unit l

month twelve

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 month twelve
Week One
Reading rhythm
When it has been necessary for you to read the rhythm we have been using counts above
the tab. However in a music score this would not be the way to show rhythms. Most
commercial tab either has the score in music above it, or the tab rhythm above it, either
way the rhythm is denoted in the same way. (for more detail you can refer to the GCH

Each note has a measure of time and that measure of time is shown as follows. Note that
this is on a standard musical staff and not tablature, which is why their are five lines.
4 beats 4 beats rest (silence)
1 semibreve

2 beats 2 beats rest

2 minim

1 beat 1 beat rest

4 crotchet

1/2 beat 1/2 a beat rest

8 quaver

1/4 beat 1/4 of a beat rest

16 semiquaver

1/8 beat
1/8 of a beat rest

32 demisemiquaver

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 dotted note values
A dot after a note increases its value of the note by half.
For example

6 beats 3 beats 1 1/2 beats

time signatures
A time signature is the numbers at the beginning of a score that look like a fraction.
The time signature tells the musician how the rhythm should be counted (the beats per
bar).
4
4

The example above is 4/4 time.

The TOP number is the number of beats in the bar.
The BOTTOM number represents the value of beat.

The note value comes from the idea that a 4 beat bar is a measure, therefore a
semibreve is 1. All the other note values can be considered to be fractions of the
measure.

semibreve = 1 measure minim = 1/ 2 measure crochet = 1/4 measure etc.

List of notes, values and names

1 semibreve

1/2 minim

1/4 crotchet

1/8 quaver

1/16 semiquaver

1/32 demisemiquaver

Some example time signatures

4 Four crotchets in a bar

6 Six quavers in a bar
4 8
3 Three crotchets in a bar
2 Two minims in a bar
4 2
2 Two crotchets in a bar 6 Six semiquavers in a bar
4 16
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Try these chordss using the rhythms provided. Note how the tail on the note goes down if

included underneath the music.

exercise 1
E A D D

4
4

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

exercise 2
Em A D D
4
4

0 0 0 0 0 0 2 2 2 2 2 2
0 0 0 2 2 2 3 3 3 3 3 3
0 0 0 2 2 2 2 2 2 2 2 2
2 2 2 2 2 2 0 0 0 0 0 0
2 2 2 0 0 0
0 0 0

G A7 D D

3 3 3 3 3 3 2 2 2 2 2 2
0 0 0 2 2 2 3 3 3 3 3 3
0 0 0 2 2 2 2 2 2 2 2 2
0 0 0 2 2 2 0 0 0 0 0 0
2 2 2 0 0 0
3 3 3

Em A D

0 0 0 0 0 0 2 2 2 2
0 0 0 2 2 2 3 3 3 3
0 0 0 2 2 2 2 2 2 2
2 2 2 2 2 2 0 0 0 0
2 2 2 0 0 0
0 0 0

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exercise 3
G D C C
4
4

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

G D C C

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

Em D Am Am

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

Em D C C

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

Em

0 0
0 0
0 0
2 2
2 2
0 0
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 tune
Rhythm For most of this tune the guitar plays one rhythm, therefore repeat the rhythm
below for each of the chords in the intro and verse. The rhythm is written out in a number
of ways to help your understanding, practise it on one chord firstly until you can play it
before attempting the whole tune.
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
4
4
G
3 3 3 3 3 3 3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3 3 3 3 3 3 3

intro G G

verse Em C G D

Em C G D

Em G C G

G Bm Em D

D
chorus
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .

F5 F5

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

F5 F5

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
0 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

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G5 G5

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

first time
G5

5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5
3 3 3 3 3 3 3 3

second time
D D
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

last verse Em Am C G D

Em C G D

Em G C G

G Bm Em G

arrangement intro - verse - verse - chorus - last verse

chords

Bm Bm F5 G5
X X X 1
X X X X X X
OR
1 1

2 2 3 4 1

3 4 3 4

3 4

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 month twelve
Week Two
bends
To bend a string simply push the string upwards, or if it is one of the bottom two or three
strings pull it downwards. Remember though that the you should be bending to a pre-
defined note and not just to a none note. Nothing sounds worse than a bend which

Bends look like this in the tab.

Bend up and then kill the note Bend up and release the bend Bend up and then hold

5 5 (5) 5

Most tab will tell you how far the bend is expected to be.
Look at the tablature explanation for your tab before starting.

exercise 1
This exercise will help you learn to judge when you have bent the string by a tone (2 frets),
try and get your bend in tune with the seventh fret note.

1 1 1 1 1 1 1 1
7 7 7 7
10 10 10 10 7 7 7 7
9 9 9 9

exercise 2
1 1
1 1
7 7
10 10
7 9 7 9
7 9 7 9

H H H
7 9 (9) 7
7 9 7 7 9 7 9 9

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exercise 3 House of the rising sun

H 5
7 5
5 7 7 7 7
7

1 H
H
5
5 8 8 8 5 8 5

1
H 1

5 8 8 8 8 5
7 5
7

1/2

H 5 7 (7) 5
5 7 7
5 7

exercise 4 Summertime

1
P
5 5
5 7 7 5 7 5
7
7

H
5
5 7 5 5 5 4
7 7

1
P
5 5
5 7 7 5 7 5
7
7

1/2

5 5 5 7 (7) 5 5 5
5 7 7 7 7 7
7

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 tune
Wonderful Tonight - Eric Clapton
The bend in this tune repeats throughout the tune and you should bend the string by one
tone and then release the bend to the note on the 10th fret whilst it is still ringing.
sl
The is a slide and you should slide between the first note and the second note whilst
the string is still ringing.
To play the 4th bar in the intro correctly you play the 8th and the 10th fret at the same
time and then slide the notes to the 12th and the 13th fret whilst they is still ringing. You
then pick the strings on the 12th and 13th fret. We know that you repick the strings
because there is slur line.

intro
1 1 1 sl
7 8 12 10
10 (10) 8 10 10 (10) 8 10 (10) 8 10 8 10 13 12
9

1 1 1

10 (10) 8 10 10 (10) 8 10 (10) 8 10 3 0

9 2

fill one
1 1 1
0
10 (10) 8 10 10 (10) 8 10 (10) 8 10 3 0
7 9

fill two
1 1 1 sl
10 (10) 8 10 10 (10) 8 10 (10) 8 10 12 13 15 17 15
9

1 1 1

10 (10) 8 10 10 (10) 8 10 (10) 10

9

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fill three
1 1 1 sl
7 8 12 10
10 (10) 8 10 10 (10) 8 10 (10) 8 10
9

1 1 1 sl
7 8 12 10
10 (10) 8 10 10 (10) 8 10 (10) 8 10 8 10 13 12
9 12

coda yourself by either strumming the chords or fingerpicking them. An essential piece
of information you will need to interpret it is the time signature, and this tune is in 4/4 time
or in other words there are 4 beats per bar.

verse
G D C D

G D C D

C D G Em

C D

chorus

G G C D

G Em C D

C D G

coda

G Em D C

arrangement
intro - verse - fill one - verse - chorus - fill two - verse - coda - fill three

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copyright G C Hargreaves 2019
 month twelve
Week Three
the second blues scale
Exercise 1
new scale original scale
Theoretically, by now you should be
able to remember and play the first
blues scale you learned. So now
1 1
y ou can l ear n the second bl ues
scale to add collection of tools for 2 2 2 2
improvising. Fret 3
3
This second scale is also in the key of
4 4 4 4 4 4 1 1 1 1 1 1
Fret 5 Fret 5
blues scale as a continuation, giving
2
you more flexibiliy to move up the
neck. Eventually you will have a set
3 3 3
of five blues scales which all join up.
4 4 4 4
Practise this new scale until you can Fret 8
play it and remember it.

These two blues scales are all part of a single family of blues
scales that will eventually fill the neck. In this case they are

the same key you can use them together in one piece of
music to improvise or write solos.

The illustr ation on the r ight shows how the scales j oin
together and even overlap in places to form one large
scale.

Exercise 2

Practise the two scales until you are happy with them.

Exercise 3

Try improvising using both of the scales, with one or more of

the improvisation backing tracks. If you need to revise how
to improvise look at month 3, week 4.

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figure 1
pentatonic blues scale, position 1. This is the first Blues scale your
learned and you should know it by memory.
5 8
5 8
5 7 8
5 7
5 6 7
5 8

8 5
8 5
8 7 5
7 5
7 6 5
8 5

figure 2
pentatonic blues scale, position 5

3 5
3 4 5
2 5
2 5
3 5
3 5

5 3
5 4 3
5 2
5 2
5 3
5 3

exercise 4
Up one scale, down another
sl
3 5 8
3 4 5
2 5
2 5
3 5
3 5

(8) 5
8 5
8 7 5
7 5
7 6 5
8 5

sl
3 5

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copyright G C Hargreaves 2019
 mutes and staccato
Staccato - Staccato is the musical term for a very short and sharp note, and it is usually
signified by a dot over the note you should play staccato. To staccato simply play the
note and then kill it as quickly as you can. This can be done by either releasing the
pressure off the string with the fingering hand and hence muting the string or by touching
the string with the picking hand and stopping it from ringing.

Palm muting
when you touch the strings slightly with the palm as close to the bridge as you can get
with your picking hand so that the strings are partially muted. Palm muting can also be
used as a form of staccato though it is not strictly staccato.

staccato palm muting

multiple palm mutes single palm mute
pm pm
3
5
5
5 5
5 5
3 3

exercise 1 - all over

pm
0 0 0 0 0
3 3 0 0 3 3 0
2 2 2 2

P pm
P
3 0 0 0 0
3 0 3 3 0
2 0
2 0 2 2

exercise 2 - a Bb major scale

pm

3 5 6 5 3
3 4 6 6 4 3
3 5 5 3

3 5 6 5 3
3 4 6 6 4 3
3 5 5 3

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exercise 3 - Money by Pink Floyd, 7/4 time
intro x 4 times
B5 B5
1 . 2 . 3 . 4 . 5 . 6 . 7 . 1 . 2 . 3 . 4 . 5 . 6 . 7 .
pm

4 4
4 0 4 0
2 2 0 2 2 2 0 2
2 2
verse
B5 B5
1 . 2 . 3 . 4 . 5 . 6 . 7 . 1 . 2 . 3 . 4 . 5 . 6 . 7 .
pm

4 4
4 0 4 0
2 2 0 2 2 2 0 2
2 2

B5
1 . 2 . 3 . 4 . 5 . 6 . 7 . 1 . 2 . 3 . 4 . 5 . 6 . 7 .
pm

4
0 0 4 0
2 2 0 2 2 2 0 2
2 2
chorus
F#5 E5
1 . 2 . 3 . 4 . 5 . 6 . 7 . 1 . 2 . 3 . 4 . 5 . 6 . 7 .
pm

4 4 4 4 3 2 0
4 0 4 2 0 2
2 0 3

exercise 4 - Stand by me - Ben E. King

C C
1 1
0 0
2 2
2 3 3 2 3 3 3 2
3 3

Am Am F
1 1
2 2 2
2 2 3
0 0 0 0 0 3 0
0 3 0 1 1 1

G C C
1 1
0 0 0
0 2 2
2 2 3 3 0 2 3 3 2
3 3 3 3
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 Theme to young lovers - The Shadows

10 9 7 9 7
7 7
9 7 9

10 9 7 9 7
7
9 7 9

0 2 4 2 0 0 0 2 4
0 2 2

2 2 2 4 2
4 0 4 4 4 0 2

0 2 3 2 3 2 0 0
2 2 2
4 0

SL

2 0 0 2 4 2 4 2 0 0
2 0 2

first time second time

2 0
0 0 4 2
0 2 0 0 0 0

4 2 6 4 6 6
5 4 7 5 7 7
0 0

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copyright G C Hargreaves 2019
 10 9 7 9 7
7
2 9 7 9
4

7
7 9 7 9 7 7

pm

7
6 7 9 9 7 7
7 9 9

pm

7
7 10 7 7 10 7 10 10 7
7 9 7 7

pm

7 9 10 9 10 9 7 7
10 10
9

pm pm

10 7 7 7
7 9 7 7 9 7 9 9 7
9 7

pm
10 9 7 9 7
7
7 7 9 7 9
9

10 9 7 9 7
7 7
9 7

14
10
9 9 11
12

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copyright G C Hargreaves 2019
 month twelve
Week Four
tune
Wonderful Land - The shadows

15 13 12 15 13 12
15 13 15 15 13 15

5 5
5 5 7 7 4 7 7 5
5 5 8 7

5 6 6 5
5 7 7 5 7 7 7 7

5 5
5 5 8
5 5 7
7 5 5

P H
6 5 6
5 4 4 4
6 5 5 5 5 5 5
7 7 7

5 555
5 5 7 777 4 7 7 5
5 5 8 7

5 6 6 5
5 7 7 5 7 7 7 7

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pm

8 7 8 8 7 8
8 10 10 8 8 10 10 8
9 7
10

pm

12 10 7 8 10 8 7
10 8
9 4 4 4
5 5 5 5 5
7 7 7

5 55 5
5 5 7 777 4 7 7 5
5 5 8 7

5 6 6 5
5 7 7 5 7 7 7 7

pm

8 7 8 8 7 8
8 10 10 8 8 10 10 8
9 7
10

pm

12 10 7 8 10 8 7 7 7 7
10 8 8 8 8 8 8 8
9 9 9 9

15 13 12 15 13 12
15 13 15 15 13 15

15 13 12
15 13 15

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copyright G C Hargreaves 2019
appendix

contents

basics
open chords
half barre chords
barre chords
scales

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 basics
fingering map x
string should
not be played
top nut
finger placed
frets between
1
the frets
strings
Left hand
finger number

left hand right hand

M = primary
I A P
I = index
L
M = middle
A = annular
L = little
P

fret map

E F F# G G# A

B C C# D D# E

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

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

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 open chords
A Am Am7 Am7 Amaj7
X X 1 X 1 X 1 X 1

1 2 3 2 3 2 2 3 2 3

A7 A7 B7 B9 C
X X X 1 XXX X 1

1 2 1 2 3 4 1 2 3 2

2 3

C7 C9 C add 9 D Dm
X 1 XXX X XX XX 1

2 2 1 2 2

3 4 1 2 3 3 4 3 3

Dm7 Dm7 Dmaj7 E Em

XX 1
XX 1
XX 1

2 3 2 1 2 3 2 3 1 2

E7 E7 Em7 F Fm
1 1
XX 1
XX 1

2 2 3 1 2

4 3 3

F maj 7 G G5 G6 G7
XX 1 1

2 1 1 1 2

3 2 3 2 4 3 2 3 3

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 half barre chordss

F Fm F7 Fm7
X X X X X X1 X X1
1 1

2 2

3 3

B Bm B7 Bm7
X X X X X X X X

1 1 1 1

2 2

2 3 4 3 4 3 4 3

B B
XX XX The B major chord can be played using a several
fingering options. Find the one you are most
1
comfortable with and stick with it.
If you have a lot of trouble playing these chords,
3 4 2 3
skip them. One of the other ways of playing these
chords might be easier for you.

note map for the bottom two strings

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

E F F# G G# A A# B C
1 2 3 4 5 6 7 8

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copyright G C Hargreaves 2019
 barre chordss

major minor 7th minor 7th

1 1 1 1
root root
2 2

3 4 3 4 3 3

major minor 7th minor 7th

x x x x

1 1 1 1
root root
2 2

2 3 4 3 4 3 4 3

C C
x x The second position major shaped chord is the
1 1
fret 3 hardest chord we have learned so far. Many
peopl e hav e di ffi cul ty w i th i t. One of the
3 4 2 3 alternative fingerings might make the it easier for
you if you are having trouble playing it.

note map for the bottom two strings

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

E F F# G G# A A# B C
1 2 3 4 5 6 7 8

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copyright G C Hargreaves 2019
 scales
harmonic

1 1 1 1

2 2 1 1 1 1 1 2 2 2

3 2

4 4 4 3 3 3 3 3 3 4 4 4

4 4 4 4

pentatonic blues

1 1 1 1 1 1 1 1 1 1 1 1
fret 3
2

3 3 3 3 3 3

4 4 4 4 4 4 4
fret 6

1 1

2 2 2 2
fret 3
3

4 4 4 4 4 4 1 1 1 1 1 1
fret 5
2

3 3 3

4 4 4 4
fret 8

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copyright G C Hargreaves 2019
All rights reserved, unauthorized copying, reproduction,
hiring, lending, redistribution and broadcast of this
e-book or any part of the contents is prohibited.
copyright G C Hargreaves 2019