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<15, (/ &'()% &'$/9#, $/% ?$6# 3(4) &'()%, ,(4/% 9)#$27 Changing between chords is the hard bit to begin with. I’ve got plenty of tips 2')#$%#% 2')(49'(42 2'1, .#F#. 2( '#.5 ?$6# 2'1, $, :;AG $, 5(,,1*.#7
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We’ll learn how to read song sheets, use a capo AND '(0 2( '#$) 2'# *#$2 1/ )#$. ,(/9, ,( 3(4 &$/ 5.$3 $.(/9 2( 3(4) E$F(4)12# ,(/9, $2 2'1, .#F #.7
,#-#. / 7/ – 8 49*'3 5&3 : 49*'3 )9*'3 "*;#( J'()% *(+#, ,'(0 4, 0'#)# 2( 542 (4) E1/9#), E() #$&' &'()%= K#)# 1, 2'# &'()% *(+ E() 2'# : J'()% L: ?$>()M= <## 5 -%3#* *& =*> ?* @#53 )9*'3 "*;#( =8@8
?9# 8 )9*'3 This double line is the nut of the guitar. This is where the strings meet the head
The vertical lines are the guitars frets
O means the open string should be heard. X tells us this string should not be played
The horizontal lines are the strings. This one is
your thickest ‘E’ string
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?*A 2%A( 2* B5C# D*+' 49*'3( (*+&3 $'#52E 8)#,, %(0/ ,2)1/9, 012' 2'# 215, (E 3(4) E1/9#), (/.3 Place your fingers at the ‘good’ side of the fret F(# 5 A%4CE 81&6, 91F# $ &.#$)#) &.#$)#) ,(4/%= H,# $ 2'1/ (/# (/# L=NO??M 2( *#91/ 012'7 012'7 Don’t play any strings with an G Don’t touch 2'# 4/%#),1%# (E 3(4) 9412$) 012' 2'# 5$.? 3(4) &'()% '$/%P 2'1, 01.. ?42# 2'# 2'1//#,2 : ,2)1/97
HA#& (2'%&$ &5B#( You’ll need to know the names of the open strings. H,1/9 $ ?/#?(/1& &$/ '#.5 3(4 )#?#?*#) 2'#?= Q() #+$?5.#R 8.#5'$/2, :/% I(/6#3, 6)(0 "19 8$), 2( )#?#?*#) 8 : I 6 " 8 L2'1&6#,2 2( 2'1//#,27M
Ears Big Grow
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Donkeys And Elephants
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This ‘anchor finger’ idea will also help you to play the next chord (which is a D) as the first E1/9#) 01.. /(2 '$F# 2( ?(F# $2 $.. 2( 5.$3 2'$2 (/#7
29
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<2'+BB%&$ <2'+BB%&$ S522#'& L0 L 0 M29 <2'+BB%&$ QH& 29# "#52R ;E2#) \A5)#$%,\S X %(0/ ,2)4?, (/ #$&' *#$2 ,'(4.% *# ,##/ $, 2'# %#E$4.2 ,2)4??1/9 5$22#)/ 0'#/ E1),2 .#$)/1/9 $/3 /#0 ,(/9= W##5 2'# 5$&# $/% F(.4? # #F#/ X %(0/ ,2)4?, (/ 2'# *#$2 &$/ *# 0)122#/ .16# . 16# 2'1,= The ‘D’ and the arrows represent down ,2)4?,
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"#%&$ 5O.# 2* 3* 29%( %( 29# *-#'5.. $*5. *J 29%( #&2%'# .#-#.W <'#)# $)# ,(?# 9)#$2 ,(/9, 2( 2)3 (42S *42 1E 3(4 &$/ %( 2'1, $.(/9 2( 2'# %)4?*#$2 2'#/ E##. E)## 2( ?(F# $'#$% 2( .#F#. V7 !"# !%#& '()*+ ,+ - ./01-2 3, 4+,5 36-3 /,7 6-8( 93-:3(; ,+ 1(-3 <= !"#$# &$# '($# )('*+#, -.$/''012 *&..#$1- -"(31 01 -('# (4 ."# -(12- &. 5#6#+ 7 (4 '8 beginner’s course. Feel free to have a go at them, but please see this ‘on the beat’ -.$/''012 -.$/''012 &- 8(/$ 9#4&/+. 4($ #6#$8 .0'# 8(/ +#&$1 & 1#3 -(12 ($ )"($9 -#:/#1)#
,#-#. / 7Y – What a ‘Capo’ is and how to use it A ‘capo’ holds down the strings at any fret on your guitar. This allows you to still play the &'()%, 3(4 6/(0S *42 2'#3 01.. /(0 ,(4/% '19'#)= <'1, 1, 9)#$2 $, 12 $..(0, 4, 2( ?$/3 ?()# ,(/9, 2'$/ 0# &(4.% 012'(42 2'# &$5( !! I really recommend the ‘Trigger type’ &$5(S $, 12 1, #$,3 2( 542 (/ $/% $%>4,2 2( 9#2 )1% (E $/3 *4__1/9= T2 ,'(4.% *# 5.$&#% 45 $9$1/,2 2 '# E)#2 L>4,2 .16# 3(4) E1/9#),7M
‘Trigger’ type capo
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8)( 9412$)1,2, 4,# $ &$5( &)#$21F#.3 2( 9#2 $ &#)2$1/ , ound, such as James blunt on ‘You’re Beautiful’, where his guitar sounds a little like a Mandarin because of a high capo. In my beginner’s course, I have used the capo as a way for you to play songs that would (2'#)01,# 4,# &'()%, 2'$2 $)# F#)3 2)1&63 .16# .1 6# *$))# &'()%,= <'# &'()% ,'##2 (E $ ,(/9 01.. $.0$3, 2#.. 2# .. 3(4 0'1&' E)#2 2( 542 3(4) &$5(= ;, $ '$/%3 2((.S ,1/9#), &$/ ?(F# 2'# &$5( '19'#) () .(0#) 2( ,412 , 412 2'#1) F(1&#=
‘:42%*&’ 5&3 +(%&$ 5 45A* 2* %BA'*-# D*+' $+%25' <'# ‘Action’ (E $ 9412$) 1, 2'# '#19'2 (E 2'# ,2)1/9, E)(? 2'# E)#2 *($)%= ; '19' $&21(/ ?#$/, 2'# ,2)1/9, $)# E$) $0$3 E)(? 2'# E)#2 *($)%S $/% F1&# F#),$= H/E()24/$2#.3S ?$/3 &'#$5 *#91//#) 9412$), '$F# $ '19' $&21(/S $/% $ '19' $& 21(/ ?$6#, $ 9412$) ?4&' '$)%#) 2( 5.$3= :F#/ #+5# nsive guitars can have high action too. If you’ve spent a good amount on your guitar, but have found it to have a high action, you’ll want to get it ‘setup’. Good guitar shops offer this service for around the cost of a guitar lesson. K(0#F#)S $, $ 45A* '(.%, %(0/ 2'# ,2)1/9, $2 $/3 E)#2 (/ ( / 3(4) 9412$)S 2'1, 01.. $.0$3, 1?5)(F# 3(4) 9412$), $&21(/= <'1, 1, 2'# 2 '# (2'#) )#$,(/ T 4,# $ &$5( ,( (E2#/ E() *#91//#), *#91 //#), .#,,(/,P it makes it easier to play. If it’s easier to play, it sounds better!
,#-#. / 7M0 S.5D%&$ 5.*&$ 2* '#5. (*&$( T/ ?3 (51/1(/S 2'# ?(,2 E4/ 3(4 &$/ '$F# 5)$&21&1/9 9412$) 1, 5.$31/9 $.(/9 2( )#$. ,(/9, 2'$2 3(4 .(F#7 If you’re a total beginner, you’ll want to have played along to the video and drum loop in ,#((*& L (2'+BB%&$ *& 29# O#52 *#E()# 3(4 2)3 2'1, .#,,(/ W If you’ve done that, this is very ,1?1.$)7 ]42 2'#)# $)# $ &(45.# (E 2'1/9, 3(4 ,'(4.% 6/(0= Firstly, you cannot start playing along from the first second of the track. The count in of ‘1 2 3 4’ is rarely still there on real songs = -# /##% 2( .1,2#/ E1),2S E1),2 S $/% 2'#/ >(1/ 1/ 2( 0'$2 0# '#$)=
How to play along to Song 1 ‘For What It’s Worth’ by Buffalo Springfield G(4 &$/ .1,2#/ 2( 2'1, ,(/9 E() E)## (/ G(4<4*# () A5(21E37 This is song 1 from the beginner’s course. The chord sequ #/&# L&(F#)#% 1/ %#2$1. $2 .#,,(/ .#, ,(/ O (E 2'1, .#F#.M 1, $ *$) (E : $/% $ *$) (E ; E() V *$),= <( >(1/ 1/S 1 /S 3(4 '#$) 2'# E1),2 ,(4/% (E 2'# )#&()% $/% 6/(0 2'1, 1, 2'# : &'()%= G(4 2'#/ -;T< E () 2'#,# V *$),S $/% 2'#/ >(1/ 1/ 1 / (/ 2'# /#+2 :7 G(4 &$/ #F#/ 0$12 .(/9#) 2( 9#2 3(4) *#$)1/9,S *42 $.0$3, ,2$)2 (/ 2'# : &'()%= & '()%= Q(&4, (/ 2'# %)4?, $/% &(4/2 2'# *#$2 2( *# ,4)# 3(4 3( 4 6/(0 0'#/ 2( &(?# 1/=
TE $.. 9(#, 0)(/9 $/% 3(4 .(,# 0'#)# 3(4 $)#S >4,2 > 4,2 ,2$)2 $9$1/ E)(? 2'# *#91//1/9 (E 2'# ,(/9,= <'1, 1, E$) *#22#) 2'$/ trying to ‘catch up’ with the song as this likely won’t work. It’s therefore best to choose songs that don’t change much. The songs in Level 1 of my beginner’s course are perfect examples If the song has a riff you’d like to join into, wait to hear the r 1EE ,$3 201&#S $/% 2'#/ >(1/ 1/ $2 2'# 2'1)% 21?# ,( 3(4 5.$3 $2 2'# )19'2 ,5##% $/% &$/ 5)#%1&2 0'#/ 2( &(?# 1/ $2 2 '# )19'2 21?#=
What’s the goal >9#& A.5D%&$ 5.*&$ 2* '#5. (*&$(P TE 3(4 &$/ 6##5 45 E() #F#/ >4,2 $ ?1/42#P ?1/42# P great job! That’s the goal o E 2'1, 0'(.# .#F#.7 Don’t move on too quick though, it’s important to practice this skill, even when you can do 12 () 12 01.. %1,$55#$)= @16# $ ?4,&.#S $.. 2'#,# *$,1& ,61.., /##% 0()61/9 (42= AB 6##5 $2 12S *42 E##. E)## 2( F$)3 2'# ,(/9, 1/ 3(4) )#5#)2(1)# 2( 6##5 3(4),#.E 1/2#)#,2#%S $/% 2'#/ ,21&6 2( 3(4) E$F(4)12#,=
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The ‘My fingers hurt!’ exercise U= -12' 3(4) E1),2 E1/9#)S 5.$3 2'# /(2# $2 N)% E)#2 (/ 3(4) 2'1&6#,2 ,2)1/9 LB) $/3 %(22#% E)#2M V= 8.$3 2'# /(2# $, 3(4 4,4$..3 0(4.%S $/% 91F# $ /4?*#) *#20##/ U $/% U` 2( 1/%1&$2# '(0 ?4&' 3(4 $)# 5)#,,1/9 %(0/S U` *#1/9 .16# ?$61/9 $ E1,2S U *#1/9 /(2 5)#,,1/9 $2 $.. N= C(0 5.$&# 3(4) E1/9#) 2( 3(4) ,1%# (E 2'# 2 '# E)#2S *#20##/ 2'# %(2 $/% 2'# E)#2 /#$)#,2 2( 3(4 X= 8.$3 2'1, /(2# (/&# #F#)3 ,#&(/%S $/% 9)$%4$..3 .#,,(/ 2'# $?(4/2 (E 5)#,,4)# (/ this note by a fraction at a time until it buzzes and eventually the note doesn’t ring
(42 $2 $.. Y= 8.$3 2'# /(2# $9$1/S *42 ( nly press on just enough so that the string doesn’t buzz. Ensure your finger is at the ‘good’ side of the fret
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,#-#. / 7^0 Chord sequence’s for Level 1 K#)# T 01.. .1,2 2'# &'()% & '()% ,#I4#/&#, 3(4 ,'(4.% 5)$&21&# E() 2'1, .#F#.= <'#,# $)# 2'# #,,#/21$. ,#I4#/&#, 3(4 ,'(4.% 2( *# $*.# 2( 5.$3 *#E()# ?(F1/9 (/ 2( 2'# /#+2 .#F#.= A(?# (E 2'#,# $)# 2'# ,$?# () ,1?1.$) 2( &#)2$1 n songs at each level of the course, and I’ll name 2'# ,(/9, $, 0# 9(= As this is Level 1, we’ll just be going between E and A, but for a different amount of time so 3(4 &$/ %( $/3 (E 2'# ,(/9, $2 2'1, .#F#.=
Chord sequence 1 (Similar to ’For What It’s North’) A2)4? $/ : &'()% (/ #F#)3 *#$2 2( $ ,.(0 , .(0 &(4/2= <'1, ,'(4.% $.,( *# %(/# $.(/9 012' ;/%3 1/ 2'# F1%#( $*(F#= ;, 012' $.. 2'#,# &'()% ,#I4#/&#,S )#5#$2 2'1, $ E#0 21?#, 2( $/ #F#/ &(4/2
Chord sequence 2 (Similar to ‘Silence is Easy’) 8.$3 V *$), (E : $/% V *$), (E ;S ,2)4??1/9 (/ 2'# *#$2 E() $)(4/% V ?1/42#,
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,#-#. / 7_0 @#4*BB#&3#3 (*&$( J*' ,#-#. / Here I list the essential songs from each level so you can fast track the beginner’s course.
<'# U` ,(/9, $2 #$&' .#F#. $)# &'(,#/ /(2 (/.3 *#&$4,# (E 2'# &'()%,S *42 $.,( *#&$4,# (E 2'# (2'#) ,61.., 2'#3 2 '#3 $..(0 3(4 2( $&I41)#= d(,2 5#(5.# 0'( .#$)/ (/.1/# >4,2 &'(,# 2'# ,(/9, E)(? 2'# .1,2 2'#3 6/(0 () .16#= T/ 5)1F$2# .#,,(/,S T ,499#,2 , 499#,2 ,(/9, 2'$2 2'# ,24%#/2 ,2 4%#/2 0(uldn’t naturally pick, but after trying them, they like it and they feel the benefit. Here I (EE#) 3(4 2'# ,$?# $%F1&# ,( 3(4 &$/ E$,2 2)$&6 2')(49' #$&' .#F#. #$,1.3=
@#4*BB#&3#3 (*&$( J*' ,#-#. / ‘For What Its Worth’ by Buffalo Springfield d3 $*,(.42# beginner’s lesson, so make sure you can do this! Ideally practice this on the *#$2 2( 2'# %)4? .((5 1/ .#,,(/ VS () ( ) #F#/ *#22#) 2'# ()191/$. ,(/9 12,#.E7
<4%#&4# %( #5(D OD <25'(5%.*' Similar chord sequence to the song above, but here it’s 2 bars of E. <'1, &'#&6, 2'$2 3(4 4/%#),2$/% *$) $/% *#$2,S $/% 91F#, 3(4 2'# (521(/ (E $ ' 19'#) .#F#. ,2)4??1/9 5$22#)/7
‘Love Me Do’ by The Beatles The Beatles have so many songs that are great for beginners, I’ve chosen this one as it’s the ,$?# &'()%, $, *#E()# *42 2( $ %1EE#)#/2 21?1/9= <'1, (/# '$, I41&6#) &'$/9#, $/% $/ 1/2)(%4&21(/ 2( ,(/9 ,2)4&24)# $/% 2'# 9412$) &$5(P don’t skip this!
TE 3(4 '$F# $/ #.#&2)1& 9412$) $/% ;?5S 2)3 #12'#) (E 2'# HV (/#, –8.#-52%*& () N9#& ,*-# )*B#( ?* ?*>& ,( 3(4 &$/ &)$/6 2'# (F#)%)1F#7 C(0 .#2, ?$6# ,4)# 3(4) 5)$&21&1/9 2'# )19'2 2'1/9, 1/ 2'# /#+2 .#,,(/ P 5)$&21&# )(421/# E() .#F#. U7
,#-#. / 7`0 S'542%4# @*+2%&# J*' ,#-#. / At the end of each Level, I’ll give you my recommended practice routine. The following )(421/# ,'(4.% .$,2 $*(42 V` ?1/42#,= If this is your fist week playing guitar I really don’t recommend much more than this or /,7: B*+)(:9 5*22 CDE!? ;#..#$ .( -.(* &4.#$ <= '01/.#- &19 )('# >&)? .( 0. ."# 1#,. 9&8 ."&1 1(. ># &>+# .( *+&8 4($ & 3##?@ FG 0*+73(9 - ;-/ *9 HDIC 1(33(: 36-+ - 0-00,36 F 6,7: 9(99*,+ ,+.( - 5((4=
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In this lesson, we’ll be looking at using this from a rhythm guitar point of view. We’ll come I$+: #$3.* 3) 8.3 %)6* 10..- 60 943, 1478#. 7)3. 0#$%478F CB.7 1)O $ '.3*)7)'. 1,)6#- )7#% .B.* I..0 )7 3,. I.$3O 7)3 )7 .B.*% 13*6'F >)'.34'. 3,.*. +$7 I. $ #)3 )2 2$13 *,%3,'1 *,%3 ,'1 47 $ 1)78O I63 3,. $+36$# I.$3 41 J643. 1#)9O 1#) 9O 9,4+, +$7 +)7261.F The following exercises are the same as in the previous strumming lesson. However, I’d like %)6 3) 7)9 -) 3,.' $#)78 3) 3,. '.3*)7)'. Q*$3,.* 3,$7 3 ,$7 3,. -*6'1T $7- +,$78. 3,. 3.'0)1 943,47 3,. 10.+424.- *$78.F
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,#-#. / 7Q0 Chord sequence’s for Level 2 ].*. G 94## #413 3,. +,)*- 1.J6.7+.1 %)6 1,)6#- 0*$+34+. 2)* 3,41 #.B.#F K,.1. $*. 3,. .11.734$# 1.J6.7+.1 %)6 1,)6#- 3) I. $I#. 3) 0#$% I.2)*. ')B478 )7 3) 3,. 7./3 #.B.#F >)'. )2 3,.1. $*. 3,. 1$'. )* 14'4#$* 3) certain songs at each level of the course, co urse, and I’ll name the songs as we w e go.
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,#-#. / 7L0 Y#4*JJ#&3#3 (*&$( B*' ,#-#. / Here I list the essential songs from each level so you can fast track the beginner’s course. K,. SW 1)781 $3 .$+, #.B.# $*. +,)1.7 7)3 )7#% ) 7#% I.+$61. )2 3,. +,)*-1O I63 $#1) I.+$61. )2 3,. )3,.* 1:4##1 3,.% 3 ,.% $##)9 %)6 3) $+J64*.F c)13 0.)0#. 9,) #.$*7 )7#47. (613 +,)1. 3,. 1)781 2*)' 3,. #413 3,.% :7)9 )* #4:.F G7 0*4B$3. #.11)71O G 1688.13 1 688.13 1)781 3,$3 3,. 136-.73 13 6-.73 wouldn’t naturally pick, but after tr %478 3,.'O 3,.% #4:. 43 $7- 3,.% 2..# 3,. I.7.243F ].*. G )22.* %)6 3,. 1$'. $-B4+. 1) %)6 +$7 2$13 3*$+: 3,*)68, .$+, #.B.# .$14#%F
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Either of these songs is ideal as your first easy guitar ‘Riff’. A riff is anything short and *.+)8741$I#.L 1) 3,41 41 $ 8*.$3 3,478 3) 1,)9 )22 3) %)6* 2*4.7-1 $7- 0#$% 47 2*)73 )2 0.)0#. as it sounds great on its i ts own! Nothing wrong with learning both, but you yo u don’t have to Z*=&&@ "# 6**3# E@ )=+4A "#''@ aY b*+&3 <*$ E@ 9.-%(
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,#-#. / 7c0 K'542%4# Y*+2%&# B*' ,#-#. / At the end of each Level, I’ll give you my recommended practice routine. The following routine should last about 25 minutes. If you want to go on longer or can’t do !"# %&'' () !"#* !"#$%# %'("" !()* '+# ,-('$. -! + ,-#* .&/! ) 01*&!#/ 2 324 1/ 5678 9#!!#: !"2* 2 0200;!" ( ";&: /#//1;* ;*<# 2 =##>+
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,#-#. / HX0 833 2<# N5(? ".+#( Y%QQ 2* 5 RI "5' ".+#( “Alright guys, this is a Blues "#$$ Blues "#$$ #% &' What me for the changes, and try and keep up, OK?”
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,#-#. / HJ0 Y#4*::#&3#3 (*&$( Q*' ,#-#. / Here I list the essential songs from each level so you can fast track the beginner’s course. .,/ J] 5)235 $0 /$+, #/8/# $*/ +,)5/2 2)0 )2#% ) 2#% D/+$75/ )6 0,/ +,)*-5< D70 $#5) D/+$75/ )6 0,/ )0,/* 5@4##5 0,/% 0 ,/% $##)= %)7 0) $+[74*/9 P)50 A/)A#/ =,) #/$*2 )2#42/ (750 +,)5/ 0,/ 5)235 6*)' 0,/ #450 0,/% @2)= )* #4@/9 ?2 A*48$0/ #/55)25< ? 5733/50 5 733/50 5)235 0,$0 0,/ 507-/20 50 7-/20 wouldn’t naturally pick, but after trying them, they like it and 0,/% 6//# 0,/ D/2/6409 O/*/ ? )66/* %)7 0,/ 5$'/ $-84+/ 5) %)7 +$2 6$50 0*$+@ 0,*)73, /$+, #/8/# /$54#%9
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Free Fallin’ by Tom Petty (famous cover by John Mayer) .,45 $3$42 =)*@5 )2 0,/ 1 0) & +,$23/< D70 $ #400#/ 6$50/* X)@< $ #)0 6$50/*BY9 .,45 +$2 D/ +)254-/*/- $ *466 $5 40 45 5,)*0 $2- */+)3245$D#/ 0))9
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Y9Z @FC MZ9O 0 M'*2**.( *' ,*$%4 G*' ;54 "+*/ :/1 9-1/1 9* +1>*+. 9-1(+ $#D:3/ 9* $ A:##% @+*A1//(*)$# /9$).$+.7 0-1+1 $+1 A1B 9-();/ 3*+1 1//1)9($# 9* %*:+ @+*;+1// $9 $)% #1<1# 9-$) #(/91)(); 9* %*:+/1#A D$>?7 5## = $/? (/ 9-$9 %*: 3$?1 $ /9$+9 9* .* /*4 -*B1<1+ D$/(> 9-$9 3$% D17
,#-#. / 7]0 1=:'*-# :%4>%&$ <5&3 2#4<&%^+# HK :.5K%&$ $+%25' (2**3 +: =)A* *) @#$%(); @*/(9(*) (/ A*:). $9 9-1 D1;())(); *A 9-(/ D**?7 O*B1<1+4 J:/9 #(?1 B(9- *:+ @*/9:+1 () +1$# #(A14 D$. -$D(9/ >$) >+11@ () B(9-*:9 :/ +1$#(/();7 '$)% @1*@#1 @+$>9(>1 ;:(9$+ B-(#1 -:)>-1. :@ *) 9-1(+ /*A$4 #1$+)(); A*+B$+. 9+%(); 9* +1$. 9-1(+ )*91/ *+ @1+>-1. *) 9-1 /(.1 *A 9-1(+ D1.7 S-1) B1 @$:/1 9* +1A#1>9L *A >*:+/1 $ -:)>-1. @*/(9(*) (/ ;*(); 9* D1 D$. A*+ *:+ 91>-)(_:17 The amazing thing is that I’ve found standing up while practicing to be so GOOD for mine and my student’s technique! 0-(/ (/ 1/@1>($##% 9+:1 A*+ 1#1>9+(> ;:(9$+(/9/7 O*B1<1+4 =
1)>*:+$;1 $>*:/9(> ;:(9$+(/9/ 9* D1>*31 3*+1 $B$+1 *A 9-1(+ @*/9:+1 $). /(99(); @*/(9(*) @*/(9 (*) B-(#1 @#$%();7 "1+/*)$##%4 = B$)91. 9* @#$% () $ D$). A+*3 9-1 A(+/9 9(31 = @(>?1. :@ $ ;:(9$+7 ; :(9$+7 8*4 1/@1>($##% B-1) = ;*9 3% A(+/9 1#1>9+(> ;:(9$+ ; :(9$+ $9 $;1. `R4 (9 3$ 3$.1 .1 /1)/1 9* 31 9* @+$>9(>1 /9**. :@ 9* 13:#$91 3% -1+*1/ *) 9-1 /9$;17 =A %*: @+$>9(>1 /*319-(); /$9 .*B) A*+ B11?/4 9-1) /9$). :@ *) 9-1 )(;-9L it’s going to feel different 7 5) 1K9+131 1K$3@#1 (/L (A $ ;:(9$+(/9 B$)9/ 9* @#$% ;:(9$+ D1-(). -(/ -1$.L -1 )11./ 9* @+$>9(>1 9-$9 *AA 9-1 /9$;1 A(+/9C
O2'5: .#&$2< =9 (/ D1/9 9* /19 / 19 9-1 -1(;-9 *A %*:+ /9+$@ /9+$ @ B-(#1 /$9 .*B)4 1)/:+(); 9-1+1 (/ )* /#$>?7 / #$>?7 0-1) 9-1+1 (/ #(99#1 .(AA1+1)>1 () B-1+1 9-1 ;:(9$+ (/ B-1) %*: /9$).4 (9 J:/9 /9*@/ %*: -:)>-(); :@ $/ 3:>-7 T*: >$) /19 (9 $ #(99#1 #( 99#1 #*B1+ A*+ >*3A*+94 D:9 (A %*: >$) /11 %*:+ D1#9 D:>?#1 $D*<1
the guitar when you stand, it’s REALLY bad and you’ll give yourself a bad neck and back.
O2'5: 2K:# 5)% 9%@1 (/ A()14 D:9 9-1 B(.1+ 9-1 /9+$@ 9-1 3*+1 >*3A*+9$D#1 (9 B(## D1L .1A()(91#% -$).% 9* -$<1 $ B(.1 /9+$@ A*+ -1$<% ;:(9$+/ /:>- $/ >(, ?#4., #(?1 3()1C
P#K M*%&2( 89$).(); :@ (/ ;1)1+$##% YXX6 A*+ @(>?(); -$). 91>-)(_:1 819 %*:+ /9+$@ B-(#1 /$9 .*B) A*+ *@9(3:3 /9+$@ #1);9
Don’t lean or hunch forward ever, even if your can’t see your fingers as well
Relax your shoulders and don’t press down too hard!
,#-#. / 7_0 Chord sequence’s for Level 4 O1+1 = B(## #(/9 9-1 >-*+. /1_:1)>1/ %*: /-*:#. @+$>9(>1 A*+ #1<1# &7 0-1/1 $+1 9-1 1//1)9($# /1_:1)>1/ %*: /-*:#. 9* D1 $D#1 9* @#$% D1A*+1 3*<(); *) 9* 9-1 )1K9 #1<1#7 #1< 1#7 8*31 *A 9-1/1 $+1 9-1 /$31 *+ /(3(#$+ 9* 9* certain songs at each level of the course, co urse, and I’ll name the songs as we w e go.
As this is Level 4, we’ll be going g oing between G, A and D PLUS the minor chords you now know. The +1 $+1 $ #*9 *A @*//(D#1 >*3D()$9(*)/ )*B4 D:9 )*9 $## >-*+./ ;* 9*;19-1+ B1## $). 9-1+1 $+1 >*33*) /1_:1)>1/4 #(/91. D1#*B7
)<*'3 (#^+#&4# 8 This chord change is used in ‘Songbird’ and ‘That’s Entertainment’, but here I’ve done 2 bars of each chord 9* 3$?1 (9 1$/(1+ 9* @#$%7 0-(/ (/ 9-1 1$/(1/9 >-$);1 B1 -$<1L /* $) *@@*+9:)(9% * @@*+9:)(9% 9* ;19 /*31 -(;-1+ #1<1# 9/9+:33(); ()CC P17;7 *AA D1$9 /9+:33(); / 9+:33(); $). a /9+:33(); <$+($9(*)/Q
bbY
bY
b23
b23
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)<*'3 O#^+#&4# B 0+% 9-(/ *)1 )(>1 $). /#*B *) 9-1 D1$9 A(+/94 ?11@(); 9-1 9(3(); 1<1)7 0-1) 9+% 2<# `2<( 5.. 3*I& (2'+==%&$ B-1) @*//(D#17
bbY
b6
b23
b53
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)<*'3 (#^+#&4# E We generally don’t go from a major chord to a minor chord of the same letter (e.g. A to 5 3()*+Q O*B1<1+ -1+1 = :/1. $ >-*+. /1_:1)>1 B-1+1 9-(/ .*1/ B*+?
bb6
b5
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b2
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,#-#. / 7`0 Z#4*==#&3#3 (*&$( G*' ,#-#. / Here I list the essential songs from each level so you can fast track the beginner’s course.
Z#4*==#&3#3 (*&$( G*' ,#-#. / Ain’t No Sunshine Y+1$9 *)1 9* @#$% $). /(); $9 9-1 /$31 9(317 0-(/ (/ $#/* $#/ * 9-1 XIFT 1//1)9($# 3()*+ >-*+./ /*); (They do sounds quite dreary after all…)
\52+'5. ;K(2%4 Y19 %*: *AA D1$9 /9+:33(); B*+?();L it’s an essential rhythm guitar skill!
O*&$H%'3 5)*9-1+ 1$/% *)1 D:9 ;+1$9 A*+ /9+:33();4 9-(/ /-*:#. D1 9+(1. $#*); 9* 9-1 +1>*+.L J:/9 J*() ()C 5#/* $ ;**. >-*(>1 (A %*: B$)9 9* /(); *<1+ %*:+ *B) @#$%();C
,#-#. / 7a0 M'542%4# Z*+2%&# G*' ,#-#. / At the end of each Level, I’ll give you my recommended practice routine. The most benefit will be found if you can do this nearly every day. If you do this, you’ll start 53 "(5 #++(.(-#5(/ -(54-%, @"33".( 5)( +2+.( 31 #++(.(-#5(/ -(54-%, 53 .(#-% A3-( #:345 5)$,BC
M'542%4# Z*+2%&# G*' ,#-#. E bE7 =%&+2#(c
)<*'3 :'542%4# bO2'+= :%4> O2'+=c ! ,-$);1/ D19B11) 1$>- 3()*+ >-*+. @#:/ 9-1 Y >-*+. B(## )11. B*+? ! "$+9(>:#$+ >-$);1/ /-*:#. D1 23 9* 534 53 9* 63 $). Y 9* 53 Z$) .* 9-1/1L 9-1) :/1 9-(/ 9(31 *) /*);/ ()/91$.C ! bY bY b23 b23 bb @,$A$.#- 53 D3%":$-/ :2 E#,$,C ! bY b6 b23 b53 bb ! b6 b5 b53 b2 bb @F35 #, +3AA3%6 A3-( ,3;)$,5$+#5(/BC O*&$ :'542%4#d Keep 4 or 5 songs for the previous level and add… ! Ain’t No Sunshine is essential in my opinion ! 8*);D(+. D% X$/(/ B(## D1 :/1A:# A*+ 3$)% @1*@#1 d11@ D*9- N.. A*I& $). A*I& 5&3 T: 3*9(*) /9+:33(); /*);/ $). d11@ $ >*:@#1 *A +(AA/ A+*3 9-1 @+1<(*:/ #1<1#/CC
O1+1 $+1 %*:+ ;*$#/ A*+ F1<1# Z L J:/9 3$?1 /:+1 %*: >$) .* 9-1 A*##*B(); D1A*+1 #1<1# \C
,#-#. / $*5.(
G1 $D#1 9* @#$% 9-1 >-*+./ A+*3 313*+% P245464 234 534 63 $). YQ d)*B 9-1 .(AA1+1)>1 D19B11) 3$J*+ $). 3()*+4 $). D1 $D#1 9* /$% B-(>- $ >-*+. (/ D% J:/9 #(/91)(); P/11 #1//*) Z $9 9-(/ #1<1#Q G1 $D#1 9* @#$% $)% *A 9-1 +1>*331).1. >-*+. /1_:1)>1/ $). $/ $ D*):/ L D1 $D#1 9* 3$?1 :@ %*:+ *B)7 0+% 9-1/1 B(9- 9-1 )1B /9+:33(); /9+ :33(); @$991+)/ $9 9-(/ 9 -(/ #1<1# B-(#1 ?11@(); 9(3(); >*)/(/91)9C G1 $D#1 9* @#$% $9 #1$/9 \ /*);/4 /* );/4 $). -$<1 $ ;* $9 @#$%(); 9-1/1 $#*); 9* 9-1 +1>*+.7 These can be 5 totally new songs, but it’s better to keep your favourites from @+1<(*:/ #1<1#/ 9**7
F(?1 9-(/ A+11 1G**?W M.#5(# A9\N@C A9\N@C %G %G K*+ 45& 5GG*'3 2*? F*I 3* 1 3*&52#V 0-1 1$/(1/9 B$% (/ $9 BBB7$).%;:(9$+7>*7:? BBB7$).%;:(9$+7>*7:?77 X) 9-1 9*@ 31):4 >#(>? 9-1 ‘Donate’ tab in the 9*@ #1A9 $). A*##*B 9-1 ()/9+:>9(*)/ 9* @$% <($ "$%"$#7 T*: >$) $#/* @$% D% >+1.(9 >$+. D% A*##*B(); 9-(/ #()? T*: >$) >*)9$>9 31 <($ 9-1 B1D/(91 *+ U$>1D**? 31//$;1 9* $++$);1 $ D$)? 9+$)/A1+ *+ >+1.(9 >$+. @$%31)9 (A %*: @+1A1+7
F*I =+4< (<*+.3 1 3*&52#V I’ll be making this eBook available soon for around £8 ($12). You can donate -*B1<1+ 3:>- *+ #(99#1 %*: A11# (9 B$/ *A D1)1A(9 9* %*: U+1$9(); <(.1*/ $). >*:+/1 for you guys. Without them, I’d have t * /@1). $## 3% B*+?(); -*:+/ 91$>-(); @+(<$91#%4 B-(>- (/ A:) D:9 31$)/ #(99#1 *)#()1 >*)91)97 8* @#1$/1 .*)$91 (A %*: >$) $AA*+. 9* +1>1(<1 3*+1 >*)91)9C
"#$%&&#'( )*+'(# ,#-#. / ,#-#. /0 1&2'*3+42%*& 5&3 6*5.( At this level we’ll learn
"#$ % &'()* +#)*, -) 8$-#$* We’ll also master changes b $-.$$/ 01 % '/, 21 .#3+# '*$ +)&&)/45 6)7/, -)8$-#$* in real songs. In these songs, we’ll see that the Cadd9 chord is also used, and we’ll 4$'/ -#39 $'95 +#)*, -)):
;,, '++$/-9 -) 9-*7&&3/8 "*'/96)*& 5)7* 9-*7&&3/8 <'--$*/9 =5 ',,3/8 '++$/-9 '/, ',,$, 7 < 9-*7&9> "#$9$ .344 9-)< 5)7* 9-*7&&3/8 9)7/,3/8 64'- '/, 83?$ 3- =$--$* 6$$4 '/, 8*)?$>
0 &'()* <$/-'-)/3+ 9+'4$ @$91 .$ .344 4$'*/ )7* 63*9- 9+'4$A nothing to be scared of! I’ll show you how to <*'+-3+'445 3/-$8*'-$ -#39 3/-) 5)7* $?$*5,'5 873-'* <4'53/8 ;B2 8$- 5)7 <4'53/8 &$4),3$9:
C$<$*-)3*$ '/, <*'+-3+$ *)7-3/$ to smoothly fast ;9 '4.'59, I’ll provide you with a list of my recommended songs to -*'+D -#39 +)7*9$1 '9 .$44 '9 -#$ <*'+-3+$ *)7-3/$ E *$+)&&$/, 5)7 79$>
,#-#. / 780 6 ) 5&3 9 4:*'3(; -5'%52%*&( <=9 4:5&$#( >:# ) 4:*'3
This chord is the biggest stretch we’ve done so far and is a totally new shape. It is however 9) +)&&)/ -#'- 5)7 /$$, -) -'D$ -#$ -3&$ -) 4$'*/ '/, =$ '=4$ -) <4'5 3->
)*??*& 4:*'3 4:5&$#( G, C and D go together really well and are used in any order in a LOT of songs (as you’ll soon 63/, 6*)& -#39 4$?$4 3/ -#$ 9)/8 4$99)/9F> We’ll look at why later. For now, we need to get -#$ +#'/8$9 =$-.$$/ -#$& 9)43, $/)78# -) <4'5 *$'4 9)/89> 9) /89> G*'+-3+$ +#'/83/8 6)* '*)7/, ' &3/7-$ 6)* $'+# )6 -#$ 6)44).3/8H 0 -) % % -) 2 0 -) 2 I' *$+'< )/ -#$ 9-'/,'*, 0 -) 2 +#'/8$ 6*)& 4$?$4 JF
6 4:*'3 '#45@ K$*$ '*$ -#$ L &)9- +)&&)/ .'59 -) <4'5 ' 0 +#)*, -#'- .$ 4$'*/$, '- .#-#. AB E6 5)7 9-*7884$ .3-# -#39 M$?$4 ' 4)-1 E 9-*)/845 9788$9- 8)3/8 -) 4$?$4 J '/, 4$'*/3/8 '- 4$'9- J 9)/89:
"#$ 63*9- 0 39 -#$ $'93$9$'93$9 - .'5 -) <4'5 ' 0> "#$ '4-$*/'-3?$ 39 +)&&)/ +) &&)/ '9 3- 9)7/,9 8)), .#$/ +#'/83/8 -) ' 2 '9 -#$ J*, 63/8$* 63 /8$* 9-'59 ,)./>
C5(%( (2D.# 4:*'3( >:# )533E 4:*'3 "#39 39 .#$*$ -#$ %',,N +)&$9 3/> 01 % '/, 2 8) -)8$-#$* -)8$- #$* *$'445 .$44 =7- +'/ =$ ,3663+74- -) +#'/8$ =$-.$$/ '9 5)7* 63/8$*9 '*$ +#'/83/8 -) ?$*5 ,366$*$/- +#)*, 9#'<$9 '44 - #$ -3&$>
G4'53/8 -#$ =38 O'939 9-54$ 01 ' %',,N '/, ' 2 &$'/9 5)7 +'/ D$$< 5)7* J*, 63/8$* 63 /8$* ,)./ and the others don’t move as far. >:%( 5.(* ?#5&( 2:#D 45& (*+&3 F#22#' '/, ' 4)- )6 9)/89 '*$ <4'5$, 3/ -#39 .'5>
!"# %&' ()(' %*""+( ," -.&/ & 0&112 3' 4"+, %&+(+ ()(' 35 ,*( %*"61 +*((, +&/+ ," -.&/ & normal C! However, this won’t always work, +" & '"64&. 7 &'1 0 &'1 %*&'8(+ +*"#.1 9( .(&6'(1 ,"":
P)* 8*$'- $Q'&<4$9 )6 -#39 -$+#/3R7$ 3/ CS;M TOB0T1 439-$/ -)H ‘Wonderwall’ by Oasis ‘Drunk’ by Ed Sheeran (watch the live version on YouTube) ‘You’re Beautiful’ by James Blunt
,#-#. / 7G0 H2: all down strumming embellishment’s embellishment’s K$*$ 39 -#$ U-# 9-*7&&3/8 .$ +)?$*$, '- M$?$4 M $?$4 V> T)/89 '*)7/, -#39 4$?$4 -#'- 5)7 +'/ -*5 )7- -#$9$ U-# 9-*7&&3/8 ?'*3'-3)/9 3/+47,$H
Knockin’ On Heavens Door, Sweet Home Alabama, Al abama, Can’t Always Get What You Want, W'/-$, 2$', O* ;43?$ 6*)& M$?$4 XH M)?$ "#$ W'5 @)7 M3$1 @$44). '/, 0$- M7+D5 6*)& M$?$4 YH <479 T-' /, Z5 [$1 K$5 \7,$ '/, K)-$4 %'436)*/3' 6*)& M$?$4 ]1 9) MO"T:
H2: 5.. 3*I& (2'+??%&$ JK'*? ,#-#. GL
;- -#39 4$?$41 3- +'/ 9)7/, ' 43--4$ *$4$/-4$99 '/, 64'-> ") 9<3+$ 3- 7<1 -#$ 63*9- -#3/8 .$ +'/ ,) is play beats 2 and 4 louder, known as adding an ‘accent’. We do this on beats 2 and 4 as -#39 39 .#$*$ -#$ 9/'*$ ,*7& .344 <4'51 .#3+# 39 -#$ 4)7,$9- <'*- )6 ' *$874'* ,*7&=$'-> "#$ '++$/- 39 9#)./ =5 -#$ ^ 95&=)4>
H2: 5.. 3*I& (2'+??%&$ – I%2: 544#&2
If you’re up for a challenge, you can then play the thicker strings only on counts ‘1 +’ and ‘3 +’. This will further accent 2 and 4 as the others o thers are now quieter. @)7 +'/ '49) -*5 ',,3/8 ' 43--4$ 7< 9-*7& '9 9#)./> "#39 -$+#/3+'445 &'D$9 3- ' 16th strumming pattern which is hard! But I’ve found some people can do it at -#39 4$?$41 9) 83?$ 3- ' 8):
H2: 5.. 3*I& (2'+??%&$0 with added ‘up’
,#-#. / 7A0 >:# 6 M5N*' O#&252*&%4 O#&252*&%4 P45.# "#$ 0 .#'-A/)._ M$-9 take a second to look at what the words mean….
O#&2 ` X >*&%4 ` P3*9- /)-$ )6 ' 9+'4$H 3/ -#39 +'9$ 6 %( 2:# K%'(2 &*2# P45.# ` ; 9$R7$/+$ )6 /)-$9 )*,$*$, M). -) #38# -#$/ ?3+$ ?$*9'
; (45.# +'/ =$ 9$$/ '9 ' &793+'4 '4<#'=$- -#'- .$ +'/ +*$'-$ &$4),3$9 .3-#> %)/6793)/ +'/ =$ #'<<$/ =$+'79$ ,366$*$/- 9+'4$9 83?$ 79 -#$ /)-$9 6)* ,366$*$/- 9-54$91 8$/*$9 )* +#)*, + #)*, 9$R7$/+$9> T)1 -#$ 0 &'()* G$/-'-)/3+ T+'4$ 39 ' 9$9$ - )6 X /)-$9 <4'5$, 7< )* ,)./> E- .)*D9 =$9- )?$* '/5 +#)*, 9$R7$/+$ 3/ -#$ Q#D *K 6 I%)?$*$, 3/ M$?$4 Y aV:F '/, 3- 9)7/,9 8*$'- )?$* '44 +)&&)/ <)< 9-54$9 97+# '9 '+)79-3+ )* *)+D &793+> T)/89 3- 39 79$, 3/ 3/+47,$ -#$ 3/-*) *3669 of ‘Wish You Were Here by Pink Floyd and My Girl by The Temptations. 073-'* &$4),3$9 '*$ .*3--$/ 3/ ";Z I9#)*I9#) *- 6)* "'=4'-7*$F> "#39 39 .#$*$ $?$*5 43/$ *$<*$9$/-9 *$<*$9 $/-9 ' 9-*3/8 )/ 5)7* 873-'*1 '/, -#$ /7&=$*9 '*$ -#$ 6*$- /7&=$*9 6 M5N*' O#&252*&%4 (45.# %& ><"
6 M5N*' O#&252*&%4 9%5$'5? T+'4$ ,3'8*'&9 #$4< ?397'439$ -#$ 9+'4$ )/ 5)7* 6*$- =)'*,> S'+# =4'+D ,)- 9#).9 .#$*$ -) & *2#(1 -#$9$ 9#). 5)7 .#$*$ 5)7 9#)74, <4'+$ 5)7* 63/8$*9> "#$ 4%'4.#3 3*2( 5'# 2:# 6 &*2#( 9-'*- '/, $/, -#$ 9+'4$> L L V V V L
O<$/ 9-*3/89
P*$- V
P*$- L
P*$- J
,#-#. / 7R0 <%' 4:5&$#( At the moment, you’re likely making at least 1 chord by putting one finger down at a time I43D$45 -#$ 0F> W#'- E .'/- -) 3/-*),7+$ 39 &'D3/8 -#$ 9#'<$ )6 $'+# +#)*, =$6)*$ <7--3/8 5)7* 63/8$*9 ,)./> "#39 .344 4$', -) [b%K R73+D$* +#'/8$91 '/, 39 #). -#$ <*)9 ,) 3-:
<%' 4:5&$#( ST#'4%(# V> ['D$ -#$ 9#'<$ )6 $>8> -#$ 0 +#)*, ' +& '=)?$ -#$ 6*$- =)'*, '/, D$$< 5)7* 63/8$*9 9-344 3/ -#39 <)93-3)/ 6)* ' 6$. 9$+)/,9 L> G*$99 5)7* 63/8$* ,)./ '/, 9-*7& -#$ +#)*, '9 797'4 J> M36- 5)7* 63/8$*9 '/, *$<$'- -#39 =$-.$$/ '44 -#$ +#)*,9 5)7 D/).> c> E- #$4<9 -) '4.'59 8) 6*)& -#$ )/$ 5)7* 9-*78843/8 .3-# I43D$45 -#$ 0F =$-.$$/ $?$*5 +#)*,> S>0> 0) 0 -) 21 0 -) S&1 $-+> "#$ 3,$' 39 -) 3&<4'/- -#$ +#)*, 9#'<$ 3/-) -#$ &79+4$ &$&)*5 )6 5)7* #'/,> "#39 39 &7+# =$--$* -#'/ (79- *$&$&=$* .#3+# 6*$- '/, 9-*3/89 9 -*3/89 -#$ 63/8$*9 8) 3/-) '/, .344 &'D$ 5)7* +#'/8$9 $'93$* '/, 6'9-$*:
,#-#. / 7R –U5??#' C&( 5&3 V.%4Q CKK( ‘Hammer ons’ and ‘flicks off’ with G major O#&252*&%4 P45.# 5&3 4:*'3( B). 5)7 D/). -#$ /)-$9 )6 -#$ 0 &'()* <$/-'-)/3+ 9+'4$1 5)7 +'/ -*5 ,)3/8 -#$ 9'&$ 9' &$ /)-$9 /, =5 <3+D3/8 -#$ )<$/ 9-*3/89 '/, #'&&$*3/8 )/ I)* 643+D3 /8 )66F 5)7* 63/8$*9 -) &'D$ -#$ L *, '/, J 6*$- /)-$9 9)7/,>
This is a great way to play much faster sequence’s! However, it needs to be practiced slowly '- 63*9- -) -*5 '/, 8$- -#$ #'&&$* )/9 -) 9)7/, -#$ 9'&$ '9 -#$ <3+D$, /)-$9>
G4'5 -#$ 0 &'()* G$/-'-)/3+ .3-# #'&&$* )/9 '/, 643+D )669
G3+D )<$/ 9-*3/89 '9 /)*&'4
‘Hammer on’ 2 /, '/, J*, 6*$- /)-$9 .#$/ 8)3/8 7<> P43+D )66 -) -#$ )<$/ 9-*3/89 .#$/ 8)3/8 ,)./:
,#-#. / 7/ – <33%&$ 6 ?5N*' @#&252*&%4 &*2#( 2* 4:*'3( B). 5)7 D/). -#$ /)-$9 )6 -#$ 0 &'()* <$/-'-)/3+ 9+'4$1 .$ +'/ ',, 9)&$ )6 -#$9$ &$4),3+ /)-$9 .#34$ <4'53/8 +#)*,9> W#$/ <4'53/8 ' 0 +#)*,1 .$ '*$ ' 4*$',5 <4'53/8 &'/5 /)-$9 6*)& -#$ 9+'4$1 '9 9#)./ =$4).>
"#$ $'93$9- .'5 -) ',, -#$ )-#$* /)-$9 39 -) <4'5 '/5 )6 -#$ +3*+4$, /)-$9 =$4). .3-# 5)7* 63*9- 63/8$*> 0*$'- *$974-9 .344 '49) +)&$ 36 5)7 )/45 <4'5 +$*-'3/ 9-*3/891 9 -*3/891 .#3+# +'/ #38#45 -#$ melodic notes that you’re playing with your first finger.
P)* 8*$'- $Q'&<4$9 )6 -#39 -$+#/3R7$ 3/ CS;M TOB0T1 439-$/ -)H ‘You Can’t Always Get What You Want’ by "#$ C)443/8 T-)/$9 ‘Wish You Were Here’ by Pink Floyd F loyd
,#-#. / 7W0 Chord sequence’s for Level 5 You know many chords now, but not all of them go together as well as others. At Level 5 it’s '44 '=)7- 6473, +#'/8$9 =$-.$$/ 01 % '/, 2> 2 > "#$9$ '*$ <*)='=45 -#$ &)9- +)&&)/ J +#)*,9 79$, 3/ 873-'* ='9$, 9)/891 9) .$44 .)*-# -'D3/8 -#$ -3&$ -) &'9-$* +#'/83/8 =$-.$$/ (79-#$9$ J: W$ '49) ',, 3/ -#$ ),, ) ,, S& '/, ;&> -#
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,#-#. / 7H0 Z#4*??#&3#3 (*&$( K*' ,#-#. / Here I list the essential songs from each level so you can fast track the beginner’s course.
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^#..*I FD )*[email protected] "#39 39 ' 8*$'- 9)/8 -) 8$- $?$*5)/$ 93/83/8 '4)/8 '- ' <'*- y. It isn’t fast and it sounds so unds great .#$/ 5)7 8$- -#$ 9-*7&&3/8 -)) 3-> E- #'9 9)&$ 9-*7+-7*$ -) D$$< 3- 3/-$*$9-3/81 '/, 3-9 6'3*45 $'95 -) <4'5 '4)/8 -) -#$ *$+)*,A 83?$ 3- ' 8):
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,#-#. / 7E0 O'542%4# Z*+2%&# K*' ,#-#. / E *$+)&&$/, 5)7 3/+*$'9$ 5)7* <*'+-3+$ -3&$ -) ca &3/7-$9> E6 -#39 39 -)) &7+#1 -#$/ -*5 L La &3/7-$ 94)-9 ' ,'5 -#39 +'/ *$'445 .)*D 6)* &'/5 <$)<4$: >'+2: F# Q&*I&; 1 .%Q# 2* (@#&3 2:# K%'(2 / *' 87 ?%&+2#( @.5D%&$ I:52#-#' 4*?#( 2* ?%&3B 12 4.#5'( ?D :#53 5&3 I5'?( ?D K%&$#'( +@ K*' 2:# ?*'# K*4+(#3 @'542%4# 2* 4*?#
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;"< 3+ & 8""1 ,34( ," ('+#6( /"# *&)( )&63(,/ 3' /"#6 +"'8+: =&)( /"# .(&6'(1 & 6355 "6 ,<" /(,> 0&' /"# 1(4"'+,6&,( 1355(6(', +,6#443'8 -&,,(6'+> - &,,(6'+> 0&' /"# -.&/ +"4( +"'8+ &."'8 ," ,*( 6(%"61>
K$*$ '*$ 5)7* 8)'49 6)* M$?$4 c A &'D$ 97*$ 5)7 +'/ ,) -#$ 6)44).3/8 6) 44).3/8 =$6)*$ 4$?$4 X:
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Z$ '=4$ -) <4'5 -#$ -#$ +#)*,9 6*)& &$&)*5 &$&)*5 IS1;121 S&1 ;&1 2&1 0 '/, %F Z$ '=4$ -) <4'5 '/5 )6 -#$ *$+)&&$/,$, +#)*, 9$R7$/+$9 '/, '9 ' =)/79 A =$ '=4$ -) &'D$ 7< 5)7* )./> "*5 -#$9$ .3-# -#$ /$. 9-*7&&3/8 9-* 7&&3/8 <'--$*/9 '- -#39 4$?$4 .#34$ D$$<3/8 -3&3/8 +)/939-$/-: Z$ '=4$ -) <4'5 '- 4$'9- X 9)/89 6*)& -#$ 439-1 '/, #'?$ ' 8) '- <4'53/8 -#$9$ '4)/8 -) the record. These can be 5 totally new songs, but it’s better to keep your favourites favouri tes 6*)& <*$?3)79 4$?$49 -))>
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I’ll be making this eBook available soon for around £8 ($12). You can donate #).$?$* &7+# )* 43--4$ 5)7 6$$4 3- .'9 )6 =$/$63- -) 5)7 b:D 9*&52#a E #)<$ 5)7 +'/ -$44 -#'- &'/5 #)7*9 )6 .)*D #'?$ 8)/$ 3/-) +*$'-$ -#39 7/3R7$ +)7*9$> "#39 39 )/ -)< )6 -#$ #)7*9 +*$'-3/8 -#$ '++)&<'/53/8 6*$$ ?3,$)91 '/, +*$'-3/8 .$=93-$ +)/-$/->
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"#$%&&#'( )*+'(# ,#-#. / ,#-#. /0 1&2'*3+42%*& 5&3 6*5.( At this level we’ll learn
"#$ % &'()* +,'-$ "#$ &'()* +,'-$ .+ /#$ 0)123'/.)2 )0 '-- 4$+/$*2 &1+.,5 6)* 1+7 ./ +.&8-9 '33+ : 2)/$+ /) /#$ 8$2/'/)2., +,'-$ 9)1 '-*$'39 ;2)4<
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I’ll show you how the notes in the G major scale tell us all the common chords in the A$9 )0 %
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,#-#. / 78 – 9:# 6 ;5<*' =45.# E/ H$>$- I JI 4$ -$'*2$3 /#$ % &'()* >#&252*&%4 +,'-$5 "#.+ .+ ' ? &*2# +,'-$ 4#.,# .+ /#$
easiest and most common scale for chilled happy guitar songs (Think ‘My Girl’ by the "$&8/'/.)2+ )* #'889 '23 ,#.--$3 ',)1+/., &1+.,5
Here we’re looking at the full MAJOR SCALE. The major scale is the foundation of all 4$+/$*2 &1+.,5 G/ #'+ @ &*2#(A so we’re simply adding 2 notes to the ‘Pent 7 a tonic’ +,'-$ 9)1 ;2)4 '-*$'39< K$ =$2$*'--9 8*',/.,$ +,'-$+ % /) %F /#.+ &';$+ ./ . / L 2)/$+ .2 /)/'-5
To start with we’ll just cover 1 *425-#
N.B. ‘Oct’ means 8, so an octave is 8 notes of a "#$%& '(#)*+ !"#$%& ,'
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#-#'F E /.$ =)$+ =*$'/ 4./# ' +&'*/ + &'*/ +1./5 G/ .+ '-+) 1+$3 .2 &1+., 4#$2 4$ 3) 2)/ 8-'9 )2 ' &'.2 beat. This strumming is another variation on 8th down and up strumming, here’s a reminder of that…
G2: 3*H& 5&3 +> (2'+EE%&$
If you haven’t covered how to miss out stru &+ 9$/F +$$ H$>$- I +/*1&&.2= as you’ll need that @$0)*$ '//$&8/.2= /#.+5 "#.+ .+ #'*3$* '+ 4$ '*$ &.++.2= )1/ @$'/ I5 G/ .+ '-+) /#$ OP?" BPOOPQ ?"DROOGQ% SE""TDQ?5 G/ .+ 1+$3 .2 ?4$$/ ? 4$$/ B#.-3 P O.2$F ?#$ ?$--+ ?'2,/1'*9F I’m A Believer and Good Golly Miss Molly from Level 5; Hey Brother from Level 6; And Dock P0 "#$ N'9 '23 ?'4 U$* ?/'23.2= "#$*$ 0*)& H$>$- V5 ")-3 9)1 ./ 4'+ ,)&&)2<
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6 – VE – "E – ) – K – WE – 6XYZ <=1,(;,49 '1&,(1 1% 13* 13*%&. ,1 '3%/)0 2* >? 0,",4,'3*0@ #' .%/ (#4 9/*'': 0,",4,'3*0 (3%&0' #&* A*&. $#BB #40 4%1 /'*0 ,4 "#4. C%6 '%49' #1 #))7D
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think it’s really handy to be able to play the scale sc ale on 1 string to visualise vis ualise the notes be //$* AND to keep in mind what it sounds like! As the major scale is so important, we’re covering /#.+ 2)45 EFGHI "#4. 9&*#1 '%)%' #40 &,55' '/(3 #' G3/40*&'1&/(; 2. JKLMK #&* 6)#.*0 $/'1 %4 N '1&,4977
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,#-#. / 7T0 1&2'*3+42%*& 2* 2:# &*2#( *& $+%25' Now we’ve memorised a couple of +,'-$+F 4$ 2$$3 /) ,)>$* /#$ 2)/$+ 4$ #'>$ '>'.-'@-$ /) 1+F '23 /#$2 4#$*$ /#$9 '*$ )2 ' =1./'* 2$,;5 N1/ 0.*+/F /#$ @'+.,+5 "#$*$ '*$ V 2)/$+ /#'/ #'>$ ' -$//$* 2'&$F /#$ +'&$ '+ /#$ &'()* )8$2 ,#)*3+ 9)1 ;2)4
V " ) K W Y 6 "#.+ +$^1$2,$ .+ *$8$'/$3 /) =.>$ 1+ '-' -- /#$ 2)/$+ 9)1 ,'2 +.2= )* 8-'9 )2 ' =1./'*5 T',# /.&$ /#$ +$^1$2,$ .+ *$8$'/$3F /#$ 2)/$+ '*$ )0 ' #.=#$* 8./,#5
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V (:5'>BZC '5%(#( 2:# >%24: QP 8 N'#2 (sit on something sharp, you’d go +> /))<`
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
O&*H [*+' I>#& =2'%&$( You’ll need to know the names of the open strings. R+.2= ' &2$&)2., ,'2 #$-8 9)1 *$&$&@$* /#$&5 6)* $M'&8-$b W-$8#'2/+ V23 K)2;$9+ 6*)4 ".= W'*+ /) *$&$&@$* W V K 6 " W _/#.,;$+/ /) /#.22$+/<` /#
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After this lesson, I’d like you yo u to use the previous page to name all a ll the notes on your thickets T +/*.2=5 N$,'1+$ /#$ T +/*.2= +/'*/+ +/' */+ )2 '2 T 2)/$F 4$ +/'*/ 0*)& 0 *)& TF /#$2 6F /#$2 6W _3$0'1-/ _3$0 '1-/ /) /#$ +#'*8+ /) &';$ ./ &)*$ -)=.,'-F .5$5 6 6W % %W $/,`
T#4. %5 13* 4#1/&#)' <4%4@'3#&6'D 5#)) %4 13* 0%1'U ,4()/0,49 V: J: Q: #40 H %4 13* 0%/2)* 0%1 13 awe some to memorize memo rize #1 NW fret. This is a great way to check that you’re r ight! In fact, its awesome these so you don’t have to count up all the time!
,#-#. / 7@0 ):*'3 ] ,#53 $+%25' N*' ,#-#. / H$>$- \ .+ '-- '@)1/ /#$ A$9 )0 %F % F '23 #)4 /) 8-'9 2)/$+ 0*)& /#$ % &'()* +,'-$ _)* % pentatonic) over chords in this key. So here’s we’re essentially adding some lead guitar 4)*;)1/+< "#$+$ 4)*; @$+/ 8-'9$3 )>$*
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,#-#. ? 7G0 _#4*EE#&3#3 (*&$( N*' ,#-#. / Here I list the essential songs from each level so you can fast track the beginner’s course.
_#4*EE#&3#3 (*&$( N*' ,#-#. / "'*H& WP#3 6%'. QP b5& ;*''%(*& E ,-'++., +)2= /#'/ #'88$2+ /) @$ .2 /#$ A$9 )0 %5 "#.+ 1+$+ /#$ &)+/ ,)&&)2 +/*1&&.2= + /*1&&.2= pattern ever (from Lesson 2 of this level). It also introduces a ‘Bridge’ (known as a pre ,#)*1+ .2 E&$*.,'`5 "#.+ .+ ' +)2= +) 2= +$,/.)2 /#'/ ,'2 ),,1* @$/4$$2 ' >$*+$ '23 ' ,#)*1+ /) @1.-3 /#$ +)2= 18 '23 &';$ /#$ ,#)*1+ +)123 +)12 3 @$//$*<
U#P "'*2:#' QP V-%44% E &'++.>$ #./ .2 :JYIF /#.+ +)2= .+ 8)81-'* 4./# &9 8*.>'/$ +/13$2/+ )0 '-- '=$+5 G/ '='.2 1+$+ /#$ &)+/ ,)&&)2 +/*1&&.2= 8'//$*2 $>$* 0*)& -$++)2 :F '23 .+ '='.2 .2 /#$ A$9 )0 % 4#$2 ' ,'8) .+ 1+$35
,*-# 2:# H5P P*+ .%# X )5.%N*'&%5 O%&$ "#3 QP _%:5&&5 N)/# )0 /#$+$ '*$ =*$'/ $M'&8-$+ )0 ‘4 chord songs’ in the Key of G.
,#-#. / 7c0 J'542%4# _*+2%&# N*' ,#-#. / U$*$ +/.-- G *$,)&&$23 ' 8*',/.,$ /.&$ )0 ZJ &.21/$+F $+ 8$,.'--9 ,)2+.3$*.2= /#$ /#$)*9 ,)2/$2/ '23 /) =.>$ 9)1 /.&$ /) /*9 /* 9 )1/ 9)1* )42 ,#)*3 +$^1$2,$+5 D$&$&@$*F .0 /#.+ .+ /)) &1,#b @*$'; ./ 18 .2/) : M :J &.21/$ +$++.)2+ + $++.)2+ G3* "%'1 2*4*5,1 -,)) 2* found if you can pick pi ck up your guitar nearly near ly every day! Don’t Don’ t worry if you have a day off, but if you’re spending more days not playing than you are playing @ 2* #-#&* .%/ -,)) 4%1 "#;* 13* 6&%9&*'' .%/ (%/)0 2* "#;,497
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):*'3 >'542%4# B=2'+E >%4\ =2'+EC E-- '@)1/ /#$ ,#)*3 %F B '23 a '/ /#.+ -$>$-F @1/ /#$ &.2)* ,#)*3+ 4.-- +/'*/ /) =$/ 1+$3 ' -)/ 2)4 /))< _:P2:E >'542%4# /# ! L +/*1&&.2= 4./# ' /.$ _H$>$- \ J:` ! L/#+ '-- 3)42 +/*1&&.2= 4./# '2 ',,$2/ '23 '2 18 _H$>$- [ J:` ):*'3 (#^+#&4#(0 N$ '@-$ /) 8-'9 '29 )0 /#$ / #$ *$,)&&$23$3 ,#)*3 +$^1$2,$+ '23 '+ ' @)21+7 @$ '@-$ /) &';$ 18 9)1* )425 "*9 /#$+$ 4./# 4./ # /#$ 2$4 +/*1&&.2= 8'//$*2+ '/ /#.+ -$>$- 4#.-$ ;$$8.2= /.&.2= ,)2+.+/$2/< ,)2+.+/$ 2/< 6 E5<*' (45.#0 /#.+ +#)1-3 @$ 8-'9$3 Z /.&$+ /. &$+ /#*)1=#F .3$'--9 /) ' &$/*)2)&$ '+ .2 H$>$- \ JI< U'>$ ' 0$4 '//$&8/+ /) =$/ /#$ +)123 '+ +&))/# '23 /#$ /.&.2= '+ $>$2 $>$ 2 '+ 9)1 ,'2 =*&$ >'542%4#d S*',/.,$ +)2=+ /#'/ 1+$ /#$ /4) +/*1&&.2= 8'//$*2+ -.+/$3 .2 /#$ *#9/#& 8*',/.,$ +$,/.)27 ./ .+ /#$ @$ '-- ' nd end all of this level. I’d like you to also be '4'*$ 4#'/ ;$9 9)1 /#.2; #$ +)2=+ 9)1 ;2)4 '*$ .25 6. 2'--9F &';$ +1*$ 9)1 ,'2 +/.-play at least 2 guitar riffs by now! (Can’t Explain, Free Falling and Highway to Hell or +.&.-'* +#)1-3 +/.-- @$ .2 9)1* *$8$*/).*$<`
,#-#. / $*5.(
N$ '@-$ /) 8-'9 /#$ ,#)*3+ 0*)& &$&)*9 _TFEFaF T&F E&F a&F %F B '23 B'33e` U'>$ ' @'+., 123$*+/'23.2= )0 4#'/ ' ;$9 .+ '23 2'&$ '-- /#$ ,#)*3+ .2 /#$ A$9 )0 % N9 2)4 9)1 +#)1-3 ;2)4 '*)123 YJ +)2=+F +)&$ )-3F +)&$ 2$4F +) &$ $'+9F +)&$ #'*35 P0 /#$+$ +)2=+b ! f)1 +#)1-3 @$ '@-$ /) 8-'9 '/ -$'+/ [ +)2=+ +) 2=+ '-- /#$ 4'9 /#*)1=# EHPQ% "P "UT DTBPDa ! "#$+$ +)2=+ +#)1-3 #'>$ +/*1,/1*$ /) /#$&C '*$ .2 /#$ +)2=@)); +/9-$ .5$5 /#$9 #'>$ ' >$*+$F @*.3=$F ,#)*1+F &.33-$ L N$ '@-$ /) 8-'9 '/ -$'+/ : *$,)=2.+'@-$ =1./'* *.00+F /#$+$ / #$+$ +#)1-3 @$ 0*)& ! &$&)*9 '23 EHPQ% "P "UT DTBPDa
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U*H E+4: (:*+.3 1 3*&52#S I’ll be making this eBook available soon for around £8 ($12). You can donate #)4$>$* &1,# )* -.//-$ 9)1 0$$- ./ 4'+ )0 @$2$0./ /) 9)1 R:P K*&52#S G #)8$ 9)1 ,'2 /$-- /#'/ &'29 #)1*+ )0 4)*; #'>$ =)2$ .2/) ,*$'/$ /#.+ 12.^1$ ,)1*+$5 "#.+ .+ )2 /)8 )0 /#$ #)1*+ ,*$'/.2= /#$ ',,)&8'29.2= 0*$$ >.3$)+F '23 ,*$'/.2= 4$@+./$ ,)2/$2/5 K#.-$ ./ .+ /*1$ G &';$ +)&$ .2,)&$ 0*)& '3>$*/.+$&$2/+ )2 /#$ >.3$)+F 3)2'/.)2+ '--)4 &$ /) +8$23 -$++ /.&$ /$',#.2= 8*.>'/$-9 '23 &)*$ /.&$ ,*$'/.2= 2$4 ,)2/$2/F 4#.-$ ;$$8.2= '-- >.3$) ,)2/$2/ 0*$$
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,#-#. /0 1&2'*3+42%*& 5&3 6*5.( At this level we’ll learn 45
3 65789:; ,3< )3< =3< &3< -3 >?9 /3 345 65789: >@A>B: :7C?9 ‘bluesy’, just like how minor chords sound ‘sad’D ‘sad’ D There’s > There’s > lot of chords here, but they’re similar to the ones you know already. ,@CE: CF B7C8 7FE? 65789 >?9 F@>B G78E :7?H: AI45 45E:E 65789:2
,@CE: >?9 '7@J :48CGGI?H F>44E8?: We’ll cover a blues shuffle and folk triplet t riplet strumming, sound complex but their easy 47 97 >?9 :7C?9 H8E>42
!5E KI?78 LE?4>47?I6 $6>@E This will show you the notes used to make blues and rock riffs and solos! We’ll We’ ll learn 47 F@>B 45I: AI45 5>GGE8 7?: >?9 M@I6J 7MM: :7 B7C 6>? F@>B I4 M>:4E82
.EFE847I8E >?9 F8>64I6E 87C4I?E As always, I’ll provide you with a list of my recommended songs to smoothly s moothly fast 48>6J 45I: 67C8:E< >: AE@@ >: 45E F8>64I6E 87C4I?E # 8E67GGE?9 B7C C:ED
,#-#. / 780 9/9 ):*'3( "/; / What is a ‘7’ chord?
Any number at the end on a chord means there is an ext ra note added. This doesn’t always G>JE I4 5>89E8 47 F@>B< I? M>64 I4 6>? G>JE I4 GC65 E>:IE82 345 65789: >@A>B: :7C?9 ‘bluesy’, NC:4 @IJE 57A GI?78 65789: :7C?9 ‘sad’. !5E 7?@B A>B 47 F@>B > ?78G>@ , 65789 7? HCI4>8 I: AI45 > 48I6JB O>88E 65789D !5E ,3 5E8E 6>? OE :EE? >: > GC65 E>:IE8 7F4I7? >?B4IGE B7C :EE 45>4 > ‘,’ I: A8I44E? I? G7:4 :7?H:2
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& 47 ,3 P8E>@@B 67GG7? AI45 > QR O>8 O@CE: >?9 :7?H: I? 45E JEB 7M &S ) 47 ,3 P45E Q:4 T MI?HE8: 8EG>I? I? 45E :>GE :5>FE; 45EB :IGF@B G7UE 97A? > :48I?HS G to B7 (The ‘buskers’ chord change, used in Stand By Me, Dock Of The Bay in the songs OE@7AS "/ 4'*B( +B %& #-#'D (*&$ 52 2:%( .#-#.; %2 %( 2:52 4*AA*& #(B#4%5..D 5( 5& 5.2#'&52%-# 2* 5 standard B chord which we won’t be doing for some time (it’s tough!)
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!5I: F>HE 67UE8: 57A 47 F@>B 3 P>J> O@CE:BS UE8:I7?: 7M 45E 7FE? 65789: B7C >@8E>9B J?7A2 These chords are used in most songs at this level, and in many songs you’ll look up in the MC4C8ED !57CH5 GEG78IVI?H 45E ,3 65789 :57C@9 OE 45E F8I78I4B >4 45I: @EUE@< 45E:E 65789: >8E E>:IE8< :7 F@E>:E 4>JE 45E 4IGE 47 67GGI4 45EG 47 GEG78B2
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,#-#. / 7E – 7E – ?'%B.#2( ?'%B.#2( 5&3 FG%&$ F2'+AA%&$ #? 45I: 85B45G HCI4>8 @E::7?< AE @77J >4 57A 47 F@>B 2'%B.#2( >?9 (G%&$; 5H5 (:+II.# 85B45G:D !5E:E >8E C:EMC@ M78 O@CE:< M7@J >?9 >@:7 :7GE F7F :7?H:D !5EB >8E O745 474>@@B 9IMME8E?4 47 45E ‘straight’ :48CGGI?H AE 5>UE @77JE9 >4 :7 M>8 >?9 (:*+.3 &#-#' J# A%K#3L
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,#-#. / 7T0 ?:# U A5V*' / 4:*'3 W5H5 UA5V/X The major7 (maj7) chord is not bluesy. It sounds s ounds pleasant and peaceful (honest!). We’re @E>8?I?H 45E 'G>N3 ?7A >: >? E>:IE8 >@4E8?>4IUE 47 45E 4 5E OIH O>9 ' O>88E 65789< 78 745E8 5>89E8 A>B: 47 F@>B >? 'D $7GE4IGE: 45E 'G>N3 AI@@ OE :FE6IMI6>@@B A8I44E? >?9 :57C@9 OE F@>BE9D '78 ?7A< >?B :7?H A5E8E B7C :EE 45E ' 65789< B7C 6>? C:E 4 5I: C?4I@ B7C @E>8? 45E ' O>88E 657892 This is easy as it’s it ’s really similar to a C chord which you should be good with by now, and is A5B # 6>@@ It It an ‘F like a C’ C ’ chord!)
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This Fmaj7 doesn’t work all the time, ti me, which is why we’ll have to learn the t he real F chord after this beginner’s course. It can take a few weeks for some people and that’s totally fine f ine;; I4: 47CH52 Many people avoid songs with an F chord in it because it’s so hard ; ?7A B7C J?7A 45>4 45I: 'G>N3 65789 I: >? 7F4I7?; you’ll be able to take on so many more songs!
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,#-#. / 7[ – 7[ –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inor Pentatonic ‘shape box’ !5I: I: :IGI@>8 47 > 65789 6 5789 O7Y< OC4 B7C A7C@9 7?@B F@>6E 7?E MI?HE8 97A? >4 > 4IGED #G>HI?E
9IFFI?H B7C8 MI?HE8: I? F>I?4 45E? F@>BI?H 45I: :6>@E ; 45I: I: A5>4 B7C8 M8E4 O7>89 A7C@9 @77J @IJE2 $6>@E: 5>UE > 8774 ?74E 45>4 HIUE: I4: ?>GE< NC:4 @IJE 65789:D !5E8EM78E 45E MI8:4 ?74E you start on gives the scale its letter name. This ‘shape box’ shows sho ws you this shape, then you 6>? G7UE I4 CF >?9 97A? 45E M8E4 O7>89 47 F@>B I4 I? >?B _EB2
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]*G 2* B'542%4# ?:# M%&*' R#&252*&%4 F45.# The next page shows you exactly how I’d like li ke you to practice this scale, as there are right >?9 A87?H A>B: 47 97 I4< >@7?H AI45 AI4 5 GB FE8:7?>@ 8E67GGE?9>4I7?:D
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When the notes are memorised… (these are the trickier tr ickier points that take longer)
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