COMPLETE GUITAR SERIES Volume I ‘THE BASIC COMPONENTS OF MAKING MUSIC ON THE GUITAR FROM ROCK to POP to CLASSICAL @ BASIC CHORDS & SCALES @ TABLATURIZED ROCK SONGS & ROCK CHORDS @ FIRST POSITION NOTE STUDIES (@ POPULAR CLASSICAL PIECES (@ FINGER PICKING & STRUMMING (@ FUN & USEFUL PRACTICE SONGSCOMPLETE GUITAR SERIES vouumE! TABLE OF CONTENTS Philosophy of Gultar 2 Guar Parts 3 Fingerings 4 Tuning the guitar 5 Chords and Chord Songs 6,7,19,16,26-90 ‘The Notes on Strings 1-3 B13 Practice Routines 14,35 ‘The Notes on Strings 4-6 15-19 Instrumental Pieces 19-25 Basic and Various Scales 21,34 Finger Picking and Strum Patterns 28-30 Tablaturized Rock Songs 31,32 Flash Cards 97,98 ee The Gorges tar Vl I eH Gaseoan Preprry Package of Volume I er slums land is accompanying casseta $15.05 ear 1890 Wildwood Publishing Company Belse, Idaho ‘AI rights reserved, Printed In the USA.PHILOSOPHY OF GUITAR INSTRUCTION “This Book la deugned 1 give ony beginning duden! o foity conpieis, bade working Knowledge ofthe gular 0 wide vorsly of areas he mo! dinpim ond sight errand tnethed thet | have found. "he information hate ew complarion et my Levees thle mated book wit hunckeds af my om pivaia dadents ond hove seen [EXCELENT reeuta. I began my gtr duet where you ors now ond have eraygied Darily wo gain fhe undersandig ond ably | how peaseat ofthe Qulor. 1 con now ofet {you 9 roadmap What ede ls tame very clocr opplcotions af how munis le mass on fi Fakseneot. I belawe tht f your nl rat ond falow tee cctons tr Bl nap" you wl ind some very enjoysbie “scenery” clong the wey fe Your dertnctcn, only without! all fhe uguiced siupeie, he gules a my Spblen, bos of Re ee! elleutIakusnesls Ho ploy. Ml con be Schemely futtalng end dlecourging when you hove have prociiced ond procticed yd ya! il ec no beau vou coming tion you biament. Al tere Wes de {ake heart, for cine howe gone: before you. cod Wil DEIEEMIMATION nd a ft of ord ‘Wor: hove found muccest on ble Inciumen, YOU TOO CAN DO* WERE WA AUMAMALY OF WOKAT YOU Wal LEARN THiS BOOKS 1, Baile chords sums & ger patiems for playing popular and contemporary ‘Gyles of man 2 Noles on the guitar ond the tnble elt fot oring Insrumantal places auch oF Jezz ond clouicel This crea clo develops proper tight end let hend lecBrieee for belie apved end acewrocy and abi fo play icum powages wel. 8 Tablcture sles, which Gre ised mod! commonly fot rock fyuine On lead solot, © Me book wil give you © good seiscton of howe chord senge and intumenial places, 1@ nen you fn the cours you wil be oble a shu and tngempck bale pap son0%, stor Ind nd ith on sera rock sons and pao several beau selections (@ You at be ble to mad chord boast, foblohure, lst poston clonal rongs ond play ‘overal aeoloe {WOH YoU THE BEST ROBE YOUR GCA. MAY Wit WaND 96 AT YOUE BACK LANG THE MUSIC ON THE TPs OF TOUR ANGERS tI would greatly encourage you to get the costette lope thel eccompeniar this Book mt con be ordered on page ‘Gem, Twi cf oxect beneftto you lobe able Yoheer the songs end exercises as they were ‘CARY WHITE Inlendied tobe played.‘The following Information In each box needs to be read carefully and put into Practice, Fret dats, string and finger names should all be memcrizad. PARTS OF THE GUITAR ‘SOUND HOLE Tiemmorauusen, TUNING KEY yan em ri sth ana FRET NAMES OF THE FINGERS ‘you memorize p, bm 4a, mal ofthe lelore- Pima, and pel staring ‘thus, or moke ensh loter stand for # wor 324 1 4 P- pudgy 1. ingen PB m- micelle. Bean O27 nem _ mow wal ing, ery using no tellowing word game: EAT | ANOTHER, Donur GET BIGGER EVERYTIMERIGHT HAND TECHNIQUES fOUITAR PICK MOLD TWE PICK BETWEEN THE THUMB. AND THE IMibax FINGER WITH ONLY Ye OF AN ICH USED TO PICK THE STRING. ALWAYS ALTERNATE THE’ STROKE- Bown THe UP ero Ete. REST STROKE: P WILL REST OM THE STH STRING TO SUPPORT STRING UP. FINGER NEEDS TO OE EXTENDED WITH THE HAND SLIGHTLY BACK IEE STROKE-p WiLL REST ON THE STRING JUST ABOVE THE ‘ONE PLAYES. tla WiLL PLAY THE GIVEN STRING FREELY, SWINGING TOWARD THE PALM OF THE HAND. PROPER LEFT HAND FINGERING POSTURE KEEP FINGERS CURLED, NEVER BEND BACKWARD KEEP LINE AT THE BASE OF FINGERS PARALLEL TO f[@SIT ERECT ON THE FRONT EDGE ‘GUITAR NECK: "THE FINGERS! SHOULD BE. OF YOUR CHAR. PERPENDICULAR TO. THE GUITAR NECK. D> KEP THe Tun Pobre UP, mv THE MODLE OF Pricer THe rinGeR TWP AS CLOSE TO THE FRONT OF FRET AS POSSIBLE ‘THE FIRST EXERCISE, |g a warmup exercise done on each string, starting with the 1st and working up 16 ihe tn, ‘The of hand will plky the following frets staring on the open 181 string. Each of these fumbers represents the iret you will play as well as the flager O42IES2G. 0 Me open Yel string; 1 le Lat fnger el Trot; 2 le 2nd dnger 2nd frat, fect. ect. ‘To pluek each note you wil use a method called “rest stroke". To do this, place the thumb ("P-) on ‘the th siring to provide good positioning of the hang fand ‘set the “finger on the firet string with ft slightly extended. Presa in slightly and Felease the string, allowing Mt 10 fall against the next string up, in thls case the 2nd String. Da the same with "m". Each nots will be plucked with a diferent finger, "I" then Sm" then “Ir, ect, ect TRY THIS EXERCISE NOW: 0-1-2-9-4--2-1-0, x 2 per string, all 6 strings. ‘The purpose of this exercise Ie to develop proper finger boxe® above for correct precesdures. Thie exercise. wil W you fun thraugh R two limes in 2 raw per siring. and control 20 do reler to the 190 develop your aglity BelwerTUNING THE GUITAR THERE ARE TWO BASIC WAYS TO TUNE TWe GUITAR. “THE ExSiesT BUT. LESS. KecunaTe weTHoD ts SIMPLY TO MATCH EACH STRINGS PITCH UP WITH ThaT OF A PIANO OR'A, PITCH PIPE (TUNE! THE OFEN (fH STHNG"E" TOE BELOW MODLE CON THE PIANO, ECT.ECT. SEE DIAGRAM. ME BEST METHOD 1 HAVE FOUND Fon Tonia THe GUITAR ISTHE STH FRET Tonia METHOD. “IT 48 0 CALLED BECAUSE, Zs"the DIAGRAM DEMONSTRATES, EACH ‘pen SrRNG Is TUNED TO THE GNE ABOVE IBY PRESSING THE STH FRET OM THAT LOWER, String. LEY ME LEAD YoU STEP BY STEP. KEEPVG THE SUITAR WELL TUNED WiLL. ADD To YOUR ENJaYMENT ‘Or THE INSTRUMENT. “AN OUT OF TUNE GUITAR CAN BE A GREAT TORMENT To THE EARS, @ First of all, tune the Sth string "A" to an "A" on @ plano, pipe or guitar. @ Noxt press the Sth fret down on the 6th string and tune that note to the ‘open'"A” string. They should sound the same piten. © Now press the Sth fret on the Sth string and tune the open 4th string to the Sth. Make sure they sound the same! © Do the same with the rest of the strings with one exeeption. To tune the 2nd string to the third you must use the 4th tret instead of the Sth fret. Please refer to the diagram. @ Now the final adjustments can be made while playing @ couple of different chords and listening to each string In relation to the others. Hf one string of the chord sounds a littie off then make an adjustment to it to make It blend with the rest of tho strings in that chard. YOU SHOULD NOW HAVE A TUNED INSTRUMENT!Just about all of the musi¢ you will play on the guitar, whether it be rock ‘or classical, will contain some sort of chord structure. A chord Is two oF more notes played st the same time. Since these cluster of notes sre used 0 offen, I want you te be working with them from the start. As soon 23 you learn tne 3 shords on tls pape end the next, you wil be bla ‘accompeny yourself on the songs on the follow ‘We will start out wilth Three ef tho easier chords and edd to them later in the Book. A CHORD GRID Is used to teach you each chord's tingerings: 1 contains vertical tines resenting the singe A ‘Ang the horizontal lWnes representing tne tres ‘The numbers refer to. me singer and ‘Shown you the string anc (et Tt Is to be ed. PML the 2nd finger on the 2ne frat 1 the ain Bet. 9 nd fret of the 3rd ing! and the ath finger on the 2ha ral 2nd “string. tthe ‘The “placed above any string marks that siting as one tat is not to be played at all In that given chord. ‘The “A designates the string which ts tne root or ine pass: of the chord, whieh, ae Yu Will eee latex, 1g an Important string. STEPS TO PLAYING CHORDS: 4. ligt of all put all of your tngars on tne given trots and strings sz shown tn the ‘diagram above. As ateted earlier, Keep your fingots on the tips and sightly, ‘curled with the (humb pointed up areund the middle of the. hack, 2. Mest hold a medium gauge guitar pick between the thumb and index finger of ‘your tight Rand. Using the plek In a downward motion, strixa tho lowost siting {bin suing) and see th sounds clear, making eure the neighboring 2nd fast ig net brushing againgt 1 Naw pice ail of the rost of tho. stings, listening Tor a clear note out of each of thom, weing sure that your pressing firmly and not Brushing against any of the ciher singe. The least mount of pressure 1s needed and ine best sounding note is produced when the fingers ave plneed as eloce to the front of the frat ge possible 3% Once you g Together, dragging your plck across all of them starting with the 6th all the way through ihe tsi, Do this 4 limes. Now you are ready to try these stops with the next two chords. on the following page.D E After you Fave figured these two chords oul then review the ‘A chord on the previous page. Attempt theso easy stium songs using tho, thre chords you have Just leamed. The arrow ‘Indicates where the down trume wil come in relation 40 the Words ‘2nd beats in these farliar, songs, The beat of pulse can be found by tapping your foot in ume ae you play. ‘These songs will give you sn opportunity to begin to momorlze inese chord fingerings as well more Muselly fem ehoa 19 chord. GOOD LUCK AMAZING GRACE A D A 3 ThE = A D A Ba ae ded He eee ep py BLIND BUT NOW ' ‘SEE. SILENT NIGHT A E A 4 4 Suont night ‘Rely night’ all is calm Is bright D A D A Round yon virgin mother & child) holy Infant so tender & mild E A A E A sleep in heavenly peace.THE 17 NOTES IN FIRST POSITION ‘With each group of chords that fit together (In a specific key) there are also certain] notes that blond with those chords (a scale}, of which we ereste the melodies | to our congs. efora wo go any furor in quruse of chords tisimporant | ow to learn some of the notes that go with those chords. 2 This next section of the book will teach you Row to read the 17 notes In the firet positon fof the guitar, or the first 3 frets on all € strings, This ts broke down into “notes on each string”, which there are at the most 3 on each, They aivays flow aiphebetically and eo. yeu will see ‘he pattern on each string. Example: The 1st siring is called the “E” string, and some Mg 5 4324 ‘tho frat nate to learn ls tha epen “E", than “Fond then "6," The note on the second siring “ "Br, then °C and thon "Det wet, ‘There wilt be several exoreioas for each string and then a ‘2 everal strings together. So Mt starts out simple, giving the leamer time to memorize one ‘siting’ at atime. {do not givo you a fot of exercises for each string, for at this point # just want you to get familiar with the stalf names, string names and where the notes can ke found on each string. The gost is to get you to iho foal musk toward the ond of thls section and allow you {9 spend the molerity ef your time on # plece of musle really worth learning. Teaming the notes on string three, 9 small scale will be given to help you sae th learned go far. Thon st tho end-of the Sth sifing oxorcises four completo ‘cement Inte your memory the notes you have learned. At the very stert you are encouraged to utilize the eytout flashearde Included In thie book. ‘These wit be a great help, for memorlzalion occurs only through replion..THE TREBLE CLEF (GUITAR MUSIC IS WRITTEN ON A 8 LING STAFF MARKED AT THE BEGINNING BY A SYMBOL CALLED THE GOR TREBLE CLEP. IT SO NAMED BECAUSE THE LOOP 6 THE SYMBOL CIRCLES THE LINE G. — >——| THE STAFF HAS 5 LINES AND 4 SPACES ON WHICH DIFFERENT NOTES CAN BE PLACED To INDICATE THE BrfeH HE MUSIGIAN IS 70 PLAY. YOU NEED To KNOW BY MEMORY THE HANES OF THESE LINES AND SPACES. HERE ARE A FEW HELPS TO ASSIST YOU GETTING To KNOW THEM: (QTE LES CAN BE LEARNED BY PUTTING A WORD WITH EAGH LINE NAME: % yea @very @ tne spaces si ORD: 7 PELL THE WORD! oop Bor FROM THE FIRST LINE GOING UP, THE NOTES ASCEND ALPHABETICALLY. $0 IF YOU GET LOST, USE YOUR AtpHaseTs! DESERVES FUDGE NOTES & THEIR VALUES Wie will att out wih tour basie types of neten ihet ara hung on the einll. Each ol these ‘ferent notes tall you the DURATION or langtn of time that rote Ie to be held: ‘WIHOLE MOTES sr¢ to be beid typically 4 sounte or beste SHALE NOTES which area licin Win a slat, ate 10 held typical for 2 baste SRUARTER NOTES heve the clrole fled ky ands alam and ara bold for one bast *EIGHTHE NOTES took 1 ria! role bE ala Rare flag en the alam and ate held ‘ne Pail of bait wool hore, MAL NOTE QUAIITER MOTE. meena Mors COUNT- 1-2-' 234 123 4 4a 283848 ‘Tha sama beat divlelon fer noleo alee appion te thalrallant counterpart the REST. mets rest Wedd nee? Quarter rest ‘Sigh best COUNT 1-23-46 1-2 S4 1234 18 2838480 NOTES ON THE FIRST STRING e F 6 OPEN 18T FINGER 3RD FINGER 18T FRET = 3RD FRET Wan you ase this nots "EZ S Play the det string “E open, Using the Information above, attempt thess: simple exerciees. You will use ‘onthe right hand ta pluck these notes. This must on thon m then Fthon ma, ete. ote. using the Fest siroke which Is. “P" on the 6th string, Index and midcle fingers extended While plucking the atrng then testing oh the next siting Up. OK? Now we are ready to lear the $ notes on the 2nd string!NOTES ON THE SECOND STRING "B" B CG D OPEN 1ST FINGER SRD FINGER 18T FRET = SRD FRET ss D STUDY #1 (romerter) Bl Good fuck! iso now pute all 3 notes. "a Yogether- 6 (ot Lom dmaNOTES ON THE THIRD STRING " Ok, you are now reecy to warn the two nates om ing. You wit co one tle exercise with ust the Src tring notes and then You nave # page and a hall to get theee tirat # strings. momotized afore yeu go any further. @ A 2ND FINGER eee 2ND FRET 1 oom, giv 9 te counie bhelen HAYSEED BLUES C. WHITE ant dai ' LJ 1 + oa aa sharp alees tho pltgh up one fret, 66, Fa'la-on the second fret, Ist string, Stri ae =e ae13 “he next tow songs contain bath the notes you have leamed so far 4s well a8 the chorss That go with the given mology. Lasrn the nate portion of the song and then try the chord Seeompanyment and etrum pattern. You will give your guitar a full downstrake everytime you see # chord ymbo| (G) or sirum line {/}. £2, In the #eng Below, you will strum each Measure 4 limes. "All of the horde YoU will need Yor these two songs! are here: we oof = GD am STELLAR CONNECTION gral 1 Gt oryy gyet py ae mee! == | SNOW RIDER ra aay a Seon wr ‘ited hall ols would bs worth County 2 oat i14 AILY PRACTICE ROUTIN “30 MINUTES A DAY AND GOOD MUSIC YOULL PLAY ‘Below Is a euggestod practice routine you should be doing at this point in your playing. Myo tolew ihe practice schedule below for 2 minimum ef 30 minutes a day, § days ‘week, you will seo eonaietant growth In you" playing. Anything less, and it may be a Tong ‘ttme Before your “having fun yet"! ‘Above each setion [8 tha suggested! amoust of timo that should be spent on It. (6 minutes} 1. WARM UP EXERCISES » 072343210 x2 on all 6 strings Len pub pic ntay- on up AE * Use i & eueight hand fingers te pick the notes. Ramemberto alternate them far each note yeu play. Use rast stroke only. 6 minutes) Th. SCALES > Basio C eeale, 1st 3 strings, boginning and ending on 6. “Use the rest stroke for this exercise as well (18 minutes) II, CLASSICAL STUDIES >» You should practice 2 of 2 of tha note studies that are still a struggle for you to play, Once you get the song to work than move on. 140 minutos) Iv. CHORD AND HARMONY EXERCISES >The same applies here as for your note studies, once you are fairly ‘comfortable with a song, move on. The goal in both the chord and note studies Is to get you to some ‘real music”. You will get @ more advancéd routine ouitine toward the ond of the book, Please fo alter It in any way 10 meet your own goals and interests, however ‘ive this outline wiin the confidence that It you do these suggested exercises for the euggested smouat of timo you will age taal tangable ben15 ‘The next two pages se going 16 give you three notes on the fourth string with some note exefclees to lear them and give you some new chords to go with thooe refedion. In adsition, you will loarn sors RIGHT HAND RHYTHM PATTERNS to make the strumming of these songs more interesting. NOTES ON THE 4TH STRING Pe 2 P OPEN 2ND FINGER 3RD FINGER 2ND FRET 3RD FRET * Remember, the whole note gets four COUnKE While at the same time you'l be playing the Count ‘Quarter notes which only get ane count each. 12 3 4 Fingarcumber coutrmard mellen. 8 han owmatum, eee, down un ot meme Ta ‘pet masaure in the’ around wang the tape ir you have I, oF, 1s ne 'ind i pra Og our recorded eécomoanynant. pr gC A Gok tes en, JERICO am ByrBy dm B ad ne TE2ESR 4% 1h 2 OH 1 2 38a8 dm Ay dm SCARBOROUGH FAIR c BY am ert BYrY (Ect. ect.)v7 NOTES ON THE FIFTH STRING " G 2ND FINGER 3RD FINGER 2ND FRET 3RD FRET ™ Sth STRING WALKNOTES ON THE 6TH STRING " Ee F G 3RD FINGER OPEN IST ERE” SRD FRET 3 ae @ avea: This next exercise has the symbols 1st and 2nd ending with brackets and a repest sign, all meaning tor you to ge through the gong 16 tho repeat ign, {90 back ta-the Beginning end aa te ong all the way Through to the tat ending, skip over and do the second ending. MERRY GO ROUND ROCK 7 3 SS * gat geese tee Oefinger and fret numbers Fe Tas abot the ata, an the airing members Bek Play tug tate naan, an a ely ead ray Picton Tiaoy 3 o4 30230230 Tpit PS eS20 Toit mil be the ant clamsoa placa tat bes guitar hord accompanymant, o the nex tem songs wi one ie tneaurage: you 12 las ot 4 notes may come BR 'Sordteecisn found fo STRUM. BUFF {por masz) GREEN SLEEVES Traditional wm e om am ' ” - ‘ wat your etudles th ‘herd eccompanymont 4 : Po Pome i ? am E am c 2 ia r vr r ‘see.son ang piacas nth rat af ha ok wb, ne vary A_MINOR SCALE = 7 G MAJOR SCALE min sommes Sa aaa z as E MINOR SCALE give = pp Figie BS nda 0p iatng ier)22 ‘The nest tow ploces are some of my most favortle, and I am sure you"ll enjoy them a won. Each af these ‘of which some you will recognize ss chords you have played. For 12 lop portion of «© chord and the top ponton of'a minor chord in just ls first measure. 4 belter example might be the Sule fr Major. it actually uses whole chords In the tlt wo lines. I would be to your benefit to take note when you see familar chords In a classlcal place, {or thay cin Asti you In te, mencrizavon ot The sotq and in sore. cases Ge you aura ‘on how to linger the leit haha. ‘Some other tips | want to pass on te you ya_use the suggested right Ra The ier, hand tingerngs. (numbers) lun symbol \ means der You ta lek the frst nok fake the nate. sound rather than pick Use’ metronome fo help you count and to stay In tempo. ANDANTE F. Carulli ABS 8, 1AZ8SNS 18283 84 se tte aan te me of Iba) (e.. (ipent back wo & and (airsvng tt tay inch aypime count 3 SUITE IN C MAJOR ae & M. Carcassi 2a24 f Por f STUDY IN A MINOR M. Carcassi isi iL ial === ft Fa ae q 2 [+ vam 5 de> bar the da th aja age cH Pity 0 the te ting 6 a, i26 BASIC CHORD GROUPS Wa will now take # break from the classical studies and give you a sirong foungation in the workings of chords. Ths section I taigned to only give You a baste for your fuigies. in ‘chords, strome and finger-picking. After playing through these chords and the Songs on the neni fow pages you ere encouraged to conlinus to use Ihege tools In the. Song: books and shoet rusic that are of Interest 10 you. Listed below are the most commonly used major and minor guitar chords in 3 ol the mast common keys guitar songe are written fry Three major and three minor chords are Misted tn each key and are marked 1, V GW fo major and lim, lim & vl for minor. with each chord before meving oA te the next page. (Somd enords use one finger 0 cover oF barr more. than ‘one string, hence they are called "barr chords") E bm c#m_ f#ma CHORD SCALES You have now begun to learn the chords that help make up eye used on the gultar, ‘he chart below under C, a. ahd F- ‘groupings of chords ke Noto scales, These chords played In the given sequences Using the enorgs you Just learned as well as the DOMINENT SEVEN chords listed below, play through each key starting with the TONIC, ok the first chord your way through aaeh one to the LEADING TONE. "As you learn vs Sou wilt see how they ‘hese chord groups- gongs wri Example, will most likely have ‘the major chords C, F and GI mand am as wel. ‘The terms TONIC and SUBDONINENT are not se Important 15 umeral names for eaeh eherd, tor they roprasont tho musical re fone another. Diminished Chord Form (0) I ehords are OMINISMED and are marked (e). Thane will De Horm end ut moving. Ate. diferent fete Toot‘ and. a the nate You thei ofthe inibed rd for snail te inthe Key ef A, he number By the chord tells you rect finger on the ih fal of the ath eirng, (hue ore oP pf diminished. 59 pou wil use this form "on the sesigned of the iminiehed hora ‘Wat number, whieh te marked fing your tat ‘ight of each cl Tone ___Subwtoric Mactan) Sucominant Dominant Suomedion! Lanting fone28 FINGERPICKING & STRUMS P = Aueers pLavs tHe noor oF me u CHORD, WHICH IS THE LOWEST STRING l PLAYED, THIS IS EITHER THE 4TH, STH ORGTHSTAING. P STRIKES THE STRING IVR DOWNWARD MOTION. 7 T = wer awars euay me ann sree M.~ wut auwaes puny rie-ano stan A. = wuLauwears par me ssr sina, A Now eat all of your (.h. fingers on their assigned strings: While P will sinks the low string of the chord in a down: ward mation, |, M, and A will sitke the string by seting the finger on the string and pressing in and releasing vith the fingar swinging toward the palm of tre hand. This is called “FREE STROKE’ picking. To, try this tiret pattern play an A major chord with the left hand. Since the roct on the Ae chord la the sth string that is the ating you will play with P (lor conveniace sake P Is placed on all theso pattorna on the 6th string-you Is the root), | will pluck the dtd nes Allin that onder, one otter anether, In a thythmie ‘aohlon. this first_pattorn'then try the othere below and then use psttern numbers 1 and 7 In the songs on the next page. 1 2 a 3 b a 3 i 2 2 ——S4 ¢ i i a 4 5 6. 2 {aay 3 i iS i i | ‘ i i 3 In tna folowing atrums "D* will stand (or bate or root of chord and the arow wil inatete wnien siretion you shoula strum the gular. Try tytn patorn Bt on Silent Aight. fon the next page, using the complete pattem once through per measure. Now play through the rest of these patterns. Some of these will be used later In this ook and you are encouraged to experiment "vith them on any songs you may do In the future: B= ROOT OF THE CHORD ONLY Twa Ce ED) ~~ CBRE Ania oun 3 4 EE eb rnnes BBYE This strat song wit mn #i- p-tm-a per slash mark /. Each pattern wi begin on each of tho ¢ down Dents of each mensure, so there will be four pattems played for each measure, SUEE G c G G bm Cc Trovieked in Tie auturan mist ¢ G Pu the maple aragon A D7 Twed by the soa G ane bm Tia land called honalee, Lite Jackie Paaer c G Toved thel rascal Pull, and G A D7 ‘pave him gis of coling wax end omer ancy stuff SILENT NIG A He E Fortra et 8 FF per Silent night. Foly Fight al is calm. A D A ‘Allis right. Found yon Virgin, Mother and Child D A E YHoly infant so tender and — mild. Sleep in Heavenly A f#m A E A © Pesce. ‘Sieepin Heavenly peace. 29z ee Beson bie chee ‘The main focus of this song wil be ize yoursolt with the chords, B - stands tor the bass oF root of the cherd which you will play by I ‘rum the Fast of the strings down vith one down-sirum for the ALTERNATE BASS, which Is plucked alone and then the rest of a. are strummed again. ‘This pattern occurs at least ones for each chord and sometimes twice. Do follow the arrows for someiimes you wil do just B 4B 4, ond other times you will do just 4 y - found mest often tn COUNTRY and BLUE-GRASS. 2 rythm BA . | would encourage you to Iie gong. ad tim try Wr wit the. rapt al ‘hen you wit This type, of strum FIVE FOOT TWO c Ee AT o7 G7 Taki vee ae, ean MRAM ee IT c oar o7 G7 Cc E7 AT rd Turned up nose, burned down hose. Flapper yeasir ene of those. 4 D7 a? c E7 GE aa ar oS a a oie a aS ee D7 G7 aT Diarrond dings andial tose things, Del your We eat harsh AT ‘overed witht c E7 woud se couse Gnu she aoe Foca@ec Butcou she ove, could she woo. 7 G7 cat ™ section wil! bea brie! stu Tings represent each of t lett hand. fingers. 1 popular musle that most commonly wees ‘symbols used and anole uses. All tab songs In do one down strum. strum 1 ‘othe chard shown a arrazphaeo gp et 3 we ‘To slur a nota you pick the i » eT eal ‘Baseca els GOOD 'OL R&R s 3 q Sonera: Sia ata ava COUNTRY BUMPKIN' cuir Sioa: Sine x rier nonber toi re tpn, tum ve ve Te OV xre xpe? ag c7 muabine32 1 thls naxt tub cong, you will be doing m very popular rock technique that Is really fun and pretly simple 10'do because it only uses one finger to bar the two strings used. This alternates. with an open A string In syncopated rhythm to provide a catchy rock it. CAT SCRATCH ‘This last tab song te e-reek place that easn be fm great background ‘or any ‘scale ike the ones found ister In this book. As always, pay close attention to suggested ‘thn lagers ond so the strum and slurs es shown. ‘The bar chords In thie song ae new, ‘80 yeu will want to do thom exactly as shown. The st finger tw placed on tho given ‘ret” number, BLUE SHADOW a oe om RAT. 587 Th mer, [repeet tiie saction 3 0 4 strum Ftgtooo AT mH RB om mHunos 33 ‘Ts hs Unt of Hs chord studton nook ons, but In aise ene {our boxes contein whet | eal! MOVEABLE CHORD FCF ‘torent at of the guitar Produces « cilferent chord after I Toe tet orm Is called E MAJOR FORM, because I singly 1s an malt Sttead ‘with he trat finger. "Try thie chord nove. "Sue how IC asm Naw the dark colored circle on gach chord tals rou where the root of the the chord form ts, and is cron the lowest sting playtd"Wstevar sie you place the vost oh the chara. Fer tual you play thie frat frm nthe feat that ‘thown, te toat ton aR Fao tha chord fa an'F Msler. you move ins aame chord form UD ‘whore ihe roel le on the ih tat-A, H'than becomes an A major chord. Try thoes ‘The fwkt loem le very alls ily WIEKGUL the Sd Ange. THe lb E AINOR FORM Whecaver You place ta rack M'wil produce = minor chose, ea, txlng the same fale mentioned above, You foals now fave s'F nor chord and an A flncr eho the most ussful. These tom moved tee hota moved up and fn chord (with mbar Tan stat of ener FORMS anespt tone of mute but expect tock, pop ahs county, These man forme ler chords like inet 7th and malot 70h, and thea cat Be found fy Volume I Momecursye you (a memartce teow ard work'wis tha ta ploon of thet tol poellion verte pts (an A FORM D chord en the sth trot In place f'® normal 141 postion b. te the AL FORMS, both major and minor. These, work Just tke the E raat te oh Ino Sth ating rathar Tan thé GIR. All Of thana forme ard E MAJOR E MINOR A MAJOR A MINOR FOR! FORM FORM. FORM 0g | 9 tho 2 finger E and & FORMS. ‘Some common rock variations to the above chard forme "Ty the tab song Below In the following 2) Bo the chord written above the fab. 5)" De ihe tab horde only ada the feet of the fingers that go tin hat form at aesn’ above, WILD THING aA34 fu at the soaies given in thie book, Inctuding these have several cttrant uses, ‘i ean or lin a con ay ee dun fot ace an at Ingo and they afe a toot fer developing siren ‘hand fingers. A bases wil ge youroppartunkies @ use These in saraty ‘St'wayey but for new you should learn and memoria them no" you have the tools fo do len imgrave'on yout own uo wall ee to continue te devolop you playing why, il the acalen on thle page are. what wre eaieg MOVEAGLE SCaltes and are raised f at Warned Ae determines tho hay sf the scale Bopin and end the scat “Tle rock cate fe used often and Ik go0d tor eevstoping peation ‘op all the Up ana ton ra tinger ‘shown, ae dae cic tit no Sm gr ae leat mst sare nt tie sae DPD ee me meecea Re ere i (major pentatonic) C fe realy tun and can be used with common 7 ‘ene Biles rock BLUES (minor pentatonic) E FORM G FORM |DAILY PRACTICE ROUTINE * 60 MINUTES A DAY AND GO30 MUSIC YOULL PLAY" L ‘This updated practice routine gives you a synopsis of what you should be practicing at Init point in zhase tuses.""7he suggested time of practice fe now an hour because you hood that much time just to get to al of the assignment. Teal tree to devote any hose, bul remember, to really became Thid it thy of the olven sepecis, ‘a good amount of concenta‘ed eifort and time wil be required | guggest that you continue your learning by working out of book 2 of thls series, by getting one oF two anthologies of popular Instrumontal works and by getting oouaior sheet music of the pop sings you enjoy most and applying the knowledge you leamed here to them. 1. WARM UP EXERCISES (10 mnures) > 012949210 x2 on all 6 strings > 1234921 x2, moving up one thet after each set of two, then come back ‘down ance you get to the 12th fret. + vue gwar pe atonaey-covn nen 4 1m ight hand figers to pic tha nates. Remembas to altsrate them for ‘zach rot jou pay. Use ree svuka and Wee shox, Titer fo page for corect Technique. ‘Siow guided pracice to = meonome wit Go more fr your progress than fast inaterive precios. H. SCALES 10 minutos) > Basio Scales: C, G, Am and £m. > Valous Scales Blues, Rock, E and A forms. “Use the rest and tree stroke and the.atternate guitar picking techniqu CLASSICAL STUDIES (25 mines) = NOTE READING: You should be able to kaw tha names of the strings ‘and the notes of each sing op tothe Sr fet and you should be able fe name all the noles on the staf noladag Sih ard él storg (eager ines. TO REVIEW pou ean refer the cut out flashcards, replay 0mm of the old axcerciess or simely plow on sheadt insight reading naw bsinvmenal places, > STUDIES: Estudo, Groen Stesves, Andante, Suita tn G Major and Saxty yA enor. ‘You should avertually be sbi 1 do allo the pisces merloned above wit relative aceuracy and pracision. To accompli his you nead tobe sute you are Ung al of the ugpesed ig an tard Irons ana uo Sw a tertive practice wih a metronome. Spend ine most concentration on fe few measures surouning he trouble Spot, WW. CHORD AND HARMONY EXERCISES (15 mnwes) Meade tara Se acai rare see tay ree ee ey oe reg SE Saas Sreia ea tae SE rete