Hal Leonard Guitar Method. Book 1 [2nd ed.] 0793533929, 9780793533923

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FOREWORD Since the first edition of this method was published in 1977, I have talked with thousands of guitar teachers about how the method worked for them. This feedback has been essential in building supplements to the method and a catalog with real integrity. When 1 decided to revise Book 1, [ sent out a survey to a panel of leading guitar teachers, who answered a series of questions and marked up the book. In your hands is the fruit of our labors, and a further reason why the Hal Leonard Guitar Method (published. in 8 languages) will gain wider acceptance by teachers and students. Thanks to Kirk Likes, Larry Beekman, Jim Skinger, Harold Hooper, Jim Cooney, John Campbell, George Widiger, Mike Alwin, John Dragonetti, Tony CoUova, Gary Wolk and Debi Kossoris.

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YOUR GUITAR This book is designed for use with any type of guitar - acoustic steel··string, nylon-string classic or electric. Any of these guitars can be adapted to use in a wide variety of styles of music.

Steel-string

Nylon-string

Bridge

Electric Toggle Switch Volume Controls

Pickups

Tone Controls 6

TLTNIN G CD

(Indicates Audio Track Number)

Tuning to a Piano When you are tuning your guitar, you will adjust the pitch (highness or lowness of sound) of each string by turnlng the corresponding tuning key. Tightening a string raises the pilch and loosening it lowers the pitch. The strings are numbered 1 through 6 beginning with the thinnest string, the one closest to your knee. Tune each string in sequence beginning with the sixth string, by playine the correct key on the piano (see diagram) and slowly turning the tuning key untll the sound of the string matches the sound of the piano .

1- E 2- 8

3- G 4- 0

5- A G- E

TUNING KEYS

ｾ＠ ., Tuning with an Electronic Guitar Tuner An electronic tuner "reads" the pitch of a sound and tells you whether or not the pitch is correct. Until your ear is well trained in hearing pitches, this can be a much more accurate way to tune. There are many different types of tuners available, and each one will corne with more detailed instructions for its usc.

Keyboard middle C I

E

A

D

6th string

5th string

41h string

G

B

E

3rd

2nd

lsi string

string string

Relative Tuning To check or correct your tuning when no pitch source is available, follow these steps: • Assume that the sixth string is tuned correctly to E. • P ress the sixth string at the 5th fret. This is the pitch A to which you tune your open fifth string. Play the depressed sixth string and the fifth string with your thumb. When the two sounds match, you are in tu ne. • Press the fifth string at the 5th fret and tune the open fourth string to it. Follow the same procedure that you did on the fifth and sixth strings. • Press the fourth string at the 5th fret and tune the open third string to it. • To tune the second string, press the third string at the 4th fret and tune the open second string to it. • Press the second string at the 5th fret and tune the first str"ng to it.

PLAYING POSITION There are several ways to hold the guitar comfortably. On the left is a typical seated positioJl, and on the right is the standing position. Observe the following general guidelines in forming your playing posture: • Position your body, arms and legs in such a way that you avoid tension. • If you feel tension creeping into your playing, you probably need to reassess your position .

• Tilt the neck upwards- never down . • Keep the body of the guitar as vertical as possible. Avoid slanting the top of the guitar so that you can see better. Balance your weight evenly from left to right. Sit straight (but not rigid).

Left·hand fingers are numbered 1 through 4. (Pianists: Note that the thumb is not number 1.) Place the thumb in back of the neck roughly opposite the 2nd finger as shown below. Avoid gripping the neck like a baseball bat with the palm touching the back of th e neck.

These photos show the position for holding a pick and the right hand position in relationship to the strings. Strive for finger efficiency and relaxation in your playing.

MUSICAL SYMBOLS Music is written in notes on a staff. The staff has five lines and four spaces between the lines. Where a note is written on the staff determines its pitch (highness or lowness). At the beginning of the staff is a clef sign. Guitar music is written in the treble def.

Each line and space of the staff has a letter name: The lines are, (from bottom to top) E - G - B - 0 - F (which you can remember as Every Guitarist Begins Doing Fine): The spaces are which spells "Face, " from bottom to top, F - A - C -

e,

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LINES

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0 G

0

0

0

B

SPACES

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The staff is divided into several parts by bar lines. The space between two bar lines is called a measure. To end a piece of music a double bar is placed on the staff.

BAR LINES

I_

MEASURE

BAR LINE

II

-I

BAR LINE

DOUBLE BAR

Each measure contains a group of beats. Beats are the steady pulse of music. You respond to the pulse or beat when you tap you r foot. The twO numbers placed next to the clef sign are the time signature. The top numbe r tells you how many beats are In one meas ure

TIME SIGNATURE

$ jI -

-

t

FOUR BEATS PER MEASURE QUARTER NOTE

(J)

GETS

ONE BEAT

The bottom number of the time signature tells you what kind of note will receive one beat.

Notes indicate the length (number of counts) of musical sound.

o NOTES

WHOLE NOTE ", 4 beats

HALF NOTE"" 2 beals

QUARTER NOTE ., 1 beat

When different kinds of notes are placed on different lines or spaces, you will know the pitch of the note and how long to play the sound.

NOTES ON THE FIRST STRING F

E STRINGS 6

5

4

3

2

6

5

G

STRINGS .; ;} 2

STRINGS 6

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I

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This sign (r1) tells y ou to strike the string with a downward motion of the pick.

ii Ｑｾ

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COUNT:

1-2- 3- 4

1-2- 3-4

1-2- 3-4

1-2-3-4

1-2-3-4

1- 2

1- 2

3 - 4

1-2-3-4

2 3 - 4

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3

4

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3 - 4

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0

1

2

3

4

1

2

3

4

1

2

3

-

4

....,

At first practice the exercises slowly and steadily. When you can play them well at a slow speed, gradually increase the tempo (speed).

4

5

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4

Touch only the tips of the fingers on the strings.

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Keep the left hand fingers arched over the strings.

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I ｾ＠

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Some songs are longer than one tine . When you reach the end oE the first line of music, continue on to the second line without stopping. Grey letters above the staff indicate chords to be played by your teacher. Measure numbers are given at the beginning of each new line of music:.

G7

7' ｾ＠ "I F

1-

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Practice these familiar melodies until you feel comfortable playing them . Remember to look ahead as you play 50 you can prepare for the next notes.

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NOTES ON THE SIXTH STRING STRINGS

6

5

G

F

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4

STliINGS

STRINGS

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6

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2

6

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3rd FJ

G

play these exercises, write the letter names below each note.

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3rd F

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F

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3

,

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Ｍ

JOHNNY HAS GONE FOR A SOLDIER

@ Ireland

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The interval between notes that have the same letter name and are eight notes apart is called an octave. The second half of Johnny Has Gone for a Soldier is written one octave higher than the first half.

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J II

Half and Whole Steps

6

The distance between music tones is measured by half-steps and whole-steps. On your guitar the distance between one fret and the next fret is one half·· step. The distance from one fret to the second fret in either direction is called a whole-step.

S

STRINGS 4 :\ 2

4..J Half

ｾ＠ f-Whole [

Step

t.

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2

2

ｾＮ＠

3F#s F-Sharp (F#)

6

When a sharp(#) is placed in frR-nt of a note, the note is raised one half-step and playep one fret higher. A sharp placed before a note affects an notes on the same line or space that fol\pw in that measure. FoIlow in gar e the t h r e e F if s t hat a p pea ron the fretboard to the right:

,

STRINGS 4 3 2

2

3

ｾ＠

2_9 II 4#U II 1st string 2nd fret

5

4th string 4th fret

2F

4

I

II

6th string 2nd frE't

Practice each of these finger exercises many times. also

G

LONDONDERRY AIR @ c

07

G

G

5

c

10

G

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G

Key Signatures Instead of writing a sharp sign before every F in a song, one sharp is placed at the beginning of the line . This is called a key signature and indicates that every F in the song should be played as Fit In Shenandoah there will be an arrow above each F# to remind you to play F#. Shenandoah is written for 1, 2 or 3 guitar parts. Part 1 (the melody) will d emand that you count out the bed notes accurately. Use a metronome or tap your foot and count aloud at first. With your teacher, other friends, or a tape recorder, play part 2 and the chords.

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THE E MINOR CHORD Em STRINGS 6

S

4

3

2

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en I-

2 3

2

W

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3

o

0

0

0

You've played the chords you learned in a variety of ways- as the full chord or only partial chords . The E minor chord can be played the same way . Study and play the example which shows the full s ix -string chord and a three -s tri ng partial chord .

When you are playing the E minor chord in the alternating bass note-chord pattern, use the sixth string for the bass note and the partial threestring chord . Practice the example until you ca n play it easily and dearly.

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Whenever two chords have a common finger position (one or more fingers stay in the same pl you should keep the common finger on the string. In the following progression there 15 a commo ger between the G and Em chord and a common finger between the C and 07 chord. Practice the ample until you can play it steadily and without any hesitation between chord changes.

G

c

Em

D7

Practice trading off on the melody and chords on Molly ｍｯ ｾ ｯｮ･Ｎ＠ When you can play the chords ly, try a bass note with two after-strums that you learned in exercise number 74.

MOLLY MALONE

G

G

G

07

c

Em

07

07

Em

G

c

Em

07

c

Em

Em

G

c

Em

G

07

07

G

MORE ADVANCED STRUMS The down- up stroke pattern you have already played on eighth notes can also be applied to strum s . As you practice strumming the following exercises, keep your wrist relaxed and flexible. The dow n-up motion wilt be much faster and easier if you use down-up motion of the wrist only rather than of the entire arm. This wrist motion feels a little like shaking water off the hand .

BASIC DOWN-UP STRUM

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On "Simple Gifts" you can play the melody (Part I), the harmony line (Part 2), or the chordal accompaniment. Practice these strums before playing "Simple Gifts."

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BASS-MELODY SOLOS This style solo was developed on the Carter family recordings. The melody is played in the ba s and long notes (J J. or 0) are filled in with strums. Emphasize the bass melody notes and play lightly on the strums .

ROW, ROW, ROW YOUR BOAT

c*

Hold down C chord.

*You can hold your 1st finger down throughout the entire solo if you wish.

WORRIED MAN BLUES G

Hold down throughout G chord)

Takes

a

wor - ried

man _ __

sing

to

a

song, _ __ _

wor - ried

c

G

Takes

a

wor - ried

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to

to

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sing

a

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song,

I'm

song,

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wor·

G

13

now, ___ __ _ _ _ _ _ ____ Copyright@ 1906 HA L LEONARD PUBLISHING CORPOR ArI O N InWrnJl ionaJ Co pyr.gh l SeLu recJ All Righls. Reselved

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but

won't

be

wor - rjed

long. _ _ __

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WHEN THE SAINTS GO MARCHING IN G

Oh when the

saints

go

be

In that

saints _

_

march -

_

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go march-ing

in _

in _ _ _ _ __

ing

num- ber

when the saints

go

_

_

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Lord, I

march - Ing

_

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oh when the

want

to

In.

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GUITAR ENSEMBLE @ 3-part round After learning this Russian "Turnbo" round, you may wish to play it with two or three other guitarists. Each player begins when the previous player has reached line 3 at the asterisk. A more advanced ｰｬ｡ｹｾｲ＠ such as your teacher may play the chords (repeating them throughout). Play the round three times through with gradually accelerating speed. Em

*

50

87

Em

CHORD CHART In this chart you will find the chords learned in this book as well as severa] other common chords you may see in music you are playing.

6

5

STRINGS .. 3 2

A",

6

5

STRINGS 4 3 2

2 3

I-

1 2 3

a::

STHINGS 3

2

87

2

I

0

6

STRINGS 5 4 3 2

c 2

a::

I

x

3

Om

2

s

4

3

5

4

a:

o

Em

6

5

6

5

0

a:

F

D7 1

STRINGS

6

5

..

3

2

(j)

I--

UJ

2

([

2

3

STRINGS

6

s

4

3

E7

2

cb

(/)

I--

2

LU

a:

u.

o

5

4

UJ

a:

u..

I--

2

3

0

G

2

(j)

I--

w

2

a:

u..

u.

LU

a:

0

0

0

STRINGS

6

5

4

3

G7

2

Ｑ ｾ＠

3 0

0

....

(j)

2

u.

3

W

a:

3

0

l-

x

o

(j)

(f)

x

3

E

STHINGS 6

LU

a:

u.

0

o

0

2

I--

-

3

STRINGS 4 2 3

(j)

2

I

2 3

UJ

u..

0

-

3

3 0

1

u.

cb

I--

2 3

-

I--

2

STRINGS 4 3 2

(/)

2

2

ｾ＠

3

STRINGS 4 3 2

a:

0

2

3

1

UJ

u..

5

C7

(/)

I--

6

1

2

x

(/)

2

2

cV

I-UJ

0

STRINGS

6

u..

STRINGS 6

3

0

STRINGS

-

u.

3

I--

w

a:

0

0

(/)

UJ

(J)

2

-

x

u.

.

-

3

o

x

(/)

5

A7

2

1

([

U.

I--

2

6

1

-

LU

I

x

2

3

o

..

3

I--

UJ

3

s

4

(/)

u..

ｾ＠

6

5

1 (/)

2

0

6 I

cb x

STRINGS

A

3

-