eight note. Now, we are going to learn how to play the eighth note rest. The eighth note rest is hard to master because it involves quick palm deadening technique to silence the strings for the length of the eighth note. Work through the following exercise slowly, it may take some practise to get this skill down.
Exercise: Eighth Note Rest
=
Play the following strum over an open E chord. Palm deaden the guitar strings on beat 2. Strum: Count:
1 +
44 T A B
2 +
3 +
4 +
E open
0 0 1 2 2 0
0 0 1 2 2 0
=
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
40
12 String guitars add amazing color to simple riffs and lick patterns. The way the first four strings are doubled with octave tuning and the two high strings are paired identically creates a very full and complete timbre of sound. Finger picking and articulation techniques are secret weapons of the 12 string player; picking out chords sounds amazing on a 12 string guitar.
55
Exercise:
Play the following chord progression using the suggested strum.
= =
Strum: Count:
1 +
44 G root 6 T A B
3 3 4 5 5 3
3 3 4 5 5 3
3 +
3 3 4 5 5 3
3 3 4 5 5 3
2 3 2 0 X X
2 3 2 0 X X
4 +
Bm root 6
D open
== 3 3 4 5 5 3
2 +
== 2 3 2 0 X X
2 3 2 0 X X
2 3 2 0 X X
7 7 7 9 9 7
7 7 7 9 9 7
== 7 7 7 9 9 7
C root 6
7 7 7 9 9 7
7 7 7 9 9 7
8 8 9 10 10 8
8 8 9 10 10 8
== 8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
41
Don’t forget to keep practising regularly with a Metronome. This course came with the Free Jamorama metronome software. Practising with a metronome familiarizes your ear and brain with keeping time. We’ve all been to see a friend’s band in a local bar that just sounded horrible at the time. Usually keeping time (or in this case not keeping time) is one of the main offenders to musicians sounding bad.
56
Lesson Twelve Major Root 5 Barre Chords
We’ve covered the root six barre chord formation. Let’s now take a look at the Root 5 formation. Root 5 Barre Chords are based upon the open A major chord. You basically take the open A major chord shape and apply the first finger barre to it. This enables you to play the same A shape all the way down the fret board. See the example of the A sharp / B flat root 5 barre chord below. Note that the sixth string is not played.
A# / Bb (Root 5)
A# / Bb (Root 5) Alternative Fingering 1
3
4
44 T A B
A# / Bb (root 5)
1 3 3 3 1 X
1 3 3 3 1 X
1 3 3 3 1 X
1 3 3 3 1 X
1 3 3 3 1 X
1 3 3 3 1 X
42 57
1 3 3 3 1 X
1 3 3 3 1 X
3
2
1
This chord shape is called root 5 because the root note of the chord is taken from the fifth string. In the example above, the fifth string note being played is A sharp or B flat, which is the root note of both the A sharp and B flat chord that we are playing. As a refresher, the notes on the fifth string are listed below. Fret:
0 1
Note: A
2
A#/Bb
3
B
4
C
5
C#/Db
D
6
7
8
D#/Eb
E
F
9
10
F#/Gb
G
11
G#/Ab
12
A
Staccato Strumming
In music, staccato is a term that means ‘to cut short’ or ‘to play crisply’. Staccato strum then, is a strum that is crisp and cut short. It is indicated by a dot placed above or below the note or the strum mark that you want to play as staccato. Example staccato notes: • • •
Count:
1
2
3
•
•
4
1
• • 2
3
• 4
Exercise: Staccato Strum
Before you can play a staccato strum you must be able to palm deaden (covered in the last lesson) as you use this technique to ‘cut short’ each strum. Using a C root 5 chord, play the following staccato strum. You will need to deaden the strings with your right hand immediatly after each strum. Make sure that you are cutting the strum very short. • • • • Strum: Count:
1
2
3
44 T A B
4
C root 5
3 5 5 5 3 X
•
3 5 5 5 3 X
•
3 5 5 5 3 X
•
3 5 5 5 3 X
58
•
43
Exercise:
Play the following chord progression using the suggested strum. Strum: Count:
44G root 6 T A B
3 3 4 5 5 3
•
3 3 4 5 5 3
•
•
•
•
1
2
3
4 e + a
D root 5
C root 5
3 3 4 5 5 3
3 3 4 5 5 3
•
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 5 5 5 3 X
•
3 5 5 5 3 X
•
3 5 5 5 3 X
•
333 555 555 555 333 XXX
3 5 5 5 3 X
5 7 7 7 5 X
•
5 7 7 7 5 X
•
C root 5
5 7 7 7 5 X
•
5555 7777 7777 7777 5555 XXXX
3 5 5 5 3 X
•
3 5 5 5 3 X
•
3 5 5 5 3 X
•
333 555 555 555 333 XXX
3 5 5 5 3 X
44
Some hot tips to help extend the life of your guitar strings.
-
Do wash your hands prior to playing. Every time if possible. Do clean each individual string with a soft clean cloth after playing. Don’t overly “pre-stretch” your strings when changing them. Do change your strings well ahead of a performance or practise time so they have plenty of time to settle in prior to playing.
59
Jam Track No. 4
T A B
0
0 10 12 0
0
10 12
0
0 10 12 0
0 1012
0
0 10 12 0
0
10 12
0
0 10 12 0
0 1012
0 0 1 2 2 0
0 0 1 2 2 0
Strum
T A B
Strum
E
0 T 0 A 1 2 B 2 0
D
0 0 1 2 2 0
10 10 11 12 12 10
0 0 1 2 2 0
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
E
0 0 1 2 2 0
D
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
10 10 11 12 12 10
10 10 11 12 12 10
0 0 1 2 2 0
Strum
E
0 T 0 A 1 2 B 2 0
D
A 5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
0 0 1 2 2 0
Strum
E
0 T 0 A 1 2 B 2 0
0 0 1 2 2 0
D
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
E
0 0 1 2 2 0
Strum 60
0 0 1 2 2 0
0 0 1 2 2 0
D
10 10 11 12 12 10
0 0 1 2 2 0
E
0 T 0 A 1 2 B 2 0
0 0 1 2 2 0
D
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
A 5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
0 0 1 2 2 0
0 0 1 2 2 0
5 5 6 7 7 5
5 5 6 7 7 5
0 0 1 2 2 0
0 0 1 2 2 0
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
0 0 1 2 2 0
Strum
E
0 T 0 A 1 2 B 2 0
D
10 10 11 12 12 10
0 0 1 2 2 0
10 10 11 12 12 10
10 10 11 12 12 10
E
0 0 1 2 2 0
D
0 0 1 2 2 0
Strum
E
0 T 0 A 1 2 B 2 0
D
0 0 1 2 2 0
10 10 11 12 12 10
0 0 1 2 2 0
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
A 5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
0 0 1 2 2 0
Strum
E
0 T 0 A 1 2 B 2 0
D
E
0 0 1 2 2 0
D
0 0 1 2 2 0
Strum
E
0 T 0 A 1 2 B 2 0
0 0 1 2 2 0
D
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
A 5 5 6 7 7 5
Strum
61
5 5 6 7 7 5
5 5 6 7 7 5
0 0 1 2 2 0
T A B
0
0 10 12 0
0
10 12
0
0 10 12 0
0 1012
0
0 10 12 0
0
10 12
0
0 10 12 0
0 1012
0
0 10 12 0
0
10 12
0
0 10 12 0
0 1012
0
0 10 12 0
0
10 12
0
0 10 12 0
0 1012
0 0 1 2 2 0
0 0 1 2 2 0
Strum
T A B
Strum
T A B
Strum
T A B
Strum
E
0 T 0 A 1 2 B 2 0
0 0 1 2 2 0
D
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
E
0 0 1 2 2 0
Strum
62
D
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
0 0 1 2 2 0
E
0 T 0 A 1 2 B 2 0
D
0 0 1 2 2 0
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
0 0 1 2 2 0
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
0 0 1 2 2 0
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
A 5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
5 5 6 7 7 5
0 0 1 2 2 0
Strum
E
0 T 0 A 1 2 B 2 0
D
E
0 0 1 2 2 0
0 0 1 2 2 0
D
0 0 1 2 2 0
0 0 1 2 2 0
Strum
E
0 T 0 A 1 2 B 2 0
D
A 5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
0 0 1 2 2 0
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
11 11 12 13 13 11
11 11 12 13 13 11
11 11 12 13 13 11
11 11 12 13 13 11
11 11 12 13 13 11
11 11 12 13 13 11
11 11 12 13 13 11
Strum
A
5 5 T 6 A 7 B 7 5
C
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
8 8 9 10 10 8
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
11 11 12 13 13 11
Strum
D
10 10 T 11 A 12 B 12 10 Strum
63
D#
T A B
0
0
1012 0
Strum
When you are confident with your playing and your skill set you will relax more, therefore opening up a new set of doors within your playing. When you play through these Jam Tracks I want you to really practise the skills that are within them until you are totally confident and competent. Once you are playing these jam tracks and you are relaxed I want you to really open your ears, open your mind and try out some new ideas. Try picking out the chords over the track rather than strumming (effectively a crude version of a SOLO). What I am trying to get you to do is ‘jam’ with the band, try new ideas, relax and feel the groove of the song.
64
Lesson Thirteen Chord Progression Concepts
If you take the simple 12 bar blues chord pattern and analyze it, you find that, regardless of key,
it consists of chords I, IV and V which relate to the position of notes in the major scale. These chords are known as primary chords and they are what most popular music is based upon. Take a look at the progression below. It outlines the pattern that you follow when playing a 12 bar blues using root six barre chords. Blues in E has been given as an example.
Blues Pattern 1- Root 6 barre chords
44 T A B
0 0 1 2 2 0
44 T A B
5 5 6 7 7 5
E I Any Fret 0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
A
E
IV
I
Up 5 Frets
Original Fret
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
65
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
44 7 7 8 9 9 7
T A B
B
A
E
B
V
IV
I
V
Up 7 Frets
Down 2 Frets
Original Fret
Up 7 Frets
7 7 8 9 9 7
7 7 8 9 9 7
7 7 8 9 9 7
7 7 8 9 9 7
7 7 8 9 9 7
7 7 8 9 9 7
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
7 7 8 9 9 7
7 7 8 9 9 7
7 7 8 9 9 7
7 7 8 9 9 7
7 7 8 9 9 7
7 7 8 9 9 7
7 7 8 9 9 7
45 You can use this pattern all the way along the fret board enabling you to comfortably play a 12 bar blues in six keys; E, F, Gb, G, Ab and A. Another way to play a 12 bar blues is to use your root six and root five barre chords together. This pattern is outlined below.
Blues Pattern 2 - Root 6 and Root 5 barre chords
44
G I
Any Fret (Root 6)
T A B
3 3 4 5 5 3
3 3 4 5 5 3
44
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
T A B
3 5 5 5 3 X
3 3 4 5 5 3
3 3 4 5 5 3
C
G
IV
I
Same Fret (Root 5)
3 5 5 5 3 X
3 3 4 5 5 3
3 5 5 5 3 X
3 5 5 5 3 X
3 5 5 5 3 X
3 5 5 5 3 X
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
Same Fret (Root 6) 3 5 5 5 3 X
3 5 5 5 3 X
3 5 5 5 3 X
3 5 5 5 3 X
3 5 5 5 3 X
3 5 5 5 3 X
3 3 4 5 5 3
66
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
44 T A B
5 7 7 7 5 X
D
C
G
D
V
IV
I
V
Up 2 Frets (Root 5) Original Fret (Root 5) Original Fret (Root 6) 5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
3 5 5 5 3 X
3 5 5 5 3 X
3 5 5 5 3 X
3 5 5 5 3 X
3 5 5 5 3 X
3 5 5 5 3 X
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
Up 2 Frets (Root 5) 5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
46 Exercise:
Using the progression diagrams that you have just learned, practise playing 12 bar blues using both root six and root five barre chords. Practise the 12 bar blues in the following keys: E, F, Gb, G, Ab, A, Bb, B and C. Use this exercise to revise the strums that you have already learned.
“What interested me about Chuck Berry was the way he could step out of the rhythm part with such ease, throwing in a nice, simple riff, and then dropping straight into the feel of it again. We used to play a lot more rhythm stuff. We’d do away with the differences between lead and rhythm guitar. You can’t go into a shop and ask for a ‘lead guitar’. You’re a guitar player and you play a guitar.” - Keith Richards
67
Lesson Fourteen Root 5 Minor Barre Chord
The root 5 minor chord is played very similarily to the root 5 major chord except that the middle note (the third note of the scale) is flattened. Take a look at the B minor chord below.
Bbm (Root 5)
Here, Bb minor is used as an example of a root 5 minor barre chord. This chord can move anywhere along the fretboard.
3
4
1 2
47
44 Bbm (Root 5) T A B
1 2 3 3 1 X
1 2 3 3 1 X
1 2 3 3 1 X
1 2 3 3 1 X
1 2 3 3 1 X
1 2 3 3 1 X
1 2 3 3 1 X
1 2 3 3 1 X
68
Exercise:
Play the following chord progression using the suggested strum. Sixteenth note strum makes the progression a little harder to land, because of the rhythm falling at the start of the changing note.
x
Strum:
•
Count:
1+ 2+ 3+
44Bm root 5 T A B
2 3 4 4 2 X
2 3 4 4 2 X
4+
C#m root 5
A root 6
=
2 3 4 4 2 X
x
=
•
2 3 4 4 2 X
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
x
•
=
5 5 6 7 7 5
4 5 6 6 4 X
4 5 6 6 4 X
E open
4 5 6 6 4 X
x
=
•
4 5 6 6 4 X
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
x
=
•
48 Exercise:
Play the following chord progression using the strum provided.
•
Strum: Count:
1 e + a 2 e + a 3 e + a 4 e + a
44 T A B
= = •
7 9 9 9 7 X
•
E root 5
=
7 9 9 9 7 X
8 8 9 9 7 X
G# root 6
8 8 8 8 9 9 10 10 10 10 8 8
•
=
8 8 9 10 10 8
8 8 8 8 8 8 9 9 9 10 10 10 10 10 10 8 8 8
8 8 8 8 9 9 10 10 10 10 8 8
69
4 4 5 6 6 4
•
=
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
•
=
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
0 0 1 2 2 0
44 T A B
C#m root 5
=
4 5 6 6 4 X
4 5 6 6 4 X
•
4 5 6 6 4 X
4 5 6 6 4 X
B root 6
=
4 5 6 6 4 X
•
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
7 7 8 9 9 7
4 5 6 6 4 X
=
7 7 8 9 9 7
•
7 7 8 9 9 7
7 7 8 9 9 7
7 7 8 9 9 7
=
•
7 7 8 9 9 7
7 7 8 9 9 7
7 7 8 9 9 7
7 7 8 9 9 7
7 7 8 9 9 7
7 7 8 9 9 7
49 Blues Pattern 3
In lesson fourteen we covered two blues patterns that enabled us to play in the key of E, F, Gb, G, Ab. A, Bb, B and C. If you had tried to play the remaining keys, Db, D and Eb you probably would have run out of fret board. We will now look at another pattern that enables you to play in these remaining keys. D has been given as an example:
44
D I
Any Fret (Root 5)
T A B
5 7 7 7 5 X
5 7 7 7 5 X
4 4
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
T A B
3 3 4 5 5 3
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
G
D
IV
I
Down 2 Frets (Root 6) 3 3 4 5 5 3
5 7 7 7 5 X
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
Original Fret (Root 5) 3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
70
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
4 4
A
G
D
A
V
IV
I
V
Original Fret (Root 6) Down 2 Frets (Root 6) Original Fret (Root 5)
T A B
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
Original Fret (Root 6) 5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
Exercise:
Play the 12 bar blues progression that you have learned. Practise playing it in the key of Db, D and Eb. Use the following strum pattern:
Strum: Count:
1+
2+
50
3+ 4+
Next time you are in at your local music shop I want you to buy a few different types of string sets, try a nylon set, try a light gauge steel set. Take them home, put them on your guitar and hear the difference, you never know, maybe you might find that sound that you have been really aiming for.
71
Jam Track No. 5
A T A B
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
Strum
A T A B
5 5 6 7 7 5
Strum
A T A B
5 5 6 7 7 5
Strum
A T A B
5 5 6 7 7 5
Strum
A T A B
Strum
5 5 6 7 7 5
72
A T A B
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
x x x x x x X
3 3 4 5 5 3
3 3 4 5 5 3
x x x x x x X
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
x x x x x x X
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
x x x x x x X
5 5 6 7 7 5
x x x x x x X
3 3 4 5 5 3
3 3 4 5 5 3
x x x x x x X
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
x x x x x x X
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
x x x x x x X
Strum
A T A B
5 5 6 7 7 5
Strum
A T A B
5 5 6 7 7 5
Strum
A T A B
5 5 6 7 7 5
Strum
A T A B
Strum
5 5 6 7 7 5
G 3 3 4 5 5 3
G 3 3 4 5 5 3
C
C
73
D
D
A 5 5 6 7 7 5
A 5 5 6 7 7 5
A T A B
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
5 5 6 7 7 5
x x x x x x X
5 5 6 7 7 5
x x x x x x X
Strum
A T A B
5 5 6 7 7 5
Strum
A T A B
5 5 6 7 7 5
Strum
A T A B
5 5 6 7 7 5
T A B
5 5 6 7 7 5
T A B
Strum
5 5 6 7 7 5
3 3 4 5 5 3
x x x x x x X
8 8 9 10 10 8
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
G
8 8 9 10 10 8
x x x x x x X
10 10 11 12 12 10
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
x x x x x x X
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
C
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
D
8 8 9 10 10 8
x x x x x x X
Strum
A
C
3 3 4 5 5 3
3 3 4 5 5 3
5 5 6 7 7 5
Strum
A
G
5 5 6 7 7 5
74
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
10 10 11 12 12 10
10 10 11 12 12 10
x x x x x x X
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
D
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
G
3 3 4 5 5 3
3 3 4 5 5 3
x x x x x x X
x x x x x x X
G
3 3 4 5 5 3
3 3 4 5 5 3
A 5 5 6 7 7 5
A 5 5 6 7 7 5
x x x x x x X
x x x x x x X
A T A B
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
3 3 4 5 5 3
3 3 4 5 5 3
x x x x x x X
8 8 9 10 10 8
5 5 6 7 7 5
x x x x x x X
3 3 4 5 5 3
3 3 4 5 5 3
x x x x x x X
8 8 9 10 10 8
Strum
A T A B
5 5 6 7 7 5
Strum
A T A B
5 5 6 7 7 5
Strum
A T A B
5 5 6 7 7 5
Strum
A T A B
5 5 6 7 7 5
Strum
A T A B
Strum
5 5 6 7 7 5
G 3 3 4 5 5 3
G 3 3 4 5 5 3
C
C
75
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
8 8 9 10 10 8
8 8 9 10 10 8
x x x x x x X
10 10 11 12 12 10
8 8 9 10 10 8
8 8 9 10 10 8
x x x x x x X
10 10 11 12 12 10
5 5 6 7 7 5
5 5 6 7 7 5
D
D
x x x x x x X
G
x x x x x x X
3 3 4 5 5 3
3 3 4 5 5 3
x x x x x x X
x x x x x x X
G
3 3 4 5 5 3
3 3 4 5 5 3
10 10 11 12 12 10
10 10 11 12 12 10
x x x x x x X
10 10 11 12 12 10
10 10 11 12 12 10
x x x x x x X
x x x x x x X
x x x x x x X
A 5 5 6 7 7 5
A 5 5 6 7 7 5
A T A B
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
5 5 6 7 7 5
x x x x x x X
5 5 6 7 7 5
x x x x x x X
5 5 6 7 7 5
x x x x x x X
5 5 6 7 7 5
x x x x x x X
5 5 6 7 7 5
x x x x x x X
Strum
A T A B
5 5 6 7 7 5
Strum
A T A B
5 5 6 7 7 5
Strum
A T A B
5 5 6 7 7 5
Strum
A T A B
5 5 6 7 7 5
Strum
A T A B
Strum
5 5 6 7 7 5
G 3 3 4 5 5 3
G 3 3 4 5 5 3
G 3 3 4 5 5 3
G 3 3 4 5 5 3
G 3 3 4 5 5 3
G 3 3 4 5 5 3
C
3 3 4 5 5 3
3 3 4 5 5 3
x x x x x x X
8 8 9 10 10 8
3 3 4 5 5 3
3 3 4 5 5 3
x x x x x x X
8 8 9 10 10 8
3 3 4 5 5 3
3 3 4 5 5 3
x x x x x x X
8 8 9 10 10 8
3 3 4 5 5 3
3 3 4 5 5 3
x x x x x x X
8 8 9 10 10 8
3 3 4 5 5 3
3 3 4 5 5 3
x x x x x x X
8 8 9 10 10 8
3 3 4 5 5 3
3 3 4 5 5 3
x x x x x x X
8 8 9 10 10 8
C
C
C
C
C
76
D
8 8 9 10 10 8
8 8 9 10 10 8
x x x x x x X
10 10 11 12 12 10
8 8 9 10 10 8
8 8 9 10 10 8
x x x x x x X
10 10 11 12 12 10
8 8 9 10 10 8
8 8 9 10 10 8
x x x x x x X
10 10 11 12 12 10
8 8 9 10 10 8
8 8 9 10 10 8
x x x x x x X
10 10 11 12 12 10
8 8 9 10 10 8
8 8 9 10 10 8
x x x x x x X
10 10 11 12 12 10
8 8 9 10 10 8
8 8 9 10 10 8
x x x x x x X
10 10 11 12 12 10
D
D
D
D
D
10 10 11 12 12 10
10 10 11 12 12 10
x x x x x x X
10 10 11 12 12 10
10 10 11 12 12 10
x x x x x x X
10 10 11 12 12 10
10 10 11 12 12 10
x x x x x x X
10 10 11 12 12 10
10 10 11 12 12 10
x x x x x x X
10 10 11 12 12 10
10 10 11 12 12 10
x x x x x x X
10 10 11 12 12 10
10 10 11 12 12 10
x x x x x x X
A 5 5 6 7 7 5
A 5 5 6 7 7 5
A 5 5 6 7 7 5
A 5 5 6 7 7 5
A 5 5 6 7 7 5
A 5 5 6 7 7 5
A T A B
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
x x x x x x X
Strum
A T A B
5 5 6 7 7 5
Strum
A T A B
5 5 6 7 7 5
5 5 6 7 7 5
Strum
77
Lesson Fifteen Palm Muting
Palm muting takes the palm deadening technique that you learned in lesson twelve and uses it to create a thick and heavy sound from the strings. When you palm mute, you place your palm against the strings close to the bridge of the guitar and play the strings. You will hear that the strings don’t ring as much as when you strum normally and that they have a thicker sound. The closer to the bridge your palm is, the thicker the strings sound.
P.M.-----------------
T A B O
2
2
1
O
O
Palm muting is indicated in tab notation by the letters P.M. above the tab staff and a dotted line that indicates how long to mute the strings.
In rhythm, the palm mute is indicated by a small ‘m’ above or below the strum indicator.
m
Example:
Exercise:
Strum the barre chord A using palm muting. Only play strings 4, 5 and 6 of the chord.
A Strum: Count:
m
m
1
2
78
m
3
m
4
44 A 0 2 2 2 0 X
T A B
0 2 2 2 0 X
m
0 2 2 2 0 X
m
0 2 2 2 0 X
m
51
m
Palm Muting is most often used with picking and power chords. We look at power chords later on in this book, but for now we will look at palm mute picking.
Exercise: Palm Mute Picking
Play the following picking progression while palm muting the strings.
4 4
E (open)
F#
A
P.M.-------------------------------------------------------------------------------------T A B
1 0
2
1
2 0
2
3
2 2
4
6
4 5
52
79
7
7
Lesson Sixteen Advanced Rhythm Techniques In lessons thirteen and sixteen we covered the techniques of staccato and palm muting. These techniques can be combined to form some interesting new rhythm patterns.
Exercise:
Play the following rhythms over an open G chord. When you play the palm mute down strums, only play strings 4, 5 and 6. When you play the staccato up strums, play only the first two strings.
mm
Strum 1:
T A B
•
•
Count:
44
mm
1 +
2+ 3 +
4+
G
3 0 0 0 2 3
m
3 0 0 0 2 3
m
3 0 0 0 2 3
•
3 0 0 0 2 3
3 0 0 0 2 3
m m
3 0 0 0 2 3
53
•
Although I am a firm believer that the more your practise the better you will become, I am also a firm believer in the saying ‘everything in moderation’, i.e. don’t overdo yourself when it comes to practise. It sounds really obvious but make sure you make time to eat and shower and relax as these are just as important as practising your playing skills.
80
mm
Strum 2:
m
mm
m •
•
Count:
1 +
44 T A B
2 +
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
m
mm
3 0 0 0 2 3
•
m
m
m
1 +
4 4 T A B
3 0 0 0 2 3
3 0 0 0 2 3
m m
3 0 0 0 2 3
3 0 0 0 2 3
•
m
3 0 0 0 2 3
3 0 0 0 2 3
54
mm •
•
Count:
4+
G
m
Strum 3:
3 +
2+
3 +
4 +
G
3 0 0 0 2 3
m
3 0 0 0 2 3
m
3 0 0 0 2 3
•
3 0 0 0 2 3
m
3 0 0 0 2 3
3 0 0 0 2 3
m •
m m
81
55
Exercise:
Play the following chord progression using the suggested strums from the previous exercise. mm
Strum 1:
1 +
44C#m root 5 T A B
4 5 6 6 4 X
•
•
Count:
4 5 6 6 4 X
mm
4 5 6 6 4 X
4 5 6 6 4 X
m m •
2+ 3 +
4+
A7 root 6
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
m m •
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
m m •
4 5 6 6 4 X
4 5 6 6 4 X
5 5 6 5 7 5
m m•
5 5 6 5 7 5
5 5 6 5 7 5
Ab7 root 6
5 5 6 5 7 5
m m •
5 5 6 5 7 5
5 5 6 5 7 5
4 4 5 4 6 4
m m•
4 4 5 4 6 4
4 4 5 4 6 4
4 4 5 4 6 4
m m •
4 4 5 4 6 4
4 4 5 4 6 4
m m•
56
mm
Strum 2:
m
mm
m •
•
Count:
1 +
2 +
3 +
4+
44C#m root 5 T A B
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
A7 root 6
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
Ab7 root 6
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
4 4 5 4 6 4
4 4 5 4 6 4
4 4 5 4 6 4
4 4 5 4 6 4
4 4 5 4 6 4
4 4 5 4 6 4
4 4 5 4 6 4
4 4 5 4 6 4
m m • m m m • m m m • m m m• m m m • m m m• m m m • m m m• m
57 82
mm
Strum 3:
m
m •
•
Count:
1 +
mm
2+
3 +
4 +
44 C#m root 5 T A B
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
A7 root 6
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
Ab7 root 6
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
4 4 5 4 6 4
4 4 5 4 6 4
4 4 5 4 6 4
4 4 5 4 6 4
4 4 5 4 6 4
4 4 5 4 6 4
4 4 5 4 6 4
4 4 5 4 6 4
m m • m m • m m m m• m m• m m m m •m m • m m m m • m m •m m
58
“ I’d play whenever I could get my hands on an electric guitar; I was trying to pick up the rock’n’roll riffs and electric blues – latest Muddy Waters. I’d spend hours and hours on the same track, back again, and back again.” – Keith Richards
83
Jam Track No. 6
C T A B
8 8 9 10 10 8
T A B
4 4 5 6 6 4
8 8 9 10 10 8
8 8 9 10 10 8 •
X X X X X X
X X X X X X
X X X X X X
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8 •
X X X X X X
X X X X X X
X X X X X X
4 4 5 6 6 4
4 4 5 6 6 4
X X X X X X
X X X X X X
X X X X X X
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
X X X X X X
4 4 5 4 6 4
X X X X X X
Strum
G#
•
Strum
C
T A B
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
X X X X X X
X X X X X X
X X X X X X
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
X X X X X X
X X X X X X
X X X X X X
4 4 5 6 6 4
4 4 5 6 6 4
X X X X X X
X X X X X X
X X X X X X
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
X X X X X X
4 4 5 4 6 4
X X X X X X
8 8 9 10 10 8
8 8 9 10 10 8
X X X X X X
X X X X X X
X X X X X X
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
X X X X X X
X X X X X X
X X X X X X
Strum
G# T A B
4 4 5 6 6 4
Strum
C
T A B
Strum
8 8 9 10 10 8
•
•
•
•
84
•
•
•
G# T A B
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
X X X X X X
X X X X X X
X X X X X X
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
X X X X X X
8 8 9 10 10 8
8 8 9 10 10 8
X X X X X X
X X X X X X
X X X X X X
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
X X X X X X
4 4 5 6 6 4
4 4 5 6 6 4
X X X X X X
X X X X X X
X X X X X X
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
X X X X X X
4 4 5 4 6 4
X X X X X X
Strum
C
T A B
8 8 9 10 10 8
Strum
G# T A B
4 4 5 6 6 4
Strum
A min T A B
5 5 5 7 7 5
•
•
•
•
•
•
4 4 5 4 6 4
X X X X X X
X X X X X X
X X X X X X
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
Strum
F
T A B
1 1 2 3 3 1
Strum
A min T A B
5 5 5 7 7 5
5 5 5 7 7 5
Strum 85
F
T A B
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
8 8 9 10 10 8
8 8 9 10 10 8
X X X X X X
X X X X X X
X X X X X X
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
X X X X X X
X X X X X X
X X X X X X
Strum
A min T A B
5 5 5 7 7 5
Strum
F
T A B
1 1 2 3 3 1
Strum
A min T A B
5 5 5 7 7 5
Strum
F
T A B
1 1 2 3 3 1
Strum
C
T A B
Strum
8 8 9 10 10 8
•
86
•
G# T A B
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
X X X X X X
X X X X X X
X X X X X X
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
X X X X X X
8 8 9 10 10 8
8 8 9 10 10 8
X X X X X X
X X X X X X
X X X X X X
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
X X X X X X
4 4 5 6 6 4
4 4 5 6 6 4
X X X X X X
X X X X X X
X X X X X X
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
X X X X X X
8 8 9 10 10 8
8 8 9 10 10 8
X X X X X X
X X X X X X
X X X X X X
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
X X X X X X
4 4 5 6 6 4
4 4 5 6 6 4
X X X X X X
X X X X X X
X X X X X X
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
X X X X X X
8 8 9 10 10 8
8 8 9 10 10 8
X X X X X X
X X X X X X
X X X X X X
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
X X X X X X
Strum
C
T A B
8 8 9 10 10 8
Strum
G# T A B
4 4 5 6 6 4
Strum
C
T A B
8 8 9 10 10 8
Strum
G# T A B
4 4 5 6 6 4
Strum
C
T A B
Strum
8 8 9 10 10 8
•
•
•
•
•
•
87
•
•
•
•
•
•
4 4 5 4 6 4
X X X X X X
4 4 5 4 6 4
X X X X X X
4 4 5 4 6 4
X X X X X X
X X X X X X
X X X X X X
X X X X X X
X X X X X X
X X X X X X
X X X X X X
G# T A B
4 4 5 6 6 4
4 4 5 6 6 4
Strum
A min T A B
5 5 5 7 7 5
4 4 5 6 6 4
X X X X X X
•
X X X X X X
X X X X X X
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
X X X X X X
4 4 5 4 6 4
X X X X X X
•
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
Strum
F
T A B
1 1 2 3 3 1
Strum
A min T A B
5 5 5 7 7 5
Strum
F
T A B
1 1 2 3 3 1
Strum
A min T A B
5 5 5 7 7 5
5 5 5 7 7 5
Strum 88
F
T A B
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
5 5 5 7 7 5
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
0
0
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
0
0
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
Strum
A min T A B
5 5 5 7 7 5
Strum
F
T A B
1 1 2 3 3 1
Strum
F
T A B
1 1 2 3 3 1
Strum
F
T A B
1 1 2 3 3 1
Strum
C
T A B
8 8 9 10 10 8
Strum 89
Lesson Seventeen
Dominant 7 Root 5 Barre Chord The root 5 dominant 7 barre chord is based upon the root 5 major barre chord shape. The chord is the same as the major shape except that the seventh is added on the first string. See the example of the Bb7 chord below:
Bb7 (Root 5) Shape 1
1
3 4
59
90
44Bb7 (Root 5) Shape 1 T A B
4 3 3 3 1 X
4 3 3 3 1 X
4 3 3 3 1 X
4 3 3 3 1 X
4 3 3 3 1 X
4 3 3 3 1 X
4 3 3 3 1 X
4 3 3 3 1 X
59
Bb7 (Root 5) Shape 2
2
1
3
60
44 Bb7 (Root 5) Shape 2 T A B
1 3 1 3 1 X
1 3 1 3 1 X
1 3 1 3 1 X
1 3 1 3 1 X
1 3 1 3 1 X
1 3 1 3 1 X
1 3 1 3 1 X
91
1 3 1 3 1 X
60
Exercise: Blues in D
Play the following blues in D using the strum provided.
Strum: Count:
44D root 5 T A B
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
mm
m
1 +
• 2 +
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
44G root 6 T A B
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
T A B
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
Ab7 root 6
5 5 6 5 7 5
• 3+
• 4+
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
D root 5
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
5 7 7 7 5 X
4 4 5 4 6 4
4 4 5 4 6 4
4 4 5 4 6 4
4 4 5 4 6 4
m m • m m • m •
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
D7 root 5
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
m m• m m• m • m m •m m • m •
G7 root 6
m m • m m • m •
44A7 root 6
m
G root 6
m m • m m • m •
3 3 4 5 5 3
m
3 3 4 3 5 3
3 3 4 3 5 3
3 3 4 3 5 3
3 3 4 3 5 3
5 7 5 7 5 X
3 3 4 3 5 3
3 3 4 3 5 3
3 3 4 3 5 3
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 5 7 5 X
5 7 5 7 5 X
5 7 5 7 5 X
5 7 5 7 5 X
5 7 5 7 5 X
5 7 5 7 5 X
5 7 5 7 5 X
5 7 5 7 5 X
5 7 5 7 5 X
5 7 5 7 5 X
m m • m m • m •
D root 5
3 3 4 3 5 3
5 7 5 7 5 X
D7 root 5
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 5 7 5 X
5 7 5 7 5 X
5 7 5 7 5 X
5 7 5 7 5 X
m m• m m• m • m m •m m • m •
m m • m m • m •
G7 root 6
A7 root 6
3 3 4 3 5 3
3 3 4 3 5 3
3 3 4 3 5 3
3 3 4 3 5 3
D root 5
3 3 4 3 5 3
3 3 4 3 5 3
3 3 4 3 5 3
3 3 4 3 5 3
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
m m• m m• m • m m •m m • m •
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
m m • m m •m •
61 92
5 5 6 5 7 5
Lesson Eighteen Reggae Strum
Reggae strum differs from the regular 4/4 strum. In a normal 4/4 rhythm, the 1st beat is normally accented (accent means that you play with more attack) which gives the rhythm a straight up and down feel. Reggae on the other hand places emphasis upon beats 2 and 4 of the rhythm. Strong beats are usually regarded as beats 1 and 3, where as weak beats are 2 and 4.
Exercise:
Play the following strum over an open Am chord. Strum:
9 9
•
Count:
1
4
44A minor T A B
0 1 2 2 0 X
0 1 2 2 0 X
0 1 2 2 0 X
•
2 +
0 1 2 2 0 X
3
0 1 2 2 0 X
9 9 9 9
0 1 2 2 0 X
0 1 2 2 0 X
0 1 2 2 0 X
9 9
0 1 2 2 0 X
0 1 2 2 0 X
0 1 2 2 0 X
9 9
0 1 2 2 0 X
62 Exercise:
Play the following chord progression using the strum from the previous exercise.
44Gm Root 6 T A B
3 3 3 5 5 3
3 3 3 5 5 3
Cm Root 5
3 3 3 5 5 3
3 4 5 5 3 X
3 4 5 5 3 X
9 9 9 9
D# Root 5
3 4 5 5 3 X
6 8 8 8 6 X
6 8 8 8 6 X
9 9
D Root 5
6 8 8 8 6 X
5 7 7 7 5 X
5 7 7 7 5 X
9 9 63
93
5 7 7 7 5 X
Jam Track No. 7
G# T A B
4 4 5 6 6 4
F#
2 2 3 4 4 2
C#
4 6 6 6 4 x
Strum
G#
T A B
Strum
x x x x x x
x x x x x x
4 4 5 6 6 4
2 2 3 4 4 2
x x x x x x
x x x x x x
x x x x x x
2 2 3 4 4 2
4 4 5 6 6 4
4 4 5 6 6 4
x x x x x x
x x x x x x
x x x x x x
x x x x x x
2 2 3 4 4 2
2 2 3 4 4 2
x x x x x x
x x x x x x
x x x x x x
x x x x x x
x x x x x x
x x x x x x
x x x x x x
x x x x x x
•
Strum
T A B
x x x x x x
•
Strum
T A B
4 4 5 6 6 4
4 4 5 6 6 4
•
4 6 6 6 4 x
x x x x x x
x x x x x x
x x x x x x
4 6 6 6 4 x
4 4 5 6 6 4
x x x x x x
x x x x x x
x x x x x x
4 4 5 6 6 4
•
•
•
4 6 6 6 4 x
94
4 6 6 6 4 x
•
G# T A B
4 4 5 6 6 4
F#
2 2 3 4 4 2
C#
4 6 6 6 4 x
Strum
G# T A B
Strum
x x x x x x
x x x x x x
4 4 5 6 6 4
2 2 3 4 4 2
x x x x x x
x x x x x x
x x x x x x
2 2 3 4 4 2
4 4 5 6 6 4
4 4 5 6 6 4
x x x x x x
x x x x x x
x x x x x x
x x x x x x
2 2 3 4 4 2
2 2 3 4 4 2
x x x x x x
x x x x x x
x x x x x x
x x x x x x
4 6 6 6 4 x
x x x x x x
x x x x x x
x x x x x x
x x x x x x
4 4 5 6 6 4
x x x x x x
x x x x x x
x x x x x x
x x x x x x
•
Strum
T A B
x x x x x x
•
Strum
T A B
4 4 5 6 6 4
4 4 5 6 6 4
•
4 6 6 6 4 x
x x x x x x
x x x x x x
x x x x x x
4 6 6 6 4 x
4 6 6 6 4 x
4 4 5 6 6 4
x x x x x x
x x x x x x
x x x x x x
4 4 5 6 6 4
4 4 5 6 6 4
•
•
•
95
•
•
G# T A B
4 4 5 6 6 4
F#
2 2 3 4 4 2
C#
4 6 6 6 4 x
Strum
G# T A B
Strum
x x x x x x
x x x x x x
4 4 5 6 6 4
2 2 3 4 4 2
x x x x x x
x x x x x x
x x x x x x
2 2 3 4 4 2
4 4 5 6 6 4
4 4 5 6 6 4
x x x x x x
x x x x x x
x x x x x x
x x x x x x
2 2 3 4 4 2
2 2 3 4 4 2
x x x x x x
x x x x x x
x x x x x x
x x x x x x
4 6 6 6 4 x
x x x x x x
x x x x x x
x x x x x x
x x x x x x
4 4 5 6 6 4
x x x x x x
x x x x x x
x x x x x x
x x x x x x
•
Strum
T A B
x x x x x x
•
Strum
T A B
4 4 5 6 6 4
4 4 5 6 6 4
•
4 6 6 6 4 x
x x x x x x
x x x x x x
x x x x x x
4 6 6 6 4 x
4 6 6 6 4 x
4 4 5 6 6 4
x x x x x x
x x x x x x
x x x x x x
4 4 5 6 6 4
4 4 5 6 6 4
•
•
•
96
•
•
G#
T A B
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
2 4 4 4 2 x
2 4 4 4 2 x
2 4 4 4 2 x
2 2 3 4 4 2
2 2 3 4 4 2
2 2 3 4 4 2
Strum
B T A B
2 4 4 4 2 x
Strum
F# T A B
2 2 3 4 4 2
Strum
G# T A B
Strum
4 4 5 6 6 4
4 4 5 6 6 4
x x x x x x
x x x x x x
x x x x x x
4 4 5 6 6 4
4 4 5 6 6 4
•
97
4 4 5 6 6 4
•
x x x x x x
x x x x x x
x x x x x x
x x x x x x
G#
T A B
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
2 4 4 4 2 x
2 4 4 4 2 x
2 4 4 4 2 x
2 2 3 4 4 2
2 2 3 4 4 2
2 2 3 4 4 2
Strum
B T A B
2 4 4 4 2 x
Strum
F# T A B
2 2 3 4 4 2
Strum
G# T A B
Strum
4 4 5 6 6 4
4 4 5 6 6 4
x x x x x x
x x x x x x
x x x x x x
4 4 5 6 6 4
4 4 5 6 6 4
•
98
4 4 5 6 6 4
•
x x x x x x
x x x x x x
x x x x x x
x x x x x x
G# T A B
4 4 5 6 6 4
F#
2 2 3 4 4 2
C#
4 6 6 6 4 x
Strum
G# T A B
Strum
x x x x x x
x x x x x x
4 4 5 6 6 4
2 2 3 4 4 2
x x x x x x
x x x x x x
x x x x x x
2 2 3 4 4 2
4 4 5 6 6 4
4 4 5 6 6 4
x x x x x x
x x x x x x
x x x x x x
x x x x x x
2 2 3 4 4 2
2 2 3 4 4 2
x x x x x x
x x x x x x
x x x x x x
x x x x x x
4 6 6 6 4 x
x x x x x x
x x x x x x
x x x x x x
x x x x x x
4 4 5 6 6 4
x x x x x x
x x x x x x
x x x x x x
x x x x x x
•
Strum
T A B
x x x x x x
•
Strum
T A B
4 4 5 6 6 4
4 4 5 6 6 4
•
4 6 6 6 4 x
x x x x x x
x x x x x x
x x x x x x
4 6 6 6 4 x
4 6 6 6 4 x
4 4 5 6 6 4
x x x x x x
x x x x x x
x x x x x x
4 4 5 6 6 4
4 4 5 6 6 4
•
•
•
99
•
•
G# T A B
4 4 5 6 6 4
F#
2 2 3 4 4 2
C#
4 6 6 6 4 x
Strum
G# T A B
Strum
x x x x x x
x x x x x x
4 4 5 6 6 4
2 2 3 4 4 2
x x x x x x
x x x x x x
x x x x x x
2 2 3 4 4 2
4 4 5 6 6 4
4 4 5 6 6 4
x x x x x x
x x x x x x
x x x x x x
x x x x x x
2 2 3 4 4 2
2 2 3 4 4 2
x x x x x x
x x x x x x
x x x x x x
x x x x x x
4 6 6 6 4 x
x x x x x x
x x x x x x
x x x x x x
x x x x x x
4 4 5 6 6 4
x x x x x x
x x x x x x
x x x x x x
x x x x x x
•
Strum
T A B
x x x x x x
•
Strum
T A B
4 4 5 6 6 4
4 4 5 6 6 4
•
4 6 6 6 4 x
x x x x x x
x x x x x x
x x x x x x
4 6 6 6 4 x
4 6 6 6 4 x
4 4 5 6 6 4
x x x x x x
x x x x x x
x x x x x x
4 4 5 6 6 4
4 4 5 6 6 4
•
•
•
100
•
•
G#
T A B
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
2 4 4 4 2 x
2 4 4 4 2 x
2 4 4 4 2 x
2 2 3 4 4 2
2 2 3 4 4 2
2 2 3 4 4 2
Strum
B T A B
2 4 4 4 2 x
Strum
F# T A B
2 2 3 4 4 2
Strum
G# T A B
Strum
4 4 5 6 6 4
4 4 5 6 6 4
x x x x x x
x x x x x x
x x x x x x
4 4 5 6 6 4
4 4 5 6 6 4
•
101
4 4 5 6 6 4
•
x x x x x x
x x x x x x
x x x x x x
x x x x x x
G#
T A B
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
2 4 4 4 2 x
2 4 4 4 2 x
2 4 4 4 2 x
2 2 3 4 4 2
2 2 3 4 4 2
2 2 3 4 4 2
Strum
B T A B
2 4 4 4 2 x
Strum
F# T A B
2 2 3 4 4 2
Strum
G# T A B
4 4 5 6 6 4
G#
Strum
x x x x x x
x x x x x x
x x x x x x
4 4 5 6 6 4
4 4 5 6 6 4
•
Strum
T A B
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4 •
102
4 4 5 6 6 4
•
x x x x x x
x x x x x x
x x x x x x
x x x x x x
Lesson Nineteen The Minor Scale
The minor scale is different from the major scale because of its third note. In the major scale there is a major third. The minor on the other hand has a minor third, meaning that its third note is flattened from that of the major scale. For example in the key of C, the major and minor scales are as follows. Major
C
D
E
F
G
A
B
C
Minor
C
D
Eb
F
G
A
B
C
Compared to the major triad sound, the minor triad has a sad unhappy sound. Try and play through both the major and minor scale in the key of A or G, starting with the first finger on fret 5 for A, or fret 3 for G. Compare the sound of the major scale to that of the minor scale. Listen for the third note which is natural in the major scale but flattened in the minor scale. The above scale is actually known as the melodic minor scale.
Exercise:
Play the following A major scale using the down/up picking technique. Make sure to start with the correct finger on the fifth fret note, A.
A major scale
# # #
T A B
5
7
A major Scale fingering: Fret 5
1 1
2 2
#
4
5
7
# 4
#
6
7
64 Fret 6
3
Fret 7
4 4 4 103
Exercise:
Notice the difference, on the fretboard, between the A minor scale shape and the A major scale shape. It is good to remember scales as visual patterns on the guitar. Play the following A minor scale using the fingering shown.
A minor scale
44 A minor
T A B
#
4 5 5
7
1
2 1
6
7
7
8
65
A minor Scale fingering: Fret 5
#
Fret 6
3
Fret 7
4 4 3
104
4
Lesson Twenty Minor Seventh Chords
The minor seventh chord is made by flattening the 3rd and the 7th to a minor triad. The minor 7th chord therefore has a flattened 3rd and 7th. Compare the differences between major and minor triads and major and minor seventh chords (see below).
Major and Minor triads.
C Major triad: Note number:
C
E
G
I
III
V
C Minor triad:
C
Eb
G
Note number:
I
IIIb
V
Major and Minor Seventh Chords. C Major Seventh: C I
Note number: C C Minor Seventh: Note number:
E
I
III
G
B
V
VII
Eb
G
Bb
IIIb
V
VIIb
The minor triad has the 3rd flattened. The minor 7th chord has the 3rd and 7th flattened.
105
The root six minor seventh takes its shape from the E minor seventh open chord:
Em 7 (open)
Fm 7 (root 6)
The Em7 open chord shape becomes Fm7 when played on the first fret as a root 6 barre chord.
2
3 1
44 Fm 7 T A B
1 1 1 1 3 1
1 1 1 1 3 1
1 1 1 1 3 1
1 1 1 1 3 1
1 1 1 1 3 1
1 1 1 1 3 1
1 1 1 1 3 1
1 1 1 1 3 1
1 1 1 1 3 1
1 1 1 1 3 1
1 1 1 1 3 1
1 1 1 1 3 1
1 1 1 1 3 1
1 1 1 1 3 1
66 106
1 1 1 1 3 1
1 1 1 1 3 1
The root five minor seventh takes its shape from the A minor seventh open chord:
Am 7 (open)
Bbm 7 (root 5)
The Am7 open chord shape becomes Bbm7 when played on the first fret as a root 5 barre chord.
2
2
1
1
1
Notice that, like other root 5 and root 6 shape barre chords, you can move the chord shape up the fretboard to play the minor 7 in any chord.
44 Bbm 7 T A B
1 2 1 3 1 X
1 2 1 3 1 X
1 2 1 3 1 X
1 2 1 3 1 X
1 2 1 3 1 X
1 2 1 3 1 X
1 2 1 3 1 X
1 2 1 3 1 X
1 2 1 3 1 X
1 2 1 3 1 X
1 2 1 3 1 X
1 2 1 3 1 X
1 2 1 3 1 X
1 2 1 3 1 X
67 107
1 2 1 3 1 X
1 2 1 3 1 X
Exercise:
In this exercise, the change from D minor to Dminor 7 adds variation and interest to the piece.
Strum: Count:
D minor 4 4 T A B
5 6 7 7 5 X
5 6 7 7 5 X
•
5 6 7 7 5 X
T A B
5 6 7 7 5 X
•
2+
•
5 6 7 7 5 X
5 6 5 7 5 X
5 6 5 7 5 X
•
5 6 5 7 5 X
5 6 5 7 5 X
5 6 5 7 5 X
•
5 6 5 7 5 X
44A major root 6 T A B
5 5 6 7 7 5
5 5 6 7 7 5
•
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
== = •
4+
5 6 7 7 5 X
5 6 7 7 5 X
•
5 6 7 7 5 X
5 6 5 7 5 X
5 6 5 7 5 X
== = •
•
5 6 5 7 5 X
3 4 3 5 3 X
3 4 3 5 3 X
3 4 3 5 3 X
•
5 6 7 7 5 X
5 6 7 7 5 X
•
A7
5 5 6 7 7 5
5 5 5 5 7 5
5 5 5 5 7 5
•
5 6 7 7 5 X
5 6 5 7 5 X
5 6 5 7 5 X
5 6 5 7 5 X
5 5 5 5 7 5
5 5 5 5 7 5
5 5 5 5 7 5
== = •
•
3 4 3 5 3 X
3 4 3 5 3 X
•
33 44 33 55 33 XX
== =
•
•
•
== = •
•
108
3 4 3 5 3 X
3 4 3 5 3 X
33 44 33 55 33 XX
== = •
•
68
3 3 4 5 5 3
3 3 4 5 5 3
•
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
== = •
•
Bb major
root 5
root 6
5 5 5 5 7 5
G major
root 5
D minor 7 D minor D minor 7 C min 7
== = •
3+a
D minor 7 D minor D minor 7 C min 7
== =
44D minor 5 6 7 7 5 X
1+
3 4 3 5 3 X
6 6 7 8 8 6
6 6 7 8 8 6
•
6 6 7 8 8 6
== = •
•
Jam Track No. 8
A T A B
Strum
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
•
•
•
•
A T A B
Strum
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
•
•
•
•
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
•
•
•
•
A T A B
Strum
A T A B
Strum
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
•
•
•
•
G 3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
•
•
•
•
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
•
•
•
•
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
•
•
•
•
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
•
•
•
•
G
G
G
109
A T A B
Strum
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
•
•
•
•
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
•
•
•
•
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
•
•
•
•
A T A B
Strum
A T A B
Strum
A T A B
Strum
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
•
•
•
•
110
G 3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
•
•
•
•
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
•
•
•
•
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
•
•
•
•
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
•
•
•
•
G
G
G
C
T A B
Strum
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
•
•
•
•
•
•
•
•
7 9 9 9 7 X
7 9 9 9 7 X
7 9 9 9 7 X
7 9 9 9 7 X
7 9 9 9 7 X
7 9 9 9 7 X
5 7 7 7 5 X
•
•
•
•
•
•
•
•
E
T A B
Strum
C
T A B
Strum
Strum
7 9 9 9 7 X
D
D C A 3 5 5 5 3 X
5 5 6 7 7 5
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
•
•
•
•
•
•
•
•
7 9 9 9 7 X
7 9 9 9 7 X
7 9 9 9 7 X
7 9 9 9 7 X
8 8 9 10 10 8
8 8 9 10 10 8
10 10 11 12 12 10
•
•
•
•
•
•
•
E
T A B
D
C
111
8 8 9 10 10 8
D
10 10 11 12 12 10
10 10 11 12 12 10 •
A T A B
Strum
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
•
•
•
•
A T A B
Strum
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
•
•
•
•
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
•
•
•
•
A T A B
Strum
A T A B
Strum
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
•
•
•
•
G 3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
•
•
•
•
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
•
•
•
•
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
•
•
•
•
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
•
•
•
•
G
G
G
112
A T A B
Strum
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
•
•
•
•
A T A B
Strum
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
•
•
•
•
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
•
•
•
•
A T A B
Strum
A T A B
Strum
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
•
•
•
•
G 3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
•
•
•
•
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
•
•
•
•
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
•
•
•
•
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
•
•
•
•
G
G
G
113
C
T A B
Strum
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
•
•
•
•
•
•
•
•
7 9 9 9 7 X
7 9 9 9 7 X
7 9 9 9 7 X
7 9 9 9 7 X
7 9 9 9 7 X
7 9 9 9 7 X
5 7 7 7 5 X
D
A
•
•
•
•
•
•
•
•
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
10 10 11 12 12 10
•
•
•
•
•
•
•
•
E
T A B
Strum
C
T A B
Strum
E
T A B
Strum
D
D
F
7 9 9 9 7 X
7 9 9 9 7 X
7 9 9 9 7 X
7 9 9 9 7 X
8 10 10 10 8 X
8 10 10 10 8 X
•
•
•
•
•
•
114
G
10 12 12 12 10 X •
5 5 6 7 7 5
10 12 12 12 10 X
10 12 12 12 10 X •
A T A B
Strum
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
•
•
•
•
A T A B
Strum
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
•
•
•
•
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
•
•
•
•
A T A B
Strum
G
Strum
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
•
•
•
•
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
•
•
•
•
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
•
•
•
•
G
G
A T A B
3 3 4 5 5 3
5 5 6 7 7 5 •
115
Lesson Twenty One Major 6 Barre Chords
The major sixth chord can be played in root 5 and root 6 barre chord form. Below we use the first fret examples, F6 (root 6) and Bb6 (root 5) to demonstrate the chord shapes of each. This chord is very difficult to play so don’t be too upset if you can’t get it sounding quite right, just keep practising and you will get it.
F 6 (Root 6)
Note that the fourth string is deadened by the third finger (indicated by an x). 3
1
2
4
x
44 F 6 root 6 T A B
1 3 2 X 3 1
1 3 2 X 3 1
1 3 2 X 3 1
1 3 2 X 3 1
1 3 2 X 3 1
1 3 2 X 3 1
1 3 2 X 3 1
1 3 2 X 3 1
1 3 2 X 3 1
1 3 2 X 3 1
1 3 2 X 3 1
1 3 2 X 3 1
1 3 2 X 3 1
1 3 2 X 3 1
69 116
1 3 2 X 3 1
1 3 2 X 3 1
Bb 6 (Root 5) 1
4
44 Bb6 root 5 T A B
3 3 3 3 1 X
3 3 3 3 1 X
3 3 3 3 1 X
3 3 3 3 1 X
3 3 3 3 1 X
3 3 3 3 1 X
3 3 3 3 1 X
3 3 3 3 1 X
3 3 3 3 1 X
3 3 3 3 1 X
3 3 3 3 1 X
3 3 3 3 1 X
3 3 3 3 1 X
3 3 3 3 1 X
70
117
3 3 3 3 1 X
3 3 3 3 1 X
Exercise:
Play the following chord progression using the suggested 3/4 strum.
Strum: Count:
• 2+
1+
34A6 T A B
5 7 6 X 7 5
=
3e+a
D6 root 5
5 7 6 X 7 5
5 7 6 X 7 5
•
=
55 77 66 XX 77 55
7 7 7 7 5 X
7 7 7 7 5 X
7 7 7 7 5 X
•
G6
=
77 77 77 77 55 XX
7 7 7 7 5 X
7 7 7 7 5 X
7 7 7 7 5 X
•
=
77 77 77 77 55 XX
3 5 4 X 5 3
3 5 4 X 5 3
3 5 4 X 5 3
=
•
71
New strings When you are dealing with new strings, it can be a little nerve racking at first. They can make some pretty frightening sounds. When your strings are new, they are at their most vulnerable. They will break if you pull them too tight, too quickly. The key is to tune them slowly. You really have to take your time. You will find that they will reach a certain pitch and then drop back down very quickly. This is because they are stretching and it is quite normal. You just need to keep tuning them up slowly until they hold their pitch.
118
33 55 44 XX 55 33
Lesson Twenty Two Power Chords
Power chords are an easy way to play any chord. They are easy to play because they use only three strings to play the three notes of a chord. Power chords create a great full sound when used with the dampening technique. Like the root 5 and root 6 barre chords the power chords can be moved up and down the fretboard to change chords.
F Power Chord
3
Bb Power Chord 1
2
1
2
3
44 F Power Chord T A B
X X X 3 3 1
X X X 3 3 1
X X X 3 3 1
X X X 3 3 1
X X X 3 3 1
X X X 3 3 1
X X X 3 3 1
X X X 3 3 1
X X X 3 3 1
X X X 3 3 1
X X X 3 3 1
X X X 3 3 1
X X X 3 3 1
X X X 3 3 1
72 119
X X X 3 3 1
X X X 3 3 1
44 Bb Power Chord X X 3 3 1 X
T A B
X X 3 3 1 X
X X 3 3 1 X
X X 3 3 1 X
X X 3 3 1 X
X X 3 3 1 X
X X 3 3 1 X
X X 3 3 1 X
X X 3 3 1 X
X X 3 3 1 X
X X 3 3 1 X
X X 3 3 1 X
X X 3 3 1 X
X X 3 3 1 X
73 Exercise:
Play the following chord progression using power chords and the strum provided.
Strum:
m m mm
Count:
1 e+a2 e+a3e+a 4 e+a
\ \ \ \
4 4 T A B
mm mm
X X X 7 7 5
A
X X X 7 7 5
B
X X X 7 7 5
X X X 7 7 5
X X X 7 7 5
X X X 7 7 5
X X X 7 7 5
X X X 7 7 5
\ \ \ \
mm m m m m m m
44 T A B
X X 5 5 3 X
X X X 7 7 5
X X 4 4 2 X
X X 4 4 2 X
X X 4 4 2 X
X X 4 4 2 X
X X 4 4 2 X
X X 4 4 2 X
X X 4 4 2 X
\ \ \ \
mm m m m m m m
C
X X 5 5 3 X
X X 4 4 2 X
X X 4 4 2 X
B
X X 5 5 3 X
X X 5 5 3 X
X X 5 5 3 X
X X 5 5 3 X
X X 5 5 3 X
X X 5 5 3 X
\ \ \ \
mm m m m m m m
X X 5 5 3 X
X X 4 4 2 X
X X 4 4 2 X
X X 4 4 2 X
X X 4 4 2 X
X X 4 4 2 X
X X 4 4 2 X
X X 4 4 2 X
X X 4 4 2 X
\ \ \ \
mm m m m m m m
X X 4 4 2 X
74 120
X X 3 3 1 X
X X 3 3 1 X
Jam Track No. 9 Power chords and barre chords
T A B
pm pm
pm pm
7 7 5 5
7 7 5 5
7 7 5 5
7 7 5 5
Strum
T A B
pm pm
pm pm
7 7 5 5
7 7 5 5
7 7 5 5
7 7 5 5
8 8 6 6
Strum
T A B
pm pm
pm pm
7 7 5 5
7 7 5 5
7 7 5 5
7 7 5 5
Strum
T A B
pm pm
pm pm
7 7 5 5
7 7 5 5
7 7 5 5
Strum
121
7 7 5 5
8 8 6 6
T A B
pm pm
pm pm
7 7 5 5
7 7 5 5
7 7 5 5
7 7 5 5
Strum
T A B
pm pm
pm pm
7 7 5 5
7 7 5 5
7 7 5 5
7 7 5 5
8 8 6 6
Strum
T A B
pm pm
pm pm
7 7 5 5
7 7 5 5
7 7 5 5
7 7 5 5
Strum
T A B
pm pm
pm pm
7 7 5 5
7 7 5 5
7 7 5 5
Strum
122
7 7 5 5
8 8 6 6
T A B
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
Strum
T A B
Strum
T A B
pm pm
pm pm
7 7 5 5
7 7 5 5
7 7 5 5
7 7 5 5
Strum
T A B
pm pm
pm pm
7 7 5 5
7 7 5 5
7 7 5 5
Strum
123
7 7 5 5
8 8 6 6
T A B
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
Strum
T A B
Strum
T A B
pm pm
pm pm
7 7 5 5
7 7 5 5
7 7 5 5
7 7 5 5
Strum
T A B
pm pm
pm pm
7 7 5 5
7 7 5 5
7 7 5 5
Strum
124
7 7 5 5
8 8 6 6
T A B
pm pm
pm pm
7 7 5 5
7 7 5 5
7 7 5 5
7 7 5 5
Strum
T A B
pm pm
pm pm
7 7 5 5
7 7 5 5
7 7 5 5
7 7 5 5
8 8 6 6
Strum
T A B
pm pm
pm pm
7 7 5 5
7 7 5 5
7 7 5 5
7 7 5 5
Strum
T A B
pm pm
pm pm
7 7 5 5
7 7 5 5
7 7 5 5
Strum
125
7 7 5 5
8 8 6 6
T A B
pm pm
pm pm
7 7 5 5
7 7 5 5
7 7 5 5
7 7 5 5
Strum
T A B
pm pm
pm pm
7 7 5 5
7 7 5 5
7 7 5 5
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
7 7 5 5
8 8 6 6
Strum
T A B
Strum
T A B
Strum
126
T A B
pm pm
pm pm
7 7 5 5
7 7 5 5
7 7 5 5
7 7 5 5
Strum
T A B
pm pm
pm pm
7 7 5 5
7 7 5 5
7 7 5 5
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
8 8 9 10 10 8
7 7 5 5
8 8 6 6
Strum
T A B
Strum
T A B
Strum
127
Lesson Twenty Three Accents
To accent means to play the strings of your guitar louder and with more attack. Accents are notated by a wedge placed above the strum indicator. Example: Strum:
Compound Meter
As you have progressed through the previous sections of this book you will now be familiar with simple time, i.e 4/4 and 3/4. If you revise the theory behind 4/4 you will remember that there are 4 beats to a bar and that each beat is worth a quater note. The quater note can be divided into two eighth notes or four sixteenth notes. When a beat falls on a dotted note this is called Compound Time. The most common example of compound time is 6/8 which is made up of two dotted quarter notes in its simplist form. 6/8 time is very similar to 3/4, but in 6/8, dotted quater notes are usually split into three eighth notes and grouped together. This gives 6/8 a different feel to 3/4. Compare 6/8 to 3/4 time, where they both contain six eighth notes in a bar:
3 4 Simplified Beat: Count:
1 +
2 +
6 8 Simplified Beat: •
3 +
Count:
128
• 1
+ a
2
+ a
Exercise: Play the following chord progression using the 6/8 strum provided. Try accenting beats one and four. Strum: Count:
1+ 2+3+4 +5+ 6+
6 8 T A B
4 5 6 6 4 X
4 5 6 6 4 X
68 T A B
Bmin
C#min
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
4 5 6 6 4 X
2 3 4 4 2 X
4 5 6 6 4 X
A root 6
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
2 3 4 4 2 X
2 3 4 4 2 X
2 3 4 4 2 X
2 3 4 4 2 X
2 3 4 4 2 X
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
2 3 4 4 2 X
2 3 4 4 2 X
Ab root6
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
75
129
4 4 5 6 6 4
4 4 5 6 6 4
Jam Track No. 10
T A B
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
Strum
T A B
Strum
T A B
Strum
T A B
Strum
130
T A B
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 5 6 7 7 5
pm 5 5 6 7 7 5
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 5 6 7 7 5
pm 5 5 6 7 7 5
Strum
T A B
Strum
T A B
Strum
T A B
Strum
131
T A B
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
Strum
T A B
Strum
T A B
Strum
T A B
Strum
132
T A B
pm 5 5 6 5 7 5
pm 5 5 6 5 7 5
pm 5 5 6 5 7 5
pm 5 5 6 5 7 5
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
Strum
T A B
Strum
T A B
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 5 6 7 7 5
pm 5 5 6 7 7 5
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 5 6 7 7 5
pm 5 5 6 7 7 5
Strum
T A B
Strum
133
T A B
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 5 6 7 7 5
pm 5 5 6 7 7 5
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
Strum
T A B
Strum
T A B
Strum
T A B
Strum
134
T A B
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
Strum
T A B
Strum
T A B
Strum
T A B
Strum
135
T A B
pm 5 5 6 5 7 5
pm 5 5 6 5 7 5
pm 5 5 6 5 7 5
pm 5 5 6 5 7 5
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 3 3 4 5 5 3
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
pm 5 7 5 7 5 X
Strum
T A B
Strum
136
Lesson Twenty Four C Shape Barre Chord
To play the C shape barre chord, place your barre finger directly in front of the open C major chord. The C shape barre chord can move up the fret similar to other barre chords.
C major 3
C# / Db 4
2
3
1
1 2
44 C# C shape barre T A B
1 2 1 3 4 X
1 2 1 3 4 X
1 2 1 3 4 X
1 2 1 3 4 X
1 2 1 3 4 X
1 2 1 3 4 X
1 2 1 3 4 X
1 2 1 3 4 X
1 2 1 3 4 X
1 2 1 3 4 X
1 2 1 3 4 X
1 2 1 3 4 X
1 2 1 3 4 X
1 2 1 3 4 X
76
137
1 2 1 3 4 X
1 2 1 3 4 X
Exercise:
Play the following chord progression using the strum provided. Strum: Count:
1 +2+3+4+ 5+ 6+
68 T A B
5 6 5 7 8 X
6 8 T A B
Dm root 5
F C formation
5 6 5 7 8 X
5 6 5 7 8 X
5 6 5 7 8 X
5 6 5 7 8 X
5 6 5 7 8 X
5 6 5 7 8 X
5 6 5 7 8 X
5 6 5 7 8 X
Bb root 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
5 6 7 7 5 X
5 6 7 7 5 X
5 6 7 7 5 X
5 6 7 7 5 X
5 6 7 7 5 X
5 6 7 7 5 X
5 6 7 7 5 X
5 6 7 7 5 X
0 1 0 2 3 X
0 1 0 2 3 X
C open
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
6 6 7 8 8 6
0 1 0 2 3 X
0 1 0 2 3 X
0 1 0 2 3 X
0 1 0 2 3 X
0 1 0 2 3 X
0 1 0 2 3 X
0 1 0 2 3 X
77
138
5 6 7 7 5 X
Lesson Twenty Five Suspended Barre Chords
We covered open suspended chords in book one. Now we look at the bar chord version of the suspended chord.
Bb sus2
root 5
3
4
1
44 Bb sus2 root5 T A B
1 1 3 3 1 X
1 1 3 3 1 X
1 1 3 3 1 X
1 1 3 3 1 X
1 1 3 3 1 X
1 1 3 3 1 X
1 1 3 3 1 X
1 1 3 3 1 X
1 1 3 3 1 X
1 1 3 3 1 X
1 1 3 3 1 X
1 1 3 3 1 X
1 1 3 3 1 X
1 1 3 3 1 X
78
139
1 1 3 3 1 X
1 1 3 3 1 X
Bb sus4
root 5
3
4
2
1
44 Bb sus4 root5 T A B
1 4 3 3 1 X
1 4 3 3 1 X
1 4 3 3 1 X
1 4 3 3 1 X
1 4 3 3 1 X
1 4 3 3 1 X
1 4 3 3 1 X
1 4 3 3 1 X
1 4 3 3 1 X
1 4 3 3 1 X
1 4 3 3 1 X
1 4 3 3 1 X
1 4 3 3 1 X
1 4 3 3 1 X
79
140
1 4 3 3 1 X
1 4 3 3 1 X
F sus4 root 6
Note that the fourth string is deadened by the third finger (indicated by an x).
3
x
1
4
44 F sus4 root6 T A B
1 1 3 X 3 1
1 1 3 X 3 1
1 1 3 X 3 1
1 1 3 X 3 1
1 1 3 X 3 1
1 1 3 X 3 1
1 1 3 X 3 1
1 1 3 X 3 1
1 1 3 X 3 1
1 1 3 X 3 1
1 1 3 X 3 1
1 1 3 X 3 1
1 1 3 X 3 1
1 1 3 X 3 1
80
141
1 1 3 X 3 1
1 1 3 X 3 1
Exercise:
Play the following chord progression using the suggested strum.
=
Strum:
=
• • 1e+a 2e+a 3e+a 4e+a
Count:
44 C# root5 4 6 6 6 4 X
T A B
4 6 6 6 4 X
4 6 6 6 4 X
4 6 6 6 4 X
C# sus4
4 6 6 6 4 X
=
•
44B root 5 2 4 4 4 2 X
T A B
2 4 4 4 2 X
2 4 4 4 2 X
2 4 4 4 2 X
4 7 6 6 4 X
E root 5
44 77 66 66 44 XX
7 9 9 9 7 X
=
•
=
•
2 5 4 4 2 X
22 55 44 44 22 XX
7 9 9 9 7 X
7 9 9 9 7 X
7 9 9 9 7 X
7 10 9 9 7 X
7 7 10 10 9 9 9 9 7 7 X X
=
2 2 3 4 4 2
2 2 3 4 4 2
2 2 3 4 4 2
=
=
•
2 2 3 4 4 2
=
•
2 2 3 4 4 2
2 2 3 4 4 2
2 2 3 4 4 2
=
•
Play the following chord progression using the strum provided. x
Count:
T A B
7 9 9 9 7 X
7 9 9 9 7 X
x
x
1 + 2 + 3 + 4 +
Esus4 root 5
7 9 9 9 7 X
7 9 9 9 7 X
x
7 9 9 9 7 X
7 9 9 9 7 X
x
7 9 9 9 7 X
Dsus2 root 5
7 7 7 7 7 7 7 7 10 10 10 10 10 10 10 10 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 7 7 7 7 7 7 7 7 X X X X X X X X
x
•
x
x
1 + 2 + 3 + 4 +
44E root 5 7 9 9 9 7 X
x
2 2 3 4 4 2
81
Exercise: Strum:
•
F# root6
B sus4
2 4 4 4 2 X
7 9 9 9 7 X
E sus4
x
5 5 7 7 5 X
5 5 7 7 5 X
5 5 7 7 5 X
x
5 5 7 7 5 X
5 5 7 7 5 X
x
D root 5
5 5 7 7 5 X
5 5 7 7 5 X
x
5 5 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
5 7 7 7 5 X
x
5 7 7 7 5 X
5 7 7 7 5 X
82 142
5 7 7 7 5 X
5 7 7 7 5 X
x
5 7 7 7 5 X
Lesson Twenty Six Root 6 and Root 5 major seventh barre chords
The major seventh chord, written Maj7, is not to be confused with the dominant 7 which is written as the chord name followed by the number 7. The difference between the two is that the dominant 7 has a flattened 7th note where the major 7 has a natural 7th note.
F major 7 Root 6
Bb Major 7 Root 5
In the chord, strings 1 and 5 are muted by fingers 1 and 2. 1 4
x
3 2
3
x
1
2
4
44 F maj7 root6 T A B
X 1 2 2 X 1
X 1 2 2 X 1
X 1 2 2 X 1
X 1 2 2 X 1
X 1 2 2 X 1
X 1 2 2 X 1
X 1 2 2 X 1
X 1 2 2 X 1
X 1 2 2 X 1
X 1 2 2 X 1
X 1 2 2 X 1
X 1 2 2 X 1
X 1 2 2 X 1
X 1 2 2 X 1
X 1 2 2 X 1
X 1 2 2 X 1
83 Like all other barre chords, the root 5 and root 6 major seventh barre chords can be played at any position along the fret board. Note that the first and fifth strings are not played in the root 6 shape. You deaden these strings with your first finger. 143
4 4 T A B
Bb maj7 root5
1 3 2 3 1 X
1 3 2 3 1 X
1 3 2 3 1 X
1 3 2 3 1 X
1 3 2 3 1 X
1 3 2 3 1 X
1 3 2 3 1 X
1 3 2 3 1 X
1 3 2 3 1 X
1 3 2 3 1 X
1 3 2 3 1 X
1 3 2 3 1 X
1 3 2 3 1 X
1 3 2 3 1 X
1 3 2 3 1 X
84 Exercise:
Play the following chord progression using the strum provided. •
Strum: Count:
B maj7 root6
Gb maj7 root 5
9 11 10 11 9 X
6 8 T A B
mm •
mm
1 +2+ 3+4+5+6+ 1+2+3+4+5+6+
68 T A B
==
•
9 11 10 11 9 X
==
X 7 9 9 X 7
•
•
X 7 9 9 X 7
m m
D maj7 root 5
5 7 6 7 5 X
X 7 9 9 X 7
X 7 9 9 X 7
X 7 9 9 X 7
X 7 9 9 X 7
m m •
E sus2 root 5
5 7 6 7 5 X
==
7 7 9 9 7 X
•
•
7 7 9 9 7 X
m m
7 7 9 9 7 X
7 7 9 9 7 X
7 7 9 9 7 X
7 7 9 9 7 X
m m •
85 144
1 3 2 3 1 X
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145
Supplementary Chord Reference Ninth chords in open position. Fret 4
Fret 3
A9
Fret 2
Fret 1
Fret 4
A#9/Bb9
Fret 3
Fret 2
Fret 1
Fret 4
B9
Fret 3
Fret 2
Fret 1
1 1
3
2
3
C9 Fret 4
Fret 3
2 3
C#9/Db9 Fret 2
Fret 1
Fret 4
Fret 3
Fret 2
Fret 2
3
Fret 2
1
Fret 4
Fret 3
2
Fret 2
Fret 1
Fret 4
4
4
Fret 4
Fret 3
Fret 2
Fret 1
Fret 4
x 2
4
1
146
Fret 1
1 3
G#9/Ab9
Fret 2
1
1
2
1
G9 Fret 1
Fret 3
2
2
Fret 1
F9
Fret 2
3 2
Fret 3
E9 Fret 1
F#9/Gb9 Fret 3
Fret 4
3
1
Fret 4
Fret 1
2
4
Fret 3
4
D9
1
D#9/Eb9 Fret 4
3
4
2
1
2
Fret 3
Fret 2
3
Fret 1
1 2
Diminished chords in open position.
Fret 4
Fret 3
Ao
Fret 2
3 4
Fret 1
Fret 4
Fret 3
3
2
Fret 2
D# o/Eb o
Fret 2
4
Fret 2
3 4
Fret 1
Fret 4
Fret 3
1
Fret 2
2
Fret 4
1 2
4
Do Fret 1
Fret 4
Fret 4
2
Fret 1
Fret 4
Fret 3
Fret 2
Fret 1
1
2
Fret 2
2
Fret 1
Fret 4
G# o/Ab o
Fret 3
Fret 2
Fret 1
1
3
2
Fret 1
1
Fret 3
1
Fret 2
1
Go Fret 1
Fret 3
Fo
Fret 2
3
2
Fret 1
2
Fret 3
1
Fret 2
2
Eo Fret 1
Fret 3
o
1
3
4
F# o/Gb o
Fret 3
Fret 4
B
1 3
2
4
3
Fret 4
Fret 1
C# o/Dbo
4
Fret 3
Fret 2
1
4
3
Fret 4
Fret 3
1
Co Fret 4
A# o/Bb o
2
4
147
1 2
Augmented chords in open position. A+
Fret 4
Fret 3
Fret 2
Fret 1
Fret 4
A# +/Bb +
Fret 3
4
4 3
2
3
1
Fret 3
Fret 2
Fret 1
3 2
Fret 5
Fret 4
Fret 3
Fret 2
3
3
1
Fret 4
Fret 3
Fret 2
4
1
3
Fret 1
1
Fret 3
Fret 2
Fret 1
3
Fret 2
Fret 1
2 1
D+
Fret 3
3
2
Fret 2
Fret 1
2
Fret 4
1
F+
Fret 3
Fret 2
4
1
3
Fret 1
2 1
1
F# +/Gb +
4
Fret 3
4
2
E+
Fret 4
Fret 4
2
Fret 3
Fret 4
4
C# +/Db +
Fret 1
Fret 5
3
4
Fret 4
D# +/Eb +
Fret 1
2
C+ Fret 4
Fret 2
B+
Fret 2
Fret 1
G+ Fret 5
Fret 4
1
Fret 2
Fret 1
Fret 4
Fret 3
Fret 2
Fret 1
3
4
2
Fret 3
G# +/Ab +
3
2
2 1
148
1
Major Sixth chords in open position.
Fret 4
Fret 3
A6
Fret 2
4
3
2
Fret 1
Fret 4
Fret 3
Fret 2
Fret 1
Fret 4
B6
Fret 3
1
3
2
4
Fret 1
Fret 4
4
Fret 3
Fret 2
D6 Fret 1
Fret 4
Fret 3
Fret 2
3
1
1
1 2
4
D#6/Eb6 Fret 4
Fret 3
Fret 2
E6 Fret 1
Fret 4
Fret 3
1
Fret 2
Fret 4
Fret 1
Fret 4
Fret 3
Fret 3
2
Fret 2
Fret 2
Fret 1
3
1
4
2 1
G#6/Ab6
G6
F#6/Gb6 Fret 3
Fret 1
4
4
Fret 4
F6
Fret 2
3
3
Fret 1
2
2 3
Fret 1
1
C#6/Db6 Fret 2
Fret 2
1
1
C6 Fret 4
A#6/Bb6
Fret 3
Fret 1
Fret 4
Fret 3
Fret 2
Fret 1
3 1 4 3
2 1
2
149
Minor Seventh chords in open position.
Fret 4
Am7
Fret 3
Fret 2
Fret 1
Fret 4
2
A#m7/Bbm7 Fret 3
31
1
Fret 2
Fret 1
Fret 4
Bm7
Fret 3
Fret 4
Fret 3
3
1
4
C#m7/Dbm7
Fret 2
Fret 1
Fret 4
Fret 3
Fret 2
3 3
Fret 1
2
2
4
Cm7
Fret 2
1
Dm7 Fret 1
Fret 4
Fret 3
Fret 2
Fret 1
2 1
4
2 1
4
D#m7/Ebm7 Fret 4
Fret 3
Fret 2
Em7 Fret 1
Fret 4
Fret 3
Fm7
Fret 2
Fret 1
Fret 4
Fret 3
Fret 2
Fret 1
2 1
4
1
2
3
Fret 4
Fret 3
Fret 2
1
G#m7/Abm7
Gm7
F#m7/Gbm7 Fret 1
Fret 4
Fret 3
Fret 2
Fret 1
Fret 4
Fret 3
Fret 2
Fret 1
2
1 4
150
1
Major Seventh chords in open position.
Amaj7
Fret 4
Fret 3
Fret 2
A#maj7/Bbmaj7
Fret 1
Fret 5
Fret 4
Fret 3
Fret 2
Fret 1
Bmaj7
Fret 4
Fret 3
3
2 1
3
1
Fret 4
Fret 3
Fret 2
1
Dmaj7
C#maj7/Dbmaj7 Fret 1
2
Fret 4 4
3
Fret 3
Fret 2
Fret 1
Fret 4
Fret 3
Fret 4
Fret 3
Fret 2
Fret 1
Fret 3
Fmaj7
Fret 2 3
1 3
Fret 4
Fret 3
Fret 4
Fret 3
2
4
Gmaj7
Fret 2
Fret 1
Fret 4
Fret 3
Fret 2
2
2
Fret 2
2
Fret 1
1
G#maj7/Abmaj7 Fret 1
Fret 4
Fret 3
Fret 2
Fret 1
x
4 3
Fret 1
1
F#maj7/Gbmaj7
Fret 1
1
Emaj7 Fret 4
Fret 2
3 1
D#maj7/Ebmaj7
Fret 1
2
4
3
Cmaj7
Fret 2
1 1
1
151
3
