Guitar Academy [2]
306 115 10MB
English Pages 164 Year 2004
month201.pdf......Page 1
month202.pdf......Page 16
month203.pdf......Page 31
month204.pdf......Page 42
month205.pdf......Page 53
month206.pdf......Page 64
month207.pdf......Page 77
month208.pdf......Page 92
month209.pdf......Page 105
month210.pdf......Page 120
month212.pdf......Page 135
Theory.pdf......Page 150
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unit ll
month 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 2004
UNIT ll finger picking style Month 1 - Week One unit one revision finger picking Fingers I have illustrated both hand to make clear the difference between them, however you should know the fingers of the left hand by now.
P I M A L
I
M
A L
= primary = index = middle = annular = little
P
The finger names are important. Above the tab you will see something written like P I M I this tell you which finger to use.
fig.1
fig.2
fig.3
fig.4
fig.1 1 The thumb rests on the string. fig.2 The thumb plucks the string downwards towards the floor.
fig.3 3 The fingers rest on the string. fig.4 4 The fingers pluck upward toward the roof.
© copyright G C Hargreaves 2004
time signatures The time signature tells the musician how the tune should be counted. They look like a fraction.
4 4 The way to interpret the information given in a time signature is as follows.
The TOP number represents the number of beats in the bar. The BOTTOM number represents the value of beat. For example we have use 4/4 time in many of the tunes you have learned, and 4/4 time is in 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 four or a crotchet. So 4/4 time means that their are 4 crotchets per bar.
List of note Values 1 2 4 8 16 32
semibreve minim crotchet quaver semiquaver demisemiquaver
examples
4 4
Four crotchets in a bar
3 4
Three crotchets in a bar
2 4
Two crotchets in a bar
6 8
Six quavers in a bar
2 2
Two minims in a bar
6 16
Six semiquavers in a bar
© copyright G C Hargreaves 2004
tune Snowfall - Sad Fantasy P
I
M
Fmaj7 2
3
1
Dm 0
2
3
2
1
Dm 0
0
1
M
I
Fmaj7 1
2
2
3
Dm 3
2
2
3
1
Em 1
2
0
3
2
1
2
3
2
1
Dm 3
2
0
0
0
2
3
0
2
G6 0
3
0
3
0
3
0
0
0
0
0
1
1
2
0
2
0
0
C 3
2
0
0
1
Am 0
0
2
Am
0
3
0
3
0
0
C 1
0
0
0
0
1
2
0
0
0
0
0
0
0
0
0
1
0
0
0
0
1
0
0
Am 1
2
2
1
0
1
2
0
1
0
Am 1
2
2
1
0
1
2
0
C 0
2
0
1
Em
0
0
0
0
3
G6
2
0
0
2
0
Em 0
0
1
Em
3
Em
0
2
2
0
Em
3
Em 0
0
3
Fmaj7 1
2
0
0
C
0
Em
2
3
2
1
0
0
Fmaj7 3
A
0 3
© copyright G C Hargreaves 2004
1
0
C 1
0
2
0
1
0
1
0
P
I
M
Dm 2
0
3
Fmaj7 2
3
1
Dm 0
2
3
A 1
0
1
M
I
Dm 3
2
2
Fmaj7 1
2
1
2
3
3
2
2
1
2
1
0
2
2
2
Am 2
1
0
2
0
Fmaj7 2
1
Dm 2
3
0
1
2
2
1
3
2
2
2
1
2
3
2
1
Dm 3
1
2
2 0
0
0
0
0
0
1
0
0
2
3
0
0
1
2
2
0
0
0
Cadd9 1
0
2
0
0
3
Em 0
0
0
0
0
0
3
0
0
0
0
0
0
0
Em 0
0
0 2
C 3
0
2
Em 1
0
0
Em 1
0
3
0
2
0
0
2
Em 1
0
Em
2
Fmaj7 1
0
0
2
Am 1
0
0
1
3
Am 1
0
1
0
C
1
3
3
Em
0
Dm
0
0
0
Fdim
0
Am
3
2
3
1
0
1
0
3
This is the symbol for pause, or take a breath.
© copyright G C Hargreaves 2004
1
0 3
0
0
0
0
UNIT ll finger picking style Month 1 - Week Two 3/4 time patterns Three four time tunes can usually be easily recognized. One of the most common 3/4 time styles is the waltz. Whilst it is most commonly associated with the dance the waltz style is also used frequently in fun fair music and in beer gardens.
Exercise 1 Waltz P
I M A
D
2 3 2
0
D 0
I M A 2 3 2
2 3 2
2 3 2
2 3 2
D
2 3 2
2 3 2
0
G 0 0 0
0 0 0
3
G
2
0 0 0
3
G
2
0 0 0
0 0 0
0 0 0
2 3 2
2 3 2
3
2
A
0
2
A 2
0 2 2
0 2 2
0
0 0 0
0 0 0
0
0 2 2
0 0 0
0 2 2
0 2 2
0
D 0
© copyright G C Hargreaves 2004
0 2 2
0 2 2
2
4
0 2 2
0 2 2
0 2 2
0 2 2
0 2 2 0
A 2 2 2
2 2 2
2
A 2 2 2
2 2 2
A 0 0 0
A
2
A
G 0 0 0
A
A
G 0 0 0
0
2 3 2
0
G
D
D
0
A 2 2 2
2 2 2
2 3 2
2 3 2
2
0
Note that with the following exercises, the thumb or primary finger is used twice. Exercise 2 P
I
F 1
M 1
I
P
I
C 1
3
2
1
1
0
2
3
Dm 3
1
C 3
0
2
3
1
0
1
3
F 1
1
3
C 1
3
1
2
1
0
1
0
2
Dm 1
1
3
1
3
0
2
0
1
1
3
Am
1
1
2
3
0
Exercise 3 P
I
M
D 0
2
3
A
I
E
2
0
0
2
2
0 0
2 2 0
0 1 2
A
2
3
0
0
3
3
D
1
2 0
G
0
P
0
© copyright G C Hargreaves 2004
2
0 2
2
Exercise 4 P
I
C 1
M 0
I
I
G6 1
1 2
3
C 1
0
1
1
1
1
3
2
Am
3
0
1
1
1
C 1
3
2
1
1
0
1
0
1
1 2
3
C 1
0
1
1 2
1
0
2
3
0
0
1
0
2
3
1 0
0
2
3
1
2
2
0
© copyright G C Hargreaves 2004
1
1
1
3
0
2
3
1 2
1
2
0
1
1 2
1
0
1
1 2
0
1
1
0
2
1
1
1
1
0
1
1
0
2
1
3
1
1
0
0
1
0
2
1
0
2
Am 3
3
0
0
0
1
3
3
2
1
1
1
Am
2
G6
3
Am
3
0
1
0
2
G6
3
2
1
1 2
Am
3
C
1
1
0
0
2
3
F
1
Dm 1
1
1 2
3
3
0
0
0
0
1
Am
2
1
3
3 0
C 1
0
2
2
F
3
G6
3
0
P
0
UNIT ll finger picking style Month 1 - Week Three The Major scale Open G major scales Lower, one octave G major scale
Upper, one octave G major scale
2 octave G major scale 1
1 2 3
2
2
3
2 3
2 3
3
2
3
Barre G major scales Lower, one octave G major scale
1 2
2 octave G major scale
1
1 2
2
4
4
4
4
1
1 2
2
3 4
1
3
3
4
4
4
Tonics and octaves As with barre chords the root or tonic is the note that gives the scale its name. In the scales above the tonic note is G, and in the illustration to the right you can see where the G notes are relative to the scales. The major scale will always start on the tonic.
Octave An octave is the gap between the two closest notes with the same name, or in this case an eight note gap between three tonic notes.
© copyright G C Hargreaves 2004
2
2 3
4
4
2
3
Major scale theory and key signatures The major scale can be considered as the DNA of western music, virtually every scale you use has either come directly from, or has some connection with the major scale. Most people know the sound of the major scale from DOH RAY ME FAH SOH TE DOH. The major scale is simply a pattern of tones and semitones.
The pattern in semitones is 2 . 2 . 1 . 2 . 2 . 2 . 1 The pattern in tones and semitones is TONE
TONE
SEMITONE
TONE
TONE
TONE
SEMITONE
Exercise Play the pattern above.
(A semitone is a gap of one fret and a tone is a gap of two frets)
Note This pattern is so important to the fundamentals of music that the layout of a keyboard has been designed around it. If you play this pattern from C to C on a keyboard you will notice that a black note appears everywhere a tone is played or in other words you will only play white notes.
Try to play the following pattern starting on any open string tone
open
tone
fret 2
semitone
fret 4
tone
fret 5
tone
fret 7
tone
fret 9
semitone
fret 11
fret 12
Key signatures The key signature tells us what key the tune is in, or in other words which major scale the tune is based around. When playing the major scales in different positions on the neck, the number of sharps and flats played in the scale changes depending on where we play the major scale. Each major scale has a unique number of sharps or flats in it and when reading music, one of the first things on the staff is the sharps or flats for that tune. From the list of sharps of flats on the staff we know key the music is in, or what major scale was used when the music was written.
© copyright G C Hargreaves 2004
List of key signatures
Exercise It is possible to improvise using the major scale in the same way as you improvised using the blues scale. It will take a little more concentration, as it is not quite so easy to make the improvising fit as with the blues scale.
2 octave C major scale
1
1
1
1
1. Practise the scale until it is fluent 2
2. Improvise using the backing. For the improvisation backing track in the key of C major (no sharps or flats), the chords are as listed here.
| Am / / / | C / / / | F / / / | Dm / / / | G / / / | G / / / |
© copyright G C Hargreaves 2004
2
2
fret 8 4
4
3
3
4
4
4
2
UNIT ll finger picking style Month 1 - Week Four Moving bass lines Exercise 1 P
P
P
I
M
G 0 0
2
0
A 3
M
I
Em 0
0
0 3
3
2
0
0
0
0
0
Exercise 2 P
I
M
A
M
I
M
A
C
C 0
1
0
1
0
1
0 0
Am
1
0 3
2
Am 2
1
0
1
2
1
0 2
1
0
1
2
0
0
Dm
0
2
Dm 2
3
1
3
2
3
1 0
G7
2
3
1
3
2
0
0
G7 0
3
0
3
3
0
1
0
1
0
0
0
1 0 3
© copyright G C Hargreaves 2004
0
1
0
0 3
2
Exercise 3 P
I
M
G 0
0
A
P
I
3 0
M 0
A 3
0
C 1
0 0
3
Dm 2
3
0
1 2
1
0 2
3
1
0
1
0
1
0
2
3
1
0 0
1
0
G7 0
1 0
0
1
2
Am 1
0 2
0
2
1
0
G7 2
3
1 2
3
1 0
0
Am 2
1
2
0
1 0
0
0
1
3
0
0
2
1
0
Am 2
1
0 2
0
Dm
2
1
0
G7 2
3
1 2
3
1 0
0
C 0 3
0
0
3
2
Dm
0
0
3
0
3
0
0
0
C
0
3
C 0
0
0
2
0
3
G
1
1 0 2
3
0 0 2
0
1
0
C 0 3
© copyright G C Hargreaves 2004
1
0 3
0
1
tune Only you - Vince Clarke Verse P
I
M
A
C
P
I
M
A
G6 (B bass) 0
1
0
Am (G bass)
0
3
0
3
Am 2
1
0 2
0
2
F
3
C 2
1
1 2
G
1
1
(2)
0
1
0
C
G6 (B bass) 0
1
0 0
3
3
Am
Am7 (G bass)
0
3
2
1
0
F
3
C 2
1
1 2
G
1
1
(2)
0
1
0
3
0
0
3
1
0
1
0
0
2
3
0
0
3
1
0
1
3
Chorus P
I
M
A
I
M
A
F
G 2
1
1
1
1
2
0
1
3
3
0
0
3
C
G6 (B bass) 0
3
0
1
0 0 2
Am 3
Am (G bass)
0 2 0
© copyright G C Hargreaves 2004
1
0 0 3
1
0
F
G 1
2
1 2
1
1
0
1
1
C 1
0
0
0
C
0
1
0
3
0
3
3
0
3
3
0
0
1
3
3
Arrangement Verse - chorus - verse - chorus - verse - chorus - verse - chorus
New chords G (B bass)
Am (G bass)
Am7 (G bass)
1 2
2 4
1
3
2 4
4
Alternative fingering G (B bass)
Am (G bass)
Am7 (G bass) 1
1 1
2
2 3
3
© copyright G C Hargreaves 2004
3
3
unit ll
month two
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 2004
UNIT ll finger picking style Month 2 - Week One 4/4 time patterns Four / four time is sometimes also called common time. It is called common time because it is indeed common. Probably 95 percent of all modern music is written in four / four time and a large percentage of old and even classical music is written in this time signature. Exercise 1 P
I
0
M 0
I
A
I
0 0
0
M 0
I
P
I
0
0
M 0
I
A
I
0 0
0
M 0
I
0
0
0 Exercise 2 P
I
M
I
G 0
0
A
I
I
0
0
M
I
0
0
1
0
1
0
1
0
3
2
3
G 0
0
2
3 0
I
0
0
0
2
0
1
0
D
2 2
M
2
0
3
D
I
C
0 0
P
0
3
C
3
I
0
0
3
0
P
G
3 0
M
0
3
0
2
0
2
0 3
© copyright G C Hargreaves 2004
3
2
2 0
3
2
4/4 Study P
I
M
I
C 0
1
A
I
I
Em
0 0
0
M 1
0
3
0 0
0
0
0
0
Am 2
1
F
0 2
2
1
2
0
C 0
1
0
3
2
1
1
0
1
0
0
0
2
2
Em
0
3
0 0
0
1
0
3
0
0
Am 2
1
Am
0 2
2
1
2
2
0
1
0 2
2
1
2
0
F 3
0
0
2
1
G
1 2
2
1
0
0
0
3 0
0
0
0
3
Am 2
1
Em
0 2
2
1
0
0 0
0
2
1
G
1 2
2
1
0
0
0
3 0
0
3
Am 2 0
0
0
0
F 3
0
2
0
1
Am
0 2
2
1
2
2 0
© copyright G C Hargreaves 2004
1
0 2
0
0
Every breath you take - The Police P
Fill
I
M
I
A
M
I
M
A
7
5
6
7
7
7
7
7
Verse A
5
A
7
7
6 7
7
7
7 5
D
5
7
7
7 7
7
7
7 7
7
7
7 7
7
7
7 7
7
7
7
7 2
7
7
7 7
7
7
7 5
9
9
9
9
9
9
9 2
9
7
9
7
9
7 7
4
2 4
4
4
4 2
4
9
9
9
9
9
9
4
2 4
4
4
4 2
7
7
6 7
7
7
7 5
A
7
7
7 7
7
7
7
7
6 7
7
7
7 5
E
9
7
8 9
7
9
7
7
4
4
4
4
4
4
2 4
4
4
4
7
7
6 7
7
7
7
A
7 5
2
A
9 5
4
4
F#m
A
B7 8
4
F#m
F#m
D
B7
7
6
E
D
5
7
7
E
D
5
F#m
7
7
6 7
7
7
7
E
9
9
© copyright G C Hargreaves 2004
9 9
9
9
9 7
9
9
9 9
9
9
9
A
5
A
7
6
7
7
7
7
7
7
5
D
5
F#m 7
6 7
7
7
7 2
E
7
7
7 7
7
7
7 7
4
F#m 4
2 4
4
4
4 2
F#m
9
9
9 9
9
9
9 2
4
4
4
2 4
4
4
4
F#m
4
2 4
4
4
4 2
4
4
2 4
4
4
4
Chorus F5
F5
G5
G5
3 3 1
3 3 1
5 5 3
5 5 3
F5
F5
A5
3 3 1
7 7 5
3 3 1
Arrangement
(7) (7) (5)
fill - verse - chorus - fill - verse - chorus
Note. because it is all bar r e chor ds, this tune is ver y testing on the left hand (the chor d hand). So dont feel you ar e cheating if you skip on to the next lesson.
The D major and E major chords can be played in the following way.
1
or
3
© copyright G C Hargreaves 2004
1
3
UNIT ll finger picking style Month 2 - Week Two Exercise 1 P
I
3/4 time patterns M
C 0
1
A 0
M 1
I
A 0
0
M
G 1
3
2
1
0
1
0 2
Em 1
0
0
3 0
0
0
0
0
0
0 0
0
0
Am 2
1
0
1
0 2
C 1
0
1
0
1
0 0
1
3
0
G 0
0
3
0
3 0
C 0
0
1
0
1
0 0
1
3
3
C 0
1
0
1
0 0
G 1
3
0
0
3
0
3 0
0
3
Am 2
1
0
1
0 2
Em 1
0
0
0
0
0
0 0
0
0
F 2
1
1
1
1 2
C 1
0
1
0
1
0 0
3
G 0 3
3
3
Am
3
0
0
0
3
0
3 0
C 0
0 3
© copyright G C Hargreaves 2004
1
0
1
0 0
1
Exercise 2 Practise exercise 1 until you can perform the chord changes reasonably well. The chords in the exercise are as follows.
C C
G G
Am Am
Em Em
Am F
C C
G G
C C
Exercise 3 Try playing the same chord sequence, but this time using the following 4/4 time finger picking patterns.
1. P C
I
M
0
1
A 0
M 1
I
M
0
1
A 0
0
3
2. P C
0
3
0
0
0
3
3 A 0
M 1
I
A 0
0
M 1
I
A 0
G
3
0
3
3. P C
G
0
3 0
0
3 0
3
I
M
A
0 0
0
M 1
I
M
I
G
0 0
0
0
3
3 0
0
3 0
0
0
0
3
4. P C
I
0 3
M 1
A 0
M
I
P
I
G 1
0
2
0
0 3
0
3
0
2
Exercise 4 Once you have practised these 4/4 finger picking patterns, try to write your own. Note that if the time picking rhythm remains uniform their will almost certainly be eight notes in each bar.
© copyright G C Hargreaves 2004
UNIT ll finger picking style Month 2 - Week Three The goal of the previous exercises this month and the following exercises is to become independent when adapting a tune to a finger picking style. The choice of cheap song books which contain just the chords for lots of popular tunes is great, and the ability to adapt a tunes to finger picking from just the chords in the book is a useful skill to have. The only thing that may trip you up now is Half bars or when a chord changes halfway through the bar. The most obvious way to deal with half bars is just to cut the finger picking pattern in half, so you play the first half of the pattern twice, however it is good to experiment. Exercise 1 P
I
M
A
M
I
A
M
D
A 2
0 P
3
2
3
2
3
2
2
I
M
A
P
I
M
2
2
2
0
A
A 0
0
D
0 2
2
0 2
0
0
0
D
3
2
3
2
3
2
A 2
3
2
3
2
3
2 2
2
0
0
Em
A 0
0
0
0
Em
0
2
0
D
0 2 0
2
0 0
2
© copyright G C Hargreaves 2004
3
2
2
2
2
0
Exercise 2
C
Em
P
I
M
I
1
0
A 0
I 0
0
M
I
1
0
0
3
0
0 0
0
0
0
0
C
Am
P
I
M
1
0
I
P
I
0
3
F M
1
2
I
2
0
C 1
0
1
1
0
0
0
3
0
2
2
G
0 0
3
2
1
3 0
0
1
0
0
0
3
Am
Em
P
I
M
1
2
I
P
Am I
2
M
0
0
0
I
0
2
1
2 0
0
0
Exercise 2a
C
Em
P
I
M 1
0
I
A 0
I 0
0
M
I
1
0
0
3
Am I
M
A
1
0
0
P
M
0
0
1
A
0 3
0
C 1
0
0
0
2
1
1 2
2
1
0
0
0
3 0
0
3
Am
Em I
M
2
A
1
0
P
Am I
0 0
1
0
G
0
3
0
0
0
F I
2
3
P
0
0
C P
0
M
0
A
0 2 0
© copyright G C Hargreaves 2004
1
0 0
0
0
Take these tunes from unit 1 and adapt them to finger picking
Candle in the wind - Elton John verse G
C
G
G
C
C
G
C
C
G
G
C
D7
G
C
C
C
G
chorus D
D
G
C
G
G
D
D
C
C
Em
Em
D
C
C
C
G
G
D
D7
G
D
C
G
D
C
c
instrumental
coda Em
Arrangement verse - chorus - verse - chorus - instrumental - verse - chorus - coda
© copyright G C Hargreaves 2004
HEY JUDE - the beatles verse D
A
A
D
G
D
A
D
D7
G
Em
A7
D
D7
G
Em
A7
D
G
D
chorus
D7
A7
A7
coda D
C
arrangement
verse - verse - chorus - verse - coda
Yesterday - The Beatles verse F
A7
F
Dm
Dm G7
Bb
Bb
F
C
chorus/coda A7
Dm
Gm
C
F
A7
Dm
Gm
C
F
F
A7
Dm
F
Dm
Bb
G7
Bb
F
F
arrangement
verse - verse - chorus/coda
© copyright G C Hargreaves 2004
Bb
C
F
G7
UNIT ll finger picking style Month 2 - Week Four Across the lines -Tracy Chapman Their are two ways you could play the finger picking pattern in this tune. P
M
I
M
P
M
I
M
or
P
A
M
A
I
A
M
A
Intro 9
12
9
9 11
12
9
9
7
10
7
7 9
10
7
7
7 9
10
7
7 7
10
5
7 5
7
5
5 5
Chorus F#m 2 2 2 4 4 2
E
Bm
D
0 0 1 2 2 0
2 3 4 4 2
2 3 2 0
F#m
E
A 0 2 2 2 0
2 2 2 4 4 2
2 2 2 4 4 2
0 0 1 2 2 0
Bm
D
E
2 3 4 4 2
2 3 2 0
0 0 1 2 2 0
© copyright G C Hargreaves 2004
0 0 1 2 2 0
7
5
Verse one A
5
5
5
5
5
5
5
A
5
5
5
5
5
A
A 5
5
5
5 6
5
5 7
5
5
F#m
E
Bm
D
2 2 2 4 4 2
0 0 1 2 2 0
2 3 4 4 2
2 3 2 0
Verse two G6
A 0 2 2 2 0
0 2 2 2 0
3 0 0 2 3
3 0 0 2 3
F#m
E
Bm
D
2 2 2 4 4 2
0 0 1 2 2 0
2 3 4 4 2
2 3 2 0
2 3 2 0
Coda G6 3 0 0 2 3
A 0 2 2 2 0
3 0 0 2 3
0 2 2 2 0
Arrangement Intro - intro - chorus - intro - verse 1 - chorus - intro - verse 2 - chorus - intro - coda
Intro chords over the page > > > >
© copyright G C Hargreaves 2004
5
5
Intro chords Bars 1 F# sus
Bar 2
Bar 3
Bar 4
E sus
Bm7
D 1
fret 5
1
4
1
fret 7
1
3
3
fret 9 4
4
3 4
Mr. tambourine man - Bob Dylan Try improvising your own strumming pattern for this tune and then finger pick this tune from just the chords, it is in 4/4 time.
Chorus G
A
D
G
D
G
A
A
G
A
D
G
D
G
A
D
© copyright G C Hargreaves 2004
Verse G
A
D
G
D
G
D
G
A
A
G
A
D
G
D
G
D
G
A
A
Arrangement Chorus - verse - chorus - verse - chorus - verse - chorus - verse
© copyright G C Hargreaves 2004
unit ll
month three
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 2004
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These bars can be played two ways depending on your preference. Option one
Option two If you can, Slide the whole chord up 2 frets maintaining its shape.
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All rights reserved, unauthorized copying, reproduction, hiring, lending, redistribution and broadcast of this e-book or any part of the contents is prohibited.
UNIT ll Month 4 - Week One finger picking t " $ $ %
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All rights reserved, unauthorized copying, reproduction, hiring, lending, redistribution and broadcast of this e-book or any part of the contents is prohibited.
UNIT ll finger picking style Month 5 - Week One Vicent - Don McLean Intro G
1
0 0
0
2
The best way to play the G and Gsus4.
0
0
x
1
Gsus4
Gsus4
3
3
3
Verse G
G 0
0
0
G 0
0
Am
Asus2
2
2
3
0 2
2
3
2
2
G 2
1
2
2
0
1
0
0
2
0
0
G
Gsus4 0
0
Am
3
0
1 2
0
0
0
Am
Asus2 2
0
0 3
3
3
0
0
1 0
0
G
0 0
0 3
3
0
2
2
1 2
2
0
0
Cmaj7
0
D7 0
0 C
1 2
0
1
3
3
2
Asus2
0 0
0
0
0 3
Am 0
0
0
0 3
3
3
1
0
0
0 0
Gsus4
2
2
0
2
2
1 2
0
2
2
C
Cmaj7
D7 0
1 3
2
2
3
1 2
2
0
2
2
1 0
2
2
G 3
0 0
0
3
Chorus G
Am 0 0
0
0
3 D7 0
2
1
2
1
2
1
2
2
2
1
2
2
1
2
G 0
0
0
0
0
0
0
3 Em
Am7 2
0
0
0
2
0
0 0
0 D7 0
2
1
1
Am7 2
0
2
0
2
0
2
G 0
2
0
D7
2 0
0
1
on last chorus go to coda
Em 0 0 0 2 2 0
2
A7
0
2
0
3
0 3
© copyright G C Hargreaves 2004
0
1 0
2
1
2
Bridge Am7
0
1
0
1
0
1
0
0 D7 0
2
1
2
1
2
1
2
G
F#bass 0
0
0
0
3 Em 0
0
2
0
0
0
2
Cm
3
2
0
1
0
G 5
Fmaj 7
4 0
0
0
3
2
1
0
3
E7 1
0
Am7
0
2
0
0 C
3
2
Am7
0
5
0
0
1
0
0
D7
2
0
1
0
2
0
1 0
2
2
1
G 1
0 0
0
0
0
3
3
F#bass
Fmaj7
x x
1
2
2 3
© copyright G C Hargreaves 2004
2
0
1
Coda A7
0
Am7 2
0
2
0
2
0
2 0
G 0
0 0 3
0
0
D7 2
0
1 0
3 0
3
Arrangement Verse - chorus - verse - chorus - bridge - verse - chorus - coda
© copyright G C Hargreaves 2004
2
1
2
UNIT ll finger picking style Month 5 - Week Two Two finger exercises Exercise 1 B major scale
First practise these two scales.
G# minor scale 1
1
The following exercise uses the Bmajor and G# minor scales. Play the finger picking part with the Primar y finger and the middle finger.
2
M
P
M
0
P
0
7 0
0 6
P
4
3
3
3
4
4
4
0 7
0
0
0
0
0
6
9
4
7
1
M
0 6
9
4
M
Fret 7
1
3 4
P
2
1
8
0 6
0 9
0
0
0
4
7
6
Exercise 2 - variation on a section of toccata and fugue J.S. Bach
0
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0
5
8
12
0
0
0
7
10
8
0
0
0
8
12
10
0
0
0
0
0
0
0
7
© copyright G C Hargreaves 2004
0
7
10
8
0
0
0
0
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12
5
0
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10
13
7
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4
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7
5
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8
5
7
3
0
8
5
0
7
3
0
8
5
0
7
3
0
8
5
7
3
First time
5
8
3
7
5
8
3
7
5
8
3
7
5
8
3
7
7
5
7
5
7
5
7
5
8
Second time
5
5
3
0
5
5
3
0
5
5
3
0
5
5
3
0
3
2
5
© copyright G C Hargreaves 2004
3
2
3
2
3
2
UNIT ll finger picking style Month 5 - Week Three Spanish study P
A
P
0
A 0
2
0
0
A
P A
0
0
3
0 2
0
P
0
0 3
P M
P M
0
0 2
P
2
0 0
M
3
0 2
0 2
0 0
0 3
0 2
0
2
0 0
0 3
0
0
0 2
0 0
0 2
0 0
0
0 3
0 2
0
0
0
0
2
0
0 2
0 E
0 0 1 2 2 0
0 3
3
0
3
0
1
0
0
0
0 3
0
0
0
2
0 0
0 3
0 2
0
0
0
0 3
0
0
3
2
0
0
0 0
0 2
0 3
Fmaj7addB 0 0 2 3 3
0
2
0
3
E
0 0 1 2 2 0
© copyright G C Hargreaves 2004
0
0 3
0
3
2
0
2
0
0 3
0
0
2 Am
0
0
0
3
2
3
0 0
0 0
3
0
0
0
P M
0 3
0
0 1 2 2 0
0 3
Section Two o - Repeat these two lines lots of times. Start very slowly and then build up the speed until you are going as fast as you can. without making too many mistakes. 0
0
0
1
2
0
0
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E
0
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1
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3
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E
0 0 1 2 2 0
Fingering notes E
Fmaj7addB x
1 2 3
1 2 3
Section Two It may be easier for you to use chord shapes tin the repeating section to develop speed
Bar 1
Bar 2a
1
Bar 2b
1
2
1
2 3
Bar 2c 1
2 3
© copyright G C Hargreaves 2004
3
UNIT ll finger picking style Month 5 - Week Four Allegro P I M I A I M I Am 0 1 1 2 2 2 2
P I P I P I P I Dm 2
0
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3
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0
1
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1
2
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2 0
0
2
3
© copyright G C Hargreaves 2004
1 2
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1
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Am
0
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Fingering notes
x
3
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E
0
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2
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Am
2
G6 0
© copyright G C Hargreaves 2004
1
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unit ll
month si
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 2004
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© copyright G C Hargreaves 2004
unit ll
month seven
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 2004
UNIT ll
plectrum style
7 - Week One How to hold your plectrum There is no right or wrong way to hold your plectrum. Everyone will prefer there own style and sound of guitar music. There is however a standard method to work from. Dont feel you need to copy this method exactly it is just a good starting point.
1. Bend your fingers into a fist and lift your thumb.
2. Place the plectrum on the first knuckle of your index finger so that it points towards the guitar.
3. Hold the plectrum firmly in place using your thumb.
When playing with a pick the motion should come from the wrist, the whole arm should not move up and down. When strumming the motion comes more from the elbow. For stability and to aid with locating the strings without needing to look down, some players either rest the hand or arm on the guitar. Another approach to to rest your fingers on the guitar, scratchplate or place your little finger on a pickup if you have an electric guitar.
Which plectrum to use. Plectrums come in all sorts of shapes and sizes, but they are usually marked with the thickness, which is helpful. Remember though that the thickness is just a guide, plectrums will play differently depending on what material they are made of. At this stage of your learning it is probably a good idea to buy a several to find out which one is best for you. 1mm is a common thickness of plectrum. It is a good all round plectrum. Plectrums over 1mm will not bend very much, if at all. They produce a more bassy tone and they can be more difficult for strumming. Plectrums under 0.7mm bend easily. They produce a brighter tone and are ideal for strumming as they are more forgiving if your plectrum accuracy isnt perfect.
IMPORTANT As you get use to your pick look at the position youre holding it in every time you practise. If the pick position changes every time you play it will take you a lot longer to get used to it.
© copyright G C Hargreaves 2004
Exercise 1 In unit l one of the scales you learned was the blues scale, practice playing it with the plectrum or with your finger if you prefer.
1
1
1
1
3
3
1
1
4
4
2 3 4
4
Exercise 2 Once you feel you can remember, and play the first blues scale y ou l ear ned, tr y these tw o new blues scales.
1 2
1 2
2
1
3 4
4
4
4
4
1
2 1
1
1
1
2
1
Fret 5
1
1 2
2
2
4
4
Fret 8 2
4
3
Fret 5 3
3
4
These three blues scale are all part a single family of blues scales. In this case they are all based in A minor. Because the three blues scales are in the same key you can use them together to improvise or write solos. See how the scales join together and even overlap in places to for one large scale.
Exercise 3 Practise all three scales until you are happy with them
Exercise 4 Try to improvise using these three scales using the backing track. If you need to revise this is covered in more detail with video in unit one month 8.
© copyright G C Hargreaves 2004
3 4
4 4
4
4
4
UNIT ll plectrum style Month 7 - Week Two Hammering on A hammer on is when you pick a note, and then play the next one or more notes by placing your fingers down with enough speed and force to create a tone. (see month 11 - unit one) H
5
A hammer on
H
H
7
5
Two hammer ons in succession
7
8
Pulling off A pull off is when you pick a note, and then play the next one or more notes by pulling your finger away, picking the string with your left hand as you release the first note (for right handed people). This is covered in more detail with video in unit one month 11. P
7
A pull off
P
P
5
Two pull offs in succession
8
7
5
Slides A slide is when you move between notes using the same finger. A slide can be heard or unheard. In other words when you slide your finger from one position to the next, you can allow the note to continue ringing, or you can mute the first note and repick the string on the second note. Slides can also take place between several notes. sl
A slide
5
sl
sl
7
A slide with a repick
5
7
or
5
(7) 7
Bends A bend is when you physically bend the string, causing the pitch to shift up. It is recommended that you bend the top three strings downwards and bend the bottom three strings upwards to avoid coming off the neck, however this is not a rule. Remember that a bend should always reach a note, otherwise it will just sound like your guitar is out of tune. This is covered in more detail with video in unit one month 12.
© copyright G C Hargreaves 2004
Bend up and then kill the note
Bend up and release the bend
5
Bend up and then hold
5
(5)
5
Staccato Staccato is when a note is muted almost as soon as it is played. The note should be short and sharp with no after ring. To achieve this sound you can either mute the strings with the right hand soon after playing the note, or lift the fingers of your left hand until the tone is silenced. Staccato is usually signified by a dot over the note to be played staccato. H
all staccato
H
5
7
5
some staccato
7
Palm mute Palm muting is when you touch the strings slightly with the palm of the right hand, whilst playing the strings. The hand should touch the strings very lightly so as to mute the strings without reducing the note to a click. It is most easily achieved by touching the strings as closely to the bridge of the guitar as you can get. Even though it is called palm muting, you actually mute the strings using the edge of the hand. Note how the side of the hand rests on the strings, so that it is at the end right against the bridge.
pm
pm pm = palm muting
5
7
7
7
5
7
7
7
© copyright G C Hargreaves 2004
5
7
8
5
5
7
8
5
Apache - the Shodows sl
1
3
1 3
2
2
2
2
3
2
2
4
3
2
1
0
sl
1
5
3
3
2
0
2
2
0
2
5
3
1 3
2
2
2
2
2
2
2
2
1
3
2
4
2
5
3
0
2
2
4
5
2
pm
3
333 33
3
333 33
3
333 33
3
3 3 3
2
3 3 3
2
0
pm 333 33
3
1
2
3
333 33
0
1 3
4
3
333 33
3 1
2
3
3
2
1
4
1
sl
sl
7
3
9
8
9
12
11
12
3
2
1
4
1 3
3
0
0
3 1
pm
3
333 33
3
333 33
3
333 33
3
3 3 3
2
3 3 3
2 0
pm
3
333 33
3
333 33
3
333 33
3
© copyright G C Hargreaves 2004
0
2
pm 7 777 77
7
7
7 7
7
9 999
7
7
7
5
5
9 999 99
7
7
5
5
9 999 99
7
99
7
7
pm 7 777 77
7
7
7
7
7 7
7
7
7
7
7
7
5
7
pm 7 777 77
7
3
2
1
7
0 0 1
7
9 999 99 0
1 3
4
0 0 0
7
7 7
0
3 1 1 2
1
7
3
0
3
2
2
5
1
7
5
1
4
1
7
3
0
0
1 3
4
0 1 2 2 0
3 1
2
pm 333 33
3
3
333 33
3
333 33
sl
1 111 11
5 555 55
2
3
3 333 33
8 888 88
2
3
5
2
1 3
1
2
1 3
3
7 sl
1
5
3
0
sl
sl 1
2
3 3 3
sl
1
1 3
3
3
2
1
3
5
3 0
3
1
1
2
1
2
1
2
2
1 3
© copyright G C Hargreaves 2004
3
5 3
0
2
UNIT ll plectrum style Month 7 - Week Three Fifth chords are also sometimes called power chords because the fact that they sound powerful, even though only a small number of strings are generally played. virtually all rock music contains a large amount of fifth chords.
Fifth barre chords First position E rooted x x x 1
alternative fingering x x x
Second position A rooted x x x
1
1
1
3
3 4
alternative fingering x x x
3
3 4
These are used in the same way as standard barre chords. To create different 5th chords simply move the chords to different positions on the neck. the fret you play the chords in will be the name theat gives the chord its name.
note map for the bottom two strings
A E
A#
B
C
C#
D
D#
E
F
F
F#
G
G#
A
A#
B
C
1
2
3
4
5
6
7
8
The fifth chord is so called because of its structure: The fifth chord does not consist of a triad like the major and minor chords we have looked at in unit 1. The fifth chord consists of a diad, which is two notes, the fist note of the scale and the fifth note of the scale. i.e. The structure of the C5 chord
The C major scale
1 C
2 D
3 E
4 F
5 G
6 A
7 B
8 C
The tonic (root) or first note of the scale is C and the fifth is G. The C5 chord consists of just these two notes. These notes can repeat, which is why the chord can be played across three or more strings.
© copyright G C Hargreaves 2004
C5 x
x x
The notes being played for the C5 chord are; C E C
1 fret 3
This is why the chord is called C5, because it consists of C and the fifth note of the scale. The same theory applies to all the fifth chords, however you would obviously use the appropriate scale for each chord.
3
With fifth chords their is no major or minor chord, or in other words their is no such chord as Cm5 or Am5. The reason for this phenomena is that the third note of the scale isnt played, and it is the third note of the scale which makes the difference between a major and minor chord. i.e. A major scale
1 A
2 B
3 C#
4 D
5 E
6 F#
7 G
8 A
A minor scale
1 A
2 B
3 C
4 D
5 E
6 F
7 G
8 A
You can see with the two triads above that the only differing notes are C and C#, which are the third note of the scale. If you therefore omit the third note from the triad there is no difference between the major and minor fifth chord.
Try the following Fifth open chords G5
A5
x
x
x x 1
2
3
C5 x
x
D5
E5
x x
1
2
x x x 1
1 3
4
2
2
4
Note. When a string is not played that is surrounded by notes that are played, it should be muted using one of your left hand fingers. Example - Playing C5. Place your fingers on the strings as if you were about to play a standard C major open chord. Next, add the fourth finder to play G on the top E string. Finally lift your second finger very slightly so it mutes the D string.
© copyright G C Hargreaves 2004
F play the following chords as first and second position barre chords. If the chord name is underlined then it should be played as second position.
Exercise 1 A5
-
D5
-
A5
-
D5
-
C5
-
A5
-
D5
-
E5
Exercise 2 A5 - Db5 - G5 - Cb5 - A5 - Db5 - G5 - Cb5 - A5
Exercise 3 A5
-
D5
-
F5
-
C5
-
G5
-
A5
-
D5
-
F5 - C5
Practise these chord movements until you can play them fluently. If its possible try them with overdrive or distortion, so you can appreciate the power chord sound.
note map for the bottom two strings
A E
A#
B
C
C#
D
D#
E
F
F
F#
G
G#
A
A#
B
C
1
2
3
4
5
6
7
8
E5
E5
E5
9 9 7
9 9 7
9 9 7
Exercise 4 Since youve been gone - Rainbow G5
G5
G5
12 12 10
12 12 10
12 12 10
G5
G5
G5
D5
D5
12 12 10
12 12 10
D5
E5
C5
C5
C5
C5
C5
10 10 8
10 10 8
D5
D5
12 12 10
12 12 10
sl 12 12 10
12 12 10
12 12 10
12 12 10
9 9 7
10 10 8
© copyright G C Hargreaves 2004
10 10 8
10 10 8
Lithium - Nirvana Intro G#5
6
6
x 0 4
0
C#5
0
6
4
A5
C5
6 7
0 5
7 0
5 3
sl 5 5 3 3
D5
7 5
B5
4 7 5 0 2
sl 4 4 2 2
7 7 7 7 5 5 5 0
sl
x4 times D5
Verse G#5
0
C#5
6
6
x 0 4
0
A5
6 6 6
4
C5
7
0 5
7 0
5 3
sl D5 5 5 3 3
B5
7 7 7 7 7 5 5 0
4 4 4 4 2
7 7 7 7 4 5 5 5 0 2
D5
Chorus E5
2 2 0
G#5
6 6 4
2 2 2 2 0 0
C#5
6 6 6 6 4 4
6 6 4
A5 2 2 0
6 6 6 6 4 4
C5 2 2 2 2 0 0
sl D5
B5
sl
5 5 5 5 5 5 5 5 3 3 3 3
7 7 7 7 4 4 4 4 7 7 7 7 4 4 4 4 5 5 5 5 2 2 2 2
A5
C5
D5
7 7 7 7 7 7 7 7 5 5 5 5
Bridge
x4 times
A5 2 2 0
C5 2 2 2 2 0 0
5 5 3
A5 5 5 3 0
2 2 0
D5
C5 5 2 5 2 0 0 3
B5 7 7 7 7 7 7 7 7 7 7 5 5 5 5 5 0
7 7 5
4 4 2
0 3 4
2 2 0
2 2 2 2 0 0
A5 2 5 2 5 3 0 0
5 5 3
7
6
6
4
C5 5 5 5 2 5 5 5 2 0 0 3 3 3 0
1/2
4 4 4 4 4 4 2 2 2
0 3 0
7
x3 times
4
sl
5 3 5 5
10
10
Coda
12
12
sl
2
2
5 5 5 5
Arrangement
B5 4 4 2
4 4 4 4 4 4 2 2 2
0 3
intro - verse - chorus verse - chorus - bridge verse - chorus - bridge - coda
0
© copyright G C Hargreaves 2004
UNIT ll plectrum style Month 7 - Week Four When playing partial chords and fifth chords or tines where you are expected to strike two, three or four string without sounding the remaining string. One of the most important things is plectrum accuracy. Practice the following exercises paying particular attention to the number of stings you are sticking.
Exercise 1 Two notes
Am
Am
7 5
7 7
7 5
7 7
5 7
5 7
7 7
7 7
Dm 7 5
7 7
7 7
5 7
5 5
5 7
5 5
5 7
5 7
Am 7 7
7 5
7 7
6 7
6 7
7 7
7 7
7 5
7 5
7 7
5 7
7 7
5 7
7 7
7 7
Exercise 2 Three notes G5
C5
A5 5 5 5 5 5 5 5 5 3 3 3 3
5 5 3
5 5 3
7 7 5
7 7 5
7 7 7 7 7 7 7 7 5 5 5 5
C5
D5 7 7 5
7 7 5
7 7 7 7 7 7 7 7 5 5 5 5
5 5 3
5 5 3
G5 5 5 3
5 5 5 5 5 5 5 5 5 3 3 3 3 5 3
5 5 3
5 5 5 5 5 5 5 5 3 3 3 3
5 5 3
5 5 5 5 5 5 5 5 3 3 3 3
G5 5 5 3
5 5 5 5 5 5 5 5 3 3 3 3
5 5 3
5 5 3
5 5 3
5 5 3
Exercise 3 Four notes G7 4 3 5 3 Cm7 4 3 5 3
3 4 3 5 3 4 3 5
3 3 4 3
G7 4 3 5 3 Fm7
4 3 5 3
1 1 3 1
© copyright G C Hargreaves 2004
3 4 3 5 1 1 1 1
3 3 4 3
1 1 3 1
No woman no cry - the Fugees (Bob Marley) Intro C
3
G 0 1 0 2
Am 0 0 0
0
1
2
3
3
(F) 0 1 2 2
0
0
2
3
3
2
2
Verse C
3
G 0 1 0 2
Am 0 0 0
0
1
2
3
3
0 1 2 2
0
(F)
0
2
3
3
2
2
Chorus (t) = use the thumb C5
Am 3 1 0
2
3
2
3
2
2
0
C
0 1 2
(t)
Fmaj7 0 1 2
3 1
C5
3
3
0 1 0 2
3
2
0
2
3
3 1 0 3
0
2
3
Bridge / last chorus C
3
G 0 1 0 2
(C)
Am 0 0 0
0
1
3 (G)
2
3
0
(F) 0 1 2 2
0
(Am)
2
Intro - verse - chorus - bridge - chorus =>
© copyright G C Hargreaves 2004
3
3
2
2
3
2
2
(F)
0
Arrangement
2
3
Talkin bout a revolution - Tracy Chapman Theme one G
C
0 0 0
0 0 2 3
Em 0 1 0
1 0 2 3
1 0 2 3
D
Dsus4
D
3 2 0
3 3 2 0
2 3 2 0
D
Dsus4
D
2 3 2 0
3 3 2 0
2 3 2 0
0 0 2 2
0 2 2 0
Theme two G
C
Em 0 1 0
0 1 0 2 3
0 0 0 2 3
0 0 2 2 0
1 0 2 3
Arrangement Play Theme one 10 times - play theme two through to the end
Try revising these tunes previously covered in unit one, but this time pay particular attention to your plectrum accuracy.
The Spirit in the sky - Norman Greenbalm G
C
5 5
3
5 5
5 5
5 5
5 5
3
Bb
G
3 3
5 5
5 5
3
5 5
5 5
5 5
5 5
Bb
C
3 3
5 5
2 2 0 0
2 0
3
Typical Van Halen style riff H
0 3
H
2 2 0 0
3
2 0
2 2 0 0
3
2 0
0 3
© copyright G C Hargreaves 2004
2 2 0 0
3
2 0
3
Smoke on the water - Deep purple intro G5
C5
3 3
5 5 3
C#5 C5
G5
5 5 3
3 3
5 5 3
6 6 4
G5
5 5 3
C5
3 3
5 5 3
C5 G5
5 5 3
5 5 3
5 5 3
verse F
Gm
3
5 5
3 3 3
5 5
3
3 3 3 3
5 5
3 3 3 3
5 5
3 3 3
3
3 3
1
1 1 2 1
3 3
1 1 2
3 3 3
5 5
3
3 3 3 3
5 5
3 3 3 3
5 5
5 5
3
3 3 3
3 3 3
5 5
3
Gm
F
Gm
5 5
Gm
3 3 3
3 3
1
1 1 2 1
3 3
1 1 2 3
5 5
3 3 3
5 5 3
chorus C5
5 5 3 C5
5 5 3 G5
5 5 3
C5
3 3
5 5 3
G#5
G5
6 6 4 G#5
5 5 3 G5
6 6 4
5 5 3
C5
3 3
C5
3 3
5 5 3
5 5 3 G5
5 5 3
3 3
6 6 4
3 3
6 6 4
intro verse - chorus verse - chorus verse - chorus instrumental verse - chorus intro - intro
5 5 3
© copyright G C Hargreaves 2004
5 5 3
C#5 C5
arrangement
C5 G5
5 5 3
5 5 3
C#5 C5
G5
5 5 3
unit ll
month eight
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 2004
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© copyright G C Hargreaves 2004
D
UNIT ll
plectrum style
Month # 7 %( & ,
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2 2 D 3 3
2 3 3 3
2
2
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© copyright G C Hargreaves 2004
2
2 2
2
2 2
7
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1/2
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& .3?5
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2
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.3?5
x3 times
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2
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5
5
3 3
5
3
2
3
#$ $ .3?5
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3
5
3
A 5
3
A
-
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© copyright G C Hargreaves 2004
UNIT ll
plectrum style
Month /
" " ( '
# & ( & &9 $ % ( 9 % 6 '
# (( = & $ $ $ $ & H & % & % '
$ " $ % H 6*6' '
% & &$ ( ' '
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© copyright G C Hargreaves 2004
The ma $ & $& !
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7
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mute 4
open 4
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mute 4
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open
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7
7
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© copyright G C Hargreaves 2004
-
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5
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note. Because of the improvisational nature of the solo, dont be to worried about the rhythm.
© copyright G C Hargreaves 2004
unit ll
month twelve
All rights reserved, unauthorized copying, reproduction, hiring, lending, redistribution and broadcast of this e-book or any part of the contents is prohibited.
© copyright G C Hargreaves 2004
!"#$ Month % && && & '
$ && & ( )& (* & && + , - & ' % '
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$ % && - 0 ( && p
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p
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p
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p
p
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p
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p
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p
p
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p
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p
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p
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p
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p
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p
p
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p
p
p
p
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© copyright G C Hargreaves 2004
p
2
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p
p
p
p
7
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p
p
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p
p
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p
p
p
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p
p
p
p
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p
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© copyright G C Hargreaves 2004
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