guitarists chord manual

8/3/2019 Guitarists Chord Manual

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he Guitarist'sChord Manua

E v e r y b o d y 'F a v o r i t eSeriesNo.1

BY HAPPY TRAUMA Guide to the Guitar with the 'most useful ehorde in, every key.H ints on buying,siJ'inging, ca:re asui repair of the inst~"ument,Standard, Dixieland, Blues and Rock cuord.progressions.T'rouble shooting. Easy-fa-read .

Amsco MUS1'C Publishing



Contents4/ AUAbout the Guitar

101I Care o fthe Instrument13/ Chord. Diagrams,33 / Dixieland Chord Progressions12 / Guitar Tuning46 / Rock Chord Progressions40 / Some Standard Chord Progressions in A41 / Some Standard Chord Progressions in C42/ Some Standard Chord. Progressions in D43/ Some Standard Chord. Progressions in E

44/ Some Standard Chord Progressions in F45/ Some Standard Chord Progressions in G9 / StringingII/Trouble Shooting8 / What to Check for5/ Where to Buy a Guitar



4



AI'}A ~ ' b ' h -~ ' G C -' •I I _-oluttJJe ~,'ultarMost likely, the first problem you'll run into in learn-ing to play the guitar wiUbe buying one. There are

several difi'er,ent ~ypes of guitars to choose from aswen as many dHfer,ent makes and. qual itdes, Here'ssome information you'll find useful on where to goand how to select your guitar,

Wh,erceto Boy a Guiltal'A N 8'1lJ Guitar'. Your best bet is a reputable mu-

sic store or a department store" if you don't knowmuch about guitars. Just be sure the store gives youa guarantee and the option to return or exchangethe instrument for another in ease youfind it unsuit-able. That way, you can show the guitar to a, musicteacher 01' a musical friend and. get an educatedopinion.,A Used Guitar'. You can often get an excellent

buy on a used guitar" but generally it's more riskythan buying a new one. And here, it's requisite that

you take someone along with you who l'eally knowsguitars. Some music stores handle used as well asnew guitar.s . Other places. to .check are: classified adsin newspapers, bulletin boards (especially in colleges),thrift shops (not usuallya good source, but worth atry)', and pawn shops,"

What Type of Ouitar to BuyThe type of guitar you buy depends mainly on what

kind of music you're most interested in playing andon how much money you have to. spend, Guitars fallinto. the following categories: classical ,FlamencO' ,nylon string folk, steel string folk" orchestra U ("F"hole) , acoustical electric, and solid body eJlectrk.

Clas~ieal.. If you're interested in playing classicalstyle, then this is the only guItar for you. Its eharae-

"It was once possible to make the rounds of t.he pawn shopsin a big' citYandi come across a great buy in a, used guitar.This i.sn't; the, case anymore. Pawn shop deal .e rs have becomemore sephisttcatad alb.o.ut the value of used guita['s since thefolk and rock 'n' roU "booms"andt_lle soaring popuJarity ofthegu:itar. It's still possible' to come across a good guitar in . a,pa.wn shop. and sometimes yon can get a good price on it, butth is is becoming increasiuglyrare. Many pawn shops no,,,. deali t . ! . new instruments-usually of inferior qll'lllity-which ,theyb..ang in. the window with "Sale" aigns all over them..U All th(l,guitBlI's mentioned above are known as acoust icguitars. And they can all be "electri'tied"-that is" they can bemade into e lect ri c gu:ihl.rs-by adding a "'pick..:up'" which plugsinto an amplifier.

5



teristics are: round hole, flat t~p,.~ight 'construction,wide neck" slotted peghead, tunwngpegs perpendieu-1ar to the fingerboard, twelve fr,ets on the fingerboard, glued bridge,. and nylon strings.Beginning students of Folk Guitar usually like clas-

sical guitars because the nylon strings are easier onthe fingers. than steel, and the tone is often moremellow and easy to produce. They're also popularfor playing some types of folk songs, Latin Americanmusic and even jazz (mosUy Rosa. No,va style).Classical guitars vary greatly in quality andprice,

The least expensive are the cheap guitars importedfrom Spain, Mexico, South America and Italy, whichstart; in this country, at about $20. One problem withthese instruments is that they're frequently madewith wood that hasn't been thoroughly dried, and thechange ofelimate often produces eraeks or w.arping.There's also a tendency for tbeglued surfaces tocome apart, which causes the bridge' to lift offthe topand the seams to separ:ate..There are many medium-priced class~caIguitaris

made in this eountrv, most of which.are excellent forstudents. They range wnprice from $75; to $250.Some names to look fOil' are, Favilla, Goya, Martin,.Oibaen, and Tatay. It"e true that these are mainlyfactory produced and don't have the craftsmanshipofhandmadeguitars (although some of the work. inmass-producing factories is also done by hand). Buta guita.rrnade by such craftsmen as Velasquez, orRamirez can cost anywhere f'rom$250 to $1000.

Flamenco. These!are similacr to the classleal guitars,but are lighter In eonstruetion, and are made of wood.that produces the sharp, brittle sound used In tradi-tional 'spanish dance music. Unlike the claaaical gUI-

tar, Flamenco guitars have a "tap plate,", usuaUymade of white or clear pbu~tic, to protect thefaeeof the instrument and allow theplayer to tap, a rhyth-mic pattern with one finger while the other fingers .

.........---, are strumming ..One other way 'of reeognizing a Fla-~:::1D~r--.,J eneo guitar is by the old-fashioned straight friction

.•----- tunwng peg.s, similar to , violin peg's, often used ratherthan the geared type.

Nylon string folk.. Many guitar maaufacturershave been combining the ,qualities of the classical andsteel string guitars for the benefit of ~earning folkguitarists. or others who like to play folk.song ac-companiment but prefer a soft, mellow. quiet tone.They are. g,enerally heavier (and more durable) thanclassical guitars, and often have a slightly narrowerfi_ngerboard. Companies such as Goyaa,nd Favlllaare weUknown for their folkguita,rs, although theyalso, make expensive classical models. They start atabout $100.Steel string folk.. This is the guitar for you if

you're interested in. the bluegrass, bluesorfing,er'~picking styles Q f folk music. They're rcund-hcle gui-tars with a flat top and, usuS:UY,a fourteen-fretfingerboard. The neck is longer and narrower than



that on the classical guitar and usually is supported

by a steel rod that runs through the length of it. Thepeghead is solid .(rather than slotted) with the shaftof the tuning peg coming up out of the peghead,perpendicular to it. Tbe steel string guitar has asharp, twangy tone and usually is played with eitherafl.atpick (plectrum) or fingerpieks, although somepeople use their bare fingers.

If you are buying a steel-string guitar, it is impor-tant that you get a fairly good one . . A poorly madeguitar will often have a high action, and with steelstrings. this can make the guitar especrally difficultto play. Also, unless the neck is reinforced, the pres-sure of fihe steel strings can warp the neck or doother damage to the instrument. So it is worth spend-ing more money and getting an instrument that youcan really enjoy. A fairly good steel string guitarwould probably start at about $75, but a respected

name, such as Martin, Gibson, or Guild, would behigher.Steel strings come in differentguages or thkkn,ess-

es-c-heavy, medium, light, and extra light. The typeyou use WIn depend on your guitar, your handstrength, and tbe kind of sound you're after. Theheavy-guage strings have a loud, bassy sound, goodfor playing rhythm guitar with a group, Mediumguage are more for als-around playing and are themost popular. Light and extra light strings are often

used by guitarists who like steel strings but wanta

soft, easy action (and not too much volume) .. Or,they're used. by guitarists who own a steel stringguitar of light construction, such as those made inthis country thirty odd years ago by such compan-ies as Washburn, Martin and Bruno.Many people also like the silk and steel string.

The treble strings are a. Iight-guage steel, and thewound bass strings are Ught steel wound around asilk core. This combination gives. the string thesharp, crisp sound of the steel string, but makes iteasy to finger .. Unfortunately, the silk and steelstring tends to lose its tone more qui'cldy than eithersteel or nylon, and it becomes dun within three orfour weeks.

Orchestra , ("F" hole}, This guitar isn't used muchthese days. Its characteristics are an arched top,two"F" shaped holes (Hkea vioHn or cello), and

a slightly rounded fingerboard .. It has a very quietbut solid tone and was at one time used f'orplay:ingjazz, especially rhythm, with bands and orchestras.Many of the "F" hole guitars have been convertedto electric guitars, sometimeaealled acoustical elee-tries, the principal jazz guitar used today.Solid body elect1'ic. This guitar was developed

for rock 'n' ron and is being used almost exclusivelyin that field. It ean't be played without electricityand an amplifier. The body is a solid piece of wood,

7



8

hollowed out just enough to house the eleetroniecomponents and the body is cut .away so that yourleft hand can reach the uppermost frets on the neck.Also, the body usually is sma,lIcompared to theacoustic guitar, and the neck is quite. slender. It canhave one, two or three "pick-ups" -mIcrophones thatpick up thevibrations from the strings, and severaldials thatcontrol the volume and tone of ' the instru-ment. Steel strings are always used onelectric gui-tars, usually with smooth, "Hat-wound" bass strings,.to eliminate any noise when the fingers slide fromone position to another.As with .any other type of guitar, solid-body elee-

tries can be very cheap or very expensive. I have seensome seIling for $12.95 (not recommended) and somefor $600. There are many in between ..The most famousname in electrie guitars of this type Is Fender, butGibs(ln. 'Gr,etc:h" and Guild, are also wen-known andhave excellentreputations,

What Details to Cheek F:orAction. The action of a guitar is the distance

between the string and the fingerboard. A high ae -tion-that is, too' great a distanee=-makes Us diffi-cult to press the strings down. But a low action-too small a distance, - m.ay cause the string.s to buzzand the tone to be' impaired. A good gUital' shouldhave a fairly even action from one end of the finger-board to the other, with the strings never more than1 h of an inch from the fingerboard.

Frets. The _pit-ehof the, guitar is based on theaccura,cy of the frets which are placed with mathe-matical precision. Anyone with a musieal ear win beable to tell if they're off even the slightest bit. Vari-



ous defects can be responsible for the frets beingout of tune: improperplaoement , a , warped neck, oran inaccurately placed bridge.

You can check your frets in the following way.Play an open string and listen carefully to its pitch.Then fret the same string on the twelfth fret andpluck it again, This note should be exactly one oc-tave higher than the ftrst, Repeat this procedurewith each string, If every octave is true, you canbe fail'ly certain your frets are accurate. Here's an-other test you can try. Make sure your guitar isperfectly in tune. Then play a full six-string chord,and fret it at each fret along the fingerboard. Listencarefully to each string. If the chord sounds out of

tune at any point, something is probably wrong withthe frets ..Pickgua7"ds. Most guitars come with plastic or

tortoise shel l piekguards to protect the finish frombeing scratched. If your guitar doesn't have onea guitarrepairman ean put one on for you.

Stringmng Your GuitarAfter several weeks of playing, you']] notice that

the strings on your guitar are showing signs of wear.They'll be difficult to keep in tune and win soundsomewhat dull. The guitar might not sound "true"at all the frets; that is. it will sound out of tunewhen fretted up the neck, ev,enthough it's in tune

when placed in the open positions. Nylon stringstend to fray 01' unravel, and steel strings develop,indentations from the constant pressure of the fret .An stringed instruments are based on the same

principle . The string Is fixed at one end to the bridgeor tailpiece and wrapped around the movable tuningpeg on the other. But there are differences in theway you string the steel and the nylon string guitar.Steel st'1l,ngguita,'s have either a tailpiece or a

bridge with small round holes going through it andinto the body of the guitar, with bridge pins. that fitin the hole over the string, Steel strings are madewith a "ball end," a small metal piece that catchesin the bridge or tailpiece and holds the string fast.

You then put the straight end of the string throughthe hole in the tuning shaft and tighten the string topitch,

The unwound treble strings have a tendency tos.lipas they're being tuned. To prevent this, windthe string on top of itself a couple of times. Thenwhen it's tuned it win catch on the shaft and holdfast. Wind all the strings In the same direction,usuallycountercloekwisa, Leave enough slack in thestring so you can wrap it around the tuning shaftat least three times when you tune it up to piteh,After the string is tuned, clip off the excess wire.Steel strings tend to sound harsh and metallic at

first .. But they'll break in after a few hours of pJay-

9



ing and sound more mellow and pleasant,Nylon st7'ing gUitU,7'S are a little more complicated

to string than steel because of the type o f bridgeused on most clasaical guitars. The holes in thebddge run parallel to the direction of the string,rather than down into the top of the guitar. Also,.the string has to be tied on since it doesn't have a"ball end."You'll find one end of the wound nylon string to

be more, flexible, since its more loosely wound thanthe rest. It's this end that's wrapped around thebridge. First put the stiff end of the string throughthe rear hole of the bridge and pull it through untilthe flexible end is at the bridge. Leave at least twoinches o f slack at the bridge end. N ow bring theflexible end of the string forward over the top of thebridge and under the string as it comes out of thehole in front. Loop this short end back over thebddge and around the string two or three times inthe space between the string and the bridge and puUthe long end to tighten the loop around the bridge.Then bring the long end through the bole in thetuning shaft and twist it around itself as described10

in the above section on steel strings. Now you'r,eready to tune the string.

Nylon strings stretch a lot, so ordinarily you mustretune them frequently for a few days after you putthem on. One way to get around this is to stretchthe strings yourself after tuning them. Do this bypulling the string out slowly but firmly several timesat different places along its length; then retunethe string. Keep doing this until there is almost no.drop in pitch after each stretching.

Caring For Your Gu:itarThe better the care you give a guitar, the longer it

will last-and the better it wHI sound. So here aresome tips on how to treat your guitar ..

• Avoid drastic changes in temperature and hu-midity. Keep your guitar away from radiators,steam pipes, and other' sources of heat in the house.Don't leave it out in the sun or In the cold for anylength of time. -Although a well-made instrumentcan take a. certam amou.nt of climate change, crack-ing, warping orglue~sepan.tion ma.y occur as a re-sult of drastic changes,



• Clean the face of the guitar from time to time,since a, f ilm of dirt and perspiration usually develops,on it andean eventually become ingrained in thefinish, You can do the job with a ,slightly dampenedcloth most of the time, but once in a while use someguitar polish to clean the wood thoroughly and giveit a high luster. Remember, too, to wipe off thefretboard every time you finish pbl,y1ng. This helpspreserve the life of the string, since perspirationcan corrode the metal strings,

• Keep your guitar tuned to standard pitch. Cheekit occasionally with a piano, pitchpipe, or tuning fork.If you tune it too high it might result in a warpedneck ora loosened bridge.

• Keep your guitar In its case when it's not in use.This will avert aeeidents, If you leave it leaningagainst a wan it might get kicked ever; and if youleave it lying around on a chair, sofa or bed, it mightget sat on.

• Have cracks repaired immediately. Otherwisethey'll get larger and might lead to other damage,Even the finest guitars can eraek, either from achange In temperature which causes the wood to ex-pand or contract, or from a blow to the thin top orback. A eraeked guitar' isn't a very serious matter ~fyou take care of it at once. An experienced repairmancan fix it without 'any damage to its tone 0.1' playa«bility.

• Replace tuning pegs when neeessary, After a fewyears, thegears on the tuning pegs might wear out,causing them to slip. Or the knob might become dam-aged in some way .. Pegs can be purchased easily inany large music center.

Trouble ShootingThere are many reasons why you might get string

buzz on your guitar, Some you can handle yourselfand some will make it necessary to . bring the Instru-ment to a repairman. Here's a list of the most com-mon causes of string buzz and what to do about them:

• You may be fretting the string improperly. Yourfinger' should be pressing the string firmly to thefingerbo.ard.as close to the ft'et as you can get with-out actually touching it.

• One or more of the frets might be too high. A re-pairman ean eacsily file or replace the fret wire in thisease ..

• The action may be tDO low. You can correct thiseither by raising the bddg,e' 0'1' the nut, or by adius-ting the truss rod in a steel string guitar.

• There may be a warp or "hump" in tbe neck.This Isn't easy to correct, but a goodrepairman canstralighten a warped fingerboard,

• The strings may not be tuned up to . pitch. Thiseau es them to vibrate tao. widely and hit the finger-board.

• The bridge or nut might need adj:usting. Mostlikely you'll need to take this job toa repairman.

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G ' · t ' Tu IiUI ar umngThere are several ways of tuning the Guitar. Ifyou're playing in a band then the guitar must betuned to the instrument that cannot be readily tuned,that i , the electric organ, piano or harp. Tuning canbe done easily by following the diagram below andtuning each string in turn as hown.

Ist String

2nd String3rd String4th String

5th String6th String

MiddleC

If you're a solei t then it really doesn't make anydifference if the note you play are actual concertnotes, a long as each note i tuned in relation to theother on the guitar. To tune thi way, tune the Etring (the heavie one 0 that it vibrates easily,

doe no buzz yet i not too taut.Now press down the E String just behind the filth

ESmng __ - - - - ~ - - ~ ~ - - ~ - - - - ~ - - - - _ r -B String .,f-------+-----+O--+---+--l

G Strin --+--- t-- -+--- \.

D S t r i n g _ _ +-__ +-__ t--__ +-\

A Strlng__-'__ +-- -+-- -+-- -+-- l

E S t r i n g . _ ~ _ _ ~ _ _ ~ _ _-L ~{

(Heaviest)

1 2

fret. You are now producing the tone A. While press-ing the E String as in tructed, tune it and the nextstring (the open A String) toound alike.

After completing thi ,pres down on the A Stringju t behind the fifth fret. You are now producingthe tone D. While pre ing the A String as instructed,tune it and the next tring (the open D String) tosound alike.

After completing this press down on the D ,stringjust behind the fifth fret. You are now producingthe tone G. While pre sing the D String a instructed,tune it and the next string (the open G String) tosound alike.

After completing this pre down on the G Stringjust behind the fourth fret. You are now producingthe tone B. While pre ing the G String as in tructed,tune it and the next string (the open B String) tosound alike.

After completing thi , press down on the B Stringjust behind the fifth fret. You are now producingthe tone .E. While pre sing the B String as instructed,tune it and the next tring (the open E String-a-thethinnest st ring) to ound alike.

In tuning one string in relation to another, as wejust explained it, you can also use the piano to getyour first (or any) note as the ba is of tuning. Lastly,the local music shop has guitar pitehpipe . They areinexpensive and by blowing into each hole you havethe exact note for each string ..

Re-tuning is often nece aryand after a little prac-ticeeasy to accompli h. Tuning is difficult unle youpress the tring n at' the fret to get a good clearsound.



Chord Diag ramsThe chord diagram is a picture, or a map, of the gui-tal' fingerboard. Six vertical lines represent the sixstrings, and the shorter, horizontal lines represent thefre ts. Circles indicate the place at which the stringis stopped, Dr fretted,and the number within the cir-cle indicates the finger of the left hand to be used ...Each diagrarn is drawn as if the guitar were facingyou, in a vertioal position, Therefore, the sixth, orbass string, is on the left, and the first string (thethinnest) on the right.

x

6 S 4 3 2 1

An x next to a string indicates that the string isnot picked lOr strummed by the right hand . . (It issometimes necessary to block out, or damp, a stringthat you do not want to sound. This is done by touch-ing that string rightly, so as to stop it from vibrating.For instance, when playing the A9 chord, your sec-ond finger (left hand) can easily touch the fifthstring, and your fourth finger can touch the firststring, thereby silencing those strings). If there isno mark on the string, that string is played ()pen, andis not fretted or damped by the left hand.

On. the following pages we have diagrammedthe most useful guitar chords in every key,and in . three different positions. The firstchord, accompanied by a,photogr.aph to aid thebeginning guitarist, is the simplest and mostwidely used position. The other positions dia-grammed are two of the many other ways ofplaying the same chord.

1 3



Key of A

A

Am

Am7

1 4

5 '

5

5

'9

x



Am6

Amaj?

x

x

7

x x

II



Key of A#/Bb

A#/Bb

A#m/Bbm

x x

x x

1 6

x x

x x•

6

x x

x

9



x x

A#maj7/Bbmaj7x,_X . .. .. .. . ~

x x

I ,

x

x

x x

I I

x

I I

x

8

x x

17



Key of B

B

Bm

18

x x

x x

x x

x x

7

I I

x x

x x



Bm6

x x

x x

x x

x x

x

7

x

7

x x

x

9

x

'9

x x

x x

1' 9



Key of C

C

C7

e m

20

x

x x

x x

8

8



Cm , a J 7r-----,

x

x x

x x

x x

x x

1 I

x x

, I'

I

x

x

8

x x

x x

I !

2 1



Key of C#/Db

C#/Db

x x

2 2

x xx x

5

9

9

I I

9



x x

x x

x x

x .x

x x

x x

x

x x

.x x

2 3



Key of D

D

Dm

D.. 7

24

x

x

xi , '

, .,_y

t tI

I

x

5

xx

x

x



Dmaj7

x

I I

I I

x

x

x

. x x! I

x

10

x

25



Key of D#fE b

D#/Eb

D:tm7/Ebm7

2 6

x

x x

x x

x x

6

x

6

x x

x

x x

x x



D # 9 / E b9 ~

I

x x x x

x

6

6

x

x x

xx x

27

(

t

(

(((

(((



°ey of E

E

0. . . . . . . . ,

~ ..I I

,I

Em

E . 7m

28

x

x

7

7



5

4

6

9

x

7

7

29



Ke ofF

F

Fro

30

x

5

x x

8



.,

x

x

x x

x

x

x5

x

7

x x

x

x x x

8

3 1



ey of F#/Gb

F#/Gb

F#?lGb7

F#m/Gbm

x x

x x

x x

3 2

x X

6

! I

I

II II I I

, I

x x

x x

x x



x xI

xx

x x

x

x

,, I

I I'

x

x

8'

x

x

xx

x x~ i

9 - I

33



G

Gm

Gm 7

34

I I

xx

x x-

I

_

.e: , = ::

Jt 1 -"I

1

I

I I

x

7

x x

xx



Gmaj7

0fJ

I!

II

x x

xx

x

x

x

I I

x

5

x

x x

x x

35



ef G#/Ab

G#lAh

G : #YA b7

x x

x x

4

I I

x

x x

I

! I

xx



_ I

x x

I I

XX

II

x

1 I

x

x

II

I

,0 I •-. ..,I

I

I I I

I

x

! I

x

x x

I I

37



Diminished 'ChordsThe Diminshed Chords are indicated by ,(-) or(dim.) after the chord letter. They are named afterany note of the chord.

A-,C-,D#-/Eb-,F#-/Gb-

A:#-IBb-,.C#-lDb-:, E-:, G-

B- ,D-,F-G#-/Ab-

38

x x

x x

x



C+ , E + , G # + / A b +

F+ ,A+ ,D ! b + /C #+

Augmen ted Chord sThe A ugmented Chords are indica ted by (+ ) or(Aug). after the chord Jetter. They are named afterany note of the chord.

x X

xx

G+ , B + ,E b + I D ~ +x X

x

··X

X

X

x X

x

xx

xx

,0I «'.i

3 9



'ChordProgressionsThe following chord progressions, to be played asexercises, are widely used, and can be found in manyongs, The chords have been grouped according tothe eight most useful chords in each key, and have

A

F#m

A D

I I I I

A A7

1// /

AI I I I

been diagrammed at the top of the page for easyreference, Any position of the chord can be used, how-ever, and it would be e ·ceHent practice to substituteother positions of the chord when doing the exercise.

Key of A

Bm

A

.I IE7I /

D B7/ / I I

F~m

I I / / I

F#m Bm11//1///1

4 0

Dx

C~7x

A D/ / / I

E7

/ / / /

Bm

I I I / I

C#7I / / / I

x

E7 AI / I / II

A

I / / .I II

E7I I / .I I I

F#m

I / I / .I ,j J



x c

Am

Chord ProgressionsK ey ofC

x

x Dm

x x F G '

xD1

C F G7 C F G7 C

////1////1////11////11,

C Am Dm G7 C Am Dm G7 C

/1//1///11111/1////11

ii i

C' E7 F D7 G7 C

1/, /11// // 1// // 1// // 11

Am Om E7 Am//1/1////1/1/1 '1////11

41



I

42

x

I !

Bm

Chord ProgressionsKey of D

x G A7

I I

F#7m

I I

D D'l' G D A'l D

/ / / / I / .I / I II ./ I I ./ II / I I I II I

D Bm G A7///111/1/ ,11//1 11//// II I

D F#7 G E7 A7 D

.I .I / ./ ./ / / / I: ./ / / / II ./ ./ ./ / II I

Bm F#7 Em Em Bm F#7 Bm

/ ./ / / .1 .I I ./ I II / I / / I / / / I II



E

C#m

Cbord ProgressionsK,ey o f E,

A

E A B7 A E , A B'i' E

/ ./ I / I I / ./ I I / / / / I / ./ / ./ II

E .E 7 A F#'1 B7 E

/ / ./ / I / / / / ./ ./ / / I / I ./ / II

F#m

E G# 7 C~m A F#7 87 E '

I / ./ ./ Ii / / I / I I / / / I I ./ / I II

C~m F#m G#7 C#m1///1/1//1////1//// II I



F

Dmx

Chord Prog re ss ions

Key of FBbxx x

F B b C7 F B b C7 F./ I I I I / ./ I I II I I I I I I I / / II

Gmxx

F Dm Gm C7 F Dm C7 F

// / 11/ / / / 11/ I /1/ / / / II

F A7 Dm G7

1///1////11C7 Bb

/ / / / il

Dm Gm Dm A7 Dm Gm1/ /./ 1/ / / /1/ / / /

4 4

F

/ / / / II

A7 Dm/ / / / II



G

Em

Chord ProgressionsK'eYof G

Am

c

x

x

I~

G C D7 GI I I I I I / / / I / / / / I / / / / IIII~

I~

I '

G E.m Am D7 G Em Am D '1 GI / / / I / I / I I I I I I .I .I / / I I

G B'l Em C A7 D 'l GI~I / .I / II / / / / I / / / .I I / / / .I II

Em Am Em B7 G B7I ./ / ./ I / ./ I / I .I ./ ./ ./

Em

I . / / ./ / II45



12-Bar Blues ProgressionE A7 E

/ / / / ~ / / / / I / / / /E7

/ / / / I

M E

/ / / / I / / / / I / / / / 1// / / I

B'l A'l E E7 A Am/ / / / I / / / / I / / / /

E B7

/ / / ~ I I '

Dixieland ProgressionG

/ / / /B7 E7

/ / / / I / / / / / / / / I

A7 D7 G C7 G/ / / / I / / / / I / / / / I /I / / II

Rock 'n Roll ProgressionC Am Dm/ / I I / / I I / / / I / / / I I I

G C

I / / / I / / I I / / / I / / / I / / /

Am Dm G.1 I /11 / 11 1

/ / 11/./ /1/,//1/./ /11

46



A World V iew of F olk M usic['he.New Yorker says,...l 'his handsome collection of a hundred and eightyark songs is a far cry from the usual humdrumrab hag. Dr. Haywood's rangeis wide; Greenland"Julgaria, Martinique, Ghana, and a hundredIDd .fifteen other countries are represented.

I e choices are freshand the commentary is aively blend of anthropological and musicalmowledge..Melodic lines are reproduced in

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