B7 Bm7ft5 ) C Cmaj 7 C

X O x X X O O X O O O X O

Em Edi m F G G 7

0 O O O X X X X O O O O O O

A Classica l guitar:

Traditionally associated with Spanish and classical music , this guitar i s also used in folk and country .

The nylon strings (formerly gut) are set wider than on a steel-stringed guita r to enable the righ t han d fingers to pick

accurately. The combination o f smaller bod y and thicker, softer strings gives the classical guitar a mellower tone .

Pieces for Lesson 7 Early One Morning Engl is h Fol k Son g

Teacher

Student

Ear - l y on e mor n - in g jus t a s th e su n wa s ri s - ing , I

heard a mai d - e n sin g - in g i n th e va l - le y b e - lo w

"Oh, don 't d e - ceiv e me , oh , n e - ve r leave _ me ,

how coul d yo u us e a poo r mai d - e n so? "

33

New notes B F G

Finger 2 on 2n d fret, Finge r 1 o n is t fret , Finge r 3 on 3r d fret ,

5th strin g 6t h strin g 6t h strin g

F G

The lo w note s introduce d i n this lesso n ar e great fo r bas s lines : an importan t par t o f guita r technique .

Play the fol lowin g exercis e w i th th e thumb an d kee p a steady beat .

The'/. symbol shows that the bar is a repeat of the

previous bar: it is often used in

guitar music where a pattern repeats

across several bars.

In these next two exercises, aim for

a smooth movement in the left hand.

Tou might find it tricky to reach the 6th

string at first: make sure your left hand

thumb is in the correct position and that

the guitar is sitting upright.

34

txercise i :

Exercises 2 & 3 :

Pieces lor Lesson 8 Song Of The Volga Boatmen Russia n Traditiona l

Dixie

*

Teacher

Student

Teacher's chord s

The Dalston Dra Tparhpr 'c rhnrH c

35

New chords

C A m G 7 G E m

C: The basi s o f this chor d i s the sam e a s the 4-not e C chord i n lesso n 7 , w i th th e additio n o f the 3r d finger o n

the 3r d fret o f the 5t h string .

The 1st and 2n d fingers ar e i n the sam e positio n a s for the C chord. No w just ad d the 3r d finger o n th e

2nd fret o f the 3r d string .

G 7 : Stretc h ou t t o plac e the 3r d finger o n the bot to m strin g and the 2n d finger o n the 5t h strin g befor e

placing the 1s t finger o n the top string .

G : Plac e the 1s t finger o n the 5t h string , an d the 2n d finger o n the 6th , then pu t the 3r d finger o n th e

top string .

Em : The second finger i s placed on the 5t h string , w i th th e 3r d finger o n the 4t h string .

M I N O R C H O R D S j B g g s s s s s s s . ...-... The 'm' i n Am an d E m stands for minor.

Play these chords an d compare them wi t h C and G. You will find tha t th e mino r chords sound someho w darke r an d mor e melanchol y than th e others .

C and G are major chords , and soun d brighter . Where a chord nam e ha s no 'm ' afte r the letter , i t i s a major chord . D and F , for

example, are also majo r chords , whereas the D m learn t i n lesso n 4 is minor .

Dynamics Music use s Italia n words t o describ e ho w loudl y o r quietl y t o play .

These words o r abbreviation s ar e called 'Dynami c Markings' .

Piano (writte n a s p) = quiet Mezzo forte (writ te n a s mf) = moderately lou d Forte (writte n a s f ) = loud

36

Pieces for Lesson 9 Away In A Manger Kirkpatric k

A - wa y i n a ma n - ger , n o cri b fo r Hi s bed . Th e

lit - ti e Lor d J e - su s lai d dow n Hi s swee t head . Th e

stars i n th e brigh t sk y looked _ dow n wher e H e lay . Th e

lit - ti e Lor d J e - su s a - slee p o n th e hay .

37

Pieces for Lesson 9 Jingle Bells Traditiona l

Jin - gl e bell s j i n - gl e bell s j i n - gl e al l th e wa y

oh wha t fu n i t i s t o rid e i n a on e hors e o - pe n sleig h hey !

Jin - gl e bell s j i n - gl e bell s j i n - gl e al l th e wa y

oh wha t fu n i t i s t o rid e i n a on e hors e o - pe n sleig h

38

Pieces for Lesson 9 O Come, All Te Faithful wade Notice the dynamic marking s in this piece .

Towards the end the piece is quiet, growing through moderatel y loud , to lou d at the finish .

0 come , al l y e fait h - ful , Jo y - fu l an d tr i - u m - phant , O r r r

come ye , 0 com e y e t o Bet h - l e - he m a K^ i r m r

Come an d b e - hol d Him , bor n th e Kin g o f A n - gels ! O

come, le t u s a - dor e Him , O come , le t u s a - dor e Him , O r

come, le t u s a - dor e Him, _ Chris t th e Lord .

39

Strumming Up to now , you hav e strumme d dow n acros s the string s onc e on ever y beat .

Strumming u p in-betwee n create s mor e possibilitie s fo r rhythmi c variety .

Down strum

Up strum

Strumming should be light and

relaxed, using the backs of the fingers

and thumb. Try to rotate the

wrist - not the elbow - to move

the hand across the strings. Imagine you are holding

a soft ball to keep the thumb and

fingers in a nice rounded position.

Try to kee p the han d clos e to the strings , steering the fingers an d thumb ver y carefull y a s you turn th e wrist .

The down stru m i s played wi t h th e bac k o f the fingertips : the finger nail s lightl y strok e the strings .

The u p strum i s played wi t h th e bac k o f the thumb nail .

Experiment b y varying the spee d o r pressur e o f the stroke s unti l th e string s sin g out togethe r crisply .

In the fo l lowing exercise s arrow s ar e use d to sho w dow n strum s ^ an d u p strums ^

To warm up , try exercis e i , s t rumming dow n onc e on eac h bea t w i t h a n E m chord usin g the back s o f th e

fingers i n a light brushin g motion .

Exercise i : Now pla y the sam e thing, bu t thi s t ime brus h u p w i th th e bac k o f the thumb in-betwee n th e dow n strokes .

Count: 1 2 3 4 1 2 3 4 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 40

Finally, try this version: her e you should move the han d up and down acros s the strings , bu t only mak e

contact when the notatio n require s a strum.

Keep going up-down-up-down al l the way through, even where n o strum i s needed .

Exercise 2:

Pieces for Lesson 10 The Drunken Sailor Se a Shant y Now it's time to pu t al l this strumming int o practice .

Notice how, in each of the three following pieces , the strumming rhyth m remain s the same from ba r to bar .

Try to make the strums sound constant an d steady, while rememberin g to begi n every new chord righ t a t the

beginning of the bar .

It might help to memoris e each piece in sections so you can concentrate o n playing rather than reading .

What shal l we do wit h the drunk - en sai l - or , wha t shal l we do wi t h the drun k - en sai l - or ,

Count: 1 2 + 3 4 + 1 2 + 3 4 + etc.

what shal l we do wit h the drunk - e n sai l - or , ea r - l y i n th e mor n - ine .

41

Pieces for Lesson 10 Yellow Rose Of Texas J.K.

There's a ye l - lo w ros e o f Te x - as , t h a t I a m goin ' t o see . N o

Count: 1 2 3 + 4 + 1 2 3 + 4 + etc.

o - the r fe l - lo w know s her , n o - bo-dy , o n - l y me . She _

cried s o whe n I lef t her , i t lik e t o brok e m y heart , an d

if I e v - e r find _ her , W e n e - ve r mor e wil l part .

42

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

2. Pla y the rhythm Clap or tap this rhythm .

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

4. Fil l in the blanks Draw i n the diagrams for the fol lowing chords .

5. Symbol s What d o these signs mean ?

6. Scal e intervals Write i n the correc t sequenc e o f interval s for a major scale .

(12)

(5)

(10)

(6)

(12)

(5)

Total (50) 43

New chords E A D

On the E chord , the firs t It' s importan t t o plac e the Thi s i s a completel y

finger i s added to th e E m finger s accuratel y her e to differen t f ingerin g

shape already studied . allo w al l the fingertips t o tha n fo r D7 .

f ind thei r correc t position .

Chord families Often a song wil l us e a group o f chord s tha t 'relate' : man y song s us e exactly the sam e se t o f chords .

The mos t commo n chord s i n a particular ke y are the chord s which hav e their bas s notes o n the first , fourt h

and f i f th note s o f the scale .

Here are all the simple three-note

bords in the key of C. The I, IV and V

chords are all major, and are the most

ommon chords to use within a key. In the ke y of C , these ar e C, F and G . In the ke y of G they woul d b e G, C and D .

Roman numeral s ar e use d to describ e the positio n o f eac h chord wi th i n a key, so these chords woul d b e called

I, IV and V. Often chor d V is a '7' chord: s o in C , for instance , G would becom e G7 ; in G , chord V would b e D7

rather than plai n D .

Finger picking The righ t han d thumb play s the bas s strings whi l e

the 1st , 2nd an d 3r d fingers pla y the uppe r strings .

The 4th finge r i s not use d i n picking . Try to mak e

smooth, relaxe d stroke s w i t h th e fingers an d

thumb.

If your righ t han d nail s ar e tough an d lon g enoug h

(they just nee d to pee k over the fingertips) , us e

them fo r a brighter, loude r sound . Otherwise us e

the tips o f the fingers .

44

Look at the exercise below : you wil l se e it i s wri t ten i n a different type o f notatio n calle d tablature, often use d

to show finger picking . Each line represents a string on the guitar , and the number s sho w which frets the lef t

hand fingers shoul d b e on. The letters refe r to righ t han d fingers.

Exercise i : Play either the 4th , 5th or 6th strin g wi th the thumb a t the beginnin g o f each bar (dependin g on the chord) ,

and follow on with eac h of the three fingers i n turn o n the 3rd , 2nd and 1st strings.

R.H. fingers: t i m a t i m a t i m a t i m a

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

Exercise 2 : This time, wi th three beat s i n the bar , a pattern i s made i n two-bar sections .

You could think o f this a s timami an d remembe r i t that way . Sim, or simile, indicate s that you should continue i n a similar fashion .

Count: 1 2 3 1 2 3...

Exercise 3 : Finally, try this exercis e on a D chord.

Aim for a smooth sound , and think o f the patter n a s a single shape rathe r than a s lots of littl e picks .

The arrow across the note s i n the final ba r indicate s a strum.

Count:

45

Pieces for Lesson 11 For the final third o f this book , left han d fingerings fo r melodie s hav e bee n removed .

As you ge t to eac h new piece , spend a moment workin g ou t the mos t logica l fingering for yourself base d on

the scale s and exercises studied s o far.

Scarborough Fair Englis h Traditiona l Play the top (melody ) par t i n standard notatio n o r the botto m (picking ) par t i n tablature .

Are yo u goin g t o Sca r - bo-roug h Fai r Pars-ley ,

Count: 1 + 2 + 3 + 1 + 2 + 3 +

sage, ros e - m a - r y an d thym e R e

-mem - be r m e t o on e wh o live s there , sh e onc e

was a tru e lov e o f min e

46

Pieces for Lesson 11 Amazing Grace Tradi t iona l

A ma z - ing _ Grace, ho w swee t th e sound , tha t save d a_wretche d lik e a c n A A

Count:l + 2 + 3 + 1 + 2 + 3 +

I onc e was _ lost , bu t no w a m

found, Wa s blin d but _ no w I see . A r r\

Oh! Susannah Foste r

I com e fro m A - l a - b a - m a wi t h m y ba n - j o o n m y knee . I' m n A

goin' t o Lou ' - s i - a - n a m y S u - sa n - na h fo r t o see . n A n

47

New chords A? E 7

Many guitar picking and strumming

techniques aim to emulate, or reflect,

the sound of a band. Bass picking gives a typical 'boom-ching

boom-ching' feel that would normally be played by the

drums, bass and piano together.

Try to keep this sound in mind as you work

through this lesson.

Bass pick strumming Rather than st rummin g fou r beat s to th e bar , you ca n pla y w i th mor e rhythmi c variet y b y adding singl e note s

into the pattern .

The mos t importan t singl e not e i n the chor d i s the roo t (th e not e afte r whic h the chor d i s named, and usuall y

the botto m note ) an d this not e ca n b e played together w i t h strum s t o provid e interest .

Exercise i :

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

Alternating bass When pickin g bas s notes o n the is t an d 3r d beat s o f the bar , further variet y ca n b e achieved b y alternating th e

root w i t h anothe r not e o f the chord . I n exercise 2 , notice ho w the bas s note s shif t f rom on e string to anothe r

in each bar .

Exercise 2 : If possible , you shoul d alternat e betwee n th e roo t an d the nex t strin g down o n the sam e fret (i f the roo t

string i s open, the lowe r on e wi l l b e open too) . Wher e th e roo t i s already on the botto m string , you'll nee d t o

go u p for th e alternat e note . Fo r an E chord , go u p to th e 5t h string ; and for a G chord, go u p to the 4t h string .

48

Use the sam e fingering a s you woul d fo r E ,

but leav e the 3r d finger out . B e sure to le t

the D string rin g ou t clearly .

D major scale As with C major an d G major, the D major scal e follows the T T S T T T S sequenc e outlined below .

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

Exercise 3 : The D major scale requires a key signature o f two sharps : Fi t and Cj}.

Pieces for Lesson 12 C a n C a n Of fenbac h

Count: 1 2 3 4 1 2 3 4 sim.

49

Pieces ibr Lesson 12 Streets Of Laredo America n 1 raditional This piece is in triple time, that is , three beat s to the bar . The boom-ching fee l no w become s boom-ching-chirig.

Aim to kee p the bas s note at the beginnin g of the ba r nic e and solid .

The strums that follow the bas s note can be light, and you migh t eve n try inserting some up-strums i n

between for variety .

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

Count: 1 2 3 1 2 3 1 2 3 1 2 3 sim.

out o n L a - r e - d o on e day , I spie d a youn g co w - bo y wrappe d

up i n white l i - nen , wrappe d u p i n whit e l i - ne n an d col d a s th e clay .

50

Pieces for Lesson 12 Banks Of The Ohio America n Traditiona l This piece uses the sam e alternating bas s picking as exercise 2 . If you remembe r a couple o f simple rules , this

will soon become a natural par t o f your accompanimen t technique .

If the root note i s on the 4th o r 5th string , simply alternate to the nex t strin g down on the sam e fret .

If the root not e i s on the 6t h string , you'll nee d to alternat e up : for E , alternate from th e 6t h to the 5t h string ;

and for G, alternate fro m the 6t h t o the 4th string .

I aske d my lov e t o tak e a walk . T o take .a. _ walk ,

Count: 1 2 3 4 1 2 3 4 sim.

just a l i t - t l e walk . Dow n b e - side , wher e the wa t - er s f low ,

down b y th e bank s o f th e O - h i - o .

51

New notes Bb Ct t F # G #

Finger i o n ist fret , Finge r 4 on 4th fret , Finge r 1 o n 2nd fret, Finge r 4 on 4th fret ,

5th string 5t h string 6t h strin g 6t h strin g

New chord B 7

The 1st, 2nd and 3rd fingers ar e grouped just a s they ar e for D 7 - bu t two string s lower .

Once they ar e in place , carefully positio n the 4th finger o n the 2n d fret o f the top (1st ) string .

In the fol lowing piece s you wil l se e the bas s notes writ ten ou t a s a melody - us e the TAB to hel p you see

where the note s should b e played .

This kind o f bas s line 'walks ' u p and down, usin g mainl y chord note s wi th som e other note s from th e scal e to

help step betwee n the chord notes .

Exercise i : This is a typical bas s line for boogi e o r rock'n'roll . Notice the D : this i s the '7 ' of E7.

52

Exercise 2 : Here's the sam e th ing for A 7 - w i t h a G for th e '7' .

An octave is this distance between two notes with the same letter name but eight scale notes apart. The open bottom E string is an octave lower than the E on the 2nd fret of the 4th string, and two octaves lower thati the open top E string.

Exercise 3 : And finally the sam e walking bas s line for D7 : this t ime you'l l begi n o n the 4th string , the lin e 'walks ' righ t u p

into the 2n d string .

Pieces for Lesson 13 12-Bar Boogie Blackwel l

53

I'ieces for Lesson 13 Mama Don't Allow Amer ica n Tradi t iona l Aim for a firm and steady feel: the bas s line needs to be right on the beat .

54

1.

New chord: C7

C, but w i t h th e 4t h finge r o n the 3r d fret o f the 3r d string . C7 is just lik e

More strumming The strumming pattern s i n lesso n 10 omit ted certai n up - strum s to creat e interestin g rhythms .

In the fol lowing exercise s you wi l l leav e ou t som e down-strums : thi s give s a feeling o f pushin g forwards .

Exercise 1: Practice these carefully with your favourite chords, and remember to count a steady pulse.

Exercise 2 :

Exercise 3 :

F major scale Beginning a major scal e on F requires the 4t h note , B to b e f lattened i n orde r to preserv e the T T S T T T S

sequence.

55

Pieces tor Lesson 14 Jamaica Farewell'_ Caribbea n Traditiona l

56

Remember: keep the strumming han d movin g up and down o n each beat even where n o strum i s required .

This way you'll kee p a steady bea t and always be strumming down o n the onbeat an d up on the offbeat.

Watch out for the change of strumming rhyth m i n the second par t o f this tune !

57

1I ieces ror Lesson 14 This Train Is Bound For Glory Spiritua l In this piece , the strumming par t i s written i n TAB, complete with an alternating bass .

Try to emphasise the 1st and 3rd beats to create a steady bass line. It might hel p to work ou t which strings are

needed for the alternating bass before playing through the song.

This trai n i s boun d for gi o - ry , thi s train .

This trai n i s boun d fo r gl o - ry , thi s trai n

Thistrain i s boundfo r gl o - ry , don' t carry no-thing , bu t th e right-eou s and the ho - l y a A "7 n n -?

thistrain i s boundfo r gi o - ry , thistrain . A F 7 a

58

Picking with two fingers together

In the following pieces , the fingers ar e often require d to pluc k mor e than on e string a t the sam e time .

Make sure the correc t finger i s chosen for eac h string to avoi d confusion an d kee p the flow .

Generally, for finger picking , the three fingers pla y the top three string s a s shown, while the thum b

plays the bas s strings .

Passing bass notes Often, a bass line will includ e note s that hel p to 'move ' from on e chor d

to the next .

Look at Creensleeves, for example : i n the first ba r the bas s line walks u p from A .

The B is the not e that step s betwee n A and C. In bar 3 an i s played to ste p

between G and the E i n the fol lowing bar .

These intermediate note s are known a s passing notes. Greensleeves includes many passin g note s and alternating bas s notes that giv e an interestin g

counter-melody t o the tune .

59

Pieces for Lesson 15 Greensleeves Attr ibute d t o Henr y VII I

A - las , m y love , yo u d o m e wrong , t o cas t m e of f di s - court - eou s - ly . An d

I hav e loved_yo u oh , s o long , d e - ligh t - in g i n you r co m - p'ny .

Green - sleeves_wa s al l m y joy , Gree n - sleeves , wa s m y d e - light .

Green - sleeve s was my hear t o f gold , an d wh o bu t my l a - d y Gree n - sleeves .

60

Pieces for Lesson 15 God Rest Ye Merry Gentlemen Traditional

God res t y e mer- ry , gen- t le -me n le t no-thin g yo u di s - may . Fo r J e - sus Christ,ou r

Sa - viou r wa s bor n o n Christ-ma s day . T o sav e u s al l fro m Sa-tan' s powe r whe n

we wer e gone a - stray . O t i d - ing s o f co m - for t an d joy , corn-for t and

joy O ti d - ing s o f co m - for t an d jo y

61

Pieces for Lesson 15 Danny Boy Iris h Traditiona l Rit. or Ritard . means 'gradua l slowin g down' .

Oh, Dann y Boy , th e pipes,thepipes are call - ing , fro m glen to glen , anddow n the mountai n sid e Thesummer' s

gone, an d al l th e ro-se s fal l - ing , it' s you,it' s yo u mustg o an d I mus t bid e Butcomey e

back whe n sum mer' s in th e me a dow , o r when the va l - ley' s hush'd and white wit h sno w 'Ti s I'l l b e

there i n su n shin e o r i n sh a - dow , oh , Dan-n y Boy , o h Dan-n y Bo y I love yo u so .

62

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

2. Nam e the TAB notes Write i n the name s o f the fol lowing note s belo w eac h one .

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

4. Fil l in the blanks Draw i n the diagram s for the fol lowing chords .

5. Alternat e bass picking Fill in the missin g alternate bas s notes for eac h chord where indicate d (abov e each star) .

(12)

(12)

(10)

(6)

(10)

Total (50) 63

CD backin tracks 1 Tunin g Not e E

2 Tunin g Not e A

3 Tunin g Not e D

4 Tunin g Note G

5 Tunin g Note B

6 Tunin g Not e E

7 Virtuos o Performanc e

8 Chime s demonstration 9 Chime s backing only 10 Al l Through Th e Nigh t

demonstration 11 Al l Through Th e Nigh t

backing only 12 Od e To Joy demonstration 13 Od e To Joy backing only 14 Jingl e Bell s demonstration 15 Jingl e Bell s backing only 16 Ski p To My Lo u demonstration 17 Ski p To My Lo u backing only 18 A u Clair de la Lun e

demonstration 19 A u Clair de la Lun e

backing only 20 Od e To Joy demonstration 21 Od e To Joy backing only 22 Av e Maria demonstration 23 Av e Maria backing only 24 Gymnopedi e N o 1 demonstration 25 Gymnopedi e N o 1 backing only 26 Frer e Jacques backing only 27 Frer e Jacques demonstration 28 I Know Where I' m Goin g

demonstration 29 I Know Where I' m Goin g

backing only 30 Ca n Can backing only 31 Ca n Can demonstration 32 Som e Folks Do demonstration 33 Som e Folks Do backing only 34 Sant a Luci a demonstration 35 Sant a Luci a backing only 36 She'l l B e Comin"roun d

The Mountain backing only 37 She'l l Be Comin"roun d

The Mountain demonstration

38 Grandfather' s Cloc k demonstration

39 Grandfather' s Cloc k backing only 40 Amazin g Grace demonstration 41 Amazin g Grace backing only 42 Street s Of Laredo demonstration 43 Street s Of Laredo backing only 44 Botan y Ba y demonstration 45 Botan y Ba y backing only 46 Hom e On The Rang e

demonstration 47 Hom e On The Rang e

backing only 48 Earl y One Mornin g

demonstration 49 Earl y One Morning backing only 50 Son g Of The Volga Boatme n

demonstration 51 Son g Of The Volga Boatme n

backing only 52 Dixi e demonstration 53 Dixi e backing only 54 Th e Dalston Dra g demonstration 55 Th e Dalston Dra g backing only 56 Awa y I n A Manger demonstration 57 Awa y I n A Manger backing only 58 Jingl e Bell s demonstration 59 Jingl e Bell s backing only 60 O h Come, All Ye Faithfu l

demonstration 61 O h Come, All Ye Faithfu l

backing only 62 Drunke n Sailo r demonstration 63 Drunke n Sailo r backing only 64 Yello w Ros e Of Texas

demonstration 65 Yello w Ros e Of Texas

backing only 66 Scarboroug h Fai r demonstration 67 Scarboroug h Fai r backing only 68 Amazin g Grac e demonstration 69 Amazin g Grace backing only 70 Oh ! Susannah demonstration 71 Oh ! Susannah backing only 72 Ca n Can demonstration

73 Ca n Can backing only 74 Street s Of Laredo demonstration 75 Street s Of Laredo backing only 76 Bank s Of The Ohi o

demonstration 77 Bank s Of The Ohi o

backing only 78 12-Ba r Boogi e demonstration 79 12-Ba r Boogi e backing only 80 Mam a Don' t Allo w

demonstration 81 Mam a Don' t Allo w backing only 82 Jamaic a Farewel l demonstration 83 Jamaic a Farewel l backing only 84 Thi s Train I s Bound Fo r Glory

demonstration 85 Thi s Train I s Bound Fo r Glory

backing only 86 Greensleeve s demonstration 87 Greensleeve s backing only 88 Go d Rest Ye Merry Gentleme n

demonstration 89 Go d Res t Ye Merry Gentleme n

backing only 90 Dann y Bo y demonstration 91 Dann y Bo y backing only

How to use the CD After track 1 , which give s an ide a

of ho w the guita r ca n sound, the

backing tracks ar e listed i n the orde r

in which they appea r i n the book .

Look for the ( j , symbol i n the boo k

for the relevan t demonstratio n o r

backing track .

64 123456789

BOOK! S e e l n s W v ' ' ' M c k " S t , " g

I J Acoustic Guitar i f

This book contains: Advice on equipment

Instructions for an effective technique and a comfortable postur e

Explanatory section on reading music

Easy-to-follow lesson s on clear, uncluttered page s

Audio CD with a virtuoso performance, backing tracks and audio examples

Great music including duets

Tests to check progress and comprehension

Useful pull-out chart giving note positions and common chords Bos t

Mew Tune a Day lor Acoustic Guitar . A -1 -CD

Boston Music Company/ Music Sales Furtados

part of The Music Sales Croup

www.musicsales.com www.musicsalesfurtados.in

began to pla y the guitar a t the age of six. Largely self -taught, h e studied Natura l Sciences at Cambridge Universit y but , o n becoming presiden t o f the Universit y jazz club , found hi s true calling i n music. John has taught a t Westminster Schoo l for 2 0 years, where h e is now Hea d of Jazz, and runs the jazz guita r cours e at London' s City Literar y Institute. John regularly perform s with hi s own trio and quartet .

I S B N 9 7 8 - 1 - 7 8 0 3 8 - 8 2 3 - 6

Now, for the first time, C Paul Herfurth's origina l book s hav e been completely rewritte n wit h ne w musi c and the lates t i n instrumental technique for a new generation o f musicians . The A New Tune A Day book s hav e the sam e logical , gentle pace , and kee n attention to detail , bu t with a host o f innovations : the inclusio n o f an audio CD - wit h actua l performance s an d backing t racks-wi ll mak e practic e even mor e fun an d exciting , and the explanatory diagram s an d photograph s wil l hel p the student to achiev e the perfec t technique an d tone .

Since i t first appeare d i n the 1930s , the concise , clear content o f the best-sellin g A Tune A Day series ha s revolutionised music-makin g i n th e classroom an d the home .