jamorama beginner lessons
TRANSCRIPT
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Terms of Use
By purchasing Jamorama, the Ultimate Guitar Learning Kit, you agree to the following -
You will use Jamorama, Chordinator, Jayde Musica, Guitearit, Advanced Learning
Techniques for Guitar, Guitar Tuner Pro and other Rock Star Recipes Ltd products and
services for your personal and private use only.
Jamorama, Chordinator, Jayde Musica, Guitearit, Advanced Learning Techniques for
Guitar and Guitar Tuner Pro remain the property of Rock Star Recipes Ltd, and may not
be resold, repackaged or otherwise transferred.
Course and bonus product materials may not be duplicated or distributed in any way
without expressed, written permission from Rock Star Recipes Ltd.
Rock Star Recipes Ltd, retains all rights to these products.
Copyright © 2004 Rock Star Recipes Ltd.
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Contents
5
7
13
20
26
31
36
42
49
53
62
67
Preface ..............................................................................................
Introduction - The guitar and getting into position..........................................
Lessons:
Lesson 1 - Introduction to chord diagrams, chords A and D,
strumming......................................................................................
Lesson 2 - Introduction to guitar tablature, jam track No. 1.........................
Lesson 3 - Notes on the treble clef, time signature, notes on the 1st string,
notes on the second string, jam track No. 2.............................................
Lesson 4 - E major chord, the repeat sign, jam track No. 3, notes on the 3rd
string...........................................................................................
Lesson 5 - G major chord, C major chord, jam track No. 4, notes on the 4th string,
jam track No. 5......................................................................
Lesson 6 - A minor chord, turn around progression, jam track No. 6, jam track No.
7, notes on the fth string............................................................
Lesson 7 - Eighth note rhythm patterns, F major chord, the chromatic scale.....
Lesson 8 - Dominant 7 chords, A7 chord, D7 chord, E7 chord, jam track No. 8...
Lesson 9 - Silent stroke symbol, jam track No. 9, notes on the sixth string, jam
track No. 10...................................................................................
Lesson 10 - G7 chord, C7 chord, two bar rhythms.....................................
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Lesson 11 - B7 chord, blues in E major, jam track No. 11......................
Lesson 12 - Notes on stave: rst position, bass note picking...................
Lesson 13 - Time signature, jam track No. 12, bass note picking in , jam
track No. 13.......................................................................
Lesson 14 - Suspended chords, Asus4 chord, Dsus4 chord, Esus4 chord, jam
track No. 14, scales, the major scale, C major scale, jam track No. 15......
Lesson 15 - Asus2 chord, Dsus2 chord, jam track No. 16.......................
Supplementary Chord Reference..........................................................
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PrefaceWelcome to Jamorama – The Ultimate Guitar Learning Kit!
First of all I want to let you know that you have made a fantastic decision in
purchasing this course. You’re about to discover amazing methods to learn
how to play virtually any guitar song you hear, with the timing, rhythm
and magic of a professional. For many of you, this course is going to be life
changing!
Have you ever been to a party, or a friend’s house, or some other social
situation where there was a guitar lying around and someone picked it upand started playing heaps of popular songs that everybody loved? Did you
ever wish that that could be you? Have you ever dreamed about being a
famous rock star or being the life of the party by being able to play lots of
well known songs?
I have great news. It can be this way and I am going to share with you
everything that you need to know, step-by-step, about how to play the
guitar with uency. You are comprehensively going to learn how to play
virtually any guitar song you hear. And you are going to learn how to play
well known songs right from the start! I’ve made each song very easy for you
to learn by breaking them down into small parts, so you can practise each
part individually and then put it all together. This is truly powerful
knowledge you are tapping yourself into.
I know what you are probably wondering… will this course work for me? I
assure you, this powerful course has been proven time and time again to
work for thousands of guitarists worldwide. No matter what kind of guitar
music you want to play, no matter what level you are at (beginner, interme-
diate or advanced), this information applies to you, and in some cases, you’ll
even amaze yourself!
But I’ll level with you. There is a catch.
So what is the catch? The catch is, you have to actually take action and
practise! Most people who fail with guitar do so because they stop
practising. They don’t have the willpower to take their guitar-playing to a
new level. They don’t see the bigger picture. They don’t foresee the im-
mense personal satisfaction they’ll gain by mastering the art of playing the
guitar. But I ask you this. What is scarier? To practise and become the guitar
player that you dreamed of being or to stay the same and not grow?
Continued over page...
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What I can assure you is this: if you listen to what I have to say, practise
daily and keep yourself motivated, you will see the results. And you’ll start
seeing them quickly. I also must add that while this book is an invaluableresource for your guitar learning, the guidance of an experienced guitar
teacher is also recommended as they will help keep you on task, motivated
and can quickly point out important things about your technique that will
help accelerate your learning that you may not notice yourself.
Good luck with your guitar learning, it’s going to be a really life-changing
ride!
Yours sincerely,
Ben Edwards
Jamorama.com
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How to get the most out of your Jamorama Kit
1
Introduction
By now you would have noticed that the Jamorama Kit contains a great deal of content. Let
me tell you how to get the most out of this course.
When purchasing the Jamorama course you would have noticed that you were sent a Clickbank
order number via email. This order number is effectively your key to unlocking the doors to
all the tools and secrets that will enable you to become the guitar player you have always
dreamed about. Use it to log in to our members’ area at www.jamorama.com/members.php
Within the ‘Members’ Area’ the full Jamorama course is available as a download, i.e. thebooks, the video examples, the songs, and all of the extra bonus software and tools such as
Jayde Musica, Guit-ear-it, the Jamorama Metronome and Guitar Tuner pro.
Let’s start by looking closer at the books. Basically the books are the cornerstone of the
course. All of the bonus software and video examples accompany the books and their content.
They have been written by me directly for you, with you the learner in mind.
All of the lessons within the books have been written in guitar tablature and each lesson is
accompanied by helpful video. The video lessons are excellent accompaniments to the book
as you can SEE and HEAR exactly what you are meant to be doing. Icons have been added to
the books at the relevant places to show you when and where there are video examples
available. When you see this icon you will know that there is video available:
To access the video for each exercise, you will need to log in and download it from our
members’ area. Essentially, the books are the foundation. Read them, study them, love them…
then read them all again!
The bonus software and games that come as part of the Jamorama course consist of the
following:
- Jayde Musica - How to tune your guitar
- Guit-ear-it - Advanced guitar learning techniques
- Guitar Tuner Pro
- Jamorama Metronome
These extra bonuses are tools to help motivate you and keep your interest levels up. I
strongly recommend that you use these for at least 10 minutes each a day. This will very
quickly improve your music sight reading, train your ear and increase your skill at playing in
time. These programmes are available in our members area also. Install these programs
onto your computer and use them from there.
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Right now, I want to introduce you to the key that we will be using throughout this course.
From time to time you will see icons at the side of the page. Below is a guide as to what each
of them mean:
Now that we’ve got that covered, it’s time to start learning. I hope you’re ready for the
ride...
This is a lesson or some
advice that could save youa lot of valuable time. A
hot tip can be a number
of things: A quick pointer,
a hard learned lesson or a
cheeky shortcut to get you
there faster. Take note of
each tip and they will serve
you well.
This is the warning symbol.
We use this to steer youaway from any guitar
learning no nos and put you
on the road of righteousness.
Pay close attention to the
warning symbol as bad habits
can creep in
unnoticed at any point of
your development.
Pretty self-explanatoryreally. This is something
important that you really
need to take note of and
remember. When you see
this icon, study up on the
relevant information until
you know it inside and out.
That way you will be ready
for everything in the lessons
that follow.
From time to time, I like to
add some deeper thoughtinto the mix; an idea, a
belief, a word from the wise
just to keep you on your
toes and thinking about the
way you think about playing
and learning guitar.
Did you know that the rstguitarist to intentionally use
a distorted guitar sound was
Link Wray. He achieved the
sound by punching holes in
the speaker of his amplier
and it can be heard on the
1958 recording of his song
‘Rumble’. You guessed it!
When you see this symbol
you get a pretty trivial fact
- useless, but interesting
nonetheless.
Jam Track Icon. When you
see this icon, it means thereis a Jam Track available in
the members’ area.
Basically, the Jamorama
Jam Tracks are there to get
you jamming with the band
and to put all those newly
learned skills into practise.
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The Acoustic GuitarThe following diagram illustrates the various parts of an acoustic guitar:
Tuning machine heads
Nut
Neck
Heel
Sound hole
Pick guard
Saddle
Bridge pins
Soundboard
Bouts
End pin
Waist
Bridge
Body
Headstock
Fingerboard
Frets
Position markers
Truss rod
Strings
Before you begin working through the lessons in this book, you will need to know what thevarious parts of the guitar are called and how to get into position holding your guitar. Let’s
start by taking a look at the acoustic guitar.
The Guitar
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The Electric GuitarThe following diagram details the various parts of an electric guitar:
Tuning machine heads
Nut
Neck
End pin
Bridge
Body
Headstock
Fingerboard
Frets
Position markers
Truss rod
Strings
Pickup selector switch
Pickups
Volume controls
Tone controls
Output jack
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Standing Position
1. Pick up the guitar and place the strap over your shoulder. Adjust the strap so
that the guitar is positioned mid-body.
2. Use your ngering hand to support the neck of the guitar.
3. Rest your strumming hand over the bridge of the guitar.
Getting into position
Sitting PositionsThere are two sitting positions for holding the guitar - the classical and casual positions.
Classical positionCasual position
1. Pick up the guitar and make sure that the guitar body is supported by your leg.
2. Position yourself on the front half of your chair.
3. Ensure that your back isn’t arched, ensure that it is straight but not so that it is tight.
4. Lean the guitar back towards you slightly.
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FretsThe guitar neck is divided into what
we call frets, making a fret board.
Most guitars have around 20 frets.
In this rst book, we will focus on
the rst four, also known as the frst
position. In Book Two, we will move
beyond that. Notice that we numbereach fret starting with one at the
head of the guitar.
E A D G B E
6 5 4 3 2 1String Numbers
Tuning
4
2
1
3
5
6
7
Lesson OneNow that you’ve read the introduction, you are ready to start your rst lesson. Your aim in thislesson is to learn the A and D major chords and to introduce yourself to reading guitar
tablature. This rst lesson is quite a big one, so I want you to really focus.
Following this, in lesson two, you’ll get into something called tablature and by lesson three
you’ll be able to play along with one of our jam tracks. Sounds hard, but it’s not. Let us start
with a tip concerning practising your guitar.
It is more benecial for you to practise multiple times during a week than to
practise for one long session. This is because your brain processes information
in chunks at a time and it can only hold a certain amount in short-term storage.
For example, with phone numbers, it is very difcult to remember any more than
seven digits at a time. Yet, if you give yourself time between practising, even if
it is just ten minutes, you’ll nd that your brain is much more efcient at
turning your short-term practise into long-term knowledge. For more information
on effective learning, read our free bonus book, ‘Advanced learning techniques
for guitar’.
Okay, that aside, let’s get started on the lesson. To start with, I want you to have a look at
the guitar neck diagram below and take note of all the relevant pieces of information.
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Intoduction to Chords
The rst things that we will look at in this book are chords. Guitarists use many different
chords to make progressions or riffs that can then be used to create songs. If you are not
familiar with some of these terms, it’s ok. We will cover everything that I am talking about in
good time.
A chord is dened as a combination of three or more notes played together. To examine this,
I want to take a look at chord diagrams. Chord diagrams are used to illustrate how a chord is
played. They are very easy to use because they look very much like the neck of the guitar. In
fact, the Jamorama chord diagram is a guitar neck.
Note that each string on the guitar is numbered. When you hold your guitar in
the casual playing position, the 1st string is at the bottom and the 6th string
is at the top.
Notice also the term ‘Tuning’ at the bottom of the above diagram. Tuning refers to the notes
that the guitar strings are tuned to. In the previous diagram, I have given a very common
tuning called standard E tuning that consists of the notes E, A, D, G and B. Strings 1 and 6
are both tuned to the note E. The open 6th string is called low E. The open 1st string is called
high E as it is two octaves higher than the 6th string open E. I will explain notes and octaves
to you later in this book, but for now, you only need to know the names of the notes in
standard open E tuning.
We will stick to standard E tuning throughout this book, and you can nd other tunings to play
in the Jamorama Tuning Software.
To get a better grasp on this, open the Jamorama Guitar Tuning software and
set it to standard open E tuning. Listen to each note as you play it in the tuner.
To continue in this book, you need to tune your guitar to that tuning (for more
help on tuning, see our book - ‘How to Tune your Guitar’).
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So, now that you know what a chord diagram looks like and how it matches with the neck of
your guitar, it’s time to come back to what I said earlier about a chord being a combination of
three or more notes played together. Finger placing symbols are added to the chord diagram
so we know which notes to play. To start with, let’s look at your fngers.
For educational purposes, this is what a standard
chord diagram looks like. We won’t be using them
in the Jamorama guitar course.2nd Fret
1st Fret
3rd Fret
4th Fret
As stated above, the Jamorama chord diagrams are going to be pictures of an ‘actual’ guitar
neck so it’s easy to make the connection between strings and ngering. There is also a picture
of the type of chord diagram that appears in most other Guitar learning guides. I want you to
be aware of that form of ‘standard’ chord diagram because you may want to use it when
writing up chords on your own paper.
1
2
3
4
We give each playing
nger a number that
we can then match up
on the chord diagram
(see next page).
Chord Diagrams
Standard Chord Diagram
1st2nd3rd4th5thFrets
We use a photo of a guitar neckfor our chord diagrams so they
are very easy to relate to.123
56
4
Jamorama Chord Diagram Versus
Strings
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The A major chord is constructed
of the notes A, C# and E. We will
cover notes a little later. For
now, we will make chords without
knowledge of individual notes.
21
3
Chord diagram - A major chord
Throughout this course, every chord diagram will be accompanied by a picture of the chord
being held on the fret board and video of the chord being played for you to check with.
Pictured below is the A major chord being played.
And now, let’s look at a full chord diagram. We will use the example of the A major chord:
In the chord diagram below you can see that the A major chord uses ngers 1, 2, and 3. Take
note of how this chord diagram looks - we will use this style from now on.
Exercise: Playing the A major ChordPosition each nger with care, according to the above diagram. Make sure that each ngertip
is placed as close as possible to the fret. Firstly, pluck across the strings one by one with your
pick, checking that each string rings clearly and is not muted or buzzing. Play the rst video
example to hear how the chord should sound.
Now that we’ve looked at chord diagrams, I want to move on to strumming.
A major chord
Note that there is a red dot marking the nut of the 6th string on the above
chord diagram. The red dot tells you that you are not to play that string. Thesixth string of the A major chord is not played, but you play the rest.
1
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When you play a stroke, you strum across the strings just in front of the bridge of the guitar
with the pick in your strumming hand. When strumming a chord, make sure that you play all
the necessary strings in the chord. The stroke direction will depend on which stroke is
indicated; up or down as shown above.
Up stroke
Down stroke
Introduction to StrummingIn a strum there are two types of guitar stroke. They are the up stroke and the down stroke.
Throughout this book these strokes will be notated as follows:
Exercise: Strumming the
A major Chord
Position each nger with care,
according to the chord
diagram (right). Make sure
that each ngertip is placed
as close as possible behind thefret. Firstly, pluck across the
strings one by one with your
pick, checking that each string
rings clearly and is not muted
or buzzing. Once you are sure
that you are holding the A
major chord correctly,
practise strumming the chord
in single downward strokes as
indicated below:
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3
A major chord
While you play this, see if you can say out loud an even 4 count. Another option is to use the
jamorama metronome - it will help you to stay in time.
A major
1 2 3 4
Stroke
Count 1 2 3 41 2 3 41 2 3 4
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You can listen to the audio CD to hear a recorded example of the last exercise.
Try your best to start from the fth string each time you strum. A major doesn’t
sound bad if you accidentally hit the top string, but if you want your music to
sound professional, you’ll want to play this chord properly. Remember to stay
relaxed. Your ngers may hurt a little but they will get stronger.
Now that you are playing the A major chord properly, let’s take a look at
strumming another chord - D major.
The D Major ChordThe D Major Chord is constructed of the
notes D, F# (F sharp) and A. It is played
using ngers 1, 2 and 3:
2
13
Exercise: Strumming the
D Major Chord
Position each nger with
care, according to the chord
diagram (right). Make sure
that each ngertip is placed
directly behind the fret.
Firstly, pluck across the
strings one by one with your
pick, checking that each
string rings clearly and is not
muted or buzzing. Watch the
rst video example to hear
how the chord should sound.
Practise strumming the D
major Chord in single
downward strokes as
indicated below:
T
A
B
A Major
02
2
2
0
X
02
2
2
0
X
02
2
2
0
X
02
2
2
0
X
02
2
2
0
X
02
2
2
0
X
02
2
2
0
X
02
2
2
0
X
2
4
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Note: The top two, or fth and sixth strings are not played in the D majorchord. Make sure that you start your stroke from the fourth string each time
you strum D major. It doesn’t sound bad if you accidentally hit the fth string,
although as with A major above, if you want your music to sound professional,
you need to play this chord properly.
D major
As before, see if you can say out loud an even 4 count as you play or use the Jamorama
metronome.
1 2 3 4
Stroke
Count 1 2 3 41 2 3 41 2 3 4
3
T
A
B
2
3
2
0
X
X
D major
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
4
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1
2
3
4
5
6
S t r i n g s
Tablature score:
T A
B
1
2
3
4
5
6
Reading Guitar TablatureGuitar tablature (also known as tab) is probably the easiest and most used method for guitar
notation. On the internet, you can nd guitar tab notation for almost any song that you want
to learn. Tablature is easier to learn than traditional music notation because it relates directly
to the fret board of the guitar, indicating where your ngers should be placed. Although it is
an easier method to learn it still has its weak points, the main one being that you can’teasily indicate rhythm on tablature. This means that when you learn a song you have to learn
the strum from the song itself.
The following diagram shows you how tablature relates to the guitar fret board:
Tablature has six
lines that indicate
the six strings of
the guitar.
The word TAB at the
beginning of the tablature
score is the abbreviation
for tablature.
Fret number: 1 2 3 4 5 6 7 8
Lesson Two
Keeping an Open MindLearning to play the guitar might not be what you had expected. Just remember
to keep an open mind and try to forget any preconceived notions that you may
have had about learning an instrument. Things might be harder to learn than you
rst anticipated and you may nd yourself less motivated to continue practising.
You need to counter this by taking up the challenge and enjoying it. Try differentthings to keep your practise interesting and most importantly, have fun with it.
Hi there and welcome to Lesson Two - I’m glad to see that you are still with us. The next fewlessons are very important, so you may want to go back and make sure that you are taking
note of everything that I am teaching you. In this lesson, we are going to get you learning
about something called tablature... I hope you’re ready for it!
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T
A
B
3 Tab. diagram 1
T
A
B
Tab. diagram 2
1
We use numbers to indicate the string and the fret position that you are supposed to play.
Each fret is numbered, starting at the nut of the guitar at O and moving upwards towards the
bridge of the guitar. The following diagrams demonstrate this principle.
The 3 on the above tablature score (Tab. diagram 1) indicates to you that you place a nger
on the third fret of the sixth string. It is the note G.
T
A
B
Tab. diagram 3
0
The 1 on the above tablature score (Tab. diagram 2) indicates to you that you place a nger
on the rst fret of the second string. It is the note C.
The O on the above tablature score (Tab. diagram 3) indicates to you that the third string is
to be played open. This means that you don’t need to place a nger on it. It is the note G.
Chords and TablatureChords are indicated by a set of numbers that tell you which frets need to be played and
which don’t. The following diagram on the next page demonstrates how an open A majorchord is constructed with tablature.
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Exercise:Practise strumming the A major and the D major chords to the following down stroke
pattern. Strum four down strokes over the A Major chord and then four down strokes overthe D Major chord and then repeat. You should aim to get a smooth change between the two
chords so that the whole piece ows and is in time. Play along to the video or metronome
until you have mastered it. The tablature for this exercise is on the next page.
T
A
B
T
A
BO2
22
O
X
Now that we have looked at that, let’s take a look at playing the A major and D major chords
together.
The A Major Chord
The rst and fth strings are played open while the second, third and fourth strings are
played at the second fret. The sixth string is not played in the A Major Chord and this is
indicated by an X.
Often tablature is written beneath traditional music score or stave. The two together looklike this:
4
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Chord A D A D
Stroke
Count 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
4
T
A
B
A D A D
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
0
2
2
2
0
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
This exercise may be difcult on your rst few attempts. You may nd that
your fret hand struggles to co-ordinate each chord change with your strumming
hand. This is natural and will take a bit of practise to break. Try to focus on
getting strumming hand consistency rst and your fret hand should follow with
practise.
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Jam Track No. 1
At Jamorama, we believe that there is no point learning chords and techniques if you
never get to put them into practise with a band. For this reason, I want to introduce
you to the idea of contextual learning. Throughout the Jamorama course, we will take
what you have learned and use Jam Tracks to put it into ‘context’. So here we are,
you have been invited into the ‘Jamorama Band’ as the rhythm guitarist. Below is TAB
of what you need to play (note that each Jam Track will only use skills that you have
already learned). There are two audio tracks for each Jam Track, one with your guitar
part being played and one that you can play along with where the rhythm guitar has
been left out. Okay lets get started.
T
A
B
02
2
2
0
X
02
2
2
0
X
02
2
2
0
X
02
2
2
0
X
23
2
0
X
X
23
2
0
X
X
23
2
0
X
X
23
2
0
X
X
02
2
2
0
X
02
2
2
0
X
02
2
2
0
X
02
2
2
0
X
23
2
0
X
X
23
2
0
X
X
23
2
0
X
X
23
2
0
X
X
A D A D
T
A
B
0
2
2
20
X
0
2
2
20
X
0
2
2
20
X
0
2
2
20
X
2
3
2
0X
X
2
3
2
0X
X
2
3
2
0X
X
2
3
2
0X
X
0
2
2
20
X
0
2
2
20
X
0
2
2
20
X
0
2
2
20
X
2
3
2
0X
X
2
3
2
0X
X
2
3
2
0X
X
2
3
2
0X
X
A D A D
T
A
B
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
A D A D
Strum
Count 1 2 3 4
T
A
B
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
A D A D
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T
A
B
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
T
A
B
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
T
A
B
0
2
2
2
0
X
A D A D
A D A D
A
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Notes on the Treble Clef A clef tells you which notes are represented by each line and space on the musical stave. We
will look at the G clef or treble clef. It looks like this:
The clef is placed on the stave at the very beginning of a piece of music. When it is the treble
clef, the stave is called the treble stave. Treble stave looks like this:
There are seven notes in the musical alphabet. They are: A, B, C, D, E, F and G.
These notes are indicated by the placement of musical notes on the lines and spaces of the
treble stave. Using the treble clef, the bottom line on the stave represents the note E. The
subsequent notes, F G A B C D, continue up the stave so that F sits in the space above E, G
sits on the line above F, A sits in the space above G, and this continues up the stave until E is
reached, near the top of the stave and then the cycle starts again. Notes can be placed offthe stave on what are called ledger lines (see the following diagram).The following diagram
will help you to remember the notes on the treble stave.
= 3 counts = 1 1/2 counts
4 counts whole note (semibreve)
half note (minim)
1 count
1/2 count eighth note (quaver)
quarter note (crotchet)
2 count
.Adding a dot ( ) to a note adds half that notes value:
The following table details the types of notes that we will be using throughout the course. At
this stage you do not need to know the theory behind these notes, just make sure you know
what the notes look like and what ‘beat’ or ‘count’ value they represent. You will be able to
refer back to this table as you see t:
Now that we have integrated both chords and strum, I want to take a look at some musical
theory and apply it to the guitar.
Lesson Three
EG
FA B
CD
EF
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Four Four Time SignatureTime signatures tell you what time you are to play a piece of music in. They are written as
two numbers, one above the other. This is the four four time signature:
The diagram on the next page shows you where the time signature sits on the stave. There
are some other things on the diagram that you should note.
In a time signature, the upper number species the number of beats there are per bar. In the
above example: the upper number is 4 which tells us that there are 4 beats allowed per bar.The lower number species the note value that is equivalent to one beat in the bar. In the
above example: the lower number is 4. Because a time signature is a fraction, we can read
the bottom number in the above example as ¼; a quarter. Therefore, in the above four four
example, a quarter note (e.g. ) holds for, or is equivalent to, one beat in the bar.
So, four bars of quarter notes of E in four four time would look like this:
4
This is a bar line. Bar lines
are used to divide the stave
into sections that are called
bars or measures.
This is a double bar line.
Double bar lines indicate
the end of a piece of
music.
Four four time
signature.
4
The notes in the above diagram (e.g. ) are called quarter notes.
Please note that ledger lines can go
above or below the stave depending onhow high or low the notes are played.
Ledger Lines
C D
F
E
A B
C D
F
E
G
B
G
A
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Now that you have some knowledge of music on stave, I want you to go and open
Jayde Musica. Jayde Musica is a fantastic tool for learning how to sight read music
and not to mention a heap of fun to use. Try to use this great musical game for
10 minutes each day and you will see some fantastic results.
Let’s now apply some of that music theory to the guitar fret board.
Exercise:Note picking is a skill that is used in all types of music. For now, we will use it to
familiarize ourselves with the note names on each string in the rst position. Pluck these rst
string notes with a downward picking motion. Notice that your ngers should match the fret
number when playing in the rst position:
Notes on the First StringKnowledge of the notes that are on each string is necessary for understanding guitar theory.
The rst string is also known as the high E string. The main notes in the rst position on the
rst string are E (open), F (1st fret) and G (3rd fret). The rst position refers to the rst 4
frets of the guitar.
We will use the notes in the above example to introduce to you the concept of note
picking.
Fret 5 Fret 4 Fret 3 Fret 2 Fret 1
1 03
Fingering: none 1 3 3
5
Count: 1 2 3 421 3 421 3 41 2 3 4
T
A
B
3 3 3 333 3 311 1 1O O O O
4
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Notes on the Second StringThe second string is also known as the B string. The main notes in the rst position on the
second string are B (open), C (1st fret) and D (3rd fret).
Fret 5 Fret 4 Fret 3 Fret 2 Fret 1
1 03
If you are having trouble getting each note to ring out clearly, try placing yourngers directly behind the fret, applying pressure until it starts to produce the
crisp, clear sound that you seek.
6
T
A
B
Count: 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4Fingering: none 1 3 3
Exercise:Pluck these second string notes with a downward picking motion:
3 3 3 333 3 311 1 1O O O O
It’s a fact that Jimi Hendrix actually preferred right-handed guitars.
Despite being left handed, Jimi found that playing Fender Stratocasters
upside down meant that he was able to use the controls and tremelo
arm, hence then being at the top, in his own unique way.
4
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T
A
B
3 33 0 3 33 0
T
A
B
3 33 0 3 33 0
T A
B
3 33 0 2 22 0
T
A
B
3 33 0 2 22 0
T A
B
3 33 0 2 22 0
0 00 2
3 33 0
T
A
B
3 33 0 2 22 0
0 00 2
3 33 0
T
A
B
3 33 0 2 22 0
T
A
B
3 33 0 2 22 0 20
32
T
A
B
0
Jam Track No. 2
Strum
Count 1 2 3 4
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Lesson Four
Patience and disciplinePatience and discipline are two qualities that all great musicians have. You
should try to nurture these qualities in yourself. Do not be discouraged by any
signs of slow progress. It takes time to learn the guitar. Be patient and clockup those consecutive days, even if it is only 15 minutes a day. At the very least,
you should keep your brain thinking about the guitar every day. Enjoy the thirst
and hunger that you have for knowledge and experience. At the end of the day,
you are the one responsible for your own practising.
Learning the guitar is like learning a language. Those who speak great English
speak it everyday. Those who speak broken English probably don’t use it as
much, or have not used it for as long as others. The same goes for guitarists.
Those who play great guitar, practise everyday. Those who play average guitar
are probably not practising as much as they should.
2
13
The E Major Chord
Well, you’ve made it through to Lesson Four - nice work. In this lesson, we are going to add to
your memory store of chords by introducing to you the chords E, G and C and later in
Lesson Five we will take a look at the concept of the turn around progression that will greatly
increase the number of chord progressions you are able to play!
The E Major Chord is constructed of the
notes E, G# (G sharp) and B. It is played
using ngers 1, 2 and 3:
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Exercise:Practise strumming the E Major Chord using the following strum.
Chord E
Stroke
Count 1 2 3 4
Remember to start slowly. It is easier to pick up on any mistakes when you play slowly.
The Repeat Sign
This sign is used to inform you that instead of nishing on the last bar you go back and repeatthe piece from the beginning.
Exercise:Practise strumming A, D and E to the suggested strum. Note that there is a repeat sign after
four bars which means that you go back to the start and repeat the piece.
7
Strum:
Count: 1 2 3 4
8
E
T
A
B
0
0
1
2
2
0
0
0
1
2
2
0
0
0
1
2
2
0
0
0
1
2
2
0
0
0
1
2
2
0
0
0
1
2
2
0
0
0
1
2
2
0
0
0
1
2
2
0
4
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
0
1
2
2
0
0
0
1
2
2
0
0
0
1
2
2
0
0
0
1
2
2
0
T
A
B
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
A D A E
0
2
2
2
0
X
4
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Maintaining a high level of motivation.
Motivation is your set of internal systems that drive you to achieve your goals.
When you lack motivation, your practise will be lacking also. Think about
yourself for a second. What is your motivation for learning to play the guitar?
Maybe you want to impress your boyfriend/girlfriend. You might be motivated
by fame or success. It could be a desire to t in. Whatever it is that drives youto learn, that is your starting point. It is from there that you will progress and
your motivation for learning will change. You will nd that the act of learning
the guitar will motivate you to learn more. It is true that the people who simply
can’t live without the guitar and who live for their musical passion are the ones
who may have the staying power to progress onto becoming an elite player. With
enough passion and practise, you can become an elite player.
Jam Track No. 3
Strum
Count 1 2 3 4
How are you enjoying these Jam Tracks? Playing as part of a band is one of the best ways
to improve your skills as a musician. Usually the most common reason people want to
learn guitar is so that they can play songs to their friends or with their friends in a band
situation. Hopefully these Jam Tracks will help you with that. They enable you to hear the
other instruments and to keep in time with the drummer.
Keep on rockin’!
T
A
B
0
2
2
2
0X
0
2
2
2
0X
0
2
2
2
0X
0
2
2
2
0X
0
2
2
2
0X
0
2
2
2
0X
0
2
2
2
0X
0
2
2
2
0X
A A
T
A
B
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
0
1
2
2
0
0
0
1
2
2
0
0
0
1
2
2
0
0
0
1
2
2
0
A EAD
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T
A
B
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
0
1
2
2
0
0
0
1
2
2
0
0
0
1
2
2
0
0
0
1
2
2
0
A EAD
T
A
B
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
0
1
2
2
0
0
0
1
2
2
0
0
0
1
2
2
0
0
0
1
2
2
0
A EAD
T
A
B
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
0
1
2
2
0
0
0
1
2
2
0
0
0
1
2
2
0
0
0
1
2
2
0
A EAD
T
A
B
0
2
2
2
0
X
0
2
2
2
0
X
2
3
2
0
X
X
0
0
1
2
2
0
A EAD
T
A
B
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
0
1
2
2
0
0
0
1
2
2
0
0
0
1
2
2
0
0
0
1
2
2
0
A EAD
T
A
B
02
2
2
0
X
02
2
2
0
X
02
2
2
0
X
02
2
2
0
X
23
2
0
X
X
23
2
0
X
X
23
2
0
X
X
23
2
0
X
X
02
2
2
0
X
02
2
2
0
X
02
2
2
0
X
02
2
2
0
X
00
1
2
2
0
00
1
2
2
0
00
1
2
2
0
00
1
2
2
0
A EAD
T
A
B
0
2
2
2
0X
A
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Many people believe that when Chuck Berry released the song ‘Maybellene’ in
1955, it was the birth of rock’n’roll. It combined elements from both countrymusic and blues in a completely new way.
Fret 5 Fret 4 Fret 3 Fret 2 Fret 1
2 04
Notes on the Third StringThe third string is also known as the G string. The main notes in the rst position on the third
string are G (open), A (2nd fret) and B (4th fret)
Exercise:Pluck these third string notes with a downward picking motion.
It is normal for your ngers to ache. However, if you practise each day your
ngers will become strong and more used to the movements required to play
the guitar.
9
Count: 1 2 3 4
Fingering: none 2 4 4
1 2 3 4 1 2 3 4
O 4 4 4 4O O O 4 4 4 4
1 2 3 4
2 2 22T A
B
4
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The key to good practiseBe sure to allow enough time for practise. In your busy and complex life, it can
be very hard to nd some time to sit down and work on your guitar. You need
to stick to a plan. A routine means that you have designated practise times for
each day. If you know the times that you will practise during the week, you will
be able to maximize your practise productivity and maintain a constant rate of
learning.
Of course, there will be times when your plan gets interrupted by the unexpected.
You might have friends drop by or a party to go to or a doctor’s appointment
to attend. These things will never stop. You really just need to have a exibleplan so that your practise ts in with your life. The amazing thing is that over
time, your lifestyle and friends will change because of your practise and your
passion for music.
21
3
The G Major ChordThe G Major Chord contains the notes G,
B and D. It is played using fngers 1, 2 and
3.
Lesson Five
Note that nger 1 plays a B note, nger 2 plays a G note, and nger 3 also plays
a G note. According to music theory a G Major chord MUST contain the notes B,
D and G. In the above G major chord diagram, the D note is sounded by the open
D string (4th string). Remember to consider that open string notes are included
in chord make-up and not just the notes played by your ngers.
Remember to watch for chordslike this one throughout the course.
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Exercise:Play the following:
G major chord
The C Major ChordThe C Major Chord is constructed of the
notes C, E and G. It is played using fngers
1, 2 and 3.
2
1
3
Exercise:Play the following:
11
10
3
0
0
0
2
3
3
0
0
0
2
3
3
0
0
0
2
3
3
0
0
0
2
3
3
0
0
0
2
3
3
0
0
0
2
3
3
0
0
0
2
3
3
0
0
0
2
3
T
A
B
G
4
0
1
02
3
X
0
1
02
3
X
0
1
02
3
X
0
1
02
3
X
0
1
02
3
X
0
1
02
3
X
0
1
02
3
X
0
1
02
3
X
T
A
B
C
4
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Exercise:Practise strumming D, A, C and G to the rhythm below.
Strum:
Count: 1 2 3 4
Fret 5 Fret 4 Fret 3 Fret 2 Fret 1
2 03
Notes on the Fourth StringThe fourth string is also known as the D string. The notes in the rst position that are on the
fourth string are D (open), E (2nd fret) and F (3rd fret). It is played using ngers 2 and 3:
Exercise:Pluck the fourth string notes with a downward picking motion.
13
Count: 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
Fingering: none 2 3 2
12
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
0
1
0
2
3
X
0
1
0
2
3
X
0
1
0
2
3
X
0
1
0
2
3
X
3
0
0
0
2
3
3
0
0
0
2
3
3
0
0
0
2
3
3
0
0
0
2
3
T
A
B
D A C G
4
T
A
B
0 0 0 0 2 2 2 2 3 3 3 3 2 2 2 2
4
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Jam Track No. 5
Strum
Count 1 2 3 4
The Jam Tracks throughout the book are designed to be of numerous different musical
styles and avors. The reason for this is to rstly broaden your musical horizon andsecondly to show you that any style of music is actually MUCH easier to play than you
probably once thought. For example, this next example is in the style of ‘Dance’ or ‘Drum
and Bass’.
Now, let’s crank this Jam up.
T
A
B
4 44 3 2 22 2
T
A
B
4 44 3 2 22 2
T
A
B
4 44 3 2 22 2
T
A
B
4 44 3 2 22 2
T
A
B
0 00
4 3 33 3
Continued next page...
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T
A
B
4 44 3 2 22 2 2 22
2 22 22 22 2
2 22 22 22 2
2 22 22 22 2
2 22 2
2 22 2
2 2 22 2
T
A
B
4 44 3 2
T
A
B
4 44 3
T
A
B
4 44 3
T
A
B
4 44 3 2 22 2
T
A
B
0 00
4 3 33 3
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Lesson SixWhat is Talent?Talent is a term that we attach to people, or to skills that people have, when
we believe that they are really good at what they do. Sometimes it seems that
some people have talent, or an advantage or strength at a particular skill due to
some innate force. Although it may appear this way, the chances are that they
were not born with their talent. It is more likely that they had to learn it.
Talent is gained through complex interactions between an individual and their
environment over a period of time. Children who are brought up in a musical
environment are more likely to become talented musicians than children bought
up in a less musical environment. If you were constantly surrounded by musicas you grew up, you will probably have a good mental database of sounds. It is
your database of sound that inuences your playing and creating of music.
A good database of sound is important if you want to be a great musician, but
it won’t make you talented on its own. There are other factors that contribute
to being talented such as discipline and a sense of artistry.
Think about these questions: When you like something, do you do it a lot? Do
you put all of your energy into it? Do you try to extend yourself both physically
and mentally?
If you answered yes to these questions, then you may have the discipline it
takes to become a talented musician. Discipline is important because without
it, you will not practise and without practise you will not have the practical
skills to be talented.
So you have a good database of sounds and you feel that you have the discipline
that it takes to be great, but do you have a sense of artistry? Well, let’s see.
Think about the following questions: Do you experiment with what you already
know in order to learn new things? Do you try to be creative for the sake of it?
Do you have a vivid imagination when it comes to sound? Do you feel a need to
be original? If you answered yes to these questions, then you are well on yourway to being talented!
Hard work is where it’s at. Practise, listen and experiment with your music.
Like a sponge, you really just need to soak it up. Any musical knowledge that
you don’t already know is out there for you to learn. Learn it and work hard
on it, and you will be talented.
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Minor ChordsSo far, the chords that you have learned have all been major chords. Major chords give music
a happy feel. Minor chords, on the other hand, lend a sad or melancholy feeling to music.
Minor chords are constructed in the same way as major chords except that the third or middle
note of the chord is attened (something that will be explained in full later in this book).
Exercise:In this exercise I want you to rst play the A major chord followed by the A minor chord.
Listen and hear the difference in ‘feeling’ between the two chords.
14
The A Minor ChordThe A Minor Chord is constructed of the
notes A, C and E.
2
13
21
3
A major chord
15
Exercise:Strum the A minor chord as indicated by the tab below:
0
1
2
2
0
X
0
1
2
2
0
X
0
1
2
2
0
X
0
1
2
2
0
X
0
1
2
2
0
X
0
1
2
2
0
X
0
1
2
2
0
X
0
1
2
2
0
X
T
A
B
Am
4
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The E Minor ChordThe E Minor chord is constructed of the
notes E, G and B.
23
Exercise: Turnaround ProgressionA turnaround progression is a sequence of chords that can be continually repeated due to
‘strong’ sounding chord movement between the ending and starting chords. What exactly
does ‘strong’ sounding mean? Well the technical musical terminology is that the progression
has been resolved, which means that the end chord of the progression and the starting chord
of the progression have a close ‘obvious’ sounding musical relationship.I want you to try the following turnaround progression:
Exercise:Play the following:
16
0
0
0
2
20
0
0
0
2
20
0
0
0
2
20
0
0
0
2
20
0
0
0
2
20
0
0
0
2
20
0
0
0
2
20
0
0
0
2
20
T
A
B
Em
4
In the following exercise watch me rst play the E major chord and then the E minor chord,
listen to the difference in the sound again. I will then strum the E minor chord along with the
metronome and I want to you play along with me.
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Once again a strong sounding chord change (D to G) resolves the progression back to
its starting point.
Exercise:Play the following progression.
Strum:
Count: 1 2 3 4
In this example, a strong sounding chord change between A and D resolves the progression
back to its starting point.
17
Strum:
Count: 1 2 3 4
T
A
B
D G Em A
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
3
0
0
0
2
3
3
0
0
0
2
3
3
0
0
0
2
3
3
0
0
0
2
3
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
2
2
2
0
X
0
0
0
2
2
0
0
0
0
2
2
0
0
0
0
2
2
0
0
0
0
2
2
0
4
18
T
A
B
G Am C D
0
1
0
2
3
X
0
1
0
2
3
X
0
1
0
2
3
X
0
1
0
2
3
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
0
1
2
2
0
X
0
1
2
2
0
X
0
1
2
2
0
X
0
1
2
2
0
X
3
0
0
0
2
3
3
0
0
0
2
3
3
0
0
0
2
3
3
0
0
0
2
3
4
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Jam Track No. 6
Strum
Count 1 2 3 4
T
A
B
3
0
0
02
3
T
A
B
0
1
0
2
3
X
2
3
2
0
X
X
0
1
0
2
3
X
2
3
2
0
X
X
3
0
0
0
2
3
0
1
2
2
0
X
3
0
0
0
2
3
0
1
2
2
0
X
0
1
0
2
3
X
2
3
2
0
X
X
0
1
0
2
3
X
2
3
2
0
X
X
3
0
0
0
2
3
0
1
2
2
0
X
3
0
0
0
2
3
0
1
2
2
0
X
T
A
B
0
1
0
2
3
X
2
3
2
0
X
X
0
1
0
2
3
X
2
3
2
0
X
X
3
0
0
0
2
3
0
1
2
2
0
X
3
0
0
0
2
3
0
1
2
2
0
X
0
1
0
2
3
X
2
3
2
0
X
X
0
1
0
2
3
X
2
3
2
0
X
X
3
0
0
0
2
3
0
1
2
2
0
X
3
0
0
0
2
3
0
1
2
2
0
X
T
A
B
0
1
0
23
X
2
3
2
0X
X
0
1
0
23
X
2
3
2
0X
X
3
0
0
02
3
0
1
2
20
X
3
0
0
02
3
0
1
2
20
X
0
1
0
23
X
2
3
2
0X
X
0
1
0
23
X
2
3
2
0X
X
3
0
0
02
3
0
1
2
20
X
3
0
0
02
3
0
1
2
20
X
T
A
B
0
1
0
2
3
X
2
3
2
0
X
X
0
1
0
2
3
X
2
3
2
0
X
X
3
0
0
0
2
3
0
1
2
2
0
X
3
0
0
0
2
3
0
1
2
2
0
X
0
1
0
2
3
X
2
3
2
0
X
X
0
1
0
2
3
X
2
3
2
0
X
X
3
0
0
0
2
3
0
1
2
2
0
X
3
0
0
0
2
3
0
1
2
2
0
X
T
A
B
0
1
0
2
3
X
2
3
2
0
X
X
0
1
0
2
3
X
2
3
2
0
X
X
3
0
0
0
2
3
0
1
2
2
0
X
3
0
0
0
2
3
0
1
2
2
0
X
0
1
0
2
3
X
2
3
2
0
X
X
0
1
0
2
3
X
2
3
2
0
X
X
3
0
0
0
2
3
0
1
2
2
0
X
3
0
0
0
2
3
0
1
2
2
0
X
G Am C D G Am C D
G Am C D G Am C D
G Am C D G Am C D
G Am C D G Am C D
G Am C D G Am C D
G
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Notes on the Fifth StringThe fth string is also known as the A string. The main notes in the rst position that are on
the fth string are A (open), B (2nd fret) and C (3rd fret).
Fret 5 Fret 4 Fret 3 Fret 2 Fret 1
2 03
Exercise:Play these fth string notes with a down/up picking motion.
Down/up picking:Down Up Down Up
19
The 1978 album ‘Van Halen’ has become one of the most inuential albums
for guitarists since Hendrix’s ‘Are you experienced?’ Eddie Van Halen’s use of
guitar sound, rhythm, right hand tapping, harmonics and control of feedback all
combine in a musical style that many guitarists have since tried to emulate.
2 23 3
Count:
Fingering:
1 2 43 1 2 43
none 2 2
T
AB 2 23 3O 2 2O
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Jam Track No. 7
T
A
B
4 40 0 4 40 0
1
0
1
0 4 0 4 0
T
A
B
2 2
0 0
1
0
3
3
4 0 4 0 4 0 0
T
A
B
4 40 0 4 40 0
1
0
1
0 4 0 4 0
T
A
B
2 2
0 0
1 10 34 0 4 0 4 0 0
Strum
Count 1 2 3 4
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Lesson SevenIn this lesson, I want to introduce to you the concept of Eighth note Rhythm and by the end
of the lesson you will have a whole lot more to play with. Before that however, I want you toread a few words on healthy learning.
Healthy learningThe basis of good learning is good health. On average, people who lead healthy
lifestyles have a much higher rate of learning. What type of lifestyle do you
promote? Do you have a healthy lifestyle or do you live like there is no
tomorrow? In the end, only you can decide what is right and what is wrong for
you, but if you want to learn well, it pays to live well.
Good food in your diet is essential. Eat plenty of fruit and vegetables and makesure that your body gets all the nutrients that it needs to function well. Your
diet should be all about balance. Adding a little sport to your week will keep
you t and feeling good. Try 45 minutes a day of exercise and you will start to
notice a change in your energy levels quite quickly. A daily walk will help your
body’s metabolism and maximize the goodness that you get from nutrients in
your diet.
Sleep is important. You need at least eight hours a night to be at your best. Try
changing your sleeping patterns so that they are regular and consistent. This
way, your body learns to get the most out of sleep and you will feel far more
alert from the moment that you wake to the moment that you sleep. It could
be the best thing you will ever do for yourself.
Remember, life is a long journey. If you want to maintain a long musical life,
look after yourself.
Eighth Note Rhythm PatternsSo far we have used rhythms that follow a quarter note pulse. It is counted 1 2 3 4.
For example:
Note
Count
The quarter note becomes an eighth note when halved. The eighth note looks like this:
= Eighth Note
In terms of time, a quarter note is the equivalent of two eighth notes:
1 2 3 4
=
(two eighth notes)
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By halving the quarter note pulse we can make an eighth note pulse. It is counted as follows:
1 + 2 + 3 + 4 +
20
Note
Strum
Count 1 + 2 + 3 + 4 +
Exercise:First I will play through the F major chord in a standard quater note strum, then I will play the same
chord but in an eighth note strum pattern. Follow along on the video.
2
The F Major ChordThe F major chord requires you to hold
down the rst and second strings with
your rst nger. You will need to play
these strings with the at of your nger
rather than the tip.
1
3
T
A
B
1
1
2
3X
X
1
1
2
3X
X
1
1
2
3X
X
1
1
2
3X
X
1
1
2
3X
X
1
1
2
3X
X
1
1
2
3X
X
1
1
2
3X
X
F major chord in quarter note strum:
and and and and
4
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The Chromatic ScaleThe chromatic scale is based around the seven notes of the musical alphabet (A, B, C, D, E, F
and G), however, it contains a few extra musical notes. In its entirety it runs as follows:
A#/BbA B C
C#/DbD
D#/Eb
E FF#/Gb
GG#/Ab
You have probably noticed that some of the notes in the chromatic scale have two note
names. These notes are called accidentals. They can either be sharp notes, in which case we
we use the symbol #, or at notes, in which case we use the symbol b. This can be more
easily seen on the keyboard diagram below:
C D E F G A B C D E F G A B
A#/BbC#/Db D#/Eb G#/AbF#/Gb
On the piano keyboard, the black keys are the sharp/at notes. The note name that you use
depends upon the key that you are playing in. We will look at keys and scales later in this
book. For now, just realize that these notes can either be at or sharp.
The chromatic scale applies to your guitar in the same way as it does a piano:
Each string on the guitar follows the
chromatic scale going up the guitar
neck. Once you get to the 12th fret on
each string, the scale repeats itself.
C D
At this point, take some time to familiarize yourself with the above diagram.
Once you know how the chromatic scale concept works, you can start to use
the whole fret board of the guitar.
E F F#/Gb G G#/AbA A#/Bb B C C#/Db
D D#/Eb E F F#/GbG G#/Ab A A#/BbB C
BC#/Db D D#/Eb
E F#/Gb G G#/AbF
AD
GCEA
A#/BbD#/Eb
G#/AbC#/Db
FA#/Bb
BE
AD
F#/GbB C
G
D#/Eb
A#/Bb
FC
G#/Ab
E
B
F#/Gb
C#/Db
C#/Db D
A
F
C
GD
D#/Eb
A#/Bb
F#/Gb
C#/Db
G#/Ab
D#/Eb E
A
D
G
B
E
Fret 1 Fret 2 Fret 3 Fret 4 Fret 5 Fret 6 Fret 7 Fret 8 Fret 9 Fret 10 Fret 11 Fret 12
First Position
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Lesson EightDominant 7 ChordsSo far we have looked at major and minor open chords. Some of these chords can be made
into dominant seventh chords by changing the shape of the chord on the guitar. Dominant 7
chords (often called sevenths) are built by adding the minor seventh note of the major scale
to the major chord. For example the A major becomes A dominant 7th if you add a G note to
the chord (G is the minor seventh note of the A major scale).
Exercise:In this exercise I want you to rst play the A major chord followed by the A7 chord (shape 1).
Listen and hear the difference in ‘feeling’ between the two chords. In the second part of the
exercise, I want you to strum the A7 chord (shape 1) as indicated by the tab below:
The A7 Chord (Shape 1)The A7 chord consists of the notes A, C#,
E and G
3
1
21
3
A major chord
221 2 3 4+ +++
Strum
Count
T
A
B
3
2
22
0
X
3
2
22
0
X
3
2
22
0
X
3
2
22
0
X
3
2
22
0
X
3
2
22
0
X
3
2
22
0
X
3
2
22
0
X
3
2
22
0
X
3
2
22
0
X
3
2
22
0
X
3
2
22
0
X
3
2
22
0
X
3
2
22
0
X
3
2
22
0
X
3
2
22
0
X
A7 (shape 1)
4
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The A7 Chord (Shape 2)There is an alternative way to play the A7
chord. It still consists of the notes A, C#,
E and G.
3
1
This particular A7 chord is most commonly used version of the A7. It is generally easier to
play than the rst example that I have shown you, however they are both correct. Simply, you
should play the version that you nd easiest.
1 2 3 4+ +++
Strum
Count23
T
A
B
A7 (shape 2)
0
2
0
2
0
X
0
2
0
2
0
X
0
2
0
2
0
X
0
2
0
2
0
X
0
2
0
2
0
X
0
2
0
2
0
X
0
2
0
2
0
X
0
2
0
2
0
X
0
2
0
2
0
X
0
2
0
2
0
X
0
2
0
2
0
X
0
2
0
2
0
X
0
2
0
2
0
X
0
2
0
2
0
X
0
2
0
2
0
X
0
2
0
2
0
X
4
The following exercises introduce some more some open dominant seventh chords for youto learn. You will see that the dominant seventh adds a nice blues sound to your chords and
progressions.
The open A7 chord comes in two shapes. Both shapes consist of the same notes that make up
the A dominant 7th chord. The rst shape adds a nger, changing the open E (1st string) to a G
and creating the minor seventh in the chord. The second shape removes the note A on the 3rd
string and therefore becomes G which is the open string. In this way both shapes have added
a G to the A major chord to become A dominant 7. The second shape is shown below:
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Exercise:Play the following:
1 2 3 4+ +++
Strum
Count
T
A
B
A A7
0
2
2
20
X
0
2
2
20
X
0
2
2
20
X
0
2
2
20
X
0
2
2
20
X
0
2
2
20
X
0
2
2
20
X
0
2
2
20
X
0
2
0
20
X
0
2
0
20
X
0
2
0
20
X
0
2
0
20
X
0
2
0
20
X
0
2
0
20
X
0
2
0
20
X
0
2
0
20
X
(shape 2)
24
4
Positive ThinkingA lot can come from positive thinking. People treat you kindly when you arepositive. You’ll also nd that positive thinking will help you be more productive
when you are learning guitar. More productivity means better practise and that
leads to a better band, a better recording and a better record contract. If you
want to go anywhere with music it pays to think positively about it.
Born in 1944, Jimmy Page is referred to as one of the major players to emerge
from the 1960s, He has been credited with dening the sound of progressive
heavy rock. Initially Page started out as a session musician recording tracks for
other bands then went on to play with ‘The Yardbirds’. In 1968 Page formedthe hugely inuential ‘Led Zeppelin’ with fellow members Robert Plant, John
Bonham and John Paul Jones. Led Zeppelin was one of the rst modern sounding
heavy rock bands, a sound where the guitar was supported by a rhythm section
with low, thick-textured bass and drum sounds.
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Exercise:Play the following (note on the video, I play the major chord rst as to compare with the
dominant 7 sound):
The D7 ChordThe D7 chord consists of the notes D, F#,
A and C. Note also that the fth and sixth
strings are not played on this chord.
31
2
1 2 3 4+ +++
Strum
Count
25
T
A
B
D7
2
1
2
0
X
X
2
1
2
0
X
X
2
1
2
0
X
X
2
1
2
0
X
X
2
1
2
0
X
X
2
1
2
0
X
X
2
1
2
0
X
X
2
1
2
0
X
X
2
1
2
0
X
X
2
1
2
0
X
X
2
1
2
0
X
X
2
1
2
0
X
X
2
1
2
0
X
X
2
1
2
0
X
X
2
1
2
0
X
X
2
1
2
0
X
X
4
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Exercise:Play the following:
The E7 Chord (shape2)There is also an alternative way to play
the E7 chord. It still consists of the notes
E, G#, B and D.
2
1
The E7 Chord (shape1)The E7 chord consists of the notes E, G#,
B and D. It is played using ngers 1, 2, 3
and 4.
2
13
4
26
T
A
B
D
2
1
2
0
XX
2
1
2
0
XX
2
1
2
0
XX
2
1
2
0
XX
2
1
2
0
XX
2
1
2
0
XX
2
1
2
0
XX
2
1
2
0
XX
D7
2
3
2
0
XX
2
3
2
0
XX
2
3
2
0
XX
2
3
2
0
XX
2
3
2
0
XX
2
3
2
0
XX
2
3
2
0
XX
2
3
2
0
XX
1 2 3 4+ +++
Strum
Count
4
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Seventh chords can be used in place of major chords to add variation to a piece of music.
27
T
A
B
E7 (shape 1)
0
3
1
2
2
0
0
3
1
2
2
0
0
3
1
2
2
0
0
3
1
2
2
0
0
3
1
2
2
0
0
3
1
2
2
0
0
3
1
2
2
0
0
3
1
2
2
0
0
3
1
2
2
0
0
3
1
2
2
0
0
3
1
2
2
0
0
3
1
2
2
0
0
3
1
2
2
0
0
3
1
2
2
0
0
3
1
2
2
0
0
3
1
2
2
0
1 2 3 4+ +++
Strum
Count
4
Exercise:Play the following:
1 2 3 4+ +++
Strum
Count
Once again the second variation of this chord is the easiest to play and usually the most
commonly played version. But again, learn both and you decide what is best for you.
28
T
A
B
E7 (shape 2)
0
01
0
2
0
0
01
0
2
0
0
01
0
2
0
0
01
0
2
0
0
01
0
2
0
0