Fingerpicking Book 1 LH

How to play
fingerstyle guitar
book one
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 2022
The videos of the guitar lessons that
accompany this course can be found at
www.ebooks4guitar.com
and
www.youtube.com/guitar-academy
U
How to play fingerstyle
lesson one
finger picking
Finger picking (finger style) is a technique that can open up the way to play many
diversified styles such as classical, folk, flamenco and advanced rock, with tunes such as
Metallica and stairway to heaven - Led Zeppelin. Unfortunately it
will take a few week to master the basics and a months to really get to grips with the style,
but it is worth the effort.
Fingers M
A I
I have illustrated both hand to make clear
the difference between them, however you L
should know the fingers of the left hand by now.
P = primary P
I = index
M = middle
A = annular
L = little
Knowing the finger names are important.

PIMI
exercises
exercises - build up to a three finger pattern
When you see a word made up of the finger name letters at the beginning of an
PIMI
using that pattern of fingers.
exercise 1 exercise 2
P I P I M
P I P I P I P I P I M P I M P I M
0 0 0
0 0 0 0 0 0 0
0 0 0 0 0 0 0
exercise 3
P I M I
P I M I P I M I P I M I P I M I
0 0 0 0
0 0 0 0 0 0 0 0
0 0 0 0
4
exercise 4 PIMI
Note.. Watch out for the bass notes as they changes from chord to chord. At this stage
name. However later in the course the bass line can be very varied and therefore read
the tab carefully.
Em A
0 0 0 0
0 0 0 0 2 2 2 2
0 0
0 0
Em D
0 0 2 2
0 0 0 0 3 3 3 3
0 0
0 0
Em A
0 0 0 0
0 0 0 0 2 2 2 2
0 0
0 0
D D
2 2
3 3 3 3
0 0 0
exercise 5 PIMI
C Am
0 0 0 0
1 1 1 1 1 1 1 1
3 3 0 0
Dm G7
1 1 1 1
3 3 3 3 0 0 0 0
0 0
3 3
5
lesson two
tune
Gingerbread - Sad Fantasy
This tune that is a duet and is obviously made up of two parts that you can learn and
practise individually and then bring the parts together at the end. If you have a friend
who plays the guitar you could try it as a duet.
Part A PIMI
A Asus
2 2 3 3
2 2 2 2 2 2 2 2
0 0 0 0
A E
2 2 0 0
2 2 2 2 1 1 1 1
0 0
0 0
A Asus
2 2 3 3
2 2 2 2 2 2 2 2
0 0 0 0
A E A
2 0 2
2 2 1 1 2 2
0 0 0
0
New chord
A Asus Asus
he name is short for X X X
chord simply slide
the third finger up by a fret, or if 3 2 1 2 1 3 2 1
you prefer you can use the fourth
3 4
finger. Both ways are correct.
6
Part B PMIM
Note. The finger picking pattern in this section of the tune is the reverse of the finger
picking pattern you have looked at so far.
A D
0 0 0 0 2 2 2 2
2 2 3 3
0 0
0 0
A E
0 0 0 0 0 0 0 0
2 2 0 0
0 0
0 0
A D
0 0 0 0 2 2 2 2
2 2 3 3
0 0
0 0
A E A
0 0 0 0 0 0
2 0 2
0 0 0
0
How to play this tune as a duet
you can play Part One and then Part Two in succession to create the tune, and if
you have a friend who can play the guitar you can play a duet where the second
guitarst starts on Part Two and then plays Part One.
GUITAR ONE A - B - A - B - A - B
GUITAR TWO B - A - B - A - B - A
7
This tablature shows how both guitar parts would be displayed at the same time
A Asus
G 2 2 3 3
T 2 2 2 2 2 2 2 2
R
1 0 0 0 0
A D
0 0 0 0 2 2 2 2
G 2 2 3 3
T
R 0 0
2 0 0
A E
G 2 2 0 0
T 2 2 2 2 1 1 1 1
R
1 0 0
0 0
A E
0 0 0 0 0 0 0 0
G 2 2 0 0
T
R
2 0 0
0 0
A Asus
G 2 2 3 3
T 2 2 2 2 2 2 2 2
R
1 0 0 0 0
A D
0 0 0 0 2 2 2 2
G 2 2 3 3
T
R 0 0
2 0 0
A E A
G 2 0 2
T 2 2 1 1 2 2
R
1 0 0 0
0
A E A
0 0 0 0 0 0
G 2 0 2
T
R
2 0 0 0
0
8
A D
0 0 0 0 2 2 2 2
G 2 2 3 3
T
R 0 0
1 0 0
A Asus
G 2 2 3 3
T 2 2 2 2 2 2 2 2
R
2 0 0 0 0
A E
0 0 0 0 0 0 0 0
G 2 2 0 0
T
R
1 0 0
0 0
A E
G 2 2 0 0
T 2 2 2 2 1 1 1 1
R
2 0 0
0 0
A D
0 0 0 0 2 2 2 2
G 2 2 3 3
T
R 0 0
1 0 0
A Asus
G 2 2 3 3
T 2 2 2 2 2 2 2 2
R
2 0 0 0 0
A E A
0 0 0 0 0 0
G 2 0 2
T
R
1 0 0 0
0
A E A
G 2 0 2
T 2 2 1 1 2 2
R
2 0 0 0
0
9
lesson three
Autumn rain - Sad Fantasy
P i M i P i M i
C Cadd9 Am Amadd9 Am
1 1 3 3 1 0 1 1
0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2
3 3 3 3 0 0 0 0
1 1 3 3 1 0 1
0 0 0 0 0 0 0 0 2 2 2 2 2 2
3 3 3 3 0 0 0 0
E Am E Am
0 0 1 1 0 0 1
1 1 1 1 2 2 2 2 1 1 1 1 2 2
0 0 0 0
0 0 0 0
E E7 Am Amadd9 E E7 Am
0 3 1 0 0 3 1
1 1 1 1 2 2 2 2 1 1 1 1 2 2
0 0 0 0
0 0 0 0
Dm Am Dm E
3 3 1 1 3 3 0
2 2 2 2 2 2 2 2 2 2 2 2 1 1
0 0 0 0
0 0
0 0
Dm Am E Am
3 3 1 1 0 0 1
2 2 2 2 2 2 2 2 1 1 1 1 2 2
0 0
0 0 0 0
0 0
10
1 1 3 3 1 0 1 1
0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2
3 3 3 3 0 0 0 0
1 1 3 3 1 0 1
0 0 0 0 0 0 0 0 2 2 2 2 2 2
3 3 3 3 0 0 0 0
1 1 3 3 1 0 1 1
0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2
3 3 3 3 0 0 0 0
Am Amadd9 Am Amadd9 Am Amadd9 Am

1 0 1 0 1 0 1
2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0
Notes
With the the Cadd9
try any other fingerings for this chord because adding and removing the fourth finger is
by far the quickest way to get the chord, and chord change speed is important when
finger picking if you want the tune to sound smooth.
For the Am add9 simply remove the first finger.
Cadd9 Amadd9 E7
1 X X 1
2 3 2 3 2
4 3 4
The pause symbol
a so when you see this symbol pause for about the time it takes to take a breath.
Unlike a rest, the time you pause for is down to personal interpretation of the tune.
11
lesson four
finger picking. introducing the annular finger
S o far y ou hav e onl y pi ck ed w i th the P = primary
PRIMARY, INDEX and MIDDLE (P , i , M) M
I = index A I
f i n g e r s a n d w e h a v e ma n y u s e d t h e
patterns P i M i and P M i M, but now we will M = middle L
introduce the ANNULAR finger. A = annular
L = little
P
fact that it is the ring finger, ring being a
circle, cycle or annual. Given time you will
use this finger as much or even more than
the fingers you have learned so far.
exercises
exercise 1
PiMA
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
PAMi
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
12
exercise 2 PiMA
Am Dm
0 0 1 1
1 1 3 3
2 2 2 2
0 0
0 0
G7 C E7
1 1 0 0
0 0 1 0
0 0 0 1
3 2
3 3
Am Dm
0 0 1 1
1 1 3 3
2 2 2 2
0 0
0 0
G7 C
1 1 0
0 0 1
0 0 0
3 3
3 3
finger pattern reverses P A M i

Am Dm
0 0 1 1
1 1 3 3
2 2 2 2
0 0
0 0
G7 C E7
1 1 0 0
0 0 1 0
0 0 0 1
3 2
3 3
Am Dm
0 0 1 1
1 1 3 3
2 2 2 2
0 0
0 0
G7 C
1 1 0
0 0 1
0 0 0
3 3
3 3
13
exercise 3 PiMAMi
This tune and the exercise above are in 6/8 time and this means that there are 6 beats
per bar, therefore count along with 6 beats.
PIMAMI
0 0
0 0 0 0
0 0 0 0
0 0
0 0
0 0 0 0
0 0 0 0
0 0
tune
Ripples - Sad Fantasy
PIMAMI
Em A
0 0
0 0 2
0 0 2
0
0
Em 0
A 0
0 0 2
0 0 2
0
0
Em A
0 0
0 0 2 2
0 0 2 2
0
0
Dsus2 D
0 2
3 3 3
2 2 2
0 0
G A
3 0
0 0 2
0 0 2
0
3
14
G 3
D
2
0 0 3
0 0 2
0
3
G A
3 0
0 0 2 2
0 0 2 2
0
3
Dsus2 D
0 2
3 3 3
2 2 2
0 0
G A
3 0
0 0 2
0 0 2
0
3
Dsus2 D
0 2
3 3 3
2 2 2
0 0
G A
3 0
0 0 2 2
0 0 2 2
0
3
Dsus2 D
0 2
3 3 3
2 2 2
0 0
D Dsus2
XX XX XX
Dsus2
Dsus2 can be played by just 2 1 1 1
removing the 2nd finger from
3 3 3
are playing an open top
15
lesson five
alternating bass lines
So far I have recommended you play the root of the chord as the bass note when finger
picking, but you can also alternate the bass between 2 or more notes to make a tune
more interesting. However even when alternating the bass line the root note is usually
alternating bass line will be the reverse pattern when compared with the alternating bass
exercise 1
PiMi
A A
P i M i P i M i
2 2 2 2
2 2 2 2 2 2 2 2
2 2
0 0
exercise 2
PiMAMi
C C
P i M A M i
0 0
1 1 1 1
0 0 0 0
2
3
PiMi
A A
P i M i P i M i
2 2 2 2
2 2 2 2 2 2 2 2
2 2
0 0
D D
3 3 3 3
2 2 2 2 2 2 2 2
0 0
0 0
16
exercise 4 PiMA
C C
0 0 0 0
1 1 1 1
0 0 0 0
2 2
3 3
Am Am
0 0 0 0
1 1 1 1
2 2 2 2
2 2
0 0
Dm Dm
1 1 1 1
3 3 3 3
2 2 2 2
0 0
0 0
G7 G7
1 1 1 1
0 0 0 0
0 0 0 0
2 2
3 3
C C
0 0 0 0
1 1 1 1
0 0 0 0
2 2
3 3
C
0 0
1 1
0 0
2
3 3
17
exercise 5 PiMA
G
3 3 3 3
0 0 0 0
0 0 0 0
0
2 2
3
G
3 3 3 3
0 0 0 0
0 0 0 0
0
2 2
3
Am
0 0 0
1 1 1
2 2 2
2
0 0 0
C
0 0 0 0
1 1 1 1
0 0 0 0
2 2
3 3
D
2 2 2
3 3 3
2 2 2
0 0 0
0
repeat x3 times
G
3 3 3 3
0 0 0 0
0 0 0 0
0
2 2
3
G
3 3
0 0
0 0
2
3 3
exercise 6 - Notes to play the next exercise G6
De Capo al Fine 2
This means go to the top of the tune and then play through it
3
until you reach the end, which is marked with Fine.
18
exercise 6, the bass alternating between three strings. P M i
C E
P M i P M i P M i P M i
0 0 0 0 0 0 0 0
1 1 1 1 0 0 0 0
0 0 1 1
2 2
3 2
Am G6
0 0 0 0 0 0 0 0
1 1 1 1 0 0 0 0
2 2 0 0
2 0
0
3
C E
0 0 0 0 0 0 0 0
1 1 1 1 0 0 0 0
0 0 1 1
2 2
3 2
Am Fine
0 0 0 0
1 1 1 1
2 2
2
0 0
G6 E
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
0 0 1 1
0 2
3 0
Am Am
0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1
2 2 2 2
2 2
0 0
G6 E
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
0 0 1 1
0 2
3 0
Am Am De Capo al Fine
0 0 0 0
1 1 1 1
2 2
2
0 0
19
exercise 7, creating a tune with the bass line. PAMi
G C
3 3 0 0
0 0 1 1
0 0 0 0
2
2 3
3
D G
2 2 3
3 3 0
2 2 0
0
0
3 3
G C
3 3 0 0
0 0 1 1
0 0 0 0
2
2 3
3
D Em
2 2 0
3 3 0
2 2 0
0
0
0 0
C D
0 0 2 2
1 1 3 3
0 0 2 2
2 0
3 0
C D
0 0 2
1 1 3
0 0 2
2 0 0
3
C D
0 0 2 2
1 1 3 3
0 0 2 2
2 0
3 0
G
3 3 3
0 0 0
0 0 0
2
3 3 3
20
lesson six
tune
Everybody hurts - REM
The main fingerpicking pattern for this tune is; PiMAMi
Tips to play the Bridge
The Bridge is very different and you either have to use your fingers like a plectrum or you
need to pick up a plectrum very quickly. How you choose to strum the guitar at this point
in the tune is very much your own choice, as long is it sounds rite nothing is wrong.
Bridge chords.
There are two ways of playing the bridge chords. The 3rd and 4th finger can be
replaced by just the 3rd finger across the 2 string if you prefer to play the chords that way.
The 5th barre chords are more often called power chords, especially when talking about
modern music.
Option one
F#5 B5 C5 G5
XXX XX X XX X XXX
1 1
1 1
4 3 4 3
4 3 4 3
Option two With this option you can use a barre chord if you prefer.
F#5 B5 C5 G5
XXX XX X XX X XXX
1 1
1 1
3 3
3 3
21
tune
intro PiMAMi
D G
2 2 3 3
3 3 3 3 0 0 0 0
2 2 2 2 0 0 0 0
0 0
3 3
verse 1
D G x 3 times
2 2 3 3
3 3 3 3 0 0 0 0
2 2 2 2 0 0 0 0
0 0
3 3
D G P i M P i M
2 2 3
3 3 3 3 0 0 0 0
2 2 2 2 0 0 0 0
0 0
3 3 2
chorus
Em A P P
0 0 0 0
0 0 0 0 2 2 2
0 0 0 0 2 2 2
0 0
0 0 3 2
Em A P P
0 0 0 0
0 0 0 0 2 2 2
0 0 0 0 2 2 2
0 0
0 0 3 2
Em A
0 0 0
0 0 0 0 2 2
0 0 0 0 2 2
0 0
0 0
22
verse 2
D G x 5 times
2 2 3 3
3 3 3 3 0 0 0 0
2 2 2 2 0 0 0 0
0 0
3 3
D G P i M P i M
2 2 3
3 3 3 3 0 0 0 0
2 2 2 2 0 0 0 0
0 0
3 3 2
bridge
Em A P P
0 0 0 0
0 0 0 0 2 2 2
0 0 0 0 2 2 2
0 0
0 0 3 2
Em A
0 0 0 0
0 0 0 0 2 2 2
0 0 0 0 2 2 2
0 0
0 0
F#5 B5 x 3 times
4 4 4
4 4 4 4 4
4 4 2 2 2
2 2
C5 G5
5
5 5
3 5
3
C5 B5 A5
5 5 4 2 2 2
5 5 4 2 2 2
3 3 2 0 0 0
arrangement
intro - verse 1 - chorus - verse 2 - bridge - verse 1 - chorus - intro (repeat and fade)
23
lesson seven
tune
Continue on with Everybody hurts by practising it with a metronome or better still the
get it as smoothly as possible with the backing track as the skills you develop through
this exercise will help you later in the course.
24
lesson eight - ten

tune
These 3 lessons were originally in a separate eBook because the tune is a little hard for
this stage in the course. I have now included these lessons into this eBook to keep all the
hard, move on to lesson eleven.
Lesson eight - Listen to the tune a couple of times to get to know it.
Lesson nine - Try playing the exercises to see if you can play them.
Lesson ten - Try to learn the tune.
The troubled heart

by
Sad Fantasy
exercises and tune
25
Am C Dm Em G6
1 X 1 X 1 XX X
3 2 2 2 3 2
3 3 3
Exercise 1 - Finger picking pattern P I M A M I M I

Am G6
P I M A M I M I
1 1 0 0
2 2 2 2 2 2 0 0 0 0 0 0
2 2 2 2 2 2 0 0 0 0 0 0
0 0
3 3
Em Am
0 0 1 1
0 0 0 0 0 0 2 2 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2
0 0
0 0
G6 Em Am
0 0 1 1
0 0 0 0 0 0 2 2 2 2
0 0 0 2 2 2 2 2 2 2
0 0 0
3 0
Exercise 2
Pinching is where you play 2 notes at the same time, in this case with the Primary and
Anular fingers. In the tab a tie is used to show which fingers to use.
C Am Em Am
PA I M A M I M I
1 1 0 1 0 0 1 1
0 0 0 2 2 2 0 0 0 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2
3 0 0
0
C Am G6 Am
1 1 0 1 0 0 1 1
0 0 0 2 2 2 0 0 0 2 2 2
2 2 2 2 2 2 0 0 0 2 2 2
3 0 0
3
G6 Em Am
0 0 0 0 1 1
0 0 0 0 0 0 2 2 2
0 0 0 2 2 2 2 2 2
0 0
3 0
26
Exercise 3
Finger picking pattern P I M A A A A A
Am Am
P I M A A A A A P I M A A A A
0 0
0 1 3 1 0 0 1 3 0 1 3 1 0 0 1 3
2 2 2 2
2 2 2 2
0 0 0 0
Em Em
P I M A A A A A P I M A A A A
0 0
0 1 3 1 0 0 1 3 0 1 3 1 0 0 1 3
0 0 0 0
2 2 2 2
0 0 0 0
Exercise 4
Slides to the 5th fret with the third finger and then the first finger. Note that because
there is a slure line above the slides you only play the first note of the slide.
sl sl sl sl
1 3 5 1 1 5 1 3 5 1 1 5
Exercise 5
Fingerpick repicking the 5th fret.
Am
P I M A sl
P I M A sl
P I M A sl
P I M A sl
1 5 1 5 1 5 1 5
2 2 2 2
2 2 2 2
0 0 0 0
Exercise 6
Pull off. When you remove the first finger from the first fret pluck the string with the first
finger of the fingering hand.
P P P P P P P P
1 0 1 0 1 1 0 1 0 1 1 0 1 0 1 1 0 1 0 1
27
The troubled heart
Sad Fantasy
Theme 1
Am G6 Am
P I M A A A A PA I M A M I M I
sl sl
5 7 8 0 5 7 8 7 7
1 5 0 1 5 0 0 0
2 0 0 0 2 0 0 0
2 0 0 0 2
0 0
3 0
Am Dm Am
sl
5 7 8 10 10 8 7 5 5 0
1 5 0 0 6 8 6 1
2 0 0 7 7 7 2 2 2
2 0 2 2 2
0 0
0
Am G6 Am
sl sl
5 7 8 0 5 7 8 7 7
1 5 0 1 5 0 0 0
2 0 0 0 2 0 0 0
2 0 0 0 2
0 0
3 0
Am Dm Am
sl
5 7 8 10 10 12 10 5 8 7 5 5 5
1 5 0 0 6 5 5 5
2 0 0 7 7 7 5 5 5
2 0
0 0
0
Theme 2
Am G6 Am G6
P sl P sl
101 3 5 1 0 0 101 3 5 1 0 0
2 0 0 0 2 0 0 0
2 0 0 0 2 0 0 0
0 0
3 3
28
bar 24
Dm P sl Am Dm P sl G6
101 3 5 1 0 101 3 5 1 0
3 1 1 3 3 3
2 2 2 2 2 0 0
0 2 2 0 0 0 0
0
3
Am G6 Am G6
P sl P sl
101 3 5 1 0 0 0 101 3 5 1 0 0 0
2 0 0 2 0 0
2 0 0 0 2 0 0 0
0 0
3 3
bar 32
Dm P sl Am Dm P sl G6
101 3 5 1 0 101 3 5 1 0
3 1 1 3 3 3
2 2 2 2 0 0
0 2 2 2 0 0 0 0
0
3
Am
1 1 1
2 2 2 2
2 2 2
0 0 0
New chords
bars 24 and 32
Am Dm G6 G6
X X XX X
2
3 4 3
1 1
29
lesson eleven
PIMAMI
Dm
1 1
3 3 3 3
2 2 2 2
0
0
C
0 0
1 1 1 1
0 0 0 0
2
3
Dm
1 1
3 3 3 3
2 2 2 2
0
0
C
0
1 1
0 0
3 3
F C
1 0
1 1 1 1
2 2 0 0
3
3
Dm
1 1
3 3 3 3
2 2 2 2
0
0
F C
1 0
1 1 1 1
2 2 0 0
3
3
Dm
1
3 3
2 2
0 0
30
tune
PAMI
Am Dm C Dm
0 0 1 1 0 0 1 1
1 1 3 3 1 1 3 3
2 2 2 2 0 0 2 2
2 0 2 0
0 0 3
Am Dm C Dm
0 0 1 1 0 0 1
1 1 3 3 1 1 3
2 2 2 2 0 0 2
2 0 2 0 0
0 0 3
G7 C G7 Am
1 1 0 0 1 1 0
0 0 1 1 0 0 1
0 0 0 0 0 0 2
2
2 3 2 0 0
3 3
G7 C G7 E
1 1 0 0 1 1 0
0 0 1 1 0 0 0
0 0 0 0 0 0 1
2
2 3 2
3 3 0 0
Am Dm C Dm
0 0 1 1 0 0 1 1
1 1 3 3 1 1 3 3
2 2 2 2 0 0 2 2
2 0 2 0
0 0 3
Am Dm C G7
0 0 1 1 0 0 1 1
1 1 3 3 1 1 0 0
2 2 2 2 0 0 0 0
2 0 2
0 0 3 2
3
Am
0 0 0
1 1 1
2 2 2
2
0 0 0 0
31
lesson twelve
PAMIMA
A7 A7
0 0 0 0
2 2 2 2
0 0
2
0
D7 D7
2 2 2 2
1 1 1 1
2 2
0
0
G7 G7
1 1 1 1
0 0 0 0
0 0
2
3
C E7
0 0 0 0
1 1 0 0
0 1
3 2
A7 A7
0 0 0 0
2 2 2 2
0 0
2
0
D7 D7
2 2 2 2
1 1 1 1
2 2
0
0
G7 G7
1 1 1 1
0 0 0 0
0 0
2
3
C
0 0
1 1
0
3 3 3
32
tune
House of the rising sun - The Animals (fingerstyle version)
PIMAMI
Am C
0 0
1 1 1 1
2 2 0 0
0 3
D F
2 1
3 3 1 1
2 2 2 2
0 3
Am C
0 0
1 1 1 1
2 2 0 0
0 3
E7 E7
0 0
0 0 0 0
1 1 1 1
2
0
Am C
0 0
1 1 1 1
2 2 0 0
0 3
D F
2 1
3 3 1 1
2 2 2 2
0 3
Am E7
0 0
1 1 0 0
2 2 1 1
0
0
Am E7
0 0
1 1 0 0
2 2 1 1
0
0
33
lesson thirteen
tune
House of the rising sun
Continue trying to improve with The house of the rising suns by practising it with a
is good to try and get it as smoothly as possible with the backing track as the skills you
develop through this will help you with your guitar.
If you can, try improvising with the backing 1 1 1 1 1 1

fret 5
Pentatonic blues
2
fret 6
need to do this as that is the subject of a 3 3 3
different course that you can go through after fret 7
fret 8 4 4 4 4
Pentatonic Blues scale

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
tune 2
Etude in E minor - Francisco Tarrega
You just have to listen to this tune a couple of times to get a feel for it. The point of this
lesson is to introduce you to classical guitar music before I teach you some classical
tunes. I remarkable number of people have never listed to classical guitar music
This is the opportunity to get an introduction to classical guitar music from the romantic
period, when some of the best classical guitar music was written.
34
lesson fourteen
pinching
Pinching is a technique where you literally pinch the strings of the guitar with the primary
finger (thumb) and one of the other fingers (index, middle, annular). You may have
the pinching technique with reference to classical music, however it is important to note
that this technique is used just as much in contemporary music.
exercise 1
Pi PM PA PM
C Am
0 0
1 1 1 1
0 2
3 3 3 3 0 0 0 0
exercise 2
PA i M A M i M A
C Am
0 0 0 0 0 0
1 1 1 1 1 1
0 0 2 2
3 0
PiMi
PM i i
Am G
1 0
2 2 0 0
0
3
Em Am
0 1
0 0 2
0
0
35
IMPORTANT. Notes on the chords in this piece of music
This piece was written in 2 part or duet style, so the two parts sound as if they are played
normally consider them with contemporary music. However chords will happen naturally
or will simply be implied by the tune itself. Therefore with this style of music, the implied
chord names are very rarely written above the score.
For this exercise I have written the chord names above the score to help you. When
Many experienced contemporary

musicians are so used to playing chords they can form the shape very quickly and
without thinking.
Christmas choral 1
Silent Night notes
Silent night E
some playing observations XX
Bars 1 to 4 this note is
1
These fingering suggestions and
observations may help you to
& added and 3
removed
play the tune more easily. 11, 12
B B
X OR XX X
Bars 5 & 6 how to play the how to play the
1 3rd and 4th bars 2 1 2nd fret notes
using a B major without the use
barre chord. of a barre chord.
you can use
3/4 fingers 3 or 4 3/4
to play this
note.
B B
1 XX X OR X X X1 X
Bars 17 & 18 fret 2 fret 2
you can play
fret 3 one pinch and fret 3
this note is then single
3 notes for bar 18
added and fret 4 fret 4
removed
4 fret 5 4 fret 5
B7
X X
Bar 22 1
this is the easiest
3 2
way to finger bar 22
without playing the
complete B7 chord.
36
tune
Silent night
3/4 time
bar 1 bar 2 bar 3 bar 4
E E
0 2 0 0 2 0
1 1
0 0 0 0
bar 5 bar 6
B E
2 2 0 0
4 0
2 2
0 0
bar 11 bar 12
A E
0
2 2 4 2 0 2 0
1
0 0
0 0
A E
0
2 2 4 2 0 2 0
1
0 0
0 0
bar 17 bar 18
B E
2 2 5 2 0 4
4
2 2
0 0
bar 22
E B7 E
0
0 0
1 2
1 2 2
2
0 0 0
37
lesson fifteen
Christmas coral 2
Away in a manger notes
For this tune I have written the chord names above the score to help you find the notes,
Some guitarists are so used to playing
chords that they can form the shape very quickly and without thinking and therefore they
find it easier to just play the complete chord shape rather than 2 notes out of the chord.
Bars 2 to 3 & 10, 11 C

1 X
2
this note is
4 3
added and
Bars 9 removed
Bars 4 & 12
These 2 bars can be played in two ways depending on your preference and your ability
to play barre chords. Here are the 2 different ways to play this passage. If you can, slide
the whole shape up 2 frets. By sliding the shape you should find it easier to make the tune
flow.
Option one Option two
XX XX XXX X XX XX XXX X
1 1
3 3
1 1
fret 4 fret 4
3 3
Bar 8 Bar 16
X XX X1 X XX X XX X XXX
2 3
4 3 4 3 3
fret 3 fret 3
4
fret 4
38
tune
Away in a Manger
3/4 time
bar 2 bar 3 bar 4
1 . 2 . 3 . C C
0 0 1 3 3 5
1 1 3 1 1
0 0
2
3 3 4

G C
1 0 1 1 3 0 0 0
3 1 3 1
2
0 0 3 (4)
2 3

C C
0 0 1 3 3 5
0 1 1 3 1 1
0 0 0
2
3 3 4
(3)

G C
1 0 1 1 3 0 0
3 1 1 3 0
2
0 0 3
2 3 0
3
1 1
3 3
39
lesson sixteen
Christmas coral 3
This is an optional tune
This tune uses a very particular fingerpicking pattern that can be difficult to master but is
used a lot. Therefore to make it easier to learn the tune, try practising this fingerpicking
exercise first before you have to think about the playing the tune and the fingerpicking
pattern at the same time. The exercise is broken down into 4 parts that can then be
brought together and played as one exercise.
Exercises one, to help you play the First Noel
exercise 1a
PA i PA i PA i PA i PA i PA i PA i PA i PA i
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
exercise 1b
PA i PA i PA i PA i PA i PA i PA i PA i PA i
0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0
3 3 3 3 3 3 3 3 3
exercise 1c
PM i PM i PM i PM i PM i PM i PM i PM i PM i
3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0
exercise 1d
PM i PM i PM i PM i PM i PM i PM i PM i PM i
1 1 1 1 1 1 1 1 1
0 0 0 0 0 0 0 0 0
3 3 3 3 3 3 3 3 3
40
tune
The First Noel
3/4 time
1 . 2 . 3 . 1 . 2 . 3 . 1 . 2 . 3 .
bar 1 bar 2 bar 3
0 2
0 0 1 3
2 0 2 0
2
3
1 . 2 . 3 . 1 . 2 . 3 . 1 . 2 . 3 .
bar 4 bar 5 bar 6
3 2 0 0 2 3 2 0
3
0 0 0 0 0 0 0
2 0 2 0
3 2 3
1 . 2 . 3 . 1 . 2 . 3 . 1 . 2 . 3 .
bar 7 bar 8 bar 9
first time
0 2 3
3 3 1 0 0
0 0 0 0 0 0 2
0 0
2 3 2
3
bar 10
second time
0 0
3 3
41
lesson sixteen A
time signatures
A time signature tells you how the rhythm should be counted. The time signature looks
like a fraction at the start of a tune with 2 numbers on top of each other. Time signatures
have been mentioned several times during this course and every tune and exercise you
learn has got a time signature.
This is a four four time signature 4

4
Common time which is also 4/4 time
How to read a time signature
The TOP
P number represents the number of beats in the bar.
The BOTTOM
M number represents the value of beats in the bar.
the example above. The top 4 means that their are 4 beats in the bar, the bottom 4 tells
us that the beat value is a quarter of a measure or a crotchet. So 4/4 time means that
List of note values 1 = 1 semibreve

1/2 = 2 minim
1/4 = 4 crotchet
1/8 = 8 quaver
1/16 = 16 semiquaver
1/32 = 32 demisemiquaver
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
42
knowing how fast a tune should be
Commonly with modern, commercial scores the speed of the tune is shown at the top of
the page in Beats Per Minute, which is shown as BPM. This method of showing the speed
of the beats is also used on metronomes, drum machines, recording software and
basically anywhere you might need to show the speed of beats.
The speed shown in Beats Per Minute or BPM looks like this.
= 120 BPM = 100 BPM
The type of beat shown (crotchet, quaver etc.) will depend on the bottom number in the
time signature.
Classical music gives names to various bands of speeds.
Larghissimo very, very slow (24 bpm and under)

Adagissimo very slowly
Grave very slow ( bpm)
Largo broadly ( bpm)
Lento slowly ( bpm)
Larghetto rather broadly ( bpm)
Adagio slowly with great expression ( bpm)
Adagietto slower than andante or slightly faster than adagio ( bpm)
Andante at a walking pace ( bpm)
Andantino slightly faster than andante (but with overlap) ( bpm)
Marcia moderato moderately, in the manner of a march[9][10] ( bpm)
Andante moderato between andante and moderato (thus the name) ( bpm)
Moderato at a moderate speed ( bpm)
Allegretto by the mid 19th century, moderately fast ( bpm);
Allegro moderato close to, but not quite allegro ( bpm)
Allegro fast, quickly, and bright ( bpm)
Molto allegro slightly faster than allegro, but always in its range ( bpm)
Vivace lively and fast ( bpm)
Vivacissimo very fast and lively ( bpm)
Allegrissimo very fast ( bpm)
Allegro vivace the same as Allegrissimo ( bpm)
Presto very, very fast ( bpm)
Prestissimo even faster than presto (200 bpm and over)
43
know the time signature as the fingerpicking pattern must fit in with the time signature or
pattern is usually a multiple of the number of beats in the bar.
For example. 4/4 = 4, 8 or 12 notes. 3/4 = 3, 6 or 9 notes
Here are some examples of typical fingerpicking patterns but many, many more patterns
exist for each time signature.
example/exercise 1 - 3/4 time

e
P I M
C C Am Am
1 . 2 . 3 . 1 . 2 . 3 . 1 . 2 . 3 . 1 . 2 . 3 .
1 1 1 1
0 0 2 2
3 3 0 0
Em Em Am Am
1 . 2 . 3 . 1 . 2 . 3 . 1 . 2 . 3 . 1 . 2 . 3 .
0 0 1
0 0 2
0 0
0 0
example/exercise 1a - 3/4 time

P I M A
C C Am Am
1 . 2 . 3 . 1 . 2 . 3 . 1 . 2 . 3 . 1 . 2 . 3 .
1 1 1 1
0 0 2 2
2 2 2 2
3 3 0 0
Em Em Am Am
1 . 2 . 3 . 1 . 2 . 3 . 1 . 2 . 3 . 1 . 2 . 3 .
0 0 1
0 0 2
2 2 2
0 0
0 0
44
example/exercise 2 - 4/4 time
P I M A M I M A
C Am Em
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
0 0 0 0 0 0
1 1 1 1 1 1 0 0 0
0 0 2 2 0 0
3 0
0
Am
1 . 2 . 3 . 4 .
0 0
1 1 1
2 2
0 0 0
example/exercise 2a - 4/4 time

P I M A M I
C Am Em
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
0 0 0
1 1 1 1 0 0
0 0 2 2 0 0
3 0
0
Am
1 . 2 . 3 . 4 .
0
1 1
2 2
0 0 0
example/exercise 3, 6/8 time

P I M A M I
C Am Em
1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6
0 0 0
1 1 1 1 0 0
0 0 2 2 0 0
3 0
0
Am
1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6
0
1 1
2 2
0 0 0
45
listen to the tune
Snowfall - Sad Fantasy
Please listen to this tune a couple of times to get to know what it sounds like and get a
feel for the rhythm. The reason I ask you to do this is because this is one of the many
tunes written by Sad Fantasy especially for the GCH Guitar Academy guitar course and
therefore you are unlikely to have already heard it. Knowing what the tune sounds like
will make it a lot easier when you learn how to play it.
Note that this tune is in 6/8 time.

6
So there are 6 beats in the bar and they are quivers 8
46
lesson seventeen
Snowfall by Sad Fantasy
notes on how to play the tune
6/8 time
e, or 6 quaver fast beats per bar.
P I M A M I
Em
1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6
0 0 0 0
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
0 0 0 0
The pause symbol.
If you play this tune without a metronome or drums you should pause for a moment on the
take a pause when using regular beats because you will go out of time.
chords
F maj 7 Em Dm C
1 XX 1 XX 1 X
2 2 1 2 2
3 3 3
Am G6 D dim 7 C add 9
1 X 2 1
XX 1
X
3 2 2 2
4 3 4 3
The D dim 7 chord is a strange chord because it has for names.

D dim 7 = G# dim 7, B dim 7 and F dim 7
47
tune
Snowfall - Sad Fantasy
6/8 time
e, or 6 quaver beats per bar. = 115 bpm
P I M A M I
Fmaj7 Em
0 0 0 0
1 1 1 1 0 0 0 0
2 2 2 2 0 0 0 0
3 3 2
2
Dm C
1 1 0 0
3 3 3 3 1 1 1 1
2 2 2 2 0 0 0 0
0 2
0 3
Fmaj7 Em
0 0 0 0
1 1 1 1 0 0 0 0
2 2 2 2 0 0 0 0
3 3 2
2
Dm C
1 1 0
3 3 3 3 1 1
2 2 2 2 0 0
0
0 3 3
Em Am
0 0 0 0
0 0 0 0 1 1 1 1
0 0 0 0 2 2 2 2
2 2 0 0
G6 Am
0 0 0 0
3 3 3 3 1 1 1 1
0 0 0 0 2 2 2 2
0 0
3 3
Em C
0 0 0 0
0 0 0 0 1 1 1 1
0 0 0 0 0 0 0 0
2 2
2 3
48
Dm Ddim7
1 1 1
3 3 3 3 0 0
2 2 2 2 1 1
0 0 0 0
Fmaj7 Em
0 0 0 0
1 1 1 1 0 0 0 0
2 2 2 2 0 0 0 0
3 3 2
2
Dm C Cadd9
1 1 0 0
3 3 3 3 1 1 3 3
2 2 2 2 0 0 0 0
0
0 3 3
Am Em
0 0 0 0
1 1 1 1 0 0 0 0
2 2 2 2 0 0 0 0
2
0 2
0
Am Em
0 0 0
1 1 1 1 0 0
2 2 2 2 0 0
2
0 2 2
Fmaj7 Em
0 0 0 0
1 1 1 1 0 0 0 0
2 2 2 2 0 0 0 0
3 3 2
2
Dm C
1 1 0
3 3 3 3 1 1
2 2 2 2 0 0
0
0 3 3
49
optional lesson
Snowfall - Sad Fantasy (second guitar part)
This is played by the second guitar (the nylon strung guitar) in the second verse of the tune.
This part of the tune is optional to learn, but I have included it here for anyone who might
want to learn the entire tune with all the guitar parts.
When you come across a piece of tablature like this with multiple double stops, they can
be played a number of ways including with a plectrum if the tune dictates. This part can
be played iM, MA, or P i. I actually played this part using a pinching technique with the
index finger and thump (P i).
The sl. symbol is a slide that can be heard, however with this slide you play both the first
two notes and the second two notes. This is because neither the start notes or the end
notes are in brackets to tell us that they are not picked.
Bar 59
Pi Pi Pi Pi Pi Pi Pi
1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6
sl.
5 5 5 7 8 7 3
6 6 6 8 10 8 5
1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6
sl.
5 5 5 3 1 3 3
6 6 6 5 3 5 5
1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6
sl.
5 5 5 7 8 7 3
6 6 6 8 10 8 5
1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6
5 5 5 3 1 0 0
6 6 6 5 3 1 1
50
total 16 bars rest
Bar 91
1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6
sl.
5 5 5 7 8 7 3
6 6 6 8 10 8 5
1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6
sl.
5 5 5 3 1 3 3
6 6 6 5 3 5 5
total 8 bars rest
Bar 107
1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6
sl.
5 5 5 7 8 7 3
6 6 6 8 10 8 5
1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6
5 5 5 3 1 0 0
6 6 6 5 3 1 1
51
Because the rhythm is a little strange, here is the music score for anyone who has been
that the tune is in 6/8 time and therefore a quaver it counted like a full beat and a
crotchet as 2 beats.
52
listen to the tune
Medieval - Sad Fantasy
Please listen to this tune a couple of times to get to know what it sounds like and get a
feel for the rhythm. This is another of the tunes written by Sad Fantasy for the GCH Guitar
Academy guitar course and therefore you are unlikely to have heard it, and knowing
what the tune sounds like will make it a lot easier when you learn how to play it.
Note that this tune is in 3/4 time. 3

There are 3 beats in the bar and they are crotchets 4
53
lesson eighteen
The blocking technique
What is a block and how do I do it
Blocking is the name given to the technique where you play two or more notes at the
same time, but unlike pinching which must include the thumb you should only use the
thumb when playing 3 or more notes. In other words blocking is when you play two or
more notes at the same time using your fingers (i,M,A). This technique is distinguishable
from plectrum style in that the notes are played at exactly the same time where as when
using a plectrum there is a very slight delay between the strings being played.
exercises one, demonstrating the blocking technique.
exercise 1a
M A M A M A M A M A M A M A M A M A M A M A M A
0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0
exercise 1b
i M i M i M i M i M i M i M i M i M i M i M i 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
exercise 1c
i A i A i A i A i A i A i A i A i A i A i A i A
0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0
exercise 1d
iMA iMA iMA iMA iMA iMA iMA iMA iMA iMA iMA iMA
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
54
exercise 2 - common time, 4/4 time..
this demonstrates how the blocking technique can be used in the construction of a solo
A E A E
P iMA A A P iMA P iMA A A P iMA
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
0 0
2 3 0 2 3 0
2 1 2 1
2 2 2 2
0 0
0 0
A E A E
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
0 0
2 3 0 2 0 2 3 0
2 1 2 1
2 2 2 2
0 0
0 0
A E A E
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
0 0
2 3 0 2 3 0
2 1 2 1
2 2 2 2
0 0
0 0 0 0
A D A E
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
0 2 3 2 0 0
2 3 3 2 3 2 0 2
2 2 2 1
2 0 2
0 0
0
A
1 2 3 4 1 2 3 4
2 2
2 2
2 2
0
55
exercise 3a - Waltz, 3/4 time..
Try this exercise twice but with different picking fingers on the second version so you can
compare the two versions and practise with all you fingers.
C
P i M i M P i M i M P i M i M P i M i M
1 . 2 . 3 . 1 . 2 . 3 . 1 . 2 . 3 . 1 . 2 . 3 .
0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1
0
2 2
3
Dm
P i M i M P i M i M P i M i M i M i M
1 1 1 1 1 1 1 1
3 3 3 3 3 3 3 3
2
0 0
G7
P i M i M P i M i M P i M i M P i M i M
1 1 1 1 1 1 1 1
0 0 0 0 0 0 0 0
0
2 2
3
first time
C
P i M i M P i M i M P i M i M i M i M
0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1
2
3 3
second time
C
P i M i M P i M i M P
0 0 0 0
1 1 1 1
2
3 3 3
56
exercise 3b - Waltz, 3/4 time..
Repeat exercise 3a but this time use the middle and anular fingers (M, A fingers) in order
to build finger dexterity.
C
P MA MA P MA MA P MA MA P MA MA
1 . 2 . 3 . 1 . 2 . 3 . 1 . 2 . 3 . 1 . 2 . 3 .
0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1
0
2 2
3
Dm
P MA MA P MA MA P MA MA MA MA
1 1 1 1 1 1 1 1
3 3 3 3 3 3 3 3
2
0 0
G7
P MA MA P MA MA P MA MA P MA MA
1 1 1 1 1 1 1 1
0 0 0 0 0 0 0 0
0
2 2
3
first time
C
P MA MA P MA MA P MA MA MA MA
0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1
2
3 3
second time
C
P MA MA P MA MA P
0 0 0 0
1 1 1 1
2
3 3 3
57
exercise 4 - blocking 4 strings
You can combine a pinch and a block to play all the notes in a chord at once. This is still
called blocking even though the thumb is being used. The sound this technique produces
is very different to the sound produced when strumming the guitar.
example
Em
PiMA PiMA PiMA PiMA PiMA PiMA PiMA PiMA PiMA PiMA PiMA PiMA
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 0 0 0 0 0 0
exercise 4
PiMA PiMA PiMA PiMA

D A D G
2 0 2 3
3 2 3 0
2 2 2 0
0 0
0
3
PiMA PiMA PiMA PiMA

D A Em
2 0 0 0
3 2 0 0
2 2 0 0
0
0
0 0
PiMA PiMA PiMA PiMA

D A D G
2 0 2 3
3 2 3 0
2 2 2 0
0 0
0
3
PiMA PiMA PiMA PiMA

D G D
2 3 2 2
3 0 3 3
2 0 2 2
0 0 0
3
58
59
tune
Medieval slow dance - Sad Fantasy
3/4 time - counted as 3 beats per bar = 140 BPM
Dm G6 Am
PiMA MA PiMA MA PiMA MA PiMA
1 2 3 1 2 3 1 2 3 1 2 3
1 0 0
3 3 3 3 1 0 1
2 0 2 2 2
0 0 2 2
0 0
3
Dm G6 Am A5
1 2 3 1 2 3 1 2 3 1 2 3
1 0 0
3 3 3 3 1
2 0 2 2
0 0 2 2
0 0
3
Dm G6 Am
1 2 3 1 2 3 1 2 3 1 2 3
1 0 0
3 3 3 3 1 0 1
2 0 2 2 2
0 0 2 2
0 0
3
Am Em Am A5
1 2 3 1 2 3 1 2 3 1 2 3
1 0 0
2 2 0 0 2
2 2 2 2
0 0 0
0
Dm G6 Am
PiMA MA PiMA A PiMA A PiMA
1 2 3 1 2 3 1 2 3 1 2 3
1 0 3 0
3 3 3 1 3 1
2 0 2 2
0 0 2
0 0
3
60
Dm G6 Am
1 2 3 1 2 3 1 2 3 1 2 3
1 0 3 0 0
3 3 3 1 1
2 0 2 2
0 0
0 0
3
Dm G6 Am
1 2 3 1 2 3 1 2 3 1 2 3
1 0 3 0
3 3 3 1 3 1
2 0 2 2
0 0 2
0 0
3
Am Em A5
1 2 3 1 2 3 1 2 3 1 2 3
0
1 3 0
2 0 0 2
2 2 2 2
0 0 0
0
Am Em A5
1 2 3 1 2 3 1 2 3 1 2 3
1 0 0
2 2 0 0 2 2
2 2 2 2
0 0 0
0
x4 times
Notes
If you want to play this song as a faithful recreation of the original tune,
when you play this tune with the backing track, play the tune through 4 times
in total (with repeats). When playing through the third time, play the tune
pianissimo or quietly. The backing track hints at this and if you listen to the
recording of the song you can hear this clearly.
change your fingering if you are already playing an
61
lesson nineteen
exercise 1 - 4/4 time
D A
PiMA P iMA P iMA P iMA PiMA P iMA P iMA P iMA
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
2 2 2 2 0 0 0 0
3 3 3 3 2 2 2 2
2 2 2 2 2 2 2 2
0 0 0 0
0 0 0 0
G6 A
3 3 3 3 2 2 2 2
0 0 0 0 2 2 2 2
0 0 0 0 2 2 2 2
0 0 0 0
3 3 3 3
D Asus4 A
2 2 2 2 0 0 0 0
3 3 3 3 3 3 2 2
2 2 2 2 2 2 2 2
0 0 0 0
0 0 0 0
G6 A Asus4 A
0 0
3 3 3 3 2 2 3 2
0 0 0 0 2 2 2 2
0 0 0 2 2 2
0 0 0 0
3 3 3 3
D Dsus4 Dsus2 D
PiMA P iMA P iMA P iMA PiMA
2 2 3 0 2 2
3 3 3 3 3 3
2 2 2 2 2 2
0 0 0 0 0 0
62
exercise 2 - waltz time, 3/4 time
This is the repeat of an exercise from the previous lesson however this time we are
introducing a new technique, staccato. A staccato note should be short and cut off and
the symbol for staccato is a dot above the note. = staccato
P iMA iMA P iMA iMA
1 . 2 . 3 . 1 . 2 . 3 .
A7
0 0 0 0
2 2 2 2
0 0 0 0
2
0
D7
2 2 2 2
1 1 1 1
2 2 2 2
0
0
G7
1 1 1 1
0 0 0 0
0 0 0 0
0
3
C E7
0 0 0 0
1 1 0 0
0 0 1 1
3 2
A7
0 0 0 0
2 2 2 2
0 0 0 0
2
0
D7
2 2 2 2
1 1 1 1
2 2 2 2
0
0
G7
1 1 1 1
0 0 0 0
0 0 0 0
2
3
C
0 0
1 1
0 0
3 3
63
exercise 3 - 4/4 time
C
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
P i MA i P i MA i P i MA i P i P i
0 0 0
1 1 1
0 0 0 0 0 0 0 0
2
3 3 3 2
Am
0 0 0
1 1 1
2 2 2 2 2 2 2 2
2 2
0 0 0
Dm
1 1 1
3 3 3
2 2 2 2 2 2 2
0 0 0 0
0 0
G7
1 1 1
0 0 0
0 0 0 0 0 0 0 0
2 2
3 3 3
C
P i MA i P i MA i P i MA i P
0 0 0
1 1 1
0 0 0 0 0 0
2
3 3 3
3 3
64
tune
Bavarian waltz
3/4 time
1 . 2 . 3 . 1 . 2 . 3 . 1 . 2 . 3 . 1 . 2 . 3 .
P iMA iMA P iMA iMA P iMA iMA P iMA iMA
D D A A
2 2 2 2 0 0 0 0
3 3 3 3 2 2 2 2
2 2 2 2 2 2 2 2
0 2
0 0
D D A 1st time
2 2 2 2 0 0
3 3 3 3 2 2
2 2 2 2 2 2
0 2
0 0 2 4
2nd time
0 2 0
G G A A
0 0
0 0 0 0 2 2 2 2
0 0 0 0 2 2 2 2
0 0 0 0 2 2 2
2 0
3
G G A A
0 0 0 0 2 2
0 0 0 0 2 2
0 0 0 0 2 2
2 0 0 2 0
3
G G A A
0 0
0 0 0 0 2 2 2 2
0 0 0 0 2 2 2 2
0 0 0 0 2 2 2
2 0
3
D A D
2 2 0 0 2 2 2
3 3 2 2 3 3 3
2 2 2 2 2 2 2
0 0 0
0
65
lesson twenty
4/4 time fingerpicking patterns
time but 4/4 time is undoubtedly the most common time signature.
exercise 1 - Try these 4/4 time finger picking patterns.

pattern A pattern B
P I M A M I A M P I M A M I M A
C C
0 0 0 0
1 1 1 1 1 1
0 0 0 0
3 3
pattern C pattern D
P A M I A M I A P A M I A M P A
C C
0 0 0 0 0 0
1 1 1 1
0 0 0
2
3 3
pattern E pattern F
P I A I M I A I P I M I A I M I
C C
0 0 0
1 1 1
0 0 0 0 0 0 0 0
3 3
pattern G pattern H
P I MA I P I MA P I MA I MA I P
C C
0 0 0 0
1 1 1 1
0 0 0 0 0 0
2 2
3 3
Try playing these patterns using this chord progression.

1 2 3 4 repeat
C C Am Am
Note; Some of these patterns have a second bass note played with the This can be
an alternating bass line as we covered in lesson 5, or a walking bass line.
66
exercise 2 - try using a couple of fingerpicking patterns with these chords below.
1 2 3 4
C Am Em Am
C Am G G
C Am Em Am
C Am G G
C C
example - notice the bass line used here with fingerpicking pattern E.
C Am Em Am
0 0 0 0 0 0 0 0
1 1 0 1
0 0 0 0 2 2 2 2 0 0 0 0 2 2 2 2
3 0 0
0
C Am G G
0 0 0 0 3 3 3 3
1 1 0 0
0 0 0 0 2 2 2 2 0 0 0 0 0 0 0 0
3 0 2
3
C Am Em Am
0 0 0 0 0 0 0 0
1 1 0 1
0 0 0 0 2 2 2 2 0 0 0 0 2 2 2 2
3 0 0
0
C Am G G
0 0 0 0 3 3 3 3
1 1 0 0
0 0 0 0 2 2 2 2 0 0 0 0 0 0 0 0
3 0 2
3
C C
0 0 0 0
1 1
0 0 0 0 0 0 0 0
3 3 3
67
Finding the correct bass notes
name as the bass note. This can easily be found by playing the lowest note in the chord.
For all chords with the same note name the root is the same. For example for D, Dm, D7,
Dm7 etc. the bass note is
D Dm D7 Dm7
XX 1 XX 1
XX 2 1 XX
2 1 2 3 2 3
3 3
Here are some common chords with the root note marked in red.
Am B7 C D
1 X 1 X 1 X XX
2 3 4 3 2 2 2 1
3 3
E F G
1 1
XX
3 2 2 1
3 3 2
Note names of the bass notes
To help you find the correct bass notes it can be helpful to learn the names of the notes
on the bottom 3 strings. Knowing the note names helps with understanding and applying
chord theory.
D A E
F
E B
F C G
68
exercise 2 chords (again)
1 2 3 4
C Am Em Am
C Am G G
C Am Em Am
C Am G G
C C
illustration of just the bass line.
C Am Em Am
3 0 0
0
C Am G G
3 0 2
3
C Am Em Am
3 0 0
0
C Am G G
3 0 2
3
C C
(2)
3 3 3
69
Alternating bass lines
Example of exercise 1, pattern G which has an alternating bass line. The bass line is
marked out using red note numbers so they are easier to see. Try playing this example
using your primary finger (thumb) to play the alternating bass line.
P I MA I P I MA
C Am Em Am
0 0 0 0 0 0 0 0
1 1 1 1 0 0 1 1
0 0 0 2 2 2 0 0 0 2 2 2
2 2 2
3 0 2 0
0
C Am G G
0 0 0 0 3 3 3 3
1 1 1 1 0 0 0 0
0 0 0 2 2 2 0 0 0 0 0 0
2 2 0
3 0 2 2
3
C Am Em Am
0 0 0 0 0 0 0 0
1 1 1 1 0 0 1 1
0 0 0 2 2 2 0 0 0 2 2 2
2 2 2
3 0 2 0
0
C Am G G
0 0 0 0 3 3 3 3
1 1 1 1 0 0 0 0
0 0 0 2 2 2 0 0 0 0 0 0
2 2
3 0 2 2
3 3
C C
0 0 0 0
1 1 1 1
0 0 0 0 0 0
2 2
3 3 3
There are 2 main places you might use an alternating bass line. The first place is in
fingerpicking patterns like the one above where you play the bass more than once in
every bar. The second place to use alternating bass lines is when a chord repeats over
several bars. You can alternate the bass line with another note in the chord to make the
course. Sometimes you can play notes outside the chord but test the notes first to make
sure they sound right.
70
Here are some of the alternative bass notes you can use to create alternating bass lines
the triad of the chord and therefore they are not going outside the chord structure.
Am B7 C D
1 X 1 X 1 X X
2 3 4 3 2 2 2 1
3 3
E F G
1 1 X
3 2 2 1
3 3 2
exercise 3
There are 2 options for this exercise. Try playing a tune you know using fingerstyle and/or
exercise 3a
Write your own chord progression..
C Dm Em F G Am
C Dm Em F G Am
1 X 1 XX 1 XX 1 X
2 2 2 1 2 1 3 2
3 3 3 3 2
To create a chord progression or tune you can use just a couple of these chords together
or all of them in whatever order you want. Firstly, strum the chords you want to use until
might want to try several fingerpicking patterns to get your tune just right. Exercise 2 was
created from this chord scale using this method.
exercise 3b
Try playing a tune you already know in fingerstyle..
Dylan over the page. Try
71
tune
Mr. tambourine man - Bob Dylan
This tune is 4/4 time
e.
1. Practise the chords first with a metronome in 4/4 time or backing track, you can try
using your own strumming pattern if you wish.
2. Once you have the chord changes smooth try fingerpicking the tune using one of the
intro
1 2 3 4
D D D D
chorus
1 2 3 4
G A D G
D G A A
G A D G
D G A D
D D D
verse
1 2 3 4
G A D G
D G D G
A A G A
D G D G
D G A A
Arrangement intro - chorus - verse - chorus - verse - chorus - verse
72
lesson twenty one

How to play bars with two chords in
When putting a fingerpicking pattern to a tune that has chord changes half way through
can play the first half of the pattern twice so the bass note introduces the second chord.
one chord per bar 2 chords per bar
P I M A P I M A
C P I M A M I M A C Am
0 0 0 0
1 1 1 1 1
eg.1 0 0 0 2
3 3 0
P I M A P I M A
C P I M A M I P I C Am
0 0 0
1 1 1 1
eg.2 0 0 0 0 2
2
3 3 0
P A M I P A M I
C P A M I A M I A C Am
0 0 0 0 0
1 1 1 1
eg.3 0 0 0 2
3 3 0
P I MA I P I MA P I MA I P I MA I
C C Am
0 0 0 0
1 1 1 1
eg.4 0 0 0 0 0 2 2
2
3 3 0
P I A I P I A I
C P I A I M I A I C Am
0 0 0 0
1
eg.5 0 0 0 0 0 0 2 2
3 3 0
P I M I P I M I
C P I M I A I M I C Am
0
1 1 1 1
eg.6 0 0 0 0 0 0 2 2
3 3 0
73
exercise 1a - 4/4 time
D A
P I M A M I A M
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
2 2 0 0
3 3 3 2 2 2
2 2 2 2
0
0
P I M A P I M A
Em G A
0 3 0 0
0 0 2 2 2
0 0 2 2
0
0 3
D A
2 2 0 0
3 3 3 2 2 2
2 2 2 2
0
0
P I M A P I M A
Em A D
0 0 2 2
0 2 3 3 3
0 2 2 2
0
0
0
P I M A P I M A
Em A D
0 0 2
0 2 3 3
0 2 2
0
0
0
Alternative ways to play line 2, an easy G
Alternative 1
P I M A P I M A
Em G A
0 0 0
0 0 2 2 2
0 0 2 2
0
0
0 3
74
Alternative 2
P I M A P I M A
Em G A
0
0 0 2 2
0 0 2 2 2
0 2 2
0
0 3
exercise 1b - the same chords but a different fingerpicking pattern
D A
P I M I A I M I
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
2 0
3 3 2 2
2 2 2 2 2 2 2 2
0
0
P I M I P I M I
Em G A
0
0 0 2 2
0 0 0 0 2 2 2 2
0
0 3
D A
2 0
3 3 2 2
2 2 2 2 2 2 2 2
0
0
P I M I P I M I
Em A D
2
0 2 3 3
0 0 2 2 2 2 2 2
0
0
0
P I M I P I M I
Em A D
3
0 2 3
0 0 2 2 2 2
0
0
0
75
exercise 2a - 4/4 time
P I M I A I M I
C Em
0 0
1 1 0 0
0 0 0 0 0 0 0 0
3
0
Am Em
0 0
1 1 0 0
2 2 2 2 0 0 0 0
0
0
C Em
0 0
1 1 0 0
0 0 0 0 0 0 0 0
3
0
Am
0 0
1 1 1 1
2 2 2 2 2 2 2 2
0 0
P I M I P I M I
C Em Am
0
1 0 1 1
0 0 0 0 2 2 2 2
3 0
0
P I M I P I M I
C Am F
1
1 1 1 1
0 0 2 2 2 2 2 2
3
3 0
C Em
0 0
1 1 0 0
0 0 0 0 0 0 0 0
3
0
Am
0 0
1 1 1
2 2 2 2 2 2
0 0
76
exercise 2b - the same chords but a different fingerpicking pattern
P A M I A M I A
C Em
0 0 0 0 0 0
1 1 0 0
0 0 0 0
3
0
Am Em
0 0 0 0 0 0
1 1 0 0
2 2 0 0
0
0
C Em
0 0 0 0 0 0
1 1 0 0
0 0 0 0
3
0
Am
0 0 0 0 0 0
1 1 1 1
2 2 2 2
0 0
P I M I P I M I
C Em Am
0 0 0 0 0
1 0 1 1
0 0 2 2
3 0
0
P I M I P I M I
C Am F
0 0 1 1 1
1 1 1 1
0 2 2 2
3
3 0
C Em
0 0 0 0 0 0
1 1 0 0
0 0 0 0
3
0
Am
0 0 0 0 0
1 1 1
2 2 2
0 0
77
exercise 2c
2a & 2b with either one of the
fingerpicking patterns from lesson 20 or a fingerpicking pattern you already know.
1 2 3 4
C Em Am Em
C Em Am Am
C Em Am C Am F
C Em Am Em
C Em Am Am
C Em Am C Am F
C Em Am Am
Fingerpicking patterns from lesson 20, C chord.
pattern A P I M A M I A M pattern B P I M A M I M A
0 0 0 0
1 1 1 1 1 1
0 0 0 0
3 3
pattern C P A M I A M I A pattern D P A M I A M P A
0 0 0 0 0 0
1 1 1 1
0 0 0
2
3 3
pattern E P I A I M I A I pattern F P I M I A I M I
0 0 0
1 1 1
0 0 0 0 0 0 0 0
3 3
pattern G P I MA I P I MA pattern H P I MA I MA I P
0 0 0 0
1 1 1 1
0 0 0 0 0 0
2 2
3 3
78
suggested bass line with alternatives
C Em
(2)
3
0
Am Em
(2)
0
0
C Em
(2)
3
0
Am
0 0
C Em Am
(2)
3 0
0
C Am F
3
3 0
(1)
C Em
(2)
3
0
Am
0 0
79
exercise 3 (optional)
apply your skills to some real world applications. Try playing one or more of these tunes
or any suitable tune using fingerstyle techniques. To do this you can simply choose an 4/4
time finger-picking pattern and then use it with the chords for the song.
Try making one or more of these tunes into finger-picking tunes.
Candle in the wind - Elton John

verse
G C G C C
G G C C
G G C D7
G C G C C
chorus
D D G C
G G D D
C C Em Em
D C C C
instrumental
G G D D7
G D C G
coda
Em D C c
Arrangement
verse - chorus - verse - chorus - instrumental - verse - chorus - coda
80
HEY JUDE - the beatles
verse
D A A D
G D A D
chorus
D7 G Em A7 D
D7 G Em A7 D
D7 A7 A7
coda
D C G D repeat and fade
arrangement verse - verse - chorus - verse - coda
Yesterday - The Beatles (hard)

verse
F A7 Dm Bb C
F Dm G7 Bb F
chorus/coda
A7 Dm Gm C F
A7 Dm Gm C F
F A7 Dm Bb C
F Dm G7 Bb F F G7
Bb F
arrangement verse - verse - chorus/coda
81
lesson twenty two

Natural or open harmonics
Natural harmonics are sometimes also called open harmonics. When you play the guitar
the sound you hear is a composite of harmonics, even when you play an open string. So
when you play an open string, the note you hear comprises of multiple notes that mix
together to form what you hear. If the notes were a pure sine wave your guitar would no
longer sound like a guitar but more like a flute or a tuning folk. You can learn to isolate
harmonics to create a very sweet effect that sounds quite different.
Fundamental
1
5th Harmonics - B E A D F# B
4
4th Harmonics - G# C# F# B D# G#
5
3rd Harmonics - E A D G B E (+2 octaves)
6
7
2nd Harmonics - B E A D F# B
8
9
10
11
12
1st Harmonics - E A D G B E (+1 octave)
82
Fundamental - E A D G B E
X1 mixed with it where as the open string does.
1st Harmonics - E A D G B E
one octave up from the open strings, or double the frequency
X2 of the fundamental.
2nd Harmonics - B E A D F# B
3 times the frequency of the fundamental. Musically this is an
octave up from the 7th fret.
3rd Harmonics - E A D G B E
tw o octav es up fr om the open str i n g s, or doubl e the
frequency of the 1st harmonic.
X4
5 times the frequency of the fundamental. This harmonic can
be played on the 4th and 9th fret.
Theoretically y ou could k eep going through many fore

harmonics but they would be impossible to play.
How to play natural harmonics

The easiest harmonic to learn to play is the 1st harmonic, which is at the 12th fret therefore use the 12th fret
To play the harmonic

Simply touch the string very lightly directly above the 12th fret and pluck the string.
The string should not bend or move as

you should touch it ver y, ver y lightly,
and you should touch the string directly
above the actual fr et and not i n
between the frets where you usually
play the guitar.
Pluck the string ver y lightly as over

plucking the string will make it harder to
g e t a h a r mo n i c t o s o u n d . I t i s
sometimes easier to get the harmonic
to sound plucking the string nearer the
bridge.
W h e n y o u ma n a g e t o p l a y t h e
harmonic, remove the finger straight
away and the harmonic will continue to
ring.
83
Natural harmonic exercises
Some harmonics are easier to play than others so when you first start playing them you
may find you can play some harmonics easily yet others might need practise.
1st Harmonics - E A D G B E - 12th fret - easy
2nd Harmonics - B E A D F# B - 7 th fret - medium
3rd Harmonics - E A D G B E - 5 th fret - hard
4th Harmonics - G# C# F# B D# G# - 4th & 9th fret - very hard
A natural harmonic is commonly shown in tablature surrounded by a diamond and the

letters NH. above it. The NH stands for natural harmonic. Tabs vary so you may see AH.
(open harmonic) or just harm, and sometimes even the diamond is omitted.
Try playing the most common open harmonics.

exercise 1a - 1st harmonic
NH.
12
12
12
12
12
12
exercise 1b - 2nd harmonic

NH.
7
7
7
7
7
7
exercise 1c - 3rd harmonic

NH.
5
5
5
5
5
5
exercise 1d - 4th harmonic, very

NH.
9
9
9
9
9
9
84
exercise 2
P i M A M i P i M A M i
NH.
0 12
0 0 12 12
0 0 12 12
0 12
NH.
0 12
0 0 12 12
0 0 12 12
0 12
exercise 3
NH. >
12 7
12 7
12 7
12 7
12 7
12 7
5
5
5
5
5
5 12
exercise 4
NH. NH. NH. NH. NH. NH. NH. NH. NH.

12 14 15 14 12 14 15 14
12 12 12 12 12 12 12 12
NH.
12
7 7 12
7 7 7
7 7 7
85
exercise 5
NH. >
12 7 5 12 7 5
7 7
7 12 7 12
12 7 5 7
7 12
12 12
exercise 6
NH. NH.
12 7 12 7
12 7 12 7
7 7
0 0
NH. NH.
12 7 12
12 7 12 7
7
0 0
NH. NH.
5 7 12
5 7
7
0
0
86
tune
4/4 time, 100 bpm
intro
E A
NH.
12 7
verse
E A
NH.
12 7
E A
12 7
chorus
E D A C
NH.
12 7 12 7
outro
E D A C repeat and fade
NH.
12 7 12 7
arrangement solo 1 solo 2

intro - verse - chorus - intro - verse - chorus - intro - verse - chorus - intro - verse - outro
87
Practical uses for natural harmonics
Because natural harmonics give you the ability to play notes other than open strings
without using the frets they allow you to check tuning aspects of the guitar in a very
accurate way. You can use natural harmonics to check the tuning of the guitar and you
can us them to check the guitars intonation. The intonation of a guitar is the internal
tuning of each sting and is effected by the length of the string. Most electric guitars have
an intonation adjuster making it relatively easy to change the intonation on the guitar.
How to tune your guitar using natural harmonics

Once you can play natural harmonics you can use them to tune your guitar or just to
check the tuning on your guitar. Using natural harmonics to tune your guitar can be more
therefore using harmonics overcomes any fret inaccuracy your guitar might have.
Step 1
Step 2
Tune the other strings from the tuned string using the harmonics as following.
NH.
7
0 5
NH. NH.
7
7 5
5
NH.
NH.
7
0 5
88
How to check intonation using natural harmonics
To check a guitars intonation the most common method and probably the easiest
method is to check the tuning at the 12th fret is accurate. The 12th fret harmonic (1st
harmonic) will always be exactly an octave above the open string so you can check the
accuracy of the 12th fret by playing the natural harmonic at the 12th fret and then the
fretted note at 12th fret.
NH.
NH.
12 12
12 12
NH. NH.
12 12
12 12
NH. NH.
12 12
12 12
Most electric guitars have an easy way to adjust the intonation.
Here are some saddles that

allow y ou to adjust the
intonation of the guitar
relatively easily.
adjustment until your ability to

hear t u n i n g i s mo r e
developed.
89
lesson twenty three

tune
Dionisio Aguado
P i M i P i M i
Am E Am
0 0 0 0 0 0 0 0
1 1 1 1 0 0 0 0 3 3 3 3 1 1 1 1
2 2 1 4 4 2
2
0
Am Bb Dm Am
0 0 1 1 0 0 0
1 1 2 2 3 3 3 3 1 1 3 3 1 1
2 0 1 2
3 0 2
0
Am G7 C G7
0 0 1 1 0 0 1 1
1 1 1 1 0 0 0 0 1 1 1 1 0 0 0 0
2 2 0 0
2
3
3 3
C G6 Am C Am
0 0 0 0 1 0 0
1 1 3 3 1 1 1 1 0 0 3 3 1 1
2
0 2
3 2 0 3 0
repeat the whole tune
An Etude is a study or exercise and was written to help guitarists improve there playing
technique and fingering. Dionisio Aguado y Garcia
guitarist and composer who lived through both the late classical period and the early
romantic period and therefore it is well worth learning at least a couple of his studies if
This study is particularly helpful to develop the correct fingering in the open position. When
you learn to play this study be sure to learn it and practise it using the correct fingers
90
Open position or first position fingering
Open position fingering is easy to remember

because with open position fingering the finger
number is the same as the fret number. 1 1 1 1 1 1
For example you can see in this illustration that;
finger 1 plays fret 1
2 2 2 2 2 2
3 3 3 3 3 3
The most common exception being when you
have to play 2 notes on different strings but on
4 4 4 4 4 4
the same fret (for example of this is in bar 6) or
where it is difficult to stretch between the 2 notes
(for example bar 13, with the G6).
bar 1 bar 2 bar 3

1 XXX 1 XX XXX XXX
2 2
3 1
OR
4 2
bar 6a bar 6b
1 X XX 1 X XX
4 3 4
bar 13a bar 13b bar 15b

1 XX X XX X X XX
2 2
3 3/4 3/4
91
lesson twenty four
G Gm G7 Gm7
1 1 1 1
fret 3 fret 3
2 2
4 3 4 3 3 3
Exercise.
worry as you play them they will get better as your hand gets stronger (it may take weeks).
barre
string. The root of a chord (or scale) is the note that gives the chord its name. For
example, Looking at the chords above you will see that the first finger is in the third fret of
This is why the

fret..
If you play one of the chords above on a different fret it will take on the name of the note
and playing the shape in the fifth fret is
Exercise.. Try playing these chords a few times.
F G A
1
4 3 1
4 3 1
4 3
92
IMPORTANT HINTS
1. The position of the thumb is important, so if you are having difficulty playing these
chords look at the illustrations below and try changing your thumb position.
2. Do not push to hard with the thumb, the pressure should be applied by the fingers.
3. Do not tense your first finger too much, otherwise it will curve away from the strings.
The thumb position
WRONG RIGHT
The position of the thumb should The position of the thumb should
not be allowed to go around the either in the center of the back of
guitar because the fingers will be the neck or towards the floor. This
restricted. will allow your fingers to stand off
the fingerboard.
The finger position
WRONG RIGHT
The first finger should be as straight If you can keep your first finger
as possible across the fingerboard parallel to the frets the tone will be
and the fingers should be as close easier to maintain. If the fingers
to possible to the center, between are as central as possible between
the frets. the frets then you will not need to
press as hard on the strings.
93
IMPORTANT HINTS
These chords will become important to your guitar playing as they appear in so many
stage. To help you memorize these chord shapes you can use the following technique.
Major
1
1. Memorize the Major chord shape.
All the other shapes can be found using the 2
major chord shape as a starting point.
4 3
Minor
1
2. Removing the 2nd finger from the major shape
makes the minor shape. 2
4 3
Seventh
1
3. Removing the 4th finger from the major shape
makes the seventh shape. 2
4 3
Minor seventh
1
4. Removing both the 2nd and 4th finger from

2
the major shape makes the m7 shape.
In other words, removing the minor finger and 4 3
the seventh finger makes the minor seventh.
barre chord shapes
G Gm G7 Gm7
1 1 1
fret 3 fret 3
2 2
4 3 4 3 3 3
94
barre chords - cont. F
Once you can play the four barre chord shapes you can easily
play them in different positions on the neck, making them very
chords. For example, if you play the major chord shape in the G
positions of F, G, A, B and C you will have already learned 20
will have 32 new chords that you can easily be memorized. A

Practise each of these exercises, repeating them until you are
happy with them. If your hand, thumb or wrist starts to hurt take a
B
learning barre chords.
C
exercises
C Am F G
exercise 1
1
fret 1
1 1 2 1
fret 8 fret 5 fret 3
2 4 3 2
4 3 4 3 4 3
C Am F G
Am7 Gm7 F
exercise 2
1
fret 1
2
fret 5 fret 3
4 3
3 3
Am7 Gm7 Am7 F
Am G F E
exercise 3
1
1
fret 1 OPEN
1 1 2 3 2
fret 5 fret 3
2 4 3
4 3 4 3
Am G F E
95
1st position barre chord reference maps
major minor 7th minor 7th
1 1 1
root root
2 2
4 3 4 3 3 3
C B A G F E
8 7 6 5 4 3 2 1
exercises
By remembering the four first position barre chord shapes and the names of the notes on
being, to help you memorize the chords you should use the above reference maps to
play the following exercises. The best way to commit to memory these shapes and fret
names is to practise these exercises at least several times.
exercise 1
Am G Am F G
Am G Am F
exercise 2
C Am C G
C Am C C
96
exercise 3
Bm A G Bm A
Bm A G G
exercise 4
Am7 Gm Am7 Bm
Am7 Gm Bm Am7
exercise 5
Am Bm7 C Bm7
Am G Am Am
exercise 6
Gm Am7 Gm F
Gm Am7 F F
Gm Am7 Gm F
Gm Am7 C C
exercise 7
C Am F G
C Am F G
C G C C
97
lesson twenty five

\
Walking bass lines
exercise 1
P P P I M A M I P P P I M A M I
G Em
3 0
0 0 0 0
0 0 0 0
0 2 3 3 2 0
exercise 2
P I M A M I M A P I M A M I P P
C C
0 0 0
1 1 1 1 1
0 0 0 0
3 3 3 2
Am Am
0 0 0
1 1 1 1 1
2 2 2 2
2
0 0 0
Dm Dm
1 1 1
3 3 3 3 3
2 2 2 2
0 0 0
0
G7 G7
1 1 1
0 0 0 0 0
0 0 0 0
2
3 3 3
98
exercise 3
P i M i P I M i
G
0 0 0 0
0 0 0 0 0 0 0 0
0
0 2
3
C
1 1 1 1
0 0 0 0 0 0 0 0
0 2
3 3
D P i P i
3 3 3
2 2 2 2 2 2 0 0
0 0
0 0 2
C P i P i
1 1 1
0 0 0 0 0 0 0 0
2 2
3 3 3
D P i P i
3 3 3
2 2 2 2 2 2 0 0
0 0
0 0 2
C
1 1 1 1
0 0 0 0 0 0 0 0
0 2
3 3
G
0 0 0 0
0 0 0 0 0 0 0 0
0
0 2
3
G
0 0 0
0 0 0 0 0 0
2
3 3 3
99
tune
Only you - Vince Clarke (Yazoo)
verse
P I M A P I M A
C G6 (B bass) Am Am7 (G bass)
0 0 0 0
1 3 1 1
0 0 2 0
3 2 0
3
F C G
1 1 0 3
1 1 1 0
2 2 (2) 0 0
3
1 3
chorus
P I M A I M A
F G
1 1 3 3
1 1 0 0
2 2 0 0
1 3
P I M A P I M A
C G6 (B bass) Am Am7 (G bass)
0 0 0 0
1 3 1 1
0 0 2 0
3 2 0
3
F G
1 1 3 3
1 1 0 0
2 2 0 0
1 1 3 3
C C
0 0 0
1 1 1
0 0 0
3 3 3 3
100
arrangement
verse - chorus - verse - chorus - verse - chorus - verse - chorus
verse chords
G6 (B bass) Am7 (G bass) F T = thumb

X X 1
X 1 X T
2 2 2
4 4 3
Alternative fingerings
G6 (B bass) Am7 (G bass) F (barre)
X X 1
X X
1
1 2 2
3 3 3
chorus chords
F G
1 X T X
T = thumb 1 T
fret 3
2
2
3
3
Alternative fingerings
F G (barre)
1
X X
1
fret 3
2
2
3
3
101
lesson twenty six

tune
Estudio Op. 31 No. 1) - Fernando Sor
p. = piano = quiet
f. = forte = loud
mf. = mezzo forte = about normal
= an accent = emphasize this note
1 . 2 . 3 .
i
andante
3 0
4
1 . 2 . 3 . 1 . 2 . 3 . 1 . 2 . 3 . 1 . 2 . 3 .
PA M Pi M A PA A M PM i
C C
0 0 3 1
1 1 3 0
0 0
2 0 3
3
Pi M PM PM PM PM i i i i i
C C G6
1 1 0 1 3
0 0 0 0 0 0
2 2 0
3 2
C C F6
0 0 3 2 1
1 1 3 0
0 0
2 0 3
3
C F6 C C
0 0
1 3 0 1 1
0 2 0 0 0
2 3 2 2
3 3
102
PA i A PA i A PM i M PM i M
C F6 C
1 1 0 0
3 3 1 1
0 0 0 0
0 3 2
3
F6 C G6
0
0 3 1 3
0 0 0 0 0 0 0
0 3 2
3 2
C C F6
0 0 3 2 1
1 1 3 0
0 0
2 0 3
3
C F6 C
1.
0
1 1 3 0 1
2 0 0 0
2 2 3 2
3 3 3
2.
chord shapes
C F6 G6
1
X 1 XX X
2 2 2
3 4 3 4
103
lesson twenty seven

Two finger exercises
exercise 1 - to practice thumb movement and accuracy
P M P M P M P M
Em
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
0 0 0 0 0 0 0 0
0
0 0
2 2
2 2
0
Em
0 0 0 0 0 0 0 0
0
0 0
2 2
2 2
0
0 0
P i P i P i P i
Em
0 0 0 0 0 0 0 0
0 0
2 2 2
2 2
0
Em
0 0 0 0 0 0 0 0
0 0
2 2 2
2 2
0
0 0
104
exercise 2 - a basic blues
This note pattern and very similar ones have been used in every genre of music from
like this. This is a blues based exercise similar to what was used by many blues players
with the illustrated fingers, play the exercise how you are most comfortable. This is a
good excuse to experiment with different ways of playing the exercise.
I would suggest starting with P i P i P i P i or P A P A P A P A

E
1 . 2 . 3 . 4 .
2 2 2 2 2 2 2 2
2 2 4
0 4 4 0 4
2 2 2 2 2 2 2
2 2 4
0 4 4 0 4
2 2 2 2 2 2 2
2 2 4
0 4 4 0 4
2 2 2 2 2 2 2 2
2 2 4
0 4 4 0 4
B
0 0 0 0 0 0 0 0
0
2 4 4 2 0
4 2
E B
0 0
2 2 2
2 2 2 2
0 4 4
105
tune
exercise 3 - variation on a section of toccata and fugue J.S. Bach
The blue, italic numbers are finger numbers 1, 2, 3 and 4
the fingerstyle can be P i P i P i P i or P A P A P A P A
1 . 2 . 3 . 4 .
0
0
1 1 2 1 1 3
0 0 0 0 0 0 0 0
5 7 8 0 7 8 10 0
1 1 3 1 1 2 1
0 0 0 0 0 0 0 0
8 10 12 0 10 12 13 10
3 1 3 1 2 1 3 1
0 0 0 0 0 0 0 0
12 8 10 7 8 5 7 4
2
1. 1 . 2 . 3 . 4 .
0 0 0 0 0 0 0
5 0 1 0 0 0 0
2
2.
0 0 0 0 0 0
5 0 1 0 0 0
2
106
8 0 8 0 7 0 7 0
10 10 10 10 8 8 8 8
5 0 5 0 3 3 3 3
7 7 7 7 5 5 5 5
3 0 3 0 5 0 5 0
5 5 5 5 7 7 7 7
7 0 7 0 7 7
8 8 8 8 8 8 8
8 0 8 0 7 0 7 0
10 10 10 10 8 8 8 8
5 0 5 0 3 3 3 3
7 7 7 7 5 5 5 5
3 0 3 0 2 0 2 0
5 5 5 5 3 3 3 3
0 0 0 0
5 5 5 5 5
107
lesson twenty eight

tune
Spanish study (6/4 time)
P M P M P M P M P M P M
0 0 0 0 0 0 0 0 0 0 0 0
2 3 0 2 2 3 0 2
0 3 0 3
0 0 0 0 0 0 0 0 0 0 0 0
2 3 0 2 0
0 3 2 3 0
3 1
P i P i P i P i P i P i
0 0 0 0 0 0 0 0 0 0 0 0
2 3 0 2 2 3 0 2
3 3
0 0
0 0 0 0 0 0 0 0 0 0 0 0
2 3 0 2 0 0
3 2 3 3 2
0
0 0 0 0 0 0 0 0 0 0 0 0
2 3 0 2 2 3 0 2
0 3 0 3
Am
0 0 0 0 0 0 0 0 0
1
2
2 3 0 2 2
0 3 2 3 0 0
E Fmaj7addB E
0 0 0
0 0 0
1 2 1
2 3 2
2 3 2
0 (0) 0
108
Section two
o - Repeat these two lines lots of times.
Start very slowly and quietly and then build up the speed and volume until you are going
as fast as you can. without making too many mistakes.
bar 1 bar 2a bar 2b bar 2c
E
0 0 0 0 0 0 1 1 1 1 1 1
0 0 1 0
1 1 2 2 0
2 2 3
E
0 0 0 0 0 0 1 1 1 1 1 1
0 0 1 0
1 1 2 2 0
2 2 3
E Fmaj7addB E
0 0 0 0 0 0
0 0 0 0
1 1 2 1
2 2 2 3 2
2 3 2
0 (0) 0
fingering notes
Fmaj7addB
E Fmaj 7addB
1
slide X
2 3 1
2 3
Section two notes

You may find it easier to play chord shapes in section 2 to improve the speed.
The first line of section two and the second line is exactly the same.
bar 1 bar 2a bar 2b bar 2c

E F FaddB
1
X X 1
X X 1
X X 1
X X
2 2 2
109
lesson twenty nine

tune
4/4 time P i P i P i P i
G
0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
C G D Cadd9 G
2
1 1 0 0 0 3 3 0 0
0 0 0 0 0 0
0 0
3 3 3 3 3 3
3 3 3 3 3 3 3 3
D Cadd9 G
2
3 3 3 0 0 0 0 0 0
0 0 0 0 0 0
0 0
3 3
3 3 3 3 3 3 3 3 3 3 3 3
G C G D Cadd9
2
0 0 1 1 0 0 0 0 3 3
0 0 0 0 0
0 0
3 3 3 3 3 3
3 3 3 3 3 3 3 3
G D Cadd9 G
2
0 0 3 3 3 0 0 0 0
0 0 0 0 0 0
0 0
3 3
3 3 3 3 3 3 3 3 3 3 3 3
G C
0 0 0 0 1 1 1 0 0 0 0
0 0 0 0 0
3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
110
D Cadd9 G D Cadd9 G6
2 2
3 3 3 0 0 0 3 3 3 3 3
0 0 0
0 0 0 0
3 3 3 3
3 3 3 3 3 3 3 3
G6 C
3 3 3 3 3 3 0 1 1 1 0
0 0 0 0 0
3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
G D Cadd9 G6 D Cadd9
2 2
0 0 0 3 3 3 3 3 3 3 3
0 0 0
0 0 0 0
3 3 3 3
3 3 3 3 3 3 3 3
G6 C G
3 3 3 0 1 1 0 0 0
0 0 0 0 0 0 0
3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
C G A
1 1 0 0 0 2 2 2 2 0
0 0 0 2 2 2
3 3 3 3 0 0 0 0 0 0 0 0
3 3 3 3
C D G6
2
1 1 1 0 3 3 3 3 3 3 3 3 3 0
0
0 0 0 0
3 3 3 3
3 3 3 3 3 3 3 3
C G D Cadd9 G6
2
1 1 1 0 0 0 0 0 3 3 3 3 3
0 0
0 0
3 3 3 3 3 3
3 3 3 3 3 3 3 3
D Cadd9 G D Cadd9 G6
2 2 0
3 3 3 0 0 3 3 3 3
0 0 0
0 0 0 0 0
3 3 3 3 2
3 3 3 3 3
111
lesson thirty
tune
Sor
p. = piano = quiet
f. = forte = loud
mf. = mezzo forte = about normal
4/4 time
C Cadd5 F6
0 3 0 1
1 1 1 3 1 0 3
0 0 2 0 0
(2) 2 3 3
3
C Cadd5 F6 C
0 3 0
1 1 1 3 0 1
0 0 2 0 0
2 (2) 2 3 2
3 3
G6 C G6 C G6
p. f.
0 0
3 3 3 3
0 0 0 0 0 0 0 0 0 0
2 3 2 2 3 2
G Am G6 C G
mf.
0
0 1 3 0 0 1
0 0 0 0 2 0 0 0 0
0 0
0 2 3
3 3
Cadd5 C G6 C
3 0 1 0
3 1 0
0 0 0 0 0 0 0 0 0
2 0 2 0
3 2 3
112
Cadd5 C G6 C G
3 0 1 0
3 1 0
0 0 0 0 0 0 0
2 0 2 3 0
3 2 3
3
C Cadd5 F6
0 3 0 1
1 1 1 3 1 0 3 0
0 0 2 0 2
2 2 3 3
3
C F6 G6 C
0 0 1 0
1 1 3 1 3 1
0 2 0 0 0
3 2
3 2 3 3
the definition of andante

Andante generally refers the speed, which is about walking pace or at about 76 to 150
beats per minute. However andante is a dance or also commonly becomes the name
of a composition, passage or movement that is played at walking pace.
Larghissimo bpm and under)

Adagissimo
bpm)
bpm)
bpm)
Larghetto bpm)
bpm)
Adagietto bpm)
bpm)
Andantino bpm)
Marcia moderato bpm)
Andante moderato moderato (thus the name) ( bpm)
Moderato bpm)
bpm);
Allegro moderato bpm)
bpm)
Molto bpm)
Vivace bpm)
Vivacissimo bpm)
Allegrissimo or Allegro vivace bpm)
bpm)
bpm and over)
113
Appendix
open chords
A Am Am7 Am7 Amaj7
X 1 X 1 X 1 X 1
X
3 2 1 3 2 2 3 2 3 2
A7 A7 B7 B9 C
X X 1 X XXX 1 X
2 1 1 4 3 2 3 2 1 2
2 3
C7 C9 C add 9 D Dm
1 X XXX X XX 1 XX
2 2 2 1 2
4 3 3 2 1 4 3 3 3
D7 Dm7 D maj 7 E Em
1
XX 1
XX XX 1
3 2 2 3 2 1 3 2 2 1
E7 E7 Em7 F Fm
1 1 1 XX 1 XX
2 3 2 1 2
4 3 3
F maj 7 G G5 G6 G7
1
XX 1
2 1 1 1 2
3 3 2 3 4 2 3 2 3
114
Appendix
barre chords
1 1 1
root root
2 2
4 3 4 3 3 3

x x x x
1 1 1 1
root root
2 2
4 3 2 4 3 4 3 3
C C
1
x 1
x chord shape is a really difficult chord to play.
fret 3
because many people have difficulty playing
4 3 3 2
t h i s c h o r d s h a p e . Tr y t h e s e a l t e r n a t i v e
fingerings because one of them might make
playing this chord shape much easier.
note map for the bottom two strings
F E Eb D Db C B Bb A
C B A# A G# G F# F E
8 7 6 5 4 3 2 1
115
If you skipped lesson 10 because it was too hard,
You should be able to play it now,

so return to page 25 to complete that lesson
before moving on to book 2.

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How to play

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How to play fingerstyle

Knowing the finger names are important.

How to play this tune as a duet

Am Amadd9 Am Amadd9 Am Amadd9 Am

The pause symbol

finger pattern reverses P A M i

exercise 6 - Notes to play the next exercise G6

lesson eight - ten

hard, move on to lesson eleven.

The troubled heart

exercises and tune

Exercise 1 - Finger picking pattern P I M A M I M I

If you can, try improvising with the backing 1 1 1 1 1 1

Pentatonic Blues scale

Many experienced contemporary

Bars 2 to 3 & 10, 11 C

bar 5 bar 6 bar 7 bar 8

bar 9 bar 10 bar 11 bar 12

bar 13 bar 14 bar 15 bar 16

Exercises one, to help you play the First Noel

This is a four four time signature 4

How to read a time signature

List of note values 1 = 1 semibreve

example time signatures

4 Four crotchets in a bar

= 120 BPM = 100 BPM

Classical music gives names to various bands of speeds.

Larghissimo very, very slow (24 bpm and under)

pattern is usually a multiple of the number of beats in the bar.

For example. 4/4 = 4, 8 or 12 notes. 3/4 = 3, 6 or 9 notes

example/exercise 1 - 3/4 time

example/exercise 1a - 3/4 time

example/exercise 2a - 4/4 time

example/exercise 3, 6/8 time

Note that this tune is in 6/8 time.

The pause symbol.

The D dim 7 chord is a strange chord because it has for names.

total 8 bars rest

Note that this tune is in 3/4 time. 3

exercises one, demonstrating the blocking technique.

PiMA PiMA PiMA PiMA

PiMA PiMA PiMA PiMA

PiMA PiMA PiMA PiMA

PiMA PiMA PiMA PiMA

change your fingering if you are already playing an

exercise 1 - Try these 4/4 time finger picking patterns.

Try playing these patterns using this chord progression.

Note names of the bass notes

illustration of just the bass line.

Write your own chord progression..

Try playing a tune you already know in fingerstyle..

Dylan over the page. Try

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

lesson twenty one

Alternative ways to play line 2, an easy G

exercise 1b - the same chords but a different fingerpicking pattern

Fingerpicking patterns from lesson 20, C chord.

Try making one or more of these tunes into finger-picking tunes.

Candle in the wind - Elton John

arrangement verse - verse - chorus - verse - coda

Yesterday - The Beatles (hard)