Method Book II, 2nd Edition

Brad Richter

Copyright Brad Richter 2017

 Lead Guitar
Method Book II
2nd ed.

Brad Richter

Thanks to generous donations, Lead Guitar students play

Yamaha guitars with D’Addario strings.

Copyright Brad Richter 2017

NO DUPLICATION WITHOUT WRITTEN CONSENT

2
Table of Contents

Level Six: ................................................................. 4

Level Seven: ............................................................ 18

Level Eight: ............................................................. 30

Level Nine: .............................................................. 45

Level Ten: ................................................................ 58

Lead Guitar Method Book II continues to use Song of the Wild as a supplemental text but adds
three new supplemental music collections that expand the variety of repertoire available at
each of the five levels within Book II. At the end of each level is a list and excerpts of pieces
from these collections that align with the skills introduced in that level. We suggest that, at
each level, students master the skills introduced, familiarize themselves with the core
repertoire piece printed in the book and then choose a piece from either the book or the
supplemental literature to memorize and refine to performance level.

Leo Brouwer’s Etudes Simples can be purchased at:

www.gspguitar.com/jsp2/cart.jsp?action=addCartItem&sku=JWC64273

Andrew York’s 8 Discernments can be purchased at:

www.andrewyork.net/SheetMusicDownloads.php

Brad Richter’s Ghost Town can be purchased at:

www.bradrichter-guitar.com/sheet-music.html

3
Welcome to Lead Guitar Method
Book II!

Level Six:

Introduction ....................................................................................... 5

Tuning the Guitar ............................................................................... 6

Practice Tips ....................................................................................... 8

Tempo Markings ................................................................................ 10

Daily Warm-up Routine IV ................................................................ 11

Tone Color Changes ........................................................................... 13

More about Rhythm III – Sixteenth Notes........................................ 14

Study in A Minor (Giuliani) ............................................................... 15

House of the Rising Sun ..................................................................... 16

Supplemental Repertoire for Level VI ............................................... 17

4
Introduction
Welcome to Lead Guitar Book II. Having come this far, you can already play guitar quite
well. You can, among many other skills you acquired in Method Book I, read music
across all six strings in first position, play music in two voices (playing independent
musical lines with fingers and thumb at the same time), and play effectively in large and
small ensembles, simultaneously following other parts of the music while you play and
read your own. These skills are the foundation on which you will build throughout
Method Book II. By the end, you will have an understanding of basic music theory, read
music on all six strings up to the 12th fret, and play difficult guitar music with speed,
accuracy, and confidence. To do this requires a new level of commitment from you: to
practice almost every day at least 30 minutes, to achieve a higher level of focus in class
and at home when you play, and to take responsibility for your own practice and
progress.

5
Tuning the Guitar
Many of you have already begun to tune your own guitar and some of you may be quite
good at it. Most of us, however, find tuning the guitar difficult and frustrating at the
beginning. In this section, we will work through ways to make tuning easier and, for
those of you who can already tune your instruments, ways to make tuning faster and
more accurate. There are several effective methods for tuning the guitar but before you
can master any of them you need to know how to match pitch.

Pitch Matching Practice

1. Find a note that is tuned to concert pitch (concert pitch is a universal standard
by which instruments are tuned with an A note that vibrates 440 times per
second or at 440 hertz). For this you can use a tuning fork, a pitch pipe, or a
keyboard instrument like a piano, organ, or electronic keyboard.
2. Play an E note on the tuned instrument and stop it.
3. Play your E string (either 1st or 6th string depending on which is closer to the
tuned pitch) and compare the two. Is your instrument higher (sharp) or lower
(flat) compared to the tuned instrument?
4. If it is difficult to hear whether your note is higher or lower try singing both
notes if you can. Feeling the pitch inside your body will help you hear it.
5. Once you have determined if your note is higher or lower, follow your E string
to the end of the headstock to find the correct tuning peg. Turn the peg to
make it tighter if your note was flat or looser if your note was sharp.
6. Compare again and continue to adjust until the pitches match.
7. Have a friend slightly un-tune your string and try again from the beginning.

The best way to tune as a class is to match pitches to an already tuned teacher’s guitar or
piano one string at a time. Following are two methods to tune your guitar by yourself.

Tuning at the Fifth Fret

1. Using the pitch matching method above, tune your low E (6th) string to
concert pitch. If you do not have a concert pitch to compare to, you can
assume your low E string is in tune and proceed as follows so that your guitar
will at least be in tune with itself.
2. Hold down the E string at the fifth fret. This as an A note. Play the A note on
the fifth fret of the E (6th) string and compare it to the open A (5th) string.
Then tune the A string to match.
3. Hold down the A string at the fifth fret. This as a D note. Play the D note on
the fifth fret of the A (5th) string and compare it to the open D (4th) string.
Then tune the D string to match.
4. Hold down the D string at the fifth fret. This as a G note. Play the G note on
the fifth fret of the D (4th) string and compare it to the open G (3rd) string.
Then tune the G string to match.

6
 5. Hold down the G string at the fourth fret. This as a B note. Play the B note
on the fourth fret of the G (3rd) string and compare it to the open B (2nd)
string. Then tune the B string to match.
6. Hold down the B string at the fifth fret. This as an E note. Play the E note on
the fifth fret of the B (2nd) string and compare it to the open E (1st) string.
Then tune the E string to match.

Tuning Using Harmonics

This tuning method is more accurate and more difficult. Try this method only after you
are comfortable with the tuning at the fifth fret method described above. Review the
explanation of how to play a harmonic that accompanies Lion at the end of Book I.

1. Using the pitch matching method above tune your high E (1st) string to
concert pitch. If you do not have a concert pitch to compare to you can assume
your high E string is in tune and proceed as follows so that your guitar will at
least be in tune with itself.
2. Play the open E (1st) string. Compare it to the harmonic on the seventh fret of
the A (5th) string. Adjust the harmonic pitch on the A string to match the open
E string.
3. Play the harmonic on the seventh fret of the A (5th) string again. Compare it to
the harmonic on the fifth fret of the E (6th) string. Adjust the harmonic pitch
on the E string to match.
4. Play the harmonic on the seventh fret of the E (6th) string. Compare it to the
open B (2nd) string. Adjust the open B string to match.
5. Play the harmonic on the fifth fret of the A (5th) string. Compare it to the
harmonic on the seventh fret of the D (4th) string. Adjust the harmonic pitch
on the D string to match.
6. Play the harmonic on the fifth fret of the D (4th) string. Compare it to the
harmonic on the seventh fret of the G (3rd) string. Adjust the harmonic pitch
on the G string to match.

7
Practice Tips
With any instrument, as you get better and progress more, more practice and better
practice habits are often necessary to continue improving. You are already doing many
things very well and you understand a great deal about how to practice if you have made
it this far. Following are some suggestions for how to make your practice more focused
and more effective as you move through Lead Guitar Book II:

Give Yourself the Time You Need

Playing the guitar is a fantastic and fun way to spend your time but there are a lot of
other things you need and want to do with your time as well: school, homework, friends,
family, hobbies, sports, video games and more. If it is important to you to continue
improving on your guitar playing then you need to set aside at least 30 minutes six days
a week to practice. Just as important as the time you spend with the guitar in your hands
is the amount of focus you have during that time. Try to set aside the same time each day
to practice, a time when you know who will not be disturbed and your energy is good.

Time Allotment
Have a plan when you practice. One approach that works well is to divide your practice
session into three parts:
1. Warm-up using the current daily warm-up routine from Book II
2. Practice on your newest most challenging piece (this should be the longest
part of your practice session).
3. Practice a piece you love and play well already to review.

Divide and Conquer

You have already seen that in learning and playing the guitar you are asked to focus on
many things at the same time: left hand technique, right hand technique, melody and
rhythm are four things that we almost always have on or minds while playing and often it
is much more than that. That is why it is important to break the songs and techniques
you are trying to perfect into their component parts and practice each part separately.
For instance:
1. Technique – It is essential to developing good technique that you practice
each hand’s technique separately. You have done this some in Book I already
but in Book II this becomes even more important as technical requirements
become more difficult. You will see that the daily warm-up routines found
throughout this book emphasize this, practicing not only left and right hands
separately but also the fingers of each hand separately as well.
2. Music - You should always be aware of what are the most difficult parts of the
pieces you are learning. Mark the measures that give you trouble in
parenthesis and practice those sections separately. Try playing each of those
trouble spots five times in a row without a mistake, meaning, if you get to the
fifth repetition but you mistake there you have to start over from zero again
until you get five in a row mistake free. It is hard!
3. Balance your practice between practicing whole songs from beginning to end
and focusing on the difficult parts in those songs. Avoid mixing the two. Here
is a system you can follow with each song you practice:

8
 a. Start your practice on a particular song by playing it from beginning to
end without stopping no matter what mistakes your distractions you
have.
b. Make a note of the places where you had trouble.
c. Practice those smaller, difficult sections by themselves as described
above in point 2.
d. Play the whole song from beginning to end again as in point a.

Focus – The Wheel of Perfection

Above you have already read several ideas that will help you develop better focus as you
practice. The following is a particularly good focus exercise developed by Carlos Bonell,
Guitar Professor at the Royal College of Music in London and Lead Guitar’s Honorary
Artistic Director. He calls it the Wheel of Perfection and it helps his students learn to
focus more intensely as they practice. It is simple. The wheel below has twelve points
around it, like a clock. Each point describes an aspect of guitar playing that you can
improve upon. As you practice a particular song, try playing it, or a section of it, 13 times.
Focus on one of the twelve points of perfection each time you play, then, on the 13th time
try to perfect all the points together at once. We will change some of the points on the
wheel as we go through Book II. You may want to change some of them yourself if you
know there is a point that you need to focus on that is not listed.

9
Tempo Markings
You probably know that ‘tempo’ refers to the speed at which a piece is played. Tempo is often
indicated by the number of beats per minute (BPM) given to the dominant note type in the time
signature, or by Italian tempo markings. Tempo markings are written in Italian because
indicating tempo became popular in the 17th Century, when most important composers were
Italian. Exact tempo measurements were introduced later. Beethoven was one of the first
composers to use a metronome to indicate exact tempo measurements in BPM. You will see both
types of tempo indications in Lead Guitar Book II. Here are BPMs for the traditional Italian
markings:

Italian tempo markings

SLOW Grave: slow and solemn 20-40 BPM

| Lento: slowly 40-45 BPM
| Largo: broadly 45-55 BPM
| Adagio: at ease 55-65 BPM
| Andante: at a walking pace 85-100 BPM
| Moderato: moderately 100-110 BPM
| Allegro: fast and bright 110-130 BPM
| Vivace: fast and lively 130-140 BPM
FAST Presto: extremely fast 140-180 BPM

Tempo alterations

Ritardando/Rallentando: slow down

Accelerando: speed up
A tempo: return to initial speed

Molto: very, e.g. “molto lento” or “very slow”

Poco: less, e.g. “poco allegro” or “not as fast”
Poco a poco: little by little, e.g. “accelerando poco a poco” or “speed up little by little”

Suffixes

-ino/-etto: less, diminished, e.g. “adagietto” or “not as slow as adagio;”

“vivacino” or “not as fast as vivace”
-issimo: more, most, e.g. “prestissimo” or “as fast as possible”

10
Daily Warm-up Routine IV
Use the Daily Warm-up Routines in this book to begin each practice with special focus on your technique. It
is important to devote some time in each practice session solely to technique. It is too hard to refine your
hand position and finger movement while also focusing on a complex new song. First, focus on your right
hand by itself, then on your left. The entire routine should take around 10 minutes after you have learned it
well.

Right Hand Free Strokes

Play each measure below 4 or 5 times very slowly, focusing on right hand position, moving each finger
from its largest joint, placement of your finger nail or finger tip on the string, and keeping your hand still
as your fingers move. You should also review the information about free strokes in Method Book I.

First, one finger at a time:

Υ β −− œ −− −− œ −− −− œ œ œ œ −−
i i i i a a a a

œ œ œ
m m m m

œ œ œ

Then two finger combinations:

Υ −− œ −− −− œ œ −− −− œ œ −−
i m i m a m a m a i a i

œ œ œ œ œ œ œ

Three fingers plus thumb combinations (use these then make up one or two of your own):

œ œa œm i −− −− œa œ
Υ −− œ œ −− −− œ œ −− −− œ œ −−
p i a p p i m m a
i

œ
m p

œ œ œ œ

Υ −− œ œ œ −− −− œa œm − 5 − p iι œm œa œm i ι − − p p pι iι œm œa −
− 7 − ιœ Ι Ι Ι œ − − ι ιœ œ Ι Ι −
11 p i

œ
p m a i

œ œ œ œ œ

11
Left Hand
I first saw this exercise (although it is quite common) in an excellent book by Scott Tennant called Pumping
Nylon. I highly recommend the book to anyone who wants to dig deeper into the subject of developing
excellent guitar technique. Here you are practicing the movement and pivot of your left hand around the neck
as you move from the 6th string to the 1st and back. Although this exercise is for the left hand alone, it is
important to keep your right hand in a good playing position while you do this exercise to maintain balance
and reinforce good habits. Review the information about left hand position in Method Book I and follow the
tips below:
1. Pivot from your wrist as you move your hand around the neck. When your fingers touch the 6th
string, your wrist will be straight. As you move to the 1st string, your wrist will bend slightly
upwards.

2. Observe the way your fingers look when they are relaxed. They should be gently curved. That is the
curve they should have when they are pressing down on a fret. Be sure to press down only with the
very tip of your finger directly to the left of the fret itself.

3. Also, focus on keeping your unused left hand fingers relaxed and curved.

4. As your hand pivots around the neck it should always be squared with the neck. No part of your
hand should touch the neck. The largest knuckles on your hand should remain parallel to the
bottom of the neck. All fingers should hover approximately over the string that is being played.

5. Your thumb should stay in one place for all four fingers if possible: in the center of the neck behind
the second finger.

6. Move each finger quickly from one note to the next, having as little time as possible with your finger
off of a string.

7. Reading this exercise is more difficult than playing it. The 1st finger is simply playing the 1st fret
of each string from the 6th string to the 1st and back. The 2nd finger is playing the 2nd fret of
each string and so on. If you have small hands or an overly large guitar, it may be more comfortable
to try this exercise at the 5th fret rather than the first.

ι œ œ ι ι ∀œ ∀œ ι
Υ ι ι α œι α œ œΙ Ι Ι œΙ α œ α œι ι ι ι ι œι œ ∀ œΙ Ι Ι ∀ Ιœ œ œι ι ι
1 2

œ αœ α œ œ ∀œ œ œ ∀œ

3
ι œ œ œ œ ι
4
ι ∀ œ ∀œ ∀œ ∀œ ι
α
Υ ι œι œ Ι Ιœ Ι Ι Ι Ι œ œι ι ι ∀ œι ∀ œ Ι Ι Ι Ι Ι Ιœ ∀ œ ∀ œι ι
α œ œ
œ œ ∀œ ∀œ

12
Tone Color Changes
Like dynamics, changes in tone color can make music more expressive. On the guitar you can change the
"color" of the tone by moving your right hand closer to the bridge (ponticello) or closer to the neck/fret board
(tasto). When you see "natural" written in the score, move back to your normal right hand position.
Here are some things to keep in mind while you experiment with tone color changes:
1. Do not let a shift of your right hand towards the neck or the bridge affect the key elements of
your right hand position.
a. The straightness of your wrist.
b. The height of your wrist
c. The angle of your fingers as they pluck the strings

2. Your forearm will slide along the top of the guitar to change your tone color position.
3.
4. You should wear long sleeves to play, or, if it is too warm cut off a sleeve from an old shirt or the
toe end off an old sock and wear that on your right arm. This will help avoid having your skin get
stuck on the guitar as you shift.

5. You should always return to your natural position after a tone color change - with your "m" finger
lined up near the bridge side of the sound hole. Where there is no indication of tone color given
you should be in natural position.

Play the following right hand exercise to practice tone color changes before you try them in Moose:

1 −− ‰ ι ‰ ι ‰ ι ‰ ι
ponticello (move hand toward the bridge)

%3 œ œ œ œ œ œ œ œ œ œ œ œ
˙ ˙ ˙ ˙

‰ ι œ ‰ ι œ ‰ ι œ ‰ ι œ
natural tasto (move hand toward the fret board)

% œ œ œ œ œ œ œ œ −−
˙ ˙ ˙ ˙

Let's Get Wild! You're ready to play Moose in

Song of the Wild.

Notes about Moose

Practice Moose with both of the right hand finger patterns suggested in Song of the Wild - playing the song
with p-i-m-i as well as p-m-a-m. You will be able to play p-i-m-i faster, but it is important to exercise your "a"
finger here too to get it in shape for the songs coming up next.

The bass line in Moose is the melody. Play it a little louder than the accompanying higher notes and make the
bass notes as connected and legato as possible.

13
 More about Rhythm III
Sixteenth Notes:
A sixteenth note has a time duration equal to one sixteenth of the time duration of a whole note. In music for
which a quarter note represents the beat or pulse, a sixteenth note divides the beat into four equal parts. It is
twice as a fast as an eighth note - the fastest note we have played until now. Review the note values chart
below, then try the rhythm exercise that follows:

Note Values: A whole rest equals

3
w Υ3 ϖ ∑
4 beats of silence.
A whole note equals four beats
(in 4/4 time).

Υ˙ ˙ Ó Ó
half rests

h
A half note equals two beats or half
of one measure in 4/4 time.

Υœ œ œ œ Œ Œ Œ Œ
quarter rests

q
A quarter note equals one beat or one
quarter of one measure in 4/4 time.

Υœ œ œ œ œ œ œ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰
eighth rests

e
An eighth note equals half of a beat or
one eighth of one measure in 4/4 time.

sixteenth rests

x
A sixteenth note equals one quarter of
a beat or one sixteenth of one measure Υ œœœœœœœœœœœœœœœœ ≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈
in 4/4 time.

Clap and Count:

Clap and count the rhythm below (excerpted from The Hawk and The Nightingale) several times until you
can maintain a steady beat. Try it with a metronome, with your teacher or a friend tapping the pulse while
you clap and count the notated rhythm.

Υ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ −−
Count: 1 2 3 e and a 4 and 1 2 3 e and a 4 and 1 2 3 e and a 4 e and a 1 and 2 and 3 and 4 e and a

Let's Get Wild! You're ready to play Hawk and Nightingale

in Song of the Wild.
14
 Study in A Minor
Mauro Giuliani

1 3œ œ1 œ œ œ œ œ œ œ œ ≈ 3œ œ œ œ œ œ œ œ œ œ œ ≈ 1 œ œ œ
≈
p i m i a i m i 1
0œ
4
3 3

Υ3 œ œ2 œ4 œ ˙ ∀ œ œ œ œ
˙ œ œ2 œ4 œ ˙ 2

≈ œ ≈ ≈
œ œ œ œ œ
1 4

œœœ œœœ œ œ œ œ œ œ œ œ œ
6

Υ œ ∀œ œ œ œ œ œ œ ˙ ∀œ œ œ œ
1

œ œ œ œ
2

2 3 ˙ ˙
3 2

≈ œ œ œ ≈3 œ ≈ œ ≈ 0 œ
Υ˙œ œ œ œ œœœœœœœœ ˙œœœ œœœ œœœ œœœ ˙œœœ œœœ
11

2 ˙
≈
3 2

œ œ œœ œœœ œœ œœœ œœ œœœ œ

1 4

Υ ∀œ œ œ œ œ œ œ œ ∀œ ∀œ œ ˙
16

∀œ ∀œ
˙ œ œ œ œ œ œ œ œ ˙

Composer and guitarist Mauro Giuliani (July 27, 1781 - May 8, 1829) was
born in Bisceglie, Italy. His first instrument was the cello and he probably
studied the violin before choosing the guitar as his preferred instrument. In
1806, he moved to Vienna, Austria where he worked as a composer,
performer, and teacher. He also associated with one of Vienna's most
legendary musicians, Beethoven, and even played the cello in the orchestra
when Beethoven's Seventh Symphony was premiered. In 1819, Giuliani
returned to Italy to escape financial problems. He concertized with his
daughter, Emilia, and wrote and published many volumes of guitar music that
became important after his death. However, he died without much notice.

Let's Get Wild! You're ready to play Condor

in Song of the Wild.

15
Arpeggios
An arpeggio is the notes of a chord played one at a time. In many cases, as in House of the Rising Sun below,
when we play arpeggios on the guitar we hold the entire chord with our left hand so that the notes can ring
over one another as they are played individually. You will recognize many of the chords below but the F
Major 7 and C Major chords are new. The chord symbols have been provided for your reference.

Right Hand Fingering

The right hand part of House of the Rising Sun is difficult if you do not have a good fingering plan. There are
three measures with RH fingering patterns below (one each for 4 string, 5 string and 6 string arpeggios). You
should follow them precisely and apply one of the three patterns to each of the remaining measures.

Finger-pickin' Rock Licks I

House of the Rising Sun
Am C D F m a j.7 Am

The Animals

œ œ ∀ œ
œ œ œ œœ œœ œ œ œ
i m

5 −− œ œ
p p i a m i

œ œ œ œ œ
a m i p

Υ7 œ 3 œ 0œ œ œ 1 3 œ œ
1

œ2 0 1 œ 3 œ
3 2 0
2
0
C E Am C

œ œa œm i œ œ œ œ œ œ
Υ œ œ œ œ œ œ
6

∀ œ ∀ œ œ œ
p p p

œ œ œ œ œ œ œ œ œ
œ œ
D F m a j.7 Am E Am E

œ œ∀ œ œ œ œ œ œ œ œ œ
œœ
œ
œœ
œ
œœ
œ
œœ −
∀œ −
11

Υœ œ œ œ ∀œ œ œ
œ œ œ œ
œ œ

The Animals (1962-1969), a British rock band formed in Newcastle

England, became known in the United States as part of the British
Invasion--a massive influx of British rock bands that included The
Beatles, The Rolling Stones, and Led Zeppelin. Lead Singer Eric
Burden was only 16 years old when they recorded their first hit songs.
Some of their most popular songs are The House of the Rising Sun
and We Gotta Get out of This Place.

16
Supplemental Repertoire, Level VI
Once you have understood all of the new techniques and concepts presented in Lead Guitar
Level 6 you can also play one or more of the following pieces excerpted below. Visit the Lead
Guitar website for links to recommended video performances of this music and ask your
classroom teacher for the score to any you would like to play. To purchase the score you can 4
visit the Lead Guitar website: http://www.leadguitar.org/method-books

Spider Dance
'Spider Dance' from Eight Discernments by Andrew York
Andrew York
Vivace
A ~ ~
is i,~ i —.i i ~~~1 I I I I I ~ I~~— I—’ I I I I

[~f’z4 t~’~’zJ~’~ ~LF*’

__t I I I I I L_.J __J I I.. I I I I I I — I I I I I I—.__. — S I

y -
8

Snowflight
'Snowflight' from Eight Discernments by Andrew York
~ ~w-~-~ Wi Andrew York

4~fl JT j~-p~
$~7~J~ ~n;-v: ~ ~j~j J2~1
* JTtJT2~jWillow
~
'Willow' from Eight Discernments by Andrew York
Andrew York
lazy, let ring

~
~
F ~iPF F ~ ~J F Ji
“lip
~

sim.

1L-~~iTh~ ~~i;~F
4iz~1~ ~
Etude III by Leo Brouwer
4 ~ •~

rEifl :-~~I~i ~
4* ~t F ~ ~atempo7r
ti~ 17
© 1991 Seven Centers Publishing
H:
Level Seven:

Scales .................................................................................................. 19

Moveable Major Scale Pattern on Six Strings .................................. 20

Babe, I’m Gonna Leave You (Led Zeppelin) ...................................... 21

Free Strokes with Multiple Fingers ................................................... 22

Daily Warm-up Routine V ................................................................. 23

Andante (Carulli) ............................................................................... 25

Dust in the Wind (Kansas) ................................................................. 27

Supplemental Repertoire for Level VII ............................................ 28

18
Scales
In Method Book I, you learned one octave C major and E major scales in first position. We will build on
that experience here by learning moveable scale patterns and playing scales in several different keys. But
first, you should have a basic understanding of how scales are constructed.

Half Steps and Whole Steps

Scales are built from a series of whole steps and half steps. The series repeats itself when you arrive again at
the root note or tonic note - the note on which the scale usually begins and ends and on which the scale is
built - one octave above or below the note on which you started.

A half step moves up or down one fret on the guitar. For example, moving from C to C# or from F
to E is a half step.

A whole step moves up or down two frets on the guitar. For example, moving from C to D or from
A to G is a whole step.

Major and Minor Scales

There are dozens of different kinds of scales - pentatonic, blues, modal, chromatic, whole tone and octatonic,
to name a few - but we will focus on the two most fundamental types of scale: major and minor.

All major scales are built on the same series of wholes steps and half steps. Keeping in mind that a whole step
is two frets on the guitar and a half step is one fret, play the A major scale below on one string (the A string or
5th string) to reinforce your sense of how a scale is constructed. It starts on the open string and ends on the
12th fret one octave higher:

Υ ∀œ œ
whole step whole step half step whole step whole step whole step half step

∀œ œ œ ∀œ
œ œ
Fret: 0 II IV V VII IX XI XII

Using the same series of whole and half steps as above, try playing a major scale on each of the other five
strings.

All standard minor scales are built on the same series of whole steps and half steps. It is identical to the steps of
a major scale starting on the 6th note. Play the A minor scale below on one string:

œ
3

Υ œ
whole step half step whole step whole step half step whole step whole step

œ œ œ œ œ
œ
Fret: 0 II III V VII VIII X XII

Using the same series of whole and half steps as above, try playing a minor scale on each of the other five
strings.

19
Movable Major Scale Pattern on Six Strings
There are many effective patterns to use for a major scale on the guitar. We will start with the pattern below
because it stays within one position - second position in this case. This means that your LH first finger will
play all of the notes in the second fret, your second finger will play the notes in the third fret, third finger
fourth fret and fourth finger fifth fret. It will also help you to read the music below if you keep in mind that
circled numbers indicate the string that a particular note is played on and Roman numerals indicate the fret
number.

You can use this pattern to play a major scale starting on any fret between II and X on the 6th string. The
name of the scale you are playing is determined by the starting note. Play all of the scales below using both
rest strokes and free strokes and with each of these six RH finger combinations (being careful to alternate
fingers for every note):
i and m, m and i, a and m, m and a, a and i, i and a

∀ œ4 œ1 œ œ
1

œ œ2
G Major Scale:

% β œ
2

œ
2

œ œ œ
4

œ œ
3

œ 4
œ 1
œ 2 4 1 3 4
1
3
2 4
5
6

∀ œ œ œ œ œ
5

% œ œ œ œ œ œ œ ϖ
A Major Scale: Notice that the LH finger and string changing indications are exactly the same as with the G
Major scale above. This is the same pattern shifted up two frets. Notice also the key signature for A Major.

∀∀∀ œ4 œ 2 œ 4 œ 1 œ2 œ
1

œ œ
2

% œ œ œ œ œ 3

œ œ
1

2
œ 4 1 2 4 1
4
3 4
3
5

∀∀∀ œ
6

œ œ œ œ
% œ œ œ œ œ œ œ ϖ

∀∀∀∀ œ 1 œ2 œ
œ 1 œ3 œ4 œ 2 œ
B Major Scale: 1
2

œ4
3

% ∀ œ œ
4

œ œ œ œ
œ 4 1 2 4 1 3
2 4
5

∀∀∀∀ œ œ
6

œ œ œ œ
% ∀ œ œ œ œ œ œ ϖ
Note: because minor scale patterns on the guitar do not fit as easily into position playing, we will wait
until later in the book to begin exploring moveable minor scales.

20
 Finger-pickin' Rock Licks II
Babe, I'm Gonna Leave You
‰
ι œι œ ιœ
Led Zeppelin
ι 4œ
p p i a p i m a

Υβ ιœ œ œ œ ι œ
œ 1 œ œ ι œ œ
4

œ œ œ œ
1

œ œ
3

˙ 2 3 ˙ 1
˙ 2 ˙ ∀ ˙ ˙
3 2

ιœ ιœ
a

ι2 ι œ œ ι œ œ ιœ
p m

œ 3 œ ι œ œ œ œ œ
i

Υ 4œ œ œ œ œ œ œ ι œ
4

œ ∀ œ œ œ œ œ
1
4

˙ ˙
2

˙ ˙
2 1
˙ ˙ ∀ ˙ ˙
1

ιœ ιœ ιœ œ œ ιœ
œ
Υ œ œ ι∀œ œ œ œ œ œ ιœ œ
8

œ œ œ œ
˙ ˙ ˙ ˙ ˙ ˙

ι œ œ œι œ ϖϖ
Υœ œ œ ι œ œ ι œ ϖϖ
11

œ œ œ ∀œ
∀˙ ˙ ˙ ˙ ϖ

Led Zeppelin (Formed in 1968) was an English rock band

that became popular around the globe, particularly in
America. The band members were John Bonham (drums),
John Paul Jones (bass guitar, keyboards), Jimmy Page
(guitar), and Robert Plant (vocals). Led Zeppelin was
considered to be one of the first heavy metal bands, but
their songwriting and sound were far too complex to be
described as heavy metal alone. They incorporated all
styles of music including classical, Indian, Latin, and
country. Led Zeppelin disbanded in 1980 when John
Bonham died. In recent years, the surviving members
have gone on reunion tours.

21
Free Strokes with Multiple
Fingers Playing Simultaneously
It is important to maintain the technique principles you use when playing a single-finger free stroke when
you play free strokes with two or more fingers at one time: good right hand position, moving each finger from
its largest joint, correct placement of your finger nail or finger tip on the string, and keeping your hand still as
your fingers move. You should also review the information about free strokes in Method Book I.

Here are two additional points you will want to keep in mind when playing with more than one finger (or
finger(s) and thumb) at the same time:

1. Evenness of tone - producing the same tone quality from every finger.

2. Evenness of timing - sounding each finger at exactly the same time.

Practice each of the exercise below until you have all of the sound production and technique concepts
described above comfortably under control before you move onto the next exercise:

−− œœ œœ œœ œœ −− −− œœ œ œ œ
m a a

Υ β œœ œœ œœ œœ −− −−
i m i

œ œ œ

a a

œ œœ œœ œœ œœ œœ œœ œœ
m m

Υ −− œœ −− −− −− −− −−
p i

œ œ œ œ œ œ
i

œ œ œ

œ œ œ −− −− œœœ œœ œœ œœ
Υ −− œœ œœ −− −− œ œ œ œ œ œ œ −−
œ œ œ œ œ œ œ

Let's Get Wild! You're ready to play Orca in

Song of the Wild.

22
Daily Warm-up Routine V
Right Hand - Free Strokes
Play each measure below 4 or 5 times very slowly focusing on right hand position, moving each finger from its
largest joint, placement of your finger nail or finger tip on the string and keeping your hand still as your fingers
move.

First, one finger at a time:

Υ β −− œ −− −− œ −− −− œ œ œ œ −−
a a

œ œ œ
i i i i m m m m a a

œ œ œ

Then two finger combinations:

Υ −− œ −− −− œ œ −− −− œ œ −−
i m i m a m a m a i a i

œ œ œ œ œ œ œ

Three fingers plus thumb combinations:

œ œa œm i −− −− œa œ
Υ −− œ œ −− −− œ œ −− −− œ œ −−
p i a p p i m a
m i

œ
m p

œ œ œ œ
For the multiple fingers and thumb combinations below, choose two different patterns each day to use as part
of your warm-up. When two or more fingers are playing simultaneously, focus on:
1. Evenness of tone - producing the same tone quality from every finger.

2. Evenness of timing - sounding each finger at exactly the same time.

3. Good technique and finger movement - isolating the movement to your fingers only (do not move
your hand) and moving all fingers from your largest knuckles, keeping your fingers curved.
a

œœ œœ œœ − − œ œ œ œ œœ œœ − − œ œ œ œ −
m a a

œ œ − −œ œ œ œ −− −− œœ œœ œ − − œ −
m i

Υ œ œ œ
i i m

œ
p p
œ œ œ œ œ œ p
œ œ

ι iι ι ι ι ι
a m
i a

œ œ œ œ − 5 − œœ œ œ ι − − œ œ œ œ œ œ −
a m

Υ −− œ œ œ −− −− œœ
m

œ − 7 − ιœ ιΙ Ι œ − − œ œ œ œ −
i m a a m i i

p
œ p
œ p
œ Ι œ œ œ
p

23
 Daily Warm-up Routine II continued...

Left Hand - Ascending Slurs

On the guitar, an ascending slur is played by plucking a note with the right hand then "hammering" a left
hand finger onto a higher fret to sound a new pitch without using the right hand. In rock music these are
called
"hammer-ons." Slurs can help you play faster and more legato and are very common in guitar music. You will
use slurs in most of the pieces you play from this point forward.

To help get ready to use this technique in a song, start with the exercise below. Review the tips about LH
technique from Warm-up Routine I. Your goals is to make the slurred note as loud and clear as the plucked
note that precedes it. To do this you must move your finger fast against the fret and land on the tip of your
finger.

Slur Exercise: Play each measure below until the slurred note is clear and consistent. You can use any RH
finger combinations but avoid using the same RH finger twice in a row to maintain your good habit.
A curved line connecting two notes of

−− ∀
different pitches indicates a slur.

Υβ œ œ2 œ œ −− −− œ αœ œ œ −− −− α œ µ œ α œ µœ
2 3 3 4
1

Hold your first finger on the 1st fret until your second finger
hammers onto the 2nd fret without the right hand playing again.

Major Scales with Rhythmic Variations

In the previous unit, you learned about scales and how to transpose them into different keys by using a
moveable finger pattern starting on the 6th string. Now make playing scales a part of your daily warm-up. It
is best to save the scale playing for the end of your warm-up routine, after you have focused on each hand
individually, because they require a great deal of dexterity from both hands at the same time.

Below are several rhythmic patterns to use while playing your scales.
1. Set your metronome to 60 or use a clock from which you can hear the seconds ticking and play along
with it to maintain a steady pulse as you subdivide the beats in the patterns below.
2. Try each rhythm in a variety of keys and use all six right hand finger combinations: i and m, m and i,
a and m, m and a, i and a, a and i. Play these scales with rest strokes since we have already warmed -
up with free strokes.

∀ œ œ1 œ2 œ
1

œ3 œ4 œ
1. First play a scale in simple quarter notes - one note per metronome click. 2 ...and so on

Υ œ œ œ
4

œ
2

œ œ œ
œ 4œ
1
4 1 3 4 3
1 2 4
2 5
6

∀∀∀ ∀∀∀∀ œ œ ∀ ∀
œ œ ∀ ∀∀∀ œ œœœœ
œ œ
2. then in eighth notes - two notes per click 4. sixteenth notes - four notes per click
3. eighth note triplets - three notes per click*

Υ œœ œœ ∀ œ œ œœœ œ
œ œ œœœ 3 3
3 3

œ œ œ œ œ œ œ
œœœ
* Triplets divide a measure, beat or parts of a beat into three equal parts. Triplets are notated with a bracket and
the number 3 above the three notes to be grouped into a triplet. Here, eighth note triplets divide a quarter note
beat into three equal parts.
24
Important Notes for Playing Andante
Andante is a big step up in complexity and length from the pieces you have learned up until now, but rest
assured, you have all the skills you will need to master it. Here are some important details that will help
you play Andante. The numbers below correspond to the numbers in rectangles in the music.

1. In Andante you will switch between rest strokes and free strokes for the first time. Rest strokes are
used for the single note scales such as those in measures 1, 3, 5 and 7. Free strokes are used every-
where else. This division of rest and free strokes is common in other classical guitar music too.

2. In most of Andante (except when playing rest stroke scales) it is a good idea to assign one finger to
each string, with the 'a' finger playing most notes on the E string, the 'm' finger playing notes on
the B string, and 'i' finger playing notes on the G string.

3. There are several notes that extend past typical open and first position fingerings. This is either to
make it possible to play two notes at the same time that normally appear on the same string or to
make a warmer tone by fingering notes on the 5th fret rather than in open or first position.
Remember, circled numbers tell you on what string a note should be played.

Andante
»€ºº
Ferdinando Carulli
Andante π a 2 3

œœ1 œœ
m m
0œ œœ œœ œœ
2

Υβ œ œ œ œ 1œ œ œ œ œ ∀ œœ œœ œœ 23 œœ
1 1 i
2
0

œ œ œ œ œ œ
3

œ œ œ œ
1 3

œ œ œ œ œ œ œ œ œœœœ
œ œ
Υœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ∀ œ œ Œ œ œ œ
∀ œ
4 1
4 0

œ œ œ œ œ œ œ œ œ œ
œ
3

Υ∀ œœ œœ œœ œœ œœ œœ ∀ œ œ œ œ œœ œœ 43 œœ 23 œœ2 œœ ∀ 0œœ ∀ œ œ œ œ
9
2

œ œ œ œ œ œ œ œ œ3œ œ 1 œ
3

œ œ œ œ œ œ œ œ œ
Υ∀ œœ œœ œœ œœ œœ œœ ∀ œ œ œ œ œ œ œ œœ∀ œ œœ ∀ œœœ Œ œ œ œ œ œ œ œ œ
13

œ œ œ œ œ œ œ œ œ œ

25
 Andante continued...

œœ œœ œ œ œ œ œ œœ œœ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œ œ œ œ
œ ∀œ œ œ œ œ
18

Υ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
2

œœœœ œ œ œ œ œ œ
a i

œ œ œ œ
m i

œ œ œ
Fine*

œ Œ œ
4

œ∀ œ œ œœ œ œ œ œ œ 3 œ œœœ œœ œœœœœœ œ
23

Υ
4 1
1

œ 3œ œ œ œ œ œ œ
œ p 2 p
2

œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
Υ œ œœ œ œ œ œ œ œ œœœœœ œœœœ œ œ
28

œ œ œ œ œ œ ∀œ œ œ œ
œ œ œ œ œ 4 0

œ œ œ œ œ œ œ œ
Υ œ œ œ œ ∀œ œ œ œ œ œ œ œ∀œ œ œ œ œ œ œ œ œ œ œ œ∀œ œ œ œ œœ œ œœ œ∀œ œ œ œ
œ œ
33

3 œ œ œ œ

œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ
œ
38

Υ œ œ œ œ∀ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œ œ œœœœœœœœ
œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
*

œ œ
D.C. al Fine

œ œ œ
Υ œœœœœœ œ œ œœ œ œ œ œ œ œ œœœœœ œœœœ œ œ
43

œ œ œ œ œ œ œ œ œ œ œ œ

*Note: D.C. al Fine is a common indication in music scores. It means to go back to the beginning and repeat
until you reach 'Fine'. Fine means 'The End' in Italian..

26
 Finger-pickin' Rock Licks III
Dust in the Wind
Kansas
a p a i m

œ œ œ œ œ œ œ œ œ œ œ œ œ
i m

Υ β œ œ œ œ œ œ œ
4

œ œ œ œ
1 0

3œ 2
œ œ œ œ œ œ œ
p

Υ œ œœ œœœœ œœ œœœ œ œœ œœœœ œœ œœœ œ œœ œœœœ œœ œœœ

3 23 1
0

œ œ œ œ œ œ œ œ œ œ œ œ
0

œ œ œ œ ˙˙
Υ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙˙ Ó
6

œ œ œ œ œ œ œ œœ ˙

The Kansas Band (formed in the '70's) released their

first album in 1974. Kansas went on to produce eight
gold albums, a million-selling gold single, "Dust in the
Wind", and numerous other prestigious awards. In 1998
they released an orchestral CD and later went on an
orchestral tour performing with symphony orchestras
around the world. Kansas' trademark song, "Dust in the
Wind", is one of the most popular rock ballads of all
time.

27
Supplemental Repertoire, Level VII
Once you understand all of the new techniques and concepts presented in Lead Guitar Level 7, you
can also play one or more of the following pieces excerpted below. Visit the Lead Guitar website
for links to recommended video performances of this music and ask your classroom teacher for the
score to any you would like to play. To purchase the score you can visit the Lead Guitar website:
http://www.leadguitar.org/method-books
Supplemental Music for Level VII
'Distant Storm' from Ghost Town by Brad Richter
'Distant Storm' from Ghost Town by Brad Richter
Supplemental
tasto
UMusicU for Level VII
œ œ
pU U U

œ−
θ 1
33 0œœ 0 œœ −− ι
sim...

œœ −− ι œœ œœ œ œ œœ
4
œ
4

Υ œ
2

1œœStorm'
3œ
œœ −−− from
œœ Ghost
œœ œœ Town œœ −−− by Brad œœœ œœœ œ œ œ
œœ œœ Richter Ι œœœ
'Distant
œ
2œU tastoœU − œ œ œ œU − œ œ œU Uœ œ œο
Ο œ œ−
θ
p

Υ 33 10œœœœ0 œœœœ −−−− strings

sim...

ι near bridgeœœœ −−− ι œœœœ œœœ œ œ œ œœ

tambora tambora 4
œ 1
4

œ
2

œ œœœ
R.H. thumb striking

3œ œœ −− Town œœ œœ byœœ Bradœœ −Richter − œœ œœ œ œœ œ œ Ι

2œ œtambora
œ œ œ − tambora œ œ œ œ œο
Οquicly sliding finger
'Dusk' from Ghost
up to fret XII and
R.H. thumb striking
releasing there so that both the harmonic B

~
strings near bridge

œ ~~~~ ‚
∀ ~ϖ~quicly‚ sliding‚ finger‚ up to fretϖXII and
'Dusk' from
and theGhost Town by Brad Richter
open B ring
ι ι
'Dusk'œfrom Ghost Town by ι
ϖ ‚ ι
ϖ œ
XII XII

œ œ œ
3 œBrad œ
œ œ
5
0 Richter
Υ œ ‚
XII

Œreleasing Œ ‚
ο ο
there so that both the harmonic B

Ε ι Ε~ XII
2 0
ι ~
∀ œ ~ϖ~ ‚ ‚ ‚ 3 œι ϖ0 œ œ œ œ ~ϖ~~ ‚ ‚
and the open B ring

œ ϖ
XII ι
œ œ œ œ ‚
5

Υ
XII

'Walking'Œ from Eight Discernments Œ ‚

Ε ο
2
Ε
0 by Andrew York
ο
∀ 2
∑ ∑ ∑ ∑
9

Υ 3
'Walking' from Eight Discernments by Andrew York

∀ 2fromfrom
∑ ∑ ∑ ∑
9
'Walking' by York
Andrew York
Υ 01 3
'Chant' EightEight Discernments
Discernments by Andrew

∑ ∑ ∑
13

Υ 7
'Chant' from Eight Discernments by Andrew York

Υ 01 ∑ ∑ ∑
13

7
'Heath' from Eight Discernments by Andrew York

∑ ∑ ∑ ∑
16

Υ
'Heath' from Eight Discernments by Andrew York

∑ ∑ ∑ ∑
16

Υ
'Sherry's Waltz' from Eight Discernments by Andrew York

∑ ∑ ∑ ∑
20

Υ
'Sherry's Waltz' from Eight Discernments by Andrew York

∑ ∑ ∑ ∑
20

Υ
28
'Chant' from Eight Discernments by Andrew York

Heath
'Heath' from Eight Discernments by Andrew York
Andrew York

:&Jz[±
‘Ri
~
Fr F~ ~~anF 1: ~ 11

Sherry’s Waltz
~H ~ H ~ ~ H
'Sherry's Waltz' from Eight Discernments by Andrew York
a~ ~

~ r
A I~
r rI --—---s— __________
i—
20J
~ r~u
‘~r~
— 7,

1~
~
4i4Lfl J fl F ~
rJ r
hJ~J~H~
g r
~
~ Fr rr r
1-k~ ~ ~

I 2f oF

tL fl ~ P H ~ 7
1111)
I
~
~r rP r P J
r LP~Z~J~
F
2~t
‘~

1~? 29 I
~ FE
Level Eight:

Scale Patterns Starting on the 5th String ............................................ 31

Daily Warm-up Routine VI ................................................................ 32

Etude No. 7 (Carcassi)........................................................................ 34

Reading and Playing Notes in Higher Positions ............................... 37

Guardame Las Vacas (de Narvaez) .................................................... 40

Blackbird (Beatles) ............................................................................. 42

Supplemental Repertoire for Level VIII ........................................... 43

30
Scale Patterns Starting on String 5
Below are two different patterns for playing a two octave major scale starting on the 5th string. The first
pattern was developed and taught by Andres Segovia. Segovia was one of the greatest guitarists of the 20th
century and his methods and ideas for learning the guitar were used by guitarists around the world. This scale
pattern is no longer as widely used by modern guitarists, but is introduced here because it is excellent practice
for position shifting.

The second scale pattern is preferred by many modern guitarists because, once mastered, it can be played
faster due to the fact that there are three notes on every string (rather than a mix of 2, 3 or 4 notes as in the
Segovia scale, which can be harder for the right hand) and it overlaps two positions (rather than making a
clean switch between them) which can be easier for the left hand. Learn both patterns. It is healthy for your
hands and your brain to be able to do both. Once you know the patterns well, try all of the scales on this page
in several different keys by moving the starting note on the 5th string.

œ œ1 œ ˙
shift to 5th position

œ œ
1. Segovia's major scale pattern:
œ œ
4

Υβ œ
2 3

œ
1

œ 2œ œ
1 3 1 2 4

œ œ
3
1
2 4 1 4
4 3 Use the same fingerings for the descending scales
5

œ œ œ ˙
partial shift to 4th position

œ œ
2. 'Modern' major scale pattern: 1

œ œ
4

œ
2 3

œ
1

Υœ œ
3 4

œ 4œ œ
2 4 1 2
1
1 2 4
1 2 4
5 partial shift to 5th position

here the LH stretches across 5 frets instead of 4

Two Octave Minor Scale Patterns

The first minor scale pattern below is a 'natural' minor scale. It contains the same pattern of half steps and
whole steps as a major scale starting on the sixth note or 'degree'. The second minor scale is a 'harmonic'
minor scale. It features an alteration that is commonly made when playing in a minor key: the seventh degree
of the minor scale is played one half step higher. Both minor scales below are similar to the more modern
major scale pattern above in the way they overlap positions and consistently have three notes on each string.
The scales below are notated with accidentals rather than key signatures so that you can see which notes
change as the C scale moves from major to minor to harmonic minor.

œ α œ α2œ ˙
œ α1 œ œ
3. Natural Minor Scale: 1

œ
4

α4œ α1œ
2 1

Υœ œ
3 4

œ α4œ œ
2 4 2

1 3
1 3 4
5

œ αœ œ ˙
4. Harmonic Minor Scale: 1

œ œ α1 œ œ
4

œ
2 1 2

Υ œ α4œ
3 4

α4œ 1 œ
4 2

œ
2

œ
1
3
1 3 4
5

31
Daily Warm-up Routine VI
Right Hand - Free Strokes

Υ β −− œ −− −− œ −− −− œ œ œ œ −−
a a

œ œ œ
i i i i m m m m a a

œ œ œ

œ œa œm i − − œa œ
Υ −− œ œ −− −− œ − − œ œ −− −− œ œ −−
p ai m p p i m p a
m i

œ œ œ œ
a

œœ œœ œœ − − œœ œœ − − œœ œœ œœ œœ − − œ œ œ œ −
m a a

− − − −œ œ − − œ −
m i

Υ œ œ œ œ œ œ œ œ
i i m

œ
p p
œ œ œ œ œ œ p
œ œ
i a i m i m a

œœ œ œœ œ œœ −− −− œ œ œ œ œ œ œ œ −− −− œ œ œ œ œ œ œ œ −−
a

Υ −− œ œ −− −−
m i m a

p
œ p
œ œ œ œ œ œ œ

Left Hand - Descending Slurs

A descending slur is played by plucking a note with the right hand then 'pulling off' a left hand finger so that a
lower fret (already being stopped by another finger) or the open string sounds a new pitch without using the right
hand. In rock music these are called 'pull offs'. To execute a descending slur, start with two left hand fingers on
the same string. After you pluck the string with your right hand, pull down and away through the string with the
finger that is on the highest fret with enough force to make the note under the finger on the lower fret sound
clearly.

To help get ready to use this technique in a song, start with the exercise below. As with ascending slurs, your
goals is to make the slurred note as loud and clear as the plucked note that precedes it.

Υ 2œ ∀ 1œ œ œ −− −− α3œ 2 œ œ œ −− −− œ αœ µœ αœ −−
4 3

Υ −− œ4 2
œ œ œ −− −− œ ∀ œ
4
œ œ −− −− α œ
3 1
œ œ œ −−
1

32
 Daily Warm-up Routine III continued...

Create Your Own Scale Practice

Using the five and six string scale patterns you have learned in previous units, the rhythmic variations
below, and a variety of right hand finger patterns, design your own scale practice. Pick six scale variations
to practice by choosing one each of the elements listed on the left below:

Elements Example 1
1. Scale Pattern and Key C harmonic minor scale on 5 strings
2. Right hand finger pattern Rest strokes with i and m
3. Rhythmic pattern Eighth note triplets

Elements Example 2
1. Scale Pattern and Key G Major scale on 6 strings
2. Right hand finger pattern Free strokes with m and a
3. Rhythmic pattern Sixteenth notes

Here are some additional rhythmic patterns to choose from:

Υ − œ œ− œ œ− œ œ− œ ‰ œ ‰œœ‰œ
3

œ œ œ œ
3 3

œ œ œœœ œœ œ œ œ ‰
œ œ œ
3

Words to Play By:

"It's the little details that are vital. Little things make big things happen."
John Wooden (legendary UCLA Basketball Coach)

Words to Play By:

"God is in the details"
Mies van der Rohe (minimalist architect)

33
Notes to Prepare to Play
Etude 7 by Carcassi
Tremelo
In measure 1 and throughout Etude 7, you will use a new right hand technique that has fingers 'a', 'm', and 'i'
playing the same note on the same string after the thumb plays a bass note. This is called 'tremelo'. Etude 7
is a good introduction to this technique as it is played slower here than most tremolo passages and with a lot of
breaks to play standard arpeggios. Practice tremolo with the right hand only, then practice switching between
tremolo and arpeggios. Practice the two exercises below for about five minutes each, each time before you play
Etude 7:

Exercise 1 (temelo only):

Υβ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ −−
p a m i

œ œ œ
œ œ œ œ

Exercise 2 (mixing tremelo and arpeggios as in measures 1 and 2 of Etude 7)

p i a i

œ œ
œ œ œ −−
i m i

œ œ œ
p

Υ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ

Additionally, there are two important fingering 'philosophies' at play in Etude 7 - ideas that you have
encountered a few times already and will begin to use more and more.

1. Throughout much of Etude 7, when it is not using the tremolo technique described above, the
right hand fingering assigns one finger to each string (usually i finger - G string, m finger - B
string and a finger - E string) as in measures 2 and 12.

2. The left hand fingering often uses common fingers to make the transition from one arpeggio or
hand position to the next easier and smoother and usually involves one or more fingers staying on
a particular note or string while the other fingers move around them. This often means you will be
using left hand fingers on frets you have not used them on in standard position playing. Common
finger technique is used particularly effectively in measures 2, 10 and 23-25.

34
 Etude No. 7

≡€™≠
Matteo Carcassi
Allegro π p i a i

œ
œ œ œ ∀ œ œ4 œ œ œ1 œ
p i m i
p a m i

%β œœœ œœœœœœœœœœœ œ
œ 2
œ
œ 2 œ œ œ 2 œ 2
1
4

Ε
1 0
3 3 3

œ
% œ œ3 œ œ ∀ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∀ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ
0 1 2 4
œ œ

œ œ ∀ œ œ œ4 Œ
a m i m a
p i ma
œ
pim
œ œ œ œ œ œ œ
% œ œ œ œ œ ∀ œ œ œ œ œ œ œ œ∀ œ œ œ œ œ œ œ ∀ œ œ œ 1 0 30
œ œ œ ˙
œ

œ œ ∀ œ œ œ œ œ1 œ µ œ ∀ œ3 œ
p i m i

−
− œ
% œ 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ 2 4 œ 4
œ 3 3
œ4 œ 2
3
3

p i a i

œ œ ∀œ µœ œ œ œ
4 3

œœœ
%œ0œ 4œ
œ œ œ œ œ 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∀œ œ œ œ ∀œ µœ œ œ
œ œ2 œ œ
1
0 œ 3
4
2

œ œ œ µœ œ œ œ œ œ œ œ œ œ œ œ
% œ œ œ œ œ ∀œ œ œ œ
3

∀œ œ œ ∀ œ œ œ œ
œ 2

œ
m

œ œ œ œ œ œ œ œ œ ∀œ œ µœ œ œ œ œ œ œ
m i

œ œ œ œ ∀œ œ œ œ
p i m a i p m p i p m

œ
4

% œ ∀œ œ
1 2 1

œ
1

Œ Ó 4

˙
3
2 1

35
 œ œ œ œ œ ∀œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∀œ œ µœ œ œ œ œ œ
% œ ∀œ œ œ œ
Œ Ó
2
˙

œ œ œ œ œ œ œ
% ∀œ œ œ ∀œ œ µœ œœœ œœœœœœœœœœœ
œ œ œ œ
ε
œ
œ œ œ ∀ œ œ œ œ œ œ œ α œ œ œ œ œ œ œ ∀ œ2 œ œ œ œ œ
p i m i

%œ œ œ
œ 1 2 œ
œ œ œ 4 1
0

œ œ œ œ ∀œ œ œ œ œ œ œ ∀œ œ œ œ µœ œ œ
œ
%œ 2 4 œ œ œ œ
œ 2
1 œ œ
œ 2 œ ∀œ 4 œ 4
3 ∀œ 2 3 3
1 1 2
4

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∀œ œ œ Œ −
%œ1 œ œ œ œ œ œ œ œ œ œ œ ∀œ œ œ œ œ œ ∀œ œ −
3
œ ˙

Matteo Carcassi (1792 - 1853) was a composer, guitarist

and pianist born in Florence, Italy. His first instrument was
the piano and, while still young he learned the guitar, and
was soon recognized as a guitar virtuoso. In 1810, he moved
to Germany where he earned success as a guitar and piano
teacher. Carcassi wrote an important method book used
throughout Europe in the 19th century as well as a
collection of études which are still in use today.

36
Reading in Higher Positions
Silkworm in Book I and, more recently, Andante and Two Sparrows introduced notes and left hand fingerings
that led you away from open and first positions to play further up the neck. Familiarizing yourself with all of
the notes up an down the length of the fretboard is an essential and exciting step in truly mastering the guitar.
Now, we will dig much deeper into exploring the fretboard. We will begin below with exercises and tips that
will help you recognize and play the notes up to the twelfth fret. After you have developed a comfort level with
the notes in higher positions, it will become necessary to move fluidly from one position to another and play
passages in pieces that overlap positions, or do not fit cleanly into any position at all. You will also find that
there are many ways to finger complex pieces and you will soon be able to decide what works best for your
hands or musical taste. That will come. The pieces from here to the end of Book II will guide you through the
process.

By now, you are very familiar with using numbers 1 - 4 to represent the fingers of the left hand and the letters
p-i-m-a for the fingers of the right hand. As we move farther up the fretboard, two other fingering indications
become important. Both have been briefly introduced and used already but now they will be used consistently:

1. Circled numbers tell you on what string to play a given note. Now that we are moving up the fretboard,
most notes can be played on several strings depending on which position works best for that passage:

1 =E
2 =B
3 =G
4 =D
5 =A
6 =E

2. Roman numerals indicate the fret number or position in which a note should be played. They can also
tell you that you should 'bar' a particular fret. Barres will be introduced a little later.

Before we try reading melodies in higher positions, take some time to become familiar with the notes on frets
V, VII and XII. We will call them 'marker frets' as they also correspond to the frets marked with dots on the top
of the neck of most guitars. These frets are also good marking points because the pitches on those frets are a
perfect 4th, 5th and octave above the open strings respectively.

œ
*
œ œ œ œ
œ ∀œ 2
XII

œ œ œ
V VII

Υ6 œ œ œ
1

œ œ œ
4 5 2

œ
4 1 1

œ
5 2 5 6 3
3 3 4
6

A D G C E A B E A D F# B E A D G B E

*Note: The names of the notes on fret XII are the same as the notes on the open strings. That is because the 12th
fret is one octave higher than the open strings. So, if you know the names of the open strings (and you do), then
you also know the names of the notes on the 12th fret.

37
 Reading and Playing in Higher Positions continued...

After you have a grasp of the note names on each of the marker frets on all six strings, experiment by playing
and naming the notes directly above and below frets V, VII and XII. Rather than trying to figure out note names
by counting up from the open strings, you should be able to process the notes on either side of the marker frets
and therefore recognize and read notes faster and more confidently. For instance: if you know that fret XII of
string 1 is an E, then you can figure out that fret XI must be a D# and fret X must be a D.

Reading the ledger lines in higher positions can be intimidating too. Memorize the pitch name and ledger line
position of the marker notes on the first string: A, B and E. Then, similar to the method we used for figuring out
note names on the fretboard, work your way up or down from the marker notes. For instance: if you know that
the note on the third ledger line above the staff is an E (12th fret string 1) then you know that the note that is
written immediately below it must be one letter name before, D.

œ œ
œ
XII
4
VII VII

Υ
A B E

Read the melodies below in positions V, VII or IX as indicated. Remember, when position playing, you are
assigning one left hand finger to each fret. So, if you are in position V, you know that a note marked with 2 is
played by the second finger and therefore should be played in the sixth fret. Use the finger numbers and string
numbers to help you find the note. The last melody excerpt in each position will have fewer fingerings to guide
you - similar to most guitar sheet music you will encounter.

Position V - stay in 5th position for all of the notes below, even if you can play them somewhere else more easily.

œ œ ˙− œ œ œ œ œ3 ˙ œ œ ˙− œ œ œ œ œ œ ˙−
Example 1

Υβ Ó 1 4 1
2

3
˙ ˙
4
5

˙1 œ œœœ ˙
Example 2 (Star Wars theme, John Williams)
œ œœœ œ œ œ œ ˙−
ΥÓ Œ 1œ œ œ ˙ Œ
3
2
3 4
4 2 1
3
4 3 3 3

œ œ* œ ∀œ œ
œ œ ∀ œ3 ˙
Example 3
œ œ ∀œ œ ∀œ œ
Υ 3 1 ∀ œ2 1 ∀ 2œ 4 3˙ ∀œ œ ∀ œ
3

œ
* finger 4 is used here in the 7th fret
to keep finger 3 ready for the next note

38
 Reading and Playing in Higher Positions continued...

Position VII - remember, stay in position.

œ1 œ2 œ4œ œ œ 3
Example 4

œ
1 2œ œ œœ œ3 œ œ œ1 Ι ∀ 3œ œ œ 1 4 ι ι œ œ
3

œ œ ∀œ œ œ œ œ œ œ ∀œ œ ∀œ œ œ œ œ œ
3 4 3

Υ
3 3 3 3 3

3 1
3 3 3 3 5
4 3 6

œ œ œ ∀œ œ œ œ
œ œ œ œ1 ˙
Example 5 (Hey Jude, The Beatles)
œ ∀˙ œ œ ∀œ œ
Œ œ ∀œ Œ ‰Ι
2

ΥÓ Œ
4 3
4 2
1 3

œ œ œ œ œ ∀œ œ œ œ ˙ œ œ œ ‰ œ œ ∀œ œ *
*4 4

Ι Ι œ œ ∀œ ∀œ œ œ− Ó
Υ Ι
* This note is 'out of position'
(too high by two frets in this case) * This note is 'out of position'

Position IX

œ ∀œ ∀œ œ ∀œ ∀œ œœœœ
Example 6
œ ∀ œ ∀ œ œ1 3 œ 1 œ ∀ œ œ œ
∀œ œ ∀œ œ œ œ ∀œ œ∀œ
∀œ ∀œ œ œ ∀œ œ œ ∀œ œ œ œ œ œ œ
37 2 1 3

Υ
4 3 1 4
4 3 1
descending E major scale 3 4 ascending E major scale

Example 7 (Scarborough Fair)

œ œ − œ œ ∀ œ3 − œ4 œ œ œ ˙4 œ œ ∀œ œ
2 ˙ œ ˙− ˙−
2

Ι
4

Ι Œ
41

Υ3
1

˙− ˙− œ ˙ œ ˙ œ œ 2œ œ ∀˙ − ˙−
Ó
49

Υ
œ ˙ œ ∀œ
˙ œ œ ˙− ˙−
57

39
 Guardame Las Vacas
Luys de Narvaez (1530-1550)

2 0 œ 1œ œ œ 4œ 0œ 0œ Œ 1œ 0 œ 1œ 4 œ 1œ0 œ 3œ
Υ1 ϖ 0œ 2 œ
0œ ˙ œ ˙
3 − 3œ ˙ 2 œ œ ˙
3ϖ − œ
2 0

œ 1œ œ 4œ 0 œ 0 œ
Υ ∀ œ ∀ œ œ œ2 Œϖ0 2 œ 2œ 0 œ
4

ϖ 2œ 0œ
3œ
0

œ 3 −
1

ϖ 3œ
1

3 −
4 0

˙ 1
0 œ

œ 1œ œ4 œ0 œ4 œ1 œ0 œ4 œ1 œ0 2
Υ œ˙ − 4œ 1œ 0œ 3œ ∀ 1œ œ3 œ˙ ϖ− œ
7

œ
˙ ˙
0

˙− œ ϖ− 3 − −
1 2

˙
1
2 3

2 œ
4 2 œ 1 œ 0 3 œ
3 œ œ œ œ1 œ0 œ2 1 1 œ2 ϖ0
œ œ œ œ œ ∀ œ œ œ œ œ œ œ
10

Υ ∀œ œ ∀ œ ∀ œ4 œ
1 0 3

2œ
4 0 1

Œ 1œ
2 0 2 0 0

˙ ˙
0

ϖ ˙ − −
0 4

3 ˙ 0
œ

3 œ
1 ∀œ œ 4œ
13
0 œ 1œ œ œ œ
œ œ œ œ1 œ0 œ2 œ 0 œ2 œ0 œ2 œ0 ∀ œ2 œ œ œ œ 1œ œ0 œ1 œ œ ∀ œ 4 3 2

Υ œœ
0 ∀4
4 0 4
4 4 4 3 0

˙
3 − ˙ − ϖ
3ϖ ˙
0

ϖ− Œ œ ∀ 1œ œ Œ Œ 1 œ
Œ
œ ∀ œ
16 3

Υ œ 4œ 0œœ
4 3

2ϖ œ œ œ4 0œœ
0

ϖ− 2ϖ œ
0
1
1

œ œ3 œ4 ˙ 2 ∀ ˙˙ Ó Œ 3œ 4œ œ1 œ œ3 œ1 4œ œ3 1 3
1œ Ó œ œ
3œ œ 3 3
2Œ
∀ œ3 œ4 ˙ Ó œœ
19 4

Υ
1

∀ œ œ2 œ4 œ 1˙ Ó Ó
0 0

ϖ ˙ ˙− 1
6
40
 Œ
œ
Υ 2œ œ œ 0œÓ œ2 œ0 œ3 œ2 œ0 œ3 2 œ œ œ œ ∀ œ1 ϖ−
22

œ
1 3 3

Ó œ ˙ ϖ−
1 2 0

˙ œ
0

œ
2

˙
2

2 œ
Ó ∀ 1 œ
4 ∀œ
œ
0ϖ ϖ3 − œ
0 ∀ œ2 1œ œ2 œ0 œ œ
4
2 œ
0 œ
25

Υ œ
1 0
œ
3œ œ œ2 œ3 œ0 2 Œ œ œ œ ∀ œ œ 1œ œ
2 4 2
˙− Œ Ó
0 1

1 œ œ
∀œ Œ ∑ 3
0ϖ œ ∀œ ∀ 3 œ
œ 0˙
2œ 4
4 3

3 ∀œ
3

Υ 1Œ 4 œ ∀ œ1 ∀ œ œ4 œ0 2 œ 1 œ
0˙
4

4œ œ
28
1

œ œ ∀ œ
1

œ 2œ œ 1œ 2 œ 0 3 Ó ∑ 2
ϖ− 5 4 œ 3œ
3 1
4 1
5

ϖœ ˙˙œ 1 œœ Œ œœ 4œœ 1œ
Υ œ ∀ œ4 ∀ œ1 œ2 œ1 œ2 ϖ 2œ 0 ˙
31

œ ∀ œœ1
2

œ1 œ3
2

œ
0 0

œ œ œ Œ
3

ϖ œ 1 3 0
1 0 2 3

˙
2 2 3
2

œ œ œ œœ œœ
Υ 2œœœ1 ∑ ˙œ ∀ œ1 ϖ−
34

œ 0œ
œœ ˙
1

2œ œœ ∀ œœ1
0 0

œ
1
0 3

0œ œ 0ϖ −
1

1œ
1 2 3

0˙
0 2
2 3 2
4 1 4 0
3

41
 Finger-pickin' Rock Licks IV
Blackbird
Beatles
2
4œ
≈œ œ ≈œ
0

∀ 2 œ i œ 4œ 2 œ
3 −− œ œ œ œ œ β
m

Υ 3 œ 1 œ œ β 2œ − œ œ œ œ œ − œ œ œ œ
œ3 œ œ2 œ œ œ
5
p

œ ≈œ œ ≈œ
2

∀ œ œ4 œ4 4œ œ ≈œ œ ≈œ
Υ β œ− œœ œ œ œ− œœ œ œ
4

0œ 0œ œ 0œ œ œ œ œ
4

œ 0
œ
œ 2 œ 2 œ − œ œ ∀ œ1 − œ œ
1 1
5

∀ œ œ œ ≈ œ ∀ œ3 ≈ œ µ 3œ ≈œ ≈ ≈
∀ œ œ µ œ œœ
7

Υ œœœœ œ œ œ œ œ œ œ œ œ
3 2

œ− œ œ 1
œ− œ œ œ− œ œ αœ− œ œ œ− œ œ
1 1 0

∀ œ ≈ ≈ ≈ ≈
2

œ œ
œœ œ œ ∀ œ œ µ œ œ 1 œ œ œ œ −−
10

Υ œ œ œ œ œ œ œ 3
œ− œ œ αœ− œ œ œ− œ œ œ− œ œ
5

The Beatles (1960-1970) were a British rock band from Liverpool,

England. They found overwhelming success in America after
they appeared on the Ed Sullivan Show on February 9, 1964,
creating what is now known as Beatlemania. The name
Beatles comes from a combination of the Buddy Holly band
The Crickets, going with an insect name and, 'beat' for
feeling the beat of the music. The Beatles are one of the
most successful and influential bands in history.

42
Supplemental Repertoire, Level VIII
Once you understand all of the new techniques and concepts presented in Lead Guitar
Level 8, you can also play one or more of the following pieces excerpted below. Visit the Lead
Guitar website for links to recommended video performances of this music and ask your
classroom teacher for the score to any you would like to play. To purchase the score you can
visit the Lead Guitar website: http://www.leadguitar.org/method-books

Etude VI by Leo Brouwer

Etude VII by Leo Brouwer

Etude IX by Leo Brouwer

Etude X by Leo Brouwer

43
 ∀
Υ 32 ∑ ∑ ∑ ∑

Etude X by Leo Brouwer

Υ 01
‘Royal Plumb Pudding’ from Eight Discernments by Andrew York
7 ∑ ∑ ∑

'Royal Plumb Pudding' from Eight Discernments by Andrew York

Υ ∑ ∑ ∑ ∑

‘Mustang’ from Ghost Town by Brad Richter

'Mustang' from Ghost Town by Brad Richter

δ = 126
ι ι ι
∀∀ ι ι ι
3 3

œœ
Υ ∀ 27 œœœ œœ œœ œœ ∀ œ
a
0œ œœœ œœœ
1 1

œœ ∀ œœ œ
2 2 0

œ œ œ
‰ œ œ œ œ œ œ−
Ο Ι Ι
m
i
p

2 Supplemental Music for Level VI

‘Mockingbird’ from Ghost Town by Brad Richter
2'Mockingbird' from Ghost TownSupplemental
by Brad Richter
Music for Level VI
q = 132 √
∂ ∀‚ ∂ ∀‚ ∂
VII arm.

∀‚ ∂
2 from Ghost TownSupplemental Music for Level
XII VI

q = 1322
‚ ∀ 3 œ0
œ ˙˙
'Mockingbird' by Brad Richter
2 ˙0
Υ 3 VII arm. √‚ ‚
from Ghost‚Town by Brad ‚ ‚ ‚ ∀ ˙ œœ
∂‚ ∂‚ ‚
∂ Œ XII Œ Œ
'Mockingbird' Richter

√ ∀ ‚‚ ∀‚ ∀‚ ∂ ∂ ‚ ˙ ∀3œœ0 ˙
1

2
2

Ο 2 ˙0 ˙
‚ ‚ ∀ ˙ ˙
q = 132
Υ3 ∂ ‚ ∂ ‚ ∀ ‚ ‚∂ ‚ ∀ ‚ Œ œœ
VII arm.

‚ ∀ ‚ ‚ ‚ Œ 3 œ0 Œ
crescendo

Υ 32Ο ‚from‚ Ghost Town ‚ ∂ ∂ ˙0 ˙ ∀ œ 1˙˙ ˙ œœ

XII

‚by Brad Richter ∀ 2˙crescendo

1
2

‚ ‚ ‚ ‚ ‚ Œ Œ Œ
∂ ˙ ˙
'Lost Miner' 2
‘Lost
Ο ‰from ι
q = 126Miner’ from Ghost Town by Brad Richter
∀ œ ‰ œ ι ‰ œ ιι ‰œ ι
∀∀ 6 ι3
crescendo

œ œ œ œ 6 œ œ 3 œ œ
'Lost Miner' 4 Ghost Town by Brad Richter
q =Υ 7 from µ œ 3 ι ΙœTown3 by Brad œ 7 µ œ ιΙœ 3 ‰ œ œ µ œ ιœ
1 3
126
‰ 4 œ Ghost
œ ‰ œ œ µ œRichter
ι ‰ œ œ
∀ ∀ œ œ 2œ ι 3 œ œ œ œ 6 œ œ œι 3 œ
Υ ∀∀ ∀ 67 Ε œ œι œ œ
'Lost Miner'

ιœ 3 ι œ 7 œ ι 3
1

‰ œ µ œ ‰ œ µ œ ‰ œ œ œ œ Ιι 3 œ œ œ µ œ œ
µ œ ‰ œ
q = 126

∀ 6 œ
4
œ 1œ 2 œ Ι ι 3 œ œ œ œ
3
6 Ο
œ
Υ 7 œ µ œ Ιœ 3 œ µœ œ œ 7 œ µ œ Ιœ 3 œ µœ œ œ
'Water Wheel' Εœ from 2Ghost Town œ by Brad Richter œ Ο œ œ œ
Ε from Ghost Town by Brad Richter Ο
∀ ‰ ‰ Town by Brad‰ Richter ι ιœ
q = 112

œ ι
6 = D Wheel'
'Water
‘Water
∀ Wheel’ from Ghost
Υ∀ ‰ œ œ œ œ ‰ œ œ œ œ ‰ 2 1 œ ι ι œ œ œ œ œ œ
2 1

œ
œ ι ‰ œ œ œ œ œ œι œ ι œ œ œ œ œ œ 3 ι
6 = D q = 112

Υ6 =∀∀D q‰œ =œ112m œ i œ ι ‰ œ

'Water Wheel' from Ghost Town by Brad Richter

∀ p m œ i
pœ
œ œ œ œ œ œ œ œ œ œ 2œ 1 œ
œ ι œ œ ι œ œ œ œ ι œ ι œ œ œ œ œ3ι
Υ Ε œ œ p œœ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ3
Εœp p œ œ œ œ œ
p m i

44
Level Nine:

Daily Warm-up Routine VII .............................................................. 46

Spanish Ballad .................................................................................... 48

Lágrima (Tárrega) .............................................................................. 50

Intervals ............................................................................................. 51

Thirds ................................................................................................. 53

Excerpt from Study No. 6, Op. 6 (Sor) ............................................. 55

Supplemental Repertoire for Level IX .............................................. 57

45
Daily Warm-up Routine IV
This new daily warm-up routine will focus on two new techniques that you will need to master in order to
play the final pieces in Lead Guitar Book II. Once you have become proficient with Warm-up Routine IV,
you will have learned all of the fundamental techniques of classical guitar, and most of the standard guitar
repertoire will be within your reach.

New challenges in mixing rest strokes and free strokes:

The idea of mixing rest strokes and free strokes was first introduced with Andante on page 24. Now, we will
take that concept further by practicing a multitude of combinations that can be used to emphasize important
notes and create expressive contrasts.

Let's begin with practicing a thumb free stroke played simultaneously with a finger rest stroke. The exercises
below have the thumb playing alone multiple times between each combined stroke to ensure that the thumb
maintains the same good motion and relaxation it has when it plays alone. Playing the thumb in combination
with a finger rest stroke can often change the way the thumb moves. Be sure to keep your thumb rotating
back to the string in a subtle circular motion, and avoid bending the middle joint of the thumb.

The 'v' symbol above a note indicates a rest stroke. In the following exercises only the notes marked with v
are rest strokes. All other notes are free strokes. Keep your hand still. Move only your fingers.

3 aϖ≤ ≤
−− −−mϖ
≤
−− −− i ϖ −−
Υ3
pœ œ œ œ œ œ œ œ œ œ œ œ
≤ ≤ ≤ ≤ ≤ ≤
œ œ −− −− œ œ −− −− œ œ œ −−
m a

Υ œœ œœ œœ œœ œ œ œ
a i m i

˙ ˙ ˙ ˙
p ˙ ˙
≤ ≤ ≤ mœa ≤ ≤ ≤
œ œ −− œ œ œ œœ −− −− œ œœ œ œœ −−
Υ −− œ˙ œ œ œ −− i

˙ ˙ ˙ ˙ ˙
≤ ≤ ≤ ≤ ≤ 3 ≤ 3 ≤ 3 ≤ 3 ≤ 3 ≤ 3 ≤ 3 ≤ 3
œ œ œ œ −− œ œ œ œ œ œ œ œ œ œ œ œ −− −− œ œ œ œ œ œ œ œ œ œ œ œ −−
3 3 3 3

Υ −− œ œ œ œ œ œ œ œ −− œ œ œ œ
i m a œ
œ œ œiaœ a m i œ
p
œ m
œ
Left Hand - Barres

A Barre or Bar is a technique with which a single left hand finger - almost always the first finger - is used to
press down two or more strings at once and frequently all six strings at the same time. The other three left
hand fingers are then used to play additional notes or fill in the voices of a chord. We will look at how to
build transposable bar chords in the next unit, but here we will first practice the technique of barring.

46
A barre takes an enormous amount of left hand strength. Like any muscle in our body, we need to begin to
build the muscles in our left hand to develop the endurance required to play pieces with many barres. The
biggest challenge with a barre is making each note under the bar sound clearly.

Tips for better barres:

1. Place your finger parallel to the fret and as close to the fret as possible.
2. Roll your finger slightly to its left side so that the hardest part of your finger is pressing down the
strings.
3. Adjust your finger so that the joints fall between strings. If one of your joints is pressing down a string
you will likely get a buzzed or muted sound.
Note: As part of your daily warm-up routine, begin your left hand workout with some easy slurs before
starting the barre exercises below. They are too strenuous to practice without first warming up the left
hand.

In the exercise below, bar all six strings at the fret indicated, and then play each string individually to
ensure that it sounds clear - without a buzzed or muted quality. Rest for several seconds between each
barrehand
to let
œ ˙
your muscles relax.

œ ˙˙
III

œ α ˙˙˙
I

œ
Υ
α œ αœ αœ α αα ˙˙˙ œ œ αœ ˙˙
œ ˙ œ
œ ˙˙ ∀œ œ ˙˙
œ
V

œ ˙˙
VII

Υ œ œ ˙˙ œ
œ œ ˙˙ œ œ ˙˙

In the next two sequences, you have to move your other three fingers while holding a
barre.

œœœ ∀ œœœ 3 µ œœœ 2 ∀ œœœ1 4œœ ∀ œœ 3 µ œœ 2 ∀ œœ1 œœ œœ α œœ µ œœ ∀ œœ ∀ œœ µ œœ ∀ œœ

VII V III II

Υ œ œ œ œ αœ œ œ œ œ œ œ œ
4

œ œ œ œ œ œ œ œ œ œ œ œ ∀œ œ œ œ

∀ ∀ œœœ œœ œœ œœ œ3 œ
VII V III I

œ œ œ œ œ œ œœ œœ œœ œœ
œ œ œœ œœ
œ œ ∀œ œ œ œ œ œ œ œ α œœ œœ œœ œœ
3

Υ œ αœ œ αœ αœ œ œ œ
œ œ 4 2 œ œ œ αœ
4 2 œ

For about a week, confine your warm-up to only playing barres and mixing rest strokes and free strokes.
After you feel comfortable with warm-up IV, add some of the scale patterns from warm-up III to the end of
this new warm-up routine. This will create a complete workout for your hands.

47
Mixing 'a' finger rest strokes with free strokes from 'm', 'i' and 'p'
Now that you are proficient with both rest and free strokes, we will begin mixing them to emphasize
important notes and create expressive contrasts. In Spanish Ballad, the 'a' finger is always played as a rest
stroke because the melody notes are always on the E string to which the 'a' finger is assigned. Practice the
right hand pattern of Spanish Ballad by itself in three stages:
- First, familiarize yourself with the right hand finger pattern while playing all free strokes, being
mindful that the thumb plays with the 'a' finger on down beats only.

- Second, practice playing a rest stroke with your 'a' finger while simultaneously playing a free
stroke with your thumb. As with all new techniques, practice slowly, focusing only on the two
fingers in question and relaxing for several seconds in between each attempt. Your goal is to have
both notes sound at the same time and with beautiful tone.

- Third, put it all together. Practice the right hand of Spanish Ballad with rest strokes in the 'a'
fingered free strokes for all other fingers.

Spanish Ballad
Andante π ≡€™≠ Traditional

∀ 2 œmiœ œ œ 2œ 2œ œ 1œ 0œ œ œ œ
a 4

Υ 3 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
4 1

˙−3 3 3 ˙−3 3 3 ˙ −3 3 3 ˙−3 3 3

p

œ œ œ œœ œ œ œ œ œ
1/2 V

œ œ
4 4

∀
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
4 4 3
5

Υ
˙−3 3 3 ˙−3 3 3
˙−3 3 3 ˙−3 3 3

œ œ œ ∀ œ œ
œ ∀œ œ œ œ œ œ œ œ œ œ œ œ
VII

∀ œ ∀ 2œ œ œ œ œ
3 4

œ œ œ œ œœ œœ œœ
œ œ
9

Υ
˙− 3 ˙− 3
3 3 3 3
˙ −3 3 3 ˙ −3 3 3
fine

∀ œ3 0 2 œ œ œ œ4 œ œ œ œ ˙ œ
œœ œœ œœ œœ œœ œœ œœœ œœ œœ −−
13 1.

Υ ∀ ˙ −
˙− 3 œ3 œ 3 Œ
1
3 3 1
3
3 3 2
3
1 3
˙

48
 Spanish Ballad
2

∀ œ ∀∀∀∀ œ4 œ œ œ œ
œ œ œ0 œ1 œ œ œ œ œ œ œ œ œ œ œ
17 2.

Υ
˙− ˙− 3
3 3 ˙− 3
3 3

œ œ œ
∀∀∀∀ œ
VII

œ œ œ œ œ
4/6 II
4œ œ œ œ œ ‹œ œ œ œ œ
3

œ œ
20

Υ
2

œ œ œ œ œ œ ˙
4 2 2

˙− 3 3 ˙− 3 −3 3 3
3 3 3 3

4œ
∀ œ œ œ4 œ3 2 œ1 œ œ œ œ œ œ œ 4œ œ
∀ ∀ œ œ œ œ œ œ œ œ œ œ œ œ
Υ ∀
23

˙− 3 3 3
˙− 3 3 3
˙− 3 3 3

œ œ œ œ
œ µ œ
œ œ œ œ œ œ œ œ1 2 œ œ œ œ
1/2 IX

∀∀∀∀ œ œ œ œ œ œ
4 3 2 4

œ œ œ
26

Υ
˙− 3 3 3
˙− 3 3 3 ˙− 3 3 3

∀ œ œ œ 4œ 3 œ œ œ œ
∀∀ ∀ œ œ œ œ œ œ œ œ œ œ œ œ œ
1/2 V II

œ œ œ œ œ œ
29 3 4

Υ
˙− 3 3 3 ˙− 3 3 3
˙− 3 3 3

d.c. al fine

∀∀∀∀ œ œ œ œ œ œ −− ˙ œ
œ œ œ
32 1. 2.

Υ œ œ œ œ
œ 3 Œ
1

3 3
2
œ 3 ˙− ˙
4

49
 Lágrima
To play Lágrima effectively, we need to employ both of the new techniques introduced in Warm-up IV. The
melody in Lágrima should always be played in rest strokes, while the thumb and inner voices are free strokes.
For example, in measure 1 and beat 1 of measure 2 the G#, A, B and F# in the highest voice should be played
with rest strokes using the ‘a’ finger while all other notes are played as free strokes. The other new technique,
barre, is used throughout the piece but particularly in measure 5.

Francisco Tárrega (1852-1909)

∀∀∀∀ 2 4œa œ 4mœ œ 4œ œ 4a ˙‰ − mœ œ œ œ œ œ œ œ œ ˙‰ − œ œ œ

Andante

Υ 3 œ 0 m 2 œ 0 2 œ 0 ˙ Ι 3 œi œ œ œ ˙ Ι
œ
1 1 2œ œ

œ 4œ œ
2/3IX

ι
∀∀∀∀ œ œ œ œ œ 3 œ 2 ˙‰ 0œ 3 œ 31œ 2 3 œ 0 œ œ œ
2/3VII

Œ
−− µ µ µ µ ∀
rit. 5/6II

˙
4

µ œœ 1˙œ
3 Fine
œ œ 2 2œ 0œ
2

∀œ
5

Υ
4

1œ
Œ
3 4
4 3
œ
4 4 2 2

œ
∀ − 2œ œ 1 œ œ 4 ∀ œœ œ œ
ι
œ 2 VII˙
5/6II

2œ
2œ
˙‰ − 1 œ 1œ 2 ∀ ˙œ 3œ 4 œ 3œ 0 œ
3 4

Υ − 0˙ œ œ 2œ 1œœ 0œœ 1œœ œœ œ4

9 2 4

3œ 5
0

œ Ι 3 2 3 Ó ˙ Œ
0 1

˙ ˙− 4 œ
3 0

œ 4œ 2œ œ œ
2

∀ œœ œ 2 œ 1œ œ œ 4 œ 1œ œ
rit.
D.C. al fine

œ œ Ó − œ 0 3œ Œ −−
13

Υ 1 œ 0 1œ 0 1 œ 0œ ˙
2 2 4 1 4

œ ∀ œ1 2 œ̇
0
0

˙− œ
0 3
2

Francisco Tárrega y Eixea (November 21, 1852 - December 15, 1909),

guitarist and composer, was born in Spain. He had an eyesight problem,
which some believe was caused by an infection. However, some stories
claim he fell into an irrigation channel. In 1874, Tárrega, enrolled in the
Madrid Conservatory, where he won first place in composition and
harmony. Tárrega would later become a professor of guitar at Madrid.
His technique of placing the foot on a footstool is still used today. His
best known work is Recuerdos de la Alhambra.

50
Intervals
Earlier in this book, you learned about the series of whole steps and half steps from which a major or minor
scale is constructed. Here, we will use these scales to understand intervals, and later we will use your new
knowledge of intervals to understand how chords are constructed and what chords are commonly built on
each note of a scale.

An interval is the distance between two notes. We will use a C Major scale below to explore the intervals
within a one octave scale. Intervals within an octave are identified by the numbers 2 through 7 and can be
described as major or minor, perfect, augmented or diminished, sharp or flat or raised or lowered depending
on the series of wholes steps and half steps that are between the two notes in question.

minor 2nd

œ œ
Major 2nd
Υ œ œ œ œ œ
œ
The interval between any note and the note directly above or below it is a 'second'. For instance, the interval
between C and D is a major second because it is made up of one whole step - two frets on the guitar. The
interval between E and F is a minor second because it is made up of one half step - one fret on the guitar.

minor third

œ
Major third

Υ œ œ œ œ œ
œ œ
The interval between any note and the note two steps above or below it within a scale is a 'third'. For instance,
the interval between C and E is a major third because it is made up of two whole steps. The interval between E
and G is a minor third because it is made up of one whole step plus one half step.

augmented fourth
perect fourth

Υ œ œ œ œ
œ œ œ œ

The interval between any note and the note three steps above or below it within a scale is a 'fourth'. For
instance, the interval between C and F is a 'perfect fourth' (also commonly referred to as simply a 'fourth') and
is made up of two whole steps and one half step. The interval between F and B is an 'augmented' fourth and is
made up of three whole steps.

51
2

œ œ
*diminished fifth
œ
perfect fifth

Υ œ œ œ œ
œ œ œ œ
The interval between any note and the note four steps above or below it within a scale is a 'fifth'. For instance,
the interval between C and G is a 'perfect fifth' (also commonly referred to as simply a 'fifth') and is made up of
three whole steps and one half step. The interval between B and F is a 'diminished' fifth and is made up of two
whole steps and two half steps. A diminished fifth sounds the same and has the same number of half steps
between notes as an augmented fourth. This interval is also referred to as a tri-tone. It is a particularly dissonant
or harsh sounding interval and is exactly half of one octave.

*Interestingly, in medieval times this interval was disallowed in music by the Catholic church due to its
harshness. It was considered an interval of the devil.

Interval Excercise

Write in the missing note above or below the given note to make the interval decribed below. Some may require
adding a sharp or a flat:

Υ œ œ
œ œ
perfect fifth minor second Major third Major second
(above) (above) (above) (below)

Υœ œ œ
œ
perfect fourth minor third augmented fourth Major third
(below) (above) or 'tri-tone' (below) (above)

œ
Υ αœ
4

œ œ
minor second Major seventh Major sixth two octaves
(below) (above) (above) (below)

52
Thirds
Every interval has a function and is vital in creating music. For the purposes of chord building, though, the
third is the most important interval to understand and recognize. The third is what gives a chord its quality
of being major or minor. Below is a series of exercises that will give both your brain and your hands a work
out by playing thirds in every key. Each written group of thirds occurs on two strings and spans one octave.
As you play them, you will begin to perceive the pattern that governs a diatonic series of thirds on the guitar.
Try playing thirds in some of the keys written below an octave higher or lower on a different pair of strings
to see how well you know the series of thirds and the pattern they follow. You will notice the fingering is
different when the thirds occur on the 2nd and 3rd strings as compared to all other string pairings, because
the interval between those open strings is a major 3rd rather than a perfect fourth, as with all other adjacent
strings.

Exercises in Thirds
C Major
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
3 œœ œœ œœ œœ œœ œœ ∀
1 1 2 2 1 1
1 2 2

Υ3
1 1 2 3 3 3 3 3 2 1
0 3 3 3 3 3 1 0
2 3 3 3 3 2
2

œœ œœ œœ œœ
G Major
∀ 2œ œœ œœ œœ œœ œœ œœ œœ œœ ∀∀
œœ œœ œœ
3

Υ 00 œ
1 1 1 3 1 1
1 3 2 2 2 2 1 3
1 2 2 2 2 2 1 1
2 2 2 2 0
2 0
3

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ œœ œœ œœ ∀∀∀
D Major
∀∀ œœ œœ
Υ

∀∀∀ œ œœ œœ œœ œœ œœ œœ œœ œœ ∀∀∀∀
A Major

œ œœ œœ œœ œœ œœ œœ œœ
Υ

∀∀∀∀ œœ 31œœ 31œœ 32œœ œœ 1 œœ 1œ 2œ ∀∀∀∀

E Major

2œ 1œ 2œœ œ 3œ 2œ
œ 31œœ 2œœ 0œœ ∀
3

Υ 0œ œ œ
2

œ
2 3 3
3 3
3 3 3
2 3 3 2
4

53
 ∀∀∀∀ ∀∀∀∀ ∀
B Major

Υ ∀ œœ œœ œœ œœ œœ œœ œ œ ∀
œœ œœ œœ œœ œ œ œœ œœ œœ œ
œ

∀∀∀∀ ∀ µµµµ µ α α
F# Major

Υ ∀ œœ œœ œœ œœ œœ œœ œœ œ µααα
œœ œœ œœ œœ œ œœ œœ œ œ
œ œ

œœ œœ œœ œœ œœ œœ œ œ
αα α œœ œœ œœ œœ œ œ œœ œœ œœ œ αα
Db Major
œ
Υ αα µα α

œœ œœ œœ œœ œœ œœ œœ œœ
œœ œœ œœ
Ab Major
α œœ µα α α
Υ α α α œœ œœ œœ œœ

α œœ œœ œœ œœ œœ œœ µα α
Eb Major

œœ œœ œœ œœ
Υ α α œœ œœ œœ œœ œœ œœ

α µα
Bb Major

œœ œœ œœ œœ
Υα œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ
F Major

Υα œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ œœ œœ œœ œœ œœ

Now that you know how to play thirds, apply them in a musical context by playing Sor's Study no. 6 starting on
the next page. We have left it to you to work through the left-hand fingerings using what you have practiced in
these exercises.

54
 Study No. 6, Op. 6
œ œ ∀œ œœ œœ œœ œ œ
∀∀∀ 2 œ œœ œœ œœ œœ œœ œœ œœ œœ œ œ ∀ œ
Fernando Sor
œ œ œœ œœ œ œ ι
Υ 7 œ œ œ œœ œœ
œ− œ− œ− œ− œ− œ− œ− ‰ œ
œ
œ œ ∀œ œœ œœ œœ œ œ
∀∀∀ œ œœ œœ œœ œœ œœ œœ œœ œœ œ œ ∀ œ œ œ œœ œœ œ œ
œ œ œœ œœ
ι
œ
9

Υ œ− ‰ œ
œ− œ− œ− œ− œ− œ− œ
∀∀∀ œ − œ ‰œ œœ − œ œ œ − œœ ∀ œœ œœ ∀ œœ −− ‰
œ − œ œ œ œ œ ∀œ œ œ ∀œ œ œ œ œœ
œ
∀ œ ∀
œœ œœ œœ œœ œ œ œ œ −−
Θ
17

Υ
œ− œ ‰
œ
∀∀∀ œ œ µ œ œ − œœ − œ œœ œœœ− ∀ œ µ œ œ œ œ œ− œœ − œœ œœ œœœ− œ œ œœ œ œœœ
œ
∀ œœ œ ∀ œ œ ∀œµœ œœ œ œ œ
25

Υ
‰ ‰œœ Ι

∀∀∀ œœ − œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ − œ œ µ œœœ −∀ ∀ œœ œœ
œ− œœ −− œœ −− œ œ œ œ œ
34

Υ œœ −− œœ −− ∀ œœ −− œ
œ ‰ œœ œ œ

∀∀∀ ∀ œœ− µ œœ œ ‰ œ œ œ − œ − œ − œ ‰ œ œ œ− Œ œι œ −
œ œ œœ −− œ ∀ œ
œœ œœ œœ µ œœ ∀ ∀ œœ œ œ µ œ œœ œœ −− œœ œœ ∀ œœ œœ œœ œœ
43

Υ
‰ Ι ‰
œ− œ−
∀∀∀ Œ œ œ −
ι Œ œι œ − Œ œ œι œι œ ∀ œ œ œ µ œ ∀ œ œœ µ ∀ œœ ∀ œœ œœ −−
µ ∀ œœ ∀ œœ œœ œœ œœ œœ œœ ∀ œœ ∀ œœ œ
52

Υ
Ι ‰ Ι ‰ ‰
œ−
œœ œœ œ œ Τ œ œ œ
61
∀∀ ∀ œ œ
œ œ œœ œœ ∀ ∀ œœ œœ ‰ œœ −− œœ ‰ œœ œœ œœ œœ œœ œ œœ œ œ
Υ Ι µœ − œ
œ− œ− œ−
œ
œ œœ ∀ ∀ œœ œœ œœ œœ œ œ
∀∀ ∀ œ œ œœ œœ œœ œ œ ι œ œ œœ œœ œœ œœ
œ œ œœ œ œ
70

Υ œ − œ
œ− œ− œ− ‰
œ œ− œ−
55
 ∀ œ œ œ
œ œœ œœ ∀ ∀ œœ œœ œœ œœ œœ œ œ
∀∀ œ œ œ œ œœ œœ œœ œ œι œ − œ œœ − œ œ œœœ− œ œœ ∀ ∀ œœœ− œœ œœ
œ œ œ œœ œœ œ œ œ œ ∀ œ
77

Υ œ − ‰
œ− œ− œ− œ− œ
∀ œ − œ − œ − œ
œ − œ œ − œ œœ − œ œœ
∀ œ− œ− œ− œ− œ œ œœœ œ œ œ œ œ ∀ œœ ∀ œœ œ œ ∀ œ
Υ ∀ œœ œœ œœ œœ œœ œœ œœ ∀ œœ œœ ∀ ∀ œœ œ œœ œœ œœ œ œ œ œ ∀ œœ œ œ ∀ œ
87

ι
œ− œ œ œ œ œ ∀ œ œœ œ œ œ œœ ∀ œœ œœ ∀ ∀ œœ œœ
∀∀∀ µ œœ œ œ œœ Τ œœ µ ∀ œœ ∀ œœ œ œ œ œ œ œ ∀ œ œ œœ œ œœ œ œ ∀ œ
‰
97

Υ
œ− œ− œ− œ− œ− œ− œ− œ−
œœ œœ œœ œ œ œ œι
∀∀∀ œ œ œ œœ ∀ œœ œœ œι œœ ∀ œ œœ œ œ œ ‰ œœ
œ œ ∀ œœ œ œœ œœ œœ œ œœ œ œœ œœ œœ œœ œ œ
107

Υ œ− œ− œ−
œ− œ− œ− œ− œœ œ œ− œ−
œ œœ œ œ œ œι œ œ
∀∀∀ œœ −œ œ œœ −œ œ œ œœ œœ œœ œœ œ −
œœœ −−œ œœ − œœ œœ œœ µ œœ −− œ œœ œ œ
œ− œœ œ −−
117

Υ
œ− œ− œ− œ− œ− œ œ œ œ− œœœ œ− œ œ œ œ−

∀∀∀ µ œœ −− œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ − œ− œ−
œ −− œ œ −− œ œ −− œ− œ− œ− œ− œ−
128

Υ
œœœ œ− œ− œ− œ− œ− œ− œ− œ− œ− œ−

José Fernando Macarurio Sor (1778-1839), composer and

musician, was born in Barcelona, Spain. The exact date of his birth
is unknown. Sor was heavily influenced by Italian Opera, which his
father introduced him to when he was a small child. By the time
Sor was eight years-old, he was an accomplished guitarist and
composer. His natural ability on the guitar earned him an
acceptance into the Monastery at Montserrat. When he was
eighteen, his father died, and his mother could no longer afford his
education at the Monastery. Sor was given a commission with the
military. After his military career, Sor traveled extensively
throughout Europe and Asia. Sor is best known for his book,
Methode Pour la Guitarre written in 1830. He composed music for
piano, opera, ballet, and voice.

56
Supplemental Music for Level IX
'Locomotive' from Ghost Town by Brad Richter
6 =D
q = 102
a

∀3 œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ
p m i

Υ 3 œ œ œ œ œ œ œ œ
1

œ œ œ œ œ œ œ œ
2

ο
3

∀
1 1

œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ
3 2

Υ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ 3 œ µœ œ
Ε
2
3 4

'Floating' from Ghost Town by Brad Richter

q = 58 let ring

∀∀∀ 3 3œ œ œ œ œ œ œ œ œ ‚ œ œ œ œ œ œ œ2 œ1 œ œ3 œ œ œ ‚ œ œ œ œ œ œ
p i m a RH sim.

œ œ 4
ma m i m i p i m i p

Υ 3
œ œ
2
0
1 0 2 VII 4 1 3 0 XII 2

∀∀∀ œ2 œ1 œ œ ‚ œ œ œ œ œ œ œ ‚ œ œ œ œ2 œ1 œ œ œ œ œ ‚ œ œ œ œ œ œ
Υ œ
2 1 3 0 4 4 2 1
œ

'Smiling Cowboy' from Ghost Town by Brad Richter

∀∀ 1 Œ Œ Œ Œ
6 = D q = 72

Υ 3 − œ œ ¿ œ ¿
œ ¿ œ− œ− œ− œ ¿
Ι œ Ι œ Ι œ Ι œ
Ι Ι Ι Ι
∀∀ ‰ ‰ ι ‰ ‰
Υ − œ œ œ œ −
3 0
œ œ œ œ ι
œ œ ¿ œ∗ ¿ œ
1 2

œ ¿ ∗ œ ¿ œ− œ−
Ε

57
Level Ten:

Chord Building ................................................................................... 59

Bar Chords.......................................................................................... 61

Study No. 5 (Sor) ................................................................................ 65

Etude 1 (Villa-Lobos) ......................................................................... 67

58
Chord Building
Basic chords typically have three notes: a 'root' note (the note on which a chord is built and after which it is
named), a third above the root, and a fifth above the root. You can also think of chord building as stacking
thirds since the fifth above the root note is also a third above the third. The three notes in a basic chord can be
played in any order and can be repeated in various octaves.

A major chord has a root note, a major third (two whole steps) above the root note, and a minor third (a whole
step plus a half step) above the major third.

3
%3 œ œ œ œ œ œ œ ϖϖ
œ ϖ
Major third Minor third

A minor chord is the opposite. It has a root note, a minor third above the root, and a major third above the third.

% œ œ œ œ œ ϖϖϖ
œ œ œ
Major third
Minor third

Another way to think about simple chord building within the context of a scale is to start at any note within
the given scale as the root note, and add every second note thereafter to form a chord. That all sounds
complicated, but the examples below will help clarify.

In the C Major scale below, you can form a C Major chord by using the first note, C, as a the root note and

œ œ œ
adding the 3rd and 5th notes of the scale to it. The C major chord is spelled C - E - G.

œ œ œ œ
%œ œ œ œ œ œ œ œ ϖϖϖ
In the key of C, the chord formed by starting on the second note, D, is a D Minor chord, formed using the
2nd, 4th, and 6th notes of the scale. It may be easier to think of this as using D as the new root note and
stacking a 3rd and 5th above the D note. A chord with the second degree of a major scale as its root will

œ œ œ œ
always be a minor chord. The D major chord is spelled D - F - A.

œ œ œ
%œ œ œ œ œ œ œ œ ϖϖ
ϖ

59
In the key of C, the chord formed by starting on the third note, E, is an E minor chord, formed using the 3rd,
5th, and 7th notes of the scale or by thinking of E as the new root note and stacking a third and fifth above it.
A chord formed using with the third degree of a major scale as its root will always be a minor chord. The E

œ œ œ œ œ
minor chord is spelled E - G - B.

œ œ
%œ œ œ œ œ œ œ œ ϖϖ
ϖ
In the key of C, the chord formed by starting on the fourth note, F, is an F major chord, formed using the 4th,
6th, and 8th (also 1st) notes of the scale. A chord with the fourth degree of a major scale as its root will always

œ œ œ œ œ
be a major chord. The F major chord is spelled F - A - C.

œ œ
%œ œ œ œ œ œ œ œ ϖϖϖ

In the key of C, the chord formed by starting on the fifth note, G, is a G major chord, formed using the 5th,
7th, and 2nd notes of the scale. A chord with the fifth degree of a major scale as its root will always be a major

œ œ œ œ
chord. The G major chord is spelled G - B - D.

œ œ œ ϖϖϖ
% œ œ œ œ œ œ œ
œ
In the key of C, the chord formed by starting on the sixth note, A, is an A minor chord, formed using the
6th, 1st, and 3rd notes of the scale. A chord with the sixth degree of a major scale as its root will always
be a minor chord. The minor vi chord is also the relative minor. For a more complete explanation of a relative

œ œ œ œ
minor refer back to the introduction of scales on page **. The A minor chord is spelled A - C - E.

œ œ œ ϖϖ
%œ œ œ œ œ œ œ œ ϖ

In the key of C, the chord formed by starting on the seventh note, B, is a B diminished 7th chord, formed
using the 7th, 2nd, and 4th notes of the scale. A chord with the seventh degree of a major scale as its root
will always be a diminished chord. A diminished chord is made by stacking one minor third on top of

œ œ œ
another. The B diminished chord is spelled B - D - F.

œ œ œ œ ϖϖϖ
%œ œ œ œ œ œ œ œ

Here are all the chords in the key of C as they are typically played on the guitar in open position. The quality
of each chord (whether it is major, minor or diminished), as well as its relationship to the given key, is
identified by roman numerals. Upper case roman numerals are major chords, lower case roman numerals are

ϖϖ ϖϖ ϖ ϖ
minor chords, and diminished chords are lower case roman numerals with an 'o' sign added at the end.
ϖ ϖϖ ϖϖ
% ϖϖϖ ϖϖϖ ϖϖ ϖϖ ϖϖ
ϖϖ ϖϖ α ϖϖϖ
ϖ ϖϖ ϖ ϖ
60
Bar Chords
There are countless ways to play any single chord on the guitar, but the easiest way to learn to play chords in
all possible keys is to master bar chords. In Warm-Up IV and for Spanish Ballad, we began mastering barres.
Bar chords use barres to form chords that are easily transposable in every position on the guitar fretboard.
From this point forward as you continue to progress through classical guitar literature and other challenging
guitar music, you will rarely encounter a piece that does not use a bar chord or barre.

Minor Five-String Bar Chords

Most bar chord shapes, including all of those that we will introduce here, are based on open position chord
shapes. Let's start by looking at an A minor chord in open position and how we can use that chord shape to
create bar chords up to the tenth fret.

The standard fingering of an A minor chord is, from lowest note to highest note, open A string, 2nd finger on
the second fret of the D string, 3rd finger on the second fret of the G string, 1st finger on the first fret of the B
string, and open E string (as shown in Figure 1). To set up your hand so it can play a bar chord, use the
fingering shown in figure 2: open A string, 3rd finger on the second fret of the D string, 4th finger on the
second fret of the G string, 2nd finger on the first fret of the B string, and open E string.

3 w www 2
% 3 2www31
Figure 1 Figure 2

w4
0 0

0w
3w
0

After you have your A minor chord set with this new fingering, slide all of your fingers up one fret (so that
your 3rd and 4th fingers are on the third fret and your 2nd finger is on the second fret). Then, while holding
your 3rd, 4th and 2nd fingers in place, bar strings 1 - 5 at the first fret to create a B flat minor chord as shown
below:

b b4www 2
I

% 3w
bw
Your first finger has essentially taken the place of the nut of the guitar in order to play the open position A minor
chord shape one half step higher. You can use this bar chord shape to play a minor chord on strings 1 - 5 at any
fret. Try the chords below and remember that, in this case, the Roman numerals indicate which fret you need to

∀
∀ ∀ wwww ww
bar.
wwV b www ww
IX

% www
III VII

∀w w w
w

61
Major Five-String Bar Chords

We will use the same process to play major bar chords. Use the fingering indicated to play the A major
chord below (open A string, 2nd finger on the second fret of the D string, 3rd finger on the second fret of the
G string, 4th finger on the second fret of the B string, and open E string).

0w
% 2 www43
∀
0w

After you have your A major chord set with this fingering, slide all of your fingers up one fret to the third
fret and bar the first fret to create a B flat major chord as shown below.

w
w
% b ww
I

bw

Now, move the major bar chord around the frets.

ww
∀ ∀ www ∀ ∀ IV
w
∀ ∀ www ww ∀ www
VIII
V

w
II

% ∀w w w
w ∀ w

Dominant 7th Five-String Bar Chords

Here again, the open position chord on which this bar chord is based has A as its root note. Play the A7
chord with the fingering indicated in Figure 3. Then, slide your 3rd and 4th fingers up one fret to the third
fret and bar the first fret to create a B flat dominant 7th chord, as shown in Figure 4.

wwI
Figure 3 Figure 4
0w
∀
% www40 b ww
3w
0
bw

Move the dominant 7th bar chord around the fretboard as you see fit, always with an awareness of what chord
you are playing. The root note is always determined by the note on the fifth string.

62
Major Six-String Bar Chords

You may have already realized that the finger configuration for a six-string E major chord is the same as that
for a five-string A minor chord with all of the fingers simply shifted one string up or down. This can be
particularly confusing when using bar chords. It will be helpful to keep in mind from the beginning that the
hand shape used to play a six-string major bar chord is identical to that used to play a five-string minor bar
chord.

As we did with the five-string chords above, we will start by playing an open position chord with a new
fingering and adding a barre as we shift the chord up one half step. Use the fingering indicated to play the E
major chord below (open E string, 3rd finger on the second fret of the A string, 4th finger on the second fret of

ww0
the D string, 2nd finger on the first fret of the G string, open B string, and open E string).

% ∀ ww2
3w
0

w
4
0

After you have your E major chord set with this new fingering, slide all of your fingers up one fret (so that your
3rd and 4th fingers are on the third fret and your 2nd finger is on the second fret). Then, while holding your 3rd,
4th and 2nd fingers in place, bar strings 1 - 6 at the first fret to create an F Major chord as shown below.

wwI
% www 24
3w

Move the major bar chord around the fretboard.

Minor Six-String Bar Chords

Play a six-string, open position E minor chord with the fingering indicated in Figure 5. Then, slide your 3rd and
4th fingers up one fret to the third fret and bar the first fret to create an F minor chord as shown in Figure 6.

w wwI
% 4www b ww
4w
3w
w 3w

Move the minor six-string bar chord around the fretboard.

63
Dominant 7th Six-string Bar Chords

Play a six-string, open position E7 chord with the fingering indicated below.

w
% ∀ www2
3w
w
Slide your 3rd finger up one fret to the third fret, your 2nd finger up one fret to the 2nd fret and bar the first fret
to create an F7 chord.

wwI
% b ww2
3w
w
Move the dominant 7th six-string bar chord around the fretboard.

Now that you know many of the basic bar chord shapes, you are also able to play all of the major and minor
chords in every key. In the previous section, you learned how to play all the chords in the key of C. Play the
written chord sequences in the keys below, then try applying your new knowledge by transposing the chord
sequence to new keys.

w w
ww ∀ wwwII ww ∀ ww ww ∀ www
∀
G Major

% www ww ∀w www
w w
ww w w w ww
w

∀ ww ww ∀ w w ∀ wwII w
∀ www
D Major
∀ ww ww ∀ www
∀
∀ www
II

% ww w
ww ∀ ∀∀ www www w
w
w

w
∀ www ∀IV w ∀ ww ∀ ww
w
% ∀ www ∀ ∀ www w ∀ ∀∀ wwww
A Major

∀ www w
II

w
II

∀w ∀w w ∀w
w w w ∀w
w

64
 Study No. 5
Fernando Sor (1778-1839)
Moderato

∀∀ 2 ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ1 0mœ œi m˙ œi i œ œ
II i

œ
a

Υ 3 4Ι 3œ
m i i a

Ι œ Ι 3œ Ι œp
m m i m m a i

˙ −
2
p i p m
1
let ring

∀∀ m˙ ι a m iÓ m
˙ œi œ ˙ ∀ œ 1œ œ
∀œ œ œ œ œ œ œ œ 0œ œ 1 œ œ 3œ
i

∀ œ
5

Υ
m

œ 2 4œ
m m m i a m

Ι p i Ι p i
0
2
p i 3
i p i

∀∀ 2m˙ œ œ ˙ œ œ œ œ ˙ œ œ œ œ 1˙ 2 œ œ œ œ œ
œ œ
9

Υ
˙− Ι œ Ι œ Ι œ Ι 3

∀∀ ˙ œ œ 2œ ˙ œ ι Œ
œ œ œ œ 1˙ ∀ œ œ œ ˙ œ
œ Ι 3œ 0 ι ‰
œ
13

Υ Ι 0œ œ Ι œ œ
Ó œ
2 2
4

∀∀ − m˙ œi œ œ œ m˙ œ œ mœ œ m˙ œ œ ˙ ∀ œι œ œ œ
Υ − Ι œ œ œ
17
m

p i
Ι œp Ι œ œ

∀∀ 2m˙ œa mœ ˙a mœ ˙ œ œ œa i mœ Œ
II

œ œ œ ∀ œ œ œi œ œ ˙ Ι ∀œ
21

Υ Ι œp i Ι œp œp
i m m i m

Ι p i

∀∀ ∀ 4˙ ι ˙a ι ˙2 œι œ mœ œ 2m˙ ι œ mœ œ
œ œ œ œ œ œ œ œ œ0 œ
25

Υ œ
m

œ œ
0

˙− ˙− i p i i ˙− p
i i p p i i

∀∀ µ ˙ ι 4œ œ ι
II
Œ œa
œ 3 œ 0œ œ œ 3 œ 0œ 03 œ œ 3µ œœ 0œ 0 ˙ ∀ 2œ 0 œ œ œ ∀˙ ι œ œ œ
29 m a m

Υ
a m

œ 2
1 1 2

œp p i m
2

˙− ∀ ˙1− pi
1 ˙ −
65
33
∀∀ m˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ
Υ œ Ι œ Ι œ œ
˙− Ι Ι

∀∀ ˙ ι ˙ œ œ œ œ ˙ œ œ ∀ œ2 œ ˙ ι ∀ œi mœ Œ œ
II

∀œ œ œ œ œ
37

Υ Ι œ Ι œ œ œ
p p

∀∀ 1m˙ 2œ œ œ œ œ ∀ ˙ ∀ œ œ œ œ œ ∀˙ œ œ œ œ ˙a œ
IV

œ œ
m

œ 3 0œ œ
41 m

Υ ˙− Ι ˙− Ι p ˙− Ι 1˙ − 0 Ι
4

0
p

∀∀ ˙ œ œ
II

œ œ ˙ œ œ mœ œ ˙a œ œ œ œ −−
œ œ ∀ œ ˙ Œ
45 m

Υ ˙− Ι
m

˙− Ι Ι œŒ ˙˙
2
0

˙ m
i p
0
1
poco rit.

66
 Etude No. 1
Allegro non troppo H. Villa Lobos (1887-1959)

∀3 − ≈ ≈
p m i a ma i m

œœœ œ œœœ œ
sim...

% 3 − œ œ œ œ œ −− −− œ œ œ œ œ œ œ −−
i p i p i p i

œœœœ œ œ
œœ œ œ
p
ϖ 4
3 ϖ 4 2
3
1

∀ −≈ œ œ ≈ œ œ
œ
% − œ œœ œ œ œ œ œ œ − − ∀ œ œ œ œ 4 œ œ œ œ œ œ −−
œ − − œ
3

ϖ œ œ ϖ 1œ 0 0 3
2
œ

∀ −≈ œ œ ≈ œ œ
% − œ œ œ œ œ œ œ œ œ œ œ − − œ ∀ œ œ œ œ œ œ œ œ œ œ −−
− −
5

ϖ 3 œ2 0 œ ∀ ϖ 3 œ2 1 œ
4 4

∀ −≈ œœœœœœœ œ ≈ œœœœœœœ œ
V

% − œœ œ œ − −
œ œœ− − œœ 4œœ œ œ œ −−
7

ϖ4 3 αϖ 3
2

œ2 œ œ œ œ œ œ œ œ1 œ œ œ œ œ œ œ
VII

∀ −≈ œ − −
≈ œ
% − œ3 œ 4 œ œ œœ− − œœ œ œ œ œ −−
9

ϖ ϖ

∀ − ≈ ∀œ œ œ œ œ œ œ œ œ œœ 0 œ 0œœ œ
X

≈
VII 2 1
µ œ
3

œ œ œ œ œ œ œ −−
4

% − œœ 2œ œ œ œ −− −−
11

∀œ
ϖ 3 ϖ
∀ − ≈ α œ œ œ α œ œ œ œ œ œ œ œ œ œ − − ≈ œ α œ œ œ œ µ œ0 œ 0œ α œ œ œ œ œ −
IX VIII
3 2 1
4

% − œ − − œ −
13

œ œ
ϖ ϖ sim...
∀ −≈ ∀ œ œ œ0 œ œ0 œ œ œ ≈ œ œ œ0 œ œ0 œ œ œ
VII VI

% − œ œ œ œ œ − − α œ ∀ œ œ œ œ −−
œ − −
15

µœ œ œ
ϖ ϖ
67
 ∀ − ≈ ≈
œœœœœœœœœœœ µœ œ œ œ œ œ œ
V IV

% − œ œ −− −− ∀ œ œ œ œ œ œ œ −−
17

∀œ œ ϖ œ
ϖ
∀ − ≈ œ œ œ œ œ ≈
∀œ œ œ œ œ œ œ œ
III II

− α œ œ œ œ −
− −
− œ œ œ œ −−
19

% œ ∀œ œ œ œœ œœ œ
ϖ ϖ
∀ − ≈ œ œ ≈ œ œ
I

œ œ œ
% − µœ ∀œ œ œ œ œ œ œ − − œ œ œ ∀ œ œ œ œ œ œ œ œ −−
− −
21

œ œ αœ œ
ϖ ϖ
≈ ≈ œ œ ∀œ œ
∀ − œ œ œ œ
œ3 œ 1 4 2 4−
% − œ œ œ ∀ œ œ œ œ œ œ œ œ −− −− œ œ œ œ œ œ 2 4 3 −
23

αœ œ œ
ϖ ϖ 4 3

œ
∀ − ∀œ œ œ ∀œ œ œ ≈ œœœ œ
II
1 2

% − ∀œ œ œ œ − −
− − œ ∀œ œ œ ∀ œ œ œ œ œ −−
25

∀œ ∀œ œ œ ∀œ 2 œ
œ ϖ 3
∀ −≈ ≈
II

∀ œ œ œ œ œ − − ∀ œ œœœ œ
− œ œ œ œ − − œ œ œ œ œ œ −−
27

% œ ∀œ 4 œ œ œœ œœ œ 4
ϖ 3 œ
2
ϖ 3
2 r

∀ − ∀ œ œœ œ œ œ œœ œ ≈ œ œ
VII

% − œœ œ œ œ œ −− −− œ œ œ œ œ œ œ œ œ œ œ
29

œ œ œ
ϖ
‚
V

‚
XII VII XII

∀ ≈ œ œ ≈
rall.
œ œ ‚4 ‚ ‚ ‚ ‚
∀ œ œ œ œ œ œ œ −
− œ
31

% œ œ œ œ œ œ œœ œ œ œ
ϖ 3 ϖ 3 5 3

2 ‚V 3 √
‚ ‚ 1 ‚
˙œ − ϖ
XII nat

∀ œ − ∀œ ϖ
IX

œ œ− ϖϖ
œ
33
œ œ
%
Ó ‰
∀œ
œ œ− œ ϖ
68