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Play
caustIc

Edited by
Dave Hunter
Play Acoustic
Edited !;)'
DeilY H Url/If
A [lACKBI;AT BOOK
,'dition
by B.1d:bcilt Rooks
600 Street,
San CA941 07, US
m m
lin imprint of The Music PlaYl!r Networ\( United
EntE'rtainmenl Media Inc:.
Published for BackbeaL Booh by Outline Press ltd,
2.1 Union Court, 20-22 Union KUiUI. Lonrion. SW4 6JP. England.
www.backhentlJl: com
ISBN 0-87930..53-2
Copyright 2005 Balafon. Copyright 2005 in the text and musical examples belongs t o t he
authors of the Individuill sections. as detai led on the contents page. Al l rights reserved. No part of
this book. covered by the copyrights hereon may be reproduced or copied in any manner whatsoever
wit hout written permission, except in the case of brief qUat<3t ions embodied in articl es or reviews
where the source should be made clear_ For more informati on contact the publi shers.
Ni y<! I O,nCllnC
.<-< Tony Bacon
-iF John Mo-rrisn
Paul Cooper OeSlgn
Origination by Solidity Graphics ltd and printed by Color print Offset (Hong Kong)
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MARTIN
Newnhl'icss, It all Slart ,'(/ With t h" , mall -b" d l"d , gu t-suung , flat , wl'pffi ,nsr r\lmentS of a
Gt' rman .mm'sram, Christi an Fr,..:I u <-h Marton , who was bui ld ong g Ull ars almosr from Ihe
l ime he III New Yurk In 11'133. A"""d 37, ask, IIt:<l lut h,('r who hu l completed n
apprt'lluccslup at 0" " of I! ump"" mo:st rc:spo::ctt:<l g ui tar- makers _ Stauffer, on Vienna C. p.
l\hrtin (1lmc to Ihe n"w ",,, ri d to '-""Clip" th" res trict ,ve [111. 1(' laws of h,s hometown of
Markneul.archcn , Saxony (,,"'" C; "rmany, t hough formerly East (i t rmany). He was hell-knt
on maki ng hiS mark on th" yuung ( ounr rys st tlngtd InSlrllmenr rnule. He d ,d thaI, and
more. By the Manon was stl l mg gu irars (l('slgnN along new h nes that would
tl'VOl ut lOnlSt' Ih" p"rfor manc(' of Ihe ,nSl rument , and which ,ICC sull ("("hoed In t he
c .. "'trun,unal d"ralls of rhe ,au majorit y of fl at-tops :)Vallabl!.' t(xb y.
In t ht lat" 18305 , Maru n moved his family and his In n,,,rry 1I, 1l ,
Ptnnsy lvanHl , an,\ C' enlUall y to ne<lcby which has \",,,n /l.larton , addr",s
n "r 51O(e (despit(' the rl'iocati nn, how"v" " gUlIa" we[" stilliahtllt"d as ht-ong mad" In Ntw
Yor k unlil th(' end o[th" I HOO.'i), From tim tim" t h" maktrs gUItars ,ame to look
more hkC' (he Stea( Oat -t ops th.y wmdd "v"lltually spawn, and ltss I,kt ,hr old-world
minstrels instruments (hut t arl y IHth C"!lt Ll[Y Eurof"'an may appear to us today ro
restmhk. Marti n simplHkd Ill S stylIng c'>Il"d,,[ably, d ropping tht Sll r>("rtlUOliS
woodwork inlJYs on all Out ti, ,, ,,,,ca'''>Ilal or Clls!.Om-ordt" r mOtI"I ,
while he cnn 'ifuul<lnal d"tatis that would pave , he way for the mod ('r n












Instrument .
The move from rud , mennry 'add." hraclllg fO the funn ... d bl1Jrong of Spanish c!aSSKllJ"
gUitars of , he r, m" (about the onl y Spanish guitars. !(";lily) mad ... hiS sm<l ll ef
mtlr" ton .. fuJ than most of anythlflg l'isc that "'as wIllie the "volUtlon of hi' X
bract"<! toP$ on ,h(' larger guHars had a more complex impact nn th""" mndds (upahll",,,,
Ahhough the full of t he dC'Sign would ht-com" fully on ly w udually, th"
sturdy crOOKd bmclflg for mat all owed both t h" lor-.. !.:"s and th" gu,tar 's top to ht- th,nn"r and
IIJ!htt r, wh Ich In (Urn Yi el ded mor(' rC'Sonance alld volum" on th" ,II Ulfa" of th ..
day. When Mar lin would to pr..:lomlllamly st""I-stflng produn lon .. arl y ,n t h .. n,,'1f
C"ll[lIry, (hi S X. bracing wnuld be r"udy tl) tak" Iht strain w,thout ""cessHarlll g any rone-
dampt"ning thi( kclllng o{ th .. VIbrat ing top or w,d"nlllg of the internal bra(es ThiS rcally
was a design [or the {Utu,t, and on" of the
many ingredi"nt,1 that madt Marti n /l1l'tars,
fot many ont of the most forward-
ltkl kin,ll make,s III
we ralk about tbe Iarg('r gui !<lfs of
t ht perl O.:!, th(' s(' are still sllllll bodi ed
acoustics by 1000lay s st undHds. Man, ,,"s
larges( g l.lJ rar of the 1850s WJS the 12Y, ' wld.,
S'7.t" 1, a Widt h that mOSt players today ", .. uld
expt"ct to sce ill a llt rl e PJrJour g Uitar l}"for.,
the (' nd of the J<'Cade, howev"r, body and
d("("otal;ve sl yies suH ," us.. ",day "'""" being
I'Stablisht"d Th" lurJ!er SIn" 0 - one of rh ...
small..,.r standard Mnrr lllS avai lable toJ,,), _
wa, and wou ld r(' mal n the
cllmpanys largest collce,, gUitar unti l the
arrival of the 00 some 20 years huer. Most
modds wr re avaolablc In a mnge of St yles
from 17 to 42, numbers t h"t ind ic:lttd t helf
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ACOUSTIC GUITAR HISTORY
7
OPt'OSmE MCif In the beginning: a fiv,.
guitar of .. boon 1590, probabl y
Portuguese. lOI' A Stauffer-styte
gust .... by C-f. Martin, from 1830.
.ROW The early Martin family home
and worfl sf'l<:>p in ChetTy Hill, near
Naunt\h.. Pennsylvania.
ACOUSTIC GUITAR HISTORY
8
whol.,sale pric.,s al Ih., li mO;" (h., WI1_' O;"S[ahl" h.,d . Th.,y rangt"<l from plain gUl fa's wllh
slmpl O;" binding and f.,w or no InlaY$ , 10 .'; llIrars WIth fa ncIer abalonc purning, pos'tion
mat kns and rosett o;"S, and Inclu<l.,d modds wll h ha5IC but clegant hCrrLngbonc trim and
snuwfl ak., Inlays in bt-twN"n . fiven at t h(' upp(,r Iev('L how('v(' r. Marl in g unars werc mostly
SImpler and mort" aust er"(" In d('("ornllon (han som(' of t h{" p<'1)- rl -packcJ showplITCS of oth{"r
makers_ Th., (' mphasis was al ways on soun, l and bUI ld <j ualny. and C.F. Man m appart'li tly
",,"w rx<"t_ssiv""y orna[(, d('(oml ,on as pOlent lall y gel ling ,n th{" way of thcse morc Import alll
goals (as do many of [odays lOp makcrs of bol h flat-wps and archt ops. n IS wonh noung).
Unc(' on place. t he look of Ihcse numocred Styles would S('{" f('w changes for t he followlllg 90-
odd Y('3rs. unril ' hc Impa{! of World War II ('v(,Ol ua]]y (orc .... J some chdnges of ns own.
In rhe earl y part of t h" followlllg ("("muty t h(" n()lI()n of St llllg lll g gui t ars with M.,d
st arted gaining popUiMit y, but Mart.n was slow to lake up the trend_ Before 19 16
Martin th., !)(ca,,,,nal u Iswm-ordet gUItar 10 lake sted strings. but irs first






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such cons.str n( prodll(fi on mod .. <-a m .. III {he form of ' K' gUitars ( name<,1 for ell .. ,r
koa ",nod construction) d('s.!-:ne<i co I,., played lfi the lap-sttt l I)()\O"""' . as used for (h('
popular ilawai Jan mUSK of , h(' (1m ... In rh,s way, the forma l that wuul <lllt'",mc Mnru n's
srock In (["' dd .. grt'w from Ih(' fr,nbcs of lht' mark .. ( - a popul ar ' fron}! .. ' ill Ihe day
and on fan I I would n s(' upward from tht' hmlUm, (OO, B)' the early 1920., Martm was
off ... mg su, .. 1 _< [TOnss nil , he- \owl.("$( of Irs standard ' Spamsh' gumlrs, t h"
hod,w 2- 17, and by Ih(' ('oJ of ,h .. dad .. st .... 1 st nngs had spread rhrou}(hnut , he IlOc PS
[hI: standard dress.
f or Marti n, II W;,O.S probably an l'fISICt ( OflVttSlun , han for ot hers. , he sTUrdy X-hracing of
tht' larJ.: t" mo.-l .. ls bt'l!lg al re-')dy pri med to fak .. th" g reater Stram , hal tht' of,t (-d
st rings would pur vn g UtTJU' tOpS >lnd bmlg("s - alt hough ,' ettaml), a
of adapmll on WIlS 51 11 1 r"':l ulr...! II> make the new dcsi,l; ns E,'en so, on I'knr y of "Id
you (an s('(' th(' stram of Ih" ;oppl ,euILon of steel strin;;s to a deSIgn th;ll soli had
roou m the gemkr 1'\11 1 of IIllf, ,n th" fo rm of a subtle archi n;; , or ' beJl ying', Hound the
of t he top illst behmd th(" hndll" Many newer g tl itars will the same
I"SptcialJy those wll h PM(lClllarly th In tops and light braCln).! - but J( 's not n("(:es\.udy a
CauSl' for concern. As Nor man Blak" put It , "N('"e[ tr USt a gu itar WIthout a belly, " An.1 whl lt'
thoSl' sl<'l;'l Stri ngs mlly apl)('af to '''St a gUI {;or 's struCl ural ,n(t"g rlty, d'l'r .. Iso get II wllllmg
wit h a f ... t hroatier "o)(e (hao anything gut (ould ever maoagt' , and call ranl (ulllrJy ht-Ip
[hoS{' (hill_topped, lig hdy-broc("<. llht -rops sIIIg swet' dy inJITd.
HavlIlS w t" .. th..-.rcJ bot h the man. lol m and ukulell;' booms of tht" ("arly pari of , he (ent ufY,
and m faet of buSIness III C'3Ch craz" that all ow('d th(' company (OJ .-" pal\d.
MaTfln was t'm .. nng Its ht'yd.l)' In t he I '}JOs WI( h tht" gUHa( fil mly al fh" c .. of liS
bUSlnO'Ss. Wh d .. , h" financial pllleh of the II pU" muslCians UnsuTj"", ngly
Ihe mO<l"b would It'maln the corc of tht the S-"lW tl (Ontlnllally WIder
accrpttlnc(' of an m.Hrllment, wh tlr Martlll ltsdf honed borh nrw anel .. ,, " I lUg
mcxlels mfO ,hal would bnome respected for all
ACOUSTIC GUITAR HISTORY
9
(>I'l'OSlrE P .. GI! lFf TO " ... 1fT Thr" early
Martins; a 1-28 from c1820;
/I 0-42 from (1898; and a mahQga ny
2-17 from (1930, the first Martin to
bll offered w ith steel strings.
un The Mound City Blues Blowers.
f eaturing Eddie lang on a Martin
guitar.
10
gUIt ars nnw M"[( I'fl/o: I n(o (tn ,,,n const ructional and de<;;orat,vc standard_
lhat haw' rt'mamoo fumOllS among afklonados. Wh,J(> , h., most aifordabl .. mo.:i('ls
remai ne<! all -mahogany Jo(ll'tars. tl1O' n .. 1(1 rUlll: up now had a mahogany ha.- k and
sId"", mahogllny " ,,< I.: , fost' wood fi ngt' rlxlllrd ond brl(Jgr, and a spru' top. Sprun' was
tilt' standard t hroughout rhe range fur t h., tonall y cruCIal pan of t he UlSt rumenr , but
mId-ran,!;!, "nu uppt", modl'ls gcn .. rJ lly W('ft' made w, t h fUS(' wOO<l back and si<ks
pannt'rffi wnh an t'ixmy hruJgc and fingrrhoard.
In addi tion to .. ,[ahl'5h'"g (CHam $tandards. Murtln also began to push thl"
boundaries III (fuClal waY$ For a tim .. rht" 000 _ )U" a m,d-sLlcJ g UItar hy today's
standards - had Mil compnny ',\ lur;;:r sr ' conc('r\ " mudd. Inllmll y at t h .. rt<Jursr of
g UItarist and banI" pla}'('r Perry Ihls W:1S ;Idaptt."d al t he enJ of I 920s to carry
a that hoJy at 141h t:lthl' r tlmn at rhe 12th, as was prrviousl y tilt'
standard, which resul ted in ' Orcht'st ra N OM deSIgn. next few
thIS longer "t'"k woul d bceomt' , randard on mll,1 MarrIn model..
This t'volutlon had also ],rou,l:hr ro life the Jarllt'SI y(' t of Ihe Marti ns, alt hollgh a ' lIon_
Martin Martin' of si gnificaml y Ji mells lolIS had exisud (" r a f(' w years already_ In
191G j\fanin han made a of unUSll:1IJy rhl ck- w'listtd, ",m('what p.:ar-shaf>t'n
)i:uitars at 't'<J ues! of HI, trumt'O! rC(;lHt'r Ol,v(' r Ditsotl c.ompany. These guitars,
wh ich appma{'ht'(] lGo aLI"" Ihr low .... { bout , writ' d ubbed (or the"
to Illc profi lt' of ,lit' IAtE;(' Sm"h warsh,ps of th., .am(, name. Whd., tht'y
were no laging success, wt'rc st('ady rm,>u;i; h (0 prove Inc-a had some In
t he lal ., 1920s t he DitMln company chan/!.,n hands and nast."d to oroer g UItars from
Mat ti n, so Marlin tnok up Ihe flag Itsr lf, and by 193 1 was offering 0-1 and 0- 2
Dreadnoughts under HS own At around Ihe samc li me, country music was
bIg Sl uff hul h on rJd,o and ,n I(l rge dancrhal ls across t ht'
COUn try, and fI' I:"'" larxe InStruments wrr(' O('(l r-mSl ant successes wJlII
many the volumr rrqU1 rcJ to bt'l l out thIS new musIC.
Dreadnought, qUIckl y Sl't t h .. ,tan<laru for both boommg country
rhYl hm gunar and spC<'dy blut'/jT3sS flat plckmg, ann till" body st yl t'
grew 10 Ihe mOSt popular shart of all .
Havln/! prO\'cd thell plat'e III the markt't , tht'S(' models finally
In rhe M:1ttin In 19j5, in tht full standard l an,L;t
of St y It' s 18 to 42. III 19j8 rhey wt're JOlll('d by the 0-45 as a
prcxll\('tl on modd, a /!\ltlH nc,"1y "" tlaborate as Ihe ahalone-
en(rusrtd 12-frt( verSI on of the madc for singin,!; cowboy st ar
Gt' ne Autry five rrars before, !Il1 llU, tht fancy en,!;r .. "ed fingcrro1fd.
Whli{' pearl wouln bc<:ome maflr a collector's
g r{'at('st amlml on. It was t il., homble D- I R t hat always achined
t he gfealrs, saJcs, and JIl fan Ih(' more wor kmanhke styles
th(nughulI! tht' ronge hav., usually pro.'ed Ihe most popular
AI tilt' height o(th., hl,ll-band eru. oflhe 1930s andeatly
I 940s, Marli n flm..d with archt ops, whI ch W ('rt' proving So
,ucct'ssful for G,bson , Eplphont', Grrt Kh and ol hers. It
St't'ms t he Mart Jll <ompany JUSt Ilrvt't qUl t(' got Iht' hang of
the style, hOWt'Vt'f, and modeI- of t h" day look mote I,k"
adaptatIOns of Ih., fbr- rops it WAS alI't'ady domg
so well wnh. Amenca .,rnerrn Worl d War II in 1942,
rhr archtop$ wt' rr dropped, hand 10 han(1 w,th plt'my of olhcr
,han;.:cs,
Th,s marks tht' .. nd of rhe real glory days. Mamn would nOI only







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SurVIV(' , ht- urll v.,rsal clampdowns t haI t ht' war mt-ant [or Amt'ft (an gUlt ... but
would Ihro\l(' and r., ma," , ht- most r<'spo::u'(1 aco" 5t ic brand the world ovt-r Tht- n >lnJXl ny
would bUI ld somt' ;:r.,at l! u l[' .. asal u after ,h., war, 11 K), but no model would agam q ult('
r ... ach tht' " p" omc of Irs fi )fm - until t h., h,stori cal fl"lssues of , h., mudt' rll ... ra
10 re- pro..luc(' V,"'3gr m"d., h on preCIse- ,l<'taIL
War\l me- r('SI (ICftons In forms hll MaTl on, and nt hr r mdke-I'$, hat.' , s .,.. 1 , o>uld 110
longer be uS<'<.1 for ntck rt'onfi m:t' mem, so , he ebony
wetc r<' lIlstated; for . ht samt' r., .. sons, onl y onf(, fl o' nm.,rs could be sournd , and ulhl lnne
n )uld nn longer be In , h., quant iti es llt'cJ('d for t h., ti alH1rate trim r<'quort"d hy St y)"
42 and g UIt ars, Also. Manl n had ubtaJlled 11 5 dcl iu tt h., rringbone trim from Germany
sin,., '" t he midd k of tht' pr.,v IOus cr mury, bur On(t' s[()(-h had d ri ed up If (ould nn
lontln uht"" , furt her supphcs from tht' European natl OIl aft.,. t he war. And ,n a
conSlru({ lonal a trcnd fo r usontl ht 3vy gaugr st ed s(rintls ilkt' flu<' d to bi g
arch(ops Mar tlll to Stop scall oplntl top' support bnlCrs In 1944, Ih('m
thicker an, l ht- r't'r ti l support (he su aln of a whopping .0I Jj " or sO' t , With 111('
heavy Hill loutl g uirars - wh., n hi t hartl
(, Il ough 10 J.(t-I thO' 1ll0Vj n,l( , that i, - and the
ducker hmces d Id at P" 'V(" Llt ClICt'SSIV" ht- ll ylng and
top Wb('o many play.,rs rHUrtlctl
to mctlJUm hHw .. (wlucil have o..'( om<: tht mote
popular gnoge for larh .. r flat -tOps o"cr (mw), , h .. y fi )untl
t he post _war Mom ns d ,dn't q Ultt' h3"(' the hft', sparkl<: and
''''O!l anCe of tll(, H fordx'9.fS
Alth" ugh ItS roster w{U SI,!; n lfirll mly remtxl 10 from
rha. dt'''g n Ix>om of (hI." 1928-42 (>rll od, M:m lO
to (at<' wdl wot h mUSICI anS oncr II - antl Iht'
count ry - had rt'<.,,"r rI'J [rom (h(' mort Imm..dlal t' t'ffens of
tht war A /l rl'\lt numbr r of (ountry & w .. stern art IStS
{on"nu!'d to pace 00 Mar li n D.udnulIghts, and t he
moJrl's [>oSllIon as rhyt hm g Ullar maIns tay c" . riecl over
1010 rock' n' roll (hrnugllOut t he 19, Os. thanks in no small
p:on to El\'l s Prtslt'Y's .,arl y !.l_S( of a 0 - 18 and D-2 H. The
fol k boom of rhl' 1950s and earl y 1960s f,mh.,r
boo,lt d d'l' of l\men ca's pr., -.,min .. m ," eousti, tlui tar-
makn , and t he nlls onr,s htlpcd Martin w
t''Il<'f lmO'nt onct' again wit h inrro.l uf ing nr w models.
Part of ("Jk ethos of Iht' 196(h a general
emhraClng of things - tlmrs, mltsieai ., yleS,
gUll ars, what halle r Oy - and wholt Mart lll waS (ht'
fort'mosr hrand of the mOIl(' m(' nr, II was It, modds of i O or
50 years or mort' that W (' t'(' reall y thr tatget of l he
fol kocs' 10n'; IIl/ol . 0 .. (h ... baek of thIS CI'llZl: , t ht' company
successfull y Inrroc! uc.,d , ht' austC" r<' 0- 16NY and tht'1J 00-
2 1NY (NY for ' Nt'''' Ym k', md lcallns g Ullars stylrd aft er
t h .. SImple IIlstwmcnt s I'roo ucr d under Marl in's New Ymk lalx-I III . hO' and
.t' lIl tm;;! uced a numbrr of Ol h.,r 12-frl't mood s , nOl pr ... :i"r reIssues as w,; know th" tcrm
tf)day, but g ult ars , ha. (aptur.,d ""me of the Ima,!;,; of mndtls of t he and 1930s
,uch t n(' 0 -18S and D-2HS, and ot her 00, 000 and OM Iypcs found favour wnh
thall a fcw Iratl(' rs of tht' f"l k scr ne _ oncJ ud m,!; t h., llk.,s of Pe(e Yarrow und TOIll
Paxton _ und th(' dcm\lnd for thr s., desig ns was st (urecl . The mid-1960s ai'l ) saw t hc
..
OPI'<:ISITE A Martin deadnought 0'1
1924, built for the rowiler Ditson.
allUw Elvis Pres ley was a prominent
Martin
11
!lIGHT A Martin D-35 from
1968, CIHt1UI Tom '.xton.
whh his D ... adnought.
epitomised the .... 1d-1960.
fol k boom. OHOSITI! M(III
David O'o,b,. .IWI Graham
Nalh. shown In the
Crosby Stili, & NaJh et" ..
bvowwd a pIIlr of D-45
......---
000000
12
I
,mmdunion of t he D-55, """h a r(', urn 10 light", bra( '"X and a (hrc('- pH' C'" rO'. ... """od hack
nmn::ived as a way of c"mba'lng a slio rt llg(' of Ur-.. zol ,an fOSl"Wood planks w,d" ,," oug h for
t hl" making of trad lu onal (""0-1" ("(:(' Marr on', gran, lest J rC"adnouxht t H' n rNUrllcd to
t il ... 'Kenc In 19h1l w,, 1i , h", ' <.'la unch of fh .. 1) 4') .
Having sold m Ol"(" , h:m 2.2,()()() gum,n: In 1971. Mall in mo".,d onl y around 8,000 units
III 1978- A workers' SI n k ... of mort' Ihan ('Ight rnnm h, In 1977 Wa5 no doubt fXJ rtly
rt'spons,bk for "liS big d .. nr .n rh ... company's production I ... vds. bUI t he aCt"'.'llr
mar kn was ('ttalllJy slOWing. More pcrun .. m fur IO<Iay'5 players and 1; u, mr
huyns - IS tI.t' rh:" H IS uOlver5.tl ly ...... -I t hat t he company's b." ld
qualHY was ,\!JppmS t hese yt-d r., of t he brand nOle this as














of t he JOWt'SI t'bh, In Mar uo's oveml l achievement . At tht' " tart of
t he decade, Marlin had Bddcd a heneat h new g uitars" bnd,!; ts,
anu ,,]so mHt ast'd thr thi ckuC' .\s of til .. of t he top bmces, all in an apparent
bid to add furthrr stability to tht' Insrruments" Lhan,!;ts made 1970s
Mart ins tVt n more r(", i"tall! to t ht' problems of pulli n,!; upward and
tops dlS(oning lI nd .. t tht' of "!ring ,!; aU,I;es, but they also
d amped t heir VDICt" and pk lllf " f playns notiecJ a C('!talfl
coflS!ipatcd sound and f .. lfl n(' w (' xaillpi t'. of tht' day.
Anot her fa, l ur, ont' rhnt Man lll could do not hing about , drew a h ilt'
under Ihe (tl l lt'( tah, l, ry of g uit ars (mm 19 70 onward Jll many fX"Opit"s
eyes. An embar,!;o Iml>OlcJ upon expurtll uf whol (' logs of Braz,l ,an
toSl' W ( .. >C! In 1969 found moot makt' rs, Marron ,ncl uued, t umons 10
Ind ian tOSt' woo<1 fot t he, r g UIt'. r bal' ks, Sides and fill go>rbuards. I't'w
pia}".- " would h;w(' noted II at t h.- limo:' _ and i n fact relall vt'ly kw
a[ any li me could n:". l lsli cal ly 1,Il'oofy any g T.-a. sunic <lIffr ro:'nce
I)t"[wrr n ( he t wO tyJ>t'll' - but Hmzlli an I'OSCwood womr anOlheT
Ind'carlon of coUC1.'tabduy In a vlnmgt g uit ar.
Aml<l Ihls dt'Cl , nr , Marti n dIU at 1t.-.. sl nnr t hing tight. In
1976, for t he fi rn lUll, III ,0 players could onct' again lay rheir hanJs
on U Mor,l;wll s Marri n In th(' form of HD-28. h s insmm



























13
GUITAR HISTORY
AKlvtl Chris Martin of Coldplay with"
cutaway acoustk .. le<trk Martin In
mahogany. tlI>PI'ffi1l ,,o,<iI: A Glb,on
StylI> 0 from 1%S,
14

showed that many plnyers were more IIl1 .. r .. ,rtil ,n lookong back" 'ard t han forward
when It Cdm" to aCOIlStl(" ,ks'gn and tr im, and - "frt' . a lew yru('S of re"dd jlL\l mern and
tecov .. r}" - f ht' '(',ssues programme woul d I,.. on .. of t ht company's more sun: .. ssful bU5lnt"ss
srnltt'g.es.
Not t o say Marun got chert' 311 at oon' , and [ !it' I'('(ov('ry WdS IIId....,d prt'uy tough goong
fi,[ a n,w yrars. In 1982 th .. cnmf'llOY sh'Pl'>I"<1 only around 3,OOtl guitars, It'Ss t han 15 per
celli uf I t, ach l(C\"rml'"1l1 of JUSt I I } ... prrvlOus. ThiS was prcuy much ( ht" honom; rht"rt'
was nowh", .. w W' hut up, and fortuoatdy dlls IS whe .. : Martin was
gradual ly h .. The resl of Ilir dc.::aJe offered m Uft" hard limes,
but (herr also IC'1l rfled eVl'ntually saw a stronger
Mart on t'nlt'ron).; Ihe 1 990s,
Tht' company had cxpcrmll'nu-d Wllh nl'W s!ylrs in 1981 In th"
for m of a s<'rtes of flat -tops, wh"h a numocr of competi tors
had offe red [or years, and aldwu!{h Iht'sr d.dn't catch on tertlbl y
wr ll , Ihey op<'lled dlKJr f" r mort- conremporary Manin d""gfl.,
w com('. Also, :1 eU<;WIll Shop programm(', stan('d in 197'}, fu nh"r
r",nforc('d lhe thinking that ml,t", plaYI'rs w('rc interested 111 old
Mar (Jos dum in new wtlh orders commg fast and tllld., for
WIth (t'Jturl" Ihal had ix-fo abandoned for many






Thest' Just a Inek lc compared to t h" ,'tandard
production bm oner they lOdJCat oo a way forward.
Along Wit h IU lmIOJo( 10 on IWO s'ronds Of l hlllk,ng - a pnn ,, ;' of the
new, [,nund",d tty a rr(rlrval of the old - a of t h('
t' xecu"",," mnks h('l p<'d pOSl llon Maru n to comp("'(' wll h the
,ynrht'SIs("r r"volu(Jon. fronk lI"rb"rt Mart m dt"partN as prcsldl'llt
but h " furher, C.F III , r"mamed lU chair man of th(' boord ,
and h,S son, C.F IV (known "'. ChriS)" WlU MlOIl vou..! 111
V"'t' prrSld(, 1l! In th(' hJnds "f a fift h ,L:",nr ratlon Marun, the
c"mpaoy was puillng It s(']f to mo,'r on.
1>-hmn's fonun('$ hJ U lmprnved by Ihr ('arty 199Os, to
both rh(' combu\eu of sum", n('w stanuard Iomllt"d
t'd lfl on CuStOIll Shop modds, and fO t he surprismg uptak" of tht
MUrfin Bnckpackcr 1[3"('] glutarS i nt mduc"d at rhr
stan of th", litH (h('r(' was more colnp"tition in Ih", wings,
HlO, Whll", aCOUSI1C glllln rS w('re enjnylll g a populanty,
largt' bt{"'s of rhar ch('rry were !x,ing tak"n by morr affordabk but
_. u ll h',L:h -'1 lmhIY guuars (rom till' of Taylor, Takamine, and
Thr plam 16 S('[I(,S "ffer"d a Mart in at the lower ('nu
of t h(' upseak malker , but thar sldl m('ant n hJgh-l'ud pnc" la,lS as far a.s many
bu<lh'C(S ,,"'(' f(' conctmt"d. Martln's rt'ply to (h(' )lfl C(' war a mi", ln 1993 In the- furm of the- DI,
a sl mpk but d l'gam -Iuol.:. n,L: Drradnooght. It savoo 'fl.'t ' by "mploYlng Jammat('u sid('s _
though wit h a solid sprue", 10 1' ami oock - and I""" Iabuur-lllfrnslv(' G\talyseu
finish and mort l'" and [",nOn n('(k jom!, In COIlfr.tM W Ih" tradlnonal MartlllS' nltrocellul.--
lac<j u(' r fimsh and n('ek Jomt . The dtff"'rt'ncts In burh construct ion and marenals
knockt"d a Ol,!! chunk off ('v('n til(' D- 16\ pmI' rs,L:, and playns took up rhe mort'
affordabl" Martin m th(' ,.
A y"ar lalr r Mar un honwd III on a rWIsr on t h ... n:-ISSUCS by marktrm,l;
vllllagt -sryi eil or cuswm-u('slgnoo modt'Js und("r fa mous artIsts' names and caHill,!! rhtm
'Slg narure F.d JlJOn guit ars. nt'w anlS le prov1<lcd hmltoo runs of what wtrt ofl('n
precis(' anu al,,, " CllSfOm- moddcd \Ipmarket Mart", and us(',!


I






















Ihe sl ar player w nudgr pn n n)S " I' a norrh or two furt hl'T than a
reISSue ""gh, command . Th., I,ne rn-!<a n wlf h a n daoor;>(!." (j("nt" AUlry D-<15, and progl'('SSN
to ,"dud .. an Enc Claplon 00042 EC. a Many StURn HD40MS, j ml mlC Rodgers 000-
4S) II. , j O'ln lI a('7. 0-45)B. Marti n D rthy OOO- 18MC. ( wo Paul Simon models (t he OM-42 PS
and mort' affordable PS2), anu mnny. many morc - wnh nl'w S,gnal,,", arll <t S ann,IUU(..d
[W, ( (' y.-arly 10 dus day.
T he l'ot' rp(" f uaJ , nICft'SI III 01<.1 Martins was further consohdlted III 1996, ", h".11 t he
sporadIC vonraJ.;t' relSSu(" l )' pC model s offcrttll hrough the yC-dfS were S' '''''O a n llllt' as
rht" VlOfa!<(' Sen es. Over t hc next {('w years prc-war features such uS Mylr tun .... , V_
sharo("d nf.'( ks, aged-look h'((lu(' r. and - where appropr mt .. - ht'rringi>oll t t ro m ap[)t'ar .. d on
modds s\ldl as t be lID-28V, OM-2IW, (){JI)-2HVS and HO- 2HVS (bm h wIt h n .. ck$),
D- 18V, OM- l il V, OO- l !'!V, and Om)-2HEc. (a 1.,,_, fanq Er i,- (Iapton m()<i .. l, .h, s a
production Vlntug .. KUltar than a limitccd Sit: nature Ed i"on). Others would
follow throug h th .. and t h .. would n..come hugely popul ar WIth nnd an
.. "ormou, for Marrin .
A" of ( .. mury approachccd , Marrin expanded at b(}(h low and hi gh ends, A
of1'l<Jt h I and 16 ,l;uitars was offt' red , joined by the spart an Road Sene's
gui tars wIt h sIdt's and baeks, (he all -mahogany 15 Series, and eventuall y the ('ven
less .. xpt"nSlv" X m()(I",ls hud. "".h tops of ("Qmposite wood fi bre. Mennwhile, funher
s.."t'$ nnd SI,I; nat ure Edi tion gui tars were addcJ , joined t he acclaI med Gold('u
Era Vlnl a,o.:" -I'rt'clsec mod(' ls, whl( b mcl udc<.l 0 0 1 only lOps made of loug _scare(' Ad Irond ack
spruCt' , hur BmZllmn rosewood backs and SIdes ou models III Sl yl .. 21'i a"d 45 _ (II" u m ..
such ("QuId be fou nd on a Martm In any numbers ror SOm .. 27 y ..... rs_
liavlng filled onl y around 3,(){){) ord .. rs on 19!'!2, and not many mort' I>t'r y .. ar t hrough
, he mIddle part of t hat dt'Cad .. , Martin hUl lt mort' t han 280,000 gUltal"$ t ht COUI"$('
of the (1)905. I" the n .. w m, l l .. nn ,um, Ih., company's success appears ' 0 con" nu,n,o.: AI>aCt',
and - wh, le t h .. compt" lIl1un In hOl h and ... studem levd ,L:U II AI"$ IS fief(c r
thall ever - t h,$ cumpany final ly sms and confidr m AI nCArl y
le"d of t h .. m ... h, Pl ay .. " In th", r thousands sti li d r(' am of on(' day st rummIng a
Man,,} g Ulwr - and mor., of ar .. abl t 10 achiev(' [hal (Iream {()day t han ... vcr before.
CIBSON
Manon has con(Inually fai led 10 el ectrify, Gibson has become even bet a'r known for
m claSSIC elect riC g uitars ,h"ll for its acousti cs. Bur this fellow _>u.vivo. from th .. l )lth







ecmury lws occu,lionaJiy M.alm] in flat- top husin .. ss, and tntirtly <i omonart d
acou'l ic "rchtop dUlong th., of that instrument 's heyday. No
when you consid,' r that Olvdl .. Gibson actually tht archtop Wllt ar, and
compa"y that ,'ar" .. d nn h.s nam .. hrou,lih! th .. formal to I[S uO! th on (I('slgns oflhc 1920$
and 193(l$,
lIS legacy, G,h""n is a coupit' of ,l; t'n""mtl ons youn).:t'r . han
Mart I" . Orvl ll"" h,)rn In Chal c-augay, Nt'w York , in 18"56 wh('n c. F. Mall In
waS alread.' Ih .. pa<: .. for t h .. X- htand fl al- IOps of fh"" fUfUrt' 10 hiS New York
Ci t y and t h .. n P .. nnsyl van.a workshops. Aft ... r movlOg to Kalamnoo, MIChIgan, 10
th .. ) RHOs , how .. vt' r, GI bson pursued an eO!l ..... ly dlfferem course of aCOUStIC
InSl rument d('sI!>n , one rar more ,n n ur nced by t he g reat ' -lOlinmakr rs Ihan by , he
new d ,r('(" tl Ons 10 la(gc frett oo Instrument s Ihal wcrc al ready successful wll h
.ht' makers t hat would becoOlr hIS ri vals.
GIbson hand carved hIS mandol on and gun nr top. and backs ontl) an ard , .. d
from IWO ccntre- ;oiOcd pl"n ks of sohd wood - for t h .. lOP' , usuall y walnut fOf t h ..
bacb and sldcs, The carved arch form .. d an onhH .. nrly strung fu r th .. s ..
, .
1 5
Dig Bill with a latl;l\"
Style 0 , now featurong a
the fjut of ib kind.
OPPOSITE '()II> Eddie Lang lind his
Gibson LS, with Seger Ellis and his
Embauy Orchestra. OPf'OSlll 'AGl IIIGHT
A Gibson L Artist model from 1906,
16
"nundho.uds, so bnlcmg could I,.. kept to a mini mum and
not OV(rl y Impede vlhrattons. In anochcr crucial
<l lffc rencc from ' he of tht' day, (heS(' arehtop gUit ars
W('rc also filtro nghr frum Ih(' sIan WIt h stcd strongs such as
Gibson was u." " K lin hi S mandol ins (far and away t h .. most
populJr f!"elt...:! InStrum .. nrs of [he day, as they would r .. ma",
for a couple of d .. c",d..,. mord. TheS(' GIbson gUllars <"am..d
rountl or h"I .. " " I (rom Ih(' front weren', Iildiu lty

I
I

d ifferent look InK but on close examillan on rh .. "
dcs*n and IU" StTUnlon d,(fered from pop ular fla c- IOlps '"
al mns t .. ry dt'm, 1.
TI, .. a'l' h,tl p /<ullaTS cxh,bHed a .,II,!;htly da,kt", and
war m .. r hUI morC' p recise vojc .. than tht h,i;(h(, hvd)", but
pot .. nl lll.lly boomy flat -t ops . but when mh'n to (he size of
of eMly U .. "IloO, - which sonw IH"
Ih" lowe" ooUI . 4" hroad .. r than nl mos[ anything
from Marrin, Was hburn , or oth .. , SI,!;nlflCan[ makers _ they
ht'(:am(' Impr('sslvdy loud m'Ullm .. nts for their day. The
hody duncmion, and , .. ,,,Imnt volume of ' The Gibson '
;(IWars s.<'t th(' ,t anda rd< Illt lllStrument." t hat
nc('<.k d to lx' h .. ard am,d II (rowdl.'<.l bandst and in th .. day'
IxforC' alllpldkaw .n, and Ihls carn cd through Ifl to t h .. pn .. ra,
whcn Gl h,un 1Ir<-hrol'" [n[('rl.'<.l tilCIT golden ag ... To;; .. tht"r,
ti, ...... tOrs ;;ave Gibson II promon .. nl l.-ad In a cor ner of rhe
}(u.mr mark(' r (ha( was barcly thr .... t .. ne<l hy ano[ h('r maker for
a ..:,wwi four or fiv(' d('ndcs,
Nor long aft(' r uII3HlIng hiS fi r51 sl,ltOlficam SlI(CC"SS as a
mak .. r, O .... , lIc GIbson pnn ..d way' with Ih(' comp:>ny thaI
would carry h,s nallle on Inl" fUTure. 10 1902, WLlh G,h,,,n h, msclf unahlc 10 meet Ihe
de mand for hiS a COT>$OTll(lm of musIc SlOre and lawy(' rs boughl up
[0 hiS nam .. and f",m",,1 , h(' G,bson M"nd(,IItl -Gu,ta, Manufacturing Company Ltd,
' t' ralmng "" a consul(Ant. Thts rdatlOIl,h,p W:i5 shorr-hveJ, and he soon
paned ways wi t h tit .. ntw ol'el1luon. I I!' rel:llfltd In the company um,) hi,
deat h in 191H, hu t had no [unher hJlld"-I '" ,ntlllt'n(" .. on g Uitars that his nam".
nt w ('ompany r.lmlX'd up pr"du( tllm. off(' Tlng (wo Jines of guitar., in thr .. ., sizts and
a of dl"co!1luve ,o(lnd-hol ... 1 ::"yl(' 0 oval-holed L Tops connnUl"<!
to I)t' .-an.'I"<1 from solid spru, .. - th .. wOO<.! [or boc h Ij"aljtr archrol' and flat -
top ,l;uitars !O Ih,s day - and t h .. b'Kk$ and sid('s were suI! (,/ wah"'t (titoll,l;h, o<ldly, (hiS
publi(ised as Ixlllg mupk l. G,b" ,n <oon changcd 10 backs alld .. s of h",:h , and
.... t tled on ll( tual mapl .. III th" la,t' 19205, and thI S remai n, Ih .. pr .. -.. mint'n! ""00<1 for che
b3(" Ks and SldC"S of ud"" p ,,:ullal)C While th(' carved , aRhed top cxhlbns an
onht'Tt' ndy warm. TOund .. d t"nal"y, maple's \Olce IS IIght .. r, b"Khl .. r, and mor(' dcfinro.
Toget her. they a filII , "cit sound wLlh good nm .. d .. fin or"m, whl(h _ p:>n ncrcd wnh th ..
ImprcsslH' .. of Ih(' brl-:er Gibsons _ pTOv..d ,U<l th .. q llal ,ro('S thaI many profeSSIOnal
mUSicians w .. <t"t k ln,l;.
Al l hnu,l;h Gl bwn hJd t he arc:htol' l: uuar, he hadn't com .. d", .. to
pt'rf .. cnng it. His own dcs'gns an ,me,lo:.ml It.,dgc WI[h Strlllgs andlll r .. d ho;h",d
I


I
I
I







the pi t c(' m rhe S:lm(' woodell plat .. , as on rmd,"onai fial-tops, and a falfly shallow
n .. "" pic(h to alt ow an accept ably Inw ,mnl-: h('lgh( the ]englh of fin;; .. ,hoard
l lavin,!; tabn,l; hl S carved_ar<; h from world of vlol m-mabng, II js surpnS1ll,lo:.




















upon consulcmrl on (hat h(, .1 "ln' ( foll ow rh, s format furth!;"f, .. mploYIn,lo; th .. . 't"1"" .... r .. bTlJS<
and la,J,>J('("(' arm0j.:Crncn( of (hose Inst rumenrs. (oul'ie<1 [Q a mort' hal k-an!( l .. cl nrt k
to 3ch ..... ,(' Ihe nco: ssaty ... of smogs Qv(' r Soon, hIS SUITt""" " "'",T .. <lnmg
lUSt lhal , 10 the In(r("aS('<.1 downward pressure 0(1,.. "ring' nn brodgt' , and
I hus th(' lOp a pressure t OXIU' TCd to n-a lly Sc( a Murdy arched rop movln).: - (;,]'" m,
"He bccommS loud('t and mOTC woeful SllHars. ("ven thou,!;h mus. of rht' la,,I!t's[
Sl.'l tkd In lit around 16' ['"..thrI than the massIve 18" of SOrn(' of Orv,llt- (j ,h'0n's
carly creatIons.
\Vh d .. thO' mundolln ,uil G, b,O(,', most popular proouct, the company <j\lI ckly
many adv:! !l( t's on Il""r:.r that wouldn' t be (ully apprcciat cd unlll mnny
years lart-f. Par r nt- ron/< wr.ar ml Xht I)t- as an daboratdy supedl uou.\ dccot:llivc
{"ir nl("nI , a scroll - Ilk(' ' horn' at Ihl' upper hass hout of some fancy Styl" 0 /,:U lwrs
of I<)()S nnd afrer, was an l'xf f(' m(,l y pra([I("aI, .. ven ingeni ous r&:,.."""!] t,,: blt
bout ar t he other s!tk of , he neck {"nei . ThIS was t ht" fi rst commonly ", .. n ' rutaway '
dt'"Slgn nllowmg plaYl." rs an un precedl' m('(1 rt"aCh up to the 15th frt't .
Producuon CUIAwny , teSlgns woul dn' l r{"Ol. I' I'("Ilr umll lat'" In th,. 19l4k OUt In
1') 11, JUSt a f{"w y(':lrs nfter I h,s Sryle O. anorher Gihson d .. sign , th .. L-4 ,
IntroJUCcJ a look t hat 15 e( hOC'<.! far mof(' III archrops down t ht" y.-an; [han
anytlung proJuccJ by GIbson (ahhough If sliJi nIHu:'.1 rh .. oval
hoi{" of the day radler , han (-holt'"S - I hlS despI t e u s L Serrcs tag alonj.(sid .. th ..
round _holed ml.d .. Th" 16" gUJl ur hud a mof(' symmctrlC"di body shape' and
a plain'" d ... and appt-.rled 10 ...... who w ... re commg to appr('(la,{" the
f"n("[lo",. 1 .. r t h .. fJ llt Iful
Thr first flat - wI" H"'t'" arroved ill t h ... lat e 19 10s, in the form of
t h .. ehtap and h:'$I(" ' Ar my Navy' modd, whlrh waS a\ serv.cemen

stat,ont"d on dmy a r.e ( I' >$t ofW" rld War J. 13ut t hese are a mere (oot note Jfl til{" comp:rny's

"
ACOUSTIC GUITAR HISTORY

17
A custom-buitt Gibfon
'Nidi: LIKM', wtth
'FIoNntIM' ct.a:wlrtion,.
from 191L WCM W".

gulUrlst of h day,
famous for
Through n.. TUlips'.
18
hlswry wd ay; a (ar mort' $Ignlfican( Jndoplll(, l1 ( o( around th .. samt' t lmt' was
managt' r; ' bor on).: of mamlolon vJt(uoso JcslJ; n dJbbll.' r Lloyd Luar on a hid ro rt'vlvt' rht'
fadin,l.l mandol In Loor went SOlll(, ""JY lowMd dUIllJo( t hai wIt h hI S refi nM creat ions (hiS
mandolon IS widely consiJC' nx l l h .. f'int' M , ud , lII' t rumt' m made), bm (hn link
el.lth(-slrlllgC' d HISt rumC' lI t 's (' ra wa.' .-tI ll on t ht' wane More sI).: f1Ifi u m to any h,stor}' o( the
acOUStiC g un ar IS Loar"s dt'vd npm .. nt 'If t h .. L-5 gu mlr of 1922. oTlglllally conccI"""d as til('
br).:<:"st mt' mhl""r of til l." nC'w mandol in Imt' . but put f"rward as a Gibson fl agship III ns
own Tlgh(.
By C'mploylll,f! a pan of (-holt'S In pia,'" nf t ht' 1.-4'5 oval 5Ou n(lhok. the L-:'> too!': the
archlOp g un ar yet anot her ' It'p toward, Ih .. Vltl ' In that had Inspm:d On',l k G,bson nearly
';0 Yl'ars before, and It H!l"tlf porat .. d rd'n .. ml'nrs hc'sI<il's. A nl'W tone-bar bracing
system. two brans rlln nlnl-: und .. r (h .. tOp from b<xly end to Hec k Joi nr ,
offertd" l,v .. lier ' .. .. : a bri dge "lIow"d pl ay ... , to d .. termin ..
bmh 't "n.-; len.-:rh and hl' lg hl , (or oplJmum (wd l. n .. arl y) Intonation and ani on: and a
,ad i<: 21 n .. w rruss_roo allowed , !;)r th ... to r't t im .. , adJlIHm .. nr of nt ( k how.
TI, .. , .. (j ihsons wr n' Ih" 111 0$( finC-t LJll'lbk. preciS)()Il-udJu..,tabl .. gui tar> "Vtf madt' , and
In n .. w ,I; .. nd y ' Crr monu browu ' sunbu r't f'lIl sh, th .. y t ht husintss , roo.
I'ros like F.dd ,t Lang and FfC'<.1 Guy were alrC'ady L-4\, and and manyutht' rs
up th .. advanct"<1 nl'''' Jfl Whil e (;, b"')1\ 6 ,t I!Sel f a$ l ht'
brand of choicC' In the jau world, t h .. as an .. nr sti ll dld n'( havl' C'llOugh
l'''l'ula"t}, ro k("("p the company '" ma nd"l lll ' , HawaIIan gUit ars. an, ] ban/os (n{"\l'r a
Gihson sl rong su tt ) also hdpt'd (u ray (h ..
As li S 3rrhlOps sett l.-d III th .. mark .. r ].,acll'f, G lhSOIl bowoo 10 anot her burg('Onlllg
markn and rel"aSt'd It .. fi n; r prop .. r flar-rop ).:1.1I 1ar III 1926 III the form of tlu' slmpl .. , nO","
uch-lt'!iis I.-I Th .. ('ompany srl l1 d o:-arJy d,Jn't III t he vlTt ue o( t h .. Hat-wp
a RS thl' LI s rl,!:lc.I cross br.:oclng and lac k of a t rus.,-md mak ..
d "", r - hu. st"rvl c("mcn. coJ[l',!:l' 5\ uJl'nt S, blu .. s belter" and t' v"n a f.. w (oumry
and ("Owhoy Sl n,J.:("1"$ Wl'r(' plpy,ng (heS(' fl at -tops. SO G,b."", muSt han t hought
it had ht-. rt r jump on thl' bandw3,f!on. JUSt t wO y..-.", lar"r (; ,],"Ifl t hat
a qual It }' flat-rop was a " iabl" proouet. and sign.-d up Nick Lucas, tilt fi rsr
' ew ,(]"d ,l; lI Har Slar, \'S a Sl,f!IWturC Jrt ISI. Th" NKk I. u<: as model dchur t"<i wirh
I.ht same hody SIC nnd shaSX' ns the L- I , but wd.1 d .... !"'f, so p,o<iuct"<1
'i ch. loud sound (or iu Th, s MUl t" r r ... u. h"d Its 1n 1933, With a
slig htl y larger and sti li body, a 14-frt r nl'ck, and bac!.: and si ,ks of
solid
Alrhou!o; h rompnny was struggling, li kl' so many other g ult ar_
makt ts, m .. , .. ly ro rh(, Gr(,IlI l"K-p rr sslOll _ and achlcving tim
pardy hy m. klfl" K:,h"ll ...... gua ars and "v"n
w""dt n wys - rh(" ('1lrly to mH.I - 1910s proved a time of majm
d"v .. l"pmt nr, Ifl ,IC'Slg n ,('rill S Ilt l(';Jsl. III 19j1. no doubt partly If!
r"' runst ro comp(' tI {lon from n('",comcr Eplphone, Gibson (,oldly
rhl' J-,o..l l<'S of Ih(' (our of ItS sIx-'tmng ar<:hwp rang ..
from 16- {Q 17", ThiS mau.:- tho.' CUltlll8 mapl .. -Ix od loo anhwps
IOll(kr and OCHCr abk to com pet .. III t h ..... "l umt' W31"$ on
oondstand
For a time' tWII Ufmran,...,; < hll5..d u(h orht'r' Epl phonC' 'advancN'
li S body Jnd G,h!>lIn .. d rh" furrhl'r by ("('rumlng (()
















Ihe mammoth I H- b.xly ""z .. way back 1Il rhl' 18<)Os, anJ
' ntroduccd Ihe sU!>"t b, hlJ.: h-t nd 400. :'0 It Wl' nl. lI nn l Gibson u umJ>C'd
thl' bid once and (or all wit h ,t, mtldtls of 1939: and Supcr 100 gUitars



wll h roundC'<l cut aways , and aV3,l ahlt' on an opt Ional ( blonde) fi nIsh . In 1957 ( ; '[)sOIl
would win tillS bJl tlC hands down by pu re-hasln).: i:! piphnnt' , but for now t h" company had


malll t" " ,,,,J Its posit IOn as kaJ lng ar<:htop-makn hI' VIrt Ute of dt'slg n anJ
M .... "",h,[ .. , Gibson 's most S<.' n ous llnd long - Iast in).!; foray I nW t h .. i1,lt -t fl P markC't h;\d
("Om", , n 19H wid, rh,> HlI md uctlon of t he round-shoul dt'T<;J Jumbo,
WI[h 3 16 " In",<" [)I ' ut Tim one model was [,(, placcd by two ,n 19 \6, th .. J-n and th ....
Adv3fl( ..d j umbn. b l h cu rned t he sam" body shapt and 16" WIdt h, but I h .. IJI[.' r ((';l. (Urcd
[""I. and fi)r t he fi rst li me on any Gihson, J.' " d . as II WIIS 10u, 1.
Al l rh .. wh, I .. , !I.t' ,"" m""ny "'.IS h,, "mg rC'Jsonablc success "" rh II.< .mAII ",. 1..- 1, L-O .Ill..! L-
00 fh, -t ups, hut It, mll't ,t flk,ng mood of the brcrJ came In 19 .17 10 lur m III J custom
InSfru mr nr Ofl J.;l n:. lly fllf slIl glll g <-owOO) Ra), WhHlcy (no dOll hT a rt" p'Hl'It' !()
,\-h mn's coup wlr h Au try 1)-45). This 17 !lJt -IOP had fOundt'! hours l h:l t mJcll'








II more curV:lceOI' S [ht rh, ( k-wast(".-l Dreadnoug ht look. and was a Insrr um ... nt
on st ag" . ProJ uct ion 1ll 000kl s were Inrro<i'K("n Sup<" r j Ulll bo, laler SUlX'r ) uml:>o 200 or
mndy Sj -20(1 , Made wi l h rosewood back and war, "lid m:lpk [h,S
guit ar provt'd the onl y f<' al rival to Marrm's 1)-45 as instrumellt th"t lkdftt('d a coun rry
had mad .. , ' I , Through th(' yea.rs rhl' two f1val. would W outdo ('ach Olher ,n I'>(' arl
III Ill " "d fall , y scri pt fing(' rboard name Inlays as {"(I,WIll rol led III from onto
(.() Ull tr y & or anot her.
World Wur Jl sl' lw,>d Grbson's prod uct ion. bu t dldn 't hair It .. ntmly . .; It d id l1uII of
, om .. ", h .. r mak .. " . St..., l , hmt ug ... s t(''-! u, red g Uit arS to ht- hUllt WIt hout (tu.,,-rtx!s. bUI
Glh$on ,nIrWuI ... d , .. " .. r. 1 """, m"dd s Il onel hdess . notably rhc ) -4 5. ) -50, dnd Sc ,ul hcrn
J umbo Wor h WlI rnr " " '" Ilf lll ly ent renched as t he ./-: 1t:./-:mJ: J:1" r-- .\",(, ' J" lour.
t he er:l o{ Ihe g t('a, acOUSltC was ( n" such OC:lSt would evcr $url'a" Ih"
Sup(' r -1 00 In t h ... company's and Gib-.o,, s o",n examples of th(' or<:"<:"<l
were and of' cn as fiacwry-' pt:{" "1,,nrlL u u ymg ont' or rwo
bUll t _'" or jl lCI.. UpS The:- COlll pany ha(1 "'gut'<! JlllO fla, -, op
pmduCIlO!l , alld It S jlOSlI lon as a I .. ad"r rard y "",rlll"d JIJ any !!fCat dangr r In 1944
G,b .... n WJS lak ... n by t h ... huge ( h1(a).to MII, inl cnrpor:luon ( MI), hll '
th ... dlJ !t u l ... to d,sruJl t Ihe flow.
P".,t-WJ ' "' lroJuctWn S onl y III drihhks, and ti, ,, j - \ 1-I5 , III nppcun nc('
vt' ry 1ll1l 1 h \ ('i" version of the 5)- 200 (wh ich was " OW "mply ) -201J), t he e)-
100 Wlfh UHaWJy and ('pl i')ll<11 pickup. and ) - 160 with smndard p" kup - J brnc
perform(' f os 3CO\IS[I( , h llf fa mou, (or its usc by The on m,,,, y
recordmgs, A the Dove arnved In ,hI' IY(i II "







foll ow<.'d by Ih" lIummlll gh.rd , ,i gllatllt e mod d wlf h Ih"
collt ours of a ) - 185. of Glhwn's j Ulllhm and ,mail er L Scri{'s !l"t -tOI'5 (n(Iw ' 1.( ; ' for
' lll tl e gUlI ar' ) ti cked \l long nI Cc\ Y. hUI wh"" Mart In ",a, <.ap lt dh n ng 0 11 d l (' fol k hvt ,m
of Ih ... b t ... 1<) 50s \l nd ('ady 1960s . Glhson "u em l"'" dKid"d to ' upgnde' mo..l .. l, ,n
""" ys Ihut w(.uld ulti mately onl y rh"lll bmh 111 pla}crs and coll ('("I(\1';
Tim wt'nll ng l)" pomd ... ss dedm ... III 1II ' t"J: ' tr r p<"ts" t"d thmug h much of ' ht' n,,"1
II""" d", ad,'s
It IS wurt h " <l Ung thJt G,l>son archtops wet(' made ' 0 a .. f .,,al .. -lellgt hs, sollie 10
,," har " " ,mm<lnly l'" n"d"rt'd tht' ' full length' 25 n:- of ' hr Mar" " stand ... d ( ... "ne- e"en a
lu de long ... r), an,', som .. a hit shurr" r. 11m us fi at -tops. how,,'(". rh .. {"O, mp __ ny ",,,I<.'d
III on a 24.X scak -lf;" n).: , h (no, '1111 t" t h" 24X [h.lt .s usuall y ,-! uQ( e{I). whICh "" , II}( hd)
eas,,' r feel Ihan rh(" lon ..... r Sl lIn ... of J,-bttln and many ot hers, !>!If WITh a I,tl l ..
less power and all .-Isc h.;- .n ... and a \Ouch less harmon I, ,,",
wel l.
A hClght-adjuswbic brl dg ... fin ed 10 many fla[ - wps in \ \j5 7 ser"" d maml )" lust ' 0 dt'adt' ll
19
20
th."" Instrument, ' tHnal ''' '1''''''''. will i .. od lt- , t'ff"rt_, to ' lr<"l' g d w(l tops fun hn chokeJ off
["Sonan.," In a srrnn..,:t' parall .. 1 [4, Man l n\ ,11-.. d",.,OO Introduction of








I
bran ng an<1 a r{,lnfornn..: roSt' wO()(I hro d.t: .. plat(' ,n 1970, (I ,h,,,,,, - under nt'w ownt"rs
Ecuadoroan Lt<1 (ECI.), soon r(' Oaml.! Norl on - ht-xan duubl lng IfS X-hraClng on
1971 to crClII C sl orJ u' r, but [anaHy d('ad soun.lbo:m ls <It-d int"<! rnp,clJy In 'h.- lact"
19605 anJ 19705, 'Ilong wHh I h(' I'C' pIH:n' on as an acoustIc mak" . Nohl" hut
ffi lSgUldc-J e(fon s 10 rc;{k slgn t he GI bson Oat-l OP In 1977 In ,he for m of , li t" Mar k s.-" ..
fo uled. Certainly t h(' <"I'.ml ,, ), of Gibson d ('( rtl cs suffe f('<l t oo und". Norlin In [h"
19705 and carly 19805, but t he tC.'(l ffi C ot'\l r ly snuff ... d our [ he company"s gr.- a,
,l(ouStiC kg;' cy entIrely
NOtlH' opened offices III N:lslwilk, In 1<)70, foll owc-d by somt
III 1974 , I n 198'1 Gibson productIon left t h{" Kalamazoo
plant ",mordy. By th, ,< t, mt', Norlo n runnHlg inw d,ffic ul u{"s , and



Gihson soon w",nr lht w:' y uf ut ht'r t he company Iud
b''l' n sellll1g off. Radwr than cI "ath of brand, (he
change probably (J,hson " of who had at
Bus1O{"$S & hool rh(" lr to t h .. ailing company,
and rr fim'li It , and Wef{" soon st'(' l ng a pfofit In 1987 hought th",
Flauron m3ndolm (ompa ny 10 lk lg rad(', Montana, and transplanted many
of ]( $ skol led makers to a nt' w Glhson a(OUStl<; plant "p"ned III
nrur by IJo;,man soon of( ' r (har, lIo7-'."mall , Montana, wa. ev",n furl h",r
from Kalam3tOO (han bu, t h{" opl"nmg of [hi s fan l"y marked
t h{" sah.-a(Jon or GIbson a(OuSt ICS, and $oon t h{" fint'Sf such ms[ rum .. n"
HI 30 or 40 y{"a rs were (olili ng OUt of the new W{"Sfl"Tn wor kshops



I n th", ",arly I 99'Os StMburst cut away models In rully
and trn-!l(oU'l1l showed t hat GIbson coulJ mJCTJ
apply ,[s [II acouSl lC gUitars, whIle a
)-60 and t h" ... tTurcl"b]" Wor kmg Man scrocs
at hot h of t h" ' q ualI t y' prK" Meanwh,le, thc
g rtattsr rtnt' wtd Inlntst ,n ' ntw' at"",,,U" waS w precisely detailed
























al .. ng t ht' I'nt's of , h .. ) -45 , j -200, Blu .. s KIIlg (a f (>V. Si"J L-OO), NICk Lucas nnd
s' ('am of of h .. n; Th, s r"", .sIon of pa5f glo'''''' ....... n gtew ,",mfi dt',, ! .. nuugh to IIlduJe til<'
rt"turn of .wo mo. l..!, of a t ypO' many play .. n; prohably ,hey'd flt"Vt" _' .... ag.lIn fully
IlCQlI$f,{" al"("hro]>s. In rh(' Nash,, ; II .. Cust om Shop hrought On' a ''''''Ul' of (ht' 19)4 L-
5, which was (0110",'( ... 1,01003 hy an 1.-7 ("ut away from th .. lmzt'man f:uwry
G, h$on', rent w, .. 1 suc("('ss In rh(' IlCOIISI ( markt"l IS norh",,!; l iLa- Mart,n ,< ' t'/uvt'naIlHIl :1[
,h .... od of ,h .. last (t'nlury. nut has hrought a numht'< of XU:31 mudd, I>a( k fmm d, .. hrilik .
and offen'! som .. n"",,, <1"Slgns ht-si.-l",s. And of ("IJUf'<t' tht' 3'-<)U.'[I( brJurh
onl y a J,>On .on of rh(" ('fforr s of a company . hM ha5 Incrtasin,l:ly conn:ntra. "" on th .... I .. , u lt
mar kfl I hf dawn of aml' l lfi{al lon. and (frral ol y 51 0 ((, rh(' arroval of (h(' f'rsr I ... ,
model m 19')2. EVfn so. If Ihf (OnlmUfS to Ihf si aodards ach,('vr.;1 on
o'u die j() yfOr5. G, bsOll acouslics should Ix- hUf to swy.
21
0ff'0m[ ""(if un An SJ200 Custom
model, built In 19]7 for country artist
Ray Whitl'!y. PAGE TOP The
Everly Brothers In 1963, with a pair
of J200,;. IElOW Sheryl Crow WIth
prized 1962 Country Western
22
THE CHICACO MAKERS
Even wIt h Man", loca((',J In Na,aret h, P('I1I1' yl vanlll., and Gl Own lfl KaLamal oo, Mld ".!!an,
t h .. C" nCr., of the Aml"fl can gUItar Indu. l ry In t h .. ..arl)' 10 mld-1900s was Cluc-dgn, 1lI'Ilnls,
H1 manufanurmg lnms ut Ane! althou", h no <I("tailed fITo rds "' '' 'St to back "I'
a d aim, ,t's a fa n bel to SoIy d'JI mnr .. X", rars W('I'(" maul' In Ch,cago bt-cw .... n around





IN9() and 1% 0 than , n ,h..- .,'SI of {h .. ",umry (omh, n('d If nO! till' n:S( of t h .. world Som ..
0/ ti , .. ll affitcS wdl nor sound [ ... md,.,!! w pl ayt'rs of today who haven"! yet dabbl ...d In the
history of t ht' 'nSlmmC"m, hut glJll t' J,k .. Harmony, Kay. W;.shhurn and parent company
l ynn & H('aly. [h(' Larson and K .. gaJ romh,nt"J [0 make t he \Vindy City a ""fltahle
cI "ar in/ot hOllse fo r , he burgc"<llllll g Dunng thIS great mH,h. "sr"rn hoom y"aTs
t hn " st ill have mnT" ("nJt' In t han but It for want of
Washburn IS known today a (]\I:l lll y AS lafl-m.ak brand, hut from 1880s to I he
1920s g uit ars [h" Was hburn hl1><'1 a" d m h", hrands of rhe Lyon & lIealy
company t'>rm .. d Martin 's h,t;gfSt n V' IJ In 'l u.d,t y flat- t op m"r kct They also provld.,J
many ITlOf" ,nsrnlmell t5 to bUyt'f., WJ t h ,hall owtf Ixx kcts, The company was
founded by t' )rm .. r l)"son reI's George \'V',I,h buril Lyon and Patri ck He"ly ill the lat t I S6(h,
initIall y to 'nsr rumems bougb t in (rum <Hh" , mak.;' rs, hur by [he earl y ISHO, w",
offenn); gUItar,; and orh," It ems at It S own nt' w facl h ly,
Wa,hhurrl, wt' rt' n"v(', as well m,lde ,I. "'bre ill '. th"y W"ft' ext remely ble wa h m,,, t


modd" If' from (coss-hr:. lclllg k,,,, wn as ' la, lder' braCing) 10 t h" >trung yt'l
musical X-bra'- 'n)i; pal(crn , and J Vi rtu .. uf t h" " fac rory-hlll l' on gltls ... er'lL' Mart,n's
ha"d crafts manship, n Ut t h('y WCfC J.x.l tt'T {han many others of t he day, and I hey (-amt'
III a mnJ.(e of currcnt and d .. w Ta",'" sl yies t h:lI could C'<jually luft' any playr r who
",= n' l aWare of t he fin" p!llnh nf aCOUS{I( (onscructlOIl
Outwardly, " "hI earl y Washhurns bore a w t h" popu[at MartinS, tOO,
whICh ... ere de-, .. Iy as dt'SI;l: n Ie ... ders nell I lO y .. ag"_ Tht')' were mamly small.
bodied ",_, u umt m< w"h rounded Jower hout" narrow walsrs, and proporu OIldlly
sh"uld .. rs of I h .. sryks rang ltlg fWIll what w" woul d t oday consider 'parlour
B' ultar, w 00 OT $m:l llf[ B' ulta", and w .. rt' oft cn made from g()od
s{()cks of ",I"j SI' TlKC and Bral , l' Jn Sum .. collenors coday get exci t oo
about hi ).: hly dt'Coramf Cil rl y m( h a5 th .. Grand Concen modd 309,
with d al>orat .. fingerboa rd 1I1l.lyS (, I' and solvrr, blll (he "',lS[ major it y of t he
mak .. r's insuumcflt s werc alf"ITS t har (0111.1 bc sold u)(I ntry '"
,l;tnl'tal stores, musi c ,I h" t'" Itach' ll,l; sl\ld,os and vi a (' m:llog ue hou, .. , for far Itss t hall
the 309'5 loft y pro,t,
Modd s III fami l ,ar p laln"r S(yies and slll .lil to S' Zt'S were Was hburn 's
st ock in (fadt' thrOU,I; h rht hmnd 's fine era, uml w"r .. al." th .. main offecltlp of
ot h." Lyon & Ht'aly hmnds such as College Lm", J upit er, u..keside and American
Con,,, r ... arurr. alt hough n fe w for ward -lookl!!!; lar!;t'r IIlstrumems wl're
("'(:a, ional ly offtrt ... I, such t hc Wid .. Washhurn Con{ra Bass of l889
(With a 27'1/ scsk-kngt h), or , h .. jumho-s.z.,.-j Lakemlc Bass GUlIar of
19 12, wh.ch /xSt t he Man ln D,t"'on Dr""dnough( to ( he market by filUT
years, aod ... a$ a Ill tic Ilo<'Sld .. , T h .. s.. were fCIIlgt' drons,
and " n a caught on HI any numhr rs.
Washhum', m, o;l,, 1 wcre t nmmed J own aft"r World War I.
anJ wert' g"n"rally I .. s) .. ix'slJes, bUI the 'l uaJity of rh,,&<, glucar.;
.t anyt h ing, rhanks largely to :I Wider of x-
brJclllg t hat had Ilrt'n 1\bnm standard for 1110[" t han 50 y""rs hy then, a
1I10' C wl"eh ", I.", madt' t'as, ly \Idapt able 10 the popular sted srnngs,
Pla)'ers and colll'<tors a[,kr are occaSIOn.1lly clmlJed {() a top Washburn



















mOod!."1 of rhf r har "'ILSo ly a Ma rtin 0- 1 H or 00-2H for round. (onSIrI.K!Jon q uu lO!y
and mat(, fJ uis, but sell s fOor !l fl'llCIOOIl o( t he 1"'''''' _
In (it" 10\(' 19205 Ihc Was hou rn hrand underwent a numbt- r of oWlln slllp
and t hiS marks [1'1...... nO of rhe wear fi rs t .. f a of till Amc-n cull -
maJ(' gUl lars, JR, Stewart bought Lyon &. Ht:lI ly's fu.-il, t y "' 19 211 Alt hough
L&I I (OI1I "' U(-d for a li llie 10 markct , h(' gUit ars, It sold off irs eO[ l f(' d,srro butJU" bUSi ness
10 Clucago's ' look Brot hers , uSt a yffi r later. Tonk marknt:d J _It. Stewart _bUl h W.,ts hbulOS
unt , l Ih(' onsct of t hl." Great DcplX' sslon st'llr t hat manufanuru nut of bu" n .. (h('11 fJrmoo
out g .. ut.,t, prod uction 10 t hc I'Jlh('( moT'(" dowomarht 1I. ... ,I(al. Rt'gaJ ",,,-, /ounJ.' J In
l nd ,,,n.lI',,I,s ' n 1!'196 anJ IIIO\ .... U 10 ChICago ill 1904, aftt'r which It was by an
.. xpandmM Lyon & Thmugh the yC:l CS th:\{ foll owt'J , however, or m,unr aln .. d a
total ly f() L&H's Wa. hb urn g UII MS, and Regal was :lgam:l separare t'mlry from rhat
rapi dl y ,hssol vmg comp.,ny hI' Ih" t Jm" II wok nil t he buildlllg of Washbllrn- bmn<led
gUHnrs for Tonk Brot hers,
Rq;a! gu ll ars mn rk(!(" und"r a Wi d" ran;;" of mller uamt'S Gndudlllg mnny otll('r
Tonk Brotil('t s brands. l'neon & Ih y, SI,ngt' ri and , I{e",rd ing King and ndwt s), and
mostl y workmanli ke hur w(' I1 -hu il r ,nHr umen " , Even prior to 1930 they tardy to
Ihe <.j U,I!,ty Was hhurns - nor (t' rla,nly anyrh Lug I,ke whar Maro n W<lS l urn", !,
ou l bUI sui " I, playahlt' , g Ulr a" rn"dl' w,t h nl! 5011<.1 woods,
anJ popular wlIh n of studen ts ami shallow-po<,k"too pruf", s[{)n"ls
Rq :;ll . bullt Wns hburns h;ul j.(lll rars as but wert' g(nerally












lIlsrr urnents than they had oc...n l hroug hom mOSt of rhe makt"s prec"d mg I",tury lla>'lIlg
swdl .. d to proportions by l h(' la[e 193&, Regal sutTnM bad ly cl urm)o( [h .. WM y .. atS
and em" r,lo;...d mainl y uff" rlng d" wnm .. rke[ /l ul -tnps and arrhtnps Wao; hbur n hmnd .. d XUll ars.
hu t com tnut'd tQ sl ip down Ihe quaill y ,<- alt'< und vamsht'd In all bm nam(' (I I Ih(' ourSe'1 of
\'WII, whol .. . h .. ,r manufan ur" r 01 " ,mt' [en y ..... r.. d,dn' l sur" ,"e much pas. ,[
In 1974 B("( kman Mus,('II,1 Ind usm ,,' of l<", Angdes putchasoo Ihe r' g hlS 10
\'as hburn nam .. nnd QPpl,t'<lu I/) a ranx" JUpaIlt'St' ,mpons. But t he brond wns soon
passed bn(k ' 0 Ch,eaXO, and ,n hands of a small company (allrd Fr(,lIed Instrumenrs
(lal r r Washburn Inierna(Ionaj) nc,gan to 35c .. nd th" q ualil )' sca les ollce ag:Hn, wll h Orncr nnd
Ort lcr Import s com,ng In from J apan t hrOllgh tht' 19RO, and ,nto ;,tld Oryond
GUJ\ ars In the Festlvt,l Seu('s, N at l'"(' /\nWflca n Sn'ts, and th .. w,de. rang ing D of
Dread noughts Itt"'e respected models, mcl ud lng rh .. li k .. s of t h .. D-Ill ' Wildwood'
w, t h a .<I, lid ,prUI t"P, all , ol id back and sides , and ('bony and
Har mony was fOlll1 d .. d ,n Ch,(ago ,II 1l'l '}2 by yet anolher German lmm'grant , W,lh .. l m
J .E Schui!7. , and soon aft .. . {hat b .. gan tI,t' a' ''Kiatlnll w][h t he growmg Scars cnrnl ogu" and
OO?OSrn !'AGE A lyon & He'aly Washburn
Styl. 108 from 1892.
. nOW A Hmony MofTt1!.ny from
1948 IlOnOM cata kogue
from ' 959.
23
24
d("lmrtmcm store company t hat It 10 W"w lOW fhl" worM's larw.' s, manu[act uff'! of
gUi tars. llll' bUI ld q ual ifY " f Harmony I'\lrd y matched t hose of Gibson Or
Maru n , or "'veil " f W,,-,hhurn\ mon- .. kvnred mo<irls, but t ho;-y wert'" gcncl'".lUy much iX't!<'r
thdn tht'lr la[<', r" pu[at,on ml ;; hr it'ad you to bd lc\(' taJay. II.trmoll)' waS bUI ldi ng
for sl ed ,{[Jogs "- .-arly as 1899, Gene Auny. Roy Smc.::k. Jlld BraJ ky K",kaid numbered
ItS t'"dof",mem anlsrs; and unll l Ih(' 1.><1.S$ IOP; of th .... bund Ul I h ... mid- 1970s m a
' rcoodgmg' Im pon " , , ,," IIIn!; Korean-mn. le mSHumcnts. all It S An)(,Tl cao-ffiade afoU.\tll.'
wcrt:" COnSlructN "f all sol id "'oo. ls On fOp of all thiS. i1Jr lllony hJJ the ptlClIIg t hai
en.lbled It {() I:.md Jo: uorars In rh" hands of ",Iayr rs t hal G ibson or MMtUl could,, '( , .... ,. h
Th" Hawa iian musIC of t he 19105 \,nJ 1').?Os provldnl on., of Har mony' .. r,"1 big
,,,I.,s booms, and , he SUI'(' (l ont' brand n.unr - JC'I ulr..d by Har mony In 1916 - was a
maon,ray of hudgel and mId_range ,n ,;., nr" (, ,, y(ars. AII - koa and all -
mahogany HawJllan gUHdrs ull dt' . tht' hr:>nd, and .he name shifted to a
r:>nge of other IIarmony ml " I..!, OVt' . tli .. Y""" ()r hrr popu lar Harmony rrademar ks would
includc the alld f1ar -wps and Cn'mona ar( hcop5 of t hc early 193()s, the
Voguc, Mont crey and Mdr'lUI .w I. llt'., "ftht' Inrr rhl hudget Stclla5 oftll(' laIC 1930s
and carly 191\0s, 'lild ullu,u,,1 aIUml!llllm- mmmtcl HolIday Coloram" senes of the
And III an unu,udl lalt' ral ,h,fr . , ht' , .. rm.flXly uh"lUlf OllS Sovc['{'ign Dreadnough ts of
Harmony's Imer year., h .. d a(.'IUlr..-d t hr " n:l mr fn!m a of ,csoll awr gUHars of lhe
1930s. illcreasHlgly and w .. lI-madt' Japanj'w Imports of t he carl y 1970s offerc..J
competition t hdt liarmony ju,1 ("uldn'l fi l\ hr ('I I away, and III 1976 Ihe name was
sold off. It has (.hang"d hand, a f"w II mt's SJIlCe, onl y 10 aplX'ar 011 vdflOuS ranges of A"an
"ll pon . Wllh any lastIng success ' n dIe market.
T ht: $t <;- Ib nam,o had. along with t he SoV(n ' Sn b""' lId, I,...,n a ,randby of tht' OS("lI.r
s<'hmidt company of Jcrscy Cny, New jrr"y, ",llIdl "'J.' ... h ..... Sr ... r. '''pplin frum tht' !'ady
19()('k unr,1 rht' sale of liS gUI tar fanory III 19:1), "'hllh r"sultN In th" a("qulrt'd
hy Harmony III 1938 OSCll r SdmllJI "'d.' a rr'P""'rrd mak.,r, rnll("h on rhe Washburn-
Har mony range. I hal had k t'n "nl1gN Instr um"nt, 5In( .. 1879, Some of rhe
(ompany's jXLdOUf of t lo .. 20,h (' rf1lUry wt' rt' ,-tt'"rnr enOIl).;: h Iflstruments, but
nevcr attamed Ihc famc of tht g<;" lI t ' <lIJ)' 1<;"., wrll -hu ol { - hut lar).;:er, and louder Stel la
models such as tilt' li-strlug gu .t;.I r /amou., ly p1.'yee! hy Tt'adlx-Ily' I.("d bcucr, and
rhe six- and 12-stnngs by Blind W,II ,,," Mi Ttl l, Chari I, Patwn, Bllllcl Blake and
many othcrs. NOIlt: of tht: ()" a, So: hmll-If - madl ).;: ul fars havt' A-list (or cwo B-lis! ,













s[:Hus wIth playt"fs o. collj'crors, but Ihese Stdlus h"ve ri sco abtwt tll" crowd - C_
Ii", at I .. a-,t - thanks w rhr" claSS IC 3COUS(!( bl"es
I'or rlt("a<les, Kay WaS s111ggJllg ,t OU I nL'Jriy blol w lor blow wllh Ch ica).;:o bud).;:t! ",'al
Har mony, and n<;-ve ' ach,cved (lIllIe the same .'Jks numbt'rs, bu r lOad" a ml /l htr rlt"nt 10 tht
mark<;- t nont'rhelcss. If lhougho tlw aLh,,, vt' rl a sliJ,;htly ht-trt"f
rrpu tatlon for qua!. ! )' dunng much of II , l'lO-plu'-y('ar run as an i\m(' .i ran Iflstrumenl -
makr r, al' hough from as earl y as tht' 1')20s Cjlfl .tluumn "f Som" of th" company's ,l; III rars
uf't'n Ifl cll1<lcJ !hc usc of d umble rJlh"r rhan th" woods rhal Harmony
ufllVl'rsall)' cmpl o}cd. 111(' Kay 0"",., H.'rlf, h""'''''rr, on ly ["am" about on t he 19205 whcn
Hcnry KJ y Kuhrml')'I' T iOlllt.;I th., Stromi)t"r,l;- VII "JIl'" Company, whIch h",1 OUI of
t he Grocshl company found .. d In Chlla,a:n on Itl90 (Nol t that t ha( St romberg-VolSl nC! .... as
company from Ihl' S! romix-tg I hal madc hIgh-end gUItars.)
A rang" of jumho fla' - tops app'tOIH('<.1 1926 unUt'f !hc KJ y Kraf! nam{' , and by rhO"
1930" th" hran, 1 ha,1 ,nsp,,('(1 a company nJmt' changt' 10 Musiral
lustr um"nt Company. By t ht' la(e 1930s Kay was "cli as a brand Oam" in ,{,,<:it
o.,"p' t" rhe 1930s werr a bIg lIme fOf Kay In a numkr of ways: thO" wmpany
" ff" rrd from h',I;h-end archrops with carved spruet' topS to budget-hut' I lawai Ian








and Spamsh ((,T (h" Oahu Ikrw<"t"n Iht'" "''aT and (he rurly 1960s, Kny
arcbtops we,,, Ofte!1 lh ... n,..XI chOl(t" down from wp-r:mgc makes 11kI.' Gibson.


Stromberg of Gr("[s( h. whol" II ranJ.;C of I1nr -wJ!s continued to fill StuJ(:llt and nnViLl'
In 1<)67 Kay wa' sold to Vako. t he large ('[cnne g ... itar, and
IllJll ufauur,,' and fh<."M" g rC'a1 Chl cugo Illanufan ur<." rs /"ldt:d In 1961'1.
THE NEW YORKERS
Through th .. m, ddl .. 60 years of the lOt h c(, ntury, pJl r of Am<"ncan I'tu, (ar
mana,l;td occasionally to knock on GiG,oll 's and Martor]\ doors in (,f
'fuJI,[y and rep utaTI on nnd steal more tlMn a few CuStomers from Il<.(h of tIleS" !', .. at milkers
Tht"st manufaCl UTc rs succ('cJcJ ("deh ot her ,II th" . ame f:o.nury. !'rom . he 19.305 [0 t he m,d-
Eplphonc a {l u i rnamiy m G,b'ol rn, ",,, .. ,11m,!; to qualif y archrops In particular;
















on a fi<."dS llllg gUl tJf company namt'<! (j Uli e! took OVI" El'll'hon<."'s form<."r Nc-w York
surpfl 'HlJ.; with ",'\(' h of the three v<."ry populnr types
of ncollslics: t ( h lOp Jnd fl at -(01' _
The Epiphol1(' (ompany', roms h.1Ck to Stathopoulo's fiddle and luU'
ACOUSTIC GUITAR HISTORY
The FI"I Spirits of Rhythm, fi'llturing
Teddy 8 .. lI>n on the Ep;phone DDluM!
MasterbUt guitar.
25
26

works hop.n IH70s Turker Hr brought t he bUSltw . , ) New Yurk ,n 1903, and his !;On
Epaminon<las - known as "Ep" _ took over upon h" d,,;l rh In 19 1 In 19 28 rhe Hous{' Of
Stathopoulo changed li S nallIe to t ht Efl' photl(' Co mpany on t il t" back of ,I S success
In [ har market foll owmg Worl d War l. hue II ,1; ""'" to bt- a tOp make' r of Uou SlI ( and
('''(' nl uaUy dC("I rtc ar(hl op - a d remamed so t hrough ,h(' wh(,11 tillS
mst rum("", ... as king of Ill("
F. piphofl(." SN.' mro 10 Ix' (' ,I1{) ... oo,l( (t ,hson, and 1(5 desig ns were usuall y
not far off t hose of t he m,,' Il1t1( alld :tdwt)wl ...:l,,:N preml('r rnak('r of such Instrument s. But
t ht Nt"W York company's g rowms ] " t " f pJayus soon md lc:lI n l , h31 many were wilh ng
to ,hoost'" an Ep. a G, b." ", Iht' yt af) . I' ,, ' pholll." arc hrops " ould Ix- pbyN, mostl y
In [hen electric forrn , by AI C:a,,, la, JOt' Pass, (;('0'1'(' Van f ps, ' lim)' Motl ob, Harty Volf*
and many
Epiphont' rnovt'd from banJ OS to til t on G ib,on's ramt
in a bi g way_ I\hsrnhil r Im(' of 193 1 canoed all WJth carwd ardlt'd wI'
and back, and rht l hr Del",,,' , Tr,urnph and _ w" rt' ntarl y half an mch
than Gibson's largr St model of tilt' OJY, wit lt m,tdds 'IKh rht lI \ackswnr
ofl;, ri,,!> rni cl prict d opl lom flmher down Ill<' A, Ln Ginson st'Hion
(-omj,anies sl ugged It out thmut: lwu t l il t In 19)6 Epl phone inrro.i lK"d
1811 " w"k Emperor, whieh soon b.. ... 11 p< ,pul ar top-oor(-h pros' choin',
and hy rht' nt"" r y(";lr ha<lupped til{' si l (' ('" li S IW" 1 cit....., b ll'lI ' t" oy anorhtr ,nch. EI"l'holl"'s
f .. rnous Frt' <] ut' nsawr lal lplece anl v({J 1Il 1 Y '19, many modd , 1>t'(-3rnt' 3V3llabk In blonde
m L940-4 L. All of t h" uppt' r rdns, of pt" fl od wert" ma<it" to wry hig h
Earl y pc-n oo Epl Hat . wp, aren' l r"memh"n:d \UC wt" 1L as art" Ihr archlOps, but thl"
company nlJdl" som ... fi n .. modt" , T h .. IT l)(olu:<'r of 1939-12 and Ff 2iO Dl"lux .. CUl away
of ell<' .... .. r.ly 19S0s art' n ct-Ilt-nr Jprge fl,1( ' l ops made III roughl y 'Jumbo' and
Juml,. , r .. spt"cII"r ly, air hough Ihe Fronller und T .. xan ofth .. 1940" 30d
19S05 ""h, le pcTfccdy dr eelll - .. " ' t n .. arly as .. .nuJ.: ht-af,t'r
by or rol lrnors. Eplphonr 's ' golden r ru' r .... ll y rnltmrN t hat of t h ..
archrol' ,(sel f, and when Ihcse popul .. nt y -01 dId
Ep lphonrs' fo nu nes










The company h\ld WIt h ,,,)In,, V"L"on. of its acousti c
archr ops , bu! labour t h" Il,abol ,t)' of a nt' w own .. r (0
(or (U on!-r any , uml't't1ti on ro Gibson and thr
others) did in Iwm .. .. tn ,ndt' )wn<i ell( r m il y. C G. Conn purelus{d
III 19S" and production (0 Phi ladelphia unt il 1955
(wh .. n [ht look ovr r again) \0 get away frorn
wor h rh .. N .. w Yor k workforce. In 1957, Gibson paff'nt cornpany
e Ml purehas<'<1 Ep' phonr and moved proJuclJon to
Whl' t(' Ih(' bmnd appcared on more affordabl .. Va rl3t""'s
of I"X,s'Iflg GIbson acOuSt,C Jnd cic-nn c d .. slgtJ s, whilh d id
n' malfl US- bUIlt unll J 1969, 'J< tday, rh .. " am .. , .. "d .. ,
som(' wha( fUfl h(' rdownmMket , gr-.. lltJg ASI an- mad ..
of GIl>$on " .. I", h hav .. St'tVN [0 J.:'V" play("ts
who mIght n(' v(' r JITurd 111(" tJrl )! ltJaJs a for m of a(c("ss ro a f("w


(; ,I", ,,n fl at -l Op modt'ls, as wel l as ro som(' n(''''rr
how"ver, F. p'phon(' s abandonrd New York
fdt l tlry hud hlt t h '" anOl hn ,i.: rt:at Amr rican gUll ar nam('
PIlI' sh Immlwanr Al DroflS(' was Ih(' man behmd GUI ld, dnd hI"
<IImpany very ahly from HS foundmg unti l h,s d(,:l1h in a
pl dtl f cru, h Ln 1972, afte r wh>r h for mt r .,. ,(' I' rcs,,!<-"m L('on 1'rll <ook. the helm.



In 19')6. (judd d'Ju,o.:..d I,,(. uuons from York City [0 Ho[,,,k .. ,, , N(w ) ersC'y. ami th .. n
III 1969 It movffi a,.;am w W .. ,t .. rly, Rhode Island. Mronwhdt' , in 1966, ow,wrsillp pass('<.1



















(0 A""('I. I nc (w,th Dronxt' sraylfi,!! on a, prcsldent ), (hen (0 a group of "",<,SttltS III 1986,
then to the FAAS <":orporn"on In 19H9, und fitl.llly to Fender "'\USKal In<[r um .. III 199)
_ whIch s't:nalJ('<1 Ihe ("Iosu, .. uf th .. W .. ,{trly plant and a shIft of I'rodUI " n" I" Fender"s
factory III Corona, Cal IfornIa UUI d""p,tt' all the uphC:lvaJs, GUI ld n .. vn ... " d"' ''' I:1)1 Ih"
apprcnabl(' d,p," qUal lf)' that I t' two comp<'Utors ,u r w .. ll do< umt'nt .. d as hJVIIlg
"(,alht' r('<.l.
GUild's vcry first Off('flflJ.;S compro, .. d a rungl' of fi JI-tops. from I h .. lar;.; .. 17" N .. vauc f -
50 IhM ably rt va.JkJ GI bson s ) -200 for many y...-.m, to the jumbo-sIzed F_40, ,h ..
11_.3tl 1l lld th, srn'IU-bo<.hnl F_20. Tht'tr SpfllC., lOp_' and mapk Sides wur of w l"i W<M>J, but
til.,,, ba,ks were rn"d,' from [:lmlnat("d maple illlO all 1lrclwu sha1><', wh,(h rht'r ..
had 'tru,turJI rlgld,t y to make back bract's WIllI e somr !.>C0i'lt may
of wuods to be" 'Jownmarh'( tcdulI<.J"r, Gudd
was dtfin"t'ly \1 ,".'( II fo, ,.!csign purposes and not for any sa"ings III
or labollr In t .. rlllS "I' IX'rformance. and scab.!it}'. the proved n
succt'ss. Tht's .. w .. r .. )OHlro b}' the Swart ar(htop with a (.arwd spwce tOp (soon
jo,nt,j hr a s'm<i:or J ohnny Sm.th Aw,mJ ar(-hrop when thJt tOP j"U player's
("ndorsemt' nt wa, 't',urt'd). Th.,w ot hen took hold w,r.h play .... imnwJ ' ''ldy, and Gudd 's
f<'pmar,on SI' ,.,ad qmddy !\tully pl .. (ound Gml d offer.,,-l a ' h .. " tlf both wod,ls'
alternat ,V( , sr,addllll)! d." " abl., G,b-.oll Martin f(";l(llrt"s: rht"y carro..d Mol.tI ll 's 10nE:'er
1)':-'; " sc-ak lenJ,:th ane! mO'., musKal Glbson's aJj ustahk t..,,, _rud and sl immer
nl'"(:k, and the more fr('(J utnr opflon of "",","'<M.d, a mort' o\f3run- hk(" fi.-arurt"
GUI ld 's MJrk Scm' s of d ,ISSI('(I1 arrov..d m 1961. and funhe-r Iml'l()rranr ml>Jd.,
add..d to t he l Ine In 1963. IIldudlllg rht' n-4o and D-50 Df<'adllou,!:hIS an,llh., 1'- 211
and 12-strlllg IlJt -Wps. whICh W("rt' Jome<'l a few y ..... later by Ihe- bl,!: 17" I I - _mns
rhal would lxt(>!ne t he mosl popu lar of t h., i r type " " t he- mark(' , G
In the 1970s. whlk aCOlJst){' ,n .l .. d ,nlng
fur thUI eX]XLnJeJ "",I [hen tilt' }"t-JCS, and Gudd suff .. , t"o.i
"Ionl-: w'l h many III Ihe eknronic mU5i(- of the late 1970s and t:arl y
1980s, and w:_sn' t ulcird by tI,,,, SWift ownershi p changO's chat i,,)! ow,d. Und('r
pw,jun,on an,i q uality _", t' m {() 11 ,,"(, siabilised agam, and tht G"dd brand nnw
lha l hl$[on( t' I('nnc .. flt' COtnpdny with its own rival [() Cil"oll ,Ind ,\-brlln
acoustl(S, somet h,ng It (ould manage with its own efforts. ,\ coust'( ar(hlurs :1,(,
,VO" n back :11 Ill<' tOp of Ihe mark(,( - albt">c tnoscly with llo3ting .. t'c I' l{kl lp., - '" thl'
form "f a IIurnbu of modds by the great contcmporary (If' htll p-
makn Rullt' rt B.' nc-i.kuo, ,lnL! oth(" r aCfual llt: n....-letto mood s hand-built ,n tht' (;u,ld
l.UHorn Shop tAud.' r el...<' from th .. " nam .. sak ...
A th, rd mJker, which would cvt'ntually make 'cs hlggest Impn' S)lon
w"h Cfl , hollow-uodies Ul the rock'n "olt yt'ars, srcm....-l for a umc co be ahlt' ro
run W,th (ht' ".," l .... d mg Amenean arehtop mak .. rs. had bee-n maklOJ.:
and III York C, t y SIOCC 188.3. and in t he early 1930s Ihe
company hrJ.:an manUfll(( U"ng ardn op and Oal-top g uitars wh"n t h""e
(0 bc hm., I'Khl fmm Ihe banJO. Models I,k .. t h., big
SynduomalK of che early I 940s, w,t h c .. c's---{'),c soundhoks, sca,rs, .. p bridge
Jnd ddux(' b, nd ,ng and \,o$,,,on ma,k.,,, , had chI" powcr "nJ of any "f t he
bl,!: G,bsons or and hr< am., th .. of COUIlf ilas,{" ,o.: u.(ar"l I'r..dd,e
Green for one, But thc Gr(' lsch{"5 "'n .. as well made as thc archwl's of ' b.g
[WO' , nor t hose ofSlrombeq.;. nt a handful of mher big ,n Iht' genr,'.
They nee "np"'5s',"e gu 'tMS. cerralnly, and p,,_,Se,S all chI.' right lllg,td,t" n", hut reIJti "riy
ACOUSTIC GUITAR HISTORY
OWOSffl PAGE A 1949 Eplphone
Emperor. HlOW A Guild F-SORNT
flat-top from 1975.
27




















28






















ftw have grtar (OnuHJOll . GrNseh flat-lOps d ,dn' , far(' much bt-Ut'T <II
( h !." qual it y rhou)<h som(' become fnr 1It'S!h!.'lI ( nr rt'aS{1ns,
such 35 t h", G -br.tnrl .. d Hancher of th(> I <J50s.
GYPSY JAZZ GUITARS
Th .. (OI1 (1nu lng. t v"n boomllig of ,l!:11lt3f1Sf Django Rc",hardt and rht" spr, ,,hdy,
melodI C ' GYr"Y tan' 51yl(' of whIch ht' Inn,!!: for m('d rh(' ('m!c, has spawn .. d a p<:rhaps
surp"sm8 ((lUll,'!." Indust ry blll ld mg a Iyf><' of ": \lira, , h", has nnly n-ally t' >t ltil..;! In rh,s
smgle styl .. 'Jf plaYIng. It ub Aylwil rJ , J ohn 1..0;- VOl, MauTlcc Dupont and Sht]ly Par ks ni l offe r
on rhe 31'proXl mJl e S .. lm<:r- Marcafer n d('slgn. as p lontt rt'd mort" t han YUts
"g", and rakt' n up by RcmlMrdl almoll t Imml."diat d y aft er J{S arr Ival on tht secnc.
Marcafl' .r, W<lS "" h al,un-hmn lut hl(' r anJ {oncen (cb,s ical) whosc rebllvely
mn, cal t aken up l1y l...o ndon musIC mana).(tr i\{o n and
to Henri Sdmer, ofthr French saxophonr mabc., as a sound ba$is for u g "'tM
of ,he samc bnuld , Thr Srl nwr fan or y in began lim'trd production of thc ""t.umtntS
In late 193 1. :lnd firSI models arrived for In Lonnon in 19.3.2 . They takr n up
mostl y by jaa alrhou,.h Ma(cafr rri himself fav()u rtn rht gut-s iting- vanallts, J.' d,d
a few ot her rl"yt fS of rhr But the ,t"d-, mn,; models were unilkc ally th in,; rh"
of Wr rr srrumm'ng a( the tun" . T hr y wer .. - and remalll _ a d,f[" rrll t
of ('n(lrrly
Scl ml-r-Malufrrro ,nSlrllmentS "IT larsr-bodi ,"" , flat-wp gu it ars, nftt,,, With a
or round plac<'<.1 under l h" Stroll);' and a de<'I" 'flatt ened ' look",); n " away Many
mooels Wrrr orog ,naHy bUi lt w,th wood(' n ' rt'50nawrs' mountr d undr r t ht' " [Op5.
,m"nd .. d ' 0 au] " rOjCHIOn and y"lumr, If anything. t hcsc damal-lt'd .hc tonc of thc
wh,ch t hcy wer'" Iit t rd. and I'lllyen s,mply ['('mov"d t hrm, or cliSfom-orJcret.i ncw
Sdm ... s ",,, hOll ' T hr Orchcstf{' ,$ th .. r"al of t h(" C:lrly ycars of
t hr but othrrs (''' '5(''<1. such JS ( h ... Hawa,("n . and g ut -St tlng
mod ... l. such as the COIlCe rt ( wit h t hr ("Ufaway). Espagllol, and c.t as.<iqut . AI! be. h s(("cI :,nd
gut modr ls \'ocrc rll Jdl' w,th lamlnar('<.l rn.ck and Sides, nm as a ("()S ' (",.erCIS(', but
for wl'l l-d("finN tonal con"drraroons ro:s.carchN by M"ccaf" .n.
In 1933. only . h"rdy h .. foft the InSt [ UIllCIl1 'S mo, t famous t ndorser took up th.' brJnd ,
Maccarern way' with ::.elmer aft er COntract d,spur t'. He ret urned btodly to h,,,
playmg " trt(" , wh " h I [Stlf was CUt short uft" r fmnurtc1 hiS wns, in a sWlmmin,; a( udt nr ,
For (t timr h(' l ook up of r('t'ds for musical and dabhlt-d on
other of I-llll mr d('sign. befn." brJIl'; hooh ,d by the possibilitie, of
pla'[1( Jns trum(' nts. !lxpt'r nnr m, with plas(;cs 1<'<.1 to his [" undm); of Mastro Industrl ('s.
whi(.h l!l (rud un,, 1 a plastic ukulrlr In 1949, and the famous rlasri c gUit ar s on (11 ('
u rl y l'x'sPI( e (hei r apJlt'a' an,r and t he, r genual percr ptJO<I [,ocIay, lnsrqlm("n[S such
as [h" ,\I :({"{af,rro G-30 fl nt -wp and (, -40 archrop - moulded frum a ma,efl al ca lkd Dow
Sty. on - "'rt(' l'.es(' nt N as s.' rwu, lIl'tfUffi(n(5. a nd were even [ak"" up br a nUffi her of p ros
'" [h .. " day
Tht pla5( 'C ,mu!:e could ""vr t q u'tr (U( 'f c['('dibtl ll Y .. , how .. v.-r, and Maccaf(' tfl 1:;1"('
ur 31'1'1YIll!: t ll(' proct' .... , II> 'srfOOll S' ,nstrulllentS JUSt a ft. w yrars inf O I he ('ITon. t.l Jst m
contlnu("<1 to oITcr " umbr r of downscaleJ g ulta.s throu,i: h t he I 960s. but Ih('se w .. rt'
no longer , n( e" dt"d as profr s5,onal -grode pldyers' HMrumt nf S. In I hc 19705 and l')XO" Ma.1O
Mac(afcH' flH""'onaity r(t urnet.i 10 lut hI'''''. and n'"n produced h,s w"odt n
jan gu' tars axa,n, first as Ihe CSt Gyp' y (Ill parrnersh,p Wll h Engl ,shmJ n Mallror ..
Sllmm('tfi l' ld. and manuf3(fut('d ,n J apan at Hoshillo faClory, whert' Ihanrl );tu[<, r) ... .. r ..
maJ e), and Id, .. r In wit h hlgh-t nn New York maker J oh<l M{l nt ... l(-()nl' .
Macca[ctrl d lrc1 , n 1993 at the ag-c (,f,;}l.
..
oPPoStTl ""Gf Fredd,e Green. gurtarist
WIth Count B;l5ie, pictured in 1968
with his GretKh Synchromatic: 400.
"80111E A Maccaferri Romancer'
from 1960 a nd II 1955 advertiM!ment
for the revolutionary instrument.
29
..
ABOVt. A 19]2 example ot thfl Selmer-
Macufer'; Modele Drchcstre. "!lOVE
"lGln The Rosenberg trio epitomise
the Gypsy lUI style on their original
Selmer instrumclMb.
PA! 101' Julian Cope with a
12-stri ng Ol/lItol'm Ad"mas.
pAG, RIG"" Vrlirl
prodoCR5 fine guitars like this AR300
fron. his wo.hhop. OWOSfTt , .... I
BorrOM V,1,ri, endorsed by A",
DIFranco, is a factory line produc:ed
in association with hu ... .
30
Meanwhi le, S"lmt'f ha<l (()nr lnu .. d nOf only w rnanllf..nllr" w"ta" to tht .. inmated
hy Ma'Tah;,r r i, hut In fun mak .. . ml"t'S) IW prox'" 1M pt' rfr({In}ol tnt hrttd Th" n' mpan{s
fl:'mainon!l: lu. h' r rs d id away worh fn .. Inf t' rnal rt'sonarof, chan;.:,d f t.t' ' Oll ndhul .. from D_
shapt"\1 (0 round and fin:tlly to oval, And SWApp<:<1 (he- llfl't' ( nl"Ck for 14. Tht' moot'l was
n('wl)' J ubtx-d t hc MoJHc )au, and With t hiS shape' and namc t hc Selmcr )au guit ar
achlc"oo It S ul u m:ltc form _ a dllng act uall y <j UIlC d iStinCt (rom anYlhmg Ih:ll C'C'r gra<oo
Ihc drawmg ixKIrd o( liS onglllalOr' , whos( namc was o( cOurS(' by now removcd from 11
anyway. So>lmer d os(-.:i JlS gUItar works HI 1';.)2, by which lillie only .. round ';.)00 gult:l rs h:ld
hcrn proJuccd, a gooJ half of t hcm th ....
A BOWLBACKED WONDER
Ovation's .,hupt" WJ ' Gmll III 1';.)6) comp:lIly
owner H. W h" flrq MUltar, and upon a
d",i),:n for a fihr"gla" ,omp;)"tt' hody For <u,h a radlnl departur" from
trad ,tional dt"s;gll. tilt' pror0rypt's rt"Ct' ,vt'(1 a surpr's'nf(ly ", ntllus,,,-<ti( from til" pro
playtrs Kaman who saw tht"" nl , an,I, lw I'ro<IU("I'0n mod, ls that roll("d out from 1966 also
gained a swift and w,de acceptance. Charl' e Byrd . brry Coryell. Jerry AI [), M("oia
and Adrian ut:g have all plnyt""d OvA (Ions through much of th(' ;r (3r(>(' rS. hut Glt n
Campbdl 's endor'>("mellt of n shall owbowir<J nl O<.ic- 1 m 19G8 smn' , Iuhfx ... t (h",
HallaJ('('[ anJ hiS uS(' of tht"" Iflstrumt"" 111 on hlS popular TV show. gavt"" tht"" brand irs b'ggt'"St
boos!.
The sound and smOOl h performance of modds such as t he CLaSSIc. Legt""ll<l, Custom
Legend, Pa<emal..er and 11),lon,sI Clng Country An tst rl';lllcJ ("v{"n t hat of Maron
Gibson III the early 10 nud- 1910s, w!wlll hC" <j uJ l rty o( t hos(- g UJl;l rs ... dechmng and
JlMII )' d .... r1)' wl li i ng to Ify M">lllC"l hmg n{""w They wer{" probably hdpcJ along

















III do;n,s.: so by Ovat,on . m,d l t'v.,! pm", ""'. In Ov-.. wm ,ntroduced the
m",., affo,dabl., In un ",ffi)rf m pr",-., mpi Ih., A< ,un cnpyists whn we,e
plagulIl,s.: mh", b,,s.: and was r..at h ,n/>\ til., ., m ,y and IlIw.,r-m,d pldyt rS as
w",1 1. T ht (ompany TO or h.,r ., nd of ,li t sui., III 1916 w,[h
[) ' spro,;,,)!. th" )!.t"t"ral ru lt' fllat :myrh, n;! It<s ,han ful ly 'ol ,d-wolld ",,,,"run;on m.,a"s a
downma,kt t ,t"Slolr, ,ht" ;\damas carr'td wP' mad., frum a th,n ClTblln-,s.:tap hn,,"--b ,rch















lammau:, wll h 22 of ' .... 'IOU5 locall'u [h .. uppr' hoI!!
Thl"S(" ;l lso found , h .. or murk. and soon Ix-camc bot h t he choin .. 01 many pm .... and a mollel for
enr huslastl c amJt{'ur" to "'p,rt' en
Whi le so ..... .. rs f"und sound of t hese gmiMs u Iinl .. 'ynth .. ,,(', rht' F. hfl'S lli;1(
followed '" 19H2 lM" .. d spru(t tops for a warmer, mort" trad",onal [ (jilt' . nIH soli
u.spbyeJ Ih" Adama." mul ., -soundholcJ look. AI around th" ,am .. [lmt' , rhe Coll ('(\ot's
gJV" th .. uomrany to promot e to Ullin-furs who had lmdlllOnaJly
th .. .. and hdp"d furth .. , .. 'tahl'sh OVa([OI1 as a m,lkcr ,hJI
was h .. ,,, fI.) stay.







In additIon \0 their .. -a!;"d ,hap .. and cons(rUClion. Q".Ili()n 1'UIIJ" ai,,,
,(' valu! lonls(X1 the n(1U'>" " f rrlfinrlon of an ,I(oustic IllStrUIll l.'III. fht'
mass [.>,,;: .. ,hl(lIon rlKKkb to ,m., fr"m tilc- rofY In a numlx>r ()f "pr(tlOS,
and ix"<:ame .. r" fi r,r road fO pl uggeJ -Ill gUItar r1ay,n)o( Hav,"f.:
wNlr!i("f('<.! lhe gt'rlt'u l a( " ., <11( , lump of rh., Nl rly 1980s, O";l tJon h", h 'n S,1!(" and
THE FAREASTERN COMPETITION
an ,uSfI ( market w.lS III th .. latt' 19705 an<1 carl y I ')HCls , rnuny
,mrruvln,o.: Im pOrtS ",<,r<, ("mp('[ ltlon f O 10fll!-sranJmg Anl<' r",ln hr,lnJ<
Ihana IS I)('$r known for li S br(..ud r .. "jo:" "f "Ir<;trl( ,o.:u il ars, whl{h fi rst (am,' In
as q ual"y 'wp ,es' of many III rho: carl)' 19705, but Ih .. w mr"" }' ha' 0...."
mak ing 3(OUSllCS slneo: t he 19;0, flar-tops first OCC:llllC known in 1'$ m:unly
dnent 'coplrs' of :.nd M,l ffl" [hat shaJ o ... cJ tho: company\ de" Ir l( ' of fha!
tIme, BUl more nrig l!l JI r.,nIH l,nt'S, such as fhe all SOhJ-wOfXh 'I((IU$tI (-
Ani DiFranco
31
..
ABOUt Bru'. Sprlng, 1.,.,,, pictured
in 1993 with his Yamaha in an
.. finiSh. OPPOSITE "A.a
A Taylor 115CE trom 2002.
32
dt:nric AE. Ragtime, and solId-topped Arowoo<] S('rtt'S of tht' 19HOs. ot th ....
M ASA or Talman modds .If I<x by. offer gooJ :Ilternau"l's to I'lart'rs lookin,!; fot >;om .... dung
d,ff<'rt()f . Most prod u.!! .. n sh,fl .xl from to In 1991 . and ha.' rt:m:unt:<!
t herl." slOel."
AI .. and t hl." ullmark('t Alvarez Yaln Inng iustoTics 10 Japan. and havl." produn:d
a rangl." of q ual ,, )' eorry an<1 mld-I ...." .. I a'OIl 'lm_ f" r f<,ars - toppN by some
all solld -woo<ls modl'ls mad .. '" , ,,tal ly m lgmJI .JeStS-0S by AY that flval almost anyrhm,!;
produn ... 1 10 the USA or Eump .. i\o" tI":r J ap.mo.'"c 11I:o.)..<' r. ' la kamlO<', has I'tO",dt"d yt l




qu .. !I!y (,\"cO lu['('<'1 many p""
away frum lIa,,," Amulcdn br,mds Rcgardkss of sail's
numn."rs, or any arl'umt"m'l about copIes " on gmals,
YamAha h"s prohahly for,;:t:d a mort' solid and
phi cC' for .t sclf ,n w(sttrn ti'31l ally of {he other
J upIlIlese makers.
Y:II11 Jlw 1>(>,lal or,;ans inJapan.n lHH7,
und w:.s pianos hy 1900. It was makillg .{S
own 191(;. hUf d,<ln ' wdl knowll in
th .. lJSA until dle mIJ- 19GOs whtn ,rs
dol'.IICJh and , little btl'[. s(( ... I-srr ;n,l; tlat-to!" madt'
.nr<laci- lUlU tht st udent , amateur folki l." an .. ' eampf.rt'
'I"Im .. Uy tht' 1970s Ih('se sled-strmg FGs and dasst(al G.,
",'I'rl' am"n,;: t h .. bt:IIt:f ' Iower guuars avadahk,
and w .. r .. findlllt> a for themselves largely on t h ..
streogth of (It:s.).:" ral h .. r t hall lxmg the cop.es
that most japMlcSt' makt'rs wt:tt: ,r. 11 u(f .. nng. 1I.111d-made
L Serl {'S and luxurIously ornat .. N model s followoo,
Jnd t he bt:1.o,1 'I U, ckl y ('arnt"il rh .. ft:'pt:et among m.llly
mol"(' aceoml'l ,shc.1 amar t' ur' and sumt: dlJI
1\ h,ld eOJoyed w,th srud .. nr and novi"t: for lell

Th.' wml:>;'Il}'S gu. tar lines have hurh txpandt:d and
Jd"JIKt',j the years. Without tht.r popularoty
hd,ing waned. O"er {he l>aSI dt" ("adt' :.nd " hJlf , such "s the Ihlllhne ekuTO-aeunsru
APXs, , ol .d-lOpp<,d GD c1ass.cals and l)W J)r .. :td,Hlu!<hts, dt:c<>rdu\'e aod "ersallk CPX
Compa" s.,,,t"s, and CSF parlour t:ul(ars havt won lots of ta", Mt:anwhile, Korcan maker
Sam .(" k has pu t !o:u.tar., 1Il almo.'t as m,my pl;ly"cs hands as any of Its Japant"w n"als, {hough
frt'fjl1t:ntl y n.lInts, such <IS Ii ondo
\Xlh il .. tht: 'lual.ty t'a,tnn '!lljX!rtS that hav" hCI:n .. <lmt: t ht: 1'}7(J.; SttmN
de5rmt"d to wopt: out US_mold .. Ie .. d acoust ICS, l' it' nfr of hom"-t>T<>wn
I'.feht:<l ""l id n>mpt"t.t u", 1m any upmark(' t mod('1 Iha! (; .h"'>II, (, OIld or Martm can
producl.", '" rl'r ms " f "mnd and bUl iJ lj uJI,ty, If not 10 numht-oc
WESTERN PROMISE
for production volum .. , how .. " .. r, " "" US maker hJS put up ao fi/>(hr >II rh ..
upp.:t miJ-r:lnge br:lc)..el s. nce fhe m .. ]-I9l'Uk Until (lut of all ani saos SCl'n .. of
tht: ..... rly 1970s, ccO{['('d around a .. C.al.f"TlllJ lut heTl(, ",orkshop, Taylor
Gu. tar; has grown ,nt O an (,(fon t'or and pmht'l m .. tUfIlmg OUI around 170
mMtumt:I1tS pt"t by th(' ('arl y 2151 wh .. h r.vals l urrtnt Amerimo gUlfar
manufadurt"r. Tolylnr's success wllh pmdm.u o" such as fhe use of
n>mputt: r fl Umt"tt l control (CNC) CUtl lOt: and routlnt> rna, and bolt-on oeck 100nfS has
















also dragged other Iurgt. "h..J mak"", ,nt!> modern manui'd<tmy hy dUH of th .. ,r
nc('(/ 10 a u"",,!t'



















Bub Tdylu, .mel Kurt L" u ,}:. fWO uf eh .. Orl}(rnal ,hrt'(" Taylor founrl .. rs, (0(/-( .... 1 rh". r
, unt"" larjo: .. ly rh"uu/oth a ( umhonanon of Taylors <It-Slgn senS/.' and I. lsr ug's hU$rn('SS ileum('n ,
bm rhe pair (t'rra,nly rrnrod a SIH' nUOIlS I('arn m,l( cun.'(' ro gel from Ihe (ompRny, I"" rl b on
1974 In wh .. n rh .. y ar<' [('.lay Through Iht" w urS(' of ,h ... l"arly 19805 ,he company {''''ol v(''<1
from hu,ld",}( r.l[ h .. r Mandat d Jumho and D't'adnOIlJ.(ht st ylt- ,l; lI orars '0 l'f()dunn;r.: a of
In nrl,!o:' nal nt' w sll apt" d"",,,,,d mamly hy Boh Taylor h, ms("lf T h" fi rst of .Il('st'
appt'", .. d In rh .. rurm of it concert -sh"pt-,L small-hodll:"<1 SI7. t" 1 mOliel, tWO of wh ich
wn .. d"play .. d at th .. 1984 N/\MM show I n rh ... for m of a and
mst"w<)()o.t - hoct",(t 812. By thIS Taylor's numertcal nammg SYSH.' m was wdl
wood typcs, bo<ty SIte :,nd shape, and styhng, but vanauons and over the
yrars makc H dIffi cult 10 a "luick, L'Sy gUIde to all of tht"se,
By t he early 1 '.I'.10s Tay lM lmd a grow,ng Il't of of whom WJ' L .. " Kot!kt" ,
Slg uaUl rt' 1>1\)(1.-1 12-,u,ng - w, th ' flanened' , Sel mer-j ,k" cu taway and I' dt"s'l' o
!mended to maxinlJs('d J ropp.:d - rap ,dl y earned a lot ot r",f't" t In that ).:t"nrt" . A
few )'eau L,t<,t tn 1')'.16 Taylor mad., fur, her w .. ,'", by Hl t wd uung th .. 4011 , !,,,t",, the m" 't
affordabk Americull - tIlJd. all XUll ar at t hat tl m,,_ By n"w, yOI,cll .... " t" r
t haI Mat(!Il and pknty of (Jth.r ", k,,,,I; nOl ",e_ In tllt' latt' 1990, and !' ,uly In
the (oil() w",).: .. TJylor a numlwr of'lweial "Slit" I,nt's rhar .... ,'r .. funn .. r fhan
anyd"n,.: tht" mah'r had prod",...:! previuu.ly_ Tht' 15th Ann,,, .. rsary XXV-DR
Drt"'dd nou).: ht XXV-( ;A j.(rand aml,roroum of 1999, an.1 ,hI." Comml."mora"ve S.mes
X".ra,.,. , hat foliow .. (1 "" .. r(' madt, w,th ddux{' wood choices (mcludmg Taylor s usc of some
Bra?,j.;]n roSI.""'oo<t for ' hc first 11 01(' smcl." 197 7) and {"xOIIC Followm!: (hese, t hc
Gal kry Sl."n es I."xt l."ndeJ .11" ml Jy Ih"m{"s to J mngl." of ""d{"rw,u (t
At , he olher end of til" dfi'lfdOlbl .. Udby XIUI Jr hJ'
Ixt' n a major hit w!th from yOUI!!( plJl"fS to tta,"elli"g gU'[d ... '" "nJ ,tat k- k .. y
sfyl,sts, and ,s one of IIIJ lll models to h"ve helpt-d a H ' .. lur
and AI , h" I,m .. 01 Wtl t Hlg, Taylut \ , t aiT nl ""arl )' 400 CUr!!
OUI dosl." 10 50,onO J Y"Jr, Ihe ""mrany on .. nf
leadcrs HI the <.juJlny ,'<"uMIt fnMke,
After TaylM and Man ITO , !ll .. Tan)m,l u>mpany, fnundtd ,n
III I '-)'-)7 ran J.1Y da ,m to l)(',ni( tht t h, rd .. sr manu facrurt'r 00 'ht,
lJSA Th .. ( oml'any's foorS sft' m IllSf a I' ttll' b,r furt hl."r hack [han tim, as thl." Tncoma
fa, oJot y wa. o tahl,sht,.! as a wood processor and occasional mal er
awusr,cs for ot her hra nds, pnmllrily \'qashburn, Two of "l\ocDlm,\ (jrst ,,{f{'tongs , tI ,t'
1('" C \ (. Ch,d and PI Papoosc, gamcd ,mnwdl"" "ttcntion
for ,hl.",r o(fs("l, (('ar. trop-sh"ped S() unJhoks posluoucd at til{' ba_, _, __"d ...
hom , , hl.", r pln. n M(II'e, and ,he, r ItIll'f{"ss,V/;, sound and bu, ld '-jual,ty "t tht,
P"C.. T;(.("omn nlso otTers many tIl0f{" trJd .. ional deSIgns, and S"Kt'
nnn ', k d an .mprC-SS1\' dy wi d" rJ ng(-, IIldudong t h .. ilorem"' .. -Lutawar
FM16 and EMI O, (he Laurena J ulx r-dI."M!(ned E s.,,,,-"", , the EUZ24 wHh
ros(wooJ back Jnd "d .. " Jnd many mm-.. , totaHin}!: mort" t han 70
IIlSl rumell (S ,n Ihe rJng" SOUt .. I99X Tacoma 1.,,-, al" , .,/k..,d ,h" fort",xn-
mJd ... OJ)"mp' d hy Tawma 100" of mure J.: u.taTS 1.", 11 10 rhl." US
mJker's
,n(I"Jwnd .. rH qual"y Nort h Am('f ' can makl."rs bloomed ma, nl y m
work- hop._ ,n wood oprions, appomrml."ms, and bu .ld
Mandard. (hn! man}' plaY"fS Martin ' [sdf {'Quldn'{ del,vet at ,he time Many of
t h", .. m\l\, .. d Oil to pf,,,l un' morl." ont:, nal dcsif:ns, blll most atl." still paymg homagl." to
A
, "%
ACOUSTIC GUITAR HI5...GRv
33
34
fhal ).; randdaddy of th" fhl-top. J illi oft rn topping If, as (tWlr reviews ,,"d star
( odors<."menr i. srs continually pm" .. CornpJn,("s 1,1.:(' Mossman . Guri an. Traugort ,
Bou rgco.s. Frog.!:)' HOHom, COIII")o;$, ( ,allaxh .. r &.m .. wcrt' 01 11 born of t hIS {'t hos -
Jlthough. to Ix- faIr, many haH' fi on -d ( m rH ,ndud .. (ur Out mcl uJmg) mor('
uu g lllal dcslgns. And t he las. of '''til'(' can { .. rmmly no I""g .. r I"" h it'<! und!' r 'small maker '
RIChard IlooVCf. Brucf Ross, an,1 \'(I ,lImm l )avl s fi. rm..d rh .. Sant a Cruz GUJtJI Company
III - }CP Cnu, C'I I,forn,a, I n 197(. , and budt up a 51!".,,] y roster of d ,cms
lrom t he local ;l{ous(]c sc('nl'" who look on!,: fur a ion I., mor .. lllall I he u adHional brands
w('rt' olTermg . Earl ) koa-bo..J ,('<1 S.,nra ( .1\11 I) SrI' I .. Dr .. adnnug\lIs l>eC"oIme popular with
jll'Mt' rp'l kers on t h..- !>Cen..- ,n p,uII (ular, rhanks ,n (() I h" ,r t han stanclJrcl I X. "
finJ.;e dHl<lrd w,dth at t he nut Other models had suhtly ,nnovalln: tw, sts on clasSI" des'gns
that made t hem ju,1 Ihal bu more al' peahng (0 playO;",s: t he but d""p'
I")(),d,td 13-f,("[ H, t he FTC. w'lh 11,' Ihl tOp but u ch..-d t h..- Tony lI. ict mc.Hid
based on a "!anon DrO;"acin(lll,l:ht "",h soulII.lhol(>, dl{' f S moJelaim..-d ar fing..-,sryk
pia)'ers, and many orh,,s, Nor all ,I: ,t',tt 'UL""'.'''' ,n ,.d(>s lerms - and in [Jet the claSSIC
Martllll Glbson-sryl O;" m(H'I"I, ,hat f"I I"",,,d "'"ul d prove Sam" Cru,, 's real bread ' n' bun{' r -
but rbey showed ",har th .. makn '01,1.1 d .. , ,a ugh l the attemion of more than a f{'",
name pb)' crs, And by off!'"n>: I'ullars l ike Ihe 00, 000 and Dreadnought
models, wllh siO( and 12 fr" r, , I"", ul d,,, bod y, or the lx'l uufully appomted,
prewar-st yled Vmtage D, Sanra Crtl? (nvw sol"ly "wnt'(] hy RKhard lIocwer) is oncc agam
pmvid , ug" breed of "imlg(' acouSlic I har can ', t',"I Iy he "Inaon"d rlsewhe,e,
NOlle of theS(' HldqX'nd('nt mol ers ,s a 'ou, I).:(" opn on , tot n''''''' , and ",m" - t he smaller









in p"rtl<ubr, whu(' each guitar IS IIkdy ' 0 rt'{"t'lvt' some aU"nt",n frum till'
company f"und", . - w<'ar p'lte 1"1" tI'''1 "fl' higher t han all but (he mosr elahora! t" of liml!",d
ed,(,on Mart inS, Il ur mort' and mure cnmt to Jpprcciare Ihar rhere's "Ienry of
wonh TO he ha, 1 ,n a well -madt', hJnd-<fufted JO,USIIC Illstruml"nt. and I h:u rhe ITlIlm of
Jusllfiable 'l"xpt' nslv{" ).: u orar< u> mor" , hall , uSt vlll t,'g(' MJrlms and GI bsons, If
not h ing rlS(". rhe I,s! of "ar playt",' whH h"" .. ,.old nil thCIt M' or G' brandC'<1 a{Ollso n 10
phly Sllmnhlng from an."" I,q uf JU<"U W Ih,' success of rheS(" smaller IUl h'ers
CANADIANS &. EUROPEANS
Our space here IS IInIlred, ami we ) tlll k mamly With th" major hI stor ical Ameflmn
rnakas, the modern upst arts, and Ih"" As,an f1v:o.k IltJ{ xrcal g Ulrars have ben cOflung Out
of Canada fo r and of cou rse many of (ht, found, r) of American art of stnnged
,nsrrumf;'nt-mak i".o: bmught tlWlt ,,:,ft (rnm EurolX' In the I'lacO;" , and many fine
sr,1I bO;"in.o: b,,,1t rhe',,_




tht makt, 01 Rohert C,>dlfl\ l.IS,Do eompa ll y, whICh rhe 10wO;"r to mld-
I1ln,L':e i' " n' h' ackf;' rs (wh,,-h Ind"d", La Pat "' g uitars, and &"gull, Norman , and
S,mon &. PJf rick t ur h, t r flat_wI"), and th .. rnld- '" IlIgh-(>nd of j''an l..arrovt't-'s
self-named .. rhO;" m.'I'" ( nn,ldlMl hudder' ha", got Ihe markn "'Til covt'rt'<l S,neO;"
foundoog h,s Harmony L'lo cusrom j.:ulfar work-hop III Montrcalon 1968, Godon hM Mn
responsible for launchmg an numh .. r "f different d('S'gns. maonly w){h
th" a, m of good an, ll'lay.nj.: ;;1I 'tar$ W Ilt'XlOn"rs and student s - or J" SI
anyone who doo:-s n 'l "Iol 10 SIX'nd , our setks an on$trumt'nt t hat o"tperfor ms liS pfl ce
Th .. r<,sult., of( Jnd ('"Jell o{ 111(> makes und ... r rht" 1.a:"Do nmhrella pmvid .. s
val" .. fi n the mon"y
l.arT"'"" ftJ ually .. nt rtlll\d('tI gUl(;l(- mak(>r. who also founded his rllmpany



In 1968 - in Torooro rh" [1m .. - W rnJll ut,nure onl y ciaSoStCal gUHars ar rhO;" start, u)(.al
demand for quallt), .... I-, [ "n.o: J!UO JTS It'd lum In tO Ih,\( realm m 1971, hu[ h, s nylon







al'lJNrs to hot- mud ., a class,cal ","tar adapted for st"d -slrlng playing. Wlu,h to
say Llwy are hal f baked conversi on lobs: t he ('\u ly v('rs'ons of Ih('s(' w(,r(, upmarkrr , (u, r,' m-
m:lde Insu umenn Ihul pc'rformed stunningly, and th(' producllon mod('ls . hat foli owKl
are s(l li Irnpl\'S$IVe J*rformers, wit h a snappy {'('spollse and full VO,e(' Tht' coml':l ny also
off" rs Dr ....... dn.)ughts, lumbos, UO modds wit h 12 frels \0 Ihe bod y, and a I'erlr(' parlour
modd thar ha,' w"n 1m of ad mirers, The 03 Senes of 1997 became Ihe mOSI afford ahle all
solId_wood n .. t- top made In North America the li me of IfS ' m rodu(flon, an.1 ).:00.-1
v:l lue model s foll owed, all al ig ned wll h Ihe Larr ivee des.g n et hos and , he /<OOI t SOllnd
mid pt". formance t hat gOf:S wll h II.
rt'aslng COSt of good ent ry-level guitars manufact ured III North America and
of rourst' U\Il <wnt compt"tltum - and IncreasJIlg <j ual lt y _ of Ihe ASIan Import s
rh:. ! Imporfln" /l u ltar< (rom (j ump" co th" US and Canada has r"rely Ix'en :In
appealing I' rO],05Irl on, 1I ,,! of /<U lfars from aero,s Ih" wal" , ar" d","rvi ng "f t



COlllinenml milkers S\J( h as Hutn" r, 1.(,, ' ''' , (-,oya, Eko, Fram", :l nd Hag"tri ,m p", vJdt'(j
Europ<'an and Brit ish players w;d1 1I1C full range of awus{\c fyl" :S fo r (hOll l' h
arc bi d e seen out side EUfOp(' , Gcrnl :lny's Lah ' wood , Fi nl and's
Lmdola and l h(' C/,('( h Republic's Fur( h arc larger bu il ders worrhy
of" 101 of resp('(t but among lhe mid- to hi gh-end makes ,
Nort hern lrd "nd 's Lowden probabl y has the best rep ut at ion ,
the (ourS<' of lIS 30 -y('ar history, Lo,,'d en has gro" ' n
sleadl l)' In ltl a rt'('''g: ,ust'd II I t he amuse'c world , and gat henxl
a numbt' r of pr" al " ng Ihe way, 11Icl ud lllg lIke
RIChard Thumps/III, I' ,,,rr,, B" n' u'an. J an Akk"rman, Jacques
Swm:m, Michal.'! Ht'<l/<es, DaVid Gray and ut h"fli _ a numl,..r











of cUSlom-bul lI e(forl s, Goorg(' Low(len got runn ing as a production
maker ,n Ihe I'rop('r sense III (h(' lat r 1970s, In 198';, aft"r some
ycars III whI ch the g uit ars ,.;ere bUill III Japan, Goor",c starred a
fac\Ory III R:mgor, Nort h(' rn Irdan<1. Unforl unatei y, II ran ,nlO
mon{' y trouble ;Ifter only t hree ye;lrs lind changed hands. Gror).:e
ga' e Ihe new company a bc{'nse (0 bUi ld hI S desi gns, But in 2003
l hal ag reement came to an end , AI th(' st art of 200-1, whal had been
l he l owden Guaar Compill1y changed its name \0 Avalon GUI(atS,
Avalo" hilS "OW droppt'd Lowd(' n designs, incl udi ng IllS
n isr lnn lve bral ln,ll, and srarfed al{aln wil h a rang",
Glrge l.() wdtn , mt' anwh,le , aga,n prodlJ( :i ng nlS " wn
deSIgns In a small , sl" , ]>('.son at(,I"' r under hi s own d"tU
superVISIon, H(' also hand- hodel s CUSfom Instrumt nts h,mse lf
George's role III (ha ( bear h is name has vari e<!
0"('[ the years, bUI most Low<l(' n Inst ruments are rhO' lines of
II number of Ius on glllu! Never one to follow rmd ,rlon,
Lowden has stcC' nxl :l way from til(' ClaSSIC Mar li n X- bfl\Cl ng slIIn'
1976 , uSing Iush' ad hl$ own modi fi ed A-bruCi ng sysl em Ihal , for one Ih, ng, hdps 10 pr('v"or
IXluml ne", In and m her large-bodIed gUll afS, Il,s orIgInal 0 SerIes (also
'O .. g lllal J umlxl' ), a flIund"d , m....d lum-large- bod led shape, con(lIlues to be t he
company's mO$f popular mng" Th,,!' ' Mid i J umbu' and S s" .. ", ' Small Bod,,' d' arc
also popular, wh , lt' tht' J) $c:r,C'S (omt'S as dOst' as anyl hln]; nlmp:.o ny tel Ihe <lrlgm,,1
MaTfin shape' .
Th,' high q ualif Y of a number of g reat Bfl tl sh l\lt h, tTS working wd ay War "''' '' I,' gre"t"r
t han space nCr(' allows, craft hils re:l il y In Iht UK '"
and WI!h g Ul( ars from t ne l,kC's of Manson, Brook, !'ylde, Ihvt Kin/< , Tom Mart" , Ul1d
Ed Robo.>rbon of The Barenalied
Ladies wi t h his Canadian-buitt
larr;yff,
35
..
BELOW A Niltjollal Style 0 'qua""'fl9<k
resonator fnnt'I 1935.
OiPP'OSOTE ...... ( Son HCM.I5e, nwlfwr of
bflM!l. with his trlldemMk
National.
36

mil"" availabl .. on a hom<,;;rown has,s. wIthout or 'mport d utl .. , fO
t ll t'1r nM, mOfl;" and mort' Hrlil sh players find llljo: t il .. ), don' t haw' to furn 10 Nonh
RESONATORS
Befo ... l-lu lfaflsIs "cn' tlKlt plJymg t hwu,I(h a 1""1"'0(' 1 SI'(,"" k("T ("on(' (oupl cJ 10
an dc-uron ,c ampl lfi{'r. ,hey were' pumpIng It nut t hruuXh [h" 'pun-alumInIum spraker
(on<,s of Nat, on!'] ,l: UHars umque bUllt - m amphfi nlt"m 'yst('m Th ... prinCIple- IS


II"r t ht sam{". 10 acOUStiC ,,' rms, J m'WIII "; ,-"n., lila[ rnlar;;ts rht "'''rauonal energy
transf ... rr{,d ,nro II. am] there-by J 'ound " SI mpl e thm;;. hut 10 rhe Jays of
drowned OUI flat-tops .IIU..! atda "p' on IllI r .. "",,;;I), luudn handHands, t hIS sdf-projecung
dcslgn was a rndalioll .
Born oul 01 an Id"" by ph,)'cr Gl'orge B<'auchamp, and m"d" a
r('" llly by Lo, AII..,;d", 11I""n",r ) ol1n (he lIrs( proouCllllll r<,,,,naW. guotar wa.'
in 1927 hy n "I'Pem's own eOll)pany, whilh h"d bte"n jll.,t a pear
txforc l<l build hanjo" In fnct rl1(' S\l((('SS o( Nauonal"s (ri -COlle r<'Sonator !;Ulta', and th"
slugk-u",,, d"s,!,n, tl1", wn"leI soon (ollow (roO) l)()pyer,,'s bre"kdway company l)"h""
would W put more rl1an n ((' W ha nJos Imo swrag<" thauks to th" ,nc
Impmw"wnb in "o[umt' thar ,ht,y offt'l'('d O,",'f (rndJll ollJl gUltal'>, Of u m'_ .... hy only tl1t'
I", ddl" of tht' nr>:! dt'("ad(' Ih(' l,rn jeu- ,)( .. mplificatlon for "'; Il'tars
would "'I uall y pll l plt'"nl y of I'('sonator guJl ,trS ,1\(0 hut I hat haunt lnJ.:, mt' tall,c,
soun. 1 woul<l surVl' e down the Y"JI'S . md " lOu,,, popular today than t've' ht-fo["("_
Tht'" firs t ('('SOS had bo . hes o( Gl TlllJIl wl1l<h "",mally 3 nlckd alloy (mht'"rs
would soon also be 01 lxll brJ"), and (ar" .. d rhrt'(' rhm spun-aluminIum cones I hat
0lX'"00 towa rd tit .... "'SId .. had , "I ,h .. hildy, WIth I h,-,If ""11('":< ....5 On a t hrcr-polIIt bmlg('
plcre for I ransl"r .... u(<' ul SlrI"J.: Ofl J.: , nal S, lv .... r llaw;umn ('ame III four
slyles o( JIIcr .. d .. mrat,,,n. n\lmht-, .. d from :>ryle \'s I'lalll body to Sl yle 1's d ..
nor.t1 dnd .. a( h wa, III m\lnd or S'1,,3'e n('{k, the lall er (ar mon pop ubr
III Ihe days wht ll mOM .. I'lay .. d .. "'"h sl ('('"1 slide, The oflgmal Dobros, Oil l it.
other hand, had h .. d 'n anll a Sln;L:k. largl' r spun-aluminIUm conc th;n opened
outward. Borh w .. al m .. d a, fIlughly rhr H"gCt mnrke{ Jll t he ble I ')20" and .... rl)"
1,))Os, uut down tht' Y""" tl->e Nnllonals h"ve nolved to lx'com .... rh ..
hlu .. , pl"yns' favo"rllt , whd ,' Ihe Dobro h:ls gcn .... r"lIy been the ulu .. ,!; r",,, pla)" .. ,\








,l( uir" r of ,- hoin', In rill" face of (Ill S woo:x.! -boJ i('J '1ui,kly ,ttppt'd ,n to
make its own more affordable .liIIg1c-(Olll "", .. ,kl, .,, l)()th w(w,d "nd mrrai- as well as many
mort'" dccor"ll"C "ersiOUS of ti l(' I YP': - """r th" y .. ar" Ih .. r .. h," ht-(' n no ('nd of confUSIOn
hetw('en the 1"0 males among I .. ", thall t()tall)" Imm .. ",.J ,n rht' dNaiis of rhe"
parall el h'SlOflCS
NJ(.onal offcroo !"('sonmor gUltJfS Ut, t, 1 1941, bUI durmx Ih .. war yt"a' S tht'" company
evohed U1IO the VJk" ,,/ (lm al'''. wh"h c"ncentral",d morl' h(";lv,ly on
the electric gu'tdr Th .. D"hr" IMm .. rr"pp.,.d up lIndt' r a of owners III
the- but tlo"" .. T".'O' I ...... n mad", hy rh .. O"KlIlaJ Musical
Illst rurnE-nt compan)" "'ll", 1,)1(), M .. norh wood- and met"lb,xhcJ Ifl-conr
and slIlgl .. -H"'" r .. "" In many (IIOJ.:lnaJ types arc being made to a
,randard hy rh .. NatIonal Re,o- PhonJ(" COmpJl'l y. (oundoo on S.JIl Lurs Ob,spo,
C.al ifm noa, III 1989 A mnl'e of smaller mak .... rs arc Jlso curru nly producing Slm,lar
d .... ign . wh,l .. hudJ.: .. r \"'rSl ons of bot h m .... tal and ",nod Cl'SOIlJwr ar., dVdilubl ..
fmm A"an ,ml"ort hran.1s 10k .... and Al l CMI t.oke l ll tl .. pr-.ot lle .. In
t h., h"nJ.: uf, hUI t h", ",,"ncr of t hem wtll sound E;orFl'tlUS wllh ti, .. fight mu{-h "".I
- and d l "ffer rhe loudest acouslIc pcdormJlllC of t h", ull plugg .. d world




























37





















M
OS! Il lny .. ",,011 always want [0 spr<:iah", to SOnW (,""'Ill on 00(' tylX' of mUSK or
anoth('r, ('( 1(-, " , rh(-,r under5tandlng of th" bigs ... p",lUr(' , But the
J('E:"t('(' of cross fen II ' SMlOn h<' rwt'O:' n ,ltt'nr .. .s wday ",mm.-n"," A_, .. gUIIJrIS\ you
st and 10 ocn('fi , ('normously from dlt mSJ>U"lU1on Offi.f.-.:I hy unfami l Ia r t"ro IlS. ) J.u
('.Ill mAu,' llec blu ....s, cooOl ry Clln mOu(' ncc rock. Can mAuenn; p"p. Afm .. " Ian IIIAu,-n
Jda .. . and on LI !:O('$, In II o(';' r" nfi n'f C vanNy of comhonar ions.
The offer n groun.hnS In 11 of rh .. most n una! fi, rm., ,,/ gUil d' pl .. yl1lS
t oday, wll h Ihe 111m of helll'OS }OO (0 hoo(" your skdls In your "yl .. wl,,11'" bn,..d1nl1lS
your :lb,hty 10 I' n c o m p;)s$ a whole r,' of,'C of musICal mOO<.ls. Nt wcomt' rs [f) ,1; ""'" 1'1.1 ) wi l l
have (hance w m .. k.' a SIMI Wllil some of t ile moT'(' hasie lrssons In St-..n..J
t hat 1)I . ,k, It " ,, " ly un ... lImed tile a bsolul{' beg mn('r. h
(" hapl n rar .. a of ,,,,,..d en pl .ty .. rs rallgJllg from novice !O FYI,,"
most skd ltd pro should 1"1(' h) away a ft"w nt"w tm.h and u,dull'lks from ( hcs(' p,lg('S
Gl yen Ihe " lI ow<-<.1. none of to I", iinJI worJ ' (!Il J Style- .
ei lher, all houg h (' aeh otTers rh(' skil ls n("{'<le<l co rnak .. you '" tht" .!w"n". II on(' or (I
number of t he new slyl('s !"i\OS you. you "' illl">t' wdl to bt"gi" <ll"'p"r study,
Or yOIl (an IllS' rak(' a f( ", II('W kl(, mn HHI C .. lru- ii(' h to your gIg. "nd blow yOl,r
own bolmdan('s.
GUIDE TO NOTAnON SYMBOLS
If you' f(' not with til<' symbols 1I>C<.t In standard musie noraflun and (uh). d .. ,\
SC'( lIon p<OH<.ks JIl U1 tr(...t uCtioll to most of wh" , WIll eneOUnfer. As rht' ranJ.(t' col mll",,, 1
vast , t hr. ",,,n' r ht but It w.1l gIve )'OU enough 10 you rhrou;: h
rll.- fullowl ng You' lI find furth.-r gUlda'K" On any new symbols or mstrun rons }'ou
t"ncounr("r - pa[llcularly In mOil;" ... 1VW1(ffi nOlatlon - wlthm Ih .. " .", JCcoml:t;' oy. nj.:
rht" "Xt"rclSt"$ rht" mselvt'S
All (')[crc' Sl'S, or her rhan I h05t" of pure rhylhm nOlat i" o, willi", r<'prtcS<"nto:J '" bbth s(,lnd;,r<-l
an, l fAh; whl lt" symhols aft" (Ommon to bOlh sf-t .. m_., "'hns uSt-J bnly 0 11 00('
or rhf- orlwr. Wh, lt, many t' )[crn$l;'S w,lI mclude SIIJ.;;:eI..d (' hord, fi" below Ih('
bonom tab 110(", chord box("s wI ll 001 always !-X. g,Y .. n, unless t h .. ,-hord" J rr til("
poml 0( (he st udy, or t h(' aut hor It WOIll,t he part 'Ollariy h .. ll'fill w I""v,dl' gUl d",\ec
aboll t unfllmiliar chords. NOl e (,Iso iodlCalions of rhythm w.l1 bt 1(Ivtn unl y III Ii ,t' 'tandJN
" orat io" . I hrolltl"h (h(" liSt of tm<lithln,,1 not e w lues.
READING TABLATURE
A eoml' lr t .. courS/.' In rt"acil n;: mUSI( , n 8fandard llmation would t"k .. mor .. !'p;l(" tlwn .s
hut', BIH tahlntl1f(' - mb. for shon - IS "xl'laiflt'(L
Tab IS t'Ssenl lally a mel hod of shOWIng fing(' r plac .. mt"fl t5 rhat corr.";p,, nd to (hI' nN('S shown
on Ihe Si aye of mUSIc dll'('("lly aooV(' rl. I, enables guirarlst s ",.(h flO (rad, ( ,,,nal
sk Ills 10 play C)[CrclS('S r"<'j.:a>"<lIess. If you'f(' n(' w to tab, th", key I" ,int , w nml'.ttt" that II US('S
no t lll .. h\lonal ' not c-s ' as such but C'a rrr c-s numhcrs In th" i, plact", t har " " mad .. up III SIX
Imes mstClld of fiv(" and t haI 'I Glrr+es no ekf or k .. y .. t:ad, of ,h. sa
represents a on (he g urtar begmnmg w"h rhe lowest l Int" ,
th(' low E-su lIlg . To hdp you remember wlu(h ""'Y IS up . Ihe nmes of rh .. op .. n Jrt'
wTl Ut" n along,,,dt" ,ab 1111.. , ("" .. fi,!!:ufl' I. lOp). For 10 ' ailernar(" runml-:S,
ah nt'd SI Tln!,- n()[t' valu.,.; WIlli", ""[t"ad , as '" (he exercise '" DADGAD (unlnj.: (fi,l: urt'
I , \)I)UIlm). N uml,.. ,", " n I h .. 1111 ... ",dlL"-l .. ti,t" at wi lleh 10 hold dowlI (hal SI n n/-: , a
(0) Ind,ca' es Ih:u an Ol"1('n smng 'S t o t,.. pl ayt"d_

Figure 1
39


Th(' majori ty 0[ notauon s} mools atc us..'d to mSt ruCt you III the llu;HlITS of Gngcr mo,'cmcm
OC<..JUlIl_'U to playa P'i'Ce wIth tile wm:t. t '{,-d'
l he nmatlon -or sI ti ng trt'l number ."mb,nJtltl' " III lau - rd h you whi<-h ' K>t", to sound,
!Jut wnhou< .I.., ,ymbol, It ""ould be' n.,..Jrly Impo"-,, bl .. m d.,[t'rm", .. [rn, subdN I"-' of pla}'l ng
t tduL1<j ut" chat make a 't} I .. <>1 riff rt'(.ugn' .... bl ..
Bends Sumg bt-u.h .Ire ind" Jro:d by a 't.l rtmg IM,tO' m be btfort' {t.., bt:nd ()(:cur.<, and J
small 'arch" symbol I t to J Sfi"nd nun' ( ..... 'In .. llln.." III par .. mh=), which tilt' not ..


aclue...:",.l al doe peak oi th .. In t.lb, d , .. 1'11k.- th .. , [am "l' nm .. {tJ (h .. i rH [mrnl"" ",Iurh
t."<j uac", to t h .. !;":,,nd nm .. , ",, .. n r""""I' h , II .. l", nel m" f, nxt'r slaY' at (h .. frt"
' UL" insr mn, you to up' 1). rt'lra...-saJ1:' ",I(n,fi<:<i in n .. ' BI)' 1-!' lIin,c;
P'" to ' hend down' 2).

--_ ................................. _---
l
i


. .-..,.
r '
,
;1
[
- r :r
If "(
:
,
,

r


W
...
" Oil oj "
II
., .., (141m) 14 , ,
" "
I

"


Figure 3 Figure 4 Figure 5 Figure 6
... - ............... _ ,---------- -_._._ ... _ ....... _ ... _---

W/ hen che prt"-bend n(lt e " not tu I,.. "" undl bue m",,... ly pmvld", a Manin,!; m,t ",,..,,ion m
b","d ffUm, ic willi .... In part'nrh .. , .... , wi t h ' PIl tOrl',-.,-n..n,r ' U )" mt"3.ns 'IN down
(fillun: 4). Yo" will also Stt an ul""",I" .. lown al"("h !-otlo,"" norc-s whl""1"(" t h(" symhol .... "Ould orn..rw.<,("
dash WI(h an Il n-bcm nOf(" on a h,pll('r StrlnP (fif!un:' ' '''11('\"1:" an IIp-OCnJ IS iml""nu{".J as mO\"1:"
of an Infl<'("fIOfl. wirhOll f a condudlng norr A f\1I1 ronr hl,l;hrr. you will '>('(" ,h(" ",.r.als B..."5' for
ht"nd 5("mItOflC sharp (figurr 6).
Fingerings Som(" (""X("I"(" ;SC"$ offrr flnJ.,'<',m.t: g\I"l.ln((' In (II(' form or small nllm('rals alongsl<i(' (hr
nOH'S In rh(" s(a' (". (("Iling you whIch fin.!:('r (0 liS(' for fn:'({In,i; that no(r. whrrr 1 =ind(""X (figuT("" "' ).
If a " if is rt'1X"a({"(I. (hC"S<" fingrnngs w,1I genrroll ) only be FI" ('o for the first = '1mpk (0 aVOl<1


d u( (rri ng (he s(a\"{".
Gliss Gliss IS shon for ghs.s..l lldo, (he term ill Ill105ic to muicmc slcady shdr
OCl " C'C1l nOlCS, In more COIl\cmpor.lry limns till' lC'l. hll,'-luC " oJi ('ll r('[crrw to as a 'slide' or 'Gnger
sli,k' , but ,till indicaced a.\ 'gl", ' in l\otat lOll . A oli" "'Ill go up or down S and !old),
\X' ith a gli " fforn [lme CLl Jl,"(her. ... n Ii ,ymb, ,1 _ " mlbr to thdr Ils.ed to belld
- appear> in wah an art h or adJ""IIn,l! In the tab, so mply
pl.l yi nt;" the jjr>c "' ite. ,li d",,!! al",,!, rt-qll lr...:! nu ml:...r o((,-.,t, to ,."..,. h ",,:nnd
A /,:1;" ' rmuol placl or 4ftt'r a "".'lIt' nOfe (fill" rt'< 9 and 9a) [I' ll . to , tid .. to nr (n,m
an ulIsp.,u iil pm.h, but to bnd on til .. "Ot .. .Lt,,en,


. _ ________ L
Hammer-ons and Pull-offs .... h .. b nn nr pullin,!; off a ,crin,!; a. a
""n Klllar fret art" ",di(:at...d wI t h" I,nkln!, 'I,d .. and rh .. of" pick",/; "ymbni Orh .. r run,
art" WIth a nnr" to ." .... r. WIth thost" ti)llowln"': hammered or pull..d

-" - ,
.0 u . t ., __ - ___ _
Figure 7
-
n If r
"

I

.,0
,
,
-

. 7U
,
/ f
Figure S Figure Sa Figure 9

40 '
I
=,
'" ,
Figure 9a





whll h "I"l'<.j um"ll o.. 'iXl on tiK' J Jl'cn ion of tnt- mu<ical li nt' , A><.""dms nOl l'S are



















hammem l, and IIOtt-. are pulled olf . Th,s appli <"S wh(', h("r a ph"'<4-.t' " {(>wU)
hamm(', pull (fi/lu,., 10) or " 1.lUndlt."l.! "' nh a pick st roke' (figurt' 1 I).
Harmonics '\IarumJ - In."" by dampmg a 5trl llg JilT-cd}' (l"t'r rh .. 12d"
fi ft h or frt' l for C"lffimplt' - ;m.- ind IG. tt-d by d mmonJ -sha!X"1 "01t' III Iht' " ......
:l(compro n,cd hy a Nar harm' do .... n'"'' alld bruk.,,, lilli' cXlcM mg tOC kn;:r h of , .... n.a rmu" ' l ...
d urar 'on Th(' sam("$ ,nd' (lIrN , n ,h .. tab by d .... let lefS -Nh' follo"'...,j by a hm!.:!'11 I, nt' (fi gure J 2).
Arnfinal harmof"" c< - ("l<'m,rm..:J il) {relllllg .. . Klle and dampll1J.: ,h(' sam .. sm njo; 12
higher - a rt' ,nd ,(art'd on In., Slav" wIt h [h .. t .... ttt'd notc in paocmh('S('S and (hr dampt"d (hJrmofl K)
note lfl the sha)X' of a ,hamond, an on ",, -., h'lI t..,r, and aLm mp.lIlJ(.J by (he l(,((M" 'r followed b)' (t..,
fn 't no.unOC'f (fi.!!urc 13). In (hr ran, rn,s ' S ",.;I ,ut.,.) by u"n);, a number (or th(' focne-I rl()rr fo il ()\\"",",
-
Figure 13
., 'i ., 'i
I
.. ,
Figure 14
Picking Symbols P,ck art" md ,e .. tt.-d ",th t,,o t} pN of s)'mhols Th" ,), art" not
g" r n 10 arl nnr arr K"orr", Uy induJ.,.) wlK-OC p,ckl"!; d Jl't'(flon ,s eflr , ... 1 m
thc (,d of tile' pleW (figuoc 11).
r---
- = downstroke " = upstroke
Rake A r"l.. r
.s indl("ared hy a wavy 1m" end,,!!: lfl an arrow
lIod,(,I flng th" tIle' p ick should !low (usnally from Inw nm" ., rr lllg In lugh In thC'SC chapfr rs).
11", by the- word ' rake' her",,,",n t h" slaV., and hne (figuoc ]'j)
Rhythm Patterns Lmrs ocprrscfl fl ng purr rhYThm patt.,rns, w, tI",ut note ,alurs for plTch.
unur III a difl"' rmt forlllS (partln ol a,l y in (ht ' \'\Iorld Musi c' wht oc non-mr!od ,c
rhyt hm by drums andlor )X'TCmSlon arr cnKial m the gelt ' ". TlwS<' O);I Y br
a, on"- Io ",, 'Have, with o..-:ut v'11ues given f"r insrnlmr nt 16). or as ll(Jrlll ,d fi ve-
1", (, wuh ht>"1 ,; ,Vt"11 hut 11 0 pitch iuJication or ordinary nores fall onJo( .t Il Oil th .. .
S!-"lCC 10 Indl Cal r a lack of p" "h " .. Iu" (f, tl ","" 17), The corrco imerprr latl on of I"a( h will Ix-
explain",1 ",uh on rhe releVll.Ilf md ,,' ,d ual
Triplets Wh;lf('\'rr rh!:' rhy!hmi <' valu" of th,, ' r nJllst iwem notc'S (WhKh . of ( onrst". " a lway., th!:'
!.l!lle for ("ach no re on a rhl"' -norr ,l;fOu pin,;), are inJic-J tctl by the ntl mbr, T and lonk'''t;
brncke(5 abovc or brio\\' rh!:' appropr,art" not "" III t he .'[,J' -" (fi guoc 18).
j
I
SImIlarly. ""h('f(' (K'CUr - t hough a ram)' - ther mJKJ[('<1 by , h(' numheor ' ('i ' :mJ !
.. L_
Iml.. mj: brockers or hc-Iow rhe:- appropriaao "ot<:>l III the stave (fij: uoc 19).
As for S<'pwplefs and fj \!:'cupl.,r' (qu,ntuplet s) - t he)'
""
:
Figure 1 S Figure 16

I I
Son_2;3
,
,=
_ ___ r --

J :c:
Figure 17 Figure 18
r"\ .
II I I
Figure 19
"._ "-----

---
4 1
MAJOR AND MINOR CHORDS
Ie sell.'" Cu start wah chords, SO hl' rc M(, dw Sh3p'" (',r mO$. -llSrti IlM)O' and
mlllO! ch" rds. Ihal III mmpan."Iln to rh ... m.l ,OI"S , t ht' minors !>Ound solA 1bc l'mul l"naJ
COnt ...,.t " f 'hr;xhr malor wn h minor is crunal w tilt' vasl hul k of musIc
A, you tack I" ,h(' shap<-s l h"" k fhar t<teh s{[Jng t h"t , hould I,., soun, lll\g IS S0l1lJd,"!; Wh .. n
thl' III ril ... rit:1ll play siring indlvidually_ If !lOfCS do nOI sou"d , th .. u,ual
a on 11K metal if.,t , a flngt-' WO ["t '""''"f from til .. mt'ral (11'[, nOt pr"",,,.'! hard
('!lough, ot a f .... fl m}( fing<'T lOud"u,.; and rhel"(for(' muong an adjact' m $rrong.
A spet-i al word muSI Ix- 'kud ahm't rh" for B, 8m, F and Km Tht'S(' 111"01,, .. play'",>:
" Ixo rr"" hut rou I.lSC vt'rS",,, wl fholll dw rL.dl [, .. rrt' fi>r now. ull ul Y('l.lf fi llgt'r:. I( .. r
to rh .. ft'C) uirtd posil io"_, , Wit h II Hill lhe Ix"s IInf .. on rht fi f{h is .. opr' tlnaL
MAJOR AND MINOR CHORDS
,
8 c
, , , , ,
-
-

1 5 1 3 5 5 1 3 5 1 351 3
, ,
0
r

151 151 135 1 ] 1 1 5 1 5
Master the chords on this page and you will have the
most common major and minor variations at your
disposal . a long with some barre shilpes you can move
up and down the neck to create diffenmt chords. The
numbers beneath each of the chords show the role each
note is playing. A basic: 'triad' has a root note (1) which
gives It its name. The other two notes. the third (3) and
the fifth (51, occupy the third and fifth steps in a scale
built on the root. More complex chords add extra note$
fTom the SUole.
,
, , , , , , , ,
1 ,
r1J
WJ

I ,
I
5 1 3 5 1 3 5 1 1 3 5 1
8m Em
, , , , , , , 0
l-
..

I '
[1-+++-1 1-
F-

1 5 1 I] 5 1 5 1 i 3 1 5 1 5 1
Elm
"m
, ,
=
1 13 5 1





















jIl
SEVENTHS


Tht ntH most common group o( chords i, """t llt h.\ , ! are two typ'" fotrneJ hy adding
it single llOle to t he major chord . Don 't wor ry if you <:an 't play In and 1'7 chords.
initially. The B7 barrt will YOll a A 7 if you tah off and
t he fingers t wO frel s toward nut. Tlw WJth 1'7 is optional.
The maj or .,,,,,,,mh chord has a , idle, ,,, ,, nd t han tlw fir8t typt'. Again. b",t tlw Bmaj 7 and
Ema j7 if yOll fi nd l he", F#maj7 has "fl"' int; a ,hord t hat
docsn't have a barre. ,,,te chac all st rin;; , that , hould he ""u odi ng art. YOll
may miss the sevent h!
SEVENTHS
A'
, 0


,
o
I-
i 4
, ,
o
-

1-

5 1 3 17 1 3
1
715 15
1
735

MAJOR SEVENTHS
0'


o 0 0
1+'
,
0 0
--

I 4
,
-
I 4

- -

1 5 '73 ;71 13513 \7 1 5 7 3 5 1 5 7 3 5

, , , ,
o
, ,
Gmaj1
o 0 0

I
I 4
-
J
II


j
I, I
1 573 1 357 1 357 1 3 5 1 5 7


0'
, , 0
-
,

1 5 3
,
0 0 0

, -+
1 3 5 7 3
o o
1513
f
71
Dma/
, , 0
1 57 3
These seventh and major seventh
chords wil l expand your vocabulary
considerably. and add richness to
your playing. They are simple
variations on their major
counterparts and relatively e asy for
the beginner to form.
45
46
USING A CAPO
In order to make playlO).! In f[,!lOcul! k"Y$ ... AlS' .. r, /olU ,fur"rs u_"" a cl .. ",c .. l nown as a 'capo', TillS
may look I,ke a mN,(' v:d IOs rru nl('nr of l on ur .. hur , all a KUl tan 't, It 's u" .. of lx'S!
It ans as a (In.! fi n!,"!.'! substi tu te wll(' n hold ,o,l: a hMrt', or It COUl bt' rhnugln of as
a nUl. If a key would norm.1l1 y m('9.11 lo(s o{ harn: chords (and an w-h m); hand) th .. (:>po
w,ll allow you ttl t urn most of lh ... bart'(' chords ,mo 01"-'0 SH,"): shap",.
I Jere's an c"L1mplc: you nN'J to piny a song tha t was f("(uMn! 10 A.> maJUf and u,;o,s Aj., B!.m,
Cm, :\ . Ej, and Fill - ;,11 barf(" c hords. If you I'll l th .. capo at I h., r. I1)' fr .. t "",,-h churd ':-.111 Ix>
wit h t he shape of t he (hor..t a oclow II .
Auual pm-h: A, 8,m Cm Fm
G Am 8m C o Em
Much easier, and ir rounds N: rrtf "x.! And Ih:\! \ nut til .. "" Iy "' ''Y u >uIJ do it
Acn wl ])If(h:
Ac
",m Cm 0 , E, Fm
C"po IV E F#m G#m A 8 C.m
Or. for an cx[(cmc 0011("'$1 .
Auual pll d l: A, 8, m Cm
'"
E, Fm
Capo VI II Sh3pt"S: C Om Em F G Am
You wil l nutlO: t har as nIp" g"'" up rh .. 11... 1.: th" IllIlbre of thc FUl tar WIll chanFc. Th,s IS
t hat <nl1,1(wr ... ,ro; ust' .. Ir JI", use a capo \0 sh Ift a chord = Itlcncr til'
or down a kty [0 'lilT whlth I"urmllg" nlW SCI of chords. ifyotl
play ),: oi[;>r wlf h a frir ml , 11 111,0.: a OIl''' hl,o.: h on "n ... "j t he SUl t"rs cremr a rrsonanr sound
w" h rh" t wo ,l( uitars plnyln,o.: rh .. sam .. ( hurd, 10 1,0.: 11 und I"", :
pi lCh: G Am 8m C D Em F
Guitaf I
Op"" <.hord, G Am Bm C D Em F
Capo VI I shal";".5 C Dm Em F G Am B)
MINOR 7, SUSPENDED 4 , SUSPENDED 2 CHORDS
By mc(l'i y mo",nF be)'ond I h(' hnsl C major choo:ls - ",h.,r., " pp"'pro a{., - co mllet shapo's th::o t

















" n n'l much more dIfficult to play, Slmp l(' sonp can mk., on :..:Id"'" [t ns.on and afm'''pht're
I lt r" art' thTft' mhef types of chorJ that ;)1'(' ofl('n found on songs, an<1 can I,., useful m, ... i
huildt n;_ TI lt ml1luf ar<' tile" mmor ' "('('Sion of , he 1\7, B7 an.1 so on prtviously shown
T h" Bm7 will Am7 If you ("k(' off t he born' and mov., tht" iin,l!"rs t"'I> frt"f'
duwn toward th" nul. 1'1", 1,1\ 1,' wllh F#m7 IS ol' llon,, 1.







uf tensiun. In t he case of Asusl\ . J)susll and ESlls-i all [har is rt quired is to add a
nut(' fO a simple major chord Thc Asus2 and Dsus2 >ll'(' popular oc.::ausc thc rcvcrsc
haptX'ns: )ou juSt lift a flngcr 0[1 a suing t hat would usually tx lr<::llro [or A or D. Thc susl is
not as tcnsc and has an open, ' hollow' souud .
A MISCELLANY OF EFFECTIVE ACOUSTIC CHORDS
IIel'(' arc 16 chords l hat sound grcat on au acouslic guitar. Somt arC created by Iifiing a
finger oIT a notc with a commou shap" (BmaJd4, I'ffm7add I I , FIll aj7add I I) or [[Hwing a
chord simp<' up (D6I'). Amaj7), or ' voicings' - lih C which ),a" a Il-"u ing
reSOUa nCe wit hi!] it aile two (;, alld t wo cs at the pi tch.
AI", t wo first " hur(h - and 1) /1'11- t hat in a(ouMi,
,,, ngs. Fir' l ,imply t hat t h .. root note not the luwes t in the chord , rhe "third'
abovt ir is played _ rhe nNe that is two tont's higher t han the rOOt in a major chord. Try

these out and karn tht' ones you l.i ke rOt your own playing.

MINOR 7 AN
Am'
D SUSPENDED CHORDS
Dm'
, , , , , ,
I 4
I
I
J


I 4
..

.

II II

Ftm
7
, , , ,


.
--- -

I 4 I 4

I 4
I

.1


, , , , , , ,


, e,

I
- -
f- -
-+

I

,

47
'.'
w


EFFECTIVE ACOUSTIC CHORDS
Ffm
7
add
11
09
a
dd
11
8m add
4 ,


, ,

, ~
,

,

, ,
---- ---
----
II I
- ~

I
I
0
'm'
Am add 9
'm'
I
' ,
~
, ,
"
,
, ,
'Jj
I
I -
I 4
r ~
II
I
f--
-
; I
I
All (no I .d) A add
9
Fmaj1add
11
Om'
I
, ,
. ,
, , , ,

,
I
IJ
I 4
I
-
I
OJ, OIFf C add 9 Amajl
I

, ,

0 _"- _

, , . ,
I
I 4
I

I
I
- H -
I
I

48


STRUMMINC PATTERNS










Now rou lJ;lvt' plrllly ofrhords (Q play with. So !ct "s lurn our auem;on to du, hand thaI h, t" th ..
str; nb"S_ Alc hllugh 01 .s poss,hl(' ro st rum wit h your t hwnh or t he uppe(Sid .. " f your fi ng .. n: . tho-
bo;st mot' f(,. 5tra'ghf-on rhyrhm playing is produertl by usi " g a pick, or plectrum. ThO's .. smal l
" f plasm" are- h .. ld oct ween t humb and {oreli"ger (doll 't lJ. "" you r.second fi oJol .. r ht-<-auS<'
you might wam to pluck Sl rmg wi t h 1\ aI t he S:J rnt' t ime as holdi ng t h .. pick). The' rhumh
cwsSt:S , h .. fi ng'" af approx imact'ly II n glll angk. Most of t he pick should bo' I;npp"'-! _ rh .. , ..
doesn't "t:"Cd ((> hr much showiog to h it dX' strings. Picks COm .. in var ious shaf't's ancl
thickn .. I'm a(ousr ic si rumming a thin olle is {,olSit'S! 10 ',.,g in wil h and mlxh. XIVt' Tht' bIoST
for janx.ly hUT nor-roo rhythm playing. Thick pi("ks pur up more rn lSlanc('
againSI Ihr STrongs and (ake link a1", ind,,("inx. a lifTk mort' volume. Th(o
sr rummin;\o: anion is mos(ly (rom f" rearm as il han).;s off the rop of Thc guiTar bur (he harK!
wmClimcs conr ributts a lietle for emphaS I'.
The csscnc(' of strummi nt( ran he su mmarised as follows : ntnncss of tont , :Ivnidi ug
bass st rings rhut (tre not mean! to he hir, rhc ability to strum up and down with t<qual f:" " ht y,
cont roll ing t he vnl ume, and sready t ime. h also means knowing whtn urtd how to Ie-ave-
OU I strums,
Exerci se 1 Me-IS us srarrr:'<"! , Hold down an E major chord. Tap your foot, count to ytHme- lf,
or set a !!"trl/j ar a mtdium tt' mpo (aroulld 80 to 90 bpm). ntis t' l<t' n' ;st' IS trl 4/4,
which m"'Jn." f" ur burs to t:a<"h bat, St rum clownwards every other btc-.tt , I ht' n (tn he-al , rhe-n
twice On .,lKh l>t'lll (elgh, h-nortl or quavers), t hen four l imes on "'.teh btat ( 16th-note:s or $/;' ml-
quavt'I"S). l)ept'Ming on how fast or slow you' re going you may fi nd . ha. st rumming rwO("t' and
/l.ur t Imes 10 a btal IS roo Jifficult JUSt going downwards. Th .. answt"T IS t o sfrum {Iown and up,
al' t"mat ing.
Exerci se 2 g ives fli ne palll'rns. Thl' fi rs! is a sl rum til str-ught e'ght hs. Not tee
how wlrh r:ach cxampl., somt' serums are I3k"n away; Ihc ("hord allowru t o rillg. The w i.' is :
, he fas, er t he tempo t he- longe, a gap you Oln it"avc. Wil li IV , here is t he JOl roUunlO,(I of p ' tt t'.
This IS t he line joining dlot' fift h quave' 10 thl' fourt h. A ric means you slIike the fi rs t of t ht'
JOtlled pai r bUI not t he Inst"""" tho: fi rs! laSIS for . he lengr h of time of bot h 1101($, In
any wllS you could use uny or a mixrurt" of slrufll lll ing panerns. Your choice will dt:-pt nd
on mood, t empo) and
--_ .. _--
,

, , ,

, , , , ,

, ,


,
I j
, ,
!
1, 1 , 1 ,1, I
I
,nun ;>! ! ! !! ! ;11
J
j j j
j J J J j J J J fffi fffi fffi fffi

.L

-----




"
'"
I
t
I
t
I
t j t
j
!
t j j
t
,
j
t
j
,
J l l l J l l l
J n J l l l J n J n

IV
j j
1 t I
V
I t
j VI I
t
j

J l J
L
J J J J rl J J J J J J l' J J


VII 1
t
j
1
VIII
J t t I t j
IX
I 1 j t I
I 1 I 1 I
J
L J
J J J l' J l' J l'fl n .Ffl n ffi




49
J
I
,
,
-
.'
"J

,
"

,

50
Ont" way to mak .. your srrummml< mUTt' IIa" n:<'tlllg IS to pick some of t he bass noct:s of t ht'
chords ;ndividuJ li y and rkt-n h .. rht- (-hord , ... exerci se 3 . l b is il)'k is known as
pick' ost rum. The bass not{' IS usuall y th .. f"I)1ir om .. "f the, dlOrd . I lell' IS a ,,cLl-lmown chord
5C<j UCOIT Ihal knds " self to t h,s approach .
I n exerc:ise 4 I h(" bass nOH'S all;' nor all root n,,(.-.I , though t h .. techmqul' IS l he sam!.'.

Inuooun ions!O songs and hnb !x-. W('t'f1 and V.,rk, ,,,mt' ll mes f"'-dl llf(' a phrase p layed
in smgle 00(0.' 5. with chords on iwrwt't.' n, as on exe rcise 5 A ""lIg like ' WlSh You WCn' H<."f"("
by Pmk Floyd or dR' Inrro to ' 0 " ... Tht' Hil ls And l;df Away' arc cXlJ rnplo:s of
t his pop ub r approach 10 p ,d;:'n'SU\lm.
CD1 TRACK1
I I


" "
"J '
, , , ,

-:-



Om D
BASIC FINCERPICKINC PATTERNS
Exercise 6 14 d,ffer""t r, "gn -pick ll ig pmtcrns. Noticc how rhumh looks
bass nOles. In caSt rht' nott' of d l. " d .,(, wl(.ling but in a di fferent mannt'r to
effect of strtl mm,n", play ,n" its owll rh),t hm, too. You Can
{'as il y",bpt the patt crns for (, /8 !o }/1 . Moo! of a C chord, a chorcl
wit h its COOt on thc fi fth suo ng. You can f, nd Vlmaro ons of palttm.1 for wi dl lil(""
mot notes on t he (ounh or SIxth stron).;!. OhY' o" , ly st riu6'S In chord the mol'("
patterns you could d..-.' ISC t o play them.
Let 's COll tInue by try,n,!; some sl,,,hfly exercises. E:mmpks XI -
XIV t akl' II. hit more work berore you can do unn) n'l.-.uusly ilff""u.'\(> of thel! syucop:uoo
rhyt hm. Rememocr to work OUt the t hll mh p3f H"rn firsr and ti r tilt" ol hl' r to Lt .
XI V is l wobar blu('$ paUl'rn In swunJ.; rhyrhm - t:ach ht:at Into rill" f('{"1 of
thrtt ral her than (wo.






































,
,
v

IX
f-------c- '

,-
XII

XIV
.. -
II
,
VI
X
,

,
,)
) I
i

emajl

1
'"
IV
VII VIII



XI
XIII
,
12) I ) 1> '
i i
COl TRACK 2
,
,
r i
=:;:::::=

,.
r
. -
51
1
J,... 9(1
Am G

Am
,
-r1
rT1 ,..
.

-.. -..
,

,



,
0

,
3 Am acld9
Bm
52
Exercise 7 i, a appl lC'<.1 (0 popul ar chord ptns,-.,.;s;n" wit h a
J esc{'miinS baIs-l int". Tht" 611'1 t im .. signaturt' mtans tWO bc-atS In a bar. f'a("h dl vidlns inlO t hrtt:
12.3, 1'; 6. Tah ' It slowly ar firsr , t h .. n bUild and ad InCi llit um um;1 }'OU ,I,'t"r rht" hans
of it. It will fed {' .. rl a. nly. bUI IS 11, .. son of e:ll."OC,S(' t hat really huill is you r
fi ngecpieklllg skill s.
Exercise 8 also srarrs on A m",or hur '" eh .. lae"r bars moves up the ncr k. NOI' e .... rh .. way
t he open B-snins ,s ust"<1. In .. . ally t h .. ",>t .. , ar .. on asceudlllg order. but from bar rhrtt [har
patt ern is brok .... n up and [ ht" p.[ch " I ...... ,
CD1 TRACK3
'm
'm
Am E/O#
r-iJ
r-
iJe
-.L...J l.J.-' '-'-J '-'-J l.J.-' -.L...J



0-



c. Fsus2 c.











































In exercise 9 a sLrnpk a$Ct' ndln/o; fing .. r-pick is applleti to 3 chnrd S.ju(' n(" In whIch a
numbt-r of are ust"<l (Q jOin up rWI pclS'!'On chonis. 11115 .s rommon In folk playing_
D/F_ and ClIO fitst inversions; ttl<- th .. forward slash Ih .. In pi n ho
The Hm7fFil and ArnIE "rt' second InV('fSU.m (lmld." in which Ihl' r. (, h of th .. is at the
bouom. Exercise 10 also uses sam(' (ommon Inversions hut til(' , j, rt'n" m of picking is
r(' vcrscd , NOr Kt that two notes arc sound.,..'! tog .. th .. r for each g rO\I!' of 'l ll a"t'fs ;11 bars l -.3.
L,k(' 3/4, 618 tLm .. lends itself to up-and-down patterns like Ihis one. Exercise 11 is anorht"f
common prog res, ,,,,, wit h" descending h.1SS Imt: , Exercise 12 (ovrr Ih .. pall") IS a syncopated
pl C("C With (Ul al r .. rnating thumb piay.og rh(' bass "0[6 (markcJ P). Tht'
to E"'(,K'SC 7. I.("t t h" Ollt"s r lll8 for lool: as l:JOSs, hl".
,
,
0
0
,
,
,
,
o
o
,
,
L

J 98
c
65

,



Dadd91A
GIB
,
' -3
, ,
, ,
Am
#
:;
,
G'


GIB
,
,
c GIB
9#
, ,
,
0
,
,
1
COl TRACK 4
I
CO, TRACK S
'fA
'mlB
COl TRACK 6
..
0
'-=-


,
'm
53
,
,

,
,
,
L '
J - 68
-

"
i
I
, ,
Am
_,1_
J = JO[l J)
J = M!
. ,
.'
-1\
r
,-I,
, ,
c /C
1
54

r
,
,
,
,
I
,
,
-
r
1-"
,
"
r
,
,
~
-,-
,
i
r
,
,
, ,
Am
Amaj9

r
0('
,
,
G

i
-
r
i
,
,
,

,
, , ,
Dm7/ F
CD1 TRACK 7
~ ~
~
-
_r
.-(.
,
,
r
, -'-
,
,
r
CD1 TRACK S





















ALTERED T UNIN(iS



5cnndard tllning _ EADGIIE - is a wonderfil l (-ompromi><: that allow" a guirari,t to work in
many keys, despite its bias (Oward E mi nor. Many acousri ,- guirari\Cts, fo r
new tones by altering this luning. Somc pbyers srumbl e on alttrt'<i tIlnings by -
showed thcm how to tune lhe g"itar 'properly' so rhey simply u><:d their and the
strings to an op<"n chord (Richie I [aven> ,md Jon; Silti ng to mind) chase.::!
tunings consciously !O cm"bte tlw droning effens of non- West"rn instrum"nts such as th" si t ar,
or to make ir easier to kcep a bass goi ng improvi><: a mdody-
An altered luning can creare beautiful nt'w chords and your
IlHlsical t erritories come at a price, however. First , riwr(" is the funing in and out of with
aneudallt risk of broken strings and iffy illlonation. Sccond. if you find some htautiful
d10rds you had I",uer wri te d ,em down. Rcmcmbt'ring chord shnlX's in (cn c!i fftrtnt tunings is
okay if you play pi",,.,, but ,lip from the mind i l ca n be a {rusuar ing



ioh rryinJ.; co rtrall whac t hty
SIN(iLE STRIN(i ALTERATION
The simplesr way co h<:"gin playin)o! arOllnd with new nmings is ,imply to changt one string. For
[his book I've invenred a funing in which the I) string j, by a to C!", givi ng
\IS E A ell G B E. To do rhi s, fret ell on f,fth ,trill/<: at the fou rth fret and lower the olX'n D
umil [he two art in n ill e (ro gt't hack ro stanclard reverse rio" Thi, implies all A
dominam nimh chord. l'vt supplied tiJ.;ht (-hord \Chapt, and two shorr you Can play in
lhis wning. Exercise 13 is a ri ff wirh a hl uesy swing rhythm hut unus ual chord" Try
to kct p tht bass nott st cady and fit lhe higher pans around it. Exercise 14 upward
pickin/<:_ idea is to pby it and let tht strings ring so you can hcar (hc unorr hodox rhord
ca'L'<ed by t he tutlill/<: . If give you some new ideas, you can makt"' up your own.











EAdGBE CHORDS
A
o 0 0
"
, , 0
L
o 0

am
, ,
0

.
-
0 0

,
o 0
J
" 0
, , ,
.
..
I
-
These chords provide a quick g ui de
to some easy shape s in t he t uni ng
of EAC#GBE. w hich itse lf makes a
simple i"troducti o" to altere d
tuning s. having only one stri"g -
the D - changed from standard
tuning .
55
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56
DROPPED D
mo"t famous smg k -striu!; altnallun IS known, somt:wha! n mfusmgly, as 'Jropf"'d It , Mol'('
(Ic( urately, rht, bon om E i., ' dropped' - is. tLi " .,J down a t ont' to D. This lunin;; pup\llar
with rock players b..'c('ust< th., horrom (hrC'C suing., rnak" a pewn-chorJ und the l"w l) ,s gooJ
fi ,. bunchmg oca\ly nffs, Folk playcn like it bo:cau"l' j( provi drs an o.:la\" Upi' ll stri ng D with
fou rrh su mg fOI un ulrl' rna( ,ng thumb It"dmiqu,,_ Th" frt' tung hand " t hus fnx to move
whe,,,,,,,, , I wants on (ht' net-k. This tunmg prfl\l un .':S mu,-h dt"q'(" sounJmg six-string D and
Om (Chonl>.
In exercise 15 f" urt h and sixth opo.' n stri n.-;s ar" played by the thumb. Abov\' th(',e,
a serieS of thirds awl f"urths move up anJ dow11. Th is is on", way of erc"t in,!; an acwmp;lnimcnt
fur a "oice.





The th umb only ah r rnau:s on the hrat ,n tilt- 1118 PlC"t:l' II I e xercise 16. Abovl', tht'
fingl'rs [ rt't a mdody ,,11th so mt' hammt' r....,ns an.1 puLl -ofIS. Ag-.lln , h .. 1
your thumh wuri:. ng n gin firs! , {ht'n fi r rhl' mdody to tilt' S{"ady pui sI' of t h l' bass ""{"S, nO!
tilt' mhn way around .
CD1 TRACK 9
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CD1 TRACK 10
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OPEN G MAJOR



















After the alr"r'JClun "' .. havt' Orl<'n fll omg P!U1)(, f, wtwrt' rh" srnngs art' (un(, 1 fO
mak .. a sImpl .. ur m,nOf (hord. Each of the- SIX srri nh'S is t uned (0 one of fhl"C(' chord wn('s.
'nIt' mOSf pnpubr "1" .. 0 mn",); .s ( 1)('0 (i (also one of t he mos! popular ( unmgs for
banJo). Th .. nnr"" of a (i ("hord an' (j n D. Sl an<lanl nm"'g aJIT':I<!y h.1.S t hO$(" I hr('(" nOH'S on
SUIIISS fi'Uf. thl't't' and tw\>, so [he:- Hm, ng IS creafc<1 by lowering strinh'S SU:, an;.! one <Iown
unul they cornt' en d ... of those: t hfl!(" nOfes. tnt"" <ll sranct"" is st""!Il.rQnc.-s
E A 0 G B E
-2 -2 -2
0 G 0 G B 0
T h., pl11(" !lcal d ft'<1 of Ihis Hlnin!; that ,1 barre placcJ acn)!;s Ihe lOp ,I t
any f.t l w,1 1 cr(' a[t"" a rool position major chorJ. The Ihr."" chords nttdt-d for a 12-1......
and many ol her 501\f:'s will be fo und on the "p"' n .-r rin!{." at the fiftrt and f.t"I" w"h th"
1.2[h fret giving 'Ill oetaw h' gher. Sm>llM harmoni cs are alw availahk ar frtts fivt", !;<"v!.'n and 1 2
by b yi ng" tht" smnMs rI !{ht mttal frt l hut nor pllsh, n!,: rh(' m against tht
{rei board. Strike and Me ndy pull the finw" away and you will ht'ar Iht !,:hosrl y. 1x'1l -
likr tones of h"mumks.
Open G "' Jkt'S a vt"ly f"l1 S0l1lld If st rummed. If a h.'lrrt is htl d down variotl s nOft'S 01.11 Ix-
adJcJ by the other I' "g,n;. Th., first I hord nuxes ht low ind,catt" how ,hiS 's don!.'. Th('
t"nmg is JI.", u,,,,d tu r nw,d., drone nmes, ocraves or s, xths or rh",ls al"(' m(lv(,,1 up t h(' n("("k.
Try holdll1g duwn eh., second free on [ht" fil"5t and fOurt h srrinh'"S (an ocean") 1U1d move t h" up
and down as yuu st rum al l tht" scron,l:s.
<">pt-n also kn<l {h('msclv('S (0 sl iJe play,ng. KeIt h R,dl:lrds us'd o]X""n G (,n Roll ing
Sl ont'S clasSICS such as ' Brown Sugar' and 'Sran Me Up'. U"" a capo wit h all "I""'n tu''' n,l: " Y"u
w,sh 10 ,ts kc.-y. O]X""n G w" h at [ht- third fret hecom .... opt"n lib ma/vr
,
OPEN G CHORDS
,"
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0

0 0 0 0 o o o o


I ,
t
o Em" o
o o 0 0

0




Most accomplished players can
qukkly pick up some refreshing
new melody lines by changing to
an altered or open tuning, but
finding and remembering new
chord shapes can take a lot more
work. These chord boxes make ;II
handy compendium of fingerings
to get you started i n open G. Some
even make useful ' movable chords'
to take you to new positions.
c Am ad!f4

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57
1
DADGAD CHORDS
OS
0
7
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DADGAD
Ailc[{'J ocrJ nm make a Slmpk majOr or rn,n<.o< QrlOon chord. ' n ADGA) ' is on" o(t!w
most popular ('xampks of a more (umple-x l u nln,L: . II has btcl"n .-ail ed a
tunmg. In fan, It 'S a Dsus4 chow. DAIXi AD was ,rllro.l u((d inf O t he worl d of fulk guitar In
t h .. earl)' 1960s by [)avey a key (]gul'('" In ,he folk 5("('0(' . If has bt-.. n used hy
many smcc-, IIlcluJ .ng P' Ctr<, Bcnsusan, {or whom II ' 5 now ' Sl andar<l runi";,: ', and In
a rock COntCxt by J Immy who uS<'<.! " for 'he m' J.;hry 1.("<.1 7KP CPI( ' Kashmir
lIere af{" some DADGAD chord 00X:('$ for you 10 strum or fingt' r-p.rk.
To condmk, exercise 17 IS a ( omposUl on comlt ... 1 ' Posrnml To I}( oys', 3 fun pi....:"
WIt], lots of bends and J"COr.l(Jv(' fi guTl's typlCal of rht" style known a.
'("Ik hamqu .. ' It ,hould bt, playt"d Wit h 0 sloppy louch. I n kcrpmg with HS humorous
t he ,ru m {" llau',
Dmaj1
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THE EXEROSES
A t empo indICation Hl "oc:u s per mlnutc' (hpm) IS ,!.ll Ve- il fur .w:h ""<:I<- j.",,_ Wit h a mNn>nOm ..
or drum machine you call h('ar how (ast II should Ix- plnye..t Chord ar" g In n below
d,,, Tht,,;e do nOl apply to Ihe not cs of rhl" ( ' ''(,"15(" . Th .. y may ht: Imph..d
d,ords or chords for a backmg. 10 he-at Ih(' full lonc-colour of r hest" ("X("ist"S .1:("1 a fri.-nd w play
d, .. chords fur you , or the-m on Ulpc unJ tocn play alon/-: .
RHYTHM
I
I
I
I
ut\ ["'g ill wit h an easy-tO-pJd)' rock ligurc thl t Ius around SlnCC rhe 19SOS and alm'l"
dero" .. " t h .. word ' lx..-lg.e'. It 's lmporwm to m:' $I('r t hiS ft'l'"l for all wrts of music YOll
mi.-:ht want IE> t a, kl ". I'or exercise 1 . pluy t., :, st c.,J y rhythm, at fi rsl wilh downst rokes of
d,.. Fl( k_ Latr r t ry .. dnwnl up P" k",1'i ti, t :, difT(' rctlt rhythmic (rd . (The


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CD1 TRACK11



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62


' shuffle' variat ion of this (Jgure Ca n '--'" fiJ LUOJ ill ' Blue, ' sh t io" .) This popular rhyt hm has
powered great rock playi ng from Chmk to


Exercise 2 is a variat io" Ilott un tht st ring goes furthtr semiront up.
Notice also the change from E to A com<:" on the last off_hear of bar OlW. Th is syncopiHion _
wit h it, dis t inaive ' pull' across d", is typical of rock. Rtnwmocr (0 fry [0 gCI each pair
of not", l h" same
Exercise 3 sho"" yet di,tinnive third vuiar ion on rh is thenll' , wlwre cwo nores
arc illtmduced t hat "dip'" [h", roor in ta(-h har, Syncopation is On((' again
present on lh" la't


It is abo 1"' " ,;1>1" to thi s rhyr hm fi gll rt in a new way by ruming it imo " set of singk
of >rri ki ng rwo notes at a time, as in exercise 4 , Walch om for lhe u;msilion
in bar fo m from hitri ng rhe sixth sui ng (0 hitting tile lourth suing.
135
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64
Ex"rc,s"s 1-4 worl.: w<,11 In rh .. k .. y of A ma,or. Jill! whar If wt' v.aor to play rhyt hm fi gurt'
in ot h" r h -ys? Tht' ans"" er IS ro wn" t' rr I { Imo a fl'(' ((('d fi.!(ur<' Wi th no opcn sr r i ll,l,'S. Don't worry
i f you fi nd t his a bi t of a SUI'(ch at fi rs!. Drop your t humb well Ix-hi nu t he nITk. 1ba. will help
frl"Hi nt: hand open OUI. Exe rciH 5 shows the boosu:' ngun' foLlo"";ng a common chON
prog= ,on (chords I, IV V In B major).
Exercise 6 d isplays t he same .J ro "' E major St,lnuIg 011 til(' fi ft h sm ng. St arrmg on l' itiK't
rht, fi rth or ' h<." Si xt h slrIngs (' nables you t o pb y It In any ma jor key. and (0 pItch II higher or
low ... r. Songs lik(' Sral us Quo's ' Paper Plane: Q u('(' n's ' Now I' m I lef{" and Super Furry All1mals'
' R i np Around Th(' World' fail ure thiS.
To help f Oll mcmonS<.' t he p:l ttern thil t governs t he- I-IV-V Exercise 7 is.ot ll rs rhe
root nOies. Bars 1-2 gi ve the patt ern for .. g on Ih .. si xt h Slr illg; IXI "" 5-4 for start ing on





fi ft h . Exerci se 8 , how . h()w " fl J; "'al (;1.11 I", had w" h t hIS rhyt hm fjt;Ur" by m()vi nt;
b"tw""n I"" rdated rout out rs. Chord VI on to majOr shou ld he eN min",. not Cil . and t h"rt' .s
n" All in th" of E. wh ,ch ' 5 who1[ rh(' t>oo",,, fi),t ll r(' d( m,o, ls. You can h(,>" t his in
' Mambo Sun ' from t ht, F.lr,.,, lri,rr/(w (1 971). A fll rr hr r innovari on is ro fi au t"'n
""pt,("tt'd nutt' , as in bar fuur.
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65
L-__
" rda({.j Ve r S101l of the rhythm ligun' ... h.,.,n playln,l; Q(nl n; on rhe lusher ,temg s and I.
ba>C<.l on a major triad held by tI ... fiN fin}! ... Play exerci se 9 (0 t ry I I In C major.
Exercise 10 IS a variaC"," relatt'd t o F.x('r("OS(' 2 ""h("I'(' ,he fi nt.:e[,!,"OCS up olle aJ di u onal (" 'I .
I bc note you addoo w .,..u;-h chorcl, n F. Xt'rnSI' 9 IS kno"m as I h(' sunh of til(' chord . I f we add t h..
foun h as w,,11 as t h .. WI; !ott" . he rock rhyt hm fi gurcJlsplayr:J 111 exercise 11. (Ja N 1-2
lack a rt K,t nott' _ .. su,,1 on hars 3--1. I. IS l.105s.blc bUl awkward : th" I,tt l .. finger
bold down lh .. ilK'! a nd damp I h .. fi fTh smn,l( In exercise 12 a ['('J.ll ed lgurc adds th .. f .. urth
and t he mnt h to t h .. ha, ;,- ", .... -1 Nor,,;",. . ht 1\ ' ho .... 1 10 b.lr t WO has a powerful sound llt'<.alJ.>;<'

Ihe root lIot .. is mnel y Ih .. "pro fi fTh SHl ng. ThiS fi gu['(' on A IS popular fi n t h,s rt'.l."'''L
Exercises 9-1 2 wi ll you of rhr Rol hn" Swncs, Ihc Faces, ml<l l he Bbck e mw.". _ g ' M,d,
",,-k' n' ml!. Thty 'nnJe'lrJ VCrslOns d mt in " p"n (tht'
'C,Htin,l( SUrt ",,!' deals furt hcf with open G).
- .


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66


Apart from ,h" A chord in til(' 1(I5( tX(U11pll". rhe orht'r or",n-strons "horo t hut y,d ds exrellcnt



















WIt h d,('St' 4/6, 4f9 shap('s IS G. In exercise 13 bar on(, adds jus t t h .. SI xt h , bar twO
tht' sIxth Jnd I(,urt h, b.:u three tht '\lIll h and fourt h. and oor <1 sho ... 'S " common pull .. .,ff fill
maki ng g""d u.o;o- Hrth .. tlpt'u L.Slcn to 'John. I' m Onl)' IhnClng' hy DaYld U, ' WIt' , m "If
It Makt'l' You Hur ry' by Sh .. ryl Cmw.

I
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2
CD1 TRACK 'IJ
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Exercise 14 shows how nt'" d inrs ca n I,., had o r Jo:ivinJ.( t ht"S/.' a k 5S pr('<ll(l nblc t WiSt ,
Bar I wO h;J.s un E "' ),on- w" would an F ... and har 111 ('("(' has an F wheft' we would (' xP' \


RHYTHM FIFTHS
Many of tilt'" ab,"", .. t'K .. n: . _ ar .. hy Iffi' 'nlC"t""j of a perree! fih h (sevt'"
from E-B, A-E and D-A. Th .. f""1(.,("[ fift h Isrrur ial 10 rod : guitar. It has a bare, lough, "!SS<' TlI Vt'
souoo and w[,' rJ' O:'lo .,l ny of dI stort ion. You may aln":luy know II und. r Iht' !lamt'
commonly uSt..J by T"de Hu" ar' SIS. , h .. pow ... r {horJ', and It IS ('S.wll (l al to m .. su.' , fo, l
pl ay,"" . \'(I h, l(' rhl'S<" all' by Ill,my pl..tyHs :;" a of k .... p"'M










1" .... . IVy. d"<, ,, ,\...:1 $Ounds from overwhelmi ng t h(' mix _ as <call hapP<' '' wi l h a fllll -I-.:' II'-
{-hord, for - II1('y M(, al so surprisi ngly eHut;,-.. 0" amu,W-
Strum ! hlS S('(lllcncc in exercise 15 wi th "['*n-suin).; chords. Th("n play H liS
Wrl nt' n 0\1{ No(i ce t he 1 .. oil an a("(Jus ri c' ).; \li rar , he roughen up t he
I'tOpCSSlon If" s('C(!l1U gUl t:,. play, full "h<m-k PlaYI"(] at var ious sp('cds, with or wi t hout
,bmpmg (to give more t li ud") . rhythm fIfths an;' a surpr is ingly 1001 whICh occun: in
rock, l1\ml-.: , new UIIU - in tht" music of cvrr)'one fmm SounJg,on.icn
m Dc"o. If yOll pby all y (',rrn "f to .. k, yo,, ' 11 find a uS(' for ,hem weiner or tI ler.
In exercise 16 all Strltl/i S on brats two and four. If you use your IIHk fl ngcr \\)
(OCt , hc lug-hcr of lilt" t"'< , II( ' t .. _, on .. ach It will lie flat enough \\) SlOp mOSt tlf t ht" '{ri llS'
soundIng wl"" "t"t"d..d. Tu d.,mp 10 .... 1.. no!c Jm! le, ,he SlfJng come nCf d'e t' ''gl.' rb"ard bot
keep r,)ur fi " g .. r on Ir . ! h( F'j occun In bar (our an OCt avC low",r III hat t WO.
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. --. --X- X- x- x_--',, -_-_C',-_-_---' ,'--c''----' ,'--c''---"---', --, --X- X- X- X- 3--' --X- X- X- X
' --' --lI. - X- X- lI. 1-1--X- X- lI. - X
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69
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70
I'ifths Gin fX" found in the same shape 00 p.,r, [hm, "nd [wu. Exercise 17
shows how U2's !;UU3(JS( Th ... Edge ""gin u ..... a tU/l h fift h wnil an opc'fl G--5H1ng, wh 'ch ;s
ch.1.r.JC( c[isu(' of his gUltar piarmg and a sll!n,finl lU F...: mr <Jf hand's 501.",,1 in )I;('neral.
Exen::ise 18 glVt'."; fifth w. t h an opt'" ,nsl(l .. If. As fOU move' r h ... fi fth thl."OJX"fl
G forllls J,lTcrem rdauulldllp" ", ,, h th .. mhc-r nut .... , w,th a ffi OOl lr df('("t.
FIfths on (our and rio""" can be m"".,d ur an..! down on , h .. k .. y of E or F. minor ro mmbinc
with ,he top twO ofX'1l strmgs. N"tKt' [I . .. re . "n .. n< .. In har on .. of exercise 19 when- t here
are t WO Bs at til(' same pudl. As yuu m"" .. t h .. u )' It> I"t tilt- Upt'" stri ngs rmg for as 100)1;
as possIble.
also IAId l wl l h sIxr h, 1\ $Ixrh IS prod uced when you mow r ithcf rhe first
fingn down 3 frH or rht" l Ink fi nlwr up a frl'!, as In exercise 20. Th,s is ,m idea (rC<.ju(mly
""plorfil by Paul Kossoff, rh("" lal("" P " !(l(ISt of Fr('("".
If you inv('t a fifth you get a fo urth : A-E (a fifth) I! -A (a fourth) . Fourt h,
w(' 11 with fifths. I n exercise 21 !()unh., HI ])m f"ur, but wanh out f,>r way OJ">t'n
bass strings add extra inwrc"t; (ould b., e,,,, limll , Mid, ROIl.,on or Day.
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The chOf'd block diagrams below
o ffer a n added visual approach to
so me of t he concepts e.pl ai ned on
t his page. Though t he chords in
t hese exercise. are written out in
t he notation of each In dividua l
examp le, it might help lome readers
to t ry t he m in t his fomiUar form
before goi ng on to explont t hll
exer<ises f ully.
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If Y'MI rak .. a fif, " and "(-opy' If<. , hal' .... ()nm rh .. ne-X! an add9 fi,l(ur<c ;s ,h .. fl:"' ul r Th ..
.;-hords In exercise 22 art' need I .. nr sf",!("h," ;: pmcr " .. an 5P' (' up a 5("(]ll("nn' of fi fths. Tht)'
31"(' assonarl .. J wi t h Andy who uS( .. l rh('m on Pol K" l,ke ... "-ssa!,"t" In A Bonk'
' l b ouSh much gUl IJr-pl .. ymg uS\'S (ull chords, should not (oT!,'n 1he humble m ad. It
only l all"; , hrtt n OlN to IllbJ.C':l maJOI' or minor choru ' I hiS bUllus u'l'ITli y 00 the fif' hs. addmg
lUSt one CXlfa !lOll' but u 's a crucii'! il;.Jdu loo. changmg die mooJ of t he ,hord ul'ilmall call y
bc,wITn major :md mmor. rosy to play Jnd k nd themsdvt'S 10 rhythm pan s. fil ls. n[fs
"nd evcn [("J solos. (In the 'Jni d "'pHr. you w, !! s.: .... h(,w ,:on dllow you 10 pby
rhyt hlll part., w,thout nn-d 'l'o to chord forlll s.)
of all orJIll Jry J) d,,'rd a [) triad. In exercise 23 that shape ,-,
Ill Cl Vr<1 up nnk III "(: h,,,<1:11 riff ' )I)t' ll 1) ''''111< all "fa ' p",lal ' not" (a
whi ch rtlllaillS ( hor,b ur m .. I ,nr, .. a"'lInd ,[). Illal '" tr iad.,
form diff(' rell ( rdarionshi ps ","uh ,hal D. Walch 0\" for ilw opr n ' op Slnng :l( (he elld of hars
(J il t' all d ' woo ThiS si mpk hill df(:(: ( ,v\' OJ'I " V.1 Ch ' s (1 5(-,1 hy P('fl' Towllsh('n,1 in many Who SVllp.
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74

In exercise 25, no(;-(" how (he J) moJif'ks t h(' lr soulld at t..,rta;n p,,;nt.' , t urning t ht"
I'll mi nor t riad ofl:mr one IniO a Dmaj7 chord III oor two.
Exercise 26 uses omlor and minor (rlad shapt" a.. ",x ur on stri ngs two, rhrtt :I n.1 four.
ThiS r ,m(' t h ... pedal note IS A. Krltlpfln of Din, S[f'.u c.., I ) a w",ar;s t whos{' j(ljosyncnJtK
pit kin,!; t{'("hniqu(' too him t o uS(' triads jur sHng.' I,k .. ' Sultans Of SWing' arkl '1 .. ,,-1 y \'(' m t"r', as

10 exercise 27. II "'as easy fot III '" w('/1<"_ mud. lk<:a u ..... h .. was pluckmg rhe suings wit h
his t humh, index fingcr and ffiuJJ lc fingu [lil ly. [.m .. r hr ft' I) no pt"<laJ no[(' .
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SomCWl"I('S I( 'S nOI n('("C'Ssa ry t o ,ndU<l., Ih .. lowe, stri ngs. \'("ilh a st rong bass l'n(' It cun
Ix- suffi Clcnt for the gUlIa< [0 play choms on t h", top tour strings only. The Spill Donors'
Two PnncC'S' IS;I finC' Cl<ampl('. A well-known P"P and "nul rrturdms: trl(k IS to PUI a
'stub' g Ul t.tr chorJ on oollS I wo an, l (our, as in exercise 28 . A bri ght, d (C.t n (Olle IS use<1
Ih.' chord IS un rn('d o:ucly follow ..... ] hy ;I <.-:II. Th" {-hmd will "(tt'll SIt wl l h t he sn3rc
dr um. Listen to m"ny 1960s !.Out =-or<l5. ("SpeCIally from Mmnwn. wh.,.t' the IlIgh Slab
gU!l ar oft en pl,'yC'd by j oc MeSSIna on a Tt" lec3St(".
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76
0"., of tht" mch of professional \() know wh.,,, you don 't to rhan);t a
(hord hu t nUl lei the bass gui! . , J o work. ThO' .- han.!!" st ays thee throughout
oars 1-3 in exercise 29, yet tlw d""d" Wmt.,u bd"w dlan,,<'. To tht "fft", r t ither get
to play the root notes ofG, E m; " " t, A nHum ari d C, or play rhos", (-hords on );wtar or
ktyho.1.rd while you play the wrjtll'II pJrt . dam" ,,,,, not ts (- han!<(' t ht harmonic valuc
of ,h{' wtinell G-G.ud change <OH IO th .. ug h a ,tays t h .. 'am,, > W It sou nds d, ffert'nr in each har.
RIFFS
A n IT IS a mCllorabl( ph,.. .. "" "f tlt't,, .... " <onO' nrul full r 001"$. In rQ(k It often focuSC'S much of (he
cnergy of t he song, and ;, ' ''I'"'ar .. d as n ("('mraJ "hook ' oil he gUIl ar p;lrt . RIffs occur Ul
almost all guitar mLL"," fmm 19')0s rock ' n'rol l l O conwmporory and III ot her g""""s
I,k., ""gg:u: , soul, hlu .. , and /Olk ; Ilwy' l'(' Ihe blocks of countless pop and It"-k gUI t ar
paru. It ,['& an- 'lulck 10 wnle and an,1 run lO _ and ar., you know a ft-w
g(M>d on"" al r .. ady.
Many riffs 3rt" ,knv{'<.1 (rom t h" scall'S u ..... d Ii" It .... k and hi m" I.,ad. Uars on., an.-[ t wo
of exercise 30 ascend E ["'1lI310nIC mlllor, ' PCIIt;l Wnl< ' . ., n o t t's _ in t hIS c . E
r; A U J). Bars and four provIde Ihe IllY II sdJ. uSl1lg [" weI .",..", "f t hl' scale.
b)' addin;,:: ont nOl o.' fO Ihe prev. ous jXnWtOiIi C - B:. - we .. t t h .. E hlut>S 35 u\.(O<i
'" exel"cise 31 This exIra note is cal Jt:oJ a fift h and It I, Important for irs
It sounds ffi(';ln. lb,s nOle a riff with ",m,con .. mov",m("nr.
EIE minor arc popular k.,y' (,,, t ht" li Ultar h.,, :lIIs<:, . h", srnn).;> art' natu rall), biased toward E.
II owe-'cr. a pentatoni c (ai, ht" play .. d from any nOI(' , S",Cl' (hc s('cond lowesl open suing IS
A, A pelltatoniL minor ( A c: J) E is nlso j>Ol'\linr. Exercise 32 is a riff on t hm scale. Wmch
oul t,,, th., pow .. rfi.i AS chord in hitrs ( wo ,md four, t h .... fhu.,llt"<l fifth that ap['t'ur.' 111
uars rhr"", and fiJUf.
Fifth, arr IXlpular for "f($. In exercise 33 dl" !l{t hs by op"" A and
E , m "gs. You can It"ar t h,s in rock h,nds I,k" 11-"0 Liuy ,lnd Iron Ma.dcn.























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Exercise 34 is a ,jff t hat fift h" t(lUrtns pain; of ro ot." with the same fret
nu mf-x,r) amJ ()(taw's (har, two and four). Tht' riff in exercise 35 """ t'mnhs.
Fourrhs han' rh(' ;' own fl avour. They a rt Its, stahle than fifths !->t-rause t he ri M) t note L., no
t ht lower of the two. Ri rchi{' Blackmo'(' usc'a fourr hs for many and Kainbow riff,
ro [11(' lOp (WO suings, llS in exercise 36, fourrhs Ix,comt' It's> heavy rock and
more new waw. Their slightly 'oricntn l" color WaS ('''pioit("<i by Teitvi sion on Al li.m, and
ln Wings' ' Band On The Run'. Meanwhile, hands l ike 1.K<i 7"'PI)<:'lin have
rock songs from riffs huilr on ocraws, nor unlike rhost in exercise 3 7 . Th is tYr'" of riff is




{'sptxially effc<::tiv{' when the gui,,,r and bass are togerhtr on tht" ri ff. lktavt' riffs ran also
a good <l(c-ompanimclll duri ng" verse structu re, as in exerci se 3 8 . Bars 1-4 ftaturt aha,;,
figul'(' of an octave {hat fillls to the flattened seventh tlnd (hen tlw fifth . In bars '5-8 a variation
introduces the Ilmt enuJ fifth note previously feat ured . Iiel"(", it 's the e" in bars five and six.




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Kiffi can ... "" single not es ""('( a ,xxi,,] no{(' , In exercise 39. Th" pt'dai nOl C is
Dr an Of""" J \",.., over 0 IS a scnk known as rh," <M ,xQl yd,an mod,,' , You can (cad more
ahout rhls mod<: lat", in the chaplt: r. lt J,{fc-rs from t h(' D malor Kl\1l" ( I) E 1'/1 C; ABel) merely
in havin./: , h" so"v .. mh nfJt .. 10 C. TIllS effcct IS tearu"j on The Cult 's 'She Sells
S'ln("luary' and ILF. . r.L's C r.,.." l.mw TI .... Rushcs',
Exercise 40 IS a similar prda] ri ff, thiS lillie USII\f A and ha" 'o,t.t ""'0 "O[("S at a li me ", Ix)\'('
il . Rock mUSK favou.- I h" sus4 chord lx-c:J.uS(' of lIS {enSIon (l: rt"3.1 fOr huilding drama) and li S
n" " mllly_ fi ft hs and filOn hs, d ' e $uspcnJ oo fouu h chord , t"xplorrd on exercise 41 . IS
nt"i rher ma jor nor mi n" ,. Th;, ri ff a form and mon"s it down t hmugh small
Sus4 {hord, (.,arurt 'tmn"l), "1 I h,' Who's ' Pmbrul Wil.anL T. Rt"X\ 'Cadillac' , Arg{"nt 's
' Hold Your Head Up' , and J ohn Xm<ls (War Is Ov.,,)' Tht, b., .. ds III
exercise 42 tWO Iwnt , t>).:.,tI,.,r - .. in rock gUllar hy Chwk Il .. ,ry
anJ have OCcn LlS<'J by man)' orh(' r plny .. rs tvt . SilK., .. vl'rr tffeniv.: a( Inst("' ' t mpos, '"
in Motorh{"ad's 'Ace O[ Spadn'.
No I( M,k m rifts woulJ Ix compicl(' wltho\l t rh" '" call.,d aft.:r dle notes of the
and explored here III exercise 43, whl(' h " , I,,,d}' rdatl'd to the rock' n'wll rhythm
pan, you pbyed in exercises 1-1\. Exercise 44 ,. ,. <hilhtly version. You Can h .. ar
,omt'r hing similar on Rn}' Or bison's Wvrn"n', rh"ul( h !Il thar ",ollg Ihe riff Slays on F. .

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Th(" t("t01 'chromauc' ,.,f"", w th .. u .... of .. xrrn nOfl'S do not belong to t il .. as
("mplorru in exercise 45. (:hmma" , - r.ffs haV(' an de-me-fit of surpnoc about t h"m, OIn
'>Qu nJ 'jauy' ,n Pm" Floyo ', ' Mon",y' or rownr, J lhe- e-oJ of I k ndnx's ' 1 It'), J'''' ' -flt sinisr .. "
as III Led up's ' DaZtl! And (;On I\ISI,,1" I.ook (or a dMt will ma" " u'" of all YOllr
f[(,Hillg fing""' .
USING INTERVALS
AlrruJy w("' v(" played und,;r, ust- s .,!:n.fi (ll.ll t ,nt("rval s. I n a rndJur ... ::al " tt..- im"rval, art'
major SCCtlud (C-D). majnr ' h",1 (C- F), l'('rft,(1 fourt h (C-F), pcrkct fofd, (C r.). major Si nh (C-
A), St'v"nrh (C_ B) and I't' rft"(f oem\"!;, (C-t.). We I ... "" S<'t.1I ho .... fourth, and fi ft hs ust"<1
In rhyt h ms and ri ffs . Stocon.]s and scv("nths HC not "nnu)!h hI[ (onst"(Ur"T





bUI OIn t hicken a melody or mdo .. hc pllr:"", '" H"ndrlx did m 'Th",] Srone From The
Sun' For exercise 46 uSC a pICk and yuur middle or damp any strmgs in between and
just us(" a pick, Octaves lend th",,,, .. lv .. , W , I,d,n,; "I' or down, Exen:ise 47 givts yOll a
chanc(' '0 praClICe a 16th_n"t" ' I, "m .,f 'dHmlit..:!' "Haws. II.I \H(" all (ollr of Ihe other sttl ng' wan
your flTtrin;.; hand, thell S\tUIll up Jnd down III ';"l\I PS of four with tll(' first o[ eaeh g roup
\'(fhen )-'ou get cnmfot{abl" With th" YOll m n fry ( Url ,n,!: QUt some of t he [reltro 1611",
By nluring more of t hem In tilt" l",r you (an }-l .. f\ln k rhythms. There IS a him <If t hiS In
th( lasr har. Thcf("s mo re mur mg P"d, ( Ht" flit ( "0( nffs Ifl exercise 48 _ but listen for
inter.'ali III t he la<;{ bar
(kt avcs arc crucial W Ihl' " .. und of a I l - <rnnj.l j.lll ilM. BUI If don't OWII a 11--s{rm,l;'
Wdl. exercise 49 show, a way flf j.l .. nemll n;.; a 12.strln;.; drC'C1 on a SIX-'l fIIl,!;_ It rt"<lui,,,,

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THIRDS AND SIXTHS
Th.' oniy useful onl(,' t vnls WI: (Qur h( .. J un yet are ,!l"x-is and sI xth". Until havt' maju' alld
mmor forms. A m:J,or t hlrJ IS four S<'mIWIlCS (C-E); a m' oor thu'd ;s . hrt't" (C-I:'). A mal'" ." xl io
' s IUIiC (C-A); mlllor SIxth IS {"gIll (C-Aj, ).
Exercise 50 shows a of t hirds ;n D major on , he rol' . vm srron).;s. All , h .. n"t .. ,
on Ih(' t OP Stflo!: should be Wllh Irn- firs. fi oh't"r; ,hoM, ondeml. h art' {" hoot rh .. .....
or (he t h,rd. The fi rs! 3( IS as a gUI de when you sh Ift l'lOSIr 'on. Th .. k .. y ""u In' d ...
SCtj uC' oc(' ,s on t he S"on;J sl nnt: at Ihe SIar{ lng p05' l lon. If YOll want [Q 'I'<I nsl" "'" rh.s [I) uI>4 '1: h .. ,
m:J ,or k('y. localc t he n(' w key 00\ .... on Ih ... st"<:ond SITing an'] pl ,'y rht' ,'lm .. so-qu(" n{t' frum [I . .. , ..
Exercise 51 IS t il .... C\j Ul wiC'1'II S<'1.;Juc[l{r trI A malor on . he S<'Cond and flllni $uonJ.;S Th ..
gUl d .. fi nger ;, t hl' willch all t he notes on thc lowcr smnl' ; thc s('(:Qn.! SHmg norts
arl' fi..,,1 or S<' ("O lfid fmo"r. If IllLS w" r" pl.,ytd from tlll' sc"cmh frcI you would rhl'
samt In 1St" 50.
Th irds h,wI' SW("t" I(' nm;; (,ffto, and "an he, fo r g uitar f dl, and ,ulo .. VJIl ]\1,)rri.'(!J) .\
Brown- F.rt'! G, rt Th( Smor hs' Man' [h"m. TIl"y lit" pJuytd
slmuimn("Qu. ly or Onl' afn r rhl' urh"r, exerc: ise 52
dw vnlu(' uf d<:"ptnds on t h" harmony. til<'
harmony and YOll (,ff('Cll vely ( h"n,l;(' th(' tv(" n if t h"y stay sti ll. Exercise 53 ha. a IW1l-
bar phraiK' III {hlrds. F.a("h {, me rh(' chon ! chan,l(<:"S It wi lt d,ff", .. nr. Try 1..,nl"'U'lIg tlu.
n ff anOl her four b.us I wo h.'us each (If:a in.f th .. und .. rIYln,l; chords F and C - IU h ..
lh,<; eiT('(:1 even further.
Exercise 54 ,s ;J. sNjuence of SIXl h<; 1fI G major on ( he firs( an, 1 rhml s rn n,l;S "'II rh ..
n(,11'S on t he dUN sl rlllg should flngered w,th t he s('(:ond fint;e r; rho5(" anov .. l'lr hl'r rhl'
fir ... or th .. t hird Til .. k"y nm" fur .s on the first sI ring at I he Sl anmg pos," on .











Ti ) rillS t o anmhl'r mUJ"r k.,y find the new key note on t he first
pl3y I h., sam ...... qu .. ,,(., frum t h"rl'
Exercise 55 thl' rqu,,,,, I .. nt .. on D maj" r " n Ill .. ,....,ond Jnd fourth SIrUlgS.
,I;<l ld .. fins .. r " thl' 't't nn(l wh ... h pl .. )s all d.., on t he S(",ond s, rmj:: not C'S
.. " h .. r fi n;t or t hIrd If t h,s ",.,r., plaYN from "' ghth f,..,t you would I h .... same
nuttS as ,n t' Xt' r("ISt' 54. Slxl hs al .. " usa! fnr f,ll .. and I.,. .. d ""I, .. , I hough t ho:y don't sound "s
swt"t" t rh,', ls. Soul <:roppr,,, ,,,nownN fi'f Ill' u.", "f ... xt h. nn rnJll y 1Y6\)s
I,k" 'Soul M ... n' ... nd ' [)<)(" k o f The lI ay'
L
2

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85
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In exercise 56 th .. aJd,uo" of a of chroma!O( Sixth. emub tes Cropper 's slinky f..., L
J n"
Th,s IS Y'" mooc h .. , {", hn,'l Ut' . ha. ("Iln /:N: Slmpk to rn.J.S ICf, bl.ll has an .. ",nem.,! )' "ffeniv .. ,
mcl(x.llc f""l wIt h a Im l .... ",I'll hl uesy ).:roovc to It t OO _ a nd II usuall y YIelds .. ... ..s ul ts
wi .... " employtxl rastr-fi,lI y.
Somt-tlmes in " riff SI n h. mak(' n ' fl'('shmg ..... fmlll (j ft h, or /l,urc h,_ In exercise 57
t he 0 G I' l) chang .. (Uuld been dont' With cldk' r _ but h" .... " " In slxrfL u,mhlnrt! worh
" D pt'Ill.lWII K mmo. sjn.lol l .. phmse.
Exercise 58 /;lv<"_, US" look Il ' som(' rh,rds combnltd WIth an opt''' G-su ing.
CI .. vt-r rill"':" "fhy makt'S II to put til<:' ()IX!} B Strl llg III th .. m,ddl .. of a run of SInh,
m exercise 59. TakmJ: 11 as t he key nOh' , It IS (>I1 ly 1It"C .. ,,,,,,ry w Ilnti a run of sinh. In B
major. Anoy Summ('fS used die III I! 11lI nm ", 1'011(",\ ' B.ing On The
wh",.t In E nll nor opt'" Co (rh(' m, dd le:- of an E mmor {hord),
men C:l ch of lhr,"': to) _"xrhs, ,h(' n St' l' ,f you can mn ke up a fcw in tlll'SC keys
others. Usc tlWIIl to up Y"l" . d"fs and nm('s whe. e
THE 'JANCLE' STYLE
Thc !:oSI twO t:xerc;,e, of pOI' \oIu r sl yle whi ch Ius OCcomt: ku{)wll a, 'jangl., ' It
is a5'>OCiawJ with tht" 12.mn.L( ", und of The Bytds' ROt,'N McGuinn, Pt:tt:, Buck's play; ,,!> w,th
R.E.M. in t ht: 191">0 . , Johnny Marr s work wHh Th(' Smiths. and j "d j.,' baud . {)f ,no,
1 ')9(1s. Th., L.a\ 'Th .. 1'<;" Sht" (;(l('$' 'S " SIII"<',b (',,"ull pl( .
J angl., " a .-1ffi n, sh ,mmery, n ngJllg l:ult a, Ic' );I U, (' , a,ded hy , m tammg dti:-n s I;k",
nunpre. ... ,,,IO, chorl.' s, ",00 an<1 Il'verb. anJ IlccJUlg U l ... mUIl apP""a" h to ch"m shapes and pICk,ng.
Jangl", J.:ulrar open st r ings 1(0 nug (oUI l)o(' t wttn , han}(t'5. whll", chonls art' Hl m ..... 1 IntO
arp(J.:J.!;IOS. ,11(" 5lrJll!,;s pJCke<.t 00< at [1m"" a, ryp,fi.,.-l by exercise 60. Th(" shJtxs C:l n Ix-
slmpk but (tK- ("lid ITSult f " II,,,, an.-! u t l'<;" m", l y ("fi("Cll v(" In I h(" roShl (ODl n ;( .
Ii"' - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ____________ __ _______ _
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D D c

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In t h., .,arly playm}ol of Pt t t r Buck ,h('f(' IS of,,' n a pl(k ultj ,,( [ ht ,-hord to ,;ivt' dnv{" and
m<>{,on W ol h .. rwlst" fui rlr d lJI \ I h .. way 10 "-j'pruru;-h exerc:ise 61 .
Makt ,;00<1 ust" of up and down j>Kk Y" U WtJ Vt amlJn}ol tnt- srr;o.l;s. NmK{" In oor dl l"ff'
t h., ' harp ..ri :er t hr.'{" nm,." "'6(11 a I'm., llP"rt al l a' oncc. 11(';)[ Buck's p ngl.,
m sn")o;s such as ' RadIo Free [ U[(IPC' frum til., al bum ,\Im'mlT an. 1 'u ood Ad"- IIT5' from F.,hlti 01
The /?' 1!';QHJrrnal0R
Exercise 62 demonst rat c'S anotll<" r (II ti ll "", ' "".,av"'l1 P"kmll pattt' rns. Wll h 3 elTen
Ifl har )I' t. Not ice , he 1m rcwclun loll .)f t h .. "p"u L Itlm th., I), h,*' In 00r-s one and IWO, 311d the
hol low of t he ASU52 In St" Ol I hal :111 norn In oor SI X ling as long as t hey
("a n for t ht' full elTen .
In exercise 63 chord ,h"pt'., d .. VI .... d a""ay from firs t poStllOn so th,,, open sttmg., ,-an
combine with high.,,- l r.,n .,d ThIS offt' rs a to t ill' l"w.,t- p""Jl II )Il ..
phr:I S(s so " 1' 1., ,, h .. ard_
C01 TRACK19
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ARPEGCIOS









Tht' ,an;l( l" sl yl" pluys , hI' nOlCS of a ( hor.1 00(' aft", rh" mhrr If> !,"CoC' t,l((> lin ''''l"'o(',I;;I('' ''-
A'I'I',I;Io\IOS art: filUnd dst'wheri' III rock a. nd pop gUl mr. art' III such as Crt"am's
' HBdf.:( ' , Tht n""rlc., Hnt' C:""ws The Suo' 1l. rl<1 " Want You', Ikbop r"' luxt 's ',Maldln H''';1vrn'
and Th" ' When You' ,,,
Th(, on exercise 64 ,,"ploil the sli gh .l y murky of luw d"rds on Ill<: gui ' a,.
' j{WI To You' and 'CoOl(" As You Ar,, ' d" like wl sl', In exercise 65
moS! vf lh .. a'l"'li/:;lO" art' oosed on trill d, bur ward, f' lr tht' C: il rn 7 '" stv('n .
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In exercise 66 a ( ommOfl S('<j uerKe movlnJ.( from C down to Co " l ran,for m{>l b)' lIll u .... 01
arpq:g"" , ThIS m,Ike d nmdoSlon 10 a d ,mu, of a "'h"I" SOil>:.
A'I"'J.(;I; ' ''' (an be indud",1 in a )( lll mr solo. Mall y " flh., trail 011 DLre Straits'
I" A n", f>t')l:in wl(h " 'I " jng Ml"')i:)(io_ Thl' i" har f;>llr ot exercise 67 " w'lh
"rJ h ' - t h .. nores ar. nm 'Inltk "Iwxt thcr hut rr;' ll")Jl.l ll y Olle afrr r Ol hcr, ell hu by pu, h," ;;
Ih .. PI( k r hrou)(h die Mrlllg_' , '" ' ml hn,l( " Ih.- n Oll' S wIt h d", pI ck (wo
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kru.1 .s a matt", "f l", .. ruing a small number of SOlI("S nod :>("al ..
p:1l h"(tl$; , he al l of ht-n.I, n,l: and [,,(I-hand tKlmi'-ju...s like h.1mmcr lfl,l:-on ,
pull .ng-off HI" I sl ides: ;\nd gmduaJiy fi nd In); om which not"" work .Wet any chord
SftjU('n(\".
BENDS
Exercise 68 {('1l w rcs four of rh(' common",,! }",nd" " n .. pt'r bar, on or.it-r of , he,r fiSt'
In pitch. (Players do OCCl\Slonal ly Ix-ncl furrh", . than thrtt sem][(",,,,, _ but sl rm,!: IS
always a risk!) In bot you flrst p lay Ihl." rar,l:('1 notr hy f, Ht; nx il ; til"" you IxnJ t he prevIous
nu, .. up. Th" ' rmmt," y,)ur car C'ach l Ime j,() YOli Can I' SI",fl fu r wht' .. y" u', .. '" tunc. The
.. pt " '" " ,h .. .. r-mll e ocnJ wluch is ,l(t lln!! y a fran ion lown t han t h .. you play
on t he fi rSI hr,\( In Ex.6H rh" [,.,nds all done with t he thirJ fi nger, WIth rotH "nd ' Kond
on the sam(' st "n!.; ht<hmd If. Th" you cm push with all three: . Try "I!;(I havln,l( Y""'
t humb on rap (, 1),((, of rhl' nK' k ro ;I(" t !;fl p . art umjoll bted ly mor(' ,hffinli . ' 0
execu(e on aCOOSI '( ),( Oll a, on but many skilled st Ili of
them, and nft' nn in many st yk .
Exercise 69 dlSl'lnys n hle",l WIth t wo above Jl that w, lI g("n(' mlt' a
maior or a mltlor chord () n how fM you p",h the bend, IIold t he top ( WO nort'1' down
wit h u litt le fi of,'<' r barre , n. nd N: nd ""th th .. t hIrd fi n,!: .. r WIth fi rst and S('('ond SlIppo, ,,n/!
belulld It, You also ('19y Ihls prQ).:f't'ss ion hI t ti ng all th., nu["" a[ OnCe (or a shgln ly
{ttl. The note on t h(" tOp Strlllg IS your root 00'(' , Selen th., mm nm., (Uf tI .... chord you wam on
[ h .. top t hen bend a S('nll tone or a (One (0 prudlK .. th .. mIn", '" maJ'" t h.a t 00(1'

H""- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ,
J 7[;

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It IS poss,bk 10 push n Ix-n<l up n S("Ol IfOn(' ar a tim/:" , n ordn w gH a st'lj uell(" (,f nOIC'S, as III
exercise 70. Th(" B III oor 2 ,s pushcd up finr {O C, r h",n 01, , h",n D, aft",r willeh t h(" E ,s
suppl",d by tilt' I !Ih (nt On til<" tOp sUlIlg . In bolr (hrct"" rhe "bL 'S ust"<l , n TI ... bt-nt I:
" d mpf't'(! fil"lit a (I"(,m Fit to F and t hen down {O E. You 'lI Stt Ihal a s'milar , .. d u" qu",
"'xu", again In bar fi,'"
Exercise 71 "a 'w, ... o .. t-.. , ... A p"ntOlIOIiK mmor scale p"Hl'm starr ing on th .. fifth
Th,s .. trl plC1s - a group of t hrcr quavl'fs playt<1 on rht ht-a, - and WIll ... St1ffiC
scrt"u 'hong t u r""l h t h/.' tOp ,( you got a eut aWll Y gui tar. (W,th a ,,<"(k ,om.
h"J.:t"[
THE 'CASCADE'
In ord,' , to mak .. a S{"a lt pat'trn last l"n.-;<" r pl .. yi tlt; y uiekl y, guiwnsts som(" flm"$ a
technillll e wh,eh w,' (an duh tht 'cllSf"ad t ' Th .. id .. a " to play d" w" a few noh'S and then go Mek
up onc or t wO less. Exercise 72 is a fri l,lt' f down [h .. A p"lItat<lIlil mi nor SCt,le. You ' ll















notice righl away how dIe C\lsc:l.,k hd ps fO J.: IVt [h .. impr .. " io[] t hat you' t/.' not just nonning
down a scale. blJ( playong- a mort' (onsid(' f(,,-j lead I,nt . Exercise 73 is uti eighl h-note easendt
down Ihe same scale. In bnr IWO Ihl' thff"ntd fi fth ( F..,l i., to mah tilt" A blLlcs scale. Bar
three is tlw eMeade ,de:\. O[](' str ing than hat m' t". III lxo r (our Ihe
Ilmll'nrd fift h occurs bUI t h, s flnw If is Iwn! than frt"{ too. Not ;,-.. t he J ,(kr(' ll' m tone.
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gliss , _____ J ----,
gliss
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94
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gliss
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gliss
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Exercise 74 " il E blu." ba.,,,d on t h., E pent aWII ;\: major (E G# Be,)
hur w, t h , h., add,r H)n of a flnff("ne<l rhmi, In rh" ("a5(: G . This seal " h,,-, an UpllO::'M (t'd alld IS
found 'n 1=1 io:1mar solos rh,1{ ,k-f' V" from 1950s rock 'n"roll.
AI''''' from $frl n/-: -n.:.nd lng, anor h("r dt'COrafion USCtI hr lead pl ayers is l ilt" hammeN.n/ puli .
off, sct'n h('1"(' OIl exercise 75, wher'(' nOf('S arc ( 1"( .... ,""1 hy t ht" f""lnJ.; hand . Thl< IS baw.:! .. n
a Sl x-oor hlues pmr('rn. Tht' seak ,s E M,xolydlan ( E Fa (;ii 1\ 1\ (; I)) bu. wi t h . h .. fla n .. nt'd
t hord G alS() ap,,",:r.nnj.; "
REPEAT LICKS
I.ike ,h(' (I\S("nd(' , r h(' rt' 1)('(t! hck ' 5 a way of s("ui ng more from a smal l ).; I"OUI' of " ('ft" . Tht' " I.,. ..
I S 10 make B shon phmsc and I'(' I)('\u It for !.("vcml bars. Th(' one In exercise 76 liSt'S st"vt' rnl
that :lIT based on a t r i:I,1 M"rk KnopJlrr uSN.! (his idea V{'fY d [cnivrl Y:If rhe clost, of 'S\il rans
OCSwing', In l he r it:'hl in his m crgcl;c s.ol o, these n Oll sound morc dynamic and dnvlflt:
Ih""
Exerci se 77 IS" I Kk tila! i, [',",ed on A doria" (A BCD E G). Nmicc
the shi ft up" mill<>r t hird _ f:,"o ur ite tri ck of J immy Pagc.
Am
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OrKt' rOU' vt' mas tt' n..:l t' lCtl'{"'$l' 77, t ry S(]Ut't'llnt: ont' m"r .. n , .. unto cn" \...,a( to )0;10 >I " _
vOila, exercise 78t
THE MODES
The pcmalOOJc pattcrns <II'(' the most used by rock A bnd look at ,hc group of scales
known as t hc modes, how('Vcr. wIll some 'colour ", \VtK-dK'T you Cllll uS(' , hC'Sl' '" a
solo will pardy c.lqX'ml on Ihc chords you' l'(' over.
The Arolmn moJc, exercise 79, .s also known as the "a(Ural minor \.Calr . I" A "would
tx- AB C D E F G. L,slen [or the saun<"SS of t he s.c<onJ anJ SIxth of thIs scale (n anJ F).
Contrast clu.'rci!.C 79 wnh Ih .. 11011-0)0.1.1 hanlloillc mi nor s('.Ik m exercise 80. whCIT ,h ...
seventh now i.\ raised a """, iwllt' . Rn .. k SUmCl l m('S (""plmt the last four 0 01("5 of IhlS
!;cult' - E F G # A - W an _."uud. Tht' r.Am.OII exercise B1 , Can bo.' tholJ,!: ln
of as the natural m,no, w" h " sc xt h II lJ C. !) E F# G. It c., fa vCf" rt"d h)" ("..a rl"s
cn much dhis I .. ad play'n;.: . Exercise 82 shuws rh .. PhrYI<,,, n mcKl". wh i, h ,an I,.. t hou); ht of
as a natu ral minor wah a flat"n,,..! 1\ 1"11, C J) E F (; . Many pl ay .. r, j{ to a
Spanish sou nd . Atuli an. 1)."" 1Il ;Inc! I'hr)"I< ' ;ln ar" all m,nnr modes.
6 - __ --' .... ----6 -- __ --'
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98

Th"r" an.- t hr .... major mod('$. Tilt' Ion Ian IS our S<':lk ( ou G: GAB C D E F# G). The
M;"olr<ii an is a malor sca lf" w' l h n flattcned GAB C D E F G. 11lis is vcry cmnrTlon
in pop and rock. Exercise 83 shows It III vanw., ptlSlt H)IlS [U fit t h .. chord
The LydI an mooe, exercise 84. ,s lilt' IUJ)1lr ",::.1" w,[ h a r:mt'd foun h; GA il e N D"
FIJ G. Ttk' 1':l1!>C<l fourth g'v<,s till S ",(.d",1n .Jgy, u" ",nlml> <jualot y.
To fi nish. try exercise 85, chock-full fir "'t'IJ- USl"d b.-nd ... It " ',,,-,...d amund t h .. ["nt h (n-t
and k nd5 midf (0 p lay,ng In D a'1J A. ust"n for lh., bI....sy suund " f t h .. halfbt,nds. Wh"n rou
all' working om " solo "Iways chC'C' k t he chords yuu' ll.' playml> ovt't If ( ht: pmg n.-s' '' lO IS '" "
smglc key, Wll h no oJd dlOrd.'. slllgl .. "",I .. w, lI mLLol ll y ",ork al l t h" way thmu,o:h. An)
unusual chords Illay ",,.><.1 an "dd, u oII,, 1 '>(.:.1 .. m Just du, of one nOft .

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RHYTHM
We' ll begin wIlh a sIIlgk .not(' blll<"!l Exercise 1 ,h., rhyt hm
SO of ( 'I} hea rd III blu("S. III 4/4 "al ii bt-at l .. 11 bt- d , v,d...:! , nto two "'gheh- no{..,. (qua"" ",),
or four 16t h ' IIott'S (St''''K.l lW''''''' ), und "" " n Th .. 4/4 bar "I' " ' ghth-[\m...,; - cou nt oo a. ',," ,,-and
(w(KInd t hree-a" d _ . , " mm" " 111 r ... k In bl u .. I t " "'",.., u.,uaJ co cl ivid .. t ht: I",at
JllI O ("ginh .".<'s . Twu "'Shl h' ''''It''< .I Tt' d, u., pl .. yt'd ... , ,I t il .. fif'O{ wa., a quartu -nm" and
IOC second an c' ght h-llOu', gO""'g ti,t" 'HI1t' -uud -uh [wu .. ;.uod uh thr=-and- uh fllur--a"d.
t he mIddle not e of ca(h lht\.'I>n,lt l" ,,:t I.' ,1I. m _ , h"'t" fur rhythm'l f .. d. T h .. ,,, "a (,mt"




- lll H - whl t h ""r''','>t'' t h" Bm /" 1' .... " .. ,,' "",.u, ,,,, ",ad",); wt: wi ll u'<t: 4/4 fur Ill"'"
of these exampi..,. and add , h .. d' ..... t "'fl t t> t rt'at th" rhyt hm ,.., 3 ,hum,,', displ3yrd 3"
r. . J l'

COl TRACK 21

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T h,s " ,n A Ill J]or. whOK scale IS A H C# [) F. F4I ( ;#. In ha r " " ", YIOU "" II SIX a C



















This t1:ur('n!;'<1 rh.r .. 1 nut., IS a 'bl..., ' liN", It clashes w,t h (/l(" un. lerlyin,l! 11OlSro on t he
major S01lc. In har fiv<:, , h ... 311 F IS the Ibu cooo Ihir,l of , he [) mal'" ( hurd and In
bar IIl1le t hr re IS G, ", IlO("h IS rh .. d"ro of an E major coord. L,s't''' fi,. , ht' ', ,,ugh'
<juahty of dl('S(' nOll" Th,s ryp .. ('If .. t .. pmg n "SSJOn w, lI sound h'O().l If " IS dt;ubl..d by
bass gUItar J us. Ob it! a .lmmhta t and away yu ... go: JI\Sum bl ucs POW("f
Exercise 2 's :lnol hu smgl .... note 1200{, Ihls lime m E. \'<farch OUI fur th .. . 'YIIl"I"UIOll
al:1'OS$ bars 1-1 an. 13-4, 7-1'1, and IU-I I. LIke exerCIse I , hissoun.ls,I< .... d wht' n d"ublo:J wlIh
a IxISS gUl mr. If you wanr [0.:;010 over ., 11 ), .. " ["t t he bass cominu(' t h .. "",[,,[ t'd
Chord symbols Arc g ,ven on rh" m"rdy as guid{"5 to what you would t.... OVl'T
' Ih get JIl COldy wste of chordal hlut's rhythm ynll <call tty pl d)'ing t hrough [hI." ('xt'rc'i>t' nnt w, t h
d,t _'t might chord fo rms !xlow, hut usin,.; dnm,nam .,tw nt hs as ,n rht'
inrr(l.-hKtlt'" - l>as,,' of whJ ch arc on n(' n l''',.;t-
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(01 TRACK22

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THE SHUFFLE
H.,r., 's ,h(' (':Isy rhythm figure that yOu will fiud at th" srart of tht" ' Rock & Pop' M'Cr ,on roo.
Tht" .I,ff('ren((' on Qxercise 3 , $ t il" rhyt hm_ Watch om for Iht" var.aI' on on har fivt."
anOlh(' r on bar a thmlul oor 12. NU{[(l: t hat in hru- t.,n Iht" musIC d()('$ nor rer urn ro I)
as II d,d on 1. StaymS ,," Ii fur twu bani is a val " I al , h,s 11O'n! on a 12-bar.
W(' 11C('<.i to IX" Jbl<' ru pluy fig urt" in 3ny k.,y, SO exercise 4 (onV('rlS lh,s SIX.
bar blu('$ ,n{O;1 fr('urd figure w,t h n" 'op.-n sumIY' , If you fi no th,s a bit of a sl n' rd, drop your
Ihumh wdl bo:-h'nd 11)(' ,)('Ca. . TillS w, 1I hdp yo ... fr-.: tt; ng hand opt n om. F.Yff"(" , St' 4 show$ ' h('
figur(, S(;Irtl1lg wi th Ih .. nm" un th.- f, fth strt n,t.t.

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Exercise 5 s how_, t h., SJ rn., '" Co mat"' , ,)lit" "Is lie Gars, staru ug on til{' s;"l h SlrIng.
$mrflnJ.( o n e it her {he fof, h or I he $I 1(, h .. r ou e" play It "I all y mJjm ""y. and w
pi l ch It hl,!; nt:r or low,r. NO'I(t: <h .. G foj.(\11l' In rh .. fo nal h.l llj an 'I(-(''-''t: abov .. t ht: Co fogurt: a t
t he- Sfarl . Onct"" yooVI. gtlf <h("$( do .... n you1I t-... eqo' l'pffi to rranSl'l>St: .,,;st:nt;al blu .. ,
rhy, hm infO any k{""y rt"<l UIn' 1.


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3
THE IV-bill-I CHANGE


In hlu<". m ",'t'ITIt' '' t (x.\wtcn til" fi rst no\ (' of Ih/.- and t h., fla{(""fil tlurd I S H:ry common.
If (l("' "U"" on "" .. ,,[ III niTs. in kad solos and in {-hurd.-. Muddy Wal ers , fot
f .. "r ur..,. .e ht'JVlly '" SImp hk..- "MannIsh Boy', and H.- nar;" I,k., ' Voc,Joo ChII("
and "Hear My TrJ '" AC.unlln- 1.1.:""'"15('.
Exerc:ise 6 IJk .. , thO>Ufh a $('1 of Var1.1 nons on I h., E- A-C cha ngt'o ""h"t( G IS til<-
fl an t'nt'd durJ bl ut', nou- or chord. In oor on(" It occurs as sin,lotlt' nm!."S, m bar IwO as Ihu'ds, In
har [h, .... {hord., with J Jlffe-...... m l('rmlOat lon (i n har fuur), In har fi ..... r i,(IIIS, In bar fiv('
"", I on har as r. .... r-I1()\ c Each one has a <;>ff.'n. y" .. u n comblnc IheS(.'





m any way y,," I,k .. dun n,'! a blue'S numocr t he
W{' havr alr..ady d"nt,,,,,,1 ..:uupl ... of 1LIJl('!; how t he <lomi nant r hmd " t()
bl ues. BefOft movon" on, that further wil h allOlhr r shorr tJ<l"COM" vn ' t.< V"" .. th' US.
I n exercise 7 D7 ,s n Fl' A C. In har I'll and C playul IOgnher. By mvvlnl<
down ,!II" f'c t we get pMt of G7 and hy m<lvin); up jc"t pan of A7.

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C01 TRACK 24
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TURNAROUNDS



















In many (unes a musKal phmsc. s'J:nals (ha l I h . , 12-ba, IS liS eno IS ab"u{ (()
s!':I n :I.);:uo. It 's a shon: phra .... , off(n down by " [ " ['-S, SI..m\' (l n)C$ up. Th; . IS ,hi:-
' rum.1fQ\ m,j' Tumarou n<h a .... usoo in r hyt hm parts hut if yOu ar<' qUlck- w;ttffi
YO\l (an pIll Ihl'I!] illt" a I.,ad 80 10 at thi.' cno ,)1 12-har. HI'I"{' ar(" c-if: ht typo< J I {ll mar() unfh.
,,' \I,' n m E and ( !Ill.' i n A.
lhal rOll have alr.,ady (ell hiU'S of a 12-ha r \.("</\1(' 1'1' , E"Ch of exam pits
ha rs 11-12. WI""n playm,ll turnaround fi g u,,,,, . " '" altnnar c pickinO' : strlk" {he lowr,
nt>r" of p trl pict wit h a duwnSlroh and t hi.' up"". ""U' wit h an upstroke. III exercise 8 rht"
nvrt' mO"1:$ down Ih" third slrm,g " IonC' . Exercise 9 .ii splays a Ih,rJ mOYlng dnwn Iiv- st"Cond
an,1 dl lrJ s( r lllg'_
Exercise 1D IS an (.,(jually dYe ... "', .. turnaron n, I, and IS much I,k .. B hur WI t h an
ascCUJ IIl": m, wt' m(nt . Exen:ise 11 " ,,1:;... I,h ' (' xcrciS<? H eXL .. pc "' '' t'S af(' down in
SIxth, 0" firs, and t hird 1\ , 1'0lO! , you shoul d I",X' " U, S<.' \' , hr subtle
wall whl( h rhis simpl .. fi Wm' (nn he phoyed .
Exercise 12 cont inues our r"pl ll mw.m of turnaround" wit h a p,,, ,(' rn up t he u .. ck,
wh,. h t akn ", I"anrage of t hc Up"" wp I: srro n..:.
I I .. two pall crns III d .. s< .. ncl ",!; SIxt hs, Oil<' high. unr )"w, ,t:tOupcd IOg<,t her in
exen:ise 13. Usc on,' or t h .. mh .. r and rht'n mO\'c to t h(' eXptd t"d U r hor, 1 In hI," 1.lst 00. , "l ,t'
,n exercise 14, mnv,"x " J>'w.I n.l$, IS III t hc kry of A mator.
J , - 1-----, r- J
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3
Turnaround, Call also be m,,,jc of a (ns ! .. run Exerci se 15 a (,Jlml, lt , w,{h

I'u li -offi;, d",,' n t h", E mmor senl e- 10 hn;t I""" ( ,, ,n . It IS similar lO tilOM' twa r<1
throllJ.\hoUf Srt-v, .. Itar VaUSIJ;l " 'S ' Rude Moo.!' , ' 5 ,l(t-U ' ",l( yo" In W " ,me fanner playonj.; of
[hiS h"('ncrnl1y s;ml'l .. ftlrm. O ..... k ou t mor(' of flor furthe r to'Xampks of hof -
1'00Jdcd f urn3rou",k
BLUES LEAD GUITAR SCALES
Playin,l( I .. ad gui rar tompt'tl"tl y IS a of l(":lrnln,lo: 3 smal l numiJt'r of all<l 5cak
patll:rns; mastnon,l( , h .. art "( ["",,d,ng and It"( hn'<J "rs lik .. vibrato, hammcTlo,l(-
on, pull in}(-off and sl 1 .. s; and out wh leh j,l)u"d .-r"'''gt't onr uny given
12-b.u S<:<lucn((' .
THE PENTATONIC MINOR
This i.\ eh .. ", ost impowllll Kalc (or hllws (nnd ro, k). Th .. rellt:0 10Il JC llHllor Oil E is F. (j A II 1)_
,ili, with E m"jor: E Ftl G# 11 1\ C# 1)11 , Th .... ., - E A ,md B nrt lilt" Two
- alld Cit - ha,'c Ix-.:n OJllHf(,<I, two - (; arid D - arC:l semi -lOne IOWl ' . \\lh .. n ch ..
I'",ncatollic mi nor is piay{'d n ll-hnr ,n F. major tilt .,. .. r pKks up the G and ]) ' hhl<:" not .. ,
hut acc., pt, thi s dash as the bJuc-s sound . H<:'rt' a rt' tw" "f'i<'" patl crns (0' (h,S scak . Tht'
'i.""" lld J",_, a small CI<!{' Jls,on! o If Jnsrt\<! d pJayUlt; !It., "f'i<'ll B slrin/-: . thc S-.1.m{' nott" " /i"lnd
at t ht' t" ur!h f,,, (. TI"s cstabl . shc-s I he han, l In th,rd i""' t ",n , 'nt" p"ttcrn t har follows for t ht'
i"l'c "" X noC." of d,,, is vcry 'Jllponnn( 10 hhlC"S
CDl TRACK Z6
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THE E BLUES SCALE
Tht" nex WU scale I'a"t'rns 1"t'1)t'<I. , ht' I""" hUI add an ext!' .. u()(e: B, . Alt hough tlus IS
nO{ On t hl' [l('nlafOnic mInOr, " IS an(>th .. .. hlue' ", Ire - the tlat{enm fi ft h. This I"t' sull s in
is known lIS ,nc blul's SGl Ic. In a solo , hIs flafl t'nHI fif' h ("lln I,., ... ached t' it her by (relt ing 0{
or by bcndlfll-: a not l' up .o i . ; ,11(' df('(", IS slt;: hrl y (I, ifl:", .. nl wl r h each



Exercise 16 pUI S 5Oml:" of wt" JUS' lenrn",[ Inw :1n um, using t hl:" sca.l e noft ... III firsr
poslrion. Norin ' r ha. t h(' .. n , ht- ;:lIlmr - E II D Co I} Ii - hav .. d , .. n()(ts (Ot E
pcfll afOn;c mi n.or. Thl5 IS o,w why F. '$ , hI:" pup ula, key for bl Ut'S mUSK on gUild'.
Each har 5.ans wlI h a ha:;s nOf('. 1.(" r h,s rong r hrou.a.:hout r h .. har, M If will givt" a umlt"xl (or
t hl' lead notfto. No(O(l' , hal bar s('v(n . h.: fi B' no'" [!to, whi,h )"ou will I""g,n W fi nd
famil iar ,1 5 anot her typICal blues clement
C01 TRACK27

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........ -==-.:.
THE PENTATONIC MAlOR


Tht'n- IS also a scalc- urllwn umx:tly from [he ma jor SClIk. E pcm3tOIll( mJJor .s " Fit
G. 11 CIt . Comp;] f..- t hiS w,t h E major: E Fit GI! AB C!! Two notCS _ A and ON h3V(' bc-cn
OIllJ UN, but Ot h,' fW, So.' t he SCl' k s uSC the ",,/11<' ' lOU' S. When til(' po>utawn " ... major IS " I<lyoo
a Il-b:lr ,n [: ,)).l ,or dl<'n an' no ' blu,,' notes; tI ... lIotes fit harmolll ously wllh the
chor,ls. An 'Ill pon ulll P"rt .)f pl .. bl u('S [...-.. d IS comriJSu lIg the mUlor 1' 0<.1
major forms lO lldJ "u uest 10 your s.olos. lIere arc l wO open sl n ng pmu;-rll$ for t h,s scalc-,
Th(" Sf'(:onJ has 11 eXlenSlon [0 It i nstcm'! of piJymg Ih(' open B strlog. the OIO!(, IS
fou nd al t he' foo rt h {tet. Ihe III Ih,rJ pos" lon.
E pentatonic malor















E pentat onic maiO!' wil h e xtenliOl'1
;
,
THE E MAJOR BLUES SCALE
rh."j scalI' IlRtt (' rns ,m ('''f ro nor r: 0 . This is rht th l,,1 no. W('
(' O(011l1l(' r(,,1, ThiS r(' SLl h s In wh;1. ( is known as l ht E (ll"l or hlurs
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To furth"r p rauI'" ,IIest' MJ I," exe rci se 17 ,'a 12-lxi r solo III E that u!i{"s , he p<.'ntalOnlC
mal'" and mal" r hi " ... , "alt"., Th .. fl .l u .... t'd d ll rd " ""'Y [,. "'" '" t il .. music of the
' " ar ural' ru:-cid .. atldffi ru ( ; Som .. " ", .. , rh C " fr"t tm ; " ' '''''t Im.,.., III bat (cu. It IS
t ffi("hl wi t h a Th,s hrt-:l k "",,,'(I)" a .. r [e< hn,'l " t', wh.,rt"by t h .. fi rst {j " ..
nort"s of hars 1-.3. 'j and 6 m3kt' a l,hr<lSO' t har " 'an<lAIrrc,,:I' hy what .. v .. r fi.I I"",,,_
RULES OF THUMB FOR USING THE PENTATONICS
1. In a minn,-k .. y 11_00. you ,-"n play th .. l)t'nt-:l l" "K m,II" f hut nm Ih" "'diur. t\", t' Ihat th.'
p.:,nraron'(- minor will nm )unOIl$ 1>1.'<"$)' a' " d ... " on a rna/or k .. y h"'cm,,, t h .. nUl ..... at ... no
lonJ.; tr flartt" ,,", ! ,trsions of nou's vn rm- h oy <ml .. .. E namfal min'" - E (; A B C
D wn h E lK' nl arom{ minOT; E G i\ 11 D. All dw ' ''HI' r'S nurl' s ar .. In rh .. form .. r.



2. In it major_h oy l:?- oo r )'OU can play m.nor ,,,,,/ rhe maj or. .f th .. p .....
,'OU arC soloin!: uscs any of t he three minor chords of Ih,' major kl')' (on E thesc art' F# mmor
minor Cit rllmor) p<'llta\,)!ll( ""llor Will c1,(sh with (hem JIl :lll UillicsJrnbk Imlnner. Th("

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3 . Any Ix-nrlliomc mlnO' "-"I,, pan.' rn mO"N ,Iown t hrtt f",rs will (uo .... n It> a
pentatonIC ma jor on t ho:' samr II(ote. Rrmembcr Ihis [0 sw,t(Ch ",,,It'S III a solo.
THE 'EXTENSION' BOX
1<' ('S juSt conc('nrrH(' for a ' Or> pat ttIll fou nd at rh .. enp "fth .. prl'vious of
It is diKip! in .. to ,,,,uiu yourself to a Il-har solo usill S ()Ill y th("S(' fiw notes and
('lSI." in exercise 18. Jt will make- YOll t hin k (ardully abom the way "",,,h
not e sounds ah'\llnSr t h .. harmony. By t hiS met hod you get an " Pl'rO'l. I:ltl.l n 0( 'chord (Ones: (A
sml ,lar approach ' 0 hasie 001 .. ,,,.1( wli l be [".Ike-II In , he '}n7.' chapt er.) nlO','l' Ht' notcs on t h ..
S('.lll' tiM! to ..... ch of rhto th . .... (-hurd. ill t he 12-00 . Wht"n .. "n yuu stoke one of (0Cst-
,,,, .. , a , hord lO whICh it ixlonJ.(s, . har nol e ",,"",hiS a sIron!: fi r. Not ,c .. on IJoa n"ula' here m bars
1_4 pb ced on E. the rimon).: of rhr run t hat leads up (0 an t\ .n oor fivr JUSt uS the


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or hy !",nciin;; - that lit within the l)(lx. WI:' art ,rill worklng wirh a smal l of rl-1<:'
to ).(tr tht ma"imum mus ical poss,hilait5 our of ir. This solo IS full of nhw notes_
Another imporrant rule ro rememher is rhar tvny pOinraron;( minor scale sh",(,s irs nores with
rh( Ix'ntaron;, major of rhe not e a minor t hird or (f hrer s<cmironcs). Thus EGA II [) is
rh( notes as G )>('nraronic major: GA B J) E, l 'h'5 means that over ,he chords ofG, C and
[) Wt (an pur txrtnsion hOl( to a di fftrtnr harmonic use, as exe ... cise 20 shuws_ Not 'l-t
rhe solo mows the pMrerns up for tht C and]) ,hord, . ("ISD nore hert rhe melodic tl t m(nrs


rhar [he J)(nratollic major bhws sha res with country gui{Jr stylt s: ma.n con[ras[ .s [ht
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Exercise 21 shows you how ,It" millor und maJm '\Cal", 111 G La n be, pUi '" a
><'qllcncc of answering phms('i; , Exercise 22 .. t '<hord ron,,' <'!<ampl .. , th Is ti mt' III
The posnlo n is d", .. r",i"n box d lJI l,t'S at th .. (UP ,,( a p"nlat<. lnl C minor seal<- , h:u
would Slat{ at t h .. tllIrd (tiel : t h .. ><.al .. pant' ''' fi" , hal ahov" rhe .,.,.(""ist". A has
been added to till S "''al .. : ""'t...-ad of moving W I) :, , ,h .. .. mh Frt,-t . th" I) IS piaye.i at t h .. , hlld
011 III(' B slILng. Tills IS tI ... mt"" po-nl a[(,nl< pal u:rn. W,th no opt'n srron,l(S " ' s
movJ bk g' V(-s the l'*" r U(o JUl m illUI "f any le t)' fmm (; upwanls. Movt' rhis up J 1 f f{'<S W
crcalc a fCnwlOnic mlllo! ont' OCWVt' O!T Marl I t un tt.., S<."ulIld n[]' " fur a T""_mamni,- m ajor
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WHEN CHORDS CHANGE: BARS 'TWO. FIVE AND NINE



















Your I"ad play'"g w, lI ,<,ulld mor" <-""fod"",, ,t you an: ahl .. W rdl",n ,n your ,-h"IC" .)t n" t .. ' I h ..
"'0"'",, (> '" t h .. 12-lxu ""ru,n t ru,r" ,hord .-hanxt:_ Th .. first ot ( h .. .s .. w, 11 ht: ,h .. ,han}! .. tnlm
chord I ttl ,-hord IV ,n bar fo"t: , ,.r bar (Wo if if is a <] ui("k--{"han,l;" hlut:S_ Th .. fi.,.. ''If"IUTlples ,n
exerdse 23 ,h,,"" how w {ht: I- IV (han,l!.(" (h("f(" ,he- ("h3n.l:t" 'S from A ' 0 I .
A s,mllar fTHlm .. m lin ufli ,n 12- hars al oor n,n(" wh(" ft" ("hor. 1 V apP<"3rs. In , h .. k .. y of A
I h,s ,s .. " l! ,hurd . MUIlY fin.d Ihal U)II[IIIUIII,I; W solo ovt:' [h .. r",nmIOn,, mH>Of 3{ rh"
p" "'1 J "t:., ""t sou nd as ..R"t:I.. [,,,,,,,,, " I<t:wh"n: ill Iht: 11-oor. Exercise 24 show, ""aI's ot
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INTERVALS AND QUARTER BENDS
String b.:nding "a signifiunl pan: ,,(hl u .... I .. ad '1'1 .... usUJllx-nJs al'(' up a scnlltOIlC or
a whol" w nt: ; snm" play .. ", I!" .. r. t huu,IIh Oil th .. aU ' ''-, [ K It I S impon am to IX'
ahll" CO bend (' it ht'. a srmiwn .. or IOn .. :u-, -ufa t<:ly, l>t"t:l\u "", III p r;u ton' Gill ", .. all the J,lTcn.-nc('
htctwttn playin,ll a C a,llains. an A ct.! .rd (Ih .. fb n .. t hIrd) or a C, (d ,,, normal durd JIl A).
K"mem!w, ,n., n,l .. of!"'nd. n,.; . upp" n , h .. finS'" dml btondlllS by pUl t mg t h ...
nt h", fi ng .. ", dnwn, whnt: .... "" ,hlt', nil ellt' Silm .. Mrmg .md pw.lullg wJl h t wO or thrtt. Bends
art' almost On''' ' d n"t' wIth th .. h,u n h filljo:t' r.




Hlu .. .s ,l; uimr also .. mploys a l>t'n,1 al tu .. Uy small .. , d u n a ,;o,nllwn .. , t he q UJ rt er-tonc bend, and
moot aronS[ IC pl ayn s ("3n mak .. 1,1lt'",1 u, .. of ,ht'S<' w" h h u l .. II amnums to hllk
morl" t han a of p,tch hut" CAn Iw Try " on th" t hi rds t hat u .. p up
,hrougholll exercise 25. Ano, hN {'xAmp l(' of som(' 'YI' I(:.I hlu('s is shown III
exercise 26. They at(' mostl y tiurds. bUI (here :,re Slx( hs ,n oor fom.
MINOR KEY BLUES
Bl ues music is also (ound ill (il{' m,nM kCJ' "l 'he fh.lt or twO minor blues cX>lmpJes. exercise
27 is in all [otm and 61" (imc' , whel'(' there tWO be,ns in eHch oor each r...",-,
dividr s into thttt. Notic., d,, hJ lf b.:l\d ,n bar one becomcs a full bend in bar fjV(".
Alt hough ,Om., of d,e "ft JX" WI(>llic 1Il 1li(,r (A C D E G), lhc['(' "re oors li kc (,. ght
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For , ht' firs. fou r bars. you pluy ( hord font-S , hat s'w tht full !l .. ,." ... of rh .. chords Hal'S
'he but 0:< '" 1""1,, 1 solo. As ... n h the <,,,,,"o,t', horh t he l>(' fll Wnll,"
and rhe nuum ' ("al "" art' The chGrJs Ixt,klllt: tI,,, .. xampil: "'t' SOmeWh:l1 mol'\'
compkx ,h,1J} WI' h,w .. . ' ..... n ,",. fur, () Will e suggcSlJon, .trt'/j'"'' '' b .. " .. ", h t ht musIC.
MORE BLUES RHYTHM
II Im<lllional rhYlhm, exercise 29 IS in , he sl yI.' of ull a<'O", 11( hit,,., and IS !>eSt "larN.! wilh
or .md '" rm k Exercise 30 ( 5(,(" iunky hlut's style wllh rhythm chord
nod nou' Muny uf ,h .. chord lTIj u,Tl' ) '''U to <I .. mp rh .. fifth suing wit h your
(. ('tung hand thumh. II 's a . I, ff('!'(' nt SOrt of rhyrhml(" ftt.1 t han we h">,, yC-t c-ncoull u,rffi " " ",
t hat you 'v., .. I"I'''''' a 1-'00<.1 bluc-s H)(abulary, ,"""rd a f .. w hoI'; (0 practl5C solo;IIS: ov.,r II
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CHORD BOXES
I ler(' an' a numht-r of movaPl .. (hurd t yfl't'S d out art> usefu l III blU(-S p13yonX. ""arn In d,lTl r(' Ot pos' tions J'(" b"vt" t o the [(MIt " "tt'
(t he I) ... n and. wht"n you playa 12- b:.or. try occ-.,slonally suhswurong , h .. , .. fur t h .. ,({aight Jl1ll ;ors yOll would or rn-rwlsc pb y.
When p b ying w" h a !>nnel 1)r a 1M" II IS not al ways ONCSSMY to play fu ll Th,' domi nant seventh ( 7) troads
arc uS(' ful for Ihl S purposr and for purr on,.: ,n w ",I", for a rhyt hm.c e{fecl. Nor ln fhat w mt" of them are mi ssing rool fl o tt , wh ll-h w,lI
dWII Ix pl:iycJ by Ihe baSSist fmyw ... y.
diminished seve nth ( 07) chord ;s an oddi t y - l"",uusi.' .Ill y d Jl S flOlrs on 1><.. t rtared as rh .. rom! The minor71's , alSQ
known a., the half-d imi lli sh(.J chorJ, is a colOll rful vari ar iun on 111II", r sevemh. The fl a!f(' nt,<1 fifth ,s note you would
!.,.. pl:t)'m/\ " " the -.;alc f(IT kc)"
7#9 (no,,' p" pubd), k,l(own as t he- ' I-lend ri" chord' ) /ol,vt', the 7, 9 I S mol'(' !o: loomy nnd ""';' /j: n...J
Ninth s and thirteenths btx-ome- mU(';Jsmgly d,fficu lt '0 fl nllt' r ,," t ht' su' t "r so t hey arc- oftcn fO\In.:1 ,n mn.,mpl"rt' fonus They
w, 11 fin t h .. d" mmalll seve-m h.
127
130
OPEN D AND SLIDE TECHNIQUE
"I1,t' g re",tt pr.tCt ' I' ",,,;"n; havt' uSt'd a Wid., rans .. of ovt'r tht' tTaIS. some {-onnuni ng
unusual ,"[ .. rvals of t h ... , own ("hoos.",.:. om OfTI'll SImply t ht' op"n chord s d.ar furm lilt"
.-"mmonly uSlCd aJ rt' rnaflV(:"5 [() s.an<iard r unon).: . Op,m I) IS one of rhe mosr popular of rhc Jaw:r,
and IS also good ro list' for 10 Wll h slide " layong bemuS(" 1\ o!TIT!> an mSlant full
barn- chonl - a I) major w" h $frl ll/o:, Op<'f1 or WI( h a slide placed at t he 12t h fIn. and othcrs In
d iff .. rt'nt Pos,[,ons on rh(" It also pfov"les of open roO( flUfC'S 10 kct"p rhe hass
K"'"8 whi]" you pid, ou r mdody lint', wlrh rhc sl ,de on h'glll'r smngs. 1b srr imooIX'" 0 you
nttd to al fn fOllf of rht' SIl( sl Tlngs from Sla n.IMd, tunI ng from low to hIgh ro DADF#AD.
In exercise 1 you wol l SImply Ix- k nrnmg how ro hold 11K- sl idt', and whel'(" 10 place i , on
rht 5[ [ 1I1g5 in onkr rogCl n good sound wuh proper imonat ion. Put theshde nn your left pi nki e.
As YOlI pl ace (he slide on t he string _ in tillS ca5.c t he high E-st ring (which is in fJCC ,. high D
in this tuning) - usc JUSt (' nough (0 nmkl" ,h" SlTillj,( abov" th" ,pecif.t-d f."t .
Remember, Ihe slidt should b" plat'"d d , ... ,t!y ovt-, r .. than f.N, l.h
you would lI on nally do if you wn" f ... w ng WI t h your fin!;" r In playing.
til COv('t only the stri ng you ute phoYII.g _ t ht- E-q ,, !.g. Play dominant SoLal " and try
til make il sound a. as f'<",,,hl .. .
In Ih is exercise 2 you woll Ilt' sl.d,n/lllt' t"' .... n , h .. uf the duminanr S>t"venrh .Kalt',
during which "''' will also pr . nln anl,tn .. r Imp<) rrant p .. rr uf slid .. play.n).(: SlnnI' dampt'nmg .
Thi . can he wlrh hc;.l h t h" lefr nnd rI g hT harl<1. In t hIS (ast\ Iry !cHi ng your !cft mdex
fi ng'" !St ndy t ou,h , ht' sam\" S(rl ng t haI your slod" IS plaYlo): . Th IS ' S a real subtle manocuver
and takrs a linl .. rimt' CO ):t'. rhr of. \'(f h(' n .100(' propc' rly, . t should dampen a lot of the
st ring nOise associate"! wJl h shdc plnymg, Play the scale asccndi ng and dcsc{"ndlllg. The sl ide
should Ix- III consl ant COntact WIth I hc strmg as It sl Ides from Iltll t' to nOIt'. Tht' amOUnt of
pressUf(' you usc shoul d bt' ennllgh III mak .. I h .. tlI'K" 51,und hUI not "" much I hat you h ...... r
f"' l K""p"'g ""'S"'''O, prt'll.' ur" " al. ... ' Important ; If )"U move t ht sl.dt
away from or IOwdcds I he frubo(lrd <I.' sl.d ... WIll g"l '"m" awkwdrd inconSISlt' nnes Jfl
Ihe lOne of the lIote you Uf(' slidlllg from or 10,
Slidi ng back and fon h OCI"",..,n 1l0h' S CUll Ix- a cxeltlng and wuy of uslllg
shde. In exercise 3 you w,lI piCk Ihc 1\011" one" . tlWII shJe baLk anJ forth. Makt' dml
notes you ure slidiug ftom .. "d I" pJtd .-pt'rft.<t . Y,lU Lh"ck Yloutstelfhy pbYlng the ",me
notes freu (d wit h yout fi uger ((J m:Lk t- sure Yllu art- hlt tltl/j" t he ri /j"ht - t hi , i" al.", a g(M.d
"a. ttui ninj,(
BASIC RIFFS
Now k r's srart g('{ti ng Il1 tO the thongs Ihal most of you arc I-' robably reading (his for. Exercise
4 d isplays a cool slit!t" riff for rlw first four bars of a bl ues. In open (linings. sllch as opcn
J) and G, YOIi w,ll hear a 101 of rifTs ccn( cm.l on the 12(h frel. You mn actually break tlllS
(O"lornse up inro rwo d,st onn t wo-bar 5('("(lon5, The first (wo an' cent t"red around t hc llth
frer, rhlo s('(ond two-bar sect IOn gO('S <Iown 10 t hc t hl .... 1 an.1 fi ft h fTl"ts and some open D-smnj.,'S
- remember, you ha ..... three opc'n sn ynu c-.. n a lot of mil ..... S" Out " f t hem. Finall y,
)ou do a mult i-SHi llS shdc ha(k li p t(o Ihe 12t h f",t . Th.s kmd of playinS eyokes the nat ural
<jual ill es of sJ><"fi'h, WJl h h'Shet and low"r Wh"ntyr r Y"" playa "" I .. , slidt' or
otherWIse, t ry to t hink of haYlUg a palJ.'leS, e"damaIIOns,

















<jllte'lions, Avo.d chall .. r nnd monOlunl)US ]>I"QI' ''' will tunr YOll out
H".t 's a nict' sl i .. l .. phrast' for th .. IV chord on :l 12-oor .srqut' o(r. Exercise 5 IS (" .. ntrred
on Ihe fifl h frer, which, If you w<, r .. to play all SIX would g ivt' you the enti re IV chord
Exercise 6 rakes you form t h .. V chord ro t ht, IV chord . Th ... V chord IS foun.1 at rhe seventh
frO'I nnd a.l(ai o, rh .. IV chord a ht, fifrh. l\Qrh d .. ,s l"mml'l c t h ... onr prt'Cc<ling ir show how
you CMl play ' around' fhl' chord I'OSIl,on 10 some n.ee sl"k n ffs




















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Exercise 7 IS Rolxn Johnson-styli.' turnarou nd. Use YOll r !humb on ,ht" n..,:ht hJUU W
play tlot ba,;s lme:- lmu to play t he accompanying nwlo.l y '''.lIt'S on rht' hl,l.; h
L" , m,>; (wlo" 10 , again, "auu.oll y IUlloo to D herr).
12-BAR BLUES
Exerdse 8 ,. , h .. I .. " tuu r .. x ... you worked on .. bo..:' {ombme..! IOfO on!: 11- 0."
hl u .. ,!Ut""lt'. but I t 'S .. JOt mOrt' challcngmg pLaYlllg them all :,",1 k<'t'pm).; ' ht'
g""'jo: . 11.1" '''11 .. .. ", h", gUllar pi .. }' J shuJTIc rhythm beh",d YOll will hrll' you ;r.:t" . h ..
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J) (wI[h .h .. "I' prupnatt' , hmd .. ' . " f .... ). arK! then pC.lctl!.C nITs over , h" rhyt hm
ALTERNATINCi BASS
lIen.' IS n 16 bM P'I'CC (or rhoot of you who (an I'Ll}' an attt'ma'"'t; h:I." . h i
exercise 9 you wilJ !tnd thln li lt (he slide notes on rh( hi g h E-smn).(, whl( h
slJlll'Ji{y thillt:s. J{ y(H.! nevc' r tried pbying nn ;lirern;lt,ng hass wah an auomp: L" Y"' 1-(
mckooJy (his will prove a bit of II challenge, but u "s a lor of fun . NotKt n i("r A and (, ( hord,
ill tlllS turlmg. The.le chord voicmgs will gi ' T more optl onS for rh(' IV <lnd V
SImply pbClllg the .11 J(k (WCf "II SIX strmgs a( the fifth and seve-mh frns .
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lIer ... 1. anot her 11bM bl ucs, Exerci se 10 a mmp JunCII( for n solo
s; n,!:t'r/ pt' t fotlllt't, 11H.' op<"lling rlfr. rC'p<"alN In t he (h i,,1 hM (mt"aSucd and , lI mugh"ut . IS U .... ay



















of hrt."'dkoul! up t h .. rhythm and gl" ulg n smgl'r a b('(';lk. Roh-rr Johns"n " ",,-I ti,,,
.. tn-n,,, .. ly ,n mUll)' "fill' [ullo,
!,,,, t h .. ''f't'lUng 11< 1.: . yHur ,[,d .. wI ll cO.-('[ , hOC(' strings. GBF (runt'C1 '" ( i N"' ! , J" d Y'"u
"".11 r lay a Hlpl .. , rhyd. m wn h a strumnu ng a(uon. In rhe 11. h h.lt you ha" .. "" " diU
rur nuruunJ (tl u_, t il " " a><.t' nulIlg , ll s, .... Jd of Jc'su'1I<hng). WhKh should a ft'w " PU"IlS for
,.,...-u [ ,,,n " f t h .. 12-1"". >n.j ut'llW
Now . h'lI )'"'' h<l"" a r,,,,,,t' Hi d a"", open 0 shu" licb al your dIsposal, yuu t an JI.." try
imn(han,l( . n).: fUrna round, and pht ... ,..,. ("'III mOM of l hes<' cxnno;cs 10 1'l",I(1n worki n,.: [<)wurd
yom own compOSI t Ions In rht- sl yl ..
OPEN G TUNING
From hnl' " n nut w,' rtI "",' j1\t() ()pt'll G, which is " Iso I'o\,ul a r w, t h hlun ,L"d I"
by mally l)"lm, "s wdl. Open G runs D_G_D_G_B_D, T" j l'< 'm "I" n
D, _" .. nl' playt'r' rn L..:- ln fl ud it .:-asi.:-s t lO fim bring (he G_stri n..: h.Kk " I' fmm tD G (by
D-, UL Ili> al t h .. 1, 1t h 1'1'<. ' 1), tlll'n bringing (be R-suoll,Lt ha(- k " I' fmm A to B (G-
, m ng, f"" rt h fCl' t ) tht' hig h E "\ bil>h D, thell drop (be A-s t ron).; to an V( r.",t' hl'llOw tI ,(
pmh Y" u J.:I'! wht''' Y"u plutk d, .. or"'tl G-string, (Note th,l( for ('tl.S(' of rd .. rrnn, "'''I ''' U ..
tu , .. fl' r tv rhl' st nn,.., oJ ,on); !ht'lr p, [<- h.". frw" ' t JuJarJ t uning,)
In ex erci se 11 y .. u will lit' pbYIII/,:" [.if on the G-SUIn!, Try ' V .. mpl"Y y,"u r
sl nn}(-damllt'nln); ' <'< hnlqll .. , ' ''Ill); t ht' I .. f( h.uod ",d(o" finb'H [0 mp (he B- and F-5rr1n/-:, '1, ,, .. 1
while )'OU play I h.:- rtff You ('lI.n alsv play eh" .. if' In culli ng SIn(' I h(' G -sf fl n}(
rr-m311lS G III both t UOlngs 1n lS IS Slm, lar (0 l l li ly ( ; ,bb .. .. rln. "f d,. t ypo. )011 h(';l r In
dll' 'i(,n/,: "IiJ$h' by 'CL. "l op.
Exerci se 12 olT('rs \Inot h('r gOOtI example, hue of th" In G CUlli ng. of pl.IYlng
'lrO)OnJ thc I!t h rr1 10 !-Ome {(lOl !-OlI n. ls_ This " 'rail' III J t "U-"nJ -r<'Spo11s('
ph r.lSC, Try moving . h(' sll, le o,cr only r ........ you play"');. a, yuu (rum E-slnng 10
'" G-' lrI ng Ex erci se 1 3 IS Ihe 'TCSl'ons,e ' 10 'rail' '" ..... 12 N"tic(, l he
Ix l w,:<' !) th('s.e Iw()('xamp]cs: one IS \'0.((,<1 h';.:- h, WIth t ilt 12tl. (,( I; Ihe
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nt h ... , ,"xt"ni ", 13, " [owe-. Th .. "'ypual ,,(,h .. ,;"nr .. , a nd III t il""" .. " .. mp!'" UUI u.,gll . to
h(":l.f how ,he soon, 1 of sl ll l,' play,n...: I'(' SI.' mhln ft.", l1 um3n [' ul luwln,l.( th .. , .. , exercise 14
p il l'S , he ,wo licks fO,l:Cfhc, to show YOll how rh(y flow as a SIn,l(I ... mUSKal l int' - always mUff'
Ihan playong Ihe phf:lS('S ond, vu.l U.1 Il y.
Exercise 15 IS rt.'1ll 1ll 1$("('111 of Son I louS(', , h('" g r(";l ( Ik l<1 h l u("sman. I, 's al so a ).;00<1,,1"0;-
!O Slart if >'OU have n("va pla>",[ a mdo.! )' a S(':I.t y OOss. The ("xampk Slarrs our Wl, h an
ciShrh- notl' b:.SoS TIff, , h<.'"o b:'l( ks off (he hass fO 'luarr.:r-ooll'S (r h .. I' ulst") and a Simp l .. SIO,Io; I .. nm"
s lid .... r iff. Many Dell a hlu("s m(' n """,[ , USI (he' . humh an.1 rm' ,ndex fi n,l(t"' fOf fi nJ,: t"rp,ek ln,l( In
rh.s exampk you can play Ih(' mdo..l y norcs on die' hIgh E-strl ng wI , h you, Indn< fi n};n
Exercise 16 offers a fun b:.1SS slid .... JUne In G I UI1In!: G IUI1! I1S allows }'Oll ro
rh),thm wllh Ih" thumb 111,' rool on Ih .... fi fth smng, then plaYing





the 0 (t, flh) on Ih" fouflh dnd -'lr lll
o
", t!w; th .... musIC" nicc ' bouncc' 'Il1C IV chord
jn Ih" (C7) [""ks Ilh C ( hord lrum lutllnM a moumtul St)llnJ to il.
In 13 rhnt 's a l,n,. plaY .... 1 on E- :l nd D-""n!!" that <It bar I') ,
Exercise 17 has sonw of fl'(-I of l)l lnd WII I, .. J ohn'un" . In M)' Of Dyjng'
you St" .. a slu r mark ,l(Ol ng from P"sslnl< "" .. r a ",omd and iandulg Oll a thitJ ,,,"e
rhar you pi ck rht firsr n,'''' St"<'{) nd and i,,,,d on Ih" tllIrd wahoO! riekm
o
tht ,trlng again, JUS! lih, In from rh, .. x,'rusrs In or ... n D Illmlll<. Play Ihi. nne" ..
stuw, and you can work " Inro a <1 .... ,1' . wu lfu l h l"n rh:u 1'.. ,,1 1), .. vol"", rh .. ,ound of t h .. I.'>t-Ita
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COUNTRY LEAD SCALES
Th., A S(-"It" r,<" nrat onl( I'Ml em Qudm('<J on diagram 1 b<-low might look fa mi liar. l oocrJ. the
Ii" .. 'shap';" ho"t"S' (as lahd kd abovc and octow ,Ii" fi ngc-rboo.rJ dIagram) Me NSCll ually sImilar.
if nor id{'mocal, (0 ",hal rock and blu ... s gUltntlsts may know as ffimor SC"d le pattCnlS
B .. ("Ay. ,he TOOf fl()I<' for t he "mmor thmg' would Ix J monor dmJ _ dm'(' frns _ below lI"'l of
rh., ' ma jor rhi no!: : Pm anQl hfT "'"' y, our A 1X'IlWt OIl, c SCJk hcl'(" has the same nOlI'S
mmor pt'nlaroni(" . Coumry !" n("s, of len work In Ih .... malO! of so emphasIS('
3nJ rrosoh."t' on t ht roo. nOH.'"S an,! mollor I hmls (d);ld('<I).
Afrt'. karnmg ,hc r,vr p;lw:rns should Ui UIllJlciy Iry 10 Stt dungs Jll terms of
rh," whok anOl of t he Jio.!!crbo:mJ AccorJmg ly. pmCI,Sl' !x.ck and fort h
through the (ompkl e _ whith how Ltt works (many "f hi.'
Ix,sed Oil m"jor pellUlI>lII t
N.:xt , a ,I" W, , .. )'It'a(lnl{ A- I)- II - I) , hurd pr",; t\ssioll, pmctlM' shlfrlng licks r.., rwI;'"("n
th" hox .. , . HIIlt: I) and II oJ. foll rr h (fow SCI1l1l 0nl's) ap.-.r[ so in ord.:r to
l) m:ljor, -'imply ,h,fr any of rill" S('<;' n h(' rl' up foV(' (cc' rs (or down S('VCn frcrs). Evcn
prof",,,iollal, cnor,i cha"I<I'S hy m"r"ly f(',;urg, rne,ng a prt - Icilrlltd I.i ck. phr,lS('
or on fingrrlxmrd . H(y If If works. lise or !
MAJOR PENTATONIC SCALE LICKS AND RUNS
Yo" mighr WIsh ro I,-nm ( h(" md",,,lual l lcks III e )(en:ise 1 ,I( your le,SU!'(' befon' sU:l!Ig how
t h .. various fra;;m .. nrs fir NOt (" I hal only I h.: nOIC'S of t he A pelllalOlllc scale Jrf
us..o rhruuJ.thom . dt"Sl"r(' !hfl"(' fxolllg chord Ch;LllgC'S. AnalySIS wI ll fo r cu m pIe, t h", whJt
is (he Slx! h of A ,s al50 til..- I hlrd (.f D. R<' nLenLbo: r d,(,ugh, mumry pl. y"'" "ft"" th" suI"
10 the- choN , .:g. A fiJ ,or P<'nlau" ,,( '" .1 .. t"r A. I) m. ,,,r P<'ll!a!", ,,, ", .. I .. fi n I), and ma)'l .... L
MIXolydIan mod., ft" c _ mur .. un wh" h lar .. r Th .. , on,lue)onx hat will m3k .. fur som .. trocky
(maylx- ,t .... td""S " II u su,r.. r ", ,, hllm a cut away. but <I , many r"""pJ,, IIwn
models th.",," d .. y" (h .. t II I.' wi>rd, " " ,,,dIU); ",m .. I .... .ill h"ft".
A
1
Notes In t he A major pe ntatonic scale
B Cf E Ff
2 3 5 6
I' i<- ki"g-wi,,, , d,,""{"k Oll t pi{'k ,n,. In r..,rw('<;n rht rnhlarurt
- ir \ mll r h srr'n al r(" rnar(' !hroughout . but notICe that 50mctimcs (hc up/offbeat
'S 3 downsrrokf (i n accord,)[lCc wJl h Si xtC<'l1 t h- nOt l' picking) whi le occasionally JI 's an upStroke,
which fcds nat ural for (ight h_llOh' Al iIl'J I)bs.:rw tlll' l,octal of slides plus a few
hamm,rons and wludl St' rvc' to k('('p It .Ill nowll,g,
DIAGRAM 1 THE A PENTATONIC MAJOR SCALE
'I[
liB
3/G
4ID
51A
filE ,
I
I
GSHAH



.

E SHAPE
0 '" Root ct " 3rd
o SHAPE
--'-=-1L
,
I
C SHAPE
A SHAP
""'

-:.:."










































5
CD1 TRACK 51/52
"
gHss
, .
, n
gli" ,
gllSS gllSS '.
, ,


,6;
~
"

y;

"..:' oJ_ J
.- <=-"
L.;;J "
~ CI..,n lone
V V
~ V
~
V V ~ v
~ ~ ~ ~
v
~ ~ ~
,
,
,
, , , , , ,
,
,
""
6,<;. 7"6
- ~
/ '
, ~ ,
.--->-
, ~
,
,
v
,.. l/
v ~ V
,
v
, ,
Om'
,

H"'- - - - - - - - - - - - - - - - - - - - - - - - - - - - --,
,
"
"
,
gilU gMS . : ' " , " ~
~ ~ m E ~ m ~ ~
o.
1"'1 ',' ,..
141
5
142
THE A MAJOR SCALE
Then' may Stt m to ht- a lor of dOl" 'jn diagram 2 1",low - and , here arc, bcrausc I t of[('r!i I ll, '
full A maior M"ak, from opt' n a l rho- nm rl),:hr up W ct.., 14th fret .
ExamIne I he an:'lI of f he whtort' rh .. S("3\., sroops art' shown"", arabic numocrs ( 17),
which corIT!;ponJ 10 , hc $even of r h., major $C1I1 ... and m-nn', chords built from dlOSt'
dCJ; 1TI'S (i. [I, I II. IV, V, VI and VII). Th,s IS rhe- haS'3 of t ht: SlK"II ..d ' Nao;hvill .. Numocrs
System', So, ill r hl'" kl'")' of A mRJor you mIl''' ' "xl""-"' m fi nd ""m .. or all of t he folloWJfig chords
A (I). R mmor (1 1m), ell mif1() r(ll l m) , I) ( IV), E (V), I'll mono' (VI), whil., d ... VIJ chord, which
is rarely tward in {Ouor ry m USIC, IVvuM I't' ,I, rnm,shrd. Som .. or .. 11 ,,( clw)rds may appear
;,5 sevent h (")(I (,05IOn5: ImaJ7. lI m7 . lII m7 , IVmaJ7, V7, Vl m7 (and also known:ls
' hal f diminish",n. St"t' If )' 01.1 can pick OUI some shap"'s of chords from wit hin t he overall scale
patt ern - they' re all then; !
Now rake a at t he T.><UlI il\llllt Chord '100('s' chn t (below). The Io nt ht-I ow t ht f",[
The Dominant Chord Tones Plus Extension
A B
1 2
CI D
3 4
I
1
E
5
2
F.
6
I
3 4
G' A
7 8
I
5
B
9
6
C,
10
I
b7
D
11
porfl on of r he S("alt- hiJ.:hl lghrs , he r .. I,..t w...,n t tl.. '" " .. ' t hord and fi ft h of the








I
S("ale as [hc dom;oan( chord tOOtS As ro ... Will hav .. l .. arn.,.d "I""",h..n, d lere's more wl l hUl {';Ich I
major scale t hao slInply t haI SQlle Itsclf.
Whil e t he A majo, SC-dle from A 10 A (and so-on from OClave (OOClan " righ' ti p t h .. n<'(-k)
on t h" neck diagram and as ou{I" It"d Ullh(' <>Xplan;o IOry ch;on. we {';In also cons' nKI ot her mn,it"'<
by playmg I he lIoteS of A ma ior bUI from d, fT('rent d(',I; rt"C'-s of t hr On" mod .. [hal
IS ocGlsionally uS('ful III (ounl(y pl ayong IS E Mlxoly. ll llo. fouo. 1 h)' playing fmm U w E in thl'
A major scdle (1lI ghlight<'1..l by Ih(' roman numcl'fIl s 10 . I,a,l; mrn 2). E Mixolyd ian provides a
useful all t rro at i," fot .wloing OWl t he V _ t hat IS, t he E chord - of songs in A major. Exercise
2 some A ma jor lid,s arid {(I tCSt your I\(' W ski lls.
DIAGRAM 2 THE A MAJOR SCALE
Ilf
21ll
31G
""
51A
6IE
,
t ,
C-Clf. iO
I
,
>!
_:tl
3 5
0 " Root
;3rd
'" 5th
:'1
CJ-r---
l?
7 9 12
































J = 120
CD 1 TRAC K 53/54
, , *

. J
.. #
-
#
" ,;/....;. .
Clean lone
nlf
,
" 0
,
, ,
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,
, , , ,
2..,.......,4
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11""'-
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0
,

,
-----"
CHORD VOCABULARY
. ,

I-+=IFH
' I+H++I
Ell (DfE) Ell (Dlf)

F
-
-
7
-
-
F
F
,
' 0--,
,
, ,
,

8m D

;.

___ J -
"
SO
eo
-

, ,.
"
1)--1"
"
12-14
"
,.-,
"
A
Dsus2
'm'

,
7

These chords would most likely be heard in a song i n the key
of A major: A edd9 equals the I chord ('one'). Dsus2 is the IV,
Bm7 is the 11m (' minor two'). E11 is the V" . Try playing them
in various orders: I, IV; II. V; IV, II. V. I; II, V; I. IV ... k .. p
rearranging them, sometimes omitting one or two chords,
until you di s.cover a progression that you lik . He y, yo u' re a
composer I
143
,

'm'
r=

-
,
., 5
THIRDS IN A MAJOR
Homll tor V (7)
LICKS IN THIRDS AND SIXTHS
In "dd,u" " to slII,!;lc-- llOH' $olom,f: and wm .. (-<lmpl .. " 1..,11<11118. a grrat deal of COll nt ry Itca<I
playi ng" t"X<,<- utL.J on Joubk _SIOp5, 1",0 001("$ plarK! wf("th .. r . TIlls IS Jone III seal t"<
mad .. up of pair.; or d urJs or pours or $1 >( l h5 nsCl' nd ,n;; anJ d.sn,,,dmg die IlIdJOT scaJ(' .. ,
nnt" om" asct""dmK Imm toOl to 00:1:1' (', of II s ..... . o.-l as< .. "d",S ti, ... soomc seak. b m Statl ln.!:
from a t hird ." a ,"xl h
T h .. "" und of tins ,s J,kdy to Ix- InSlnntl y Tn you: tlmds huvc a slightl y sourh-of.rhr
h. "d .. r fb",nut to thelll . wh,k Slxl hs \.Of ("b".,f ("':II'I!' Unth are csscnuallO your mast ny of
",,,,,, uy I .. ad pl .. ymg_
Th .. n",-k di agrams bt, 1,)w g Ive you (h('!.C scales on rll ml, ",,,d SI xt hs tt.'S p<>cuvcl y. all In th .. A
ma jor ,n. I .. . lid" , .. mll"' '''g " n \0 e>l erClS<' 3 h;:-Iow, SI'.:' nd "u rn .. t Im .. w,th Iht S(' Jlag l1lmS,
play"',!!: th .. ", up and d"wII """'\- 1. 011 JlI suggrst rd Srrt n,l( ;; rVUI'In,l( s (ii"e groups of adl'lCCm
strmp ror rhirds, fou r .l: rnIlP' " t !X\1rs ror slxrhs). l r .. , ptallicc to
Horne to< t tA)
SIXTHS IN A MAJOR
Home to<
V (H )
Horne tor t (A) Hom .. t o<
V(En
Home ' or I (A) Horne f or
V (E1)
Home for
"AI
Home f or V (En H""", for ' (A)
Ho"", t or V (7) Home f o r I (A)
Hom .. for V (E 1)
Home ' or I (AI
144
Home for I (Al
Home for V (E7)
Home tor
V (El)
' or I (A) Home f or V (El)
Horne fof V (0) Hom .. for I (A)
Scale of thirds (from " home") in A major
Highe. string, 0 P E F< GI A B
s tring: A BOD E A Go
of s lJrth$ (from Hhome
H
) in A major
Hlg" . r string: A B O D E F> GI
string: CJ D E f J G! A B





















5
m .. m" n ..... tlK'm on all sr'In,!; r"" ro ,,!o:.- (and, ocyo .. <1 t har , in all but famIlia r."" yuurself
"' Of t. a """pi .. of J if{cffm Srotl l'ln,!{' nnw, "ml you"1I soon [(":1 m til r/Xoglll l (' (Iw., sound.














You should constmlll y monitor snunds ' rcwln ',J' ami what tty 10 ' t'mrmhrr -
on phY51 ( 31 and so"ic {(' nus - whr r\' you ut gj "('Jl pom' r .. .. to .. ,t her t hc 'hom", base'
for '"or nm .. 0' secondary 1'0"" $ '.If ,..,,, ,luuo,, , as wrll as tht "hom .. , fi" the thml and fifth
chords OfyOllt ,cal .. . As for memo"s"' !.; physical aspens of stain. you ' ll soon
rht,rt' ar .. , )I]ly [ hrc\.' 'shapes' for your fi ngt'rs tD make- as yOIl mow" up :md down th .. nK k:
' SI ml"h, ' (bmh strings ,\f rh .. .. frd), 'Jw.gon.11' ( t h .. IOWt' f . lnllS fi nJ.,,(,,,,,j a f, .. t
lllght.). and .. t,-h (lower string fin;:"r..d tWn fn-Is hlghcr. Simple-r ,t ill. So.'rnc (XIln nt;s rtqui,..,
only {wo In {ime, bot h soun, l and f...,1 womc jntlllt . vt'
Exercise 3 lays oU{ an ext,' nuN run In {h,rd5, keepmg t he to the lughl"S1 t wo
pairs of SI {lngs, With single- not ... licks ],nkln}; I h"m. Follow 1h(" I'("commt'n(I...:I l>t>nds g hsscs
("hd,' s) to sian wi l h. and IL," til<' chord to check how r h .. I"ad rullS Mlund
the d l:lngN; . Ik awart" of I h .. IW(>-Sltl!lg prc-hend to)wa,d l h(" cnd of !-on r t wo, and nmice
th .. yl't dTcctive of pull _HIli; to till' Opt n high E-string u] b'lt
Likt :,11 til(" in th" ( I' Jpt cr. S<:"<jllt'n,.e rcpr('s<:' nrs part icubr
I"lt' rmut ution ,ond thc I>os, ihili t ,t", are almost It miilht l>c a good "k ... , thNd<)((: , to
around further fur a whole, 'I rt' l Ch OUi Iht" row mat<=tlal that thiS ("l rc.sro tilt' Il(-ck
dlagrJ ms provldt". and fak .. "PP"nulli t y t o , I(ovdop ynur 'mprowlSing sl-tlll s
,
,
,
,
,
,
,
= so
Cloftn tone f
(oomprossad)
A
, ,
gliss
"
9 7"'11
A
gtin


"
11""'13
!
"
.",.
I'
I'
t


12-
"
4.,.. , 8
"
=
"
15--15.,.. , 7
,
13 14
D


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"
' 1m

"'" II , ,
',. --..,,0 .. rc
"
"

-- -
-
,
----0---5----0---7
"
,,-


,

12"--/'5
,
11 11 7
,
,
,

D
"

CD1 TRACK 55/56
J
., .
lr=
"
12-14
"
13 14
U'--)
-
- 8
lH12) 12
12-14 14
-
A

145
______
,
" 0
0

,
,
" o
o

,
"
""
, .
-, , !
.'
A
"..
=-
A
"
"
=
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11 11

D
7
146
l akmg I1lm ("I I-I .. nlo; , h run In s!lulls, exen:ise 4 oomprl '>t: . t hords . ha! art' not all from
I h ... kc)' of A " "'Jm Th .. .... all:' rhn: ... non-dmtomc chords - 1\ 7 (17), I) m'nor (IVrn) aoo B7 (117)
_ along with [ h .. m" .... unusual Dm add9. A/e n and E7fGu (Ih .. diagrams for , he Iauer Ihl'' are
"" th .. Fdnn/< pa).:( w hdp('flsc t he way). s.,., if ro" (";1.0 f. ml ways of malching thew eh.)'>:.1<
"sing ,;xt hs shapes outlinl'd.
you ml,1:hl fi nd of part icular ;Ilt .. r .. " ,hrtf nil , his A ,wIT sounds g .... at
lor E7 (V7), WI) ; as yO\1 "by bHS nine t hrough 12 you' ll b .. pl ay'n;: Mlxol)'dian si xt hs.
you bm", I t or not!
Nut .. that alrho",," rwo of Ihe chorJs shown "ppnmr appc'ar [0 hi: ' slash chords,' they art' III
(art JUS! fi rst invt'rSl ons (,hnt IS, til(' tlmd IS in th .. A U\I(' slash chorJ would b.- a mad
"",. . a nOt,. fha, nn', chord tOfl t' . smh "-, a 1lt,IE (as for the dl'll matlc prtlult imatt' d .oro
on C; arfh Brooks' 11"..- "..-rslon (,r ' !1r1t' nd, In Low PlacC'5' play such chord onl)' If rou can alfo l
'0 h"bc ,he pH pol ,ct').
Once rou'v{' t:'" tilt' fI.l n).( (.f ,' "ernSt' 'I as ",rJlt CIl . try unpro",,'n,.: (0 rh .. s.'lm,' (" hord ( h''"E;C'S
using sixth, '" A maJ"r on ' '' ff(' rc n< j.Xl'iJl ions ,ak .. " frum tht' " I'( k .. 1';l.grams on (he pf('vious
page. Your ,1I(luld X",d,' YO\I toward cenain sounds and aWJy from orh("rs. YOldl hit some
sticking poila.- wllh ,h .. non-.I' nroolC chords "btwe, but try dlt' m ill ]{ $I. .... how you do.
,-
"
D
,
J --.....0 S ', --"'0
...
- -
"=
4----0-5---0--7
"
5 7
"
-
"
CD1 TRACK 57/58
....
.
1-::;,1!1
&



12- 14 14
A




















RHYTHM CUITAR


















Turn;n).: Oll r alto'mnon w rhyt hm gUItar fi, r a let 's beg-Ill wit h t hl.' class" blu('t:mss-sryl",
strumm,n}: In e x e rcise 5. Y" u muld s Uum t he full chord . !luI h('[(' JI 'S II. 'i:mss-("hord'
appT'l:.lOCh. Ohstrv<:, rh .. ()('ca$lonal fills - WhKh should,, 't [,., overdone.
Ex ercise 6 d,rdws I ht' pock fiJI' a whil .. ; try r, ngt'rplCkmg t hroughout th" p,(,("(" being
aw:l l"(' of rOt (t'w 'nnr,np:lu,.:1' m" m .. nn whrtt' all or sumt' of , h .. UpcOnllllg chord appears
ad.l onl-( momt' nr um - whl<"h .,tr ... :r,vrl y synn>{lat J()[L
Om iMId 9 ,,,'
E7fGI

o


,
5 7
-
,

,


'---'
0
,
,1
'-
,-
,
,w

V 'I


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,
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0
0 0
0
0

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G'
, .
,J

,
, J ,.
, 0

..

L......J
o
I 0
, 0
'I
"


"
"
,
,
,
,

,
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Clean Tone
Moderate
,
0
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8:' , ' p "
, .
II!! I.t1 mg P
,
,
,
c
,
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---<>
,-
,
c
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, . 0
0 0-,
,
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G
0
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0
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,
0
o
0
:::;-, .
f1l-
,
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p

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0
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c Om1add4 D: 7 c/O
,

CD1 TRACK 59
L.-J
0
,

,
,
0
V


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-
, ,
0
0
,
"t;

,
,
,
G
CD1 TRACK 60/61
""
, :::;-, ,-'
,


0
,
.....
,
,
, , ,
,
,
-,-
,
GIB c

147
Clean Tooe
Moderate
f=E
I -
'"i _
1
"
" " Om,j
, ; m
"
II!! Lei ring
,
G
Clean With Cl'IoIus
SlOwly

"
fliP
l et ring
"
V
"
V

:=
O-iO)
,
,
,

,
,
e lf (FmaJV roo 3td)
ell
"
,
"

v
,
I=J
For exercise 7 lL'" a p"k aIm ro ( I.,July ariKulatt" ti,., "oCe, "f t h .. ,-hord,_ It 's a
sluw ballad t hat wdl glV .. YUlI ,om .. n"l',' -I''' king I' r:l( tH-., Th" .s n'! <J," r .. Ml't'AAiat lnJ.; pt'r _""_
Nm,C"t" t h .. soph"rlCau..n soun. l. whIch .. (.n uff",. , T h", ' rak .. ! ' arl:"o'r rock-sryl .. Il k",
hard rock stylt"S; rat h",r, rh"'Y' rl:" control I...:! sr ruk .. s (most Qfr" o In a dQwnwar.1 <IIf("("t ;Qn)
TQP st'SS,un ,ltuiraris t Daoo Huff wuul<! l'r.::.Oahl y Bo ld v, hrarQ tQ c",rtaln chords (t"Sll("(" ialiy susl

Exerci se 8 t akt"S us ru t h .. kt"y of I) maJur, If yuu th",k t h", rakt"S art" t oo gratultuus, srah
at t rn, ,-h<>rch m", .. alTurar .. ly Tht"r"'$ a r.,,,1 sb sh ,-hurd '" har four: G/ A, whIch is a 'churd
synonym' uf A I I - tht"y' r" slm, br Of " I(-nr leal sounds nUl spdkd , li Ri:-ll."orly, (Nore: t ht" roo,
nort" Qftr n [",ods rQ bt- ht.-,ng ' h" bass nOI" , as shown ro rhl' tight of rhl' sbsh. )
SOLOING
Exercise 9 IS a cDlnpll'tC "oln. Try tn Jck1\"wkJg" d\<' 1,)lIow"'g lllgred, t ms: tht A !OdjO[
pentatonic or A major ",ale (I"" e'pt'(.LQ ll y Oil d, ,, I,.,kout f"r Ie: I\-l,xolydian sOLltlds ovn E7),
sUlll!>Ut, nding, third, a"d ,; x( h" wild" d,t'(kml> out " Iml., 'dll<:h" p 'LkL,,!>' amd lh" "dd
pi nched harmonic. Jf you' r" uniJ md iar WIt h th .. I,LIt., r, .,k ,p ah"ad a pag", Thi, ex.,rc;"" j,
toughl'r nt] t han on elt'(UL( , but (h"r., ', ",111., hm country playtng h" ""
CD1 TRACK 62
;:r
R-1
Fn
,
r
,
"
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"

,
, ,,,",
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Dm7add4 D' '7

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rake


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Am' Bt.. ... 2

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A
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Il; r t
r















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v v
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.....
-
V
"
m ..
(+ TA Vlb)
A_
:=

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1-5 151
3- (3)
,
,--..,
,
, ,
,
, ,
,
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,

,
Gadd9/ B C95US4 CIF (Fmaj9 nD 3rd)


148






















,
"
,
D

,
IntrO/Plekup. 120
"
} ,
I
(Mjf8ln Solo)
gliu


"
I
V
r=- ----.
A
, 1-1'--------..
rib
-
-

, B
I-
114...-12-"1

A
5
C01 TRACK 63
'I
,
v V
}
,
I
} ,
I
A
- '. '.

""'r
I
f
1
"
Behinel
"
nut bend
Let ring
"
"
'"
-
D
,
F; m D
,

=

BU
BU BU

12-{14 }---12

12-(14)--12
"
-
,
"
1?---(12)-t4-
11-9
F:m Bm
H"' - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
D

,
D



"


eu (CO)
A
m

r-su

.. 9Hl0Hl1)
,
" D
"
A
149
J. 70
Slight 'wing
m
,
150

Exercise 10 gets us "HO 'Tt" .. PI( k."I'(' .. Tr:lv' $ was mllucmial lll t h .. 1950s _
hi:- t' vt"n intlu{'oIT<l ehcl Ark" " In( =1,01'1' . h(, llS(-d dlUmbplck ",d .. x fingt' r onl y_ (MOi[
rhurnhpid :ers, mduJIIlg eh ... Atkins, :::' H'uan Smit h. Brem Mason , and Jerry Donahut' , 115(' ar
kas{ the midJI( fi ng'" and o.mmonly to" Ih, r.l finger as wdJ fi, r plut kml; J UliO::;; .)
If [h.5 Style IS {Orall y nt"w W y()U rtwn I'llk(' II sJowly _ and do,, 't thmk ahO[l{ t his 1<I"d of

!,b y'"/-: 100 much. tUM de"d"" your mOlor skolls whi le- ker:-plUg d ial alt .. rnat ing hass pa"em
st("3<iy. of wi nd., th .. " OIt'S should be palm JJlll p.:d (muttod) fi " an "ud .. :"" ,
sound; Ie:," g" ud." bUI firml y un .1'1" wound su , nl-'S no."'Jr t h ... bn dg ... /saddl<c"S. Ir can rah
some work 10 get lllW t h .. SW"'.Io: vf Tmy,s p,ck,ng. bill onc(" .. gilt It It 's an dfoxt iw; and
tool, and Ca n ","" n,j ,l; rt'a. m Ihe circumstances.
It s also impHnam '" ).;t"f ' 0 J.:Tl pS wu h cl o:s..-J p':lSOU""S fHr your pH"kmg - . har ' so barr<'
chords. Exercise 11 ,s ,n .Iit' kry or E m,oj or but sn,.t. ,m V chord of E. R7. Check Out
th" of th .. chord ( ardull y tli e fi l1}; t"rll1,1; S and voinnss may be to
you. or at 1t"aS[ unnpc((cd. It . h"uld Ilt" t yo" r rh"mn and finselS worki ng wel l tog"t hH aftH a
cOllpl .. of passes.
Exercise 12 inuoduc('S hybfld P" k,n>:, wh ,eh mvolv('s using a pick plus fing"rs to grab
"hc, rds or arriC\lla te patterns ,,,,d 't"larlv"ly t"as,ly. Tmvis pickins IS itself a filrIn of hybfld
plCkin,l; . r nr eIT"mngly, Al ben u t' ,." , 1 Dan ny ( ;arron 113V(' bO\h (cmured tI ,e u", of t ilt'" pinky
wh d" I' lucl<o n).;. will eh IS wr) u" ",mmo .. rht txl' lanar.on of nght -hand I' nger <.1.,,' for
Exe"ise 10. too).
Turning our att(,llu(o" to t he tr .. tw,>: fi n)o(t' ro n,l:S. [h..-sc ffi J ) IX' atypICal a, well. It 's a J,;(K-.d ,dtca
ro rak(' ,{ slower d,a" a, firs ,. and hr(':l k down (hr md ,,, ,dual -.ti,,,,, w our any



wyghc-r lICks bt'fi,rt" Iink, nJ.( r ht"m all rogrthr r. Ont<' )'00"" Il<ll 01 all rugt"lb.- r )"Ou 1I Ix Imo
sollle pn-tt y "ncompl isht .. 1 coymry gUitar s..'fIl t" of h.-nds art" gOIng to lak(' rt.":l l
work at fi rs t , tsl'ft"ially with mrd,um <IT Strs. and WI{h a wound G III genua!.
K""p at ,I - Ih .. dfofl w,1I pay oIl
T h.s workoll r should rcmllld you "j >t'vt"r .. I ... .. a[ p,r k .. rs: Ch("l . Allx-n . Dann)' G-dttOn, 8 ,,,,, r
Ma. .. "n and maybe a h,m of [);lII n llufl tI' t" vt" ry <'n,1 ( ;{)o. 1 lu(k - ;lIltl r<'m('mbcr: If you don,
pOL k ii , ,t won, J,:r! bell er!
CD1 TRACK 64
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Exercise 13 cnmk<I Ch,>uw .. . Isa P' CC(' by rht- amho" rt'Spenfully d('(tI(3tcd to eh .. !












I\r kln$ c:t"'t alwuys acknowl{"<lgt'cI rh .. mtlu .. ncl' of (he mcre<l,hl .. ""'''''y Bn:-J u. {'speCIal ly
II comc>s [() whar us..-.J 10 cal l ' f.llsr ' harmm"cs. Technocal ly sp.ak",,Io: . all art ifiCIal harmon;,-
IS I he n's ult "f frHtint: a not c SO ,, 's 1"101 ' natur .. I', unlikt a harm()nl{ pro>dl.K<'tl by <lampin).:: a
Strlfll' "I'hrly ovH th .. 12t h. fi fth or filr cxampk.
lkr("s how you play art ificial harmon 1<"S: a not"", then tollch rour Jnd .. x f'llgu gemly omo
Ih(' pomr an Deta,' .. (12 frets) lx-yond ,r , and pluck it lIsing y()u r rh umbpj,k (nl<lny 1"""01'1(',
,odud",,, th" author. JUSt uS(' a Ilu pllk) whl lsl possIbly also pluck lllg a normally
. m ng - whIch 15 typt(all y two or rhn-e sl flngs awny - your th,rd fi np;t' r.
ThiS p;enri" " f .. H(.,e OCI\l\'(" away fmm "" hcl"(" II IS frt"II..,;l "",II prrxl ucc a sofr
I h., samt' pr<'Il""("SS gl"cs yuu "f"'n-'t r1Og h3rmonocs al Iht' 1111. fl"("t . 1bc
'T" and ' Ah' 111 J j ,ell you wh("rt" (() pt'rlurm , hese worh a numUH 10
J"'-It' m ht'M" t ellin!; yo" whcl"!' I V damp ."nng.
Ont' \It C.ht'I S rriends and colbhOr:1tors. Tommy Emmanut' l. (an f".'ri'mn thIS tcchni'l"t'
I '!; hrnont; and il 's amaf.;ng 10 h.-a . Tht'rt' .1 ""ill.' " lor of (,;,,(hnl( ally dl"llcng'ng stuff on
offi,r h .. r .. , So pracli><:' slowly '10.1 ,,,, .. fully, d lt' ll work up [0
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PICKING TECHNIQUE
Exercise 1 wmbll'ICS ami sinJ( k -no(c playing tel IrJ '" wr;s( 10 execut e t h ..
down- up mo>' ('rn .. m t hO' .. ).;hr hand t haI IS IT,, (r. 1 [U blut'w'Uss t eclu,, "Iut'
Ik SlIl"\." 10 rt'nl(.' m/x" w ust' duwnSi rokC"S on the downl"'''-l and upsrrokC"S on [he Try m
}o(t r rhe samc P"I."" UI bmh ,h .. stru mming and th .. pKk,nH' Exercise 2 L." "'II
to ,ocn' !I1 lh .. md()<j, ( cighlh nol es, wI, h rhyt hmic Slt lUllS, III th ..
"I'm,nai styk of MlIyb.: ll .. Cart .. ,. Pi c k rhe opo:n s( rint; ,mel bring yOllr (,euing llllt:er down
.<;<j llartly to sounJ p,!{"ho:<l nOll' .
We comb",e 'hJmm"' '''II-on' w"h 'pulling-off III exercise 1 P,d.: , he frr-lI cJ b;.,." nm .. ,
rhl"n pluck , luI ;..un .. ,mnx w"h fhe {rcl ung fl n
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"',,( your I .. f, hand, $OtJnJmg th .. IllW .. ' no,t'
on [Oc o(X' n M''''H. No", I,' r'$ stanoo wit h s,mpl(', m<'llsurt'-long m" lud,.- phr:lS('s ,
mostl y On a songl" To Jump-sl ,HI yuur rlKht hand, w(" warm up WOIh exercise 4 , wh,ch
uodudt:., a m(Oa,U!"l' of nUl'" w "..t a puiS(" preeN,ng ('ad , md"d..- lick.
Exercise 5 comJll,"" with "ngk srrong ilka, rq:,.,at Ull' a . h" n chrOmatIC phr:lS<: III G
and D, exercise 6 (', V". pagd works IOw"rd buold",.Ii )'0U' rI g ht hand (("cillll'lU"',
wah rq >ffi. in" melod ic us,ng on one sIring . wlil :dl s'mpk enougb "flU
a passts, but Ihe rq:lt' UtH) n "f ' l1(" h "x<'ITises wl"l ... work ",..- all the wh,k on kCCPLIlt( u
.'<t:"Mly rhythm ,IOU an pul".. - ;s crucial [or )mmma and (Ons"l"'''' y
rt''l uirNl of Ih lpiLking tt't hn''l ut.
C01 TRACK 69
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Of all t he " ,-ks " ".,..-I In hluq: ras. (he 'G-ru,, ' is probably t h .. m'l'il ("ha r.u;-r t'rosft(" of rh"
genrl;' . Exercise 7 lak .. , Ih,s phrase through sorlie chord Th,s Ikk .s WI{I('ly oS(,\j
both m punnuart' rh(' rhythm anJ as a melodIC 11111' ,II lead br.,,,ks. Exercise 8 0n ' agaon oSC"S
md".-I ,c phraSt"S Ihar 'n(1'(' nroumJ olle IX' rucular 'trmg_ Yo,, ' 11 fi nd tbar If'S ('as.er at first t o
fi .. -us your rI}:hl - hanJ pockH'lg on a sing l" smug: mmbln;0,l; ad)act"O( SlrulgS IS mol'("
( hallt'''!o;'''Il. T hIS t'Kt'I'("1S<' follows a 'c ycle of fift hs' dw.rd pm,a.:rt'ssion ust:il on raggy ronj.:S [,I;.e'
' Do,, "[ ..... . Your [><-a t Go Down" and ' ( Know What It "'"""S Tn Ik 1.o1>t"S()fT'l(" . Exercise 9
mnvts In laJcl .. ,-I,h S,ps. on(' at a lillI(', up and down tltt- sealt, t hrough a IYI-'I(al chord
pmg rt'ss' Qn. F" ldk IUlles ;' 1'(" IMgl'ly mud., up of Ion..: srrinJ.(S of c.,a.:hr h-norcs Io ke this.
Exercise 10 IS a Similar. m.,l"doc pat l n n , showi ng up on many songs \lnd 1111\('$,
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Exercise 11 mofl' of t h",,, tlddt. Sl IC t hiS t1ll1(, in t he key of G, alld indu<lt"" a
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Watson. as demons trated I n exerc:ise 12 Try I t on br., .. b wd(('ss up , he space
aft cr t he NlJ of a mci().ly 11OC", Nor,' rh.1' . h .. $.1 m .. )o(flnl p uf tlltt' .. "ott'S IS repeal OO (WIIT III a
row 11\ each k<')'. Chc-ck your rlghr han, 110 mak.,. sur.. t hat It n >Otonu"'H .. ,, ;th .. regulJr 'down-
up' pattern .hrou.!:h passalo:c. The firs! KfI.'ul> .. f t h ..., .. uld '{;Itt with a downstroke, and
t he nell:( group should /x-gin w"h an UI'$' I\)I.::.-
Exercise 13 expands rhe w,d, h of your mr l"d, t; mn1;t', m UYll1S 'w('( a spread of four
sumgs III a smgk phrase. You' l l fi n. 1 rh,s (':lS' !:, ' If yOu .,, " at'""I,,!, '" ' fTtt' wr isl. support ed by
your arm. Tr)" to lISlIlg an 'anchor,' or ' PI\'o' r'(lI n! ; y"u to t he [",dge Of top of the
in one Spot .
Exercise 14 "SI'S a rqX':l tJng ' 0 a rin.l(in.l( chord so"rod w,th
a rhyt hm. It ,-, dema"d,rot:: h>r the Ti ght hJlId. OCG'tISl' each nOft on
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Exercise 15 .. r kind of cross-pICking. lIen'. WI! Im' (3U" [f- synwpaf('(t rolls
of Scruggs-sl),k Will" ph,y'o,ll. r ... (he most m:('gn'lt'd "'HIn(1 ,n mUSIC Each
fll l'aSUl1.' is sulxt,v,d..:! .n ' ... 0 ;;: ..... mps of t hree nm{'S, riu., Oil .. WhUp of 'wo nO(CS, c;lch wI,h a
Sl rong a(cell! WI th .. fil'f nOf(' of ,hl' group. Th""" un I ... ord .. ,,,,,1 tahtr (1-.3 -_9 or 0 -3-1),
You'll llOlie" from ,h .. pi ck (lir("non nOl alion ttll' "f (' ross-pICking brea ks the ruin:
here, we pia)' down-''i)-downldown- up-Jownldown- up. or dnwn-down-ul'ldown .. ..town-
up/do'Vll-Up . TIlls PUI' rh .. "1'01"1,1( and wcak ,l(C('ntS II, 'III<'Xpt'( ftd plans. fo r :l vcry <' xclung
(and demand"'g) [", hn'<Jut' Gt'Orgc Shunkr, C1M"'Kr Wh irr, J ames Shdwn a['(" JII
,"",diem u , ... ,-pKk ......
Bluegrass Blues
Th .. hlu<:'S IS an C('I11['''' .... m "f hlu .. ;;rass ).;Ulhlr St yle Exercise 16 " a d"'H, ndlO).;
tine, wid)" l1"u(.u "v,'mh flOCr anr! dissonant t hll'..!S, whidl .an bt, u,ed as an Inr m, In
h rt' ak , or a, an Outro,
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Blucgr:ISs b<i nJO I' ,on(.'(r Don Reno w", "1,, , " "., oj t he first mus. cian5 fO f{'lIIlIr .. I .. ael ,o.; Ul tJ r
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I'layt'd 12-lxo l bJu<1l 1,1,.(' exercise 17. A hot fi nal lin .. i_, a ""1)' ()mm()n way 10 nuolll
.. ",-" .. m .. n, Dr tilt' .. nd d guiwr br<'<lk. Exercise 18 is a gr .. exa ml'l ... of tlliS, also on dw
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HOT ENDINGS
AldlOUf;h plenty of hlue!,;"''''' )o:'''litr rakO:l . h( rhy' hm role, (here is a trad, tiO" tof
"muoso pICk",!: In {h .. hr .. ah , and ull m-hot cndJOg IHles an' charactHISttC ,,( t h" 10:.. 0 ....
Exercise 19 g,vt" .. annt h .. , hur (nd, n.: 1'0(' on , h(" slyle- o( Clarence Whitt, fi,r breaks.n ,hr
kCf o( e. f\ uu' , h .. I" . I .. h" uf 'cross-pl ckmg" ,n dK' fl n,d
Exercises 20 and 21 ,IIU$rrnf(' stili more ('ndmf; imC'S JIl vat .. kt"}s. Swin,lol anmh(" .
$Iyk , along Wll h fi ddl .. [un...,. an, 1 hlut's mllSI C, (rom which has um n>wtd ii, b an.-I
,dc-dS. Exercise 22 a ,-hroma1lC 'ChUHlC" " ff Ih'lI 's ncarly UIIlVt'rsa] III the Jangua).:t' of

Tim .. to pm ",m .. of rh ,s I(>;>romg (0 work In JIl {x' l nJlxl P'''''"" Exercise 23 IS a
hypm hd ,,'al hl ut';; rn:.s onsm.lrn(' n(nl which I' ll (,.I I Ibmhl .. ' Ir ""I_rs ,he !."lmr
mel"di,' thmu!,h a long seri es of YUl el.: churd r"" w>O<l pra(t l("t at makmg
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25 show how to put t h,' diller,", ,Jc a, lJo)o: ht UI till <:a rl,,,r 1""""" w",t't h"r W ..... ",itHlg.
gUJ(dt ,."j, ,,, I.: >.:t n,J,.J ." ,[,'" I,k .. th ....... ,.11 "'t'a" .. Ih."f ... .l} th"'''gh an ... 1<'( 11{ hr ......
o( infl w:u,n tI,a! tog"d,,,, m.d" .. up tilt' hlllt'gra" , ,,I"on,1( Myl .. 1(, a ["' '''t'nul, ",,,I,,dil, and
('ngag ll1g tnr m , ., mIL'" t haI [,..,,,m .. , .. m .. ly .,.Id,n,. .. , .m .. )"0'" la[( h umn It
I'", I" "" b.. m.\:: J mU" l,, 1 tm", i n,m 'tilt' .. Id dal' ,.t>"rt'''' p"rary hl " .. lf r" .... ' f .. amr", ,om .. nl
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TRACK 92
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SEVEN BASIC SOUNDS
Nuw t hat we\'t" st"'t'n the dm'clI()n gUItJI " ht"J.(I"d, rak{' a look at SOIll(, of
YHU haw t o k-arn III oruer 10 how 10 reco!,mze t hr ['{"vCIl bas.ic '" all
ktoys is vcry Import ant TIKy I h .. m .. ,,,, . monor, domm;lnt . J,mlll ,slwd. JJlIII'" ",,,,, nth wIth
a flam ned fift h (also known hulf-d'mon.sh...I), aUJ,:mcnI<'<.l and susJ>l lld..d "'>u"ds. The 1,,[
rh, .... ( major, mmor and durrll llJm) "lUnd':l n- t'-'I'(<cuuly ,mport Jnt U",-' th" , ;"t h and th .. fifth
W local{' t he' nc-aITSt I't)on , mUl<h 1111: al' pro)'roar(' sound and you will bt, aul .. In plolY Ju,t
about any ("ho.d prot:"ITSSlon (w.,'ll sri W Ih.-m .',(.on) For now. try t h("S(' example, in t hr k"y,




of (; (sixt h smog root) .1I1J C. (fii l h rtJO, ), rh(n $('(' If )'ou (Un t hrm d , .. wh ....
RODTON
6TH STRING
ROOT ON
5TH STRING
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Major
Sounds
Gmaj7

Major
Sounds
Cm.:!j7

Minor
Sounds
Gm'

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Cm'

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Minor 7, 5
Sounds
( m ~ 5
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G7/S
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Suspended
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G9sus

Suspended
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U sus
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171
172
TWO NOTE DIADS
Don '( I,., d""t" ,W" .. -j hy t ht slmpl"i,), of (I".".. "d ...:I' (t wo- nol(' (hords). In 1lI u-"cal
tlwy sound ;Iot rt'a! aI'(- tlK ,!:uJd <. tIm .. , uf (h"rd., r ho: rh'l\ls and S(wmJIS. ",hid. Imply Ih ..
<jUll l ,t y of I h .. ( ho ... J (major, minut or d"m,n.lnl), Th,"), wor k 1'n-a1 plJ)N .. a In" play .. ,
wh" fill . in r ht" 1"00{ o{ t he d lOrd
MAJOR
MINOR DOMINANT
G .... j7
Gm'
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(maj7
Cm' C1
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II-V. PROGRESSIONS
T he IJ - V- I (2-5-1) P'OP CSSh1!l IS (UW ,, ) d , .. m",t wl <k ly lI s,:d in j,l a . rou .. H C major
,cHI .. ancl hUlld chords III ,1 .L lth " " "'t( h nOt (' (.of rhOl S<':,i c, (he ."',,,,1, d ", rd, will I,.. ,
emaj7.
Om7,
Em7.
Fmaj7.
G7,
Am7,

The second (I I) ( hunl ,s I)m 7, t hC" chord dld l , 1M!..' on t h .. fi fth (V) d("SIn' of the scdl .. (; 7 and

















tI .... '0""- (I ) (-hord IS em:!) 7, A 11- V- I on tho- k..y of (. .s; Dm 7. G 7, dnd Cmaj7_ H",... " a 1';tJ.(r
of a'lsor[M II- V_I pattcrns. I would OUI by IIlJSI( r ou,!; th" two ""amplts on the
WI' proceed to (Jd, ,,' 0 "" "f tn., <: xamplts uses 11
( hor, 1 for tIlt: V, J,,,1 anorhtr US('S subsWuttl j" r V an.d I ( hords. Chord
, ub, u t uro on will oc d,scu,,-,,-.J on rh o)




II-V-I progressions with root on fifth and sixth strings

II II v
(maj7
v
Cmaj9
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II_V_I progression with root on fifth II_V_I progf"e5sion with root on sixth string
string and substitutes for V and I chords
II v II v

Omll Elm11 EmIl
.,
Cmaj9


5 5
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5
r
I 4
6 6 5
I 4

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II-V-I progressions with root omitted

II v II v
GO (majn
GO (619
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MINOR II-V-. PROGRESSIONS
The I1-V-I 10 a minor a ( hUH! , fulluw .. d by" (.hnrd, I h lll a mlllor scvcmh or
ml llor mot h chor,l . In em , he $('(1111'on ' "'Qulcl lw I)m 5, (";7, and Cm 7 _ TI, .. first twO examples
art.' ext remdy us.cful bm I ry all of them for .. nr (whorh we wiJlt'xplof(' bier).

Minor II-V-I progessions with roots on fifth and sixth strings.

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V I
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V I
Dm1,S
G11S
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Minor II-V-I progressions on the upper four strings. no roots
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UPPER VOICINGS
I
M:tSWf d , .. sh"p"s on the opposnc JXlgc :>rId Y011 w.11 S{1.' how YOIl cal"! mon <,hord, amulld
, toolVI' w the nexi sound Wllh gICH ' Ol("e l('fIdong. Pm"'$(' i->y [<) dift"'t'm k .. ys
work OUt sonll' 1- ) I SC<j ucoccs.
Rcsol ,'c 10 r ht, nl':Ht'$f form th .. \(>u" ds d,ungc from

mmor to J",,,illalll to I1M,Or
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174
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Major Minor Dominant
sounds sounds sounds

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175
1
176
I-VI-II-V PROGRESSIONS
Th"" anot h"r pa{{<,rn of (.'qual ,mI1Ortnnc('. A 'l OKk 100.k m t h .. " .. ""n chords Ul the key ofe
(d ,aton;," harmony) Ihal tilt' chord ,1"11 OC(UI"es ttl(" SI xt h 10:-31 .. d .. );'.,., is all Am7 chorJ.
A I-VI- II -V in ern, k"r "r C ffi JJ". would be: emai l . Am7. Dm 7, (; 7 _ You may IltlllIT t here IS
only OOt' dominant rhurd In a k .. y, bUIlt Ill! th .... fi ft h seal(- drl: f('('. ThIs chord. th .. (; 7 III Ihe kl'y
of C, creates {t-ns"," thaI r .. ... , ' " til<' I chON, Cma)l. You can <10 t h .. sam .. thIng wIth any
cho1 In t h .. h:y by {f .... I1"',!; a Jt10l UlJnt chON CO .. t o Ie This is ull...J a sc'COn<iary
domlnanr and [hat 's how 110 .. A7lh" nJ Will be cxplalnc.1 In tilt' follow;",!; """Iut'ncr:
Cmaj7

A7
1
Dmin7
,
G7
-111(" scrondary domlnanf A7 " ,h .. dum"'a"l (,( II , ()f thr ' V' of II . Many runt'S f .. ature , Ius





!;C(jllencc so If}' fO karn If , n as m:my k .. ys '" 1"".,I>k. &im(' employin)? I-VI_II _
V incl ude 'Oleo', 'Tht- Mooch', ' Ra,dy And and
Ti pp '''!>' (all iu the rhyt hm ' A' Sl.'('r1<.m) and Y"'l Miss]ones',
In UI"e' (h,t two Lars) and '5(. ThO!llns'. Try rh(' sc' rhrl''' four-,hord I-Vl- II - V pauerns (right)
to souud of A 7 to Dill 1, as w(,11 ns ( ;7 to Crnaj7, The firsl se'lllen((-
i, up of and gUl(.k tones, t h(' 5(,(,0".1 .. added {ellSiou_" and {he t hird
llpp .. r- f',ur-st tl u!:: ,'oicln ... '5.
MOVING FURTHER
Und .. JU_" a few (.nn(.ept s I,ke dla(onIC hllJ'mony, r..-ia{ ... -I M'nmds and fifths, sublht
fi ft hs and (-hnnl fam" ,e, Oln hdp you produce some harmon,cally H'mplex chord M'<.ju .... lCes.
Th,s may take" whilt" '" und .. "'t-..nd but don't Ie! (h,s d,S('oum,l!1' r'ltJ fmm
t ryong Out some new anti IOten-sll n,l( ["an .. rn .
D,atolllc harmony ,s bast ... 1 on tht- ron.t, u" d domon:ont COOrd5 bu,lt on
the flxlI (I), fourt h (IV) :lnd fof, h (V) ,1o:,I(1't't" "f rht" mUJ"r . (.'; .. n-spcr""dy. 'D,atomc'
m .... Ihey urc- basc-J emlrc-Iy on rhe nOtt'5 of rh .. m,d alll hn-c ha"e Sl"veml
notu on common. 'Jb<." S('cond , Ir,o;:ft .... ( II) chnr" ha, subdum,ndm ]mrmony, m""n"'}.; 1<
shaft' s mosl of llS nOI <."S wJlh ,he IV chor"I , and ,...,"enlh (VII ) chord has
dmmn:om harmony, A II -V pattern ,s , ml'Ortarlt " ,rnp],C'l; " key, A domlllanr chord
Lan I", prl>Ct'<kJ by its !et ned II chord, a fiflh or. flx,t $1Ioee the dmJ of one
dmnin:om chord IS the s.ame as t he srv(nrh of d,,,rd a tntone (thrC'1' whol ..
not .. away, and "Ke v<,rS:l, dlCy nrc cons,dt'r(,,1 suhsr,n, r .. s for "ne anoth"r: G7 _Db7.






Chords with upper ,;) , 11 \IIlJ I ) don 't atY('(( t h. '1l1al]( y of,pund, Crn7, Cm9
and emil are all m,nor fllmdy ,hords unJ UI\' major famil y
C6, CmJj7, CmJj9, C6/9. ,I"m,nant tJ m'l y IIlch,Jcs C7, C') nnd C13.







l1..t _ .. ' ______ __ ,_
I-VI-II -V progressions with root and guide tones



















VI
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I-VI-U-V progressions with added tensions
VI
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SONCi FORMS
Finally. 10;-[ '5 pl ar somt" Tht'ft' art' 11,.. ,,<- fi, rm, you should master: ja:tz blucs, m;oor
bl ucs and rhythm chang('S - . n rum on exercises 1-3. These " 'ilL hdp Learn
tunes [rom Rra/ B6<IJk (a fak(' book' owncod .. . ., ry Jll1.Z play .. r, conl .. lIung hunJocJs of
popular jan standards). For ("lr.l mpl(' , rht" Ja11 hl u("S fi, rm u...,.{ on many CUtu;S by Charhc-
Pad.:cr. Wcs Mom,l';om<'r)', Sonny Roll ons, Tht"lon "" Monk and many urh .. rs. mrn chCS<.' to a
(c"" mOf(" keys and you' ll gt"f a lor of m,ln;;f' our of th" a:t ,u" WIth a littll' pracllIT and
p<.'l'S{"ocrnncc. NOll ct" fhat no rhyt hm, al? W"t"n ht"fl'. I' ur n,,, . .. LL'>t" basic chord forms or chorJs
you'\"(' JUSt karnru and st rum through Offh!', .. t'X .. '" yuur own style. Next . wc'l l pm
some rhythms to them \0 Slart p layon!: somt" moN:' fam, l,ar
C02 TRACK1
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CD2 TRACK 2
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ESSENTIAL RHYTHMS















1.<'[ '_, wi!': about h"", ttl I ht' (jvt'esscll u al rhyt hms t hat Will not 0011' help you wl, h fht' rhrt'O"
ha.s ... fi >rm<, hut "" ,t h mJuy o( II,,!' '" wd l. 'illeS(' will you to [ullcuon In a ' 'lIt' CI)' of
m USICal sryl..,.
EXIen:i se 4 IS a rhyt hm ("all ...:! ' fi lU' w tI .... bar' . This pNf('n ly (he Ii f1 11 me
"gna'lln', and " a r hyt hm t..,;, r 111 pl,,"tf of da>;siL jan. Four 10 t h(' bar IS (f\I U, " on.11Iy
playt"CI "" , h all dowll,tmk .. , "" I h .. ("I'.Uft .. Hltllt"S, som('uilles wll h t he occasIonal upst roke on an
.. ,).:h[h_n<)l .. fi,t t'mpha',_ . In 'u&"-'( ""Iod r hydnn. with chord Ch;lIlg.'5 accordmg {O dl(' nm(' .
I, offen wor k) wh .. n ynu .. . , I", w n" (no bass pld)'c{ or drumm"f) Of for pko ymg
rhythm charfS on a hand - t hmk h nld,t' G' tt'L Sum .. w nes chords change ;.s fllSt IlS
one pc: r lxal , whIch mh' s som(' fancy fin)<(' r wurk, hut hn(' st fUm Iwn b .. " !l\utOO
Stnt1i's to get t he rhythm down , then "lay two n:u s wirh a r hord tWO I)('ats. As ItI
the cX"rcisc, us.: b"sic chord forms or thas.: YOli haw alrt' ady Itarnt'{1 Altr.
,Il t ft'tl uf II , try p].,yin
o
I,}ur to t he har against t he jaa bl urs m I
Exercise 5 ,s u ' IJn w,du' As you might guess it 's in 311, bu t a jau ",,1 h z also wtl rh
/o:'tat ", 61H, IU', doubl ... it "p. Also, nOte the importance 01 t he rests lor rhe f(, (,1 of rh" rhyrhm,
I\tf'\'at (wo ban; Ullt,] yo" S"t a fet:! [or it. After you' ve got this down, it on rllt' srandar.i
runt'S ' AI ,('t' In Wuuderl alld ' , ' Sl""...,ur ' , 'SornedJ)' .i.\i y Prince Will Come' and ' WlIldows'
Th., ' boss" nuv,,' rhyt hm If' exercise 6 works gf(' at [or sambas as well as bossns a snmha
ilt", nJ.: fast('r Whdt' t hr ... arr ma'l y ,,( Lot'" ""d Btan han rhythms usoo III jatt , t hts
' S a OJot' ro st an OUI with, ,t mult ,-(unct i" nal. Lls t"n OUI {or , hC'S(' rhyt hms In , ilt'
sra ndard run('$ ' l\I ut' IlOS"ia', 'O nr Notr Samb,, ' , ' Wavr ' and 'Trist ,,', all o( whICh you can karn
)'otJr$Clf, (Gt'( , k'('I'I('r lorO r ht'st rhYl hms In t hl" ' I ... " n'
The t'asy way t o opproru:h 9 ' 0011. <1 ' tS to play I ht' rOOI OJO hears oot' and r hr .... On I ...... "" t Wo
and (our Ih,' 'IOtt'S or lilt' chON that an- Idt 00 , ht' J), G and B st ronJ(S, as t"Kt' mpl tfin"l In
exercise 7 , S,mplt', but dTt'cuvt'.
Exercise 8 gIn'S an t'u mpk 111 ' odd l1illt" , In eaSl'" prooohly rhe o. ld
{HilI' Slsn,Il ut e 'n Th,nl.: of It as a pu In 3M pl us tWO eX(I11 q uarrer- nOf"S
Many .. dd ,1111" (1!ll Ix- pl.tycd uslllg t his conerpt. P'3mSt B,ll Brubt:cl.: 's ' Tak(' FlVl"
I .' a ian tun" III t h.1I (If you will rct: ogmSl'" , and a f!ooJ one (0 l(';lrn on )'our own
ynu ,h,s rhyt hm down 11011' the mJjnr contributlon the !'(StS mak(' ro rht,
rhyth m,,' ft't"1 "f Ih, s .. xt"ru, .. ,
IMPROVISATION
Finall y i t 's time t o move' on to whar many guitari sts think of as rh", uf p u : , ,, Iolll)! "rod
implOvi S':l1i(JIl , Wt" U swrl by tal king about soloing ' over and 't hrough ' rht chord chan,l(t's
uarn the C m;l jor in aU positions and you' ve al so k arn("<l t h .. lOO:'aflon vf ' f' rt'l at..d
m"d( ... . Th(" y ;I t(' : D Dor wn, E Phrygil,n, F Lydi an, G Mixol y<tian . A Aeolian, 1'1 l.ocrtan W,, ' U
l("arn mor(" at,,")ut mO(.k s a litt le latt'[ In th(' eh" p ('[, bur for oow leI 'S uS(' ' f as a C ma,OJ' '" air
Since a I1-V-l ln C is built from the 1lO1<'S of (he scrond, fi ft h ami fU() t of t h .. .'i("AI .. , "mpl y
pia), o{ t he C Major $('Jlc Ovt'[ t hocc changC'!;, The scale gene('1J("l (he harmony And I ht'
I ht' .. I", Chnrds at(' S<. .... lcs und sar i<'S a re chords - slmpk ,
Wh, lt' pluy'ng a C maJm ...... Ir ma)' nut make you sound lIke Joc PaM, It w, lI oc a fBJ rl y C'3sy
and md .. d.( way to! '["".ITt pJaymg ' thmugh' <hang ..... - lfUptov,smg to t he sark of t he key of t ilt'
nme, wh, I(' fh(' 1'0 on ht-htnd fOur w lOJ.



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Another way that jazz play.", ,,, j,, [() chord, is to a for "aeh ,-hord. Churd-
,cal .. rt'b.r ion,hip' i, a way to start ' ovt'r' rilt changt'> insteail of through them , One' is
not than tht orh1:'r, jusr
Playin).( ow, rht' r<:fI("C[s the sound of each chord in" 1I-V-1 progression. For the II
<:ho[(L Dm7, play in the ]) ])or;"n scak" - simply" C "'<ljor s<ale suming on the sKond scak
D- E-F-G-A- B-C-D, Over rhe' V (hord, G7, pi,,}, G Mixol ydi an . which s(ans on the fifth
of th., C maj or S(-ak. Irs scale spell ing ;1: G-A- B-C-D-F.- F-G. Over [he J chord. CmaF,
back to of rhe C major That 's a oosi ( look at mc;.:l's as applicd to
of improvisarion \lsKl in jan guitar wloing. \X!c 'Jj <""1'10[(' some wnys to
a I;trle in rht" n("''<[ >N:t ion,
Righ[ now, however, kt 's break down ,omc more ekmc-llls esselllial ill jan soloing. We han'



already (alked abow guide tones - the third, and sntntb, that d .. fine '-Jllillity of the chord
- and chord which melod ic rdation,h;p' b"twttn chord and harmony_
MELODIC EMBELLISHMENT
Arpegg;o, outl ;n" th" targ"r"d chord ( nMlt. rhird, fi f[ h, ,,,,,,,nth and and mel"dic-
[h" chord chromatic-ally, from above and h.:olow. In
f()llowing ]' "e a Dm7 arp.eg,l!io and ,hown ways t o approac-h eac-h
chord to I""duee a more melod ic t"fff'{'t. By wmhining nores rhar are chromar;nlly "hove
and below rhe mrge[ed (-hord tones, our playing h<-<:-omes mort" melodi c and st ill rhe
harmon; , sound of the , hord , in this ,a>e Om! . Exercise 9 wkt"s a ' chrom,l(]( below'
approach to the chord wile (guide wncs arc i ndicwed br arrows in the exercise), Exercise 10
uses a sole lOne abovc approach, whik exercise 11 combines the t "'0 in one appfOilch and
exercise 12 combine, them in another. Exercise 13 a d,[()",ati c boolow and
exercise 14 " doubk chwmauc above,
Now do the ,mile j'lt G7 and Cmaj 7 and you'lll,eat what at. When cumGiueU
with other concepts (guide tones, dlOrds, and arp.:ggio,) m..iodic .. Ilt.\ will gel
uS closer to some of tht ways jaa li nes aft' creat{.J.
Chromatic below
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184
DEVELOPING A JAZZ LINE
You now have a handle on many of building bloch of jOlZZ s"loing, so let\
cXJ.llline a series of differelll waY' of combining melodi c [() "hord, and , ,,ale,
i n order to de" elop a variety of solo lines wit h different moods and starring wieh rhe
cxtrcmdy ,i mple and building [() some m mplex Sri II tn our fami li ar key of
C ma jor, we'U use our four-bar II -V I prog ression of Dmtn 7, C; 7 and emaj7 over II weat
ways of bui lding your ,010 lines,
Play lhcm individually to hear how approach worh, try ,uin)o(in)o( ",t.:. :ted examples
togel her - or tvetl all of rhem - f,)r a lon)o( ,010 thar tt'{-hni'lues. When you gtt tht
hallg of it , r",:ord t he chord progctsston for as many hars as YOll like and fry playtng along,
There isn't a whole lot w say abollt {"arh exercise; you JUSt need to play [htough riwm to
hnr and feel how each approoch works, Exercise 15 st 'lr lS uS olT simply hiuing the guide
wnes; exercise 16 t akes i t a step funher, linking third, and sewtllils, Exercise 17 uses
' ouave displacemelll ' to run down from t he 11 toward the V, t hen jump,; to the ()Ltave atld rutl,
down to the I, wlllle exercise 18 uses an nample of ' altered ten-,ion' in the flatted ninth.
Exercise 19 picks up the with (squeezing duee into a triplN I'lf
staners, to Ixx>I), while exercise 20 kttps it to outline minor arpeggio, over
ri]{' changes , Exercise 21 t: ets your a little fu rther with 'i nterval leap., : and
exercise 22 outlines .lome short hops in lines made up of jumps between fifth_"
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"',ie'll "I'Jp up Out I I tNhniqu ." lur d",,-!upmg !"IZ IHI .. " w,t h tllrn: d t .. approach.... .
nill USlllS: our II-V-I pnlgr .. """, '" C mJI'" ( Urn"', (, "T, (mal!"). Exercise 23 ,how, YOll a
"<hurd u ... ,r <-hurd ' r .. d"" q ut' , "'hKh la}".' (h'frd. on rop o( o:-a< h Urh.,f Exercise 24
'mut' !, m .. l"d" rift... "mllar w !'"J' h mh .. , In <hap!:' and rh.l t m OH" wit h rhC" chanp:l'S
I in .. lI}, exercise 2S II ...... 'chmmat'c l int's - ",1M t hJ.1 mow' shon intervals for a riJ;ht,
OH"-"'O" .. lIy nlt-hy ,nund I hM ,,,II fall_ on ar all , h .. n:-i("'o(('" r,omts "nd a gr{':l[
d'''''g<' tmm '''ttt. ,,,,nl)' m ... l"du rlln<
AlthuuJo::h t h .. ", .. r .. "onh' .. ,,II ht h-nUT ..... h .. , .. Ion .. , rn" ... prt"Try 'wlfrl}" a. fas'", ,('ml''''.
"'p"'-iJll}' wnh ",mr 0' th .. unl.t mol",. ronal It'ai" rt"qIUft"<L so mk .. your (lm..- and 1:0 at rhrm
,[owly .It Ii"" hll i).tinX w" h Pr.l(l'(('
(02 TRACK13
(H2 TRACK 14
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ESSENnAL SCALES AND MODES







Bcfo('(:oncludlllg our ('xplorJtion of In ... gUIt ar ,,'it h a bebop exerci se , ict 's look at n few
(echnu-I uC'S t!\.;l\ "' Ill help extend your pLaylllH beyond (he cllcllk and simple
melod y lillI's. If till." t ... , ",hetl ..J your apfJt't it" to expior" jaa gUi tar furt h"r, >'00 (''I n
"xpmd on , h".'<t' Ifn your own, tIT ,;""k out mor" in-J"pd, inst rucuon.
four e,_'>t' II tJ .. 1 ."''lI I"" '" know t h .. maju. ",-111", mlllor, WJlc JW.J
the (,)r whol .. - I1<) , .. ) SC" .. i ... Kllowlllg t h",r spellIng w .. il' for mulal' Wi ll (lJ d you
gre-.. d y J1J kllo"' lIlg how tfo u.',,, tI, ..... . W,,' U look at d, .. m in our old ftl"od C but Oilel'
leam..J tht'f , an I", trJnsPlos..d It> k.". til you a full ars..n .. l uf ... 1 took
Here .. rht> t lu)f(h hu,lt frum a C mal". and its cor"'''<Plmd,ng mud .. , .... s w ..
hrlefl y d'snlS$t"l"I .. arl .er on dlls 5I'( II On , YOIl find Ih .. 5<' modes in any key hy ptlpn}! t h .. majl>T
Kal .. In h 'y hur smrron" on t'a(h suhst:<]u(' nr note rarhcr rhan on rhe rwr (I ). Thus
emaj7 C Ionian
Om7 D Dorian
Em7 E Phrygian
-
Fmaj7 F lydlan
G7 G Mixolydian
- - - -
Am7 A Aeolian
Bm7,5 B locrlan
So , he fo llowln,l( .... Iar'onsh ,p ",ouM }!'H' you a modal appr()3("h to 5(,lo,n,l( ovn uur F .. m,l ,ar
II _V_I on <. major







Om7 G7 emaj7
use: D Dorian G Mixolydian e Major Scale
C mcloJK mU)or 's ;,n (".lSy VanallOll of C mJjor, simply: C-D-E,-F-G-A-8 -C. Two moJ<'S th,L1
'II"(' \lM-ful un' bUIlt fn)m the fou n h alld St'vent h do:gft>eS of the C m('[c)(.iIe mInOt K,lle,
'1111'y F and B diHmnam. Pby F Lydmn over F'),,4 chord pl" y 8
B7 #'),
f) Lmlll",la,d s(,de' ,n tw" typn: half- sto:p' and
tht- slim .. 110rt's ,n Silm .. o,el(',: only t ht startin,:.: note A
half-srq> d,mon, slwo:! scal(, I, k(, C- O-&. - F-G-b-Ab- A- B-C g()('S w(' 11 owr a C dlm, nlshed chord
A ",hok-step ,jimi nisil"d smk on 8 works over lhesc chord (YiX'S: 117.9.
B7#9. 87." BU .
Th" C whok -tonc scak is: C-D-E-FII' -GIIf- Bt, -C. it over C aug. C7It" C911' I I and chords
of that type. Ro: mo: mbt'r chords art- scak-s and .cak.,. a,o: . One 11111'1' ('5 the <"lt ha. For
example, I()()k at D DorIan - t h .. II()tes of t ho: SC"J ie reveal (he chord <j ualillcs:
D E f GAB C D E F GAB C D
R , 3 5 , 7

11 13
I) l lonan sou nds ,atre", OVt' r a I )m7, l )m9, l >m 11 and """n I)m 13 ("hords (som.-r, m.,; , .... 131h w, 1I
al' pcar an (X"1a"( ' 1"""'l'r lIS rhe Now look al a G- alren .. l domloonr Kale o\-"l'r a G7 chonl



GA,
Root . 9
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D, '" F
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Play Ihis scak o,er G7, G711f9, G7Ji'i, or any combination of (hese.
187
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II-V-I-VI BOP LINES
Exercise 26 eight bop li nes owr a new progre%ion, II -V-I-VI , in a new key, D major,
chords from (he fir sl fom bar> rqx'Jt throughoul tach lour-bar line, though you Can try
your own varimions,) 1Lwe .omCQne play the chords ()f tape them to hear the ,mllld of rh" Jin"
and it s vuious degras of tension,
Not onl)' arc lhey eight us.efullines to swdy, lmt th"y Call "I,., bt, in oIle comilluou,
etude, As alw"y" ,ran olf slowly al fIrsl then build speed as you get tI,t hang of it. SfX""J in
itsel f isn't t hc objITtive; looking to build melOOic and awareneSS m,d compile a




h"ndy bag oilines (derived from scales and mOOes) to a, irnpruvi",ci ollal buildit'g blt,,-b to
apply to your other playillg.
Try to work nut doord voicing, t'lf your"df to in your own hackin,l; crack
A, an added hack to [he Essential S<:ales An<l "'lodes to hell' YOl1 analyse
some of l ick>. I YOll haw fun ",i[h this c"crcist ,md i[ helps you to master some 01
rhos .. grear lines lhal you'vc heard yom /,l\omilc ani , ts phl)-'.

CD2 TRACK16

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ARPECCIOS
One of t h., tid:; nin).; chamn <,rls t Ks 'If \) lal1l'1"" ,cyl .. w", Ills h .. reli ance on arpeggIOs .
Exercise 1 demonsr mtt"5 (;ma, I .l arpt'AA' o (w,[h n" n,mh) that Dian!!" "ften used. NouC('
t haI it 0Ul Ix- fi nJ.(tCrt"" ffiO'S rly - or t' m'rt'I ), - w,t h tWo fi nJ.(t'rs _ Exercise 2 is a emajl i
arpc"gglO. t his I,me mel udmg ,he nint h Exercise 3 ' $ a mInor 619 3'l)t"g,Io\ ,n playl."d as triplets.
Djaool,'O had a sIron.!: (cntkn("), fO 1'1:1("(' emp hasIS on rhl;" SI xt h and n lOth .:; h" m mo.,,; (Ill t h ..
kt")' of C. t h .. s",rh/13. h . $ A and rho;' " 10Th IS I . Tho: SIn h and nmth Wnes art' noly mIldly
dIssonant . hut sine .. rht), an' OUfs,(k of . ht' hns" m ad (11.")1 , fhm'! , and fifrh) t h." hdp W { .... ..




some harmonIC mf('Tt' Sf. Th,' 619 soun,t (hol h ma jor and mInor) IS Mltl"t' m d y f"'rva"" .. "' d",
playmg of Dpngo :md hI S Gypsy (Ont (' ffi l'omr,t'S. Malor S("vt' mh and mmo, """ .. ni h chord,
bcc:lmc more common In (he ocoop (b,)( followed , larer rl'1::ordlfl)(S lflcorp() ratt SOmt
of these mot<' mo(krn s.ounds,
DORIAN MODE
Djan!!" di d play mill'" ,-alt I" '"-,a,,t's, "ft"ll DOrlal] m()de in exerci se
4 ) to achi.,v., the mi nor (,19 .'''und. l)Orlll1l from t ht natural minor scale in that
Its "nh Kal" l' a mJ)or ,1I["rva l a rniuot. TI,e majot sixt h
(t h., nott B III th., of I)) , "",d or] mon", s,xt h ,hurd, th., ' minor >Olmd' that
DjanHo Nutin' t hat '''1( '' t ht DonaTI " bu olt <>I , the 2nd degrrt' of t he ma jor
" -al., , t h., I) l"ko,;an ,.;-al r ,h., " mt' kt'y " ,.:natul't' th" C. mal'" So C maJN and 0
Dori an art' mad .. up of , h., MOlt 1,,((-hO's, rhO' o" ly d,ffi,l't'n('O' " """/0('" Exercise 5 d"m(Hlstratt"S
a Dor;an-h.'lSt"(1 I'Mr{"rfl r ha, I) lan/,:o u>o:<1 Exercise 6 dO' m" nsr rar".; h()w Djaog" u..,..) a
mmbmar;oo of Do roan scalar Mel mmor 6/9 ,<1(':\5 ro I,nk a Cm6 chord ro 3 Gm9 ..-hurd
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MIXOLYDIAN MODE
Wl .... n pby'"j.; ow r domlnam chords, (('!Jed h(-J"ily on ,he M""oiyJ'JII mode, s(,(,1I III
exercise 7 . 'n\{'" M, xoi yJlJn mode J ,fr"' rs (Will til(' Ul J)<Ir III lh.ll Ib ,,,,",,mh scal .. J .. grt. ...
IS a SC-llll tollC lower. Th( fl att ' ned (th .. lIu t ... r III t h .. k .. y " I Co ) ' r.,. .. d.., ' dmlluldl1(
sound' IIwl ' s ucslrJl>l .. fur J u""" ,.", d ." rd,
Notice- tlwt SIIlU rill. M.,u>I}d' .ln muJ .. ' .' bUIll "n tilt' fitc h d",,:rtt " f eh .. major \(al ... a ( .
M,xol)<han moJo: has til( sam,' kq SI!!Il J IUn ." C mJj<>r ",- .. I ... So C majur UIIJ G /'.1.",,,1)'<.1, .. ,,
arc rnJlk up 0/ t h( s., ml JgJll i. d,, "Illy d, lI"r<"l1u' " [h"" u.,age Exercise 8
Je-monslt<ll cs d G ,\1 , .. olydi,ln rUII tI,,l, h"b w .. ( m ,l JHr .H]W)oi')o:" ' .
DJdogo .. Iso 1r<"<j ulI,tly lInpJ,,),'d , h" 'bt-l",p MIlr. ,,]ydJdn ...... 1 .. wilt'" pJaylll)l ""U d"mmJnt
Th" ,><,.1 .. d .. ,-.. J,'I"'o ,n th .. 1".[lO ' l' .. ra " I t il .. 194(h Hnw.:-.... n r5 n:t sr t"fl(tO ht" r",( ... 1





"-, fdr Ixtd; .. , Lo"" Ar m,non).:,"- 1927 '01" on ' Hvrrrr Than ThM'. I)lan).(o. who was h(",,,ly
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Jfltl" .. nn .. -] hy Arn"frung. al "'.) m."k ItS,: of (h,' txt-.op S<:Jks'
T he t-.:t-.op M1xol)-'c.h.tn s<:.lk add. \t!\ " (If.' WIK 10 lilt norm"l !'>l JXolydiaulIloJL _'"
(l1<1( chord tone-. will Cdl on the b.:.,\, The' Wile' Ldl, III the .,,,ale
Jnd (he rOOl , ,1S dc-moll\u"l('d in exercise 9 III doc Mllmlydiall b,:o"r you n.>t
llllrd. flflh .. mel (bt tCllcJ ."n'ut l, LhorJ ,>11 b.,at Th"", ,he"d ton", m"k ..
ul-' the L-",tSlc IUuctUt(' oj ., J()] ll1!lJm , h"rJ JnJ dll'rdor., .. r., ,tWnW, t tar).:,t"t
Exercise 10 I",w DI" "I''' u,,,,J (I'l A bd)(), " .. It" .. n A7 ,h,.rd
to a DC>
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Exercise 11 (, I , .l(j ... }\).:,' lO
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HARMONIC MINOR
Tht' harmonIC mmor scak w .... au ''''''J.:r.oI p;' rr of sound. 111(' IUlrrm",;c mmo, ",-al .. IS
,<lcmKal (0 [he llJ IUr:li "' '''0', With .h .. ('Xrt' prlon of a r:1ISC'J "'-OIl .. d"g lrt: , d ..
In exercise 12.
The f"" 'scJ sn<"mh "-OIl .. d .. }ol ...... al lows for SHOrlg n:-soJUU<>II to , h .. Wnn- chord. So, in , h('
k('y of 0 mlllor loa m",,,,! , t h .. , .... ' .. nr b SCAle . k gl'C(' IS CII, wl", h " Ih" Ih,rd r hor.1 f on ... of ,\ 7
(Ihe dommant choN III D m, ,,,,, harmvn,rj. The I) minor hMllImlll ,cal .. 011" , has rhe non'
whIch . $ [he n .. ttt1l .J "'nth " I an A7 chord. ,\ hhough DJ"ng" would liS{'" fm-




harmonI c mlllOr 'w .. , a mm", ( hor.l, Iw mostly uscd II lO ad",.-v," d"" 'dommanr sc:'Vtmh' aoJ
' nau rncJ ll ulth' ""UlKI, d"m.nanr chords, Exercise 13 d .. mon_,trat ts how D)ango uMXl
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DIMINISHED ARPECCIOS
I ) ;"n..,: o also m", k uw " I ,ht' d l m nqX'gg'OS, as dCmOnSlfawJ 111 exercise 14.
l),m;n;sntd fiJt1:t'II("(1 ,,, ,, rn h,w" nearly ,am ..
d ,m,n;she,1 aCj X',l:po lacks tlo<' r,.,t " j (h"rel). I ) Iao).(o lISl'<.1 dll'sc In,o' , to tak ..
" f t hl:" flMtt'n'cd IlJlllh dl(!fJ t""l". Jj YOI! as(t' nd a ,I ,m,o,sncd 3rpcgpo" S(!lIl c,m .. from
root of any dommant d,,)tJ , yo" wdl g ('( llll' t!u tJ, fi fth. fl atr .. nl:"d
,""vl:"nt h and !lJllth <. hord Exercise 15 llSl'S" dJllll n;siU'd to Ijnk an
A 7 chord to a Dm6!') <J,ord
Exer-cise 16 w .. :, a (I,m,n"h .. d atl" 'J.:J.:' O Wl( h some .. mhdl "hml:"n r to Ionk a
1)7(\,9) chord w .. G m7 (hurd. In a ) ,m,lar b .... l usong d,H .. r..nr approach , exer-cise
17 uses 1",,,,,1 arl't'gg ' o 10 lInk iln A 7<t.<J) (hord to a 1)6 (hord.
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PICKINC TECHNIQUES







Exercise 18 {It' monsr mr('s a diminishc'.J arpcgsio , hal kt"t' llS rt"1>ra'lnJ.l It>.- rhorrl ,
flfdl , f1am' ned $('v('Of h, and l]anen",' JlHlIh of a G domlnam chord. The saOl(" (' X;1("I pam-,,, can
ust.,,1 (I>,'('r a n mUlOf choed to l-'X' ( t he root , fl alt cnru third. fi all (,nru fifth, anJ S' Kl h chord
root"$. '11(' fiml NI('l1 fi f, h olTC- ts an <:-If oxl lve J issonanu' t haI Dpngo also UM'<I ('xlcns,v('ly.
NOI":c Ill(' SW('('PlI'lg fi g ht -hand pICking polt t'rn used m Ex('rnsc- 18 (up-,Iown .. down-
down) Dlango IIst ... 1 !Il lS I""Hern (0 a number of IIlrfUOSIf rffcrlS Exercise 19
dt' monSl rnr('s rh'$ same pICkIng p<lt('tn applied (0 , h(' chord chang ....s of , h(' mnrcml'0rnry Gypsy
srOl rnlanl "Bossa J)oro<.lo , Th' 5 !"lITem is commonly used by DUi ch GyV5Y !:UJlnr v,rruoso
SlOchdo Roseoocr!:.
Exercise 20 dC' monst mtts another pi ck ing pmtern Dj ango used eXl cmivdy. It rc):>c,, ' s 'he
suok.;s down_dnwlI_up W a WhO'" u""d ill (()lIjulln ion wi,h chord
a(h, .. a pleas ,n/; V" tul "jI(' 2.0 also (' hurd t hat I
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Exercise 21 lISt"s t hO;" duwn-dowu_up p"UC- rI'l W playa G maJ"r ... al ... . " J<'SCc-nJIIl,L; (rlplt-IS_
(N(n ... Ih' lI till' Ilrsl clown slrokt' " ah't fll )


VIRTUOSO TECHNIQUES
Exercise 22 demonstrat es a G mllior pmlcrn that Dj ango madt' fr"'lut'lI! uSt> of. An
... "( I<>surt' ' ,1 when ]'ou cm bc-l lish a ("h",d ton., by playing" note ami 1,.. 1, \w. Ujdn..,-o often
u .... d d, ... p'lI\c'rn {() ach.('\,(" a I. " hen,n,'! f ... l! d"ubk -,imc dfen.
Exercise 23 demonsr ral<'$ a '''''''-; <If asc., ndmg arpcgp os, Dlanj<o ,,_I tlus ' ypt' of ,dc-a
" ft tll TI .. rxonlCuiar H' rs lon w...l l ' d, ydHIl chang("S' chord I' r ... TI,e chord
symhol.l ab", ... t he m USIC:lIT' Ih(' mOSI I " ... ral ,m ... rpk tallon. "I1ll'y fir(' only a s"!oV: .... w>n . You' ll
fi nd Ihal lh" ld.,a works well over num\' rQUS ut h ... r pmgrc-ss,ons liS "'0: 11. Play t hrtMJgh
















I hl'$(' ... a ... ft ... " as you can (0 OCcomo: f"mll ,ar Wl l h ti, ... slylr and rcd of Gypsy jazz, th ... "
try pll ttlllJ.; $Omr rhyl hm;,- m,d mdr.odlC H,b,s (OFl'"Ih\'r for yo""..!t
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CHORD SCALES
Exercise 1 drmonsrml('S a D major d ,nrd '<Cal,, _ N Ull er that of tI .... dW>r<I , rht' IWO
tOP string' (A an,1 D) rong OUI. TI ... dron" pm;-h("S 3 1'(" nO( al oo Wllh rh<' ,tt-m" " I', 111(' acrU.l l
t"nt's art' norat td wllh d, ... Mt'ms dnwn . Th,s 'S one of the !Hany dmn,,-I,kr ",fft"c!'\. rha, an.'
teJ'Y to "enir-vI' in DADGAD (un", );_ Also rah, no\(' of 11)<' <rgo"O)mj,- fi n,,{,TII1b'S.
' rh", ,, wi ll allow yOu to SWlt , it (.hnrch 'l ,,; r kIY:l1 (as, l CJIII:>.", In rhlS and all Olher
rhord J",', not tah inro ;urOlitH 1[0 , pm-h",.) Exercise 2
rhl' ]) minor chord ""I"
AnOI lln advanragt ()f t ht '1I.IInb'.' 1 of e-.." dy ' nnllrnl'
(honk A nC"Uual chord [I,t' Ihml (hord ront', so II ,s nl.',d ... r ma,t>r nor mi nor J'.Iany CeltIC
m .. lod,cs have a Yery .. mh,,.:uous , hord scale deg ree. It .. nly sw"ch back. and f"nh
ma ,or and m,noor, Ix- a .. d;lf<l p, nh h .. ,w("("n mator and mmm. " r
nhscm Ib.,.: P'l"(" at"(" also ", .. utral, '" rh ..... chords strongl)' Ifnpl)' , h .. ",und (If
the bagpip"'. Exercise 3 dcmomtratt" a numh .. r ot o('(lf ml chords.
DADGAD al", all ows olle to .:a, d), ' un, sonf on th,' S.'ll' UJ a"d tI",d 'Uln';s. A
llllison i.1 lh" sam .... pitch pho)'cJ 0" two ,trinl" s,mul r:l.11("ollsl y. "fh., umbr...! and mronafl on
diffUtIK", l",lw..., n rhl' twO a I'knsonf 'chorl.ls 'I"m,n,S{' .. nr ot
II15Uum .. m.' MKh Ill.(> 12-stflng ).;u'tar , mamlol ,n, and the Grrt k b,," wuko (wh,ch,
sli rpnslflgly, Ix":om" Ylcry popular iosr rumen( In Insh """'t.) Exercise 4
r h(> ]) , ("I .. pb )'t:<1 as u" ,\.Ons on tI' l ><.1.""d and rhord str'op The
u"""" piu' h .. s art nOl alN WIth !f, .. " ,[toms " I'. rht 01 her d ron, .'U"'lo.'S art" "oraft"<1 wllh (heIr
,t"ms down. The "I r ..... u",wns and til<. urunt' """!>' I'l"O<l u('('5 a sound
rt"mo"'S(,(' n ( of the ApJXlI ", ho ,If' d ul {"lm("f".
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nth .. r ,;c-al .. , Ht' o'mmon on Jr ,,11 Illl . " C
Natural minor D-I.! -I'-G-A-fIt, C
Dorian J) IE I- A B <.
Major I) I: FN (; A Ij C.
Th .. mln", .. .. , 111 p"pul.!! musIc ,mJ shoukl Ix- v(' ry famlloar Th ..
I)""ao '>4"1,, d,ff .. ,..; fmm , h .. m, nor III , hat ](5 SIXth scale th.-grt'c IS a $("ffiUonc
Th .. r ........ 1 , c>ll .. d .. " n .... prudlJ< ... " a d'St lllt ll ve sound, WlllCh IS ("xtITmdy pcn 'a,s l\'(, ,n U I I K
muSIc. And t h .. m"IO( , nt l., ",,( nlUf.'" tht' m",( n)mmo" seal" 1Il Western musle Try ad.lplln).:
n:tr(O!j,(, 4 f" rll.- !>,(rhl:':> of , h .. maIM, mln()r. and D.man scales.









DAI)(jA i) t.:u" Mlsrs :llso fn.-<)u.-nrly ffi ak .. "'" of thi rds f"',L:t' ,.,J " " ..... ""d "n<.l dutd
st nngs. Exercise 5 d .... olOmttlUcs a m"lor sclk ill rhirds. Try rh ", U' III,
PJl chcs of the minor, Dori" n. :.nd Mlxolydian sca][,s.
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THE REEL
Tht, mOM common CeltiC Jann ' rhyt hm " t h .. rn-I on 4/4 r,m .. . Cdn c lIcompanist s generally
aVOI d a ' .... 0-1::." ... , r.,.,l which [t'",h '" !K)und III,,," i\m('r' C'(In 'Old Timc' and blucgf"dss music.
Instead, Celt ic gUl t at ,stJi h ..... t .... .. on nn clght h-nO(, pulse. Exercise 6
d, .. ba..1(" rhyt hm fOr rt't'1$, (' ghrh.nO(C$ pb )'cJ With alternau ng down and
up st rokes. TI ...... mi . .. chom .s only sl rlld. on dl(' first oou of llX' Ixor. The n.' JillJ.JIl ing btc-.ItS a...,
pb )'oo on ,he dro" .. stri ng' ulll y an,-I St"("ond strl np), k{'1'."pmg t he accompaniment fmm
ocmg t OO loud and ( :t-h.(- J.;u,mro srs 1'1'(' ( ... 1 . h,n pICks (arou nd . ) mm). Th .. rhyl hmK
'cll ck' t hey pmd uct' i_, part "f oi e t'l l ic muSI C.
Exercise 7 anOl ht, way 10 play "n c-iglll h- uote rhyt hm. Ins[.,. .. d of
strumming " nl)' tht' top YOu st rum onl y the !xISS not l'S Oil nmsc o.,ats. Paul l)radyand
J ohn part l( ularly ad,,! >1 al long Sl'Ct ;Ons lokI.' till S. , m ngs,
and '''Tasionally hi , an enure chord (1.\ a ll smy'lI); Out of way of tht' mt'le. ly.
Exe ... cise 8 gives yOIJ till' mdOOy d lOrd, f<>r a p"p,,\ar tunl' ( aliI' I 'The Congress
Rn' I', in [he key of A Dorian. M", t .,flh .. u("( .omr nnomt'n r "rOlin, I A mi nor and G major
d lOrds (I and "VII). a common panem "' ( .. it It musI< . Tht' ).ten",d s.xrion (an also Ix p!ay(-<..I
w,th rhe S>lJllC lwO chorJ .. Ul A J)" " an musi e'ans will (rC<Jucml y replace
an A minor chord with a D rna;" . d o" rd . and a Co m'ilor (hord wl(h a C chorJ. TIllS
sugg('srs [hal [he tunc ha . mod ul a[t"(l til l) M,xolyd ,an ( whi ch h:u (h{" same ke)' signat ure as A








Dorian). Also note tll:J. [ , he (1 maJ<Or ( hords rhrou"hQll ! thl' (Lrmngemell( are nO( nal ura! to A
Deman (which 1= an 11 # ,n t fl., k .. y SJgnarur .. ). Th('y M ( ' ' oorrowoo' from the [,,-, {urn! mUlor, but
are commonly t lus way SUll nd ).(ood nt'v('nhd<-ss,
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THE lie
Anorher wmmon CdrK dann' rhyt hm I._ d,,' "S. ,krnonsuntcJ Jll exeKise 9 . J ',I;5 Ht" In off/.
tIme, whIch tht' m a bouncy (r. pl .. , f .... 1 Tu 0"" t h ... corllX"t rhyt hmIc wht-n play' nj.(
" gs. you must usc a do"m-ll p-downldHwn-up-dow" .. rrurnrnmg pau e[fl . Th. > pant'to 1'1I 1S a
strong aO:l'TU n 'ery , hl"<-,(, ht-ars , whI ch" ....... ml ul whom pl.ymg III 6Jtl lilliI.' . Also II'Y
Ib,s ('xc-roM' usmjl; ,he hass srru mmln,l; . !"("h n' II"t' uSt'<! III ex .. n. .sc 7.
Exercise 10 demon .. ""f"'; rh .. m .. l"dy and d,(" J s 1<:.( a popubr In.h J'F' n!.llt ... 1 "East ar
Gk ndarl '. Th is runt' " In , I. ... kt'y " f 1) m.l l'" M, ,,, ,,/ 1111.' accOUlp;:tlll lllCm "round ,h ..
D ill;. ,or. G ma jor :,",1 II major ('hards (I , IV, V), a w mmnn chorJ pancrn In Cclr ic musIC. Th ..
B mmor chord IS" common Suhsr lfll " on fnr I) Th .. "",-"nd S('ctlon of 1m- WOl' USIC!I th ..
dllrJ s J cmonSl l':l lcJ In cxercoS(' (. major (-h" ro d'lt"\ nm occur in the l ey of])





IS borrowed from t he D M, xoly,han O1o:>< lt, and """i t<l SO",O: ,meres!.
melody nn tho: pLI)'cd on t he whIst I.,. Th .. ' landare:! wilens
whar i, pbYlIIg. The' wbill tu rc l S,' ,"( rSlon that has nttn ,lightly
to it f{" gUl wr, If yOu "u cmpt to learn m(' loci y on .l(uirar, try to
"st, ji g pi ckin.l( ,"s much ,L,\ po.\sl b1r: down ll p ... lown/down- up- dLlwn_ Thi, wdl hdp
yo" ,,),taLn n, rrt"<.{ flOr 6/1'1 time.
C02 TRACK 43
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Exercise 11 I' a n" ";t'r-tyl .. .. rn ... m " f tI .... p"pular jIg M,sfr.rt un<' l 1us
ar mll).: .. m .. nl .. " 1..c'h n"I"'" by Cd [1(- fi n,i;t'r5fyl ,_,r:; ,o(-h lL' "'''' n- U .. " ,u.,an . T. my
McManll' an. 1 Mart ,n Uso- ,,(rh .. [lA' Xi "l) tunin).; "llow, "n .. m nt''' ' '' a n, h, lull











soun. l . ha. IS $l)m .. "m"" ' harp sl yk ' ,l:",rar To m3""m'7 .... h .. harp .. If ...... , I .. , al l
no ..s ro nJ: om m,l(h as poss, hl('. Th(" OCfn\'l' I(''( h''''l ut" . wh oc h IS e:-asy '0 ,,""rem .. , n 1)/\ I )(;111)
run. n;.:: , IS rh. rh"..1 of rht' arr:mJ.:t"m,fl[ (ahon)
Insh mUSK,ans (' mlx- ll ' sh m(' Ic"lics w" h an omamt'''' call",,1 a ' mi l' A ,..,11 IS
hy ad d rnl-! a ",mn' nol,' ilhov(' and helow rh,: pri mary pi tch 10 ere"," ".pIN
rhls H'( hrl!(ll'(' ,l ot's"" wor k on Ih(' gllllar as w('11 as if docs on rh(' fiddk, tlUH' Qlh" r
mclo..llc IIl s,ru m(,IHS. e('hl c t:UIlHISlS havc ,k"js.:<.1 numcrous ways 10 ,m,ral\' Iht,
smmd of" roll , 011<.' of whICh appl.' "rs in the S-(cond half of bar four. A combinalJ Oll of hammer.
011.1 , 1'1.l11 .... ,((, :."d pll.hod -'<"lUnd of" roll.
9
CO2 TRACK 45
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214
LATIN
by Nestor Garcia
In La t on music, th .. g Ullar, I,k", d"" us<-d as a p.'n'"uSSJon think
anr rhmg. Th .. way tn ,olk .. (on[('ul 01 t il .. gruo, ... is to uS(' [<"IX-UtlH' pa((('ms, JUS' I,k ..
a l' .. would. In rh,-, ,-"nrt')([. rnU't uf tI ... g u ml[ p"ucms art' based on paHo:-ms from
p,ano and Cuoon 'He_" '" (,!!ued m,r Tumt'm Wit h t hr' COUn.<'S of double srrmgs ru"a-j ( ; ,
<. andE.
Rhythm pan"rn.' art' rt'mr..d atUlIllJ ti lt:" "l IJ\c', A cl J\(' IS on(' of a pair of shorr wood .. "




stieks uS<"<! "-5 a l"O("tOI"'OO InMrum .. ,, [ III WC IIl usuall y play rhe clave rhyt hm, a
two-bar par(' ''' that IS to ),.. rh .. ( .. mrt'pt>llll of Afru-CulxlIl SomCll Ol("l. th\")'
,lIT rdcrrn! (0 as 3:2 or 1:3. Thi S mt'rt' ly r .. ft'!"l' w til .. num[:..,r "I til) , hUll C hlts ill (",l(h bar.
Exercise 1 shows ,he IWO baSIC tYlX"S of ,on dave and rumlm da>", from liour
j,(uiwr aml ill ally possibl" ,\ l\u,I\lOIl, tllp 11 dave rhythm w,(h your fI,I(h[ hand whd" kC'"pUlj,(
rim", in quarrC't-uot"S, with y,wr left lwnd, Then reverse hands, wr irr",n th" ,nn d,, >e in
2:, as rhi, i, [h" mmr ,,{)Inm()n i,mll u,'lxi lor eh,l -dtl -cha and mJmlx>, you find rhem
in ,:2 a, wdl- ju,t rev"r", b;Lr" ) In 1, j Chl\'C \11(' f;(II I>l[ on J downbeat ; upb"at.,
at" in th" , ,ide of ,h" dav",
Exercise 2 i, the 1"'t1:nn pl:.o.yed b} dl( phI f er on tlw of h"r"
u.mbin.,J wit h a 2: , _,un dav", 1t J' l Jlkd l-.lscaro', Usc Ih.s as" warm- up e"e"iS(' , play'"g it
purdr as a rhythm pau "m, and , h"n t r} t<J u'" It ill I ii .. S<.ak ill exer c ise 3 and play , t w, t h
your own sOI11:'5 and a.-p.).!}! '" .... II'" hi ",:e' t he ideJ f.tmly III }'our boJy,
Exercise 4 is a line ha_i on t h" l'llI f[C' tn pl.}'..::1 by [ h" ' In." cubano' . out lJllinE; a 5C('ond
JIl\C[SJOU C major mad Somefl nl('S )'Oll can find " on I) ,\ u...-d pmnanly (0 play 'wn
mOIlt Ullo', t hc olJC:;1 form of whm we know roday as sal",. Tho. I", .. pl .. yoo in the ,;,on
dave. All (he s,,/sa JnJ mambo patterns al'(' oosed on $On moflt \l no pau<:rns.
H unJreds of l u,= anJ st}ks al'(' base'll on rnc- I- IV- V chord pmgn"'s,ul> f""l"r. ,Jo",cr. on
or IIunOr 'Il1f(-C chonls, du"cc on"trs,ons and k<:}", rqUllI lOS ptl.'>,Jblt
Vdfl ell b of Gnger cnt cn ammenl for \\ Sllnday morn,ng, and you C' .. n Iranspt"'" t h .. lim; m
exercise 5 many "Jtia\1ons of them. Thc-n add of th .... rhyt hms and yuu .. done.
J b,t o( lapplllg a( the samc u me? Perhaps a 1:3 son .-l a\'<: ' Sunday alt"rr"MHl is
>lartlllj,( to ltMJ k Dl.I.'Y ttM)! It \ "asy 10 Lh." lf;e IntO m, nor fetl. ,( you rh<: tri"k'''f finj,("flllg.
Ju,r rak<: Ih" thirJ, (}f I und IV dlorJ s il .Hlcn them, t"b ng from maj(}r thltd, 10
min(}r thi rd" a, in exerc:ise 6 , Try tfan.' pusing til" ll\,ljor ri{( from 5 ro orh<:r kry' ,








rhen transl'OS" ir into rh .. minor a ... h", b .... " dOl, .. lier .. fi,r ){)u. If you also slow rhc tcmpo <lown
co somcrhing around 70- 100 hl'm, Ir ht-"ome ... '.'( uapra' trIOr'" Pronounced 'gw<I -hcar-ah', [h,s
is " tradition,,1 music or the p('aS'lIlrs of Culxt , an:ompan, .. J by Ir'" LUWllO,


Rumba Clave
C02 TRACK 46 C02 TRACK47
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C02 TRACK 52

I,N.V minor


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L--_____ ._ .... _ .... ___ _
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215
I.V.V.! mino<
216
Exercise 7 is anorh('r ' )"I' ;cl1l chord proJ,;rt'SS,on , SImilar {Q (host' found on (he Viwr
Social CiI,b CD (ch("Ck 1( oU( for some pUl'(' A{roCuoon g rocm:-s). It the I _V_V_I in the
k('y of J\ mmor in 2:.3 da.,e'. TroMpoM' it 10 diffc['("m
Exercise 8 II. mont uno iine. 11us IS ou(."o( d,<. must JXlttems (oulld III sak .. J. ud
J.auJl ja"". You find }ou'Ll get ix t u. r f .. -d if )OU follow !l1l' pu(,," 11\ "(UI um .. . lt OutLmh



a Om7 type of but }OU C1In usc It .. Iso 0"' [ II. Dmi-G9 progft.'>oSJOIl.
Exercise 9 15 a typIcal son mOOl uno I ll\(' JII 2:'1 dAve. Kou' th .. t the J ownl>l'-.lt of tll('
mon(Uno fall5 on ,h(' "t wO $.d(" o[\ he (Ihe- OO{ "llh t wO not e'S 11111). and the syncopal oo
bar of rh{" mOIll uno falls on Ih('(hl'C(' $H.k ' of Ihe cia"' , I l ow )OU usoc the c1J'c umxtlon dq:cmh
on whet her t he mtlod) of the lUll", III <"th .. r JITI'<.IIOII (1: $ or j:2). h .. th" ju,t tr}
10 gel lillS lIIle "" tempu,,"d t he ,,011 I} to hol d It (,,,,, long l Ime R""nrd
the d"ve alld pld)' Ime It
Exercise 10 i a In 3:2 dave. Th, s 15 ,. very kaS I( to
concept of playin!,: with claw, b\lr th,i( ,here ,Ire v,lti ,1Iiolls W lhis p,1Ilern.
It is just " srarting po;nt . It malll \ains the same chord progrcssion as Ihe prnlous example Hl
2:3 all d wirh "II r('S1
T he kasi( rhyrhm for rhe cha-( ha-cha ,s fO\lnd In exercise" \\fe "II know (his p,l([crn
from orgall ri ff III S>lnrana's of 'Orr Como Va' Tr,' to pIa)' ,hiS Iinc while {applllg
rhe 2 -' SOli (lave wi, h your fool. on the note Icng\ hs anJ JOIl't rmh'
C02 TRACK 53
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Exercise 12 IS gomg to add som/! (() ,1'1", ( h3-("ha-(h3. it "'ould ongona!! , btt"
pl ay<:,<1 o n " piano; here II has l>toen ....:L.pr..d for ,cIHl ar, It IS Imporl ant to ha"""om" m-<>rdma.,on
nt-tw('('"n thumb and (jng .. ", h.-rt' , ," d<;l n ', "'orry If U lakes a bit of lun .. toS"! sui ng_ Ih' m"mht-r,
th,s is only a VAnatlon . '" don ', (:1"('1\10 I t onless yo" wJIlI really busy (a!. Huld I t "AhL
Playing durlllg a 5(110. IIk(' or u mbal('. lut, of nmn"ntr,u,on and
a }:;ood SI.'IlS(' 01 rhythm. 0""" your <'yC"S ,r nexCSSMy [0 unpwvt" yuur cOflCI! mrat ion and ht-
rd,,"cd at th(" s:J mt' tim". Exercise 13 IS A common montunu I", .. , oft .. " u.,.,.j !)Vrr a

'>010. 111is "n,,[ ht" ncerc,St' to rc, nfot((' rhythm. TI", tim .. it nutl in .. , a
C7 m:lmbo III 2:5 davt' (rrm .. ml>t' r'J. Trnnsposc It. You would u.W d ... ,am" panl!fn uvn, for
("xampk, D7 w (: 7, fo. "" 0 b;.r5 !'a(h, Try (\.kulg i. thruugh A prngrrssion,
-------- -- ---------
C02 TRACK 58
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Exercise 14 IS rt.(" son "r rhlng lIughl God i n a Mon,l:o tul1t' 1t '5 JUst ("0
Wl l h a nicd y rhythm If yuu .... playing this on r a con,l(a ",In, b., p""p"rru 10
pJd) groovc, and only rh,s ,l(fOO'"." fi,r fi,,(" to f.-" mlllulCS and mayht- n("n Inlls .. t . You
thInk II ,,,,,nds but you' ll n("('1.! fO nal ly fiKUS,,1I )-u"r pb Y' ng, boxauS(' rt.t' ,,,101M woll Ute
play IIII') )'X,ut' rn. and fills that w,l l throw you "ff on no time.
Exercise 15 and 16 an rxnml ,lt's o(lon"" u,.,d in mambo and dneha-cha Tah note of
til .. U't' "I' OCt:l'cs. with fingers (l ilt' anil fi'ur of yOll t l .. f, and doobl(' StopS playing
t hem , [()wly (')0 bplll. em ri lll(' j and work up m 1:20 bplll. The fi rst (')[01.011' 1(" ( an ht- pl ay .. d o .... r
uf o" .. r JUSt a D7. 1-h p5 Sl3rron,l.l to m.m,'
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219
220
AFRICAN
by Kar; Bannerman
L, kt co" or h", series In our World MlI-'IC- c-hapf(' r, I\(' '':';\n mUSK It, mm.' fa, from rhC' guJl a[
"'f: know i( For re"",,,, , It \ ,ml'orranr 10 Ix- "' '''ar(" t hJe mud, of . ryk of pla)mg has
btt n for chI.' gu"'" d""1n t ht' yroars, and would or ' gltl .. lI y btt n 1' 1"1('(1 on a mort'
[ ,..dot lOnal srrmgru , ueh 3' a koN. '
T h" kora . S;) [l':Id'll on,, 1 St'nt'xamt'"an mSn1,. mcnt ",hidl " balal aIka In
US"' K a tar};.:' }(ou rd a bod}. It dut', . have' (ons,uc[Jbl> m", .. '[flO,I;"'. whirh pla) cJ




In '" ha rp- likr f.1s.hion. WJl holl r hem at all. $om.:' of tI", rxt' n-;'"S t o fo llowmg w,lI
SIKYI RHYTHMS
The h .. a.tb" .. t ,,[ Sikp and m05t A[rK,Ul mU' lc ,s .o found In ,he drum .,,,ui o,,. For pran ieal
[eJ'O'''. We will us C' a drum lIladllllt' to frl ',are rhar fC'(' L
Exercise 1 IS a slInpk rhythm YOII c:l n "P \() a<:mmpany yourS('lf wi t h.
if you don'l havc a (Jrum you (ould play the bell rhythm with a roin on an
empty honk as is done in w,' ,( Onlt' yO\1 have- prog nllllllwd , t ill (a '","h""a' is a shakn.
i""dt'nrally) Iry \0 fed tht' rhythm <0 rha. YO\I hcar Ihe- p:<lI em 01 n.,11 . an<l not rhc four-
bt,at pu l", of (hc (JIllC sIgn.i w!"t". It ', J 1"l<'Ht' rn rh,\ ( ,s simi!;" 10 'd,or' rhythm of but
w" hou( t he ix-at o( tht'
Rhrrh mical llldcp .. : ndt'n<;t " ( rllnal ' 0 all m..,,'l . furms have no u mc
.i,l.'. nafUre at all. b.:Hlg madt' up of a .... hy. for signatun"s oj
2. I , ii i and 6 S "" , 11 ("(X"'''$t on ;). slagge-n,d lxor .. m Th,s makC"S t hcm complt', .. ly
unlll tdhgibl t' to {ht' You Ul a f .. d fur (h,s music to pld) it r'ght
Traditional Tunes
"I hl" InU,t dHn r trans lat IOn tha t I mdllag .. 01 {h .. fulk l une MUlll unde' (pwnonnc...,j ,\j om_
Illou-dt'y') {hat to 1001.. at III'W ,, ' Happy i\la,lp<al Dwarf Exerc:ise 2 I"
til<' Illd"dy. , honlS r{"'jX'allng tht e"" l rom four onW;lNs. PIJ}, it w,th a happy f.,..lmJ.:
,mJ r""" rd " . alon,!; wirh thr dr um you I' rogmmmcxl. fonr or IIvt' tim..-s_ uS('
dll.' as {he oo, k.n;( TO pr:lCt iS(' our mht'r " I"; roo L' St cn (0 a o_er ,wn agam un,,1 YOIl
r":Ill y fttl i,_
Exercise 3 is a simpl .. rhythm" F. vcn (hough It " ha_,...,j on TWO chords. [hc nOl t








and invc[si on i, impor,,,nr to rcram (he 11 ,lvor of S,ky, Play A minor widl a cnsp anJ
ri,!; ht plectrum and 0 7 a bu k li u.,in.l( a 4- track. record Ihis onto your
tape as \1;..11.
Yon llld) iind t hat wh(" n YO\l play exercise 4, )'OU wil l start to [cd the v; l,..
comm" [hwng h; what Os ih,sa usexl (0 (ail U' ''-l fl )<o.S rhyrhms fhar cxplode \I; it h happIn..-s,
ProlCUSC jt wn h your t'vt r-("xpandlllg oockJllt: t l<.k r ou af(" tillS ,.., t h a
plcrtrulll Or fJ nt: .. pran'$C ' T un III dl<"fI.'\" flow, ur ro rJsh( -hand <lu ion. Ldl_
hanJ fingt'rillg' a rt' SlI,I;J.:t'S( ,ons onl)" fp thumb, I: ", dt' lC , /J1 mltl.! lc). so chcrl.. them OUt and [ht' n
make np rour mmd_








C02 TRACK6]

BELL

CABASA
I

CONGA


CD /. TRAC K 64
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C0 2 TRACK 67

C02 TRACK 68
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C02 TRA( K69
COWBELL
SIiAKER

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222






















PL1}' the 1II exercise 5 smoothly and 10 (,m(' to (h(" backIng tapt' and you "" II ht'
lllcrnl} adopllxJ b} evcr) GhJnian famil)' Jll town. for you arc now pla)' mg SikYI mus,c If YQU










add a ' hl;"",1d ' with a sl ur on the foun h beat or t he intra , and 3 pulkJ -(lff (>:ul on (he next
h,utth b.,.tt, yuu Wi l l boo pl.lymS I h., ,Crl., as an would pby it. We al'(' USI!ll: t he
,\IIxnlyd, .. " mod .. hert', a .. I h .. I' IS n .. tur.,l, alld tins Coin be USt'd as a {Ool for solOIng.
Try pl .. Ylflg Lx .. r. ,,... S all .. lUSh,,! [han wrin t''' 10 gt't an .. dUllC Koru freL Usc }our
"'d .... fins!:! a IdJl<' at Ih .. 1211, fret - or t"vl."ll try It JIl open pos' tion on a Naslwi[lcwne..1
(a wnh the lugh-oct3H> sl rmgs from a 11' Slr,nf:. or
!o;"ugeo.).
Exercise 6 IS" IYP' ('al Palm \'(110" gum" sol" mm>, which you could jon' up to
'j (as of 'j anct of .ou r, (; imply), i, '" fmrn l l d \
pos, roon an,l down to rh,rd pOS" 'OI'l , Th,s downward " r harann" f" . "f
Afncan mciod ,cs (sec CXWClSC I). Notc also how breaking away from , hire!, on ,ht' four t h
beat adds more Chal'\lctCr t o thc li nc you' rc play ing. The li ne also cchoc$ q(iinl. 1'1 0 1'1 -
r('soivine: !I"HII C of Si kri. wh ich IS typiCal of the vast maj ority of Afnon n1\I $'C fo' ms.
use of your Wh,1Jllmy l:wr to sli de i1\l 0 dw nOtC5 will give } OU a Sunny I\ dc ') \IJ\I ' f("('1 A!; a. n.
a happ) fcd is before you c"n loin it up with Exerci se 5.
HIGHLIFE RHYTHMS
Our basi' rhyt hm for tim found ill exercise 7 . It cannot be o,clX'mphaS,a'<,i lUS t how
rhythm IS 10 tillS kmd of muso.:, so suI'(' rou gn Jl under )'our sl on dancc to ,[
Make tht' temp" "wmfi,rt<lble; anye h",,!; (rom I (JOup'" to 12()uplll w,lI Ix Jinc.
Exercise 8 " [he m.,locty from "'Hlg ' Yaa which J OOUI J young.
marrot"d ht-fo .... , rC'C1JM metod}' and rhythm l ra,'k In Jlong to,
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C02 TRACK 70
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223
224

Exercise 9 15 a 1)'P;,,,J Ampoosah gllllar f:NXIvt'. Pm(tls(" II WIt h your fhrt ll m ""rion, slnwl y
at fiNl. gradually buddmg up Ih" t crnr>o unlll }OU (81l ('("(leh 110bpm comfortably. Es<;('nr,ally.
II a fingerst)le Or "" o. fingcrs-;lIlJ-pk ('lrum groo'oc, some of Ihc arr-
unpb)" .. bJ ... wIt h" pJt"urum J lon .... In .... o..-<:J US,- of dll.' domJllJlll mfiuencc of Ihe kol'll and
th .. ( .. "oth"r Jut ... ilt'Humt'm). Ill<' ['Sln.lund two-unger pickmg IS
pr..domi n;om, om lJM' whJlt'\t" ,., lumf<.rt-..blt'
Th .. chord s)mooJs ar(' JUSt guidt\ lO gel the uS(" my exact m"CThlons. i'\ um('rous
of h J"" ;'p"wned songs ""'r " CSI A[nC',). and ocyonJ IllS[ ask
B".I" E"" or M'lk Htttwood It h tu 1.I) p<.O and pla>s cruci .. l pilrt III the ongomg
c",,,-ft"nil isauon ul l)O't\H'tll " fTll". LUTl'P" dud I h .. C" n blx'dll.
Highlife Jazz
Exercise 10 is a rhythm hck (a domln.onr ,,,w'nrh ,-hord with a fourrh but no
third) dOllUllant se''Clllh chords. 1 kre we arc mov'"/I Inro ,he "r<:''' ofhi/Ihlif .. hi ,!; hand, and
lughlife jazz. Tr,. lhe more compkx chords "'f1!len LlIlderncadl as " j<luier variation, Th" i,
more big b,'nd hlghlifc, 'lS Lt L,ses these crossover , hords. The essencc of Aml'ons.ah i, r .. m;n""
in the mdoo), lines, rhythm and bassi me, Usc a semi-mu!",!. snappy pkorum styk ro th ..
come ali>c. \'lhcn have maStCI"('<.! 'I , pI"lU(lSC I( w,th Excn: ;S(" 5_
Exercise 11 IS a !) pocal Amvo.,sah phr.1SC uscd h) loc,,1 ).,(u, r"rosrs - th.,. ,ound of th ..
dinuOlshed chord oS >cry r('Jllm, sc('nl o( Ihe lon,l]il) of sc\cnl! mdlF;enous harmonIes and thaf 's
wh) I! 'i uS<?J . Tills (' xercoS(' IS [("all) <.julie i"llpk Swrt w'l h (he dl mm.shed [road an<1 Jusr mov.,.
Ihl slup.: du,", ,, t it .. ItLtlx ... rd , r<:t .. inUlg li ngering unt Il }OU hil the FG chord and C. Thc






tollowlI1,1i ['hra' .... ':lfl' pld)t"<i in "1)(lh,. rnlKh 1,1.. ... dlt'" by Sine Cropper al the
n.,,I(mning b)'.'\am dnd I)J"t"
Fmally. exen:i se 12 P)U an .rnl'ft"'<.",," ot an Ampons.ah .. _ l\", ... Iht
syncopation and a,t(a.n'r Th .. ,t(mrar, 1' " ... tI.'iO" umd ynu r .. ft.t.J iI, wh .. " you dun'l
nl"ffi 10 Ihink of nOTo:':S. hars or phrast'S Th,s" mil"" 'adakamu ' sly I.,. . as " Irdd"JO" .. lIy
adaptcd from rhc I'hra<tn}( nf rhr dmm: m.,.an, 'box'
































CD2 TRACK 71

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COZ TRACK 72
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C02 TRACK73

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CD2 TRACK 74
225
226
KLEZMER
by Michael Horowitz
I n t he Old World, klelmer primarily on rho:' vlol 'n. II 'cymbalom. an mstrumcm
si milar m t h" hammerM duk imt' r, was for acrompanlrnffl l. LaIC[ (he clannet anJ brass
H1str umems we, ,, added T he ' klt'1monm' In N'o:-w York aJopu.xl dcmems oC jan
J1lSuumenrauon, mol" norabl y a 1)'0100. bass, ancl drums rhyr hm section. 'Ibc gun ar IS a very
new addi n on ru klezme, mu"c whi ch ""as,, ', ,eall y used bc-fort' rh., 19805
In m OSt cas"", rh" .!lunar will Irn llll[e whar [ht cymbalorn, and later thl.' pmno " 'ould
u adnionally play. However, ,he role of rhe on kl('lrnrr musIC 15 ocing explored and
npandoo by numerous ralenft'd >i:ulnmsr s Jeff Warschaucr's CD Tix 5mgmg Waltz (e"tUII."S
fi n,!;elOStyie guitar ar rnn).:r mr nrs of klczmcr HInes, [}.l v,J Fiunynski's electric guitar work ... ,th
Ha."dic New \X/avr {omblO("5 cicmene! of \Wanl guuc rock and mHaL
RHYTHMS
Exercise 1 uelllOnStrat t"S m,!, t 00,' ;(' acmmpanimenr panern . the two-Ix-at oom-
pah rhythm. Usc alternating down aud up To acc.,.nrs, mUfe on the down
Ix-a( let the chord ><Jund OJ! off ArlOth .. r rhyt hmL," pattern that is ofren played along
with the more basi c rhythm " In exercise 2. ThLS produces a
syncopated effect by placi ng an aClt' nt .. .. The paltern ' I"CS('ts'
Tht' acc .. ntt:d art' playt'd w"h a downs rroke i1Ild the ("hord is soundcJ. The
unaecemt'd ar .. playt'd WIth UrNmk .... and Ihe chord IS mute<:1. TraJJl ionally. the pmno
would playa st raigh t ""m_]h rhyr hm, whde (he drums pla}'N thn S}' llcopatru rhythm. It
works w"lI , how.,. ... .,.r, t o play (',eh('f of t hese rhyt hms 011 t hr gUl tat , indivi dually or
SImultaneously.
THE FREYGISH AND MISHEBERAK SCAI ES
Exercise 3 drmonstrm{'S t hr D frryglsh, or alt ered PhrYSI.", "<:al". It t h" fi fth mode of tilt>
G har mOniC sealr. So If you take any harmoni c mmor SCI\" and Matt from fift h
)'ou' ll [h(' pirches for the seale. '111e aus ml.' nrt'd S<.'(:ond (I'., tu FII) pmdures
a very d;sti nc{!"'e sound. Not Ice rhe unus ual key signature, wlueh hilS two lI .. ts and a sharp_ Th.s
(' xotic- sounding seale is uSN III great m"ny klnm .. r mdodJ<-'s, moS{ famoll.< of wh ,ch ;s
' Ha ... a Kagila. Thr frrygish seale IS fOU[ld in Gret' k. Turk l<h, and Flam"n", mIlS;C
The D Mishclxmk, or Dor ian ,. , 11IlwlI III exercise 4 . It the fourrh mode
of the A harmonic s.cale, . 0 if you takr any harmonir .seal .. and from the founh seal e degret'.
yOL/1t havt lht' for M"heberak The sharp fourrh seait' drgrce (G_) and rhe
natural si xth scal .. de/iret' ( ll ) a v(' ry ilL sronn ,ve SOlllld. Nader the key
signatur .. , which ha, ,harp - hur 3 (;# Instead of t he (\,sromary Fl! . Midwbcmk IS fllO'i!
C()mmOn among J'-'wi_<h mu<tcoans, hu r 'S also us('(1 ,n some for ms of Romanian music.























CD2 TRACK75





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(02 TRAC K76

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CD2 TRAC K71



C!)2 TRACK78







227
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ODESSA BULGAR
i\"ow WC'f(' going to put I{ tugt-Iht- , to play a fUnl' . Exercise 5 dClllonsmlles {he
and 3CComp.uIlm .. nt for , h .. (Ia,",c klC'lmf'r none Odcssa Rulgar', A 'bulgar' is one of {h ..
mos{ COm ilion of kl .. 1 s ,n 2 .. i " mc and ,s usuaUy at a t .. mpc.
'I1IC crlUre mdod} " dt"rov.,J from rhC' M ,shehcmk Odes .... Bulgar' has three 'Know; , and
Ihe last :;('Cnon h pl .. y.,J on ro m ... wh u;' h m('ans fOU only lilt J ehord at the of
lhe mcasuf(' and then IdY nur NnIlCC' . ha. on rhe r('cor<lmg rhe rhythm back and fort h
OCt "('('Il t he rhythm, .n 1 and ('1{erc,s(" 2. En/oy!
.......... -.. ---...,
CD2 TRACK 79
II'
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CD2 TRACK 79
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DAD(iiAD TUNINC
Let 'S stan wIt h a [, .. ,10 at )'ou ',,<, onl y rClu ncxl t h(' first , -=o"d, and -",,,Ih
st n n!."S, e..-erydll ng yo" knnw fl'f)rn smn, br,[ Wlllllt! ( an sull b.: appl .,J {() ,(r"'IiS I hrrt , h,ur,
aud fi"e. If f U" play th .. C ma,or seol..- 111 exercise 1, yu" WIll r<' mgni . .,., t har II IS 1'101'<">1
"',at l l)' tI ..... ""me a. If rhe J;u,rnr was n('vcr ['(", u,\<:"d. Y(. u ,hi, Sial., pat""rn lip and



dOWII th ... fingerh .. ,ml to In <"cry l.('y. lulJ you"J lIe" ,,( k"" ,., t hat yu" w"rt' 10 an alf nna. t
(UllIng.
SlIllIbrly. It,S havr a look a! ,h(' C G- D'i (D') IS a D churd w,t h nu third) progrl;".sSIon III
exercise 2 . Once the fan ynu' n.' III DADGAD dot"n' , whnt ,hot- n Otes for
the", m ach come on . h(' Strongs III alluwmg f Ull Ul p lay rv<"ryrh"'J; you a.lrl'01<.ly know.
Of COllrS{' , slmpl )' ph.ylllg d'N:d-I" "" ' '' ''' ,al .. , chords ' S hard!)' . he POlO' of l1SUlg ,Ill
alfl' mare l unmg-. SO Itt"s d,t"l. k om Ih .. " .. Xl ... O . ' X(TnSI.'"S.
Exercise 3 ,h"w" t h .. ""mI' ,' xru:r C s.calr r,s Exernse I, but tlllgned w,th ' " ''
of 01"" 11 ' trill)o;." whi (' h 'nsranriy It' nds a bIgger sound It "lIow . y"u to kttp , mn); s rln).:ln).:
longer. Exercise 4 adds 0IX'n smllgs (0 , he G :'nd 0 "four .. xampl .. , ": ,,,,n);
t he re,ulri,,); -"HInd a mil ch hlgger nnd mo<' ' C.I(U)' lllllg <jU,Li.l y lhall "an Ilfe a(' hl""t d USln);
staudard t U[lin..: .
T hi, ,am .. ("<) ne<" I" call he app),cJ l() mh,r IUlllllg." A d, .. "" at I) m,nor fll ni n..: rt'w-als
that ,{rwg' fin, r and 1,,,(, an: M(!<' how"""r, '!rI ngs on .. , two, an,1 rhrt"C
a", all {"hang...,1 hy rhe s,1.me "",11<11. ,U"" d"wll TIm m .. ans rh,r .... .. ryr hi n.u; rou krlOw
how to play on rhc (01' , hfi'(' slflngs In >lJlld. rd Hill",); can 1'1.. appl ,...,I. as long as rou k('('p m
mo .... 1 rhar ir wi ll 50u nd J I"", .. , Exercise 5 shows a C ma,or scale t hat follo ... s J. n
id .. nr ical ilnge[mg pallan ,0 a md,or ",at .. play .. .:! on rtw 101' , hl"l:-,(, m stJ.nJ Jrd ,uJl m.!:
Exercise 6 a I) C ]) A (hord I'TO,l.:I'('1S' 0n. an,1 not lCC t lwt thl aft' fdmil iar
fllf'llJ S {m ill rll nln,l(. Exercise 7 a..lds bass to tI., pms"".," UII
Exercise 8 . ."ml lar ro ou r DJ\ J)GAD ' Llmpl .. 2), but played In
Orkr,..y rumn,!; , ( .( ; IX ;( :1) Notc I hal II US('S , he- $;oIl1C t'"S"flns ,,"ly mnv .. "
0,",' [ Olle su ms IlIu,tmro;s how, e,'cn Ihoug h , he- groupmg "f ,trll'S' u,ed fi " [h .. .. tC"t
,s tunlx] to dj ff .. Ilmo;s, It ft-a t ll rt'S 5:' II1C It,ultm.!; in
chords. whi,.h now F, C, nnd G. Exercise 9 shows t hl' pr"Wt's"",,n WIth :hid ... i O), .. n
,ui ngs. lkt,allSt" wt 'ro; srdl dcal mg wah Jill llil lM Ill t crv"k a ', aI,,, tn play saks on srrm;;s
tWII. tin .... an<l f Oll t. Exercise 10 J ,)()tl .... r r. !fl )or ,, 'al .. II SIn); rho; fingttl ng as
pr .. vious t"xampks. if 's ll11crcStong ,0 ,:m"par .. till' , n. lo: wllh <' '''''(IM I, how








v("ry same no,es may t"lJ "'w (,<lmpl ..... ly d ,ffo;r\' nr IJOS.f lons on dlC' finguboard once the lUlling
is changed .

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Obv;omly, there are IIITHt,. to h"", mm h m mm()n wound you'!'t' !<o; ng to fo nd fx.(w('('"n
variou. (uni ngs. G m",or {umng (1)(j IX;lIj, J) only has ont' p .. ur of sninh'"S (Ihird and fourth)
thaI arc to standard . Th .. fo ft h aod SI xth sm ngs, however. an'" bot h lowered by a whole
10nc. wlueh aliows you rn USO' , h .. $anl(' prl n("lple m("nuoncJ in reLal lon co the first and Sffond
smngs in DAOCAD. You' ll also nolO("(' rhat G m.nor and CGDGCD (Orkney) only d./fer by
IwO sl tinb'"S, crt""at lng I" h ,,(famIlIarity from 00(" 10 , h(" ot h("r.
fu you Sff', II 'S wnn h th .. .. ffun of looklOl'= InfO s.m.laIllI CS oct,.,crn tunmgs. By all mC:l lls.
kcrp Ihe [[(-slo ness of playmg In an ' ,onO(t nf ' Bill i unfaml loar IUmng. bUl you m. ght also want
10 m .... lyse what \ at h",nd and so-.. Iww mtKh of what you al r..-ady know .s applicabi(".
MOVING BASS LINES





of tht tkmcms separates 1lI:,,)y fo n,l( .. n)mpoSilluns or
arran,l(' menls [rom Cllrlier. .. s IS t h .. U\.C" of a mO";ng bass line, Mort"
traditional Sl yleS sl.eh as Trav(" pH k,nl{ ar .. vlfr\l all y defont,, 1 hy '''I-'t'f lr ivc bass not cs.
While this "tI"rs "p\"-"lun,ty for a dnvlOg rhy' hm. it can havc a tendency \0 get
sratic if appliccl to of mu,,( hy classICal [))l1si c as well as jazz. folk-
bal"O<Juc guitarists >ud, as )"1,,, R .. nbnurn 115 1n,l( mon' flowing bass li nes, often adding
rhythmic <Hi; ",ell ha." harm.",; ( Exercise 11 shOWJ a simple dcscending bass line made
Il l' of hall notes in DAfX-;AD [unon,L(
Exercise 12 add., a m .. l"dy and harmony. and . (""en though we h,,,"en',
basic t wo-oor bas;; "f Ex .. n IS/' 11, Wt' now hnv(" a simple (,.ght -oor tunc, wluch .s a
or my coml""iwIn ' .. irs. Smll .. . NOfl ("(' how even t houS:h ' First Snul .. .s play"" in DADGAD,



t he t Ulle in t ht' kt'y of A minor, .. kmons(f\l(" lg how tu"' tllIS nm I,., ust:<:! in 0.1 ... ,
t han tht"if obvious, open-sHlllg ton.olll y.
MOVING AROUND THE FINGERBOARD
o[ m.d tine " f rht" C" hatlt'n,a.:t'S 10 kcrl>I ng a {omposillon Inlel'CSll ng on
W"Iar IS fi nJong waY-' of pl",Y' 0'&;: Ih .. $am .. tht' mt' . One goo.l way 10 ;\Ccompl.s,h Ih.s
goollS \0 usc J.lTerl'lI! snmgs and I"IS"' OOS on Iht' to play the samc melody.
C02 TRACK B6
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Lt-t \ a I ii .. t"xc .. rpl,i ,)f my COrll P:lSil i() o ' I k ( Red 11:,,(' m exercises 13 an.1
14. TakI ng advamagt' of d ... "fl"11 smll/is ava, labl .. in G mi nor [ umng, I begin by pb Yl ll the
t h .. mt' on tht' f.f1Sf Sf ro n}!, "'hil t' arpo:Xx,a1 1OK 0" rm, "P"" ",-"<-lllld , thIrd and fnurt h stnnb"S' In
t h .. va"M' OO (t'xt'rr ,sr 14), whu,-h (I,ffi.rs from anyt hi nx filUna on l h .. full ,ompt""llfln ItSl' lf. I
srarr rht" mt'lOoly on fll .. ope' n rh,r..1 sm ng, and rhOll:it: a mnr .. syncop:u..d rhythm ""1<'lOa " f t he-
aqlt"g,ltIOS as an acc;:oml';1n,mr nr . I d<"(:.d.,.-l ro rh .. ( UrnamUna nn bars .' ''''t'n .. 11.1 o:.ght ,
whIch 's Il()W rnv\t:<! up th .. " ",-k and opo:n--1'ini ng harmmll cs.
In t h .. conrt'Xf of I h .. emu' .. compos" "," (which follows nn t h .. fi .ur pagt'S ... d)(' n,' x1),
tht'St' t'xamph:'$ could prov,"'", rll .. has,s fur I WO var iat iuns of an ' A 'tx. I "''' , ", " d while
,hsr inn ,vdy d, ffcrCnI , bo, h uod('o.ably f\-a'Uf(' , h(' 5tru n Ul t 3no mt'lu.;ly
11
CD2 TRA(K87
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CD2 TRA(K 88
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11
236
NATURAL HARMONICS
[..tet 's tal k " (t k mote about til(' l\;I r rnoru( " Ott" , m n oc\U(ffl '" Ihe 5("(Ond vanal ,on of ' I ler Red
H,ur' . If you'l'(' nm {amI l,ar "", 10 playu.g rhrn Starr ou l hr {'xpc-nmcouog w' l h ,he,!
mOSt aOT5s,bk pos'tIon On t h .. gUItar. rI)o: hr al)o' , .... t he' 11th il'(' l J un touc h all y sUlIlg dtrt:<-l ly
aho,'c rhe (n-I (rdther than bt-Illnd ( h .. (not , f " l! would If wlUl rc<-1 (0 push down and fn-I {h ..
nOl d. and pl uck the fUll ",,,uld It may l ake a few IflCS. but whal you will
h....,. is a OH"nOllc-. nd, " " tt' an ,,( fa" .. ahv," " rhe soon.' of , he frcuru orne
ThCS(' harmonl( not ("!> ut e .... J\'a,lahl .. ar ch .. fifth , St-'"t' m h. I lrh. 17lh, anJ 19th ftl:ts,
and w' lh a h l lk rillCS<;- yuu' l] /",d d'JI fUll t ,m also ( OOX (hem OUl of (he I1lstrlJJnem " ' mh",
p<lSlllons. Many f m;; .. "ry'" playt' rs wil l oftcn st rum all SIX wh, l" lingn m)(
" h,umonic p.,SII"", lII,tt'.ld (If play."...: rln Ol'CO si n n,!: chord HI dll mn",,Io; ,
to tlwor ulmp .:os". on or armngCfl}COl. ThIS Inh!""!",,, worb tor qn,lo;t .. not t'S as wt' li
a, "r*n "hords, and;l!; [heS(' r Xllmplcs ,Ihow, lJII "(["II b .. "a"xratO'd Into mort' involH,,-l sect IOns.
ThO' mmpl "r(' rmnscrol'lIon 0( t he comp ... ,mun 'Her Red Hair' '" (j minor [llnlOg follows.



























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C02 TRACK B9



" - - 11- 10110
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SLAPPED HARMONICS



Wh.1. If W,lm rht, dft'("l (ofharmon, c h ut your fn-{{ ,n).l haml i. bus r .. I ...... wht' rt' lUI rh ..
n("(" k' Even Ih(1'\.' nn' I lOWS ' 0 how if em be d fi:clln-Iy lIst"(!. you may fry t o uSt' )1.""
hand to sl np I hc dlrtCl ly abov(' , hc harmonic pos;"on , h." you wIsh 10 ;\("SS. If
you' ve IISI('nN 10 Moch)ci I or Pn-swn Ihm )UlI hllVl" hear<1 sl app.,1 harmon.n ,
IIws(- pJay('1'5 dd"in<"<l , h(' (cxhll l<IUl'. Wi t h ... Ioulc bl! of PTlI( UO: . slap!'(".! Ro ld a
S("nS(" of rhyrhm and drama (0 a (Un .... . hr ir ust'" a mvou' lfI.'" amon,!: nmff;' ml'orary
fl ng .... rslyhsls
As a l ('( ho'(IU{' thaI 's OOt of.tIl- 'Sq,'Uvia-appro\'cJ' of rules. II helps gT('al ly 10 han'
, he ,ltlv:lIl"'gC' of s.cclllt: somOOllr uS(' h:ormomc slaps bl-forc mu.'ml'l ing 10 t hem yourself.
lJowever, a lltde shoulJ ullow you to aclll (,V(' the da,r(.,j In lilly (IS(',
,do:"J hMm(\1lIlS "to very <Juickl y the desln.,j St""t:'S lI t (Ille of Ih.'
har mClIll(' I"",'tll )ns of th .. fXlrt of the fLrst d'I' , t 01 a I tel\d



to II ,,. .. , t h,.r my or ml dd l .. fin);l"r, oft"n alt .. rnar in.>: brrw .... " th .. t W(\. ()'K,. a.>:", n, Ih .. F. l( t
that ' I< l)i\ I)(ji\[) (whI ch w .. rNllrn t o now) off .. r a qu,ck I-..)w .. r (" hord ,.n t h ..
bot tom ,hr .... -" " n).:,s Imt rt! h .. an in ,[appill).:, harmoni,.. ,
In exercise 15, I Ih .. " I,*n bottom thr""" 8trings wit h my ,,);h,_hand ", d .. x
I"xanly "I"", .. t h .. 12 t h fr.." [ Ih .. n II .... my I .. ft hand to .. r nn th .. (+".rd a, rh .. "<'t'" nd fr .. I,
f"lInw .. d by a I b h ft N slap ,.f {h .. " I.,..n ' .. Hmd and t hird str",gs w, t h my " I'ht - h"nd m,dell ..
fin,>.; .. t {O hold Iht, c hord , I now , lap , Iw tl()trom , h",:(' smngs aj.(al n worh my roJ.( hr-
hand . n. I.,x fi n,>.; .. t , hUl I h,s IIm(' r do SO anov(' f ht, 14 t h fr.. t , an ab.-wt' , h .. fr..rr .... 1 n" ft"
YOll WIln l 10 I,sten (0 , he 1'('(01,,-1 (')<am,, 1e fO ,1,'"('1 an idea of ... ha( dlls shoul,[ soun,! I,kt' If
you' re new I(! tillS tcchnJ<jue.
CO2 TRACK 90


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Sbpped har!llo!llcs arc uso;-d (uf(hcr In my t unc T he Groomsmen' (whi, 1l m mck on
DADGAD). Exercise 16 startS OY! wl I h a {,)ur-oo, phmS(' of Ullh'<'rpKj,anj.: ,
th .. " fi ght-ha nd ,lap; eu aJ d d r .. ma t u t ht' turnaround . II:lInrlH.' rm,l: 011 the choNs
nil 1m, t h...,.. h"lwm strings at t h .. ;,r .... " .. mh as"'" u."" tit .. ll'Chr"<Jue of slappmg
wit h mr ri)olht -hand ' ",1 .. x ring .. , an otrJvr d ... f .... n ..d "ou-'. d out ,It til<' 20th and 19th
frt'L I u", my fight-hand m,.i d l .. fi nX'" t" , t iP tilt' "pt'" t r .. bl .. sUIIlgs abuve th .. 121h fr"I,
nt'Ct""-'l t atlll!;: a swift mnv"m .. nt 1,.,1"' ..... 11 I ht' ' ''''' r""" ' [ 'OI" "" I ,lap.
C02 TRA(K 91
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242

RIGHT-HAND FRETTING



Whc-n )'ou firsl l{'";J.rnc-d (0 pl.ly Ih .. you w .. r .. probably wid [hat """ h,, "d "f,,, fr.-I"" .'!
and l h(' ot h(' r ft,r strurnmmg m Pltk lllg . In moduli .. n.[ yl .. play"',i(, fh.s may h .. "nly
parllaUy n u('. as IIut u<."lsl ,,"all y to fn-[ III)H'S wIth what wl)uld or<I.nan ly h.. )"Ou r
p.Cklllg
Let 's u exerc:ise 17. whleh nlllsists of alll)t h(". shorr (")K(" 'P' from my
compos' tJon G.uo.mrn .. n. In elns <"<I.,", rm using my . i).!h. ",d .. " rIO f(" m a harr.-
chow o> er stri ngs unJ S,m,br to a standard wllh .h .. It-ft hand. , h' $ has ' 0
hap)X"1I "'Jlh a IlId,- 1m "f lu,, ... II> ",d .. , co <. "a" out sound I)f [h .. .. d nol!"S.
Wluk Ih ...... 1):1."1< pHW'" ,-hords hy fa pl'i llJ.( wilh my "l' h. hand, r m
ha"' ''''''IIIg Oil and r .. l .. a"tIl); rh ... h .. " and fourt h at toc 5("(:00<1 {ITt "'Hh my kfl twnd
dUrl llg , h .. f .. st . wo 5wlf chlflb to hamlllCr-ons aml pull -offs {or til<' shon mdOo.hc
phmse- in .h, rhlrd hat. The ('nu'e SCCu on is phl)TJ without any '1l01ll1d1" pI<k lllg nr


1)1lt' t() th(' sprt ..... 1 or nOles. it would be diffi cult , if not to pby u''''g " " tIllJJ pJJyl llg
.t(hn(I"('S,
A l mnsniption of 'The Groomsmen' l< ,lJ"w-, ' )[1 lilt' "t' xt h,u.

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C02 TRA(K 9 2
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C02 TRACK 93




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CO2 TRACK 93
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D MINOR TUNINC

Now 1 .. (\ Wflt ll ll:' InW [) minor 1,," ,nJ.( ( DAD!'''! , w' fh "" m .. '''''''' pr:; frum mr Iu"" ' 7 Y"ars'
It ust'S a similar ro}!;hr _hand f,.." ro "J,: ,,,rhn,,],,,,, , .so We" 01'1 .. " pi" .... t hat ,d .. a f" rth .. , along Ih" way
18 to 20 slw;>w . hrt,(, d, tT('I\'m apPl'OIl("hn to piayln).: rh .. sam .. s<nion _ Exe rci se
18 C"Omh'n("S {reo,"/.: w" h harmonIC slnl'S, wh dt" e x e rcise 19 shows [h .. phra. ....
1'13),("<1 con\'l"flt,onall y Exe rcise 2 0 f(':ln.rt'$ 9. , ksc('n,hn,l( bass 110(" on t ht" sixth .trin,!: , fi,.
WhKh I fo nJ.tt' r t h .. nOft's a' rflt. S(" .. nr h and , hlrd fll:'IS "" r h t ht" n,l; hr- h.l n<i m<'ln; fin,!;",- I" th"
("31" '-. Ihe sam" nOtCS coul d ensoly!-.t WI. h 1,,$[ Ih" I .. ft harKl, hut th .. ackl'!lnn of <I )o;hl -
han. 1 rappmgs /.:""{'"s ,he paSS:lg(" 5Ho ng(" rhyt hmIC {("('I.
BEHIND THENUT BENDS


You w,l lnOltCr that ('X('lcis.c 19 introduces a new w,,), (0 'Ix".! ' " llmc, By pushing sl<kw:tys
Oll th .. St'mud b..! lIuJ titt' nut , P.MS of ti,,,, r"St aud second string lUmng
P"l>s, It 's pO,Slbl .. to "" rh:1f "m.!,., to a stnug I:>t'inl> I:>t'nt on a f'l'ddl-.\t(d
t;Ult"r_ This nlll I", II,, 1'd '" any runm,.: . bur I"w .. r stn,,!! ten-iou ill tu"it]p
ti] .. "'loud SUi llt; i . dropp"d rh ls lot ea"ef.
M"k .. sure YOll d",,' t I .. ]s .. ,ul n.., -.. uds (a ', a to beud t hcm
over into a I(w]p and til( k (lI lt way to II will take a liltle praClICc to
aVOid anci dent ally WII lIlg 1"'<',,' . alld If y"ur gUItar's lI U1 I>U't Cut proJX'd}' (or the
t;augt' ofst rin,l; s UM").: , ,h'-" )I"u ml,!(ht find t hat your t;Ulur d"'c'Su't stay'" Wnt' atter tI",
I",,,d_ ( )"" .. ma..tt'n-d ( h" I,.,;-hn'qu.-. how .. ", .. r, you' ll find you"",lf wlIh a ",mpl .. n .. w lid,
rh:u "al'l' liOl"'" '" many mUSK'll sm,,u,,,n,
CLASSICALSTYLE TREMOLO
Alt hough nash)' tcchn'qU("s such as hJrmoll oc sl .. ps or Iwo-hanJeJ luppmg oftCIl !---"(,I all Ih('"
an: ", ,,n. ,ul u:r ,tyl"l1< (JIl your pl.o ), lIlJ: a umqu('" oo!---"('. On('"
of t lot'''' IS 10 aJdP ( da. ... ( rt-In"l" U"( '11m pl dymb u rndoJy or M"<:1 ,on of a
melody on " smgle st( In
b
, uS"'F J p" klllF /X1I1' T11 d (/ fi nger), III (nuddle (iny("r)" (,n<ic- K
fi nt:t' r), and back to m, wh,d] JlI()w, I<>r a rqx lI ll ' -c- motion.
You Can pby exercis e 21 '" ully I U" ' Ilt:, SUI,',' It '" ,)11 song k SITIng, but for thl" S,1l..C of
r",,,,illg "!I to rio .. neKt tullt' y"ur tI> Orktll'Y tUlllng (CGDGCD). In th,S
.. "amplt' , j ul", u'"' hammer_"n" and pull -"f/." Ul':, "ug " r .. p.:at,,[,k phraS(', If your fingcr:<; arc
u""d to I",m,!; ':o"",,,!;ru-d' W:O S"If'X, It ml!!ill a pranK .. them







to all str, kt rhe samt and j a m .. to play n .. umi] It
is completely smoot h.




























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C02 TRACK 96
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MIDDLE FINGER SNAP
Th .. " " dd t" (i llb"r L, .I su"pk yet lughl y t C'Chn.<.j uc for pro" " lm,l: rexrllre an, 1
rhyt hm"- au,,,nrua(,,,,, S,milar t o tI ... "" ,.oJ by u..nj () , he nuJ dk fi ngcr Sn.'IP
put ro ,Io; r"". ll M" n" [ II .. ,Io: lJl mr by Pl.'Y""" MOlh .. , S' II1 p"'''' and Steye Baug hman. In orJ er
ro,i;rt {h .. forr .. n.-c""",1I. ry fi>r , .. , ("""" 1 .. 1,,)(0'( 11[,,,11 (1/ d", m,ddl .. I' ng., ( ( url l he fi ng!.'r up
, nro fh .. pal m of yo.,. han.-I, and , h .. " rtol .. a.o;e 11 :1.' ,t yu ... "' ...... 1r}' lIlg to 1I ,{k "oHlu ill ng olT )our
hand . You'll I,.. \urpn,,,,1 h .. w mut h .. Y"" ,I yo .. ...... till S {h d ang motiOn to hH om."
of t t.., slr ings wit h t h .. back " f th .. m,ddl" fll1gt' r',. 11.,, 1 III tillS
Try " Iaym).:. exercise 22 by 1,..1"' .... n u." ng .... g uJa r t humb-st roke (p) 10 p lay
fourth srri nJ.; , and r h .. m.dd lt' fi n!; ... "Hl P II> Illt [h .. I lurd SHU' l;: . If y"u Wdll( 10 oc
shck. you can rry rht srnn.: AT 11"1(" har mon,( whHe a 24t h (ret would





No. or (" V("11 ocnvcro Ih ls 10("""1100 :lml rh(' s."b. ldl(-. FlOdlOt; rh .... "an IOf "tJ " n" wtl l , ome
e"pt"Tlmt mi ug , but get tlllg til<' d J,,(\ of h!(tll"lg a h", monl( nOTte wit h rh.; of a m,ddl ..
tLI' g." .'l]ap is worth the d l' ]T[ .
Exercise 23 put, t he :ll l(.i lIuJ dk SIl,'!, l<:'d l1ll<jllCS into eonrc>:r . In
aJd iti o]], t h .. big chord a t <; I,d " foot ( wn how ha\" lllg (he bottom Sf"n).'. run"" j
to " low Call ow. t;" " g t eat , hug,- IV (hutd Wh( llll .i llg th iS (uning lor phl ying ,n rh(' k("r of G
or C; minor.
Play t hrough t h" !. har ter as ,,(t, I' a" u<''''s >J ry III your own (]me. J,sn' n w as manr
of t h .. t: "' tar;' h mt"nt HonM as yo" UUI to hrar hllw ..... tl-<hll l<j U('S ar(" uS<.'<.! . \'<7ilh a link work,
YOll w,1I ,,,,,n hav .. a wh .. lt" n .. w "t st yll't ll [, . ,Is al yum d' . jJ<.IS;,1.



































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CD TRACK LISTS. NO'IIiS
.. ..

CD TRACK LISTS & NOTES
"
Latin, EK7
"
Laton. ExS

55 Lat.n. h 9
Th .. n ......... ' vn rht- rwo <...ns p,l(kat-,<,<1 w"h ,h,s book aTt' all p lay<'<l :oml r...-nrrl .... -l by rh .. aurh<..rs rh(msd ws,
"
l at in. h l O
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l aton. h ll

"xet-pt f"r th .. Lar .n an.! ,,(.,enn S('(" lIons of ,he ' \'(forld .. r, wl"d, w .. r .. r .... rli.rm ... l rt'("vrd.,, 1 hy
58 l <lton. h l 2
RoJ ' ;r.I;S. In al l ta,; .. ), rht- mUSI(IlJ t' lmmp l('$ ar{' ,he copyn g lll of I h .. aUlh" ", elf ti, .. "" p""I IV" t hap' .... :; (n' .. pl
59 l at in. hIJ
"
Laton. Ix14
o( {ours( (tor t h ... .. 1 f1<1n -.-upyn J;hl( .. 1 ' rrodu ,on3r lunes uso:-J , whcTt' ti l<' .lud,ol'S h ... v .. IllP)' II };llI '" tht-
"
Lat on. h I '>

CI .. a.: tnnb. n'" nt - IOs rhylhm [rocks w{,[{, nOI usc-d {'xcrpl whn '" ""tOO To '''J I.: ", th .. llt'l;t LL'" 62 Latin.
of rh .... spac .... on t h .... CD. w'" dl<lSt'n '" 5" pp ly music mainly {or I h .... {ll<' rclseS lhal you fl-... ll y 111-ed I<>
"
African. h I
hmr p layed t o undl' rst dl1J lul ly Eat h l,srlO}; ht-}; .ns w,[h [h .... [r:1(k numocr, foll(),,,,' J by t h .. . " .. 1,,, ,, J " d U ",fl,St'
Sikyi rhythm on belt

nu mbcr Ihat .t'I> ""' ''' ..... IJ t .. , w IIdd ll ,,, nnl nur,' S fur some nacks come "fu;r , h" l , III .tIIl,t typc:-.
cabasa and conga.
"
Af",:an, Exl
Plilyffi to sikyi rhythm,
CD 1
"
Bott lcneck. h1J
"
Country, E.1J
20 Gypsy Jazz, ExS (Notc that, bt>(aust> of
GNting Started. Ex4
"
Bott leneck. Ex14 Th tunt>
"
Gypsy Jazz. Ex6 the Import<l nce of the

,
Getting Started. h5
"
Bottl eneck, h15 Thetude'. pl<lyed
"
Gypsy Jazz. rhythm in the
3 Getting Sta rted,
"
Bottleneck. b16 'rubato' with
"
Gypsy Jazz. African genre. a l/
,
Getting Started. 49 Bottle neck, improvisation "round
"
Gypsy Jazz. Exll following
,
Getting Sta rt ed. Exl O slower bars 11 - 14
"
Gypsy Jazz. eXerciSe5 are played
6 Getting Started, 16 played
26 Gypsy Jazz, h15 against the
7 Getting Start ed, more slowly
"
Blueg rass, Exl 27 Jazz. appropriate backing
,
Getting St .. rted. Exl 4
'0
Bottle neck.
"
Blucgrass, Ex2
"
Gypsy Jazz. E.17 rhythm.)
,
Getting Started, ExlS
"
8lue'1rilss, Ex3
"
Gypsy JaZZ,
"
African. Ex]

"
Getting Starled, hl6
"
Countl)l. hl Melody n Ex4
30 Gypsy Jazz. h 19
"
Africa", Ex4
and rhythm guitar 73 ExS
"
Gypsy Jazz. E.20
"
AfriC<I". Ex5
"
Rock & Pop. h2
"
Blue'1rilss. Ex6
l2 Gypsy Jazz,
"
Afrkan. Ex6
"
Rock & Pop, hS
"
Country. Ex I mythm '1tT
"
Ed
"
Gypsy Jazz., Exl2
"
Africa " . Ex7

"
Rock & PoP. bl1 A rhythm gui tdr
"
... EllS
"
Gypsy Jazz. E.23 H''1Mfe rhythm plilyffi
"
Rock & Pop. hl4
accompaniment to th'" n h 9 on bell, (db.Ha and
"
Rock & PoP. blS E. ' melody. w,rh four-
"
ExIO
"
celtic. hi rongd.
"
Rock & Pop. h40 !>eat INd-in.
"
BlucgfilS<;, h I 1
"
Celt ,c. hl
"
Afroc<ln, h8

"
Rock & PoP. El49
"
COuntry. hl eo 8Iuegra ... b l 2 )7 Celtic. Ed Played to highli'"
"
Rock & PoP. b60 Melody and rhythm
"
hI]
"
Celtic. h4 rtlythm (as are .. 11
"
Rock & Pop, h61
9ui tar backing
"
hl4
"
Celtic. hS following . .).
'"
Rock & Pop,
,.
COuntry. b l rhythm gtT
"
Bluegra .. , hi S
"
Celt ic.
"
Afro(an, E.9

A rhythm guitilr
'"
Bluegrass,
"
Celt ic. Ex7
"
Afr ,ciln.
"
Blues. b l acromp.lnjment to the
"
Exl7
"
Celtic. ExS
"
AfnCiln.
n Blues. Ed E.1 melody, with fo", -
"
bl8
"
Celtk, Ex9
"
African.
"
Bl ues. Ex4 be-.1t /e.>d in.
"

"
Celtic. blO

"
Bl ue<;, h 6
"
Countl)l. h)
""
ExlO Pennywhistle melody
"
Klezmer. h I
"
Blue<;. h 8-l l Melody and rhythm
'"
Bl uegfass. With gUltilr 76 Klezmer. b l
A series of blues guitar backing.
'"
accomp;Jniment. 77 Klezmm. Ex]
turn<lround, plllyC!d in
"
Countl)l, Ex) rhythm gtr
"
Bluegrass. h lJ
"
CeltIc. Ex 11
"
Klezmer, h 4

succession A rhythm guitar
"
Bluegrass. hl4 Arrilngement f or solo
"
Klezmer, b5
"
Blues,
accompaniment to the
"
Bl uegrass. Ex25 guitar.
27 Blues, Ex) melody. with four-
"
Adv Fi ngerst yle, E>6
"
81ues, Exlg beat lead-in,
"
Latin, Exla
"
Adv Fingers!yle, Ex7
"
Blues,
"
Country, E. 4 CD 2 SOl) CliNt> rhythm,
"
Adv Finge"t yle, ExB

"
8lues. Exl9 Melody and rhythm Jazz. JilZZ Blues 47 latin. Exl b
"
Adv f inge"t yle, Ex9
guitar pilttern Rumba (lave rhythm.
"
Adv Fin9crst yle. Ex 10
"
Bottlene<k.
"
Country. h4 rhythm gt[ 2 /il1Z, Minor Blues
"
l at in, Ex2
"
Adv Fingerstyle, Ex 11

"
Bottleneck. A rllythm guitar pattern 13 wn clave rhythm
'"
Adv Fmgerstyie , hl l
"
Bottlene<k. Ell
accompaniment to th'"
,
Jazz. Rhythm Changes With 'cascara ' timbale 87 Adv Fingemyle , Ex13
"
Bottlene<k. Ex4 Ex l melody, wi th four-
,
Jall. Ex4 p;Jttern,
""
Adv f ingerstyl"" Exl4
"
Boulene<k. ExS beat lead",
,
Jazz. Ex5
"
Lat,n, Ed
"
Adv f in'1erstyle
"
Bottlene<k, h6
"
Country, hS
,
Ja zz. Ex6 Se .. le pl .. yed to Complete rune' 'Her

"
Bottleneck. Ex7 60 COuntry. h6 7 l au. Ex7 approp/ate batking Roo Hair,'
"
Bottleneck, ExS
"
COunt'Y, Ex6 <lower 8 JilZZ. Ex8 rhythm (Note Ihat,
"
Adv f jngerstyle. ExIS
"
Bottleneck, e.S &
here'se 6 p/ilyffi
,
Jazz. Exl9 be< .. .ne of the
"
Adv fjngerstyle, Exl6
bad"n9 sloW<"-
"
JilZZ. h20 importance o( the 92 Adv Fingerstyle. Ex17

The riff from x8 62 Country. h7
"
Jazz. Ex21 specifIC rhythm in the
"
Adv f",ye rrtyle
plilf"d with rhythm 6J Count ry. h9
"
Jil12. Ex2l L<lIIO genre. all Corr>plere tune: 'The
guitilr backing. 64 Country. Ex IO
"
Ja zz. hl3 followil)9 Liltin Groomsmen.'
.,
8onlc!Occk, E.9
"
Count ry, Ex l l
"
Ja zz, h ,24
e.eroses are pl .. yed
'"
Adv f "'gerstyl ... h18
"
Bott leneck. E.9 slowe,
"
Count ry, Ex Il
"
Jazz. Exl'> against the
"
Adv f ing .. rstyle.

herme 9 played 67 Count 'Y. Ex Il
"
Ja12, bl6
appropriaw backing
"
Adv f ingcmyle. ExlO
slower,
A rhythm gUitar rhythm.)
"
Adv Fingerstyle, hll
"
Bottleneck, El l 0 accomp;)niment to the
"
Gypsy Jazz.
"
l .. t,n. E. 4
"
Adv Fingerstyle,

"
Bottleneck, melody. with four-
"
Gypsy Jazz. Exl
"

"
Adv E".23
"
Bottl ene<k, beat lead-m.
"
Gypsy Jazz. h]
"
l at in, Ex6

252