jamorana advanced book
TRANSCRIPT
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Copyright, 2004 Rock Star Recipes Ltd.
All rights reserved. No part of this book may be reproduced, stored in a retrieval
system, or transmitted in any form or by any means, electronic, mechanical,
photocopying, recording, scanning, or otherwise, without the prior written
permission of the publisher.
C
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Contents5
8
11
18
27
31
35
37
40
48
50
53
57
65
Preface ..............................................................................................
Lessons:
Lesson 1 - D Minor chord, bass note runs................................................
Lesson 2 - Major seventh chords, F major 7th, C major 7th, 16th note rhythm
patterns.......................................................................................
Lesson 3 - A major 7, D major 7, G major 7, chromatic notes - rst position.......................................................................................................
Lesson 4 - B minor chord, triplet rhythm................................................
Lesson 5 - Major six chords, A6 chord, E6 chord, the A major scale.................
Lesson 6 - Barre chords, F barre chord, root six barre chord........................
Lesson 7 - Percussive strum................................................................
Lesson 8 - Root 6 minor bar chord........................................................
Lesson 9 - Key signatures and scales.....................................................
Lesson 10 - F dominant 7 chord (Root six), music rests...............................
Lesson 11 - Deadening, eighth note rest within a strum..............................
Lesson 12 - Major root 5 barre chords, staccato strumming..........................
Lesson 13 - Chord progression concepts, blues pattern 1, blues pattern 2........
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68
78
80
90
63
103
105
116
119
128
137
139
143
154
160
Lesson 14 - Root 5 minor barre chord, 12 bar blues pattern 3.................
Lesson 15 - Palm muting.............................................................
Lesson 16 - Advanced rhythm techniques..........................................
Lesson 17 - Root 5 dominant 7 barre chord, blues in D.........................
Lesson 18 - Reggae strum............................................................
Lesson 19 - Minor scale...............................................................
Lesson 20 - Minor 7th chords, Fm7chord, Bbm7 chord...........................
Lesson 21 - Major 6 barre chords, F6 chord, Bb6 chord..........................
Lesson 22 - Power chords, F power chord, Bb power chord.....................
Lesson 23 - Accents, compound meter..............................................
Lesson 24 - C shape barre chord.....................................................
Lesson 25 - Suspended barre chords, Bbsus2, Bbsus4............................
Lesson 26 - Root 6 and root 5 major 7th barres...................................
Supplementary Chord Reference..........................................................
Index...........................................................................................
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PreaceHow to get the most out o your Jamorama KitBy 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 Click-
bank
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. the
books, the video examples, the songs, and all of the extra bonus software and tools such asJayde Musica, Guit-ear-it, the Jamorama Metronome and Guitar Tuner pro.
Lets 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
1
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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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 youll start seeing
them quickly. I also must add that while this book is an invaluable resource
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 yourlearning that you may not notice yourself.
Good luck with your guitar learning, its going to be a really life changing
ride!
Yours sincerely,
Ben Edwards
Jamorama.com
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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 weve got that covered, its time to start learning. I hope youre ready for the
ride...
Jam Track Icon. When you see
this icon, it means there is a
Jam Track available in the on-line 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.
Did you know that the rst
guitarist to intentionally usea 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.
From time to time, I like to
add some deeper thought
into the mix; an idea, abelief, a word from the wise
just to keep you on your
toes and thinking about the
way you think about playing
and learning guitar.
Pretty self-explanatory
really. This is somethingimportant 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.
This is the warning symbol.
We use this to steer you away
from any guitar learning nonos 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 in your development.
This is a lesson or some advice
that could save you a lot of
valuable time. A hot tip canbe 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.
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Imagine that you are lling in for Pearl Jam as they record a new version of
the song Betterman in the studio. Their second guitarist is sick. They handyou a sheet of music and on it are the chords and solos you are to play for
the song. You calmly put the sheet of music on a stand and pick up the gui-
tar. The sound engineer asks if you want a practise run to which you coolly
reply, No thanks. The sound guy hits record and you play the whole song
perfectly rst time through, from off the page in front of you. Your track is
ready for the mix. Does this situation sound real to you?
I want to ask you, did you pick up this book and read the above section
through perfectly without any mistakes? Whats the difference then between
reading the English language and reading music?
Consider that youve grown up reading the English language and by now you
are quite good at it. Compare that to sight-reading music. Theres no trick
to sight-reading, it just takes time and practise. It will get harder as you
progress, just as the English language gets harder the more you study it. In
the end, you will be able to pick up a piece sheet of music and know what to
play, rst time without mistakes.
Start today, build up a collection of sheet music books, especially Piano, Sax
or Brass Instruments as typically the sheet music for those instruments is
heavily stave-based. Remember, memorizing a song isnt sight-reading.
You need to have a large selection of music to read so that you dont get
a chance to familiarize yourself to it. Mistakes are OK to start with. Try tokeep the ow and speed and perfection will come.
Lesson One
The D Minor ChordThe D minor chord is constructed of the
notes D, F and A .
2
13
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1
ExercisePlay the following chord progression using the suggested strum.
Strum:
Count: 1 2 3 +++
2
T
A
B
Dminor
0
1
3
2
0
X
X
1
3
2
44
Am
T
A
B
0
1
2
2
0
X
Dm G C
0
1
2
2
0
X
0
1
2
2
0
X
0
1
2
2
0
X
0
1
2
2
0
X
1
3
2
0
X
X
1
3
2
0
X
X
1
3
2
0
X
X
1
3
2
0
X
X
1
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
3
0
0
0
2
3
0
1
0
2
3
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
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10
Bass note runsSometimes the sound of the movement between two chords in a particular progression can
become boring or cliche. Bass note runs can help bridge two chords together, lending an
element of interest to a piece. A bass note run is a bridge constructed of single notes played
on the bass strings.
Exercise:Play the following piece that uses bass note runs:
G C
T
A
B
3
03
2 3
3
3
Well done! Becoming a great player and musician will take time and effort on your part, I
really think youve done so well to get to this point. This last exercise may be quite difcult
at rst with combining picking and strumming, however you will notice how good and
song-like it is sounding. Youre really coming together well now!
Am Dm
T
A
B
0
2
0 0
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11
Major Seventh ChordsIn Chapter Seven of Book One we looked at dominant seventh chords. Now we will take a look
at a different type of seventh chord; the major seventh. The major seventh chord is very closely
related to the dominant seventh chord. The difference between the two chords is that the major
seventh chord adds the major seventh note instead of the minor seventh note to the major triad.
All major 7th chords use four notes, (the three notes taken from the major chord and a fourth
note added to turn it into a major 7th).
The major seventh is commonly used in jazz and blues.
The C major 7th ChordThe C major 7th chord is like the C major
chord but also with one finger less! It
consists of the notes C, E, G and B.
23
The F major 7th ChordThe F major 7th chord is like the F major
chord but with one nger less! It consists
of the notes F, A, C and E.
21
3
4 5
Lesson TwoA Passion or MusicThe people who really succeed at getting under way with their development
are people who stick at it no matter what. These people have a real passion for
their music. Passion is an attribute that will serve you well, if you can harness it.
If you watch these people progress you will see that they immerse themselves
in music. They begin to walk, talk and breathe music. They capitalize on their
strengths and work through their weaknesses. Above all, these people love the
music they play and are never fazed by what other people say. With passion,
you will continue to improve every day.
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12
Strum:
Count: 1 2 3 4++ + + 1 2 3 4++ + +
6
Exercise:Play the following progression using the suggested strum:
T
A
B
Fmaj7
4
01
2
3
X
X
01
2
3
X
X
01
2
3
X
X
01
2
3
X
X
01
2
3
X
X
01
2
3
X
X
01
2
3
X
X
01
2
3
X
X
T
A
B
Cmaj7
5
00
0
2
3
X
00
0
2
3
X
00
0
2
3
X
00
0
2
3
X
00
0
2
3
X
00
0
2
3
X
00
0
2
3
X
00
0
2
3
X
44 44
Cmaj7 GFmaj7 Cmaj7
T
A
B
0
0
0
2
3
X
0
0
0
2
3
X
0
0
0
2
3
X
0
0
0
2
3
X
0
0
0
2
3
X
1
1
2
3
X
X
1
1
2
3
X
X
1
1
2
3
X
X
1
1
2
3
X
X
0
0
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
3
0
0
0
2
3
3
0
0
0
2
3
0
0
0
2
3
X
0
0
0
2
3
X
0
0
0
2
3
X
0
0
0
2
3
X
44
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13
Sixteenth Note Rhythm PatternsSo far we have used either quarter or eight note rhythms. If we take an eighth note and halve
its value, we create a sixteenth note. From this we can create sixteenth note rhythms.
one ee and ah two ee and ah etc...
1 e + a 2 e + a 3 e + a 4 e + a
(eight notes to a bar)
(Sixteen notes to a bar)
Example:
Eighth note:
Sixteenth note:
Strum:
Count:
say:
One eighth note = Two
sixteenth notes.
Strum:
1 2 3 4e + aCount:
7
Exercise:
Try playing the following sixteenth note strums over the suggested chords.
T
A
B
C major 7th
0
0
0
2
3
X
0
0
0
2
3
X
0
0
0
2
3
X
0
0
0
2
3
X
0
0
0
2
3
X
0
0
0
2
3
X
0
0
0
2
3
X
44
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1
Jam Track No. 1
Okay, so most of you will be quite used to these Jam Tracks from the rst Jamoramabook. For those of you who are not familiar with them heres what they do.
At Jamorama, we believe 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 this course 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.
Exercise:Play the following chords using the suggested rhythm pattern.
Strum:
Count: 1 2 3 4e + ae + a
8
F Fmaj7 C Cmaj7
T
A
B
11
2
3
X
X
11
2
3
X
X
11
2
3
X
X
11
2
3
X
X
11
2
3
X
X
01
2
3
X
X
01
2
3
X
X
01
2
3
X
X
01
2
3
X
X
01
2
3
X
X
01
0
2
3
X
01
0
2
3
X
01
0
2
3
X
01
0
2
3
X
01
0
2
3
X
00
0
2
3
X
00
0
2
3
X
00
0
2
3
X
00
0
2
3
X
00
0
2
3
X
4411
2
3
X
X
11
2
3
X
X
11
2
3
X
X
11
2
3
X
X
11
2
3
X
X
01
2
3
X
X
01
2
3
X
X
01
2
3
X
X
01
2
3
X
X
01
2
3
X
X
00
0
2
3
X
00
0
2
3
X
00
0
2
3
X
00
0
2
3
X
00
0
2
3
X
01
0
2
3
X
01
0
2
3
X
01
0
2
3
X
01
0
2
3
X
01
0
2
3
X
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1
Jam Track No. 1
Repeat once
C
T
A
B
000 000000000000
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
Strum
T
A
B
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
G
Strum
T
A
B
0 0 0 0 0 0 0 0 0 0 0 00 0 0
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
1
0
2
3
x
C
Strum
T
A
B
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
0
0
0
2
3
G
Strum
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1
T
A
B
000 0000000000001023x
1023x
1023x
1023x
1023x
1023x
1023x
1023x
1023x
1023x
1023x
1023x
1023x
1023x
1023x
C
Strum
T
A
B
3 3 3 3 3 3 3 3 3 3 3 3 3 3 300023
00023
00023
00023
00023
00023
00023
00023
00023
00023
00023
00023
00023
00023
00023
G
Strum
T
A
B
000 0000000000001023x
1023x
1023x
1023x
1023x
1023x
1023x
1023x
1023x
1023x
1023x
1023x
1023x
1023x
1023x
C
Strum
T
A
B
3 3 3 3 3 3 3 3 3 3 3 3 3 3 300023
00023
00023
00023
00023
00023
00023
00023
00023
00023
00023
00023
00023
00023
00023
G
Strum
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1
T
A
B
0 0 0 0 0 0 1 1 1 1 1 112331
12331
12331
12331
12331
12331
00220
00220
00220
00220
00220
00220
Emin F maj (root6)
Strum
T
A
B
0 0 0 0 0 0 1 1 1 1 1 112331
12331
12331
12331
12331
12331
00220
00220
00220
00220
00220
00220
Emin F maj (root6)
Strum
T
A
B
0 0 0 0 0 0 1 1 1 1 1 112331
12331
12331
12331
12331
12331
00220
00220
00220
00220
00220
00220
Emin F maj (root6)
Strum
T
A
B
3 3 3 3 3 3 3 3 3 3 3 300023
00023
00023
00023
00023
00023
00023
00023
00023
00023
00023
00023
G
Strum
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1
Lesson ThreeKnowledge is PowerIts not all about playing, as you may have realized by now. The market is
saturated with information that is valid and reliable. Music magazines are
good reading as they often refer you onto books and videos that will aid your
learning. Autobiographies of artists are always a good read also. They illus-
trate the luck and hard work that it takes in nding rock stardom. Anything
can be found in a book. Whether it is the history of the guitar or how to buy
a good amp, you should read a lot. The musicians who make it big are nor-
mally the musicians who have the most knowledge. Knowledge is power.
The Dmaj7 Chord
1
The Amaj7 Chord
2
31
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1
9
10
11
T
A
B
A major 7th
02
1
2
0
X
02
1
2
0
X
02
1
2
0
X
02
1
2
0
X
02
1
2
0
X
02
1
2
0
X
02
1
2
0
X
02
1
2
0
X
44
T
A
B
D major 7th
2
2
2
0
X
X
2
2
2
0
X
X
2
2
2
0
X
X
2
2
2
0
X
X
2
2
2
0
X
X
2
2
2
0
X
X
2
2
2
0
X
X
2
2
2
0
X
X
44
The Gmaj7 Chord
2
1
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20
11
Exercise: Major 7 ProgressionPlay the following chord progression using the suggested strum.
Strum:
Count: 1 2 3 4 e + a
T
A
B
G major 7th44
20
0
0
X
3
20
0
0
X
3
20
0
0
X
3
20
0
0
X
3
20
0
0
X
3
20
0
0
X
3
20
0
0
X
3
20
0
0
X
3
Gmaj7 Dmaj7 Gmaj7 Dmaj7 Gmaj7 Dmaj7 Gmaj7 Dmaj7
T
A
B
2
0
0
0
X
3
2
2
2
0
X
X
2
2
2
0
X
X
2
0
0
0
X
3
2
2
2
0
X
X
2
2
2
0
X
X
2
0
0
0
X
3
2
2
2
0
X
X
2
2
2
0
X
X
2
0
0
0
X
3
2
2
2
0
X
X
2
2
2
0
X
X
2
0
0
0
X
3
2
2
2
0
X
X
2
2
2
0
X
X
2
0
0
0
X
3
2
2
2
0
X
X
2
2
2
0
X
X
2
0
0
0
X
3
2
2
2
0
X
X
2
2
2
0
X
X
2
0
0
0
X
3
2
2
2
0
X
X
2
2
2
0
X
X
12
Gmaj7 Dmaj7 Gmaj7 Dmaj7A Amaj7 A Amaj7
44
T
A
B
0
2
2
2
0
X
0
2
1
2
0
X
0
2
1
2
0
X
0
2
2
2
0
X
0
2
1
2
0
X
0
2
1
2
0
X
0
2
2
2
0
X
0
2
1
2
0
X
0
2
1
2
0
X
0
2
2
2
0
X
0
2
1
2
0
X
0
2
1
2
0
X
2
0
0
0
X
3
2
2
2
0
X
X
2
2
2
0
X
X
2
0
0
0
X
3
2
2
2
0
X
X
2
2
2
0
X
X
2
0
0
0
X
3
2
2
2
0
X
X
2
2
2
0
X
X
2
0
0
0
X
3
2
2
2
0
X
X
2
2
2
0
X
X
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Chromatic notes - First positionOn stave, ats and sharps are placed directly before the note that they affect.
Example:
C#
#
Here are the chromatic notes in the rst position:
T
AB
2 4
40
111 33
2
# # #Gb G G# Ab A A# Bb B C C#
2 3 4 40 1 1 2 3 4
T
A
B
# # # B C C# Db D D# Eb E F F#
# b # #
T
A
B0 1
1104432 2
E F F# Gb G G# Ab A A# Bb
Continued over page...
or or or
oror or
or
or
or
or
or
or
or
or
or
or
You may have noticed that all at notes share their position on the fret board with a sharp note.
These notes are enharmonic. They have the same pitch but have different names.
bb
bb
bb
b
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3 40 1 2T
A
B
22 3 44
#
# # Db D D# Eb E F F# Gb G G#
Exercise:The following exercise uses at and sharp notes to form its bass note runs.
13
or
or
or
or
T
A
B0 0 42
E A
# # # 1 2 3 1 2 31 2 31 2 3
0 0 2 4
T
A
B0
0 0
1 2 3 1 2 3 1 2 3+ +
D A
1
43
43
bb
b
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Jam Track No. 2
T
A
B0
01220x
01
0 01
0 01220x
1220x
220x
1220x
220x
0 0 3 23
A min
Strum
T
A
B0
0 01
0 01
0 01220x
1220x
220x
1220x
220x
1220x
0 0 0 2 3
A min
Strum
T
A
B3
11
23
11
1 11
1 11
23xx
1
23xx
23xx
1
23xx
23xx
xx
3 23
3 3
F
Strum
T
A
B
0
0 01
0 01
0 0122
0x
122
0x
22
0x
122
0x
22
0x
122
0x
0 0 0 2 3
A min
Strum
T
A
B3
1123
11
1 11
1 1123x
x
123x
x
23x
x
123x
x
23x
x
x
x
3 2 03 3
F
Strum
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T
A
B
0
0 01
0 01
0 0122
0x
122
0x
22
0x
122
0x
22
0x
122
0x 0 0 0 2 3
A min
Strum
T
A
B3
11
11
1 11
1 1 1 1123x
x
123x
x
123xx
123x
x
23xx
123xx
23x
x
23x
x
33 3
F
Strum
T
A
B0
0 01
0 01
0 01220x
1220x
220x
1220x
220x
1220x
0 0 0 2 3
A min
Strum
T
A
B3
11
11
1 11
1 1123xx
123xx
23xx
123xx
23xx
23xx
33 3 2 2
F
Strum
T
A
B0
1 1 1 132
1 1320xx
320xx
0xx
320xx
320xx
320xx
0 0 0 2 2
D
Strum
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T
A
B 0
1 1 1 132
1 132
0xx
32
0xx
0xx
32
0xx
32
0xx
32
0xx
0 0 0 2 2
D
Strum
T
A
B3
11
11
1 11
1 1123
xx
123
xx
23
xx
123
xx
23
xx
23
xx
33 3 2 2
F
Strum
T
A
B0
1 1 1 132
1 1320xx
320xx
0xx
320xx
320xx
320xx
0 0 0 2 2
D
Strum
T
A
B3
1 11
1 11
1 1123xx
123xx
23xx
123xx
23xx
123xx
3 3
F
Strum
T
A
B
01220x
A min
Strum
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Exercise:
Play the following progression using the suggested strum.
Strum:
Count: 1 2 e + a 3 4 e + a
= 3
= 3
=
Triplet RhythmA triplet is three notes played in the time of two. In music a triplet is indicated by a beam or a
curve with a number 3 placed above the notes on the staff.
15
D Dmaj7 Bm G
T
A
B
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
2
3
2
0
X
X
2
3
2
0
X
X
1
1
2
0
X
X
1
1
2
0
X
X
1
1
2
0
X
X
1
1
2
0
X
X
1
1
2
0
X
X
1
1
2
0
X
X
1
1
2
0
X
X
1
1
2
0
X
X
1
1
2
0
X
X
2
3
4
4
X
X
2
3
4
4
X
X
2
3
4
4
X
X
2
3
4
4
X
X
2
3
4
4
X
X
2
3
4
4
X
X
2
3
4
4
X
X
2
3
4
4
X
X
2
3
4
4
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
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
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2
Exercise: Eighth Note Triplet StrumTo play an eighth triplet strum, tap your foot to a quarter note pulse (count 1 2 3 4). Now, for
every beat that you tap with your foot, play three evenly spaced downward strums (use a chord
that you are comfortable with).
Note:
Strum:
Foot: 1 2 3 4
3
3
3
Many people have heard of the name Eric Clapton as being synonymous with
guitar playing. He started his long and very twisted career in 1965 playing
guitar in the infamous John Mayalls Bluesbreakers. He then moved on in
1966 to form and play guitar in the band Cream. The band only lasted two
years but established themselves around the world as a force to be reckoned
with. Clapton style draws a lot of inuence from early American blues guitar
playing, namely Robert Johnson.
16
TA
B
E
1 2 3 4
440
0
1
2
2
0
3 3 3 30
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
0
0
1
2
2
0
0
0
1
2
2
0
0
0
1
2
2
0
0
0
1
2
2
0
3 3 3 30
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
0
0
1
2
2
0
0
0
1
2
2
0
0
0
1
2
2
0
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Exercise:Play the following chord progression using the provided eighth note triplet strum.
Strum:
Count: 1 + a 2 + a 3 + a 4 + a etc.
3 3 3 3
17
T
A
B
D
23
2
0
X
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 Em
02
2
2
0
X
02
2
2
0
X
44
00
0
2
2
0
00
0
2
2
0
00
0
2
2
0
00
0
2
2
0
00
0
2
2
0
00
0
2
2
0
00
0
2
2
0
00
0
2
2
0
00
0
2
2
0
00
0
2
2
0
T
A
B
Bm D G
2
3
4
4
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
4
4
X
X
2
3
4
4
X
X
2
3
4
4
X
X
2
3
4
4
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
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
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Lesson FiveMajor Six ChordsMajor six chords are created when the sixth note of a major scale is added to the major triad.
Example:Lets look at the A major scale and see how the A6 chord is made up.
Note:
Note No.
The major six chord is used mostly in blues music.
A B C# D E F# G# A
1 2 3 4 5 6 7 8
18
21
43
The A6 ChordThe A6 chord consists of the notes A, D, E
and F#.
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18
19
2
14
3
The E6 ChordThe E6 chord consists of the notes E, G#,
B and C#.
T
A
B
A6
2
2
2
2
0
X
2
2
2
2
0
X
2
2
2
2
0
X
2
2
2
2
0
X
2
2
2
2
0
X
2
2
2
2
0
X
2
2
2
2
0
X
2
2
2
2
0
X
44
T
A
B
E6
0
2
1
2
20
0
2
1
2
20
0
2
1
2
20
0
2
1
2
20
0
2
1
2
20
0
2
1
2
20
0
2
1
2
20
0
2
1
2
20
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Exercise:The following progression uses the A6 and E6 chords with major and seventh chords. Use your
little nger to slide between sixth and seventh chords so that the progression is smooth and
owing. This symbol- -means that you repeat the last written bar
Strum:
Count: 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
20
A A6 A7 A6
T
A
B
02
2
2
0
X
22
2
2
0
X
22
2
2
0
X
32
2
2
0
X
02
2
2
0
X
32
2
2
0
X
22
2
2
0
X
22
2
2
0
X
02
2
2
0
X
22
2
2
0
X
22
2
2
0
X
32
2
2
0
X
02
2
2
0
X
32
2
2
0
X
22
2
2
0
X
22
2
2
0
X
02
2
2
0
X
22
2
2
0
X
22
2
2
0
X
32
2
2
0
X
02
2
2
0
X
32
2
2
0
X
22
2
2
0
X
22
2
2
0
X
02
2
2
0
X
22
2
2
0
X
22
2
2
0
X
32
2
2
0
X
02
2
2
0
X
32
2
2
0
X
22
2
2
0
X
22
2
2
0
X
44
D A A6 A7 A6
T
A
B
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
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
2
3
2
0
X
X
2
3
2
0
X
X
0
2
2
2
0
X
2
2
2
2
0
X
2
2
2
2
0
X
3
2
2
2
0
X
0
2
2
2
0
X
3
2
2
2
0
X
2
2
2
2
0
X
2
2
2
2
0
X
0
2
2
2
0
X
2
2
2
2
0
X
2
2
2
2
0
X
3
2
2
2
0
X
0
2
2
2
0
X
3
2
2
2
0
X
2
2
2
2
0
X
2
2
2
2
0
X
44
DE E6 E7 E6 A A6 A7 A6 D
T
A
B
0
0
1
2
2
0
0
2
1
2
2
0
0
2
1
2
2
0
0
3
1
2
2
0
0
0
1
2
2
0
0
3
1
2
2
0
0
2
1
2
2
0
0
2
1
2
2
0
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
2
3
2
0
X
X
0
2
2
2
0
X
2
2
2
2
0
X
2
2
2
2
0
X
3
2
2
2
0
X
0
2
2
2
0
X
3
2
2
2
0
X
2
2
2
2
0
X
2
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
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
2
3
2
0
X
X
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Exercise:Play the A major Scale from the previous page. Play from start to end and then play the scale
in reverse back to the starting point at A on the 5th string. Use down/up picking.
21
The A Major ScaleEach scale contains its own number of ats or sharps. The A major scale has three sharps.
Note Number: 1 2 3 4 5 6 7 8
T
A
B
0 2
4
1
0 2 4
2
## #
Step Pattern: tone tone semi tone tone tone semi
tone tone
T
A
B
0
2
2
21
#
4
#
4
#
2 1
#
4
#
2
0
0
4
#
2
0
1 82 3 4 5 6 7
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Lesson SixBarre chordsThe chords we have covered so far have all been in the open position and they all contain at
least one open string, so they are sometimes referred to as open chords. Bar chords do not
contain any open strings because the rst nger holds a barre across the fret board. Take the
F major root six barre chord for example, look at the chord diagram below. Do note however
that playing barre chords can be very tricky at rst. Most players when initially learning, have
trouble holding the strings down across the entire neck. Here are some tips to help keep barre
chords clear and pristine:
1. Keep your barre nger pressed down hard
2. Keep the barre nger even across the fret (straight up and down)3. Keep your other ngers perpendicular to the strings and not too at.
24
3
The F Major Root Six Barre ChordHold the barre down solid. This may be
hard at rst, but keep trying. Make sure
each string is sounding.
1
22
T
A
B
F Major root 6 barre
1
1
2
3
3
1
1
1
2
3
3
1
1
1
2
3
3
1
1
1
2
3
3
1
1
1
2
3
3
1
1
1
2
3
3
1
1
1
2
3
3
1
1
1
2
3
3
1
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Exercise:When playing the following chord progression, try to maintain contact with the strings at all
times with your left hand. The chord shape should be held rm.
Looking at the F major chord above you can see that apart from the rst nger across the rst
fret, the chord shape is that of the open E chord. The root note is the note played on the sixth
string (in this case it is F) and that is where the chord gets its name from, hence the term root
6 barre chord. If you move this chord shape up the fret board the chord changes, you will nd
the name of the chord is the same as the sixth string note (root note). So it is important to know
these notes. They are written below on the fret board diagram:
E F F# G G# A A# B C C# D D# E
Gb Ab Bb Db Eb
Fret: 0 1 2 3 4 5 6 7 8 9 10 11 12
Note:
The root 6 bar chord concept means that you now have some new chords to play with, like the
F# chord on the 2nd fret.
Strum:
Count: 1 + 2 + 3 + 4 +
T
A
B
F 1st Fret
1
1
2
3
3
1
1
1
2
3
3
1
1
1
2
3
3
1
1
1
2
3
3
1
1
1
2
3
3
1
1
1
2
3
3
1
6
6
7
8
8
6
6
6
7
8
8
6
6
6
7
8
8
6
6
6
7
8
8
6
6
6
7
8
8
6
6
6
7
8
8
6
4
4
5
6
6
4
4
4
5
6
6
4
4
4
5
6
6
4
4
4
5
6
6
4
4
4
5
6
6
4
4
4
5
6
6
4
8
8
9
10
10
8
8
8
9
10
10
8
8
8
9
10
10
8
8
8
9
10
10
8
8
8
9
10
10
8
8
8
9
10
10
8
A# 6th Fret G# 4th Fret C 8th Fret
23
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Lesson Seven
Percussive Strum or Barre ChordsHold the barre chord G with your left hand, but do not apply any pressure to the strings. Your
ngers on your left hand should be touching the strings, but the strings should not be touching
the fret board. When you strum this, you are playing a percussive strum.
You can see here that beat 2, and the + of 3, are both percussive strums.
Percussive StrumThe percussive strum is achieved by deadening all six strings while playing a chord. There are twotechniques of percussive strum, one for barre chords and one for open chords. The percussive
strum is written as an x placed above or below the strum indicator, like this:
1 + 2 + 3 + 4 +
Strum:
Count:
x
x
Most people know Dave Evans as The Edge from U2. That is the name that
he has adapted over the years. Personally I rate The Edge as one of my
all-time favorites. He runs his guitar signal through a series of delay and
reverb units creating a cascade of sound and a wall of synthetic texture. He
often plays subtle arpeggio motifs that create a sense of continuous rippling
within the songs. Hes what I call a quiet achiever, creating beautiful guitar
moments but not in an obvious up-front manner. He has a very destinctive
24
Exercise:Try playing the following percussive strum over the chord G root six Major. It may be hard at
rst. The key is to keep trying at it so that it ows.
G
Strum:
Count: 1 + 2 + 3 + 4 +
x
x
x
x
T
A
B
G
3
3
4
55
3x x x x
443
3
4
55
3
3
3
4
55
3
3
3
4
55
3
3
3
4
55
3
3
3
4
55
3
3
3
4
55
3
3
3
4
55
3
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3
Exercise:Play the following chord progression using the percussive strum provided.
Strum:
Count: 1 + 2 + 3 + 4 +
x x
T
A
B
G C CG
0
1
0
2
3X
0
1
0
2
3X
0
1
0
2
3X
0
1
0
2
3X
0
1
0
2
3X
0
1
0
2
3X
0
1
0
2
3X
0
1
0
2
3X
0
1
0
2
3X
0
1
0
2
3X
0
1
2
2
3X
0
1
0
2
3X
0
1
0
2
0X
0
1
0
2
3X
0
1
0
2
3X
0
1
0
2
3X
3
0
0
0
23
3
0
0
0
23
3
0
0
0
23
3
0
0
0
23
3
0
0
0
23
3
0
0
0
23
3
0
0
0
23
3
0
0
0
23
3
0
0
0
23
3
0
0
0
23
3
0
0
0
23
3
0
0
0
23
3
0
0
0
23
3
0
0
0
23
3
0
0
0
23
3
0
0
0
23
26
x x x x x x x x
27
Writing Music can be an overwhelming process because not only are you
expressing yourself through your instrument, but more importantly, your voice,
ideas and beliefs are heard by all. Its a condence thing, and the sooner you
realize that youre a good person and what you have to say is important, thesooner you will set on your songwriting path.
44
T
A
B
BG C A
3
3
4
5
5
3
3
3
4
5
5
3
3
3
4
5
5
3
3
3
4
5
5
3
3
3
4
5
5
3
3
3
4
5
5
3
7
7
8
9
9
7
7
7
8
9
9
7
7
7
8
9
9
7
7
7
8
9
9
7
7
7
8
9
9
7
7
7
8
9
9
7
8
8
9
10
10
8
8
8
9
10
10
8
8
8
9
10
10
8
8
8
9
10
10
8
8
8
9
10
10
8
8
8
9
10
10
8
5
5
6
7
7
5
5
5
6
7
7
5
5
5
6
7
7
5
5
5
6
7
7
5
5
5
6
7
7
5
5
5
6
7
7
5x x x x
Strum:
Count: 1 + 2 + 3 + 4 +
x
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Lesson Eight
Removing your second nger from the major chord makes this minor chord.
Like the major chord, the root 6 minor bar chord takes its name from the sixth string that itbarres. If your rst nger is barring the rst fret, the chord would be Fm, if it were the
second fret: F#m, the third fret: Gm etc.
43
Fm Root 6 Barre Chord
1
Root 6 minor barre chordThe root 6 minor bar chord is verymuch like the root 6 major bar chord
in that it uses one chord shape that
can be moved along the fret board
to play different chords. The shape
of the root minor 6 chord is the
same as the Em open chord, the only
difference being that it is barred by
your rst nger. Take the Fm root 6
bar chord for example:
28
T
A
B
1
1
13
3
1
Fm Root 6 Barre Chord
1
1
13
3
1
1
1
13
3
1
1
1
13
3
1
1
1
13
3
1
1
1
13
3
1
1
1
13
3
1
1
1
13
3
1
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1
Exercise:Play the following chord progressions using the suggested strums.
Strum:
Count: 1 + 2 + 3 +
x
x
29
It stands to reason that if our ability to play the guitar stems from our
ability to perform smaller tasks like playing chords, then we should make
sure that we have these smaller skills well mastered before we attempt to
set them all in motion. However, in our eagerness to demonstrate progress
in a new skill we often tend to rush ahead before we master the basics.
Many people try to cover too much ground too quickly, using the once over
lightly approach and hoping to ll in the gaps with practise. This in the
deep end or sink or swim approach is useful in activities such as
swimming, but not so useful for complex tasks where one skill builds on the
lessons learned previously. Instead of lling in the gaps, often all you do is
develop bad habits and make mistakes that you end up practising (and un-
doubtedly become very good at!) that are then hard to unlearn once you
develop enough expertise to realize what youre doing wrong.
The mastery method, despite the impressive sounding title, really just
means that we learn best and progress faster when we take the time to
master the small components of a skill before we move on to more complex
tasks. This is where having a tutor can really be helpful, since in your early
stages of learning youre unlikely to recognize when youre doing
something incorrectly. In lieu of a teacher you could also use videos, audio
CDs or software as a point of reference. With a little experience youll be
able to recognize your mistakes yourself.
T
A
B
CmGm D# D
3
3
3
5
53
3
3
3
5
53
3
3
3
5
53
3
3
3
5
53
3
3
3
5
53
7
7
7
9
97
7
7
7
9
97
7
7
7
9
97
7
7
7
9
97
7
7
7
9
97
11
11
12
13
1311
11
11
12
13
1311
11
11
12
13
1311
11
11
12
13
1311
11
11
12
13
1311
10
10
11
12
1210
10
10
11
12
1210
10
10
11
12
1210
10
10
11
12
1210
10
10
11
12
1210
x x x xx x x x
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30
Rock around the clock, one of the most famous rock songs which helped create
the rock star era, was written and performed by Bill Haley and the Comets. Bill
played an Aria Pro II PE-180.
Keith Richards from the Rolling Stones played a White Custom Gibson SG on the
bands landmark tour of the U.S.
Strum:
Count: 1 e + a 2 e + a 3 e + a 4 e + a
T
A
B
Am
5
5
5
7
7
5
5
5
5
7
7
5
5
5
5
7
7
5
5
5
5
7
7
5
G
0
2
2
2
0
X
0
2
2
2
0
X
3
3
4
5
5
3
3
3
4
5
5
3
3
3
4
5
5
3
3
3
4
5
5
3
3
3
4
5
5
3
3
3
4
5
5
3
5
5
5
7
7
5
5
5
5
7
7
5
5
5
5
7
7
5
2
3
2
0
X
X
2
3
2
0
X
X
3
3
4
5
5
3
3
3
4
5
5
3
3
3
4
5
5
3
3
3
4
5
5
3
3
3
4
5
5
3
T
A
B
F E open
1
1
2
33
1
1
1
2
33
1
1
1
2
33
1
1
1
2
33
1
1
1
2
33
1
1
1
2
33
1
1
1
2
33
1
1
1
2
33
1
1
1
2
33
1
1
1
2
33
1
1
1
2
33
1
0
0
1
22
0
0
0
1
22
0
0
0
1
22
0
0
0
1
22
0
0
0
1
22
0
0
0
1
22
0
0
0
1
22
0
0
0
1
22
0
0
0
1
22
0
0
0
1
22
0
0
0
1
22
0
44
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3
Jam Track No. 3
T
A
B
2 2 2 0 0 0 0 0 0 02 0 0 0 0 0 0000220
00220
00220
00220
00220
2220x
2220x
320xx
00220
00220
00220
00220
00220
2220x
2220x
320xx
320xx
320xx
D A Eminor
Strum
02220x
3 3 3 3 2 2 22 0 0 0 0 0 0 0 002220x
2220x
2220x
2220x
2220x
2220x
2220x
2220x
2220x
320xx
320xx
320xx
320xx
00023
00023
00023
00023
T
A
B
DG A
Strum
T
A
B
2 2 2 0 0 0 0 0 0 02 0 0 0 0 0 0000220
00220
00220
00220
00220
2220x
2220x
320xx
00220
00220
00220
00220
00220
2220x
2220x
320xx
320xx
320xx
D A Eminor
Strum
02220x
3 3 3 3 2 2 22 0 0 0 0 0 0 0 002220x
2220x
2220x
2220x
2220x
2220x
2220x
2220x
2220x
320xx
320xx
320xx
320xx
00023
00023
00023
00023
T
A
B
DG A
Strum
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T
A
B
2 2 2 0 0 0 0 0 0 02 0 0 0 0 0 000
0220
0
0220
0
0220
0
0220
0
0220
2
220x
2
220x
3
20xx
0
0220
0
0220
0
0220
0
0220
0
0220
2
220x
2
220x
3
20xx
3
20xx
3
20xx
D A Eminor
Strum
02220x
3 3 3 3 2 2 22 0 0 0 0 0 0 0 002220x
2220x
2220x
2220x
2220x
2220x
2220x
2220x
2220x
320xx
320xx
320xx
320xx
00023
00023
00023
00023
T
A
B
DG A
Strum
T
A
B
2 2 2 0 0 0 0 0 0 02 0 0 0 0 0 0000220
00220
00220
00220
00220
2220x
2220x
320xx
00220
00220
00220
00220
00220
2220x
2220x
320xx
320xx
320xx
D A Eminor
Strum
02220x
3 3 3 3 2 2 22 0 0 0 0 0 0 0 002220x
2220x
2220x
2220x
2220x
2220x
2220x
2220x
2220x
320xx
320xx
320xx
320xx
00023
00023
00023
00023
T
A
B
DG A
Strum
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T
A
B
0 0 0 0 00 0 0 0 00
0 0 0 0 0 0 00002
20
002
20
002
20
002
20
002
20
002
20
002
20
002
20
02
20
002
20
002
20
002
20
002
20
002
20
002
20
002
20
002
20
002
20
Eminor
Strum
T
A
B
0 0 0 0 00 0 0 0 000 0 0 0 0 0 0000220
00220
00220
00220
00220
00220
00220
00220
0220
00220
00220
00220
00220
00220
00220
00220
00220
00220
Eminor
Strum
T
A
B
2 2 2 0 0 0 0 0 0 02 0 0 0 0 0 0000220
00220
00220
00220
00220
2220x
2220x
320xx
00220
00220
00220
00220
00220
2220x
2220x
320xx
320xx
320xx
D A Eminor
Strum
02220x
3 3 3 3 2 2 22 0 0 0 0 0 0 0 002220x
2220x
2220x
2220x
2220x
2220x
2220x
2220x
2220x
320xx
320xx
320xx
320xx
00023
00023
00023
00023
T
A
B
DG A
Strum
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T
A
B
2 2 2 0 0 0 0 0 0 02 0 0 0 0 0 000
0220
0
0220
0
0220
0
0220
0
0220
2
220x
2
220x
3
20xx
0
0220
0
0220
0
0220
0
0220
0
0220
2
220x
2
220x
3
20xx
3
20xx
3
20xx
D A Eminor
Strum
02220x
3 3 3 3 2 2 22 0 0 0 0 0 0 0 002220x
2220x
2220x
2220x
2220x
2220x
2220x
2220x
2220x
320xx
320xx
320xx
320xx
00023
00023
00023
00023
T
A
B
DG A
Strum
T
A
B
2 2 2 0 0 0 0 0 0 02 0 0 0 0 0 0000220
00220
00220
00220
00220
2220x
2220x
320xx
00220
00220
00220
00220
00220
2220x
2220x
320xx
320xx
320xx
D A Eminor
Strum
02220x
3 3 3 3 2 2 22 0 0 0 0 0 0 0 002220x
2220x
2220x
2220x
2220x
2220x
2220x
2220x
2220x
320xx
320xx
320xx
320xx
00023
00023
00023
00023
T
A
B
DG A
Strum
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0222
0x
3 3 3 3 2 2 22 0 0 0 0 0 0 0 00222
0x
222
0x
222
0x
222
0x
222
0x
222
0x
222
0x
222
0x
222
0x
320
xx
320
xx
320
xx
320
xx
000
23
000
23
000
23
000
23
T
A
B
DG A
Strum
02220x
3 3 3 3 2 2 22320xx
320xx
320xx
320xx
00023
00023
00023
00023
TA
B
DG A
Strum
Dont forget when you are working on the Jam Tracks make to sure you listen to
all the instruments in that Track. For example listen to what the bass guitar is
doing, where are his bass lines moving? What rhythm is he following? What about
the drummer? Listen to how he lifts and lowers the song through his dynamic
playing.
Being a part of a band is all about playing together, the more you become
aware of what the others in your band are playing, the more you will grow
together as a musical unit. Imagine a band where everytime they practised orperformed it was a a constant aural battle between each band member, each
one trying to be louder than the rest, or each member playing his/her own idea
and not listening to the other members and whether all the ideas are working
together. Can you imagine that? It would sound terrible wouldnt it? Therefore,
its a great idea to also use these Jam Tracks as Band training - getting you used
to listening to other instruments as you play your part, understanding their tone,
and rhythm and where they t within a band situation.
Keep up the great work!
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Lesson Nine
Key SignaturesFor the most part, melodies are built from notes within a scale. So far, we have looked at the C
major and a major scale. You will remember that the C major scale has the following notes:
C D E F G A B
Strictly speaking, a melody in C would consist of these notes only.
A melody in A would use notes from the A major scale:
A B C# D E F# G#
The A major scale has three sharps (#s). They are C#, F# and G#. On stave, instead of writing
a sharp in front of every C, F and G, a key signature is used. A key signature is written at the
beginning of a piece of music, on the stave. It indicates the scale you are playing by giving you
the sharps or ats used in the piece.
A major scale
Each major scale has a specic number of sharps or ats unique to itself. Therefore, each major
scale key signature is different.
Here are some more scales with their key signatures:
31
###
T
A
B
0 2
4
1
0 2 42
##
#
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32
#
#
T
A
B0 2 4
20 2 4
3
D major scale
G Major Scale
#
33
T
A
B
0 20
21 3
0 3
34
E Major Scale
T
A
B
0 20
21 3
0 3
##
##
Exercise:Play each major scale from this lesson. Play from start to end and then play the scale in reverseback to the starting point. Use a down/up picking motion.
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Lesson Ten
3
F dom 7 (alternative fngering)The F dominant 7 chord can be played
another way (shown below). It still uses the
same notes as the rst method shown.
122
1
3
4
F dominant 7 Root Six Barre ChordThe F dominant 7 chord can be made as a
root six barre chord (see the chord diagram
below). This shape can be played right along
the fret board.
3635
F dom 7 root 6 barre
T
A
B
1
4
2
1
3
1
1
4
2
1
3
1
1
4
2
1
3
1
1
4
2
1
3
1
1
4
2
1
3
1
1
4
2
1
3
1
1
4
2
1
3
1
1
4
2
1
3
1
44
T
A
B
F dom 7 root 6 barre (alternate)
1
1
2
1
3
1
1
1
2
1
3
1
1
1
2
1
3
1
1
1
2
1
3
1
1
1
2
1
3
1
1
1
2
1
3
1
1
1
2
1
3
1
1
1
2
1
3
1
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1
Exercise:Play the following chord progression using root six chords and the suggested triplet strum.
Strum:
Count: 1 + a 2 + a 3 + a 4 + a
3 3 3 3
x x x x
Did you know that the strings you use can greatly alter the sound the guitar
makes? For an acoustic guitar you may be playing on steel strings, or nylon.
Generally, steel strings are much brighter or (obviously) metallic sounding;
nylon strings produce a softer, warmer feel to them. Even the gauge of the
string makes a big difference in both sound and ease of playability. Gauge
is the thickness of the string. The lighter the gauge (thinner strings), theeasier they are to play but they usually have less volume and are also usually
brighter (thinner) in their sound.
37
T
A
B
C
8
8
9
1010
8
8
8
9
1010
8
8
8
9
1010
8
8
8
9
1010
8
Bb
8
8
9
1010
8
8
8
9
1010
8
8
8
9
1010
8
8
8
9
1010
8
8
8
9
1010
8
8
8
9
1010
8
8
8
9
1010
8
8
8
9
1010
8x x x x x x x x
T
A
B
F F7
1
1
2
3
3
1
1
1
2
3
3
1
1
1
2
3
3
1
1
1
2
3
3
1
1
1
2
3
3
1
1
1
2
3
3
1
1
1
2
3
3
1
1
1
2
3
3
1
1
1
2
3
3
1
1
1
2
3
3
1
1
1
2
3
3
1
1
1
2
1
3
1
1
1
2
1
3
1
1
1
2
1
3
1
1
1
2
1
3
1
1
1
2
1
3
1
1
1
2
1
3
1
1
1
2
1
3
1
1
1
2
1
3
1
1
1
2
1
3
1
1
1
2
1
3
1
1
1
2
1
3
1
1
1
2
3
3
1x x x x
1
1
2
1
3
1x x x x
6
6
7
88
6
6
6
7
88
6
6
6
7
88
6
6
6
7
88
6
6
6
7
88
6
6
6
7
88
6
6
6
7
88
6
6
6
7
88
6
6
6
7
88
6
6
6
7
88
6
6
6
7
88
6
6
6
7
88
6
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2
Music RestsA rest is a section of silence. Every note value has an equivalent rest value as shown in the table
below.
Notes: Whole note Half note Quarter note Eighth note Sixteenth note
Rests: Whole note Half note Quarter note Eighth note Sixteenth note
9 = \00Number
of beats
note is
held:
4 2 1 1/2 1/4
Many people seem to overlook one of the most understated and brilliant
guitar players of pop history, George Harrison of The Beatles. Known as the
quiet Beatle, George is often not credited for his brilliant and subtle work on
Beatles albums. We all know how genius Lennon and McCartney were with
their song-writing, however there are wonderful guitar playing moments on
Beatles songs such as Here comes the Sun, Blackbird and While my guitar
gently weeps.
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3
Lesson Eleven
DeadeningDeadening is a term used by guitarists to describe the act of silencing the guitar while playing.
There are two types of deadening. One is done with your fretting hand and is called fret hand
deadening. The other is done with your strumming hand and is called palm deadening.
Fret Hand DeadeningFret hand deadening isachieved by lightly holding
the ngers of your fret
hand across the guitar
strings so that all of the
strings are deadened. This
type of deadening is used
when you play a percussive
strum (you covered this in
Chapter eight of this book).
Palm DeadeningPalm deadening is where
you rest the palm of your
picking/strumming hand
against the bridge of the
guitar so that any ring from
the strings is silenced. It
is the best way to silence
your guitar strings so this is
the method we will use to
play rests.
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Exercise: Palm Deadening Open ChordsPlay the following progression using the strum provided. The strum requires you to palmdeaden
on beat two and hold that rest for beat three. You will need to play this slowly at rst as the
concept is new and can be a little difcult to learn.
Strum:
Count: 1 2 3 49 9
Exercise: Palm Deadening Barre ChordsPalm deadening can also be used with barre chords. Try the following barre chord progression
with the suggested strum. You will have to deaden the strings on beat three and hold the rest
for the + (and) beat of three.
Strum:
Count: 1 + 2 + 3 4 +
9
38
T
A
B
CmGm D# D
3
3
3
5
5
3
3
3
3
5
5
3
3
3
3
5
3
3
3
3
3
5
5
3
3
3
3
5
5
3
8
8
8
10
10
8
8
8
8
10
10
8
8
8
8
10
10
8
8
8
8
10
10
8
8
8
8
10
10
8
11
11
12
13
13
11
11
11
12
13
13
11
11
11
12
13
13
11
11
11
12
13
13
11
11
11
12
13
13
11
10
10
11
12
12
10
10
10
11
12
12
10
10
10
11
12
12
10
10
10
11
12
12
10
10
10
11
12
12
10
9 9 9 9
39
T
A
B
AD E E7
2
32
0
X
X
2
32
0
X
X
0
22
2
0
X
0
22
2
0
X
0
01
2
2
0
0
01
2
2
0
0
01
0
2
0
0
01
0
2
0
9 9 9 9 9 9 9 9
44
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Playing Eighth Note Rests
So far, you have either played each eighth note within a strum or you have let the chord hold for
the duration of the eight note. Now, we are going to learn how to play the eighth note rest.
The eighth note rest is hard to master because it involves quick palm deadening technique tosilence the strings for the length of the eighth note. Work through the following exercise slowly,
it may take some practise to get this skill down.
Exercise: Eighth Note RestPlay the following strum over an open E chord. Palm deaden the guitar strings on beat 2.
Strum:
Count: 1 + 2 + 3 + 4 +
=
40
12 String guitars add amazing color to simple riffs and lick patterns. The way
the rst four strings are doubled with octave tuning and the two high strings
are paired identically creates a very full and complete timbre of sound.
Finger picking and articulation techniques are secret weapons of the 12 string
player; picking out chords sounds amazing on a 12 string guitar.
T
A
B
E open
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
=
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Exercise:Play the following chord progression using the suggested strum.
Strum:
Count: 1 + 2 + 3 + 4 +
= =
41
Dont forget to keep practising regularly with a Metronome. This course came
with the Free Jamorama metronome software. Practising with a metronome
familiarizes your ear and brain with keeping time. Weve all been to see a
friends band in a local bar that just sounded horrible at the time. Usually
keeping time (or in this case not keeping time) is one of the main offenders tomusicians sounding bad.
T
A
B
D openG root 6 Bm root 6 C root 6
3
3
4
5
5
3
3
3
4
5
5
3
3
3
4
5
5
3
3
3
4
5
5
3
3
3
4
5
5
3
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
7
7
7
9
9
7
7
7
7
9
9
7
7
7
7
9
9
7
7
7
7
9
9
7
7
7
7
9
9
7
8
8
9
10
10
8
8
8
9
10
10
8
8
8
9
10
10
8
8
8
9
10
10
8
8
8
9
10
10
8
= = = = = = = =
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Lesson TwelveMajor Root 5 Barre ChordsWeve covered the root six barre chord formation. Lets now take a look at the Root 5 formation.Root 5 Barre Chords are based upon the open A major chord. You basically take the open A major
chord shape and apply the rst nger barre to it. This enables you to play the same A shape all
the way down the fret board. See the example of the A sharp / B at root 5 barre chord below.
Note that the sixth string is not played.
A# / Bb (Root 5) Alternative
Fingering
123
4
A# / Bb (Root 5)
13
42
A# / Bb (root 5)
T
A
B
1
3
3
3
1
X
1
3
3
3
1
X
1
3
3
3
1
X
1
3
3
3
1
X
1
3
3
3
1
X
1
3
3
3
1
X
1
3
3
3
1
X
1
3
3
3
1
X
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Staccato StrummingIn music, staccato is a term that means to cut short or to play crisply. Staccato strum then,
is a strum that is crisp and cut short. It is indicated by a dot placed above or below the note or
the strum mark that you want to play as staccato.
Example staccato notes:
Count: 1 2 3 4 1 2 3 4
Exercise: Staccato StrumBefore you can play a staccato strum you must be able to palm deaden (covered in the last
lesson) as you use this technique to cut short each strum.
Using a C root 5 chord, play the following staccato strum. You will need to deaden the strings
with your right hand immediatly after each strum. Make sure that you are cutting the strum
very short.
This chord shape is called root 5 because the root note of the chord is taken from the fth
string. In the example above, the fth string note being played is A sharp or B at, which is the
root note of both the A sharp and B at chord that we are playing. As a refresher, the notes on
the fth string are listed below.
Note: A A#/Bb B C C#/Db D D#/Eb E F F#/Gb G G#/Ab A
Fret: 0 1 2 3 4 5 6 7 8 9 10 11 12
Count: 1 2 3 4
Strum:
43
T
A
B
C root 5
3
5
55
3
X
3
5
55
3
X
3
5
55
3
X
3
5
55
3
X
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Exercise:Play the following chord progression using the suggested strum.
Strum:
Count: 1 2 3 4 e + a
44
T
A
B
C root 5G root 6 D root 5 C root 5
3
5
5
53
X
3
5
5
53
X
3
5
5
53
X
3
5
5
53
X
5
7
7
75
X
5
7
7
75
X
5
7
7
75
X
5
7
7
75
X
3
5
5
53
X
3
5
5
53
X
3
5
5
53
X
5
7
7
75
X
5
7
7
75
X
5
7
7
75
X
3
5
5
53
X
3
5
5
53
X
3
5
5
53
X
3
5
5
53
X
3
5
5
53
X
3
5
5
53
X
3
5
5
53
X
Some hot tips to help extend the life of your guitar strings.
- Do wash your hands prior to playing. Every time if possible.
- Do clean each individual string with a soft clean cloth after playing.
- Dont overly pre-stretch your strings when changing them.
- Do change your strings well ahead of a performance or practise time
so they have plenty of time to settle in prior to playing.
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