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Course contents
Month One
Month Two
Week one Open Chords exercises round the mountain - traditional Hey Jude - the Beatles Week two Amazing Grace - traditional gospel G major scale Week three Live forever - Oasis G minor natural Week Four Candle in the wind - Elton John G minor pentatonic
Week one F Half barre chords exercises Free Bird - Lynard Skynard G Mixolydian scale Week two G minor Natural First position barre chords Exercises Week three Here comes the rain - Eurythmics Full blues scale Week four Revise scales Half barres to barres Maggie may - Rod Stewart
Month Three
Month Four
Week one Second position half barres Exercises Nights in white satin - Justin Hayward Week two A rooted chords sharps and flats Second position barres Week three Combine first and second positions exercises Rent - The Pet shop boys Week four Basic blues chords Exercises Yesterday - The Beatles
Week one Chord theory One Tablature Exercises Week two Exercises Basic blues Week three Paint it Back - The Rolling stones Revise blues scale and in A Week four Crocketts theme electric - Jam Hammer Crocketts theme acoustic - Jam Hammer
Month Five
Month Six
Week one Repeats Hey Jude (with rhythm) - The Beatles Week two Exercises Who is like thee o Lord - Jewish Folk Week three About a Girl - Nirvana Week four Chord theory two Space oddity - David bowie
Week one Rock exercises Rock and grunge techniques Week two Rock exercises Smoke on the water - Deep Purple Week three Livin on a prayer - Bon Jovi Grunge Punk exercises Week four Smells like teen spirit - Nirvana
Month Seven
Month Eight
Week one Country exercises Week two I walk the line - Johnny Cash Week three Reggae exercises Week four I shot the sheriff - Bob Marley Review of techniques exercises
Week one Blues exercises Week two Steam roller - James Taylor Week three Blues scale exercise Week four Improvisation
Month Nine
Month Ten
Week one Finger picking basics Exercises PIMI Picking Duet Week two Rain - Sad Fantasy Week three Introduce the annular finger Exercises Nights in white satin - Justin Hayward Week four Alternating bass line Exercises Everybody hurts - REM
Week one Alternating bass line exercise Susans song - Sad Fantasy Week two Exercise House of the rising sun - The Animals Week three Blocking exercises Week four 4/4 time exercises Nowhere man - The Beatles
Month Eleven
Month Twelve
Week one Fifth chord theory exercises slurs Week two Hammering on Paranoid - Black Sabbath Week three Pulling off Manic depression - Jimi Hendrix Picking directions Week four Zombie - The Cranberries
Week one Reading rhythm exercises time signatures Week two Bends House of the Rising Sun (Lead) Summer time (lead) Staccato and mutes Week three Wonderful tonight - Eric Clapton Week four Wonderful land - The Shadows
Introduction Tuning
month one
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and
In order for any guitar course to be successful, practise practise practise practise practise practise
Introduction
you must practise.
Getting started
machineheads top nut frets neck and fingerboard position markers body pickups sound hole tailpiece or bridge
fingering map
top nut frets strings 1 x string should not be played finger placed between the frets Left hand finger number
left hand
fret map
E B G D A E
F C G# D# A# F
F#
C# A
G D A#
G#
A E
C
D#
B
E
B
F
C
F# C#
G
D D#
F#
G#
A#
Tuning
Before you start, it is important to tune your guitar. Even if youre playing correctly the guitar will sound wrong if it is out of tune. As time goes by you will start to recognize when your guitar is out of tune yourself. If you have a friend who can tune your guitar for you, it may be a good idea to let them do it for you until you become accustomed to the sound of the guitar. But if not dont worry. There are many electronic tuners on the market that will tell you when your guitar is out of tune, or you can use tuning pipes or an electronic keyboard to get a reference note to tune from. We have provided a free tuner that will give you three different types of tones to tune your guitar from. When tuning your guitar remember to turn your machineheads by very small amounts and re-pluck the string to see if it is tune, if you turn your machineheads to fast, to far, you will break your strings.
middle C
The thinnest string is referred to as the top E string because it sounds higher than the other strings. The thickest string is referred to as the bottom E string.
Hint. To remember the names of the strings you can use one of these silly sayings.
Every Angry Dog Growls and Bites Eventually Elephants And Dogs God Blesses Everything
copyright G C Hargreaves 2004
IMPORTANT.
You are listening for the pitch of the notes. The tone of the note will always be a little different. Don t press too hard on the strings, because you can bend the string slightly making the note inaccurate. 3. Place your finger in the FOURTH fret of the next string down the G string, and play this note shortly followed by the B string and repeat this. If the G string is in tune, the two notes will sound the same. If the notes are different, then you will need to adjust the G string and then repeat the process until the notes sound the same. The G string should now be in tune. 4. Place your finger in the FIFTH fret of the next string down the D string, and play this note shortly followed by the G string and repeat this. If the D string is in tune, the two notes will sound the same. If the notes are different, then you will need to adjust the D string and then repeat the process until the notes sound the same. 5. Repeat this pattern using the FIFTH fret for the last two strings. 6. Compare the top E string and the bottom E string. As they are both E, they are octaves and have a unique sound. Firstly listen to them on free tuner provided as we know the tuner is in tune. Eventually you can use this sound as a double check, because if you have made a mistake on any of the other stings the two notes will not sound correct.
Tuning the D string Tuning the A string Tuning the E string
Packaged with this course is a third party digital tuner, the Guitar Academy tuner and the tuner game. 1. Play the tuner game as many times as it takes for you to get 6 out of 6 several times. The tuner note and the guitar note have different tones to make the game more realistic. 2. Then tune your guitar with the Guitar Academy tuner, using the tuner notes as a reference point to tune your guitar to. 3. Finally check your guitar with the digital tuner. The digital tuner is the quickest and easiest way to tune, but if you only use the digital tuner it will be years before you hear tuning problems for yourself.
2. Place the plectrum on the first knuckle of your index finger so that it points towards the guitar.
When playing with a pick the motion should come from the wrist, the whole arm should not move up and down. When strumming the motion comes more from the elbow. For stability and to aid with locating the strings without needing to look down, some players either rest the hand or arm on the guitar. Another approach to to rest your fingers on the guitar, scratchplate or place your little finger on a pickup if you have an electric guitar.
Plectrums come in all sorts of shapes and sizes, but they are usually marked with the thickness, which is helpful. Remember though that the thickness is just a guide, plectrums will play differently depending on what material they are made of. At this stage of your learning it is probably a good idea to buy a several to find out which one is best for you. 1mm is a common thickness of plectrum. It is a good all round plectrum. Plectrums over 1mm will not bend very much, if at all. They produce a more bassy tone and they can be more difficult for strumming. Plectrums under 0.7mm can bend a lot. They produce a brighter tone and are ideal for strumming as they are more forgiving if your plectrum accuracy isnt perfect.
IMPORTANT
As you get use to your pick look at the position youre holding it in every time you practise. If the pick position changes every time you play it will take you a lot longer to get used to it.
Lesson One
open chords
X Am7
1 2
X
1
A
2 3
X
2
Am
1 3
X
1
A7
2
X
1
A7
X
2
B7
1 3 4
X
2 3
C
1
X
2 3
C7
1
X X
D
1 2 3
X X
Dm
1 2 3
X X
D7
1 2 3
X X
Dm7
1 2 2 3
E
1 1 2
Em
2
E7
1
Em7
1
X X
F
1 2 3
X X
Fm
1 1
G
2 3 3
G7
1
exercises
Play the following open chord exercises. Then repeat them until the chords sound clean and the changes sound smooth.
X
2 3
C
1
X
2
Am
1 3 3 2
G7
1
C - - - Am - - - C - - - Am - - - C - - - G7 - - - C - - - Am - - -
X X
D
1 3 2 2 1
X
1 3
A
2 3 1 2
Em
D - - - G - - - D - - - A - - - D - - - G - - - D - - - Em - - -
X X
Dm
1 2 3 3 2
G7
1
X
2 3
C
1
X
2
Am
1 3
Dm - - - G7 - - - C - - - Am - - - Dm - - - G7 - - - C - - - C - - -
Introduction
Bellow is a BAR. A bar is a representation of time used in music, and all music is made up of bars. To start with, the bars we are using contain 4 beats (they are 4/4 time). It is important that the length of time for each bar remains the same and therefore I recommend downloading the metronome and practicing trying to play the chords as accurately as possible on the first beat of the bar. beats bar
tunes
Remember that their is no break between th bars, every beat should remain the same, and therefore the beat should sound constant. Sometimes you will find that their is more than one chord in a bar, in this instance play the second chord on the THIRD beat of the bar (for now). As you get better and start to play more advanced pieces, you will find any number of chords in a bar. For example
D7
A7
A7
The arrangement
Every tune has an arrangement. An arrangement is the order in which a tune is played. For example, verse, chorus, verse, chorus. By listing arrangements the tunes are kept smaller, neater and easier to follow. You will also gain a better understanding of music for when you eventually want to write your own. Music can be made up of any number of sections in any order, here are some of the section names. Intro (introduction), Verse, Chorus, Bridge, transition, Solo, Coda (end).
Week One
Now, lets try and put together some of what you have learned to play our first pieces of music. The two tunes bellow are in 4/4 time, so their are FOUR beats per bar. 1. Play the chords a few times until you are happy with the changes. 2. Try playing with a metronome in 4/4 time, using a slow setting (between 40 & 80)
month one
tune
chorus
D7 D7 D7 A7 G G A7 Em Em A7 A7 D D
coda
D C G D
repeat and fade
arrangement
Week Two
This tune is in 3/4 time, which basically means that their are THREE beats per bar. Try it with the metronome set on 3/4. The way to count for this piece will be as follows. beats bar 1 2 3 1 2 3
month one
Amazing Grace
G G G G G G G7 D7 C D7 C G G D7 G G
1 2 2
3rd fret
scale map
G major
1 2 2
3
1
3rd fret
3 4 4
Week Three
This first month needs to be spent mastering open chords. As you play different tunes with different combinations of chords, your changes and speed should improve. 1. Play the chords a few times until you are happy with the changes. 2. Play with a metronome in 4/4 time, using a slow setting (between 60 & 100)
month one
tune
chorus
Em Em Am7 D D Am7 Am7 C Am7 D
coda
Em Em D D Am7 Am7 C Am
repeat and fade this line
Am7
Am
Am7
Am
arrangement
1 2
3 4
3 4
Rite The thumb is in the center of the neck and the fingers are putting pressure on only the string required.
Wrong The thumb is around the neck and the fi nger s ar e l ay i ng agai nst str i ngs which are not intended to be played.
Note In both cases you can see how the fingers naturally sit in a position above the cor r ect fr ets. Thi s i s why y ou should use the correct fingers.
Week Four
tune
C G C C G C
month one
3 4 4
Revision
Play these scales until you can remember them. The open chords will naturally re-occur as you play more tunes, therefore it isnt as important to memorize them, however the scales will only be used in relation to theory, so you may forget them if you dont practise them regularly. A second advantage in practising your scales is that, when we start learning lead guitar techniques, your fingers will already be adept at paying single notes. G major G minor harmonic G minor pentatonic
1 2 2
1 1 3 1 2 3 4 3 4 3 4 3 3 3 4 4 1 1 1 1 1 1
month two
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Week One
F shape half barre chords
X X F
1 2 3 3
month two
X X
Fm
1
X X1
F7
2
X X1
Fm7
You might have noticed that two of these chords appear in the open chord chart you were given in the first lesson. The F major half barre chords often appears in open chord charts though strictly speaking a chord should contain an open string to be a true open chord. The reason it appears in open chord charts is that there is no open chord alternative for an F chord.
exercises
Play these exercises using the open chord you have allready learned. The F chords should be played as the half barre chords listed above. exercise 1 C C exercise 2 G7 G7 exercise 3 C7 C7 F7 F7 C7 C7 F7 Dm Fm Fm C C Am C F F Am Am G Am
tune
Free Bird - Lynard Skynard
This tune gets very complex towards the end, so for the time being we will learn the verse and chorus which make up the first half of the tune. This should be good practice of our open chords and the F major half barre chord.
Verse/chorus
G F G F D C D C Em D Em G Em D Em D
arrangement
Week Two
exercise - G minor natural scale
1 1 1
month two
fret 3
3 4
3 4
Note. their is only one notes differ ence between the G mi n o r h a r mo n i c a n d t h e G mi n o r natural.
fret 3
1 2
3 4
3 4
Gm
1
G7
1 2
Gm7
fret 3
fret 3
3
Try playing these chords a few times. If you cant get them perfect, dont worry as you play them they will get better (it may take weeks).
Hints
Do not push to hard with the thumb, the pressure should be applied by the fingers. Do not tense your first finger too much, otherwise it will curve away from the strings. E string rooted barre chords are so called because the root of the chord is on the E string. The root of a chord (or scale) is the note that gives the chord or scale its name. For example, Looking at the chords above you will see that the first finger is in the third fret of the bottom E string. If you then look at your fret map you will see that the name of this note is G. This is why the chords above are all G chords. If you play one of the chords above on a different fret it will take on the name of the E string note for that fret. For example, playing the G major shape in the fifth fret is A major, and playing the Gm7 shape in the fifth fret is Am7.
WRONG
The position of the thumb should not be allowed to go around the guitar because the fingers will be restricted.
RIGHT
The position of the thumb should either in the center of the back of the neck or towards the floor. This will allow your fingers to stand off the fingerboard.
WRONG
The first finger should be as straight as possible across the fingerboard and the fingers should be as close to possible to the center, between the frets.
RIGHT
If you can keep your first finger parallel to the frets the tone will be easier to maintain. If the fingers are as central as possible between the frets then you will not need to press as hard on the strings.
F
1
F#
2
G
3
G#
4
A
5
A#
6
B
7
C
8
exercises
Practise each of these exercises, repeating them until you are happy with them. If your hand, thumb or wrist starts to hurt take a rest, but dont be concerned because this is quite normal when learning barre chords. exercise 1 c
1 2 3 4 3 4
Am
fret 5
1
F
fret 1
1 2 3 4
G
fret 3
1 2 3 4
fret 8
Am
exercise 2
Am7
fret 5
1
Gm7
fret 3
1
F
fret 1
1 2 3 4
Am7
Gm7
Am7
exercise 3
Am
1
G
fret 3
1 2
F
fret 1
1 2 3 4
E
OPEN
2 3 1
fret 5
3 4
3 4
Am
Em
major
1 2 3 4 1
minor
1
7th
1 2
minor 7th
root
root
3
3 4
F
1
F#
2
G
3
G#
4
A
5
A#
6
B
7
C
8
exercises
By remembering the four first position barre chord shapes and the names of the notes on the E string, you should be able to play 32 new chords. For example. G#m7 = g# is on the fourth fret and the minor 7th shape. Bm = B is on the seventh fret and the minor shape. Try playing the following; exercise 1 Bm G A Bm G#m7
fret 4
1
exercise 2 G Am F G
Week Three
Here come the rain - Eurytmics
Play this using first position barre chords. The piece contains only a few chords, and you might think that once you have played the intro and chorus you can move on. I encourage you however to use this tune to build the strength in your hand. Play the whole tune or as far as you can, several times with the backing before moving on.
intro
Am G Am G F Am F Am repeat once Am G F Am F Am
verse
Am G
repeat once
chorus
F D F D C G C repeat three times G
arrangement
F
1
F#
2
G
3
G#
4
A
5
A#
6
B
7
C
8
fret 3
Week Four
Revision
G major
1 2 2 3 4 4 4 3 4 3 4 3 4 3 3 3 4 4 1 1 1 1 1 1 1 1 1 1
month two
G minor natural
G minor pentatonic
You now have every scale you will need for the first year of the course.
G mixolydian
1 2 2 1 2 1
G minor harmonic
G pentatonic blues
1 2
1 2 3
3 4
3 4
3 4
3 4 4 4
X X
G
1 2 3
fret 5
X X
Am
1
fret 1
X X
F
1 2
F
1
F#
2
G
3
G#
4
A
5
A#
6
B
7
C
8
tune
Em7
intro
D D Em Em G G D D
verse
A A G Em G G D F#m D D G Em7 D D A F#m
chorus
Em Em Coda Em Em D D A A Em Em Em G7 G G A D D D A A Em D A D
arrangement intro - verse- chorus - verse - chorus - verse - chorus - verse - chorus - coda - intro
month three
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Week One
A shape half barres
x x Bb
1
month three
x x
Bbm
1 2
x x
Bb7
1
Bbm7 x x
2
x x
Bb
1
x x
Bb
3 4
2 3
The Bb major chord can be played with a number of fingering options. Try to find the one you are most comfortable with and stick with it. This chord shape isnt one of the most important you will come across and therefore this chord is a rare exception where I say . . . If you have a lot of trouble playing them, skip them.
exercises
Play these exercises using open OPEN CHORDS with the exception of the Bb chords. exercise 1 C Bb exercise 2 Dm Bb C C Bb Am Am C Am C
exercise 3 F Bbm Am Am
tune
X X
F
1 2
verse
Em C A Em D G A D Em F C Em D Em C D repeat verse
instrumental
Em Em Em Am Em D Em Em D C B D Em C Em Am C D B C B Em Em repeat line
arrangement
Week Two
The A shaped half barre chords are rooted on the A string and therefore derive their name from the A string note names. For example the names of all the chords you have studies this week are all Bb (B flat), this is because they are rooted n the first fret , and the name of the note of the first fret of the B string is Bb.
month three
Bb
1
B
2
C
3
Db
4
D
5
Eb
6
E
7
F
8
A# = Bb
C# = Db
D# = Eb
F# = Gb
G# = Ab
the explanation of when to use the sharp or the flat note name will come later in the course.
Bb
1
B
2
C
3
Db
4
D
5
Eb
6
E
7
F
8
Using the first and second position barre chords between the 1st and the 8th fret you can now play ever major, minor, dominant 7th and minor 7th chord.
root
x
2
x
2
root
C
1
fret 3
C
1
The second position major shaped chord is the hardest chord we have learned so far. Many people have difficulty with it. One of the alternative fingerings might make the it easier for you if you are having trouble playing it.
exercises
Practise each of these exercises, repeating them until you are happy with them. If your hand, thumb or wrist starts to hurt take a rest, but dont be concerned because this is quite normal when learning barre chords. exercise 1
fret 5
D
1
A
fret 5
1 2
fret 2
3 4
Bm
1 2 3 4
G
fret 3
1 2 3 4
Bm
exercise 2
fret 5
1
A
fret 5
2 3 4
D
1
fret 7
E
1
exercise 3
fret 5
Dm
1 2 3 4
Am
fret 5
1 2 3 4
fret 3
C
1
G
fret 3
1 2
3 4
Dm
Am
Week Three
E rooted -1st position
major
1 2 3 4 3 4 3 1
month three
minor
1
7th
1 2
minor 7th
root
root
3
major
1
minor
1 2 3 4
7th
1
minor 7th
1
root
2 3
A E
A# F
1
B F#
2
C G
3
C# G#
4
D
A
5
D#
A#
6
E B
7
F C
8
note. from now on all underlined chords should be played as second position. exercise 1 F exercise 2 Bm exercise 3 Dm7 Cm Gm F G D A Dm G C
exercises
tune
intro
C F Am F G F G Bm
open
verse
Am Am C F F F F G G G Bm Am
Em E E Am
chorus
F Am coda C F F F G G Bm Am repeat coda repeat line three times G E Am G F G Em repeat line
Am
Am
arrangement
Week Four
exercises
The Basic Blues
This basic blues sequence we will be looking at over a number of weeks in various forms, however initially try these chord sequences using some or all of the possible chords you have learned so far. To remind you, the chords are bellow. Sequence 1 A E E Sequence 2 A7 E7 E7 A7 D7 D7 D7 A7 A7 A7 A7 A7 A D D D A A A A A
month three
tune
X
1
A
2 3
X
1
A7
2
X
1
A7
X X
D
1 2 3
X X
D7
1 2 3 2 3
E
1 2
E7
1
A
1 2 3 4 3
A7 fret 5
1 2
x
1
D fret 5
D7
1
x
1
E fret 7
E7
1
tune
verse
F F A7 Dm G7 Dm Bb F Bb C
chorus/coda
A7 A7 F F Bb F Dm Dm A7 Dm G7 Gm Gm Dm Bb F C C F F Bb F C G7
arrangement
A E
A# F
1
B F#
2
C G
3
C# G#
4
D
A
5
D#
A#
6
E B
7
F C
8
month four
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Week One
Chord theory one
the major chord triad
All major chords are made up of TRIADS. The triad of a chord is the FIRST, THIRD and FIFTH note of the scale with the same name. For example, the notes of the C major scale are; 1 2 3 4 5 6 7 8 The note names are marked on this chord map. You can see that all the notes in the chord are from the triad. The C major chord X E C G C E
month four
1st
3rd
5th
The principle is the same for minor chords however for a minor chord it is essential to use a minor scale. A major scale produces a major triad and chord, and a minor scale produces a minor triad and chord. For example, the notes of the A minor scale are; 1 2 3 4 5 6 7 8 A minor X A E A C E
1st
3rd
5th
The minor triad is still the FIRST, THIRD and FIFTH note.
triad = A C E
E B G D A E
F C G# D# A# F
fret map
F#
C# A G D A# G#
A E
C
D#
B
E
B
F
C
F# C#
G
D D#
F#
G#
A#
Tablature
In this course you are learning tablature instead of regular music notation. Dont be concerned though because tablature is rapidly becoming the regular form of notation for the guitar and whatever music you enjoy you can easily find tablature for that gandre or group. The staff is six lines, each line represents a string on your guitar. Remember the bottom string of your guitar is the bottom E string (the thickest string) and therefore the bottom line of the tablature will be the bottom E string.
E (top, thinnest) A D G B E (bottom, thickest The numbers on the strings represent the frets where you should place your fingers.
3
Bar line separates the bars or phrases.
exercises
exercise 1 twinkle twinkle 3 5 5 3 5 5 3 6 6 5 5 3 3 5
exercise 3 arpeggio 2 2 5 5 5 5 2 2
Week Two
For the following exercises and tunes, the numbers in red represent the fingers you should use to play the notes. In some cases the tunes are famous old tunes in order to help you recognize your own mistakes.
exercise 1
1 3 1
frera Jaqua 1 1 3 1 1 1 2 4 1 2 4
4 1 4 2
4 1 4 2
6 4 3
6 4 3
exercise 2
1 1 3
3 6 3
3 6 3
3 3 5
exercise 3
1 2
tune
5
D7
5
A7
5
2 E7 1
4
4
7
1
7
4
4 5
1 A7
2 D7
7
4 E7
5
4 D7
4 5
4 A7
Week Three
Paint it black - the Rolling Stones
This tune is how a typical piece of music might be made up. It has tab for single notes open chords and barre chords all in it. The barre chord is the second position B chord which can be played either full or half barre.
intro 0
0 verse
Em Em Em Em coda B E D D Em Em G G D D B B Em A7 B B Em B
repeat once
arrangement
B
1
x x
fret 2
B
1
0 alternative intro 2
Em
repeat once
This intro is more difficult, you only need attempt it if you feel you are ready.
5 4 4
5 4 4
repeat once
Revise the blues scale and try to play it in the 5th fret
The G blues scale is called G because, like the barre chords the root of the scale gives the scale its name. The root of the G blues scale is the first note you play when playing from the bottom of the scale, the 3rd fret on the bottom E string (G). If you move the whole scale pattern up by two frets, so you start on the 5th fret the scale becomes the A blues scale. Practice the A blue scale until you can play it fluently.
exercises
G blues scale
A blues scale
fret 3
2 3
4
fret 5
3 3 4 4 4
2 3
4
3 4 4 4
Week Four
Crockets theme -Jan Hammer
This tune is a good introduction to lead techniques. The reason their are two versions of this tune is that on most acoustic and classical guitars frets above the 12th fret are either impossible or virtually impossible to play, and this piece is based above the 12th fret. So if you have an acoustic guitar play the acoustic version, If you have an electric guitar play the electric version. Their is also a technique used in this piece called finger tremolo where you repeatedly bend the string very slightly to produce a vibrato effect. It is denoted as a wavy line, and can make you sound more experienced than you are, so practise it. finger tremolo or vibrato
month four
tune
theme 1
1 4 1 1 3 1 3 3 1 3 1 3 1 3
12
15 12
12 14
12 14
14 12 14
12 14
12
14
3 1 3 1 3
12
15 12
12 14
12 14
14 12 14
12 14
14 12
12
14 12
14
theme 2
3 1 3 3 1 2 2 4
14 12 14
14
12 13
13 15
12
1 2
13 15
12
bridge 1 1 1 1 3 1 1 3 1 1 1 1 3 1 1 3 1 1 1 1 3 1 1 3
acoustic version
x x x x
1
fret 1
x x x x
x x x x
fret 6
1
theme 1
1 4 1 1 3 1 3 3 1 3 1 3 1 3
8 5
5 7
5 7
7 5 7
5 7
7
3 1 3 1 3
8 5
5 7
5 7
7 5 7
5 7
7 5
7 5
theme 2
3 1 3 3 1 2 2 4 1 2 4 1
7 bridge 6 6
6 8
6 6 8 6 6 8
6 6
6 6 8 6 6 8
6 6
6 6 8 6 6 8
month five
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Week One
repeats and terminals
Up until this point we have been simply writing repeat above the place in the score at which you should go back and repeat. The correct way to denote repeats is probably easier to understand and it is a clearer where you repeat from. The repeat sign is the same in tab as it is in music and it is denoted by a double dot and double line.
month five
repeat to here
To make this completely clear look at these examples. The bars have been marked with letters and then the order they should be played in is marked underneath.
example 1
A
A B C D A B C D example 2
A
A B C D C D example 3
A
A B C B C D example 4
A
A B C B C D A B
B
C B C D
tune
D 2 3 2 0 G 3 0 0 0 2 3
chorus 1 2
2 3 2 0
2 3 2 0
A 0 2 2 2 0 D 2 3 2 0
0 2 2 2 0 2 3 2 0
0 2 2 2 0 2 3 2 0
A 0 2 2 2 0 A 0 2 2 2 0
0 2 2 2 0 0 2 2 2 0
0 2 2 2 0 0 2 2 2 0
D 2 3 2 0 D 2 3 2 0
2 3 2 0
2 3 2 0
3 0 0 0 2 3
3
3 0 0 0 2 3
4
D7 2 1 2 0 D 2 3 2 0
ending
2 1 2 0
2 3 2 0
G 3 0 0 0 2 3 D7 2 1 2 0
3 0 0 0 2 3 A7 0 2 0 2 0
Em 0 0 0 2 2 0 A7 0 2 0 2 0
0 0 0 2 2 0
A7 0 2 0 2 0
0 2 0 2 0
D 2 3 2 0
2 3 2 0
2 3 2 0
C 0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
G 3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
D 2 3 2 0
2 3 2 0
2 3 2 0
arrangement
Try playing this tune with the backing track. Because you are now playing more than one chord in a bar, you will have to get use to changing more quickly.
Week Two
Try the following exercises combining all the different techniques we have learned to date.
exercise 1
D 2 3 2 0 2 3 C 0 1 0 2 3 0 1 Em 0 0 0 2 2 0 Dm 0 0 0 D 2 3 2 0
exercise 2
C 0 1 0 2 3 Am 0 1 2 2 0
1 3 2 0
G7
3 Am 0 1 2 2 0 G7 1 0 0 0 2 3 Am 0 1 2 2 0 Am 0 1 2 2 0
1 0 0 0 2 3
exercise 3
Dm 1 3 2 0 Dm 1 3 2 0 Am 0 1 2 2 0 Am 0 1 2 2 0 0 1 3 1 0 1 3 1 1
This exercise is all played on one chord, however the tune is produced by only playing selected notes from the chord. The numbers in red represent the beats of the bar and the dots between the numbers are the half beats. To count these beats so you can play along more accurately say the dots as and for example. Counting along to this I would be saying one and two and three and four and.
Am7
1 2 3 4
1 Am7 2
. 1
2 2
. 3
. 1
4 2
. 0
1 . Am7 1 2
2 2
. 3
. 1
4 2
. 0
tune
0 Am
0 Em
0 Em
verse
Em 0 0 0 2 2 0 0 0 2 0 1 2 2 0 1 2 0 0 0 2 2 0 0 0 2 2 0 0 0 2 0 0 0 2 2 0 0 0 2 2 0 0 0 2
0 Am
0 Am
0 0 1 2 2 0 1 2 Em
0 0 0 0 2 Em
0 Am
0 1 2 2
0 1 2
0 Em
chorus
0 1 2 2 0 1 2 0 0 0 2 2 2 0 2 1 0 0 0 2
0 Am
0 Em
0 0 0 2
0 Am
0 0 1 2 2 0 1 2 B7
0 Em
0 1 2 2
0 1 2
0 0 0 0 2 2 0 0 0 2 Em
0 0 0 2 2 0 0 0 2 2
0 0 0 2
2 0 2
0 0 0 2
Week Three
About a Girl - Nirvana
main theme 1 Em 0 0 0 2 2 0 intro Em verse Em chorus G Em G Em G Em G Em G Em G Em .
This is the rhythm that repeats all the way through the tune wherever Em and G are alternating, for example the intro. and the verse both consist of this theme. The bracketed notes are optional.
3 G 3 0 0 0 2 3
1 Em 0 0 0 2 2 0
3 G 3 0 0 0 2 3
0 0 0 2 2 0
0 0 0 0
3 0 0 0 2 3
3 0 0 0 2 3
0 0 0 0
0 0 0 2 2 0
0 0 0 0
3 0 0 0 2 3
3 0 0 0 2 3
0 0 0 0
repeat once
G
repeat once
See if you can work out from the tab how to play these chords, and note that in the bar with the F#7add4 chord in it, it is the same chord all the way through the bar.
1 C# 6 6 6 4 1 Em 0 0 0 2 2 0
3 C#/G#
F#7add4 6 6 6 4 4 . 4 . 3 4 4 2 1 A 0 2 2 2 0 . 3 4 4 2 2 C 0 1 0 2 3
6 6 6 4 . 2 .
6 6 6 4 4 3
0 0 3
repeat once
3 4 4 2 3 .
0 0 3
3 4 4 2 .
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 2 2 2 0
solo
in the solo you may notice the H symbol and the slur between the 5th and the 7th fret, this is a hammer on. A hammer on is where you pick only the first note in the sequence and then the second note is created be hammering the second note down quickly against the fingerboard. So in this instance you pick the 5th fret, but then hammer down your finger into the 7th fret to produce the second note.
2
H
3
H
4 7 7 7
. 7 7 7
Sl.
1 9 9 9
. 9 9 9
. 9 9 9
Sl.
3 12 12 12
. 12 12 12
4 12 12 12
.
repeat x4
intro - verse - chorus - intro - verse - chorus - solo - chorus - verse - chorus - bridge - intro - end Note. The reason the open string notes in the main theme are in brackets is that they are optional to play. They are open strings that are played between the chords to keep the rhythm going and at the same time give you time to move your fingers, ready for the next chord.
Em 0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 0
G 3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
0 0 0 0
Em 0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 0
G 3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
0 0 0 0
X
1
C#
X
1
C#/G#
X
1
F#7add4
2 3 3 3 4
Week Four
Theory two 'sevenths'
Quick revision. So far you have looked at the 'triad' a triad being the notes that any major or minor chord are made up of. The triad is the first, third and fifth note of a scale. Because the major and the minor chords are the most common and fundamental of the scales, we will call them our primary chords.
month five
1st
3rd
5th
7th
Am7 C E A G
1st
3rd
5th
7th
This is why you can have several variations of one chord, but they will all contain the same notes.
1st
3rd
E B G D A E
F C G# D# A# F
5th
F#
C# A G D A#
A E
C
D#
B
E
B
F
C
F# C#
G
D D#
F#
G#
A#
B7
1 3 4
X
2 3
C7
1
Am7
1 2
X
1
A7
2
X
1
A7
X X
D7
1 2 3
X X
Dm7
1 2 2
E7
1 1
Em7
2 3
G7
1
tune
.
1 Em 0 0 0 2 2 0 C
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 0 0 2 2 0
0 0 0 2 2 0 Em
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
Em
Em
instrumental
1 C 0 1 0 2 3 C F . 2 F 1 1 2 3 . 3 G 3 0 0 0 2 3 E7 Fm C . 4 A 0 2 2 2 0 . 1 C 0 1 0 2 3 F C . 2 F 1 1 2 3 . 3 G 3 0 0 0 2 3 Fm . 4 A 0 2 2 2 0 C .
0 1 0 2 3
1 1 2 3
0 2 2 2 0
0 1 0 2 3
1 1 2 3
0 2 2 2 0
arrangement
intro - intro/verse - verse - verse - bridge - verse - instrumental - bridge 2 - bridge - instrumental
chords
Bbmaj7 X X
2 3 4
X X
Eb7
1 1 2 3 4
Em7
Fmaj7 X X 1
2 3
month six
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Week One
styles rock
Rhythms for every style of music are very diversified, and especially now there is more overlap than ever before in styles of playing. This overlap makes each music style more interesting in itself. Over the next few lessons we will scrape the surface of several styles of music to get a basic idea of the techniques are used to produce the sounds. Rock. Rock rhythms are concentrated mainly on producing power from the guitar, and strangely you get a more powerful sound from the guitar by using less notes per chord rather than more. Most rock chords consist of two or three notes, usually around the bass.
month six
try to make these chords sound powerful using barre chords only play the bottom two or three strings.
exercise 1
Am - - - Am G Am - - - Am G Am - - - Am G F - - -
exercise 2
try playing just this bass note in groups of three, touching the strings slightly with the right hand to mute the note a little. This is called palm muting.
5 55 5 55 5 55 5 55 5 55 5 55 5 55 5 55 5 55 5 55 5 55 5 55 5 55 5 55 5 55 5 55
exercise 3
Am
Put the two previous exercise together to produce the famous riff.
Am G Am
G Am
7 7 5
7 7 5 55 5 5 5
5 5 3
7 7 5
7 7 5 55 5 5 5
5 7 5 7 3 5
7 7 5 55 5 5 5
5 5 3
3 3 1
1 11 1 11 1 11
Practice this until you can play this as it is written, with only partial chords, then try to play it with the full barre chords. It is surprising that by putting more notes into the chords you actually weaken the impact of the chord, where as just two or three notes gives the chord greater impact.
styles
Power chord fingering for the first and second position barre chords.
x x x
A string rooted
x x
clicks
A click is a style of what is called percussive strumming. This is when you use the guitar to create a rhythm. A click isnt a true note, it is the sound generated when you strum the strings when they are muted. To produce a click simply rest your left hand on the strings over the frets, without pressing down and strum the strings. It should sound like a clicking sound.
x x x x x x x x x x x x x x x x x x x x x x x x
x x x
x x x
x x x
x x x
x x x
x x x
x x x
x x x
Note. Their are no fret numbers denoted because it isnt important, because you cant hear the tone.
exercise
exercise 1
F
3 3 1
x x x
Try the following exercise to get used to applying and releasing pressure when going between clicks and chords. Remember you can keep the chord shape if you want during the clicks, just dont press.
3 3 1
x x x
3 3 1
x x x
3 3 1
x x x
3 3 1
x x x
3 3 1
x x x
3 3 1
x x x
3 3 1
x x x
exercise 2
F
33 33 11
x x x x x x
G
33 33 11
x x x x x x
A
x x x x x x
55 55 33
55 55 33
x x x x x x
7 7 7 7 5 5
x x x
7 7 7 7 5 5
x x x
7 7 5
Week Two
exercises
Rock shuffle (based on the twelve barre blues in E)
Practise this sequence, playing it palm muted. The chord names above the tab are only the chords that are reflected in the backing, you dont have to try and play them.
month six
22 44 22 44 22 44 22 42 22 44 22 44 22 44 22 42 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 A E
22 44 22 44 22 44 22 42 00 00 00 00 00 00 00 00 22 44 22 44 22 44 22 42 00 00 00 00 00 00 00 00 B E
44 66 44 66 22 44 22 42 22 22 22 22 00 00 00 00 22 44 22 44 22 44 22 42 00 00 00 00 00 00 00 00
5 5
5 5
5 5
5 5
5 5
5 5
3 3 3
5 5
5 5
5 5
5 5
5 5
3 3
5 5
0 3
2 2 0 0
2 0
2 2 0 0
2 0
0 3
2 2 0 0
2 0
2 2 0 0
2 0
tune
5 5 3
3 3
5 5 3
5 5 3
3 3
6 6 4
5 5 3
5 5 3 F
3 3
5 5 3
3 3 3
5 5 3
verse
Gm 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 1 F 3 3 3 3 3 3 3 3 G# 3 3 3 3 3 3 3 1 1 1 2 1 1 1 2 3 G Gm 1 1 2 1 1 1 2 3 Gm 3 3 3 3 3 3 3 3 3 3
5 5
5 5
5 5
5 5
3 3
3 3
5 5
5 5
Gm
3 C
5 5
5 5
5 5
5 5
3 3
3 3
5 5
5 5 3 C# C
chorus
5 5 3 C 5 5 3 G C
6 6 4 G#
5 5 3 G
3 3
5 5 3 C
5 5 3 G
3 3
6 6 4
5 5 3
C# C 3 3 6 6 4 5 5 3
6 6 4 C G
5 5 3
3 3
5 5 3
5 5 3
arrangement
intro verse - chorus verse - chorus verse - chorus instrumental verse - chorus intro - intro
5 5 3
3 3
5 5 3
5 5 3
5 5 3
Week Three
Livin on a prayer - Bon Jovi Main theme
Am 7 7 5 7 7 5 Where an Am appear in blue, play the main theme G 5 5 3 Am 7 7 5 7 7 5 G 5 5 3
intro
Am Am
verse
Am F Am G Am Am Am
repeat once
Am
bridge
F F G G Am Am F F G Am G
chorus
repeat once
Am
instrumental
repeat once
arrangement
intro - verse - bridge - chorus - verse - bridge - chorus - instrumental - chorus (repeat and fade)
exercise 1
D 3 2 0 D 3 2 0
A 3 3 3 3 3 3 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 0 A 3 3 3 3 3 3 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 0 2 2 2 0 2 2 2 0 2 2 2 0 2 2 2 0 2 2 2 0 2 2 2 0 2 2 2 0 2 2 2 0 2 2 2 0 2 2 2 0 2 2 2 0 2 2 2 0
E 2 2 0 E 2 2 0 2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0
A 2 2 2 0 A 2 2 2 0 2 2 2 0 2 2 2 0 2 2 2 0 2 2 2 0 2 2 2 0 2 2 2 0 2 2 2 0 2 2 2 0 2 2 2 0
exercise 2
C 1 . 2 . 3 . 4 .
F E 1 . 2 . 3 . 4 . 9 9 7
C 1 . 2 . 3 . 4 .
F E 1 . 2 . 3 . 4 . 9 9 7
10 10 10 10 8 10 10 8 8 8 8 8 8 8 8
10 10 10 10 8 10 10 8 8 8 8 8 8 8 8
exercise 3
Intro/chorus
F Eb Ab Bb C 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
10 10 10 10 10 10 13 8 8 8 13 11 verse 13 13 11 13 13 15 17 13 13 15 17 11 11 13 15 17 17 15
F Ab Bb C Eb 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
10 10 10 10 10 10 13 8 8 8 13 11 13 13 11 13 13 15 17 13 13 15 17 11 11 13 15 17 17 15
F Eb Ab Bb C 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
8 3 3 3 8 3 3 3 6 1 1 1 8 8 6 6 6 8 10 6 6 8 10 4 4 6 8 10 10 8
Eb F Ab Bb C 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
8 3 3 3 8 3 3 3 6 1 1 1 8 8 6 6 6 8 10 6 6 8 10 4 4 6 8 10 10 8
Week Four
Smells like Teen Spirit - Nirvana intro
semi acoustic F Bb G# C# 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
3 3 1 3 3 1
xx xx xx xx xx xx
F Bb G# C# 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
3 3 1 3 3 1
xx xx xx xx xx xx
3 3 3 3 1 1
6 6 4
6 6 4
xx xx xx xx xx xx
6 6 6 6 4 4
3 3 3 3 1 1
6 6 4
6 6 4
xx xx xx xx xx xx
6 6 6 6 4 4
electric F Bb G# C# 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
3 3 1 3 3 1
xx xx xx xx xx xx
repeat x 4 F Bb G# C# 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
3 3 1 3 3 1
xx xx xx xx xx xx
3 3 3 3 1 1
6 6 4
6 6 4
xx xx xx xx xx xx
6 6 6 6 4 4
3 3 3 3 1 1
6 6 4
6 6 4
xx xx xx xx xx xx
6 6 6 6 4 4
verse
1 . 2 . 3 . 4 .
1 1
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
1 1
repeat x 3 1 . 2 . 3 . 4 .
chorus
Fm 1 . 2 . 3 . 4 .
1 1 3 1 1 1 1 3 1 1
Fm 1 . 2 . 3 . 4 .
1 1 3 1 1 1 1 3 1 1
Fm 1 . 2 . 3 . 4 .
1 1 3 1 1 1 1 3 1 1
Fm 1 . 2 . 3 . 4 .
1 1 3 1 1 1 1 3 1 1
F Bb G# C# 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
3 3 1 3 3 1
xx xx xx xx xx xx
repeat x 6 F Bb G# C# 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
3 3 1 3 3 1
xx xx xx xx xx xx
3 3 3 3 1 1
6 6 4
6 6 4
xx xx xx xx xx xx
6 6 6 6 4 4
3 3 3 3 1 1
6 6 4
6 6 4
xx xx xx xx xx xx
6 6 6 6 4 4
F F# 1 . 2 . 3 . 4 .
3 3 1 3 3 4 3 3 4 1 1 2 3
F Bb 1 . 2 . 3 . 4 .
3 3 1 3 3 3 3 3 3 3 1 1 1 1 1
F F# 1 . 2 . 3 . 4 .
3 3 1 3 3 4 3 3 4 1 1 2 3
F Bb 1 . 2 . 3 . 4 .
3 3 1 3 3 3 3 3 3 3 1 1 1 1 1
solo
1 4 1 1 4 1 4 2 1 2 1 3 1 3 1 3 1 0
1 0
1 0
1 0
1 0
1 0
1 0
1 0
1 0
coda
Fm
1 1 3 1 1 1 1 3 1 1
Fm
1 1 3 1 1 1 1 3 1 1
Fm
1 1 3 1 1 1 1 3 1 1
Fm
1 1 3 1 1 1 1 3 1 1
F
3 3 1 3 3 1
xx xx xx xx xx xx
Bb
3 3 3 3 1 1
G#
6 6 4 6 6 4
C#
xx xx xx xx xx xx
F
3 3 1 3 3 1
xx xx xx xx xx xx
Bb
3 3 3 3 1 1
feedback
G#
6 6 4 6 6 4
C#
xx xx xx xx xx xx
6 6 6 6 4 4
6 6 6 6 4 4
F
3 3 1
month seven
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Week One
styles country
Again, because of style overlap over the last few year it is impossible to generalize on any specific style of music however hopefully this section will give you an idea of what makes that country sound. But remember because of the overlap in styles, even if you hate country music, the techniques are important to learn. The country music influence can be heard strongly music from Bob Dylan to Guns n Roses. Country. The main thing we will concentrate on in order to get a country sound is the bass line. Many country tunes have a strong walking bass line and this gives a unique character to the music.
month seven
exercise
exercise 1
0 2 0 3 3 0 2 0 4 0 2 0 3 0 2 0 3 0 2 0 3 0 2 0 3 0 2 0 3 0 2 0 3 4 0 2 0 0 2 0 3 0 2 0 3 020 3 0 2 0
0 2 0 3
020
0 2 0
0 2 0 3 3
0 2 0 3
0 2 0 3
0 2 0 3
0 2 0 3
0 2 0 3
0 2 0 3
exercise 2
G 3 0 0 3 Em 0 0 0 0 0 0 0 2 0 0 0 0 0 0 0 0 0 0 0 0 0 2 0 0 0 0 0 0 3 0 0 2 3 0 0 3 0 0 3 3 0 0 3 0 0 2 3 0 0 3 0 0
exercise 3
C 1 . 2 . 3 . 4 . 2 0 2 F 1 . 2 . 3 . 4 . 3 2 1 2 3 C 1 . 2 . 3 . 4 . 2 0 2 3 G 1 . 2 . 3 . 4 . 0
C 1 . 2 . 3 . 4 .
H
F 1 . 2 . 3 . 4 .
H
C 1 . 2 . 3 . 4 .
H
G 1 . 2 . 3 . 4 .
H
0 2 3
0 2 2 3
2 3
0 2
2 3
0 2
exercise 4
C 0 1 0 2 0 1 0 2 0 0 1 1 0 0 3 Am 0 1 2 2 0 1 2 2 0 0 1 1 2 2 0 F 1 1 1 1 2 2 3 1 G7 1 0 0 0 3 1 0 0 0 1 1 0 0 0 0 2 3 1 0 0 0 1 0 0 0 1 1 0 0 0 0 2 3 1 1 2 3 1 1 2 3 1 1 1 1 2 2 3 1 G7 1 0 0 0 1 0 0 0 1 1 0 0 0 0 2 3 0 1 2 2 0 1 2 2 0 0 1 1 2 2 0 F 1 1 2 3 1 1 2 3 1 1 1 1 2 2 3 1 G7 1 0 0 0 1 0 0 0 C 0 1 0 2 0 1 0 2 0 0 1 1 0 0 3 Am 0 1 2 2 0 1 2 2 0 0 1 1 2 2 0 F 1 1 2 3 1 1 2 3 1 C 0 1 0 2 0 1 0 2 0 0 1 1 0 0 3 Am 0 1 2 2 0 1 2 2 C 0 1 0 2 0 1 0 2
3 Am
F barre 1 1 2 3 1 G7 1 1 2 3
Week Two
I walk the line - Johny Cash
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . G7 1 0 0 2 1 0 0 2 3 1 0 0 2 1 0 0 2 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . C 0 1 0 2 0 1 0 2 0 0 1 1 0 0
1 . 2 . 3 . 4 .
1 . 2 . 3 . 4 . G7 1 0 0 2 1 0 0 2 3 1 0 0 2 1 0 0 2
1 . 2 . 3 . 4 .
1 . 2 . 3 . 4 . C 0 1 0 2 0 1 0 2 2 0 0 1 1 0 0
1 . 2 . 3 . 4 .
1 . 2 . 3 . 4 . F 1 1 1 1 2 2 3 . 3 . 4 . 1 0 0 3 1 1 0 0 0 0 1 1 1 1 2 2
1 . 2 . 3 . 4 .
1 . 2 . 3 . 4 . C 0 0 1 1 0 0 3 . 3 . 4 . 0 1 0 0 0 1 1 0 0 0 0 1 1 0 0
1 . 2 . 3 . 4 .
1 . 2 G7 1 0 0 2
1 . 2 . 3 . 4 .
1 . 2 C 0 1 0 3
Week Three
styles reggae
The reggae guitar rhythm is mostly off the beat. This means that the chord is played not on the count of the beat (1 2 3 4), but in the gap in between the beats. To make life easier it is a good idea to start counting to the drum beats or metronome beat in this fashion.
month seven
exercise
exercise 1
1
Am a simple off the beat exercise using barre chords
.
5 5 5 7
.
5 5 5 7
.
5 5 5 7
.
5 5 5 7
1
Am
.
5 5 5 7
.
5 5 5 7
.
5 5 5 7
.
5 5 5 7
1
G
.
3 3 4 5
.
3 3 4 5
.
3 3 4 5
.
3 3 4 5
1
Am
.
5 5 5 7
.
5 5 5 7
.
5 5 5 7
.
5 5 5 7
1
F
.
1 1 2 3
.
1 1 2 3
3
G
.
3 3 4 5
.
3 3 4 5
1
Am
.
5 5 5 7
.
5 5 5 7
.
5 5 5 7
.
5 5 5 7
exercise 2
1
Dm
.
5 6 7 7
.
5 6 7 7
.
5 6 7 7
.
5 6 7 7
1
Am
.
5 5 5 7
.
5 5 5 7
.
5 5 5 7
.
5 5 5 7
1
C
.
3 5 5 5
.
3 5 5 5
.
3 5 5 5
.
3 5 5 5
1
G
.
3 3 4 5
.
3 3 4 5
.
3 3 4 5
.
3 3 4 5
exercise 3
1
Dm
to make the rhythm a little more interesting a very fast double strike is added.
.
5 6 7 7
.
5 6 7 7
.
5 6 7 7 5 6 7 7
.
5 6 7 7
1
Am
.
5 5 5 7
.
5 5 5 7
.
55 55 55 77
.
5 5 5 7
1
G
.
3 3 4 5
.
3 3 4 5
.
33 33 44 55
.
3 3 4 5
1
Am
.
5 5 5 7
.
5 5 5 7
.
55 55 55 77
.
5 5 5 7
exercise 4
1
Am
.
5 5 5 7
.
5 5 5 7
.
5 5 5 7
.
5 5 5 7
1
Am
.
5 5 5 7
.
5 5 5 7
.
55 55 55 77
.
5 5 5 7
1
G
.
3 3 4 5
.
3 3 4 5
.
3 3 4 5 3 3 4 5
.
3 3 4 5
1
Am
.
5 5 5 7
.
5 5 5 7
.
5 5 5 7
.
5 5 5 7
Week Four
I shot the sheriff - Bob Marley intro / bridge
7 5 7 8 5 5
chorus
1
Am
.
5 5 5 7
.
5 5 5 7
.
55 55 55 77
.
5 5 5 7
1
Dm
.
5 6 7 7
.
5 6 7 7
.
5 6 7 7 5 6 7 7
.
5 6 7 7
1
Am
.
5 5 5 7
.
5 5 5 7
.
55 55 55 77
.
5 5 5 7
1
Am
.
5 5 5 7
.
5 5 5 7
.
55 55 55 77
.
5 5 5 7
5 1 . 2 . 3 . 4 . F Em Am 5 0 1 5 1 0 5 0 2 7 3 2 7 2 3 5 0 1 1 . 2 . 3 . 4 . F Em Am 5 0 1 5 1 0 5 0 2 7 3 0 7 2 3 5 0 1
3 times
verse
1 . 2 . 3 . 4 . F Em Am 0 0 1 1 1 0 2 0 2 2 3 2 0 2 3 0 1
1 . 2 . 3 . 4 . Am Em Am 5 0 0 5 1 0 5 2 0 7 2 2 7 0 2 5 0
arrangement
x
m
CLICK. Strum the strings whilst keeping them muted with the fingering hand.
We havent used a damp, it is when you mute the strings with the strumming hand after strumming them.
MUTE.
pm
PALM MUTING. Is when you rest the strumming hand lightly against the strings in order to mute them slightly. Palm muting can be done at the same time as strumming Some tablature you will come across use the m symbol to men the same as pm.
exercises
Some very simple strumming and rhythm exercises, you only need try these if you think you are struggling or just need the extra practice. Use any chord you want.
exercise 1
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
exercise 2
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
exercise 3
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
exercise 4
1 . 2 . 3 . 4 .
1 . 2 . 3 . 4 .
1 . 2 . 3 . 4 .
1 . 2 . 3 . 4 .
x x
exercise 5
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
exercise 6
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
x
exercise 7
1 . 2 . 3 . 4 .
1 . 2 . 3 . 4 .
1 . 2 . 3 . 4 .
1 . 2 . 3 . 4 .
m exercise 8 pm
1 . 2 . 3 . 4 .
1 . 2 . 3 . 4 .
1 . 2 . 3 . 4 .
1 . 2 . 3 . 4 .
month eight
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Week One
styles blues
Blues is most known for the blues shuffle type sound (which we will look at). However blues was the starting point of virtually all modern music, and because of this fact we will studying the blues style in some depth. Blues techniques and sounds are reflected in rock, grunge, soul and motown, country and western, and numerous other types of music.
month eight
exercise
exercise 1 hoochy koochy man
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
2 0 2 0 0 0 . 4 .
2 0 1
2 0 0 . 0 2 2
2 0 2 0 0 . 0 0 0 . 3 .
2 0 4
2 0 0 .
exercise 2
1 . 0 2 0 1 . 0 2 0 1 . 0 2 1 . 0 2 0 0 0 0 3 2 0 2 . 3 . 4 . 2 3 . 0 0 2 3 2 0 . 0 2 4 1 0 0 . 0 0 1 . 0 2 0 0 0 3 2 2 . 3 . 1 . 0 2 2 . 0 2 . 0 0 3 0 . 3 4 . 2 0 1 . 0 2 0 0 3 2 0 0 . 3 4 . 2 2 . 2 . 3
2 3 4 . 3
2 0 4
2 0 .
exercise 3
C 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 0 2 2 2 3 2 2 2
C 1 . 2 . 3 . 4 . 0 2 2 2 3 2 2 2
3 C 1 . 2 . 3 . 4 . 0 2 2 2 3 2 2 2
F F C 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 0 2 2 2 3 2 1 2 2 2 3 3 2 3 4 2 3 2 3 1 2 3 3 2 4 2 3 2 3
C 1 . 2 . 3 . 4 . 0 2 2 2 3 2 2 2
G F C 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 0 2 2 2 3 2 3 2 4 2 5 5 4 5 6 4 5 4 3 1 2 3 3 2 4 2 3 2 3
C 1 . 2 . 3 . 4 . 0 2 3 2 2 2 1 2
G C 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 3 3 0 4 2 5 3 4 5 1 2 3
C 1 . 2 . 3 . 4 . 0 1 0 2 3
Whilst this exercise is marked with chords, their is no need to play them as full chords. Bellow are suggestions of how to play the chords with the temporary fingering positions being marked in red. If you feel happier using different fingering than that suggested it perfectly acceptable.
X
2 3
X X
2 4
X X
F
2
X X
G
2
4 4
4 4
Week Two
Steam roller - James Taylor
E 1 . 2 . 3 . 4 . A 1 . 2 . 3 . 4 . E 1 . 2 . 3 . 4 . E 1 . 2 . 3 . 4 .
2 0
4 00
5 00
2 0 4 00 0
4 00
5 00
4 00 0 2 0
4 00
5 00
2 4 00 0 0
4 00
5 00
4 00 0
A 1 . 2 . 3 . 4 .
A 1 . 2 . 3 . 4 .
E 1 . 2 . 3 . 4 .
E 1 . 2 . 3 . 4 .
2 0
4 00
5 00
2 4 00 0 0 B7 4 . 2 0 2 1 2
4 00
5 00
4 00 0 2 0
4 00
5 00
2 4 00 0 0
4 00
5 00
4 00 0
B7 B7add6 1 . 2 . 3 . 2 3 0 0 2 2 1 1 2 2
A 1 . 2 . 3 . 4 . 0 0 2 2 2 2 2 2 0 0 0
E 1 . 2 . 3 . 4 .
E 1 . 2 . 3 . 4 . 3 2 3 2 3 2
2 0
4 00
5 00
2 4 00 0 0
arrangement
chords
X
2
B7
1 3 4
X
2
B7addG
1 3 4
C9 XX X
B9 X X X
1
Week Three
exercise
exercise 1
Revise 1. the blues scale in A (5th fret). 2. the blues scale in G (3rd fret).
4
month eight
1
2
3 4
4 4
exercise 2
3 5 6 3 6 3 6
3 6
6 3
exercise 3
5 7 8 5 8 5 8
5 8
8 5
exercise 4
5 5 5 7 5 8 7 5 7 5
exercise 5
5
exercise 6
8 5 8 8 5 8 8 5 8 8 5 8 5 8 5 5 8 5 5 8 5 5 8 5
8 5
8 5
8 5
8 5
7 5
7 5 7
exercise 7
5 7 8 5 8 7 5
Week Four
Basic blues (again) Improvisation
Improvisation is the art of making it up as you go along. This may sound like something only gifted musician can do, who have been playing for many years, but that isnt the case. To improvise effectively you just need to know what scale to use with what chord sequence and this can be learned by anyone.
Hints.
Dont be scared to try new things You dont have to stick tightly to the rhythm. Make some notes long and others short, holding a note for a time can give you time to think about your next move. Dont worry about repeating the same notes several times, this is a technique used by most good guitarists. Listen to your favorite guitarist and see if you can pick out what they do.
month nine
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Week One
finger picking
Finger picking is a technique that can open up the way to many diversified styles such as classical, folk, flamenco and advanced rock, with tunes such as Nothing else matters - Metalica and stairway to heaven - Led Zeppelin. Unfortunately it will take a few week to master the basics, but it will be well worth the effort.
month nine
Fingers
A L
I have illustrated both hand to make clear the difference between them, however you should know the fingers of the left hand by now.
P I M A L
The finger names are important. Above the tab you will see something written like P I M I this tell you which finger to use.
fig.1
fig.1 The thumb rests on 1 the string. fig.2 The thumb plucks the string downwards towards the floor.
fig.2
fig.3 The fingers rest on 3 the string. fig.4 The fingers pluck 4 upward toward the roof.
fig.3
fig.4
exercises
exercise 1 D
3 0 2
PIMI
3 0 3 2 3 0 3 2 3 0 3 2 3
exercise 2 C
1 3 0
PIMI
1 3 1 0
Am
1 0 1
1 0
Dm
3 0
3 0
G7
3 3 0
0 3
exercise 3a A
2 0 2
PIMI Asus
2 0 2 2 2 0 2 3 2 0 2 3 2
A
2 0 2 2 0 2 2 2
E
1 0 0 1 0 1 0 1
A
2 0 2 2 0 2 2 2
Asus
2 0 3 2 0 2 3 2
A
2 0 2 2
E
1 0 0 1
A
2 0 2 2 0
exercise 3b A
0 0
PMIM
0 0 0 0
D
0
2 0
A
0
0 0
0 0 0
0 2 2 0 2 2
A
0
0 0
D
0
A
0
0 0
A
2 3
Asus
1 2 3
Asus
1 2 3 4
exercise 3b
you can play exercise 3a and 3b in succession to create a tune, and if you have a friend who can play the guitar you can play a duet where the guitars start on a different exercise.
A - B - A - B - A - B B - A - B - A - B - A
This tablature shows how both guitar parts would be displayed at the same time
A
2 0 2 2 0 0 0 0 0 0 2 2 2
Asus
0 2 3 2 0 2 3 2
A
0
D
0
2 0
A
2 0 2 2 0 0 0 0 0 0 2 2 2
E
1 0 0 1 0 0 0 0 0 0 0 1 0 1
A
0
A
2 0 2 2 0 0 0 0 0 0 2 2 2
Asus
2 0 3 2 0 2 2 0 2 2 2 3 2
A
0
D
0
A
2 0 2 2
E
1 0 0 2 0 0 1
A
2 0 0 0 2 2 0 0 0 0
A
0
A
0
Week Two
Rain - Sad Fantasy
With the the Cadd9 nine chord simply place the fourth finger down in the third fret. Dont try any other fingerings for this chord because adding and removing the fourth finger is by far the quickest way to get the chord, and chord change speed is important when finger picking if you want the tune to sound smooth. For the Am add9 simply remove the first finger. Cadd9 X
2 3 4 1
Amadd9 X
2 3
The pause symbol This symbol is a pause and it comes from wind instruments and literally means take a breath, so when you see this symbol pause for about the time it takes to take a breath. Unlike a rest the time you pause for is down to personal interpretation of the tune.
PIMI C
0 3 1 0 3 0 1 0
Cadd9
0 3 3 0 3 0 3 0
Am
2 0 1 2
Amadd9
2 0 0 2
Am
2 0 1 2 0 2 1 2
C
0 3 1 0 3 0 1 0
Cadd9
0 3 3 0 3 0 3 0
Am
2 0 1 2
Amadd9
2 0 0 2
Am
2 0 1 2 0
E
1 0 0 1 0 1 0 1
Am
2 0 1 2 0 2 1 2
E
0 0 1 0 0 0 1 0
Am
2 0 1 2 0
D
0 2 3 2 0 2 3 2
Am
2 0 1 2 0 2 1 2
D
0 2 3 2 0 2 3 2
E
1 0 0 1 0
D
0 2 3 2 0 2 3 2
Am
2 0 1 2 0 2 1 2
E
1 0 0 1 0 1 0 1
Am
2 0 1 2 0
C
0 3 1 0 3 0 1 0
Cadd9
0 3 3 0 3 0 3 0
Am
2 0 1 2
Amadd9
2 0 0 2
Am
2 0 1 2 0 2 1 2
C
0 3 1 0 3 0 1 0
Cadd9
0 3 3 0 3 0 3 0
Am
2 0 1 2
Amadd9
2 0 0 2
Am
2 0 1 2 0
Week Three
finger picking. the annular finger
So far you have only picked with the PRIMARY, INDEX and MIDDLE fingers, now we will introduce the ANNULAR finger, which gets its name from the fact that it is the ring finger.
month nine
exercise 1 Am
2 0 1
PIMA
0 2 0 1 0 3 0 2 0 1 0 3 1 0 1 1 0
Dm
0 2 3
1 0 2
G7
0 3 0
C
0 3 1
E7
1 2 0
Am
2 0 1
Dm
0 2 3
1 0 2
G7
0 3 0
C
0 3 1
0 3
exercise 2 Am
0 1
PAMI
0 2 0
Dm
1 2 0
1 2 0
0 1 0
Am
0 1 0
2 0
PIMAMI Em
0 0 0 0
A
0 0 0 2 2
Dsus2
0 2 3
D
3 2 0 2 3
Em
0 0 0
A
0 0 0 2 2
Dsus2
0 2 3
D
3 2 0 2 3
G
0 3 0
A7
0 0 0 2 2
Dsus4
0 2 3
D
3 2 0 2 3
Em
0 0 0
A
0 0 0 2 2
Dsus2
0 2 3
D
3 2 0 2 3
tune
verse e Em
0 0
PIMAMI D
0 0 0 0 0 2 3 2 3 2 0
Em
0 0 0 0 0
D
0 2 3 2 3 2
C
0 3 1 0 1 0
G
0 3 0 3 0 0
F
3 2 1 1 1 2
Em
0 0 0 0 0 0
A
2 0 2 0 2 2
A
2 0 2 0 2 2
C
0 3 1 0 1 0
C
0 3 1 0 1 0
Em
0 0 0 0 0 0
D
0 2 3 2 3 2
Em
0 0 0 0 0 0
D
0 2 3 2 3 2
See if you can work out the finger picking for the instrumental, the pattern should stay the same however the bass note will have to vary depending on the chord. The only thing you need to know is that the recommended bass note is the root of the chord or the first note played when you strum the chord
instrumental
Em Em Em
Em D C C Em B C repeat line
instrumental continued
Am Em D Em B D Em Am C D B Em Em
arrangement
Week Four
alternating bass lines
Whilst it is recommended to play the root of the chord as the bass note when finger picking, you can alternate the bass line to make a tune more interesting.
month nine
exercise 1 A
2 0 2
PIMI A
2 0 2 2 2 0 2 2 2 0 2 2 2
exercise 2 A
2 0 0
PIMI
2 2 2 0
A
2 0 2
2 2
exercise 3 Em
0 0 0
PIMI
0 2 0 0 0 2 0 0 0 2 0 0 0
exercise 1 C
0 3 1
PIMA
0 2 0 0
C
0 3 1
0 2 0
Am
2 0 1
0 2 2
Am
2 0 1
0 2 2
Dm
0 2 3
1 2 0
Dm
0 2 3
1 2 0
G7
0 3 0
1 0 2
G7
0 3 0
1 0 2
exercise 2
PIMA
G
0 3 0
3 0 2
3 0 0
3 0 2
Em
0 0 0
0 0 2
0 2 0
0 0 2
exercise 3 G
0 3 0
PIMA
3 0 2 3 0 0 3 0 2 3
Am
2 0 1
0 2 2
0 2 0
0 2 2
C
0 3 1
0 2 0
0 0 3
0 2 0
D
0 2 3
2 2 0
2 0 2
2 2 0
tune
G
PIMAMI
2 3 3 2 3 0 3 0 0 3 0
2 3
0 3
verse 1 D
0 2 3 2 3 3 2
G
3 2 3 0 0
0 3
x 3 times 0 0
D
0 2 3
G
3 2 3 0 0
0 3 2
chorus Em
0 0 0 0 0 0 0
A
0 0 0 2 2
0 0
2 0
Em
0 0 0
0 0
A
0 0 0 2 2
2 0
verse 2 D
0 2 3 2 2
G
3 2 3 0 0
0 3
x 6 times 0 0
bridge Em
0 0 0 0 0
A
0 0 0 2 2
0 0 2 2 3 4 4 2
2 0
x 3 times
F#
2 2 3 4 4 2 3 5 5 5 3
Bm
2 3 4 4 2
2 3 4 4 2
2 3 4 4 2
x 3 times
3 3 4 5 5 3 0 1 2 2 0 0 1 2 2 0
3 5 5 5 3
3 5 5 5 3
Am
arrangement
intro - verse 1 - chorus - verse 2 - bridge - verse 1 - chorus - intro (repeat and fade)
month ten
All rights reserved, unauthorized copying, reproduction, hiring, lending, redistribution and broadcast of this e-book or any part of the contents is prohibited. copyright G C Hargreaves 2004
Week One
Dm P I M A M I
0 2 3 1 3 2 0 0 0 2 3 1 3 2
month ten
C
0 3 1
Dm
0 2 3
2 0
C
0 3 1
F
3 2 1
C
1 2 3 0 1
Dm
0 2 3
2 0
F
3 2 1
C
1 2 3 0 1
Dm
0 2 3
tune
1 2 0
0 0 2
1 2
0 2 2
Dm 1 2 0
1 2 0
0 0 2
Dm 1 0 0
1 0 2
C 0 0 3 C 0 0 3
0 0 2
1 0 2
Am 0 0 0 E
2 0
3 G7 1
1 0 2
1 0 2
0 0 Dm 1 0 0
1 0
3 Am 0 0 Am 0 0 Am 0 0
0 2 2
Dm 1 2 0
1 2 0
0 0 2
1 2
0 2 2
Dm 1 2 0
1 2 0
0 0 2
G7 1 0 3
0 2
0 2 2
0 2 0
2 0 0
Week Two
A7 P A M I M A 0 2 0 D7 0 G7 2 2 0 2 0 A7 2 D7 0 2 0 2 0
month ten
0 1 1 G7 1 1
3 C 0 1 1 0
2 E7 0 0
3 A7 0 0
2 A7 2 D7 0 0
0 D7 0 G7 2 2
0 1 1 G7 1 1
3 C 0 1 1 0
tune
Week Three
finger picking . two or three stings
It is not uncommon to play two or three notes at once when finger picking. This can be done by simply picking the two strings at the same time with different fingers. We can show this in the finger picking pattern like this
month ten
PIM
Here you can see the index and middle fingers both play strings at the same time.
exercise 1
C 0 1 3 G7
P IM IM
0 1 2 C 0 1 0 1 Dm 0 1 3 1 3 0 1 3 1 3
1 0
1 0 2
1 0
1 0
0 1 3
0 1 3
exercise 2 C
0 3 0 1
P I MA I
0 1
Am
0 0 2
0 1
0 1
Dm
0 2
1 3
2 0
1 3
G7
2 3 0
1 0
0 2
1 0
C
0 3
0 1
0 1
0 3 3
exercise 3
A7
P IMA IMA
0 2 0 0 2 0 A7 2 D7 0 2 0 0 2 0
0 D7 0 G7 2 1 2 2 1 2
2 1 2
2 1 2
0 1 0 0 1 0 0 G7 0 1 0 0 1 0 0
3 C 0 1 0 0 1 0 E7 0 0 1 0 0 1
3 A7 0 2 0 0 2 0
2 A7 2 D7 0 2 0 0 2 0
0 D7 0 G7 2 1 2 2 1 2
2 1 2
2 1 2
0 1 0 0 1 0 0 G7 1 0 0 1 0 0
3 C 0 1 0 0 1 0
Week Four
Finger picking 4/4
Whilst most of the strumming tunes we have covered have been in four four time, most of the finger picking patterns we have covered have not. Most of the finger picking patterns we have done so far have been in 3/4 time and 6/8 time. So to close the finger picking section we will take a look at 4/4 finger picking patterns.
month ten
exercise 1
G 0 3 C 0 3 1 0
PIMAMIPI
3 0 0
Em 0 2 0 D 1 0 2 0 0 2 3 0 0
2 0
exercise 2
G 0 3 C 0 3 C 0 3 D 0 2 3 1 1 0
PIMAMIPI
3 D 0 0 2 0 0 0 D 1 0 2 0 0 Am 1 0 2 0 0 G 3 2 0 2 3 0 0 3 2 1 2 3 2 3 2 3 2 0 2 2
2 0
tune
C
PIMAMIAM
1 0 1 0 0 1
PIMAMIMA
0 3 1 0 1 0 1
PAMIAMIA
0 3 1 0 0 1 0 0
C 0 3
PIMAIMAI
1 0 0 1 0 0
arrangement
note. Dont worry if you find yourself clicking the last note of each bar or missing it completely. This is quite normal, especially when the chord change is difficult. If you listen to the best musicians you will hear clicked bar endings which are only really noticeable if you listen for them.
month eleven
All rights reserved, unauthorized copying, reproduction, hiring, lending, redistribution and broadcast of this e-book or any part of the contents is prohibited. copyright G C Hargreaves 2004
Week One
The fifth chord (power chords)
The fifth chord is the chord most used in rock and grunge. Because of the sound it produces is is also known as the power chord and certainly in barre chord form it deserves this name. We have already used power chords in the rock section of this course, though without referring to them by their correct name 5th chords. With fifth chords their is no difference between major chords or minor chords, or in other words there is no such chord as a fifth minor.
month eleven
The fifth chord only has two notes in its structure, the FIRST (root) note and the FIFTH note.
1st
A major scale
8
You can see clearly that the note that makes the difference between the major and minor chord is the thir d, so if we r emov e the thi r d, the two chords can no longer be di ffer enti ated between.
5th 5 6 7 8
1st
A5
2
X X
C5 X 1
X X
D5
1
X
1 3 2
E5 X X X
This raises the question of how to mute a note in the middle of a chord. The simple answer to that is to let the finger on the string nest to the string to be muted hang over onto it. This will take some practice because you need to maintain the pressure on the fingered note at the same time as muting the string next to it.
exercises
tr y the following exercises, using barre chords. Remember that the underlined chords are second position. exercise 1 A5 D5 A5 D5 C5 A5 D5 E5
exercise 2 A5
Db5
G5
Cb5
A5
Db5
G5
Cb5
A5
exercise 3
A5
D5
F5
C5
G5
A5
D5
F5
C5
Week Two
hammering on exercises
exercise 1
H
month eleven
5
H
6 6
6
H
exercise 2
H
5
H
7 7
exercise 3
tune
x 4 times 7 7 5 7 7 5
H
7 7 5
theme one
A5
H H
7 5 G5
7 5
7 5
7 5
7 5
7 5
7 5
7 5
7 5 C5 5 5 3
7 5 G5 5 5 3
7 5
7 5 A5 7 7 5
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
theme two
A5 7 7 5 F5 3 3 1 G5 5 5 3 A5 7 7 5 (7) (7) (5)
theme three
A5
7 5 G5
7 5
7 5
7 5
7 5
7 5
7 5
7 5
7 5
7 5
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
arrangement
intro - one - two - three - one - one - one - one - two - one - two
Week Three
pulling off
Pulling off is in effect the reverse of hammering on. To pull off you have to pluck the string with your left hand (fingering hand) as you take your finger off the note, remembering to have the next finger in place to allow the note to ring.
.example
P
month eleven
To pull off from the 7th fret to the 5th fret as is required by this tab. Place both the first and third finger in place then play the 7th fret note. Soon after pull the third finger away plucking the string as it leaves.
exercises
Note. The H and P symbol can appear on the tab itself or above the tab, this depends on the publisher of the music you are reading. The difference is only small and the meaning is the same.
exercise 1
P
6
P
6
P
6 6
5 5
exercise 2
P
exercise 3
P
exercise 4
H
3
P
6 3
3
P
exercise 5
H
5
H
8 8
5
P
Note.
in this exercise you are having to hammer on and pull off two notes in a row. This can be very difficult, especially in pulloffs, so be patient and practice this exercise over several weeks or months if necessary.
tune
7 5
5 5
5 5
5 5
theme one
5 4 7 3 2 5 5 6 7
7 5
5 5
5 5
5 5
the two
0 4 2 3 2 5 5 3
5 3
3 1
1 3
1 3
1 3
1 3
intro
arrangement
intro theme 1 - theme 1 - theme 2 - theme 1 theme 1 - theme 1 - theme 2 - theme 1 - more to come
Picking
directions. down, up, down, up etc. By playing alternating plectrum directions you will find that your playing is faster, smoother and more accurate. We have been using arrows to show down and up strums, however the correct way to denote plectrum directions is this; These shape come from DOWN UP a violin bow where the tip is pointed and the exercise 1 tail is square shaped Alternating plectrum directions
When you use plectrum it is a good idea to get use to playing alternating plectrum
exercise 2
H H H
H H
Week Four
Zombie - The Cranberries intro
Em 0 0 0 2 2 0 Cmaj7 0 0 0 0 0 0 2 2 3 3 Gmaj6/f# 0 0 0 2 2 0 0 0 0 2 2 C5
0 0 0 2 2
0 0 0 2 2 0 0 0 0 2
0 0 0 2 2 0 0 0 0 2
0 0 0 2 2 0 0 0 0 2
0 0 0 2 2 0 0 0 0 2
0 0 0 2 2 0 0 0 0 2
0 0 0 2 3 0 0 2 0 0 2
0 0 0 2 3
0 0 0 2 3 0 0 2 0 0 2
0 0 0 2 3
0 0 0 2 3 0 0 2 0 0 2
Gmaj6 0 0 0 0 0 0 0 0 2 2 3
0 2 0 0 2
0 2 0 0 2
chorus 1
E5
2 0 G5
2 0
2 0
2 0
2 0
2 0
2 0
2 0
10 8 D/F#
10 8
10 8
10 8
10 8
10 8
10 8
10 8
5 3 Em 0 0 0 2 2 0
H
5 3
5 3
5 3
5 3
5 3
5 3
5 3
0 2 0 0 0 2 2 0
0 2
0 2
0 2
0 2
0 2
0 2
0 2
(0)
verse
Em 0 0 0 2 2 0 Em 0 2 3 Em 0 2 0 G/B 0 2 0 0 2 0 0 0 0 0 0 2 0 3 2 3 2 3 2 3 2 3 2 3 2 3 Cmaj7 0 2 0 3 0 2 0 0 0 0 2 0 2 0 2 0 2 0 2 0 C5 5 3 5 3 5 3 5 3 5 3 5 3 0 0 5
Dmaj9/F# 0 3
0 0 0 0 2 0
Dmaj9/F# 0 3
0 0 0 0
last chorus
E5 2 2 0 G5 5 5 3 Em 0 0 0 2 2 0 5 5 3 5 5 3 5 5 3 5 5 3 5 5 3 5 5 3 5 5 3 2 2 0 2 2 0 2 2 0 2 2 0 2 2 0 2 2 0 2 2 0 C5 5 5 3 D/F# 2 0 0 2 0 0 0 2 2 0 2 0 0 2 2 0 0 2 2 0 0 2 2 0 0 2 2 0 0 2 2 0 0 2 5 5 3 5 5 3 5 5 3 5 5 3 5 5 3 5 5 3 5 5 3
x 4 times
2 0 0 2
arrangement intro - chorus - verse - chorus 1 - verse - chorus - verse - last chorus
month twelve
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Week One
Reading rhythm
For now when it has been necessary for you to read the rhythm we have been using counts above the tab. However in a proper music score this would not be the way to denote rhythms. Most tab either has the score in conventional music underneath it, or the tab rhythm above it, either way the rhythm is denoted in the same way. Each note has a measure of time and that measure of time is denoted as follows. Note that this is on a standard musical staff now and not tablature, which is why their are five lines.
month twelve
4 beats
1 semibreve
2 beats
2 minim
1 beat
4 crotchet
1/2 beat
8 quaver
1/4 beat
16 semiquaver
1/8 beat
32 demisemiquaver
You are already aware of the fact that music is broken down in to bars and that a bar consists of a pre-defined number of beats, Any combination of the note lengths above can be used in a bar, but they will always add up to the number of beats in the bar, and or overflow into the next bar.
Try these chords using the rhythms provided. Note how the tail on the note goes down if the note is over the half way line, this doesnt effect the value of the note.
exercise 1
E
exercise 2
Em A D D
Em
A7
Em
exercise 3
G D C C
Em
Am
Am
Em
Em
time signatures
Time signatures have been mentioned over and over again as we have gone through this unit and they are something you cannot ignore. A time signature tells the musician how the piece of music should be counted and they come in the form of a fraction.
4 4
The way to interpret the information given in a time signature is as follows.
The TOP number represents the number of beats in the bar. The BOTTOM number represents the value of beat.
For example we have use 4/4 time in many of the tunes you have learned, and 4/4 time is in the example above. The top 4 means that their are 4 beats in the bar, the bottom 4 tells us that the beat value is four or a crotchet. So 4/4 time means that their are 4 crotchets per bar.
examples
4 4 3 4 2 4 6 8 2 2 6 16
Week Two
bends
To bend a string simply push the string upwards, or if it is one of the bottom two or three strings pull it downwards. Remember though that the you should be bending to a pre-defined note and not just into space. Nothing sound worse than a bend which does not reach a not, but is simply the string being bent out of tune.
month twelve
(5)
Most tab will tell you how far the bend is expected to be bent.
On some tab 1 means 1 fret or a semitone, whereas on other tab it means 1 tone which is 2 frets. We will use 1 to mean a full tone (2 frets).
exercise 1
1
This exercise will help you learn to judge when you have bent the string by a tone (2 frets), try and get your bend intune with the seventh fret note.
10
10
10
10
exercise 2
1
10 7 9
10 7 9
1 H H
(9)
exercise 3
H
7
H
1 H 1
1/2
(7)
exercise 4
5
Summertime
1 P
1/2
5 7
(7)
staccato
3 5
palm muting
3 5
pm
exercise 1
pm
5 7
8 7 7
7
pm
8 5
5 7 5 7 5 7 7 7
exercise 2
pm
exercise 3
3 3 5 3
Week Three
Wonderful Tonight - Eric Clapton intro
1 1 1
10
(10)
8 10
10
(10)
10
(10)
8 10
7 8
8 12 10 10 13 12
sl
10
(10)
8 10
10
(10)
10
(10)
8 10
fill one
1 1 1
7 10
(10) 8 10
10
(10)
10
(10)
8 10
fill two
1 1 1 sl
10
(10)
8 10
10
(10)
10
(10)
8 10
12 13 15
17 15
10
(10)
8 10
10
(10)
10
(10)
10
fill three
1 1 1
10
(10)
8 10
10
(10)
10
(10)
8 10
sl
12 10
10
(10)
8 10
10
(10)
10
(10)
8 10
7 8
8 12 10 10 13 12 12
sl
verse
G G C C D D D D C C G D D E
chorus
G G C G Em D C C G D D
coda
G D Em D C
arrangement
intro - verse - fill one - verse - chorus - fill two - verse - coda - fill three
Week Four
Wonderful Land - The shadows
15 13 12 15 13 15 15 13 12 15 13 15
7 7
5 5
6 6
5 7 5
5 5 5
6 5 6
777 4
5 555
6 6
pm
8 10
10 8
8 9 7 10
8 10
10 8
pm
12 10 7 8
10 8 7
10
8 7 5
777 4
5 55 5
6 6
pm
8 10
10 8
8 9 7 10
8 10
10 8
pm
12 10 7 8
10 8 7
10
15
13 12
15 13 15
15
13 12
15 13 15
15
13 12
15 13 15