unit l

month five

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copyright G C Hargreaves 2019
 month five
Week One
tune
Yesterday - The Beatles
Play this tune using BARRE CHORDS. It is a difficult tune, however it is a good tune to try, because it
contains virtually all the barre chord shapes you have learned. Even if you find it too hard to play
with the backing, just go through it and locate all the chords because the practise is good. If you
find you master the chords, you can play the rhythm using all down strums, as the arrows on the
first line show. The red numbers are the count. The tablature version might also help if you get
stuck and the chords are listed over the page.
verse

F F F A7 A7 A7 Dm Dm Dm Bb C

F F F Dm G7 Bb F

chorus/coda

A7 A7 Dm Dm Gm C F

A7 A7 Dm Dm Gm C F

F F F A7 A7 A7 Dm Dm Dm Bb C

F F F Dm G7 Bb F F G7

Bb F

arrangement verse - verse - chorus/coda

note map for the bottom two strings

A Bb B C D E
E F G A B C
1 2 3 4 5 6 7 8
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 Yesterday - The Beatles (tablature version)
verse
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
F A7 Dm Bb C
1 1 1 5 5 5 5 5 5 1 3
1 1 1 5 5 5 6 6 6 3 5
2 2 2 6 6 6 7 7 7 3 5
3 3 3 5 5 5 7 7 7 3 5
3 3 3 7 7 7 5 5 5 1 3
1 1 1 5 5 5

F Dm G7 Bb F
1 1 1 5 3 1 1
1 1 1 6 3 3 1
2 2 2 7 4 3 2
3 3 3 7 3 3 3
3 3 3 5 5 1 3
1 1 1 3 1

chorus/coda
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

A7 Dm Gm C F r epeat this line

5 5 5 5 3 3 1
5 5 6 6 3 5 1
6 6 7 7 3 5 2
5 5 7 7 5 5 3
7 7 5 5 5 3 3
5 5 3 1

F A7 Dm Bb C
1 1 1 5 5 5 5 5 5 1 3
1 1 1 5 5 5 6 6 6 3 5
2 2 2 6 6 6 7 7 7 3 5
3 3 3 5 5 5 7 7 7 3 5
3 3 3 7 7 7 5 5 5 1 3
1 1 1 5 5 5

F Dm G7 Bb F F G7
1 1 1 5 3 1 1 1 3
1 1 1 6 3 3 1 1 3
2 2 2 7 4 3 2 2 4
3 3 3 7 3 3 3 3 3
3 3 3 5 5 1 3 3 5
1 1 1 3 1 1 3

Bb F
1 1
3 1
3 2
3 3
1 3
1

arrangement verse - verse - chorus/coda

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 Yesterday - chords
F A7 Dm Bb
1 1
Fret 1 Fret 1
2 1 1
Fret 5 Fret 5
3 4 2 2 2 3 4

3 3 4

C G7 Gm

1 1 1
Fret 3 Fret 3 Fret 3
2

2 3 4 3 3 4

Revise and memorize

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

note map for the bottom two strings

A Bb B C D E
E F G A B C
1 2 3 4 5 6 7 8
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 repeats and terminals
time. From now one we will use the correct way to denote repeats as it will be easier for you to understand
and it will be a clearer where you repeat from and too. The repeat sign is the same in tab as it is in music
and it is denoted by a double dot and double line. Repeats can be treated in very much the same way as
brackets in text in that you can have repeats within repeats.

repeat from here repeat to here a terminal is the end of a line or phrase

To make this completely clear look at these examples. So you can follow what is going on, the bars have
been marked with the letters A,B,C and D and then the order they should be played in is marked
underneath the examples.

example 1

A B C D
A B C D A B C D

example 2

A B C D
A B C D C D

example 3

A B C D
A B C B C D

example 4

A B C D
A B C B C D A B C B C D

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 Chord theory one
the major chord triad
The triad of a chord is the FIRST, THIRD and FIFTH note of the scale with the same name.

1 2 3 4 5 6 7 8 The note names are marked on

this chord map so you can see
that all the notes in the chord
come from the triad.

1st 3rd 5th X G E

C
The triad is the FIRST, THIRD and FIFTH note. chord
E

The triad of C major = C E G C

the minor chord triad

The principle is the same for minor chords however for a minor chord it is essential to use a
minor scale. A major scale produces a major triad and chord, and a minor scale
produces a minor triad and chord.

1 2 3 4 5 6 7 8 X A E
C

E A
1st 3rd 5th

The minor triad is still the FIRST, THIRD and FIFTH note.
The triad of A minor = A C E

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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 the major chord triad examples
Because chords are constructed from triads they can have several shapes but still have

individual notes named so you can see clearly that they use the triads

X G E X
C fret 3 C G fret 8 C G C

E E

C G C E GC

X D X
fret 5 D A fret 10 D A D

A F# F#

D A D F# A D

the minor chord triad example

The same principle applies to the minor triad and minor chords. Below are 2 different

X A E
C fret 5 A C E A

E A

E A

Summary
The fact that triads are used to create chords explains why sometimes chords with the
same name can have several shapes and why sometimes you get a choice of chord
shapes to play in a particular place for a particular tune.
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 month five
Week Two
rhythm technique
DOWN strum or pick. Moving your strumming hand down towards the floor.

UP strum or pick. Moving you strumming hand upward away from the floor.

x CLICK. Strum the strings whilst keeping them muted with the fingering hand. To
mute the guitar, rest your fingers on the strings without putting pressure on, so that
the strings just click when they are strummed.

m MUTE. To mute the guitar you simply rest your strumming hand on the strings
preventing them from vibrating, and hence silencing them.

pm PALM MUTING. Is when you rest the strumming hand lightly against the strings in
order to mute them slightly. Palm muting can be done with strumming and single
notes. Some tablature

exercises
Try playing these very simple strumming and rhythm exercises. By playing through the
exercises you can find any weaknesses you might have that need more practise. What

exercise 1
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .

exercise 2
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .

exercise 3

1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .

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exercise 4
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .

exercise 5 The following exercise is easier with a barre chord because of the click

1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .

x x x x x x x x
exercise 6

1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .

x x x x x x x x x x
The Following exercises involve half beats.

represents the half beat.

exercise 7
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .

exercise 8
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .

x x x x
exercise 9
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .

m m m m m m m m

exercise 10
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
pm

exercise 11
Try making up your own rhythm or rhythms.
You can use a tune you know or just experiment with your favourite chords.

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 Rhythms and tablature
As you get more experienced with the guitar and advance onto more difficult music, you
will find that the chords are written into the tab. There are many reasons for this, but one of
the most common reasons is that many tunes are written using partial chords or broken
chords. From now on we will use a lot more chords in tablature form.

Hey Jude - The Beatles

verse

D D D A A A A A A D D D

G G G D D D A A A D

chorus

D7 D7 G G Em Em A7 A7 D D

D7 D7 G G Em Em A7 A7 D D

D7 A7 A7

coda

D D D C C C G G G D D D repeat and fade

arrangement verse - verse - chorus - verse - coda

chords
D A G D7
XX X XX 1

1 2 1 2 3 1 2 3

3 2 3

Em A7 C
X X 1

1 2 1 3 2

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 tune
Hey Jude - The Beatles
Try playing this tune with the backing track. Because you are now playing the chord more than once in a
bar, the tune will be harder and you will have to change chords more quickly.

verse

D A A D
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
2 2 2 0 0 0 0 0 0 2 2 2
3 3 3 2 2 2 2 2 2 3 3 3
2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 2 2 2 2 2 2 0 0 0
0 0 0 0 0 0

G D A D
3 3 3 2 2 2 0 0 0 2
0 0 0 3 3 3 2 2 2 3
0 0 0 2 2 2 2 2 2 2
0 0 0 0 0 0 2 2 2 0
2 2 2 0 0 0
3 3 3
chorus

D7 G Em A7
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
2 2 3 3 0 0 0 0
1 1 0 0 0 0 2 2
2 2 0 0 0 0 0 0
0 0 0 0 2 2 2 2
2 2 2 2 0 0
3 3 0 0

D D7 A7 A7
2 2 2 0 0
3 3 1 2 2
2 2 2 0 0
0 0 0 2 2
0 0

ending

repeat and fade

D C G D
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
2 2 2 0 0 0 3 3 3 2 2 2
3 3 3 1 1 1 0 0 0 3 3 3
2 2 2 0 0 0 0 0 0 2 2 2
0 0 0 2 2 2 0 0 0 0 0 0
3 3 3 2 2 2
3 3 3

arrangement verse - verse - chorus - verse - ending

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 month five
Week Three
tune
knocking on heavens door - Bob Dylan
Rhythm This rhythm continues throughout the tune.
G D C
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .

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

Intro

G D C C

repeat
G D C C

verse / chorus

G D Am Am

repeat
G D C C

Arrangement intro - verse - verse - chorus - verse - chorus

chords
G D C Am
XX X 1 X 1

1 1 2 2 2 3

2 3 3 3

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 tune
Linger - The Cranberries
Rhythm This rhythm continues throughout the tune (Dsus2 is optional)
D (Dsus2) D (Dsus2)
. 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .

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

Intro
D D4 D D4 repeat x3 times
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 0 0 0 0 2 2 2 2 0 0 0 0

verse / chorus

D D

A A

Cadd9 Cadd9

G6 G6

Arrangement
intro - verse - verse - verse - verse - verse - verse - verse - intro (no repeats)

chords

D Dsus2 D4 A Cadd9 G6
XX XX XX X X
1 2 1 2 1 2 3 1 1

3 3 3 2 3 2 3

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 exercises
Try the following exercises combining all the techniques we have learned to date.

exercise 1
D C Em D
2 2 0 0 0 0 2
3 3 1 1 0 0 3
2 2 0 0 0 0 2
0 2 2 0
3 2
0

exercise 2

C Am Dm G7
0 0 1 1
1 1 3 0
0 2 2 0
2 2 0 0 0
3 3 0 0 2
3 3

exercise 3

Dm Am
1 0 1 3 1 0
3 1 1
2 2
0 2
0

Dm G7
1 0 1 3 1 1 0 1 3 1
3 0
2 0
0 0
2
3

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

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

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 Am7
X 1
exercise 4 Fill from live forever.
This exercise is all played on one chord, however the tune is produced by only playing 2 3
selected notes from the chord. The numbers in red represent the beats of the bar and
the dots between the numbers are the half beats. To count these beats so you can play 4

1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
Am7 Am7
3 3
1 1 0 1 1 0
2 2 2 2
2 2

tune
Who is like thee Lord - Jewish folk (Christian chorus)
intro
Em Em Em Em
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
0 0 0 0
verse
Em Am Em Em
0 0 0 0 0 0 0 0
0 0 1 1 0 0 0 0
0 0 2 2 0 0 0 0
2 2 2 2 2 2 2 2
2 0 2 2
0 0 0
Am Am Em Em
0 0 0 0 0 0 0 0
1 1 1 1 0 0 0 0
2 2 2 2 0 0 0 0
2 2 2 2 2 2 2 2
0 0 2 2
0 0
chorus
Am Em Am Em
0 0 0 0 0 0 0 0
1 1 0 0 1 1 0 0
2 2 0 0 2 2 0 0
2 2 2 2 2 2 2 2
0 2 0 2
0 0
Am B7 Em Em
0 0 2 2 0 0 0 0
1 1 0 0 0 0 0 0
2 2 2 2 0 0 0 0
2 2 1 1 2 2 2 2
0 2 2 2
0 0

arrangement intro - verse - chorus - verse - chorus

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 month five
Week Four
tune
Space Oddity - David Bowie
rhythm
This rhythm is used throughout the tune unless otherwise marked.
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .

C Em
0 0 0 0 0 0 0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 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 2 2 2 2 2 2 2
0 0 0 0 0 0 0

intro
C Em C Em

intro/verse (ope

C Em C Em

Am Am Am7 Am7 D7 D7 D7 repeat once take off noises for 2 bars

verse

C E7 F Fm Fm C C

F Fm Fm C C F

bridge
Strum these chords really slowly, so you can hear the individual notes in the chord.
This technique is called where you drag the plectrum across the strings.

Fmaj 7 Em7 Fmaj 7 Em7

Bbmaj 7 Am G F

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 instrumental
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .

C F G A C F G A
0 0 1 0 3 0 0 0 0 1 0 3 0 0
1 1 1 0 0 2 2 1 1 1 0 0 2 2
0 0 2 0 0 2 2 0 0 2 0 0 2 2
2 2 3 0 0 2 2 2 2 3 0 0 2 2
3 3 2 0 0 3 3 2 0 0
3 3

C E7 F Fm Fm C C

F Fm Fm C C C

bridge 2

C E7 F Fm Fm C C

F Fm Fm C C F

en) G Eb7 Am Am7 D7 C

arrangement
intro - intro/verse - verse - verse - bridge - verse - instrumental - bridge 2 - bridge - instrumental

chords
Am7 F Fm
X X 1 This is an alternative X X 1 X X 1 The F and Fm
way of playing the chor ds ar e the
2 3 A m7 c h o r d a n d 2 half barre chords
can r eplace the covered in month
4 A m7 c h o r d y o u 3 3 2, week 1.
l ear ned ear l i er i n
the course.

Bbmaj7 Eb7 Em7 Fmaj7

X X 1
X X 1
X X 1

1 2
2 2

3 4 3 4 3

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 tune
We are the people - Empire of the sun
intro
Em
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
M M M
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 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0

Bm
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
4 4 4 4 4 4 4 4 4 4 4 4 4
4 4 4 4 4 4 4 4 4 4 4 4 4
2 2 2 2 2 2 2 2 2 2 2 2 2

C C5
0 0 0 0 0 0 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1 1 1 1 1 1
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
3 3 3 3 3 3 3 3 3 3 3 3 3

Em add 3 Bm
3 3 3 3 3 0 2 2 2 2 2 2 2
0 0 0 0 0 0 3 3 3 3 3 3 3
0 0 0 0 0 0 4 4 4 4 4 4 4
2 2 2 2 2 4 4 4 4 4 4 4
2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0

verse
Em
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
M M M
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 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0

Bm
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
4 4 4 4 4 4 4 4 4 4 4 4 4
4 4 4 4 4 4 4 4 4 4 4 4 4
2 2 2 2 2 2 2 2 2 2 2 2 2

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

Em Bm
0 0 0 0 0 0 2 2 2 2 2 2 2
0 0 0 0 0 0 3 3 3 3 3 3 3
0 0 0 0 0 0 4 4 4 4 4 4 4
2 2 2 2 2 4 4 4 4 4 4 4
2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0

chorus
C Em
0 0 0 0 0 0 0 0 0 0 0 0 0
1 1 1 1 1 1 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
3 3 3 3 3 3 2 2 2 2 2 2
0 0 0 0 0 0

D
2 2 2 2 2 2 2 2 2 2 2 2 0
3 3 3 3 3 3 3 3 3 3 3 3 0
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

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

D
2 2 2 2 2 2 2 2 2 2 2 2 0
3 3 3 3 3 3 3 3 3 3 3 3 0
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

arrangement
intro - verse - verse - chorus - verse - chorus - bridge/verse - chorus - chorus

Bm Bm C5 E add 3
X X X X 1
OR
1 1 2 1 2

2 2 3 4 4

3 4 3 4

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 tune
About a Girl - Nirvana
main theme
This is the rhythm that repeats all the way through the tune wherever Em and G are
alternating, for example the intro. and the verse both consist of this theme. The bracketed
notes are optional.
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .

Em G Em G
0 0 3 3 3 0 0 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
2 2 0 0 0 0 0 2 2 0 0 0 0 0
2 2 0 2 2 2 0 2 2 0 2 2 2 0
0 0 0 3 3 3 0 0 0 0 3 3 3 0

intro
repeat once
Em G Em G Em G Em G

verse
repeat once
Em G Em G Em G Em G

chorus
See if you can work out from the tab how to play these chords, and note that in the bar
with the F#7add4 chord in it, it is the same chord all the way through the bar.

1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .

C# C#/G# F#7add4 repeat once

0 0
6 6 0 0
6 6 6 6 3 3 3 3 3 3
6 6 6 6 4 4 4 4
4 4 4 4 4 4 4 4
4 4 2 2 2 2

1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .

Em A C
0 0 0 0 0 0 0
0 0 0 0 2 2 1
0 0 0 0 2 2 0
2 2 2 2 2 2 2
2 2 2 2 0 0 3
0 0 0 0

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solo

on. A hammer on is where you pick only the first note in the sequence and then the
second note is created be hammering the second note down quick ly against the
fingerboard. So in this instance you pick the 5th fret, but then hammer down your finger
into the 7th fret to produce the second note.
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
Sl. Sl. repeat x4
H H
7 7 9 9 9 12 12 12
7 7 9 9 9 12 12 12
5 7 7 7 9 9 9 12 12 12
5 7
0

bridge
C C C C C C C C

end Em

arrangement
intro - verse - chorus - intro - verse - chorus - solo - chorus - verse - chorus - bridge - intro - end

Note. The reason the open string notes in the main theme are in brackets is that they
are optional to play. They are open strings that are played between the chords to
keep the rhythm going whilst you move your fingers, ready for the next chord.
Em G Em G
0 0 3 3 3 0 0 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
2 2 0 0 0 0 0 2 2 0 0 0 0 0
2 2 0 2 2 2 0 2 2 0 2 2 2 0
0 0 0 3 3 3 0 0 0 0 3 3 3 0

The new chords

The C# chord bellow is a standard second position barre chord as you have learned in

is a C# chord with a G# bass. An emphasis is put on the bass in order to make it sound
clearer and the top one or two strings are not played.
C# C#/G# F#7add4
X X X X

1 1 1
fret 4 fret 4
2

3 3 3 4

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 102
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