BOOK 1 by John Blackwel l

N E W T I T L E S F R O M T H E W O R L D ' S B E S T - S E L L I N G S E R I E S

A si Tu ne A Day Acoustic Guitar

Boston Music Company/ Musi c Sale s Furtado s part o f The Musi c Sale s Grou p

Foreword

Since its appearance i n the earl y 1930s, C. Paul Herfurth' s

original A Tune A Day series has become the mos t popula r instrumental teaching metho d o f al l t ime. Countles s

music students hav e been se t on their pat h b y the clear ,

familiar, proven material , and the logical , sensibly-pace d

progression through th e lesson s within the book .

The teacher will find that th e ne w book s hav e bee n

meticulously rewritte n b y experienced teachers :

instrumental techniques an d practice s hav e bee n update d

and the musica l conten t ha s been completely overhauled .

The student will f ind dearly-presented , uncluttere d

material, wi th familia r tunes an d a gentle introductio n

to the theoretical aspect s of music . The books are no w

accompanied b y audio CDs of examples an d backin g tracks

to hel p the student develo p a sense of rhythm , intonatio n

and performance a t an early stage .

As in the original books , tests are given fol lowing ever y

five lessons . Teachers are encouraged to presen t thes e

as an opportunity to ensur e that th e studen t ha s a good

overview of the information studie d u p to this point .

The fol lowing extrac t from th e foreword t o the origina l

edition remain s as true today a s the da y i t was written :

The value of learning to count aloud from the very beginning cannot be over-estimated. Only in this way can a pupil sense rhythm. Rhythm, one of the most essential elements of music, and usually conspicuous by its absence in amateur ensemble playing, is emphasised throughout.

Eventual success in mastering the instrument depends on regular and careful application to its technical demands. Daily practice should not extend beyond the limits of the player's physical endurance the aim should be the gradual development of tone control alongside assured finger-work.

Music-making i s a lifelong pleasure , and at it s hear t i s a

solid understanding o f the principle s o f sound productio n

and musi c theory. These book s are designed to accompan y

the studen t o n these crucia l first steps : th e reward s fo r

study and practic e are immediate an d lasting .

Welcome to the worl d o f music !

2

Contents This book Copyrigh t 200 6 Bosto n Musi c Company ,

a division o f Musi c Sale s Limited . Rudiments o f musi c 4

Unauthorised reproductio n o f any par t o f this publicatio n Before you pla y 6

by any mean s includin g photocopyin g i s an infr ingemen t o f copyright . Lesson 1 8 Edited by David Harriso n

Music processe d b y Pau l Ewers Music Desig n Lesson 2 10

Original compositions an d arrangement s b y John Blackwel l

Cover and boo k designe d b y Chloe Alexande r Lesson 3 14

Photography b y Mat thew War d

Model: Marti n Hadle y Lesson 4 18

Printed i n the E U

Backing tracks b y Guy Dagu l Lesson 5 22

CD performance b y John Blackwel l an d Davi d Harriso n

CD recorded, mixed an d mastere d b y Jonas Persso n and John Ros e Test for Lesson s 1 - 5 27

Sincere thanks to the Cit y Literar y Institute , London , for thei r Lesson 6 28

invaluable help . Lesson 7 31 Lesson 8 34 Lesson 9 36 Lesson 10 40

www.musicsalas.com Test for Lesson s 6 - 1 0 43 Lesson 11 44 Lesson 12 48 Lesson 13 52 Lesson 14 55 Lesson 15 59 Test for Lesson s 1 1 - 1 5 63 CD track 1.stin g 64

3

Rud iments o f musi c The stave Music i s written o n a grid of five line s called a stave.

At the beginnin g of each stave is placed a special symbol called a clef to describe the approximate rang e of the instrumen t for which the musi c i s written.

This example shows a treble clef, generally use d for melody instruments .

The stave is divided int o equal sections of time ,

called bars or measures, by barlines.

Note values Different symbol s are used to show the time value of notes, and each note value ha s an equivalent symbo l for a rest, representing silence .

7

r - r The quaver (o r eighth note), ofte n use d to signif y a half beat , is written wit h a solid head and a stem with a tail. The quaver res t i s also shown.

The crotchet (or quarter note), ofte n use d to signify one beat , is written wit h a solid head and a stem. The crotchet res t i s also shown .

# The minim (or half note) i s worth two crotchets . I t is written wit h a hollow hea d and a stem. The minim res t is placed on the middl e line . w

V J

The samibrave (or whole note) i s worth two minims . I t i s written wit h a hollow head . The semi breve res t hangs from the fourth line .

Other note values Note values can be increased by half by adding a dot afte r

the not e head . Here a minim an d a crotchet are together

worth a dotted mini m

r Grouping quavers Where two o r more quavers follow each other, they can be

joined b y a beam from ste m to stem . P + P " L

Time signatures The number o f beat s i n a bar i s determined b y the time signature, a pair of number s place d after the clef . The upper numbe r show s ho w man y beat s each ba r contains, whilst the lowe r numbe r indicate s what kin d of not e valu e

is used to represen t a single beat . This lowe r numbe r i s a fraction o f a semibreve s o that 4 represents crotchet s

and 8 represents quavers .

C, for common time, i s another wa y to write ^ f mean s six quavers to the bar . o

i i ^ mean s four crotchet s to the bar . \ mean s three crotchets to the bar .

4

Note names Notes are named afte r the first seve n letter s o f the alphabe t an d are writ ten o n line s or spaces on the stave ,

according to pitch .

D E F G A B C D E F G

Accidentals The pitch o f a note can be altered u p or down a half step (or semitone) b y the us e of sharp and flat symbols . These temporary pitc h changes are known a s accidentals .

The sharp (ft ) raises the pitc h of a note. Th e natural return s the not e to it s original pitch .

X L jZEH I O

The flat (b ) lowers the pitc h o f a note .

Ledger lines Ledger lines are used to extend the rang e of the stav e for lo w or hig h notes .

# 1 1 1 1

D

Bar lines Various different types of ba r line s are used :

Double bar line s divide one section o f musi c from another . Final bar line s show the end of a piece of music .

t t Repeat marks sho w a section to b e repeated .

Before you play :

The standard acoustic, or 'Western' style guitar, has steel

strings. Be sure the body of the guitar is

not too big for the player comfortably to reach the strings

with the right hand.

Always keep a spare set of strings

in the case, and a cloth for wiping

away moisture after playing.

Which guitar? Classical o r Western styl e guitar s ar e equall y

suitable fo r th e beginner , an d they ar e tuned i n

exactly the sam e way. The Classica l guita r wi l l

have a wider neck , which suit s student s w i t h large r

hands, and - w i t h nylo n string s - make s left-han d

technique a little les s strenuous. The Western styl e

guitar ha s steel strings , an d these ar e harde r t o

press onto the fret s an d tend t o hav e large r bodies ,

but ar e the instrumen t o f choice for the tradit iona l

folk, roc k an d countr y sound . I f choosing steel , i t

is important t o chec k that th e string s ar e no t to o

high abov e the frets to mak e pressin g them dow n

a problem. B e sure to tak e a n experienced guitaris t

w i th yo u whe n shopping .

Cap o

Plectru m

Tuning for k

Neck

Fret s

String s

Soun d hol e

Duste r

String s

Bridg e

Saddl e

Tunin g peg s

Nu t

Care of the guitar If your guita r come s with a hard shel l case, then this i s

the bes t plac e to stor e it . I f you carry your guita r wi t h you ,

you migh t wan t t o inves t i n a lighter, soft gi g bag . As wit h

any wooden instrument , the guita r i s very susceptible t o

temperature an d humidity . B e sure to kee p your guita r

away from radiators , sunlight, and the damp .

Accessories A tuning fork i s useful, and an electronic guita r tuner ma y

be an asset i f tuning i s a challenge. A set of soft , mediu m

and firm plectrum s ma y also be useful when strummin g

for a n extended period . A music stand wil l greatl y improv e

your practic e comfort .

Basic posture When playing , si t i n a chair

that allow s you to si t quit e

upright. A dining chai r i s

usually best , although talle r

players ma y nee d a higher seat .

In any case the chai r shoul d

allow the fee t to si t squarel y

on the floor wi t h th e knee s a t

right angles . The guitar shoul d fee l

supported an d no t likel y to fal l forward. Some student s

will lik e to res t the guita r o n crossed legs , right ove r left .

A note for left handed students:

Unlike most instruments, the

guitar can be completely reversed

for left-handers. It is possible to restring

in the opposite order, and read all

the diagrams accordingly. If you are

struggling to play the conventional way, you might like to

consider this option.

Play the strings either with the thumb or

fingers of the right hand, in a gentle plucking motion.

The hand should stay relaxed: aim for an

easy, fluid stroke.

The six open strings The string s on the guita r ar e al l name d afte r differen t letter s o f the alphabet .

Notice ho w the two oute r string s ar e bot h calle d E:

more abou t thi s i n late r lessons .

Right hand technique Play w i th th e note s i n this lesso n w i th th e thum b o r f ingertip ,

whichever i s more comfortable .

Count ou t lou d a s you pla y the fo l lowing exercises .

Exercise i :

E A D G B E

Semibreves last for four beats.

Pluck the string and let it ring while

steadily counting 1, 2, 3, 4. The sound

should begin with the first count and last until the end

of each bar.

Count: 1 2 3

B

1 3 4

G

1

D

I 3 4 A

1

o E

3 4

Exercise 2 :

2 3 4

Minims last for two beats each.

Play the first note in each bar with a count of 1, 2 before playing the next note with a

count of 3, 4.

Crotchets last for one beat.

Tou should be playing one note for each of the

counts 1,2,3,4.

Count: 1 2 3

B

1 2 3 4

G

1 3 4 3 4 A

1 3 4 E 1

T7

3

Count: 1 2 3 4

B

1 2 3

G

1 3 4

D

1

V -' ^ : :

3 4 A

1 2 3 4 E

1 2 3 4

8

Pieces for Lesson 1 Chimes Blackwel!

All Through The Night

0 0

We lsh Lui lab y

m m Teacher

Student

Sleep, m y chil d an d peac e at - ten d thee , al l throug h th e night .

it o Ode To J o y (them e from 9t h Symphony ) Beethoven

0 0

Teacher

Student

0 0 0

1. Lef t hand position 2. Firs t and second string note names

3. Ne w notes on the stave 4. Crotchet rest

The fingers of the left hand are numbered,

from 1 to 4, according to the picture below.

Left hand position Aim fo r a clear soun d wi thou t buzzin g when th e strin g i s picked , and brin g th e

f ingert ip ont o the fre t boar d a s close to righ t angle s a s possible .

New notes

Left han d finger 1 o n fre t 1,1s t strin g

Left han d finger 3 on fre t 3,1s t strin g

10

Left han d finger i o n fret i , 2nd strin g

Lesson 2

A comfortable left hand position is essential. Let the thumb rest gently on the back of the neck (see lesson 4) and bring the fingers onto the firet board at right angles to the strings, close to the fret wire.

Exercise i : In this exercis e the note s F and E ar e played . B e sure to coun t th e not e values . I n the 4t h bar , you wil l se e tw o

crotchet rests :

Count i bea t for eac h o f the crotchet s an d their rests , bu t d o no t pla y any soun d when yo u se e the rests .

Count: 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

11

u

Left hand finger 3 on fret 3 , 2nd strin g

Exercise 2: You will pla y the not e G with your 3r d (ring) Finger , The other not e i s an open string you learne d i n lesson 1.

Exercise 3: Pressing down the 2nd string on the 1st fret wil l give you a C note.

Exercise 4: Pressing down on the 3rd fret on string 2 will give you a D note. Use your 3r d (ring) finger .

Fingering numbers In these pieces you wil l hav e to remembe r the position s o f the note s on the fret board .

The small number s nex t to the note s are the finger numbers . Fo r now, they wil l b e the same as the fre t

numbers i n each case. A zero indicates that the string is played open.

jingle Bells Pieces for Lesson 2

Jin - gle bells , j i n - g l e bells , j i n - g l e al l th e way , o h wha t fu n i t i s t o rid e a

one hors e o - pe n sleig h hey ! Ji n - gl e bells , j i n - gl e bells , j i n - gl e al l th e

way, o h wha t fu n i t i s t o rid e a on e hors e o - pe n sleigh .

G E G E G E G Count: 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

C B C B C B C Count: 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

D B D B D B D Count: 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

Skip To My Lou America n Fol k Son g Pieces for Lesson 2

Be m y par t - ne r ski p m y Lou , b e m y par t - ne r ski p m y Lou .

Be m y par t - ne r ski p m y Lou , b e m y par t - ne r da r - ling .

An Clair de la Lune Frenc h Fol k Son g

Au clai r d e l a l u - ne , mo n a - m i Pie r - rot .

Pre - t e mo i t a pl u - m e pou r e c - rir e u n mot .

Ode To J o y (them e from 9t h Symphony ) Beethove n

New notes A Left han d finger 2 on 2n d fret, 3r d strin g

Be sure not to touch the strings either side of the 3rd string, and

aim for a smoothly curved middle finger

that comes down as near as possible at right angles to the

finger board.

Exercise i : Play the A note o n the 3r d string, usin g your lef t han d 2n d (middle ) finger , an d the G note learne d i n lesso n 1.

Dotted minims A dot besid e a note add s hal f the lengt h o f the note :

Exercise 2 : Theme f ro m Peer Cynt Notice the ne w t im e signatur e - ^

Grieg

Each ba r ha s three crotchets . Loo k a t the dotte d mini m i n ba r 8 : this last s for three beat s - a whole bar .

0

Uml 0

The nex t four exercise s introduc e commo n combination s o f note s o n the to p three strings .

14

A G A G A A G G A G A

Exercise 3 : Play the C and E together: fre t C on the B string and pla y i t together wi t h th e E (open is t string) .

They should bot h soun d clearly without an y damping o r muff l ing o f the strings .

: ? f=

Lesson 3

Exercise 4 : Now try G and D together.

This time mak e sure that the finger frett in g the D doesn't interfer e wit h th e ope n 3r d string .

Exercise 5 : Here, two fingers ar e required a t the sam e time. Again, aim for a crisp, clear sound .

Exercise 6 : The 3rd finger o n the is t string , playin g G and B (open 2nd string) together .

Picking strings together After strikin g the string s the thumb rise s up and bac k to bagataglffii^dmayairiitorlfflli l haaibtoto pick usin g the

Keep the righ t han d relaxed , and close to the strings . righ t han d finger tips .

Ave Maria Bach /Gounod Try either par t o f this piece , or pla y i t as a duet wi t h anothe r guitarist .

Aim fo r a steady puls e and a smooth sound .

Pieces for Lesson 3

Student 1

Student 2

Gymnopedie No 1 Sati e

Teacher

Student

16

Frere Jacques Frenc h Fol k Son g Pieces for Lesson 3

Teacher

Student

Fre - r e Ja c - ques Fr e - r e Ja c - ques Do r - mez - vous ? Do r - mez-vous ?

Son-nez le s m a - ti - nes , Son-ne z le s m a - ti - nes . Din , dan , don . Din , dan , don .

I Know Where I'm Going _ Scottish Baiiad

17

Finger 2 on 2n d fret, 4th strin g

4. Strum notation 5. Chor d box diagrams 6. 2/4 time signature

Finger 3 on 3r d fret, 4th strin g

Make sure the fingers are supported, by the thumb in the

correct position on the back of the neck.

Exercises 1 & 2 : Try these two exercise s usin g the 4t h string .

Don't forge t t o suppor t th e han d shap e wi t h th e thumb a t the bac k o f the guita r neck .

D D D

D D D 18

Chord box diagrams The lef t han d finger position s i n a chord ca n b e shown wi t h dot s o n a picture o f the fre t board .

Notice ho w the chord box diagram relate s to th e guita r neck , w i th th e string s runnin g straigh t dow n an d th e frets acros s the box . The X an d O symbols abov e certai n string s indicat e eithe r tha t a string i s played ope n (O )

or else no t playe d (X) .

What does the'm' in Dm mean ? Turn to lesson 9

X X X for an explanatior

Dm

Strumming notation Each beat for whic h a chord i s strummed i s wr i t ten a s a diagonal slash . I n the three exercise s tha t fol low , eac h

slash i s worth a crotchet .

Exercise 3 : Remember t o kee p a steady beat , and us e the thumb t o stru m gentl y dow n acros s the strings .

Exercise 4 :

G C E G C E 1 2 3 4 1 2 3 4

G B F G B F 1 2 3 4 1 2 3 4

Exercise 5 : For the D m chord , add a n A on the 3r d string to th e 2-not e chord i n Ex . 5, lesson 3 .

A D F A D F 1 2 3 4 1 2 3 4

Pieces for Lesson 4 C a n C a n Ofte n bach This piec e uses a new t ime signature : ^ Eac h bar i s worth two crotchets .

Teacher

Student

Some Folks Do Foste r

20

-ci - a Sa n - t a L u - c i - a Sa n - t a L u - c i - a

Who the n wil l sai l wi th me ? I n m y boa t o'e r th e se a Sa n - t a L u

O'er th e cal m bi l - lo w sof t wind s ar e blo w - ing .

Now 'neat h th e si l - ve r moo n o - cea n i s glo w - ing .

Teacher

Student

Pieces for Lesson 4 Santa Lucia Cottra u Look at the double dots a t the end of ba r 8 : this i s a repeat mark .

When you reac h this sign , go back to the beginnin g and pla y the first 8 bars again .

Notice also how bar s 9 to 1 6 are enclosed i n repea t marks : at the en d of ba r 16, return to the star t o f ba r 9

and play again - bu t on the repeat , go straight int o the second time bars , missing out the first time bars . Repeat marks and different ending s ar e a common wa y o f saving space and paper !

Upbeats Music doesn' t alway s star t w i t h a complete bar .

Some o f the piece s i n this lesso n begi n w i t h a shorter ba r (a n anacrusis) which i s balanced b y another shorte r

bar a t the en d o f the piece . These two bar s together ad d u p to on e complete bar .

Where th e anacrusi s i s wor th a single beat , this i s known a s an upbeat .

New chords D7

In this chord the 1st finger should form a

barre across the top two strings on the first fret. This is shown by the arched symbol in

the diagram. Roll the 1st finger onto the

outside edge for the best contact - and

don't squeeze too hard! Placement is more

important than pressure here.

22

Exercise i The 3rd finger i s used on the 1s t string in both chord s here . Try to kee p the 3r d finger o n the strin g throughout ,

sliding i t int o positio n rathe r than lift in g and replacin g each time .

Exercise 2 : Be sure to wait unti l bot h fingers ar e perfectl y i n positio n fo r the F chord befor e playin g it .

Ties and tied notes Two notes of the same pitch can be joined together t o mak e a longer not e b y tying the m together . A curved line is drawn from on e to the othe r to sho w this. The note i s then hel d on for the combined value o f the tw o notes. This i s usually neede d i f a note need s to carr y on into the nex t bar .

Here are some examples .

Is held for 3 beats I s held for 6 beat s

Exercise 3 Try working out the lengt h o f the note s i n this exercis e befor e playing , and kee p a steady coun t a s you g o

through it .

Keeping a steady bea t i s essential to playin g and reading music .

Practise counting the bar s and beats out lou d when you pla y unti l you are confident tha t you are playing wit h

a solid beat .

When readin g a piece of musi c for the first t im e i t i s a good ide a to chec k the ke y signature and to loo k for th e

highest and lowes t notes . You can then mak e any awkward fingering change s as smoothly a s possible .

23

Pieces for Lesson 5 She'll Be Com in' 'round The Mountain America n Traditiona l

Teacher

Student

She'll b e com - in"roun d th e mou n - tain whe n sh e come s whe n sh e comes . She'l l b e

D 7 G

com - in ' 'roun d th e m o u n - t a i n whe n sh e comes , whe n sh e comes . She'l l b e

com - in ' 'roun d th e moun- ta in , she'l l b e co m - in ' 'roun d th e moun- ta in , She'l l b e

com - in ' 'roun d th e m o u n - t a i n whe n sh e comes , whe n sh e comes . She'l l b e

24

11 ieces for Lesson 5 Grandfather's Clock H . C . WOR K

Teacher

Student

My gran d - fa-ther' s cloc k wa s to o larg e fo r th e shelf , s o i t stoo d nine-t y

years o n th e floor . I t wa s tal l - e r b y hal f tha n th e ol d ma n hi m -

f, thoug h i t weighe d no t a pe n - n y - weigh t more .

Pieces for Lesson 5 Amazing Grace Traditiona l

Teacher

Student

A - ma z - in g Grace , ho w swee t th e sound , tha i

saved a wretc h lik e me . I

once wa s lost , bu t no w a m found , Wa s

blind bu t no w I se e

26

4. Guita r Parts What i s the nam e o f the fol lowing part s o f the guitar ?

Th e hole a t the fron t o f the bod y

Th e long arm on which the fingerboard i s mounted . .

Th e knobs that chang e the tension o f the string s . . .

Th e wires that divid e the fingerboard int o section s . .

5. D.S . al Fine Describe what happen s when D. S al Fine is wri t te n

3. Nam e the chords Write the name s o f these chord symbols .

2. Rhythmi c values Give the coun t o f each not e o r rest .

1. Nam e the notes Write the name s o f the fol lowing note s belo w eac h one .

(12)

(14)

(10)

(8)

(6)

Total (50)

27

Finger 4 on 4th fret , Finge r 2 on 2nd fret, Finge r 3 on 3rd fret, Finge r 4 on 5th fret ,

4th strin g 1s t string 5t h string 1s t string

Tones and semitones The frets divid e the string s int o interval s know n a s semitones.

Look at the way the note s you hav e learn t s o far ar e set out : you wil l notic e that som e pairs , such as G and A,

or D and E , have two semitone s (on e tone) betwee n them, whereas othe r pairs , such as B and C, or E and F, are just on e semitone apart .

The major scale The notes of the majo r scal e follow a particular patter n o f intervals .

Most o f the note s are a tone apart , bu t betwee n the 3r d and 4th note s o f the scale , and again betwee n th e

7th and 8th note s o f the scale , the interva l i s only hal f as much: a semitone .

Tone Ton e Semiton e Ton e Ton e Ton e Semiton e

New notes high C A

28

1 2 3 4 5 6 7 8

Exercise i : C major scal e These are the note s playe d when startin g on C and fol lowing the majo r scal e sequence .

Exercise 2 : G majo r scal e Here is the sam e scale, but this t ime startin g on G.

Notice how , to preserv e the sequence , the F is raised b y a semitone to F# .

New Notes

Key signatures So far al l the piece s you've playe d are in the ke y of C: they don' t us e any sharps .

The pieces overleaf are in the ke y of G, which require s a n Fjt .

This is shown b y the # symbol a t the beginnin g o f the piec e - know n a s the ke y signature.

Single quavers and a quaver res t Quaver s i n pair s Quaver s as a group

(worth on e crotchet pe r pair ) ( a minim's worth )

29

1 leces i or Lesson 6 Streets Ot Laredo America n Traditiona l

G major

As i - walke d ou t o n th e street s o f l a - r e - do , a s

I walke d ou t o n L a - r e - d o on e day , I

spied a youn g co w - bo y wrappe d u p i n whit e li n - en , wrappe d

up i n whit e li n - e n an d col d a s th e clay .

Botany Bay Australia n Traditiona l

Sing-ing to o - ra l - l i o o - ra l - l i a d - d i - ty , sing-in g

too - ra l - l i o o - r a - l i ay . Sin g - in g

too - ra l - li , o o - r a - l i a d - d i - ty , fo r we'r e

bound fo r th e B o - t a n y Ba y

30

New 4-note chords

D7 G G 7 C F x x o x x o o o x x o o o X X O O X X

The 4-note versions of these chords are extended versions of the 3-note shapes you have already learnt. Eventually you will learn 5-note and even 6-note versions of some of these chords.

C: To add anothe r strin g to the C chord, the 2n d fret o n the 4t h strin g i s played wi t h th e 2n d finger .

F: Add the 3r d finger o n the 3r d fret o f the 4t h strin g for thi s 4-not e version o f F .

Exercise i : Countr y Garden s

Teacher :

Student ;

Dotted crotchets As discussed i n lesso n 3 , a dot afte r a note increase s it s value b y half .

This i s true o f any not e value, and i n the fol lowin g piec e a dotted crotche t i s coupled w i t h a quaver to mak e

two complet e beats .

31

Pieces for Lesson 7 Home On The Ran ere America n Traditiona l

Teacher

Student

Oh, giv e m e a hom e wher e th e bu f - f a - l o roa m an d th e dee r an d the sel-dom i s hear d a di s - cou - rag-in g wor d an d th e

G7 C F C

an - t e - lop e pla y Wher e skie s ar e no t clou d - y al l

day Home , hom e o n th e range , wher e th e

deer an d th e a n - t e - lop e pla y Wher e s e l - d o m i s hear d a di s -

-cou - ra-gin g word , an d th e skies ar e no t clou d - y al l da y

32

T Twelve-strin g acoustic:

Essentially identica l to a standard Wester n guita r excep t for the inclusio n o f an extra si x strings .

The twelve strings ar e arranged i n pairs , or 'courses' , in a manner reminiscen t o f the lute : the botto m fou r

standard E , A, D and G strings are each coupled with a string an octave higher , whilst th e top two B and E strings

each hav e an identica l twin . The resul t i s a very full, somewhat jangly tone . .

Acoustic Guitar Chord Chart

A A7 Am Am7 A7*"* X O O x O O O X O o x o o o x

D D7 Dm E E7 x x o x x o X X O O O O O O 0 0