I
I Table of Contents
SESSIONS 63
11) Pentatonic scales Fl3ntatonic SCales, F1Jfms &Fl3ntatonic PaltBms
SESSIONS 1)Starting Off Right
2
String Names. Technique, Tuning, Rnger Exercises, C& Gl Chords
2) Reading Music & Notes on the 1st & 2nd Slrings
3) Notes on the 3rd & 4th Strings
• Arcund the Pentatonic Wood (CD #3Tr. 19)
4) Notes on the 5th & 6th Slrings
7
o Rocldn' (CD #3Tr. 20) 14
15
16
21
21
22
o
Blues SCale, Miner Fl3ntatonic witJJ 8IufJs !IlJtes,
Blues Chord Progression, Triads &WorlcsIreets
• The Star Spangled Banner (CD #1 Tr.23.24,25) o Minuet in G(CD #1 T' 26,27,28)
5) Basic Open Chords
31
Open Cilads & Chord Exercises 1-3
o Morning Has Broken (CD #2Tr. 2,3,4) o America The Beautiful (CD #2Tr. 5,6.7) 6) Minor Seventh & Suspended Chords
35
36
37
Minor Seventh &SuspenderJ Chords &Stn.mming PaUems
o SCarborough Fair (CD #2Tr. 8.9,1 D) o Green~ee,es (CD #2Tr. 11,12,13) o The Banana Boat Song (CD #2T' 14,15,16) 7) Barre Chords on the 6th SIring
41
42
42
43
Had-Steps & ~oIe Steps, 6I!J StIing Barre ClIords &Exercises, Major Scales
o Home on the Range (CD #2Tr. 17,18,19) o Yellow Rose ofTexas (CD #2Tr. 20.21,22) 8) Barre Chords on the 5th SIring
47
47
48
9) The secret to Great Strumming
• Blues inE(CD #31r. 8,9,10)
10) Fingerstyle Guitar
51
51
52
• The Funky Mute (CD #4Tr. 8)
15) Electric Guitars-The Heart 01 Rock & Roll
55
56
56
78
79
79
80
Clri
• Power Chord Rock (CD #4Tr. 9) • Power Rills (CD #4n 10)
16) Advanced Strumming
B4 B4
85
16th Notes, Strumming & Exercises
o Rolling Along (CD #4T, 11) • AUtIle Bo Rocky (CD #4Tr. 12) o Electric Funk (CD #4Tr. 13) 17) Going Beyond the First Position
87
88
58
89
3 Note on a StIing scales. lieventtr Chorrls
o Triplet SCale Prnc1ice (CD #5Tr. 2,3,4) o Pop Ballad Groove (CD #5Tr. 5) 18) Jazz
91
92
92
93
Jazz CIiorr1s & C/lorrJ I'IlJgressions
o All of Me (CD #5Tr. 7) 19) Soloing
96
97
97
98
Soloing Techniques &Ear Training
o Ear Trajning Exercises (CD #5Tr.l0,11,12)
o Stevie's Groove (CD #5Tr. 13)
• Every Breath (CD #5Tr. 14)
20) All the Chords You Need To Know
99
100
101
102
CIIord F1Jfmulas, Abbre,;alions & Inversions
57
• Chord Exercises 1 & 2 (CD #5Tr.15,16)
Tec/Jnique &Exercises, Merle Tmvis & Classical
o Hoose of the Rising Sun (CD #3Tr. 11,12,13) • Canon in 0 (CD #31r. 14,15,16)
76
Sliding, Bends, Hammer-ons, Pull-offs, Tapping & Hannanics
• Aslime Goes By (CD #5Tr. 9)
StJumming Tec/Jnique, Intervals & Worksheets
o lJlBamba (CD #3Tr. 2,3,4) o The Wabash Cannonball (CD #3T' 5,6,7)
14) Giving Your Playing Some S1yfe
C On Green Dolphin street (CD #5Tr .8)
Keys &Key Signatures, Paraiiel Major & Minor
o Jamaica Farewell inF (CD #2 Tr. 23,24,25)
75
75
• 22Shuflle (CD #5Tr. 6)
5/IJ Stnng Barre Chords & Exercises,
o Jamaica Farewell in G(CD #2n 26,27,28)
o CJam Blues (CD #4Tr. 2,3) • Johnny's E Blues (CD #4Tr. 4,5)
• Jazz Octaves (CD #4Tr. 7) 26
28
29
3D
71
13) Playing the Blues
o Bending the Blues (CD #4Tr. 6)
Flats, Natural Signs, Am & EChords
70
70
70
Su~nded
Smoo1ll (CD #3Tr. 21) o Acoustic Groove (CD #3Tr. 22)
23
5/IJ & 6/IJ Stnng !IlJtes s Exercises, SIlarps,
o MinuetinC(CO#l Tr.17,18,19) o Simple Gifts (CD #1Tr. 20,21,22)
fiT
Two CIiorr1s, Major 1tIr Chords, Minor I//IJ Chords, Exercises & Chord Substitution
Ties, Dots, Repeat Signs, Eigh/IJ !IlJtes,
3td &4/IJ StIing !IlJtes &Exercises
o Yankee Doodle (CD #1 Tr. 8,9,10) o When The saims Go Marchin' In(CD #1 Tr. 11,12,13) o Love Me Tender (CD #1Tr. 14,15,16)
66
66
66
12)Advanced Chords
Music Readlirg, 1st &2nd StIing Notes & Exercises
o Ode To Joy (CO #1 Tracks 2,3,4) o Jingle Bells (CD #1 Tracks 5,6,7)
o A Minor Pentatonic Blues (CD #3Tr. 17) o GMajor Pentatonic (CD #3Tr. 18)
o Friend (CD #5T' 17) 61
62
• Funky Groove (CD #5Tr. 18) o Dancing onthe Geiling (CD #5Tr. 19)
104
105
105
106
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I Learn & ~ Guitar
63
SESSION 1- Starting Off Right Estimated Time to Learn These Concepts - 1 Week
66
66
66
It's easy to playanymusical instrument: all you have to do is touch the right key at the right time and the instrument will playitself. - J.S. Bach
67
'--~-~----~~-----_._---_.
70
70
70
n
The Parts of the Guitar
The Names of the Strings
There are three main types ofguitars, the steel-string acoustic, the nylon siring orclassical guitar; and the electric guitar.
The six strings of a guitar are numbered from first to sixth starting on the thinnest stling and counting up to the thick est string. The strings also have letter names that corre spond to each stling. Memolize the names of your strings.
75
75
76
76
79
79
4
3
5
2
6
1
80
B4 B4
EADGBE
Bridge
I
EADGBE
85
67
BB 66
89
91
92
92
93
96
97
97
!Ill 99
100
101
102
Proper Right Hand Technique
Proper Left Hand Technique
Hold the pick between your thumb and first finger. The thumb and pick should form a 90 degree angle. The pick should be slicking out from underneath the thumb a 1/4 to 1/2 ofan inch.
Hold your thumb on the back ofthe fingerboard on the upper side of the neck. Be careful not to put your thumb on top of the neck. Your wrist should be low with some air space between your palm and the neck ofthe guitar.
Bracing your hand gives your hand the needed stability to accurately switch between strings. Although there are many different ways to brace, placing your pinky on the soundboard right below the first string is the most com mon way. You don't need to press hard.
Your four fingers should be evenly spaced. Notice how the middle two fingers are coming straight onto the fretboard. Your first and fourth fingers are curved slightly toward the frets.
I
I Leam & Iv\asler GuitlI
Tuning the Guitar Your gUitar will need to be tuned before playing. Tuning involves tightening or loosening the strings to raise or lower the pitch
to match a constant pitch. There are three main ways to tune your guitar. You can tune your gUitar by using an electronic
tuner, oryou can tune by "ear" using the other strings of the guitar, oryou can tune to a keyboard.
Tuning with an Electric Tuner Many electric tuners come with a built in microphone for use with an acoustic gUi tar. If you are using an electric guitar you can plug your instrument cable directly into the tuner. According to the directions of your specific tuner, it will display whether you need to tighten or loosen the string in order to be in tune. Electric tuners are an easy to use, fast, and accurate way to tune your guitar.
Tuning byEar You can also tune your guitar by listening carefully tothe other strings and tuning each string to the others. Here isthe process. • Put your finger on the fifth fret of the sixth string. Now, play the sixth string and the open fifth string. Usten to the two pitches. If the open fifth string sounds lower than the sixth string then tighten the fifth string tuning key until the two notes match. Ifthe open fifth string sounds higher than the first note then loosen the fifth string tuning key. You always adjust the tuning keys of the open string, not the string that you are fretting. • Next, play the fifth fret on the fifth string and the open fourth string underneath it. Listen to the two pitches care fully and adjust the open fourth string accordingly.
I
• Play the fourth string at the fifth fret. Listen and tune the open third string to it.
1
•To tune the second string, play the third string at the fourth fret and tune the open second string to it. This is the only string that does not use 1I1e fifth fret as the reference. • Lastly, play the second string fingered back atthe fifth fret and tune the open first string to it. 6th string 5th string
4th string 3rd string
•
2nd string
1st string
'A' I~ I~ I~
E
•
A D G
tB' '-"
I?
B E
'=-'
5th Fret
Middle C
Tuning to a Keyboard You can also tune your guitar to a keyboard or piano. The open strings ofa guitar correspond to certain notes on a keyboard.
SESSION 1
3
E
A
6th string
5th slrtng
D 4th string
G
B
3rd 2nd strlng str1ng
E lsi string
Starting Off Right
I
I Learn & ~ Guilar
How to Read Guitar Tablature TABLATURE is a type of musical notation that guitarists have developed to describe what strings on the guitar are being played at any point and what frets need to be fingered.
Figure 1
Single Notes in Tablature
The Tablature Staff 1st - E
2ndB 3rd - G 4th-D 5th-A 6th-E
Figure 3
Figure 2
=l
Chords in Tablature
9
========= :A~---- 2 -Dt====== :8=======
...u .....
1 3 9
1 0
"""It
~----9--
i
::A===+:===
-H~-------
The 6 lines correspond to the 6 strings on your guitar.
:B~----9---
Inthis e""mp~ you wllIJd play ~I oft!lo strings at thesame time. The first, second and sixltl strlngs would be open. Your first finger waul:! frat tilefirst frat on tiletIlird string. The fourt!l andIift!lstrings would have flnge", on tilesecond frats of each string.
The numbers tellyou which frets you need to put your fingers on and which strings to use, Inthis example you would play thefirst string fretted atthefirst fret. The nextnote would be til, fi",t string at til. tIllrd frat Then. the s~ond string atthe third fretand so on.
Finger Exercises These finger exercises are designed to build coordination between your right and lefthand. Proper picking and fingering hand coordination is vital to good controlled guitar playing.
Directions: Play each finger pattern on each string. Start on the first string, then the second, third, etc... Although a little dif ficult atfirst, these exercises qUickly build the motor skill control needed to play the guitar effectively. Practice with an even, steady rhythm. The goal is control, not speed. 1111222233334444333322221111
~------------------
1. : : : A - - - - - - - - - - - - - - - - - - - =8------------------ Right Hand Picking: Down-Up-Down-Up
2.
=T
~
1
1
:1
:1
Repeat forall Strings
3
3
4
4
3
3
:1
:1
1
1
=B
Right Hand Picking: Down-Up
=T 3. :::A
:::8
1
:1
Repeat for all Strings 3
4
3
:1
1
I Learn & Master Guitar
2
1
a
1
a
1
4
1
2
1
1
=1------------------
4. ~~------------------- =B------------------ Repeat for all Strings
5.
~
~
:::8
a
4
4
2
4
4
1
4
3
2
4 1 Repeat for all Strings
How to Read Chord Blocks CHORD BLOCKS are diagrams that tell you how a chord is to be played. They include intormauon about which frets are to be played by which fingers and which strings are to be played or not.
Chord Name - .
Slrings ---------. 6th 5th 4th 3rd 2nd 1 st
X
Don't Play Siring - .
EADGBE
C 0
0
--Play Strings Open
_ - Nut
_ Pull s! Anger lNl 2nd String s! 1s! frot
1st fret Put 2nd Finger on _.
2ndfret 3rd fret
4111 String at 2nd frs! Put3111 Finger on _ 5th String at3ndfrs!
4th Fret
, An open circle means play theappropriate slring open, , A filled circle means play the nole on that particular fretand siring, . AnX means to notplay thatsiring.
, Session 1 Assignment ;,·06a1lflnll~ri&XerblSeS·Qri',
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Starting OIlR,ght
5 -
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.- -- -
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I Learn & MastEr Gui1ar
The Cand G7 Chords The first two chords to be learned are the Cand 67. Form and play each chord. The numbers tell you which fingers to use. The Cchord uses only 5 strings, so be careful not toplay the sixth string. The 67 uses all six strings.
X
c
0 0
Chord Exercises
c 1.
G7 1
10
0
C
2.
G7
67
/ / / / 1/ / / / 1/ / / /
Strum chord for each slash.
C
3.
67
C
/ / / / 1/ / / / 1/ Strum chord foreach slash.
I learn & Master Guitlr
SESSION 2 - Reading Music & Notes on the 1st & 2nd Strings
How to Read Music Music is written on a STAFF which has 5 lines and 4 spaces. Music is read from left to right just like you would read a book. Where the note is on the staff tells you how high it is or how low it isin pitch. The note can be on a line or aspace. Each line of the staff has a letter name that goes with it. The musical alphabet goes from Ato G.
The Music Staff
Notes on a Line
High Note
---0::
5th Una
41h Space
4th Una
3rd Space 3rd Una 2nd Space 2nd Line ~
----.:::7
1st Line
tst Space
5th Line
4th Llne
3rd Line
2nd Line
1st Line
Notes on a Space
---O-F --8-
=E G'-
-
3rd Space
Low Note
The notes on the spaces convenienUy spell the word FACE.
Remember them bylearning: Every
Good
Boy
Does
Fine
Rhythm There are four main types ofnotes that vary according to how long they are played.
Types of Notes WHOLE NOTE
HALF
QUARTER
NOTE
NOTE
NOTE
o 4
Beats
SESSION 2
1
2
Beat
Beats
7
1/2 Beat Reading Music &NctEs on the 151& 2nd SIring;
I
I Learn & Master Guitar
Types ofRests Music is made up ofsound and silence. The notes tell you when to play and the rests tell you when not to play.
...
WHOLE REST
HALF REST
4
QUARTER REST
EIGHTH REST
~
~
1
2
Beats
Treble Clef, Time Signatures, Barlines & Measures
Treble Clef
r-:
-
1\
1/2 Beat
Beat
Beats
...
Measure
Measure
- - TOP NUMBER
MCBSUffJ
How Manv ee
in ach Measure
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'-' IJ ~ @.. Time Signature
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Bar/Ina
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The Notes on the Eor First String
E o
G
F o
• First String Open
First String First Finger
First String Third Finger
Endln
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I Leam & MastEr Guitar
First String Exercises Instructions: Write above each note the letter name of the note. Play each exercise using the correct finger for each note. E
1.
~
F
G n.
n
Whole Notes get 4 Beats.
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4.
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SESSION 2
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Reading Music & NOles on II-.. 1st & 2ndStrings
I
I Learn & Master Guitar
More First String Exercises r
Instructions: These exercises do not have the tablature included. Try to read the music and play slowly. Write in the notes if needed. Play each exercise. Remember to use the correct finger for each note.
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2. 3.
4.
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The Notes on the 8 or Second String
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Second
Second String
Second String
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Second String Exercises Instructions: Write above each note the letter name ofthe note. Play each exercise using the correct finger for each note. Practice slowly. Remember to give each note the proper number of beats. BCD fl
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More Second String Exercises Instructions: Try to read the music and play slowly irl an even rhythm. Write irl the notes if needed. Play through each exercise until there is no hesitation between notes.
SESSJON2
11
Reading Music & Notes on l!'e 151 & 2nd Siring<
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3. 4. 5.
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First and Second String Exercises Instructions: Play each exercise slowly in an even, steady rhythm. Be careful to use the correct finger for each note.
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More First and Second String Exercises Instructions: Try to read the music and play slowly in an even rhythm. Write in the notes if needed. Play through each exercise until there is no hesitation between notes.
1.
11
2.
~§~II
3.
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5fS5ION2
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Half rest, 2 Beats.
13
Reading Music & NOCI3 on the 1st& 2ndString;
I
I leam & MasterGuitar
Theme from Symphbny #9
Ode to Joy Ludwig van Beethoven (1770-1827) Play the notes then practice strumming the correct chord for each beat. It a measure does not have a chord change over it then continue to play the previous chord until the chord changes.
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c
c
G7
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G7
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Joy- lui.
joy - ful
t.
a - dore thee,
God
G7
C
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we
I'
of
of
I
like
Prais - ing thee, their
fiowers be - fore thee,
, sun
a-bove.
C
G7
II
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n
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Melt
C
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.. I..
, Hearts un - fold
love;
G7
C
G7
t.
Lord
glo - ry,
the clouds
sin
and sad- ness,
G7
C
I
Giv - er
I
of
im - mor - tel
Fill
doubt a - way:
C
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I gled - ness,
of
G7
C
Ii of
drive the dark
us
with
the
light
of
day.
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I.eam & Master Guitar
Jingle Bells
c
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-
Jin - gle
bells,
G7
Oh, what
it
the
way._
G7
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j/n - gle
bells
C
~I t.
jin - gle
is
to
ride in(a)
one horse
o - pen
sleigh._
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c
d
~-
to Oh. what fun
SESSION 2
it
is
• to
ride
in(a)
15
one
. horse
0
- pen
sleigh._
Reading Music & N_ on the 1Sf& zndStrings
I
I learn & MaslErGuitor
SESSION 3 - Notes on the 3rd &4th Strings
Ties ATIE combines the rIlythmic values oftwo notes and is represented by a curved line between two notes of the same pitch. The first note is played for the duration of both notes and the second note is not played.
2.
1.
~tll Dots ADOT following anote changes the rhythmic value ofthe note. DOTS add one half ofwhatever note value they are attached to.
,
DOTTED HALF NOTE
DOTTED WHOLE NOTE
0
3
6
Beats (2+1)
Beats (4+2)
DOTTED QUARTER NOTE
r 11/2 Beats (1+1/2)
Repeat Signs A REPEAT SIGN is a double bar line with two dots. It means to repeat asection of music. You would repeat back to where a previous backwards repeat sign was orto the beginning ofthe song, whichever comes first.
Repeat back to beginning
Repeat these twomeasures then proceed on
I Learn & Master Guitar
Eighth Notes An EIGHTH NOTE receives 1/2 a beat so it takes two of them to make 1 beat. If you have several eighth notes together, they are grouped together by a beam.
EIGHTH NOTE
EIGHTH NOTES BEAMED TOGE"fHER
L--r = r
D 1/2 Beat Eighth Note Exercises
Instructions: Play slowly in an even rhythm. Write in the notes if needed. Play through each exercise. Try notto hesitate between notes. When you have several eighth notes of the same pitch in a row, then alternate your pick ing (Down-Up-Oown-Up).
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6. SESSION 3
17
NOlES un the 3rd & 4th Strings
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I LEGky
Leam & N1aster Guitar
, . . . . '~o "n .....
The Notes on the Gor Third String
A
G o
e
Third String Open
Third String Second Finger Second Fret
Third String Exercises Instructions: Play each exercise using the correct finger for each note. Write in the notes if needed.
1.
-
2.
3.
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I Learn & M1ster Guitar
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4. ~ ~
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--
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The Notes on the 0 or Fourth String
D
o
E
F
-. Fourth String
Third Finger
Third Fret
Fourth String Second Finger Second Fret
Fourth String Exercises Instructions: Play each exercise using the correct finger for each note. Write in the notes if needed.
,
1.
SESSION 3
t.
c;
G/
19
..
G/
NOlES on the 3m & 4th Slnngs
I
I Learn & MaslEr Guitar
2.
3.
~
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...... •
• Session 3 Assignment
..
.. ..
..
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I Learn & Ma5Ier Guitar
Yankee Doodle
C
G7
~I~L
~~~=f~
Van - kee - 000 - die
went
to
town
a
C
Ii - ding on
-
a
po
G7
stuck
a
fea - ther
in
his
cap
and
-
ny.
He
C
called
it
mac -
a
-
ro
When The Saints Go Marchin' In
-
ni.
This song includes chords that are covered in Session 5 (page 31).
G
II
a saints _ _
go
in
march - ing
_
07
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saints
in.
go
_
Lord,
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G
I
~n~
when
o
G
I
saints
SESSION 3
go
march
the
G
I
in.
ing 21
_ Noles on the 3rd & 4th Strin~
I
I Learn & Masler Guitar t' ,
This song includes chords thaI are covered in Session 5 (page 31).
Love Me Tender Aura Lee
C
07
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G
I
C
E7
Am
E7
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C
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I Learn & Masler Guilar
SESSION 4- Notes on the 5th & 6th Strings
Playing guitar is an endless process ofronning outof fingers. - Harvey Reid, Fingerstyle Guitarist
The Notes on the A or Fifth String
o
A
c
B
• Fifth String Open
SESSION 4
Fifth String Second Finger Second Fret
23
Fifth String Third Finger Third Fret
NolES on the sth & 6th Strings
I
I Leam & MasterGuitl.
The Notes on the Eor Sixth String
o
E
F
G
U Sixth String Third Finger Third Fret
Sixth String First Finger First Fret
Sixth String Open
Fifth and Sixth String Exercises Instructions: Play each exercise using the correct finger for each note. Write in the notes if needed. ~
1.
t.
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ria
2
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La
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a
2
2
2
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Learn & Masler Guitar
Notes in the First Position gE
F
GAB
C
DE
F
GAB
C
D
E
F
G
,
a
f.¥_ Ii 0 ,
a
6th String
tf 2
a
5th String
10 22]0 4th String
0
2
3rd String
1
,
0
a
2nd SIring
1
~
1st String
CMajor Scale Example
SESSION 4
25
Nee an the 5111 & 6IhStrings
I
I learn & Master Guitar
Minuet in C
J.S. Bach
(1685-1750)
~ ~~~ ~~J gg@~JdM ~
Sharps, Flats, and Natural Signs Sharps
#
SHARPS raise up any note one half-step orone fret. The sharp sign appears before the note that is to be sharped. Remember to use the correct finger for each fret. "
• II.
~
Flats
.+1.
,,,-,
~~ "'(~).lf* ~p ~~
~
FLATS lower any note one half-step or one fret.
Open String Flat Rule: When flatting an open string go to the next lower string and play the fourth fret with your fourth finger. The one exception to this rule is the Bb on the third string third fret.
I
I Learn & Masler Guitar
1. I
I
. . . 1>. . .
~.~~~
Asharp oraflat affects not just the note it is by, but every note ofthe same name that follows it forthe entire measure.
Naturals
~
ANATURAL SIGN cancels out a previously used sharp orflat and restores it to its normal position.
The AMinor and EChord
Am xo 0
E00
........
0~
Chord Exercises E
Am
1.
0
1
c .
2. SESSION 4
/
0
1
Am /
/
/
1/ /
0
1
/
1/
0
/ 27
/
/
II
10
G7
E
/
Am
E
Am
1/
C
/
/
/
10
II
Noles 00 !he 5th & 6th SUing>
I
I Learn & MastEr Guila'
C
3.
Am
G7
E
Am
C
/ / / / 1/ / / / 1/ / / / 10
II
! Session 4 Assignment
All F's are sharped throughout the whole song.
Simple Gifts Key Signature = F#
=rr =t9
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I I..B1m & MasIer Guitar
The Star
Spangled Banner
Francis Scott Key & John Stafford Smith
~~~~
Oh. _
can
&8)1.
ae..
)IOU
by
dawn's
tho
ear -
fy
light,
wI'lat
80
~~J~
hailed _
proud - Iy
we
stars.
through the
gal - tant • 1)1
air,_
geve
at the
twi • lighfs
per • i - loua
stream - ing?
through the
that_
star
r
say,
land
SESSION 4
doe.
spang
r
@=f£
_
of
.he
free
~
gleam
ing?
o'er the
fight, _
And the
proof
last
rod< - efa
ram - parts
nag
- led
Oan
ner_
~ and
29
.he
home
we
stripes
wee
and
watctled,
Ihe bombs
glar8,_
red
that our
mght
Whose broad
still
..-
,
wa
bright
were eo
burst - ing
there.
ve.
F
r 8'
of
the
in
o
O'er Ih.
brave?
Ncreson !he 5111 & 6Ih Slrings
I
I Learn & Master Guitlr
Key Slgnatul1l =F. «.
Minuet in G J.S. Bach
All F's are sharped throughout the whole song.
(1685-1750)
~~~~~
t'r
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t'r
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SESSION 5 - Basic Open Chords
BBifl[f#QOd.ls naubiJ/it{:Jiaying fast; It's Sbo"t tJWl!!i4ist.
'i . x
.
-AOtlnyl1lOU$
c o
x
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XX
D
XX
Dm
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It
E 00
o
t
Em
000
(
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~
G
II)
)00
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xO
A
SESSION 5
")
X ")
xO
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31
Am
()
Basic Open Cho
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Learn & Maslef Guitar
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Basic Open Chord Exercises - 1
Learning the C, G7, Am, E, & Om chords
C
l'
~.
I
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This chord uses 5 strings.
7 7 7 7 s;ru: cho: tor : ch b: t.
-
I
2. ~'. r7
1~~kL~7~~7~~;~ r
L
,
E
Am
I
This chord uses 6 strings.
5 string chord
r7
r7
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z
C
I
6 string chord
-
171
:~
Am
I
I
3.~~~~~~;~
Strum chord down & up for each eighth note pair.
Am
I 4.~
-
Dm
I - :~ ~~ 4 string chord
G7
I
-
5.~ C
Om
~
I
~~~:~ ~
G7
I I I I 6.$( ~. ~ ~ ~ ~ ~
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C . . . . ,~G
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Basic Open Chord Exercises - 2 Learning the G, 07, Em, & 87 chords G
07
1/ / / / rp:~ ~~-7 g~~~~~~~~~~~~
I
1.
C
4 string chord
:~
07
I
I
2.~~~~~:~
87
I
3.
Em
I
5 string chord
~~e ~er t~ ~ Your
to
J2fnotes : sound propt,:,
Am
6 string chord
/
Z
/
87
I
I It
4. G
Em
I
5'~/J ~I Watchyour rhythm carefully! G
I
6.~ ~ SESSION 5
I' J
07
Em
I
I 33
87
I
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ggijJ
Basic Cl>en 010rds
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Learn & Master Guitar
..... ,n ".....
._
Basic Open Chord Exercises - 3
Learning the D, C7, A, A7 & E7 chords
o ·
1~ •
A
I
I'7~77 4 string chord
- ~~R /
~,·rrr2
C7
I
2• •
"' r7
Em
I
5 string chord
Z
Z
I~~:~
A7
I
5 string chord
r7
r7
7
2
- ~~I/ A7
I
Em
I
5 string chord
/ /
-
Z
:~
87
I
3._1~1~
A
I 1
0
I
E
I
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Ii
4. _ 6
~
II
~
~
I
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Om
Am
67
I
I
5. C
I 6.
IJ
6 string chord
I Learn & Master Guitar
~ Session 5 Assignment
Morning
Has Broken
c
Dm
I
I
I ij ~
I
19~~~~@' Mar -
ning
has
bro
like
ken.
Em
D
I
for
G
•
sing
§
ken,
Dm
I
I
I
J
like
praise
ing,
C
I
I
§,
'PO
the
D7
I
~,
Praise
mor
firs'
the
Am
I
has
Dm
G
for
the
G7
tha
mer
C
I
I
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lJ ning._
SESSION 5
Praise
for
the
spring
Ing
35
fresh
from
the
Word.
Basic Open Chords
I
I Learn & rw.- Guitar
Key Signature = AI All F's are sharped throughout the whole song.
America The Beautiful Samuel A. Ward
o
beau -
ti - ful
for
~. grain._
For
spa
pur
bove
n
• tM· mer
talns
ed
A
plain.
07
Am
I
es - ties
A
-
~ God
shed
J His
J grace
broth . er- hood
J 07
I from
sea
thee.c,
on
Am
I with
A-
II
G
I
i - ca
mer
07
I
J§
Ihy good
maj
~.
J
C
crown
of
I
fruit
i • ca
am - ber waves
07
I r
the
moun
pie
For
J
J9
A7
J
cious skies.
to
And
G
I
I
shin - ing
sea.
~.
I
I Learn & Ma>1ef GUitar
SESSION 6 - Minor Seventh & Suspended Chords
Open Minor Seventh Chords X(
Am 7 )
xx
0
~
Dm7,-..
c
)
4
It ~
Alternate Fingering
Open Suspended Chords X(
Asus
x
)
Dsus
o
Esus 0
•
~
Minor Seventh Chord Exercises Practicing the Am7, Dm7, & Em7 chords.
Am
1.
SESSIONb
Em7
Am7
~0
G
rr=r ¥=¥=1 D
0
G
J]
m-
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¥=¥if ¥=E¥f ¥=¥¥f
:~
~4ffiff1¥ C
3.
D7
~ t¥=m* 4' D
2.
Am7
Dm7
37
F
Mill(Jf ~ & Suspended 0lCIds
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,
,
Strumming with Ties Exercises Strumming Pattern Without Tie
Strumming Pattern With Tie
¥1;~~~ (~f
1.
Down
Down
up
Down
Down
Up
Up
Down
~; Ef~~
2.
Down
up
Down
Up
tEr r r~F
3. Suspended Chord Exercises Practicing the Asus, Dsus, & Esus chords. A
1.
~o
Asus
D
Asus
m=1 m=1 m=1 0
0
0
:~
2.~1
3.~
Three Basic Strumming Patterns 1. 2.
3.
I Learn & Master Guitar
Open Chords in the Key of C Practicing the C, Am, Am7, Om, Om7, G7, G, Em and Em7 chords
1._ G
I
Em
2.
3.~ 4.~
5.~
G
G7
~¥~-
SESSION 6
39
!
:~
Minor Seventh & Suspended Qlords
I
I Learn & Masrer Guitlr
Open Chords in the Key of G Practicing the G, Am, Am7, C, 0, 07, Osus, Em & Em7 chords
1.~ O.sus
~~
2.
3.~ n 4. ~l - f:§¥§l - W81 ~l - :~ 5.~ 6.
Em
Am7
sus
G
Em7
Am7
'e - ¥l '~-
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07
07
G
¥Sf' t §?¥1' i ~
-
:~
Open Chords in the Key of D Practicing the 0, 07, Em, Em7, G, G7, A, A7 and Asus chords
1.~
2.~~.~
3. ~. ~.
o f
I
f
I
,
i Ii , I
I
I
I
G ,
I
Asus ,;
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7' , '
I
I
I, ,; 7
I
I
A 7'
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4.~ 5.~
6.~
~ Session 6 Assignment
Scarborough Fair H Ej
-~ ~
Em7
D
Em7
Em
§4 ~~.~ ~ ~ ~ - ~.~
6J Are
you
go ing_
Scar
to
bor-ough
A -#1 G Em ~j ~~~ Par - slay,
sage,
rose
G
-
mar
~
Fair?
Em
Em7
m,.
y
and
-
~
thyme. _ _
Re
•
D
Em
tH~)~~~ ~ __ :::::::....j~.~ ..::::::=:__
?f±4
mem
ber
to the
me
A
one
who
D
~~~~J ~ She
SESSION 6
once
was
a
true
41
live.
there,_
Em
J agij~~~fl ~ of
Minor ~ & Suspended 0l0Ids
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Greensleeves
Am7
07
G
Em
Am7
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:J::fm
Am7
07
Em
G
~fi=~J=ij§a~-~~~. ~
~m.
~~~. Em
~F"
Am7
~. ~ G
~
~~~
C
G
C
Em
~. ~ Am
a~.f~'
E7
Am
~ J ~_§.W¥1I
The Banana Boat
Song
G
G
07
Come Mister .. Tally .. man tal-Iy meba ..ne -ne
G
07
J~
Day lighl_
come
and
me
want to go home.
=
Six foot se-ven foot
G
eight foot_ bunch
Day light_ come
G
and_ me
want to go home.
07
G
~-IMg=~
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I learn & MastEr Guitar
SESSION 7 - Barre Chords on the 6th String
EstImated Tillie to Learn These COI/COplS - 2 3 WoeAs
Half-Steps & Whole Steps AHALF-STEP isthe distance from any note tothe very next note. AWHOLE STEP Is two half-steps put together. On aguitar, each fret is a half-step apart. On a piano, each key, whether white or black, is a half-step apart from the next key. Even though some white keys on a piano are next to each other, often they will have a black key in between them. The distance from the first white key to the in-between black key is a half-step. From a white key to another white key, with a black key in between, is a whole step.
The only naturally occurring half-steps are between Eto F and Bto C.
E F GAB C D E Naturally occurring means that without using sharps or flats the intervals ofEto Fand Bto Care the only adjacent pairs that are half-steps. Between these two intervals there is only a half-step difference. All ofthe other pairs of adjacent notes, without sharps orflats involved, are whole steps. On our keyboard there are no black keys between E- Fand B- C. On a guitar, each ofthese two pairs of notes are side by side with no note in between them.
Notes on the Sixth String r@
m
':.I'
&0
,...
I......
.....
0
12th Fret
SESSION 7
43
Barre 0l0Ids on tt-e 6th String
I
I Learn & Master Guitar
Sixth String Barre Chords
F #
<,
....
4 ~
Hr,
,.
Fm ""
lfr,
to')
<1)
#
""
<9
Hr,
Fsus
,. 0
to'
"" Hr,
"" Hr.
#
<9
~4~
4
)
4
4
The "Hr." means to play that chord starting at the first fret. The arcs mean to cover all of the strings with one fin ger, When you use one finger to cover more than one string it is called a BARRE. The note with a diamond isthe root ofthe chord and the note that you will pivot from to move the chord into different keys.
Sixth String Barre Chord Exercises Learning the moveable F, F7, Fm, Fm7 & Fsus
1.
L.
t;BM'~ ""."h 001."L ..-.J~arf~Y~~~~~~ ~~~~~~:~ G
2.
B~
~o
Am
10
~o
o
Bm
Ie ~o
f
B~
~
6.
,
~ B~
o F1=o
F7
B~
'
Gm
Cm
Fsus F7 B~
Repeat the same rhythm.
~ ,, ~rz G
, ,,
Cm
~~~~:~
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5.
~~o~:~
sus G
3. 4.
C
Gm7 Csus C7 F ? r ' r , r r r r r . r r r z'I~e~ II rr.r ~ II
, 'I
'I ' , , 'I ' , ,
Bm C Bm Am F F# ~ rrrr zrrr . zzzr. ZJZ r. rrz r .z z~z
.
G
~ ""I ~"'I ~~~'I ~~I'1 ""I'~"I~e~·.1I == II
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I learn & Masler Guitar
Major Scales· MAJOR SCAlES are the building blocks for all of music. Major scales are built on a specific pattem of half-step and whole-step intervals. The pattern for a major scale isWhole-step, Whole-step, Half-step, Whole-step, Whole-step, Whole-step, Half-step. Starting on any note, if you follow this pattern you will build a major scale in the note's key. Directions: Fill in major scale notes following the interval pattern. Determine the number of sharps or flats. List sharps orflats in order. I have filled in some of the spaces for you. ~ Check your answers at www.LearnandMaste!Gultar.comianswerkey
Whole Whole Half
c
JL
Whole Whole Whole Half
How many #'s orb's?
What are they?
..L
The following scales all contain SHARPS.
.BL
G
F#, F#,C#,
D
A
E
B F#
The following scales all contain FLATS. F
..IDL
Bb Eb Bb.Eb,Ab,Db
Ab
Db Gb SESSION 7
45
Barre Chords on the 6thString
I
I Loam & Master Guitar ~.
Major Scale Table Major Scales are the foundation upon which all of the upcoming theory is going to be built. Just like multiplica tion tables need to be memorized, major scales and the key signatures that they generate have to be learned and memorized. KEY SIGNATURES are the pattern of sharps orflats that each major scale generates. Directions: Fill inthe major scale notes on the following table. Remember, the naturally occurring half-steps are between E-F and B-C.
.J Check your answers at www.LeamandMaslerGuifar.comiansweikey
Whols StBp
Whols StBp
1
I
Whols StBp
Whols StBp
Whols StBp
Hslf StBp
C D F
A
Bb Eb Ab Db Gb F# B E A
• Session 7 Assignment
Hslf StBp
F# D G A
Eb Bb F
C
Gb E# G# B
D /
I
I Learn & Master Guilar
Home on the Range Practice using a mixture of open and barre chords and then practice using all barre chords.
'I ~~'~ C
Oh,
F
give me
a
home
where the
~. an - te • lope
C
@:f£~~
roam.
buf· fll • 10
WIlere the
deer
and the
~~)~
play.
i.
sal - dam
Where
C
a dis· cour - a - ging
heard
G7
C
~~§~~~.~~?:~®~,.~~ word_
and
the
a~aY.
_
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G7
Home,
home
Am
on
range.
the
~~'=~i an
-
te - lope
word
and the
where the
and the
deer
~~)~~
play.
Where
# F Fm C ~~~wgr' cour • a - ging
_
set - dom
heard _
is
G7
a
dis
C
skies
Yellow Rose of Texas
~j ~~~J~~"~~ ~ yel- low rose
07
in
Tex -
~. C7
B"
~rt.
SfSSION 7
F
I'm
8S
She
go - ing there to
cried.o wilen
C
I
G
~,.
And
if
we
ev
-
er
meet
a - gain, we
47
see.
left her.
me
rkv - er - more
No
oth - er
fel - [ow
It
liked to broke her
C
Mt~,·~
shall
part.
Bane Chords on the 6thSIring
I
~
I
I Learn & Master Guitar
SESSION 8 - Barre Chords on the 5th String Estimated Time to Learn These Concepts - 2-3 Weeks
12th Fret
<,>
(1)
Bm
B
B
0>
<1> ~~
.. 4
Bsus
~
4 H~
101
(
4
ze; ~ f ¥ f ¥ ~
Mie sure each note ofthe chord issounding clearly.
C
,
2.
3.
[:
&
8m
:~
,
0
0 1
~
..
4
Alternate Rngering
1.
,,>
1° 0
~o
:~ :~
I
I Learn & MastEr Guitar
F7
o
4. 5. 6. 7.
Keys & Key Signatures KEY SIGNATURES are derived from the flats orsharps found in a major scale. Each major scale produces a unique combination ofsharps orflats as itskey signature. Akey signature will never have both sharps and flats in it simul taneously. The order ofthe sharps and flats in a key signature come in a predictable sequence. The key signature order ofsharps is F#, C#, G#, D#, A#, E#. The order offlats is Bb, Eb, Ab, Db, Gb, Cb.
Directions: Using your major scales, determine the proper key and list the key signature. Put sharps orflats in the proper order. ..) Check your answers at www,www.LeamandMasterGuitar.comlanswerkey 1) What key has 4 flats in its key signature? _ _
What are they?
2) What key has 3 sharps in itskey signature? _ _
What are they?
3) What key has 2 flats in its key signature? _ _
What are they?
4) What key has 4 sharps in its key signature? _ _
What are they?
5) Inthe key of G, what note(s) are sharpedlflatled?
_
6) Inthe key of F, what note(s) are sharped!flatted?
_
7) Inthe key of C, what note(s) are sharpedlflatted?
_
8) In the key of Db, what note(s) are sharpedlflatled? 9) In the key of B. what note(s) are sharpedlflatted?
_ _
10) What key has 2 sharps in itskey signature? _ _
What are they?
11) What key has 5 sharps in itskey signature? _ _
What are they?
SESSION 8
49
BerteChords on the Sih S~ing
I
I L&Y
Learn & Mas1Ef Guitar
LUUIKO
12)
Ifthe key signature has a Bb and an Eb in it, what's the key?
13)
If the key signature has an F#, C#, G#, and a D#, what's the key?
14)
Ifthe key signature is F# and C#, what's the key?
15)
If the key signature is Bb, Eb, Ab, and Db, what's the key?
16)
If the key signature is F#, C#, G#, D#, A#, and E#, what's the key?
.
_
_
_
_
_
Parallel Major and Minor Scales There isauniQue relationship between the keys ofmajor scales and minor scales. This relationship is called PARALLEL. Parallel major and minor scales share the same key signatures. To derive aparallel minor scale: Go to the 6th step ofthe major scale and build an 8 note scale in that key. You can get tothe 6th step ofany major scale by either going up six steps from the root or down two steps. So, the Cmajor scale and the A minor scale share the same key signature. Therefore A isthe parallel minor of Cmajor and conversely Cisthe parallel major ofAminor. CMajor Scale
~
a &
0
B"
B
II
e
Ii
e
0
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",
AMinor Scale
FMajor Scale
II
B
"
DMinor Scale
• Session 8 Assignment J
~B
Ii
B
Ii
B
I
I learn & Master Guitar
Jamaica Farewell
(in F)
,
Jamaica Farewell (in G) G
C
D7
G
a
C
G
D
I
G
~
, ";1
SESSION 8
51
Barre Chords on the 5thString
I
I Learn & Master Guitar
SESSION 9 -The Secret to Great Strumming
Good Strumming Technique ,
i.
, i
• Hold your pick firmly. • Keep your wrist loose. • Strum the accurate number of strings on the down stroke but on the up stroke just hitafew of the strings. • Strum smooth, even strums with no hesitations.
!
THE SECRET TO GREAT STRUMMING - KEEP YOUR HAND GOING!
Strumming with Eighth Notes
1._ ~. r B U=4 r t::¥8 1 2.
3.
l*l~B~U:J::///id//~
Strumming with Eighth Notes &Ties G
J
1.
G
fl~7ZZZj//,z"IZ//7~~O~
C7
2.
C
Am7
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Dm7
/
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G7
Z" /
1/
C7
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A~
3.
~,z B~
4.
B~m7
Fm7 >
>
>
>
I
Gm7
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I
2
I
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>
>
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>
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>
Cm7 I
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E~sus
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,
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F7 I
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Diatonic Intervals
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INTERVALS are the distance between two notes. DIATONIC refers to intervals that are found within the major scale. You will be given the key and a specific scale step and then you will need to derive the specific note. Here are some examples ... 1) In C, what is the 3rd step? The Cscale is C- D- E- F - G- A- B - C. The 3rd step is E. 2) InA, what is the 6th? The A scale isA - B- C# - D- E- F# - G# - A. The 6th step is F#.
Diatonic Intervals Worksheet Directions: Fill in the correct note corresponding to the diatonic Interval asked for.
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1) In C, what isthe 4th ?
F
11) In G, what is the 5th?
2) In F, what isthe 6th?
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12) In D, what is the 7th?
3) In Ab, what isthe 4th?
13) In A, what isthe 3rd ?
4) The 4th in Dis
14) The 6th in Gb is
5) The 6th in Eis
15) The 7th in Db is
6) In D, what isthe 6th ?
16) In Bb, what isthe 6th?
7) In G, what isthe 7th ?
17) In F, what is the 7th?
8) In Db, what isthe 2nd?
18) The 2nd in B is
9) The 2nd in F# is
19) The 3rd in F# is
10) The 3rd in Dis
20) The 3rd in Gb is
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Harmonic Intervals HARMONIC INTERVALS are intervals that have been raised or lowered a half step from their natural major scale (diatonic) position. The intervals within a major scale are divided into two groups; MA.JOR and PERFECT. The 2nd, 3rd, 6th, and 7th are referred to as MAJOR INTERVALS. The 4th, 5th, and octave are referred to as PERFECT INTERVALS.
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For MAJOR INTERVALS - If a major interval (2nd, 3rd, 6th & 7th) is lowered by a half step it is called MINOR. If a major interval is raised a half step it is called AUGMENTED.
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For PERFECT INTERVALS - If a perfect interval (4th, 5th & Octave) is lowered a half step it is called DIMINISHED. If it is raised a half step then it is also called AUGMENTED.
ENHARMONIC notes are two notes that have the same pitch but two different names. I,
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Double Sharps and Double Flats If I need to lower an already flatted note, I just add another flat until I getto the pitch I need. For example, if you were asked to find the minor 3rd in Gb, you would solve the problem as follows. The 3rd in the key of Gb is a Bb. So to make it minor we would need to lower the Bb an additional half step making it a Bbb. So the correct answer would be Bbb or B"double flat." Here is another example. If you were asked to determine the augmented 2nd in E, the problem would be solved this way. In the key of Ethe second isan F#. So to augment it I would need to raise it up an additional half step making it an F## or F"double sharp." Remember to not answer the enhannonlc equivalent of the note. In our previous example, an F## would also be a G. But a Gwould be the wrong answer tothis problem because in the key ofEa Gwould be a minor 3rd not an auomented 2nd.
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Harmonic Intervals Worksheet Directions: Fill in the correct note corresponding to the harmonic interval asked for. Add double sharps or flats if needed.
~ Check your answers at www.LeamandMasterGuitar.comianswerkey 1) In C, what is the minor 6th? 2) In F, what is the augmented 2nd?
6) The minor 2nd in Dis
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7) The augmented 6th in Eis
3) In Bb, what is the diminished 5th?
8) The minor 7th in B is
4) In Eb, what isthe minor 3rd ?
9) The minor 6th of F# is 10) The minor 7th of Gis
5) In Ab, what is the diminished 5th?
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SESSION 10 - Fingerstyle Guitar
Estimated Time ta Leam These Concepts - 3 Weeks
Keys to Good Fingerstyle Technique
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