G Am G Em Am Em PV mV Yoon, strum patrn Am c G PV cont. situm pattem c mayan ®D rune notes TRACK SINNER MANCS ets) You've already learned that a dot after a note increases the value by one halt oe 2heats beat 3 beats A dot after a quarter note alsa increases its value by one hal. ae Tbeat beat 1% beats Practice the rifts below, which use dotted quarter notes. 6 7 i ' i E ‘ t ' ' Is a a ' i i i 1 'THE Dm CHORD xx 0 i Fears AT Dm Az Am c Dm D m me oYrmia cont. strum pattern 9 10 3 SSeS LLL Dm dey You can elther itt your left-hand fingers off the chord or dampen the strings with your right hand,alternate pleking throughout the following extre'ses, Wien you see a coUnt in-parenthes3s, ‘simply miss the string and Jet ind ring. By doing this you wil play the syncopated pattern with the correct stroke of the pick. = mV v on m Vim Von av Von 13 Hout & 2& 3-4 1 &@ & 3-4 1&8 & 3-4 maven Vim VV op Vom Vom Von Vv on 14 =] Weta ea iacts ata HA Hate He He) fete ate ete tte mVemvVo mV miss mice mv A 15 1&8 283-4 1 & @ & 3-4 1&8 (28 3-4 me “Dm AT DmELL SLE EE ES LEE SON NG CHOLES TOF UNE NEXT SONG. ROCK-A-MY SOUL Aca ot Sst wag 6 ‘ a _ 19 = — 4 ‘soul in the bos - om of A cs bra - ham, 7 D 6 = 1 4 eo roe o oe QS = i rock -a-my soul in the bos-om of A - bra-ham, roOeva-my soul in the D7 6 ca a — : ee -f Eee — * bossom of A bra-ham, oh, rocks - my soul. Release your left-hand prossure when an eighth rest is indicated in the next example. A c A Vv c Vavey NJ 29 “SN | <9 POST]22 23 24 9 JAMAICA FAREWELL ‘and ae c 07 G a | <2 ose + o7 6 = € —Z : go oe c @ D GTHE A CHORD — ‘Optional Fingering (string 1 isnot played) On the next example, try muting the strings on each rest with your left-hand fingers, Here is another type of muting effect, As you strum the muted chord (X), touch the strings with your paim a split second before vyou strike them with your pick. mute A 6 J 7 @ior FFFPR Pott es y.SLs The key is anoth a ‘of (no sharps of flats) and G (one sharp). THE KEY OF D = The key signature for D has an F-sharp and a C-sharp. All Fs and Cs should be played one half step (fret) higher. F Ce (ert FE ee GF ia ‘Ce t f | axe OH, MARY DON'T YOU WEEP ahi i Verse D AT D —— = 28 ee “Pa ea + — es o —— a 1 sure- ly would, stand.on_ the rock where the Mo-ses stood, — D AT D 3S Pha-rach's ar - my got— drown - ded, oh, Ma -ry don't you weep. D Chorus AT 7 [R= — SF heel’ to tydon’t you weep, don’t you mourn. (Oh, Ma - rydon’t you weep, don’t yournoun, Oh, Ma Pha-roah's ar my got drown - ded, oh, Ma ty don't you weep.NE Umea USCIS Your Four A natural sign ( ) cancels a sharp in the key signature for the remainder of the measure, @ DE COLORES Lae TRACK? All the _—_cal-ors, all the —col-ors that bloom in the De —— co - 10- res, de co - lo-res se vis - ten los AT mead-ows are col-ors of spring - time, cam-pos en la pti-ma - ve - ra. Tt All_________ the col - ors, all the — col-ors that dance in the De. o_o - res, de co - lo-res son los. pa-ja- sky are the col-ors of rain - bows. ___ ri-tos que vie-nen dea fue - 1a, the col - ors, all the colors of —_na-ture spring co + lo- res, de co - lo-res es el ar - co forth to. make my heart i+ fis que ve-mos Wu - AT Then 1 know why the col- ors of Y por @= so los gran-des a - D @ aT Db D springtime are bring-ing me joy and a heartfull of love. 8 mo~-res de mu-chosco-lo-resme gus-tan a mi. in inPe indicated by brackets with: When you reach the repeat sign (:]) in the first ending, go back to the beginning. On the second time through, ski the first ending and go on to the second ending. Qo ANGELS WE HAVE HEARD ON HIGH edi ol KA D A D A D ‘An-gels we have heard on high —sweet-ly_sing-ing o'er the plains, D A D A D and the moun-tains in re- ply ech - 0 = ing their joy - ous strains. D B7 Em A7 DOG AT in ex-cel-sis de - 0 in ex-cel-sis de = 0. 2 CATCHY RE D A ater eee ae Pe 22S = D SS Se E = che igleft, you will be playing ia what is called second position. Fingers 2, 3, and 4 play in frets 3, 4, and 5 as indicated Notice that open notes can also be played in an alternate position on the fret- board. The principal advantage of playing in the secand position lies in the ease with ‘which certain passages can be fingered, Practice the song below in second position using both the open-string notes and their alternate fingerings on the fretboard. ® MARIANNE me TRACK 10 D AT 32 All day, — all night, — Mar - ri- anne, D So sift ing sand. down bythe sea - E-ven lit - tle child - ren— love Mar - ri- anne, D SN down bythe sea - side- sift - ing sand, Aifer playing the melody to "Marianne," try playing some of the syncopated strums you've already learned. You can also go back to pages 68 and 59 and play those melodies in second position Ci}Some songs are play fed in more than one position. The following plece shifts between list POTN <8 6 BLUES/ROCK RIFF THE WABASH CANNONBALL oS D7 G Lis-ten to the AT jin - gle, the rumble and, the roar. e = mel += == et Rid - ing through the wood-lands to the hills and by the shore. Hear the G 07 oF ¢__9 --9—»—@- =| ; SSS t st might-y rush of the en-gine, hearthe lone-some ho-bo squall D + Rid - ing through the jun-gle on the Wa-bash Can-non - ballTHE E GHURU @ LABAMBA Par Teac 13 Pa-ra bai-lar La bam - ba. Pa-ta bai-lar Labam - A D E A D ba Sene-ce-si - ta u-na po-co de ga - cia Ay = mu - cha - chas! Ay mu = cha- chos! Ay mu-cha - chos!Bai - lar La bam - balTHE KEY UF A ‘The key signature for A has three sharps: F-sharp, C-sharp, and G-sharp. Study the diagram below to learn where the new Gt notes are played. Ser ( ¢ igo. Play “Joy to the World” in second position. 2 JOY TO THE WORLD Nats earth re - ceive its King. Let ev = ty heart pre. - pare Him room. And heav'in and na - iure— sing, and — heav'n and na - ture — sing, and — D A BOO E A heavin— and heavin__ and nature sing.POWER CHORDS The power chord is commonly used in rock and other contemporary music. Most chords have three ar more notes: power chords have just two, Also, notice that power chords are labeled with the suffix "5." £5 AS 05 Ox xX xox x x XX Ox x ——e ® 64 iaU E A BandE (string 4, tret 2) (string 5, open) (etrings 1 and 2, open, played together) ‘Tho same information is given on the musical staff and in tablature. Practice reading both. a STEADY GROOVE ast a a s a au atl u 4 oe = a a el9 |1-23 long short Jo Playing the elghth notes in this way will give you the desired shuttle or “swing” feel @ POWER CHORD SHUFFLE rece AS Es 42 pas! mom Anns o 1Practice the following song using the power chord shuffle accompaniment you just learned. Or, play the melody using the siul- fre myth MIDNIGHT SPECIAL fis D mon Verse A 43 Well you wake up in the mom - ing, — hear the ding - dong A e7 ta - ble, — see the same dan Go march-ing to the thing, Knife and fork are on the ta - ble nothin’ in my pan,-—— ‘And if you say a thing a - bout it,— you're in trou-ble with the Chorus A D A oat ina as 7 ee = aaa = man. Let the mid-night — spe - cial, — shine itslight on—— you. E7 A Let the mid-night spe - cial shine its ev-er lov-in’ light on you. QD “ry playing “Midnight Special” again using an even eighth note rock fea TRACK 61THE BLUES The blues style was originated in the early 1900s by African Americans from the Mississippi Delta. Blues became an important ingredient in jazz, country, rock, and other forrns of popular music. IF sa ‘The most typical blues is twelve measures (bars) long. Many 12-bar blues follow this chord progression below. Use the power chord shuffle you have just learned d maces BLUES IN A in in * M @ CLE RIDER c. C. rid-er, — see what you have done. — Tell me rid-er, what is on your mind, — A Cc. c. rid - er, see what you have done. — You Tell me rid- er, what is on your tind. Oh, E o A Es fe —— a= x oo ye t aaa made me love you, now your friend has come. tell me why you treat me so un - kind,a é ‘ 4 x ‘ | tl a BSBEREEBREBEHERHEeHREeHReHEEEHESBHHEHABEBsEA &THE KEY OF Am ‘The key ot A minor has a key signature of no sharps or fats. A minor is called the celative minar of © malor ecause if shares the same parent key signature. The relative minor always begins two notes lower than the major key (C-B-A) “Wayfaring Stranger” is a well-known Sacred Harp spiritual from the Southern United States. @ WAYFARING STRANGER sas a Sia Rack 72 Am 17 Tm just a poor way-far-ing tran - ger, ———— trav. "ling Dm Am * through this world of woe, But there's no sick - ness. Dm 7 ow EE cs eee i © ho toil or dan - ger,—-—_in that bright land to which | Am ——— Dm go. __-__- I'm go-ing there. to see my fa - ther arms . Am << 2 _ I'm go-ing there. nomore to roam.____— I'm just a - go - Am om Am ing o-ver Jor - dan, Fm just a- go - _ing o-ver home. nWhon a Gt s added to A natural minor, iis called the harmonic minor. Find al of the GH notes (one tret higher than G or one fret lower than A) before playing “Hava Nagila.” Notice that "Hava Nagila” speeds up on the repeat then slows down on the last line, Q HAVA NAGILA tsa ae m3 E mm Vm Ha-va na-gi-la, ha-va_na-gi-la,ha-vana-gi-la, vay nis-m’-cha, Am E Vom Ha-va na-gi-la, ha-va so na-gi-la,-ha-va —na-gi-la, vay _nis-m’-cha, Dm E ® Ha-va n! ra-ne-nah, ha-van' ta-ne-nah, ha-va n’ ra-ne-nah vay nis-m’-cha. Dm E 2 Ha-va n’ ra-ne-nah, ha-van’ ra-ne-nah, ha-va n’-ra-ne-nah, vay nis-m’-cha. Am Uo. om, us mu a= chim, u-rua_ chim b’ lev-sa me-ach, Feared feeetecec eee op rere eet etre shim b’ lev-sa me-ach, _u-rua -chim b' lev-sa me-ach, U = rua chim, rua -chim, 6 lev - same - ach. ntFINGERSTYLE GUITAR Fingerstyle, also known as fingerpicking, is a very popular style of guitar accompaniment which uses arpeggios (broken chords) instead of strumimed chards. The distinctive sound of fingerpicking comes from the thumb and fingers plucking only ‘one siring each in succession. The right-hand finger and thumb letters used in this book are based an the internationally accepted system of Spanish words and letters: P pulgar thumb i indice = index finger m medio = = —middle finger a anular ring finger Follow these steps to learn how to fingerpick: + The thumb (p) plucks strings 4, 5, and 6 depending upon which string is the bass or root of the chord. This mation is a down- ward stroke, Use the lett side of the thumb and thumbnail * The other fingers (i, m, a) pluok the string in an upward stroke with the fleshy tip ofthe finger and fingernail + The index finger () always plucks string 3, * The mide finger (m) always plucks string 2. + The ring finger (a) always plucks string 1 ‘The thumb and each finger must pluck only one string per stroke and not brush over several strings. (This would be a strum.) Let the strings ring throughout the duration of the chord, RIGHT-HAND POSITION Use a high wrist; arch your palm as it you were holding a ping: ong ball. Keep the thumb outside and away from the fingers, and let the fingers do the work rather than lifting your whole hhand. Study the photo at the right o AT G.Q SWING LOW, SWEET CHARIOT Aba nic Sita D G av D AT Mel. 5 Swing low, sweet char - ‘comin for to car-ry me home. Acc. pi map ime 7 ‘comin’ for to car-ry me home. looked 0 - ver Jor-dan, and what did! see comin’ for to car-ry me home? A 7 D G az D Az DB band of an-gels com-in’ af-ter_ me, — comin’ for to car-ry me home. Se ato B‘he fingersyl pattem used in “Scarborough Fair” is commonly used for songs in time ™~. SCARBOROUGH FAIR viata Am Am eS a a 51 Are you go-ing to.-—=—«Scar_ ~ bor-augh Fair? ae = — = 7 neo! A ta — ed s Ee = oe = | pi mae m1 min woutow) c Am Am ————— C= = == F ee oe Parsley sage, ose = mary and ye. Re - = — ae fe e 7 ane mon = ber ome to the one who esther, ot as at oo = = ae = eee + aaa eee t et Am D G Am — = teas SEERE=EeeS — =e af She once was ate ove of ming, + j 3 = : 15 = 7 = : at i oe pimami mThe fingerstyle accompaniment to “The Water 's Vide Uses WO ew eee ee hafara nlavinn the areamnnaniment (D with an open first string) that are easy to play. Study each chord frame below before playing the accompaniment Bm/A er Dsus? at . THEWATER IS WIDE odin wat-er is ‘And nei - ther fa Bm/A Am G + = = ot ‘ 6 fos = 3 I aha oe rs Give me beat Pacey ieee a ‘and we shall cross my true love and, 8THE F CHORD Unlike other chords you have played, the F chord has two strings depressed by one finger. The fist finger forms a small barre across strings 1 and 2. You wil find that itis easier to roll this finger slightly so thatthe strings are depressed by the outside rather than the flat underside of the first finger. F DA 54 ‘Another option for playing arpeggios is to use a pick. Try this on the next song, ® PICKING CHORDS TRNKz7ss Play the accompaniment to "House of the ising oun Oni' MS HOUSE OF THE RISING SUN Asien rma Am : c pH f ia Thee is a house Am c D F . 7 2 en Secect Fe SE SS oS SS =e been heen ¢ maya poor oth ad oh Lord — was one,CARTER STYLE SOLOS Carter style solos are a famous guitar style popularized by Country music legend Maybelle Carter af the Carter family. The ‘melody is played on the lower strings and the spaces between the melody are filed by strummed partial chords. Emphasize the ‘melody notes and play lightly on the strums, ROW, ROW, ROW YOUR BOAT edn RACK 28 Hold enerd = in in im < i iin ® MAN OF CONSTANT SORROW Susie Bae " may G c = +t : 88 SSS See |i Hho 4 ate it | yh | o |e ° ons Linh i . wire 4 “ er ify fr {iF ll | aie | rT WILDWOOD FLOWERBASS RUNS ‘A bass rum is a pattern of notes that connects the bass notes of two chords. The bass run gives your accompaniment variety and provides momenturn toward the new chard, Practice these bass runs between G and C or G and D; then play them with the bluegrass classio, “Goin’ Down the Road.” ‘An optional form of the G to C run replaces the second beat strum with another bass note 80@ GOIN’ DOWN THE ROAD eras Im goin’ down the road sfeel = in’ = bad Lord, Lord, Pm aint gon = na be treated this, a - may, 2. 1'm goin’ where those chilly winds don't blow (3 times) | ain't gonna be treated this a-way. 3, I'm goin’ where the water tastes like wine (3 times) | ain't gonna be treated this a-way.THE B7 CHORD 27 is your first four-tinger chord. Notice that the second:-trt fingers are placed on strings 7, 3, and 6. Keeping this visual pat- tern it mind vill help you move to this chord quickly When you change from € or Em to B7, Keep your second finger down, E 87 Em 87 @ WETHREE KINGS - THAK Em B7 Em 65 poorer We three Kings. —of Or -i- ent are. Bear - ing gifts we tav-el a - far. West - ward lead - ing, 6 Am 87 Em ce Sete - 7 = 5 s ig et et sill pro - coed - ing, guide us to yon - der lar. aTHE KEY OF E Con te guitas the key of € sounds good. It isan ideal key for both singing and playing D ‘The key signature fr & has four sharps: F-sharp, C-sharp, G-sharp, and D-sharp. Study the ‘DE ciagram below to learn were the new Di notes are played D +t ‘Di ® BY THE WATERS OF BABYLON Hal E AE A = where we sat down, 66 By the wat-ers of Bab - y-lon, E B7 And there we wept when we re-mem-bered Zi - on. d BATTLE HYMIN OFTHE REPUBLIC ae 67 i oe - jah. A i —_ = a Glo Glo ry glo ry hal - le - WW - jah, His A B7 e —e— Sat cases —) truth is march - ing on. 8eat ‘Triplets are beamed together with a number 3. To count a triplet, simply say the word "ti to the beat, and count aloud: et" during one beat. Tap your foot 3 3 3 3 count: 1 2 tri-pi-let 4 tri-pi-let tri-pi-let 34 1 2 & tri-pi-let 4 lenght 9 6 2 a G AMVARAVA AMVRAVARVR PEPE EHP Eee eeeereee 00 @Eeeerzeediere ZLLEL pep ee PPro @ JESU, JOY OF MAN'S DESIRING Bath ea sas 3 3 @l@ DEEP BLUES came 7 eS 4 == = ‘Triplets can also be applied to @ 12-bar blues. Play te following piece in second position LOST IN THE SHUFFLE TACK E 2g ala ee Po en sdggeed saadaee* FE f—— ow as 3 t = —# ot Z seopyeo? g4eaqes 2 Beye”THE PENTATONIC SCALE Pentatonic scales ate widely used in styles ranging trom blues, rock, and country to various world musics. The easiest pentatonic (five-note scale) to play on the guitar includes the notes E, G, A, B, and D. If you start this scale on E, It's called the E minor pentatonic, !f you start it an G (Telative major) itis called the G major pentatonic. G major pentatonic ; ©) (__—-E minor pentatonic @ ROCK LICK sy EFRFRPrFrrisiers EER EE EES 2ih | y ALi 5 3 ( 8 7 = Bill . 3 | H}| il || Phy ollths || ost 9! & wn «OF Se oe O o i<BLUES/ROCK LICKIMPROVISING solo leads over a 12-bar blues in E. Hf you don’t have the recording, take é your own rhythm tracks and play lead over them. Use the E minor pentatonic you just learned to play tuins paying rhythm and leads with friends or recor IMPROV TIPS «+ Hang Around Home ~ Base you solo ‘around the root (letter name sometimes it's not the quantity it's the quality. 3) of the chord being played. «+ Less Is More ~ Choose your notes carefully; «Wark the Rhythm — Use syncopations, triplets, and repeating patterns to help make your solos interesting and distinctive. « Tella Slory ~ Let your solo take shape with a beginning, middle, and end ® OPEN JAM — play 4 times‘0 MOVABLE POWER CHORDS So far, you have learned three power chords (ES, AB, and 05) that use an open string and first finger. Now use your first and third fingers to form a pawer chord that can be moved up and down the fingerboard. The movable pawer chord shapes below are named by where the first finger is placed on the fretboard. You can use either strings 6 and 6 or strings § and 4 to play these chords, SIXTH STRING ROOT FIFTH STRING ROOT 3rd Fret 5th Fret 7th Fret xxXxX Xx x xxx Study the fingerboard chart atthe right to identity the letter names of natural nates, on strings 6 and 5. it you want to play C5, locate C on either string 6 or sting 5 and apply the correct shape from abave, Move to D5 by simply siding up two frets, That's the logic behind movable chords. HHH Olt 10th Fret DG JathFret E A EA r+ Gc AD a BE CFm a 2 POP RIFF > a 9 i fe DS AS Ste ea : . 83 7 =a a tss~CS Ss — EARLY ROCK RIFF ‘TRACK 58 F5 G5 F5G5 F5 G5 FSGSThe next example uses both movable power chords and an open-position power chord you learned eatlier in the book ROCKABILLY RIFF spake Shute AS Gs FS ES 3 5 "Stal Ai finn | ‘Now try two rif that mix power chords with single notes. CLASSIC ROCK RIFF TRACK @ HEAVY ROCK RIFF AS cs GS GS AS NC. AS é % EEE REREEEREEEESEQ®FTEegF ae www905 fl MUTING a i ae ae nL YoU SF fiaton "PM" under the notes "between the statf and tab). pam muting sounds especialy good with power cherds and some amp estrtion. Ty ths when playing the next two examples: @ MUTED GROOVE TRACK AS DSC5 AS em. ‘An accent mark {> ) wien above of below a nate or chore indicates to play that note oF cchord slightly fouder than the others @ ACCENTED RHYTHM ps TRASTGRAND FINALE E oo oof fiepeee et ig STE Sie Pg F fit TO eg epee epee eeeeeeeeeeee eee = = HS FfFftfFrF PFC Or ££ i