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    The Complete Guitar Player

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    394 views134 pages

    The Complete Guitar Player

    Uploaded by

    Nicolas Martello
    The Complete Guitar Player

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 134
    The Complete Sriet BENSe Based A complete p Westpac hati Rented ae Books 1,2,3 and 4 About This Book This isa complete and exciting new course designed to make leering the guitar thoroughly enjoyable. ‘Well-known popular songs and clear cut lay-out make leaming easy and pleasurable. Inthe earlier Stages, simplified notation is used. This can be followed even by very young learners, ‘The courses ideal for the classroom. Butit is also suitable for those without a teacher. Musictheory ‘comes later in the course —when the student is in contro! of both right hand and lefthand movements, Standard notation is introduced at the right moment. The student who cannot read music will find it surprisingly easy to do so. ‘As the course progresses, the student is shown how to build on the technique he has learned in theearly stages. He is taken smoothly into more musictheory and taught how to play many new songs. Popular classical pieces are included, ‘which are both pleasant to play and listen to. ‘The final stage ofthe course takes the student through advanced playing, It introduces him to new techniques such as damping, and more complicated thythms. He is taught how to expand his repertoire through a knowledge of tablature... Jearna number of new styles....and become the complete guitar player. Remember: practice alittle each day.But,above Cassettes: Four cassettes have been produced to all, have fun! ageompany the Complete Guitar Player. Th eee been recarded under the supervision of Russ ae Shipton. For full description, see back cover. ‘Lhe Complete Guitar Player by Russ Shipton Books 12, »3 and 4 The Arpeggio Style Strwmming The Bass-Strum Seyle The Arpeggio Style The Alternating Thumb Style The Classical Style es gee eg 18 22 24 7 31 Summary of arpeggio patterns Lyrics to all songs Book? ‘Musictheory ‘Music notation ‘Swing rhythm Stops ‘The fretboard B7and F*dimchords Bass runs Hammer-ons Dmand Cchords ‘New runs Descending runs ‘The flatpick ‘Summary of bass runs and hammer-ons Bass runs and hammer-ons Anew pattern Fehord Dichord ‘Music notation Howto doit:two4/4 patterns Pinches 4/4 rhythm Finding the notes ‘Themajor scale Chord listing Lyrics toall songs Strumming Beas ne The Bass-Strum Style The Arpeggio Style The Alternating Thumb Style The Classical Style Chords 4 7 10 Ww 2 B Tablature Embellishments 16 7 18 20 22 The Classical Style 24 25-31 32 Book 3 Scales Chords and Keys Bmand Fém chords Key change Calypso rhythm ‘Transposing with and without a capo Upstrokes after bass-strikes ‘Swing rhythm Picking outthe melody G7 chord Solo melody picking in key of G ‘The syncopated arpeggio Pinches Bmand D9 chords ‘Treble hammer-ons ‘More patterns Mixing patterns Alternative D chord fingering Introductions 3/4chythm: Keyand chords Rests Dotted notes 2/4 chythm Lyries to all songs Book 4 Chord sequences Four-bar norm ‘Twelve-barblues Ragtime sequences Dominant and minor seventh chords Major sevemh chords ‘Moveable chord shapes ‘Small barres Large barres ‘Using minor barre chords Damping ‘Tablature explained Notation comparison Bass uns Passing notes ‘The hammer-on:on and offthe beat ‘The monotonic bass style ‘The pull-off Slides, bends and harmonies D-bass tuning Eighth-Note triplets Thebassclef Classical studies and pieces 3/8 and 6/8 rhythms Lyrics to all songs About the Capo ‘Most folk guitarists use this important device, The capo shortens the guitar strings and increases their pitch by the same amount. [tean be placed onany fret (just behind the fret wire) Ifthe pitch of a song doesn't suit your vocal range, the capo can be put somewhere on the neck ofthe guitar. The position of the capo can be changed until the melody suits your voice. The same chord shapes can be played as before, but singing will be Using The Capo ‘Tobe effective, the capo must pressall the strings down firmly. The first capo uses a screw to make it tight. The second is made of strong elastic thatis. stretched around the guitar neck until a hole fits onto the pin. The third type is made ofa strong, synthetic fiber attached to a piece of plastic - this fits into metal teeth. When the piece of plastic is. pressed down, the capo is secured. (See the photograph, where this type of capo is shown on the third fret. ‘Two people can use different groups of chord shapes and still play together ifone of them uses a capo. Try these 1wo possibilities: Ast Player (or group) Chords A, D, and E (No capo) 2nd Player (or group) Chord shapes D,G, and A (capo on 7th fret Ast Player (or group) Chords D, G, and A (No capo) 2nd Player (or group) ‘Chord shapes A, D, and E (capo on 5th fret) The Complete Guitar Player 4 5 Strumming 6 8 10 12 4 The Bass-Strum Style 15 16 18 2 The ArpeggioStyle 23 24 %6 30 31 by Russ Shipton Holding your guitar Tuning yourguitar Your first chord: A major Your first strum: 3/4 rhythm DandE chords Chord changing Singing Upstrokes What's chord? 4/4 chythm, ‘Melody notes Upstrokes Summary of strum patterns How todo it:3/4 and 4/4 patterns Two new chords: A7 and G Upstrokes Right hand position The bass notes Using the capo Summary ofbass-strum patterns Bass-pluckstyle How to do it:3/4 and 4/4 patterns ‘Minorchords: Am and Em chord Alternative patterns Summary of arpeggio patterns Lyries to all songs, ‘Songs and music in this book Amazing Grace Blowin’ In The Wind Catch The Wind Colours English Country Garden ‘The Last Thing On My Mind Leaving On A Jet Plane Me And Bobby McGee Scarborough Fair The Times They Are A-Changin’ Amsco Publications New York/London/Sydney/Cologne 98 Useful Information Your Guitar (9 Machine Heads ¢ > 2—(Tuning Pegs) oe ‘Nut \ )\\_tTable Face) f aS ‘\~-Bridge Saddle + Bridge Body } } i. ‘The Capo. Ir would be very useful foryou to have a “capo” This device helps to make the level of playing (the pitch of the notes) suit the range of the voice Holding Your Guitar ‘When playing modem guitar styles, this isthe sort of position you can use... ‘The Right Hand For strumming, hold the fingers together, For picking styles, put the wrist out to the front slightly, and keep the thumb a bit to the left of the fingers, which are held over the three treble strings. ‘The Left Hand The fingertips press the strings down. The palm of the hand should be kept clear of the neck. The thumb should be behind the Ist and 2nd fingers, midway on the neck for a good grip and free movement. General The crook of your arm should grip on the comer” of the body of the guitar. Then your right hand should fall over the rear half of the sound bole. Both hands should be clear of the guitar giving the fingers room to move. Try not to have a cramped position. It takes just a couple of weeks 10 get used tothe right position. Taning Your Guitar < must tune your guitar every time you pickit ely, you will have a better chance of xjucing nice sounds, and secondly your “ear” or cease of pitch will improve. siest way to tune your guitaris touse the Gaitar Tuning Record which comes with this book. The note on each string is sounded at correct pitch and is held long enough for youto it Inaddition, there are full instructions on thod of raising or lowering the notes on the case, for some reason, you are unable to use the Guitar Tuning Record, here is a method which is, szaditionally used to tune the guitar: RelativeTuning Wind the 6¢h string until it feels and sounds right. Then follow these steps: Tune your 5th string to your 6th string, Put your finger (left-hand) on the 5¢h fret of the 6th string and play that note with your right hand thumb. Now play the open Sth string (Topen!” means with no finger pressing on it). These two notes should be the same. Ifthey are not, wind the 5th string up ordownand check again and again till they are the same, Remember: you wind the string up ifit is too low, down ifitis too high. Tune your open 4th string to the 5th string, This time, press the 5th fret of the 5th string and sound the note. [tshould be the same as that onthe open 4eh. If itis not, adjust as described above. ‘Tune your open 3rd string to the 4th string, 5th fret ‘Tune your open 2nd string to the 3rd string, 4h fret. Tune your open Ist string to the 2nd string, Sth fret. The following diagram shows you the first five frets of the guitar fingerboard: Strings esa 2 7 +t Frets st ia $1! nd a ed Li T@T |. ooo @ | Your First Chord Hold your guitar as shown on the previous pa ‘and try to finger an A chord. The diagram below isa chord “window” showing the end of the fingerboard ‘imagine the guitar neck pointing to the sky). Thus the strings are going down the page. The numbers incirclestell you which finger to use, Your index finger is 1, middle 2, ring 3, and little one 4. The picture below shows you how the chord should look. All three fingers are on the same fret so twist ‘your hand tothe left slightly. Try to have a slight gap between the neck of the guitar and your hand. The AChord Strings 654321 SF Frew Ist + 000 2nd + + 3nd {— 4th Press all three fingers down firmly, with your thumb about midway on the back of the neck, and play each string (start with the bass, 6th string) with your right-hand thumb. Play the strings slowly, one by ,and move your finger or hand to stop any buzzing. Got a clean sound now? Good. Let's have look at two more chords so you can play your first song ofuy mnfasr) UOIDULAO, Catch The Wind warmus Chord Changing We're using the same chords for this song as we did for the last. Can you remember them without Joking at the diagrams? The sooner you are able 0 remember the chords, the quicker you'll progress Ifyou're having difficulty changing chords, try put your firs finger down firs, and your others hat you can pa Bec cha a right-hand rhythm. Take all accon slowly to begin with, and t stop of slow down to get into th position. When you can play the whole son ata slow tempo, the right hand can speed up toa ise your left hand won't be very quick at reasonable level Singing Most people find si correctly tomake a reasonable sound. So ging a litle strange at first, but nosteverybody cto pitch their voice persevere, even if you feel 2 little awkward now Tyemade the timing of the singing a litte easier to follow than the original songs in many cases. When youre in complete control ofthe playing side of things, time the words as you fee! fit. It would help Your general progress if you committed the first verse (and chorus where appropriate) to me the simple 3/4 strum pattern plicate things with upstrokes. As mastered, let'sca your fingers come up for the next strum down, they catch some treble strings on the way. These upstrokes are off the beat and not so “important” as the downstrokes, so they can be hit lightly. Only one or two or three treble strings need be played. ‘Try this(with an A chord. Down Up 1 & Now several in a row/ finger a D chord this time} Down Up Down Up Down Up 1 & 2 & 3 & In “Carch The Wind’ the first pattern shown has just one upstroke, Count it 1,2 & 3. Each down: strokeis still equally spaced. The other pattern hastwo upstrokes: 18 28 3, First of all, play every bar with the pattern in the first bar. Then try playing the song with the second pattern. Finally try the jccompaniment as shown, ting patterns. [ta lotto remember, espec singing, but its wor Catch The Wind ponovan Ss Sccompaniment 3/4 Rhythm | | = Strum Down and Up sumunay ly hours and minutes of um you all = a—round me and 0 1 nove, Good luck Dm 654 and E chords s0 just raise your second finger -—=}—}——} ard x 3&4 sail of? rises, 3&4 hey, 4th Sth Thumb plays 3rd string, lefthand hammers on Too 4 8 4 ‘What shall we do with the wey, hey, and with the drunk —en sailor ; and up she rises, the morn the = morn— es ing? ing. aMIg wnug-ssog ay J The Bass-Strum Style “ This Land Is Your Land (One Pattern First Practice the hammer-on on the 5th string when fingering a G chord. Keep your second finger clear ofthe Sth string, When you can do that and the hammer-on on the 4th string ina C chord, play just ‘one pattern to accompany this well-known Woody Guthrie song, like this ‘Once that comes easy,try doing the varied accompaniment on the next page, with the help of the notes below. If you want some more practice, ‘add some upstrokes to the “Drunken Sailor” sccompaniment, and try it again. I'l sound nice and full, but with upstrokes as well itl be hard to get it as fast as it should be! New Runs First of all, et'shave a look at the usual bass run from the G to C chord... (thisis very similar to the Ato Drun, just one tone lower) Play the 6th string G note, then take your hand off for the open Sth string. Pur your first finger back for the flatpick! the A note, and finally play the C nove when your lefi hand is in the fall C-chord position, ‘The samme notes are used in the accompaniment here, but you'll notice slight changes of timing—a downstroke, for instance is put in forthe second beat. Count the bar in the usual way and you'll have ‘no problems Now havea look ata run from D to G D G 1 2 3 4 1 For this run, play the downstroke on the second beat, then take your hand off and play the open 6th ssring, Thar’ followed by the 2nd fre th string, fingered by the first finger. The final note is of course G and you play that when you're back into a full G chord, on the 3rd fret of the 6th string, Descending Runs ‘The tworuns shown above are moving upward in pitch, but naturally you can gothe other way, as we did in “Drunken Sailor” In the accompaniment ‘onthe next page, you'l find a descending run from CtoG. The fingering is the same as the other way, using the first finger for the B note, and taking your Jefi hand off to move into the G-chord position as ‘you play the open Sth-string A note. ‘The Flatpick ‘Those of you who are using a steel string guitar (ie the two top treble strings are stee!, not nylon) could try playing both the bass-strum and straight strumming styles with a fatpick, Persevere with a ‘medium weight pick for awhile, because anything new takes time to master, and soon you'll beable w ‘graduate to bluegrass and rock'n Toll. Hold the pick between the thumb and the first finger, but have the thumb going across the finger. TThe pick ison the side ofthe first finger. This will give you a better grip, so you won't keep droppi This Land Is Your Land woos cuiie 1 » Sccompaniment4/4Rhythm | '=Strumdown/up 7” = Thumbplays 4th string, left hand hhammers on G 3& 4& This land is your land, this land is = land, From Cali for nia aMig unug-ssog ay] T&S FRU L 2& Fe ead) 22 se tothe New York — Is land, Fromthe red —wood i er? ests, tothe Gulf Sueam wa this land was made foryou = and. The Bass-Strum Style Summary Bass Runs Bass runs are an extremely important method of linking chords, and making accompaniments sound more interesting, so lets run over some of the ‘most common ones (most of which you've already used in some form)... ‘Usual Chords Involved Notes ‘String and Fret AwD ABC:D 5th open, 2nd, and 4th frets, 4th open EwA EF#GtHA 6th open, 2nd, and 4th frets, Sth open GwC GABC | DwG DEFIG Am wC ABC . CwDm EE/D (reverse chromatic run) CoG CBAG (reverse run) *Can you find the right string and fret for the other runs? Tvegiven you the guitar positions forthe first 1wo runs, see if you can work out the others. The Cro Dm runisa‘chromatie’ one, meaning that the notes have only one semitone berween them. What's similar about all the other runs? Yes, the intervals. ‘between the notesare tone, tone, semitone every time except where a run is reversed, like the C10 Gone, try reversing some of the others) or where ‘you're going from a minor toa major or the other way, ‘Can vou find anv other bass runs? Hammer-Ons Let look at hammer-ons in the same way. . ‘Usual Chords Involved Notes A,Am,A7orC — DtoE ——_thstring DorDm GwA G,E,Em,orE7 avs | *Can you find the right string? ‘Whar could you use fora hammer-on when fingering B? chord? And whats similar about the ‘two notes involved in each case? Yes,they'rea tone (wo frets) apart—these are the most commen hammer-ons, but sometimes there are ‘opportunites for hammer-ons involving notes ust ‘one semitone apart. Can you find any in the chords you know? Some New Ideas stew Pattern seteamned quite a few patterns in the first book, emetters is another very distinctive one that goes elie shat Animals hit of yesteryear, “The som Of The Risin’ Sun”. . ws c _& 2 ee 3s AT setnst bass of the bar together with the first bass ste following bar make a kind of “short” bass run. Tasewpe of pattern stresses the first beat of each ae case heavily “rhs pattern with same other chords, Ses Runs tough the bass-strum style relies on the bass 10 wade the interestin the accompaniment, with sessmers-on and bass runs, other styles can make sad use of these embellishments. Here’ the usual run from A to D, using the arpeggio style. The first and third fingers are used for the B and C ssetes as before. The pattern doesn’t have tobe ptaved fast, so the run can be done on the half beats. Tey some of the other runs you know using the speagiostyle. Hammer-Ons ‘Hammer-ons used in the arpeggio syle are often squeezed into half beat, so instead of counting the beat as 18, three notes come into ane beat,and are counted 1&8 The note following the hammer-on ‘comes in its usual place, exactly on the half beat, 0 the hammer-on is done quickly, You could say “da-da dar” to get the rhythm right. Try this hammer-on inan Em bar... 1&2 & 3 & 40a N11 ‘Now try hammer-ons with other chordsand other arpeggio patterns that you know ~ both “fast” ones like above, and the slower ones that rake up one- half beat. ‘Music Notation Soffar I've used my simplified notation for all the accompaniments you've played. Though the strumming and bass-strum styles are much more ceasily written this way, the single-note styles can be shown in ordinary music notation without any trouble. Because its very important that you know how to read at least the treble clef notes, “Sailing” is ‘written in music notation. This will give you valuable practice in reading notes. In the last section of this book theresa simple classical piece, and again its written in ordinary ‘music notation. That will give you practice in remembering the length of notes, Don't avoid ‘working at these “academic” things, youl find them very useful in time! IAs ossaday ay J ggio Style The Arpe The House Of The Risin’ Sun traditional, aranged Russ Shipton This song has been around foralongtime.The Let your thumb drop slightly on the back of the Animals had a hit with it in the sixties, and it’s still neck, and push your wrist forward—but not too played today. The chord sequence is more interest- much, otherwise you'll lose your grip! You must ingthana lot of popular songs, butthere’sanew adjust your arm and body position too, especially chord for youto learn=the Fchord. You'll need when using this shape at the end of the neck, ‘more practice on this one than on the others so far, without a capo. Try thisaccompaniment first wit because it involves a ‘barre? That means a left-hand capo onthe 4th fret. finger (almost always the fist) must press down ‘more than one string ata time ‘When you're happy with the Fchord and can change from and to it, have a go atthe bass run from Amto C. You play the A, B, and C notes for F F this run, and the B note is played with the second ie SS rs dt finger on the left hand. Raise this finger only — leave Frets the first and third fingers in position, and then when - oe ®,, you move to the C-chord position the third fin, | 2nd caRLeome off the third scring and goto the fifth 60 eating But the firs finger stays in its original T Position, so you don’t have to move it. tH 4th 1 sth Allthe other bass movements don't need lei-hand finger changes, but watch carefully for any change: Tvemade on the bass notes. Accompaniment 3/4Rhythm Timr ~Thumb, index, middle, and ring fingers The House Of The Risin’ Sun cosines sewed my new andits been My fath. a gamb lint man, blue ag oussaday ay ggio Style The Arpe, Sailing «sunint You'lall remember this one that was inthe charts D7 D7 not long ago, sung by Rod Stewart. The chord 634321 sequence is qui esting, and straightforward $ Fre when the accompanimentis arranged in the key of e Gf Gr cpt you ny tou thebe o ne the accompaniment, and I've added some bass runs io: T ®:3 So area Ooty nea E sd Delors ying lay tand you we hatetoo CCTs much trouble mastering this arrangement. Before you get down toit, havea look at this new chord; just one nove is different from the D chord ~ which one is it? Accompaniment 4/4Rhythm Standard music notation ~ see page 4 G sign meansa All 4th-, 5th-, and 6th the right-hand thumb, cring notes are played with Sailing cominued - Em ¢ ° - = . ae = a3

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