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Copyright © 2004 Rock Star Recipes Ltd.


Contents
Preface .............................................................................................. 5

Introduction - The guitar and getting into position.......................................... 7

Lessons:

Lesson 1 - Introduction to chord diagrams, chords A and D,


strumming...................................................................................... 13

Lesson 2 - Introduction to guitar tablature, jam track No. 1......................... 20

4
Lesson 3 - Notes on the treble clef, 4 time signature, notes on the 1st string,
notes on the second string, jam track No. 2............................................. 26

Lesson 4 - E major chord, the repeat sign, jam track No. 3, notes on the 3rd
string........................................................................................... 31

Lesson 5 - G major chord, C major chord, jam track No. 4, notes on the 4th string,
jam track No. 5...................................................................... 36

Lesson 6 - A minor chord, turn around progression, jam track No. 6, jam track No.
7, notes on the fifth string............................................................ 42

Lesson 7 - Eighth note rhythm patterns, F major chord, the chromatic scale..... 49

Lesson 8 - Dominant 7 chords, A7 chord, D7 chord, E7 chord, jam track No. 8... 53

Lesson 9 - Silent stroke symbol, jam track No. 9, notes on the sixth string, jam
track No. 10................................................................................... 62

Lesson 10 - G7 chord, C7 chord, two bar rhythms..................................... 67


Lesson 11 - B7 chord, blues in E major, jam track No. 11...................... 71

Lesson 12 - Notes on stave: first position, bass note picking................... 75

3 3
Lesson 13 - 4 Time signature, jam track No. 12, bass note picking in 4 , jam
track No. 13....................................................................... 77

Lesson 14 - Suspended chords, Asus4 chord, Dsus4 chord, Esus4 chord, jam
track No. 14, scales, the major scale, C major scale, jam track No. 15...... 81

Lesson 15 - Asus2 chord, Dsus2 chord, jam track No. 16....................... 89


Supplementary Chord Reference.......................................................... 94


Preface
Welcome to Jamorama – The Ultimate Guitar Learning Kit!

First of all I want to let you know that you have made a fantastic decision in
purchasing this course. You’re about to discover amazing methods to learn
how to play virtually any guitar song you hear, with the timing, rhythm
and magic of a professional. For many of you, this course is going to be life
changing!

Have you ever been to a party, or a friend’s house, or some other social
situation where there was a guitar lying around and someone picked it up
and started playing heaps of popular songs that everybody loved? Did you
ever wish that that could be you? Have you ever dreamed about being a
famous rock star or being the life of the party by being able to play lots of
well known songs?

I have great news. It can be this way and I am going to share with you
everything that you need to know, step-by-step, about how to play the
guitar with fluency. You are comprehensively going to learn how to play
virtually any guitar song you hear. And you are going to learn how to play
well known songs right from the start! I’ve made each song very easy for you
to learn by breaking them down into small parts, so you can practise each
part individually and then put it all together. This is truly powerful
knowledge you are tapping yourself into.

I know what you are probably wondering… will this course work for me? I
assure you, this powerful course has been proven time and time again to
work for thousands of guitarists worldwide. No matter what kind of guitar
music you want to play, no matter what level you are at (beginner, interme-
diate or advanced), this information applies to you, and in some cases, you’ll
even amaze yourself!

But I’ll level with you. There is a catch.

So what is the catch? The catch is, you have to actually take action and
practise! Most people who fail with guitar do so because they stop
practising. They don’t have the willpower to take their guitar-playing to a
new level. They don’t see the bigger picture. They don’t foresee the im-
mense personal satisfaction they’ll gain by mastering the art of playing the
guitar. But I ask you this. What is scarier? To practise and become the guitar
player that you dreamed of being or to stay the same and not grow?

Continued over page...


What I can assure you is this: if you listen to what I have to say, practise
daily and keep yourself motivated, you will see the results. And you’ll start
seeing them quickly. I also must add that while this book is an 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 your learning that you may not notice yourself.

Good luck with your guitar learning, it’s going to be a really life-changing
ride!

Yours sincerely,

Ben Edwards
Jamorama.com


Introduction
How to get the most out of your Jamorama Kit
By now you would have noticed that the Jamorama Kit contains a great deal of content. Let
me tell you how to get the most out of this course.

When purchasing the Jamorama course you would have noticed that you were sent a Clickbank
order number via email. This order number is effectively your key to unlocking the doors to
all the tools and secrets that will enable you to become the guitar player you have always
dreamed about. Use it to log in to our members’ area at www.jamorama.com/members.php

Within the ‘Members’ Area’ the full Jamorama course is available as a download, i.e. the
books, the video examples, the songs, and all of the extra bonus software and tools such as
Jayde Musica, Guit-ear-it, the Jamorama Metronome and Guitar Tuner pro.

Let’s start by looking closer at the books. Basically the books are the cornerstone of the
course. All of the bonus software and video examples accompany the books and their content.
They have been written by me directly for you, with you the learner in mind.

All of the lessons within the books have been written in guitar tablature and each lesson is
accompanied by helpful video. The video lessons are excellent accompaniments to the book
as you can SEE and HEAR exactly what you are meant to be doing. Icons have been added to
the books at the relevant places to show you when and where there are video examples
available. When you see this icon you will know that there is video available:

To access the video for each exercise, you will need to log in and download it from our
members’ area. Essentially, the books are the foundation. Read them, study them, love them…
then read them all again!

The bonus software and games that come as part of the Jamorama course consist of the
following:

- Jayde Musica - How to tune your guitar


- Guit-ear-it - Advanced guitar learning techniques
- Guitar Tuner Pro
- Jamorama Metronome

These extra bonuses are tools to help motivate you and keep your interest levels up. I
strongly recommend that you use these for at least 10 minutes each a day. This will very
quickly improve your music sight reading, train your ear and increase your skill at playing in
time. These programmes are available in our members area also. Install these programs
onto your computer and use them from there.


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:

This is a lesson or some This is the warning symbol.


advice that could save you We use this to steer you
a lot of valuable time. A away from any guitar
hot tip can be a number learning no nos and put you
of things: A quick pointer, on the road of righteousness.
a hard learned lesson or a Pay close attention to the
cheeky shortcut to get you warning symbol as bad habits
there faster. Take note of can creep in
each tip and they will serve unnoticed at any point of
you well. your development.

From time to time, I like to Jam Track Icon. When you


add some deeper thought see this icon, it means there
into the mix; an idea, a is a Jam Track available in
belief, a word from the wise the members’ area.
just to keep you on your Basically, the Jamorama
toes and thinking about the Jam Tracks are there to get
way you think about playing you jamming with the band
and learning guitar. and to put all those newly
learned skills into practise.

Did you know that the first Pretty self-explanatory


guitarist to intentionally use really. This is something
a distorted guitar sound was important that you really
Link Wray. He achieved the need to take note of and
sound by punching holes in remember. When you see
the speaker of his amplifier this icon, study up on the
and it can be heard on the relevant information until
1958 recording of his song you know it inside and out.
‘Rumble’. You guessed it! That way you will be ready
When you see this symbol for everything in the lessons
you get a pretty trivial fact that follow.
- useless, but interesting
nonetheless.

Now that we’ve got that covered, it’s time to start learning. I hope you’re ready for the
ride...


The Guitar
Before you begin working through the lessons in this book, you will need to know what the
various parts of the guitar are called and how to get into position holding your guitar. Let’s
start by taking a look at the acoustic guitar.

The Acoustic Guitar


The following diagram illustrates the various parts of an acoustic guitar:

Headstock Tuning machine heads

Nut
Fingerboard

Frets
Neck
Position markers

Truss rod

Strings

Heel

Sound hole
Waist
Pick guard
Body

Bouts
Bridge Saddle

Bridge pins
Soundboard

End pin


The Electric Guitar
The following diagram details the various parts of an electric guitar:

Headstock Tuning machine heads

Nut
Fingerboard

Frets

Position markers
Neck
Truss rod
Strings

Pickup selector switch

Body
Pickups

Bridge
Volume controls
Tone controls
Output jack

End pin

10
Getting into position
Sitting Positions
There are two sitting positions for holding the guitar - the classical and casual positions.

1. Pick up the guitar and make sure that the guitar body is supported by your leg.
2. Position yourself on the front half of your chair.
3. Ensure that your back isn’t arched, ensure that it is straight but not so that it is tight.
4. Lean the guitar back towards you slightly.

Casual position Classical position

Standing Position
1. Pick up the guitar and place the strap over your shoulder. Adjust the strap so
that the guitar is positioned mid-body.
2. Use your fingering hand to support the neck of the guitar.
3. Rest your strumming hand over the bridge of the guitar.

11
Hand Positions
It is important that you relax your wrists and hands when you are first learning about finger
placement because straining them can cause injury.
Front view Rear view

Make sure that Your thumb should


you never never be placed
position your too low on the
thumb too low: neck of the guitar
as it puts
unneccessary
strain on your
wrist and thumb.
Fretting
When you play the guitar, you use the fingers of your fingering hand to press down the strings
on the fret board of the guitar and use your strumming hand to pluck or strum the strings at
the bridge end of the guitar. Which hand you use will depend on whether you are left-handed
or right-handed. Using your fingering hand to press the strings on the fret board is called
fretting. Here are some tips to help you with fretting:

1. Keep your fingernails short as you will need the tips of your fingers to press the
strings.
2. When making a chord, be sure that each fingertip is placed as close as possible to
the fret, the closer they are they less chance there is for buzzing strings.
3. Check to make sure that each string rings clearly and is not muted or buzzing.
4. It’s important to make sure that your fingers approach the strings on the neck at a
perpendicular angle. If they are at right angles to the neck there will be
less fret buzz.

As a beginner guitarist, it may hurt your fingers to play. This is normal. Every guitarist starts
this way for the first couple of weeks. With practise, you will develop guitar fingers (hard skin
on your fingertips).

Holding the Pick


1. Position the pick between thumb and index fingers as shown in the diagram below.

12
Lesson One
Now that you’ve read the introduction, you are ready to start your first lesson. Your aim in this
lesson is to learn the A and D major chords and to introduce yourself to reading guitar
tablature. This first lesson is quite a big one, so I want you to really focus.

Following this, in lesson two, you’ll get into something called tablature and by lesson three
you’ll be able to play along with one of our jam tracks. Sounds hard, but it’s not. Let us start
with a tip concerning practising your guitar.

It is more beneficial for you to practise multiple times during a week than to
practise for one long session. This is because your brain processes information
in chunks at a time and it can only hold a certain amount in short-term storage.
For example, with phone numbers, it is very difficult to remember any more than
seven digits at a time. Yet, if you give yourself time between practising, even if
it is just ten minutes, you’ll find that your brain is much more efficient at
turning your short-term practise into long-term knowledge. For more information
on effective learning, read our free bonus book, ‘Advanced learning techniques
for guitar’.

Okay, that aside, let’s get started on the lesson. To start with, I want you to have a look at
the guitar neck diagram below and take note of all the relevant pieces of information.

1 Frets
The guitar neck is divided into what
2 we call frets, making a fret board.
Most guitars have around 20 frets.
3 In this first book, we will focus on
the first four, also known as the first
position. In Book Two, we will move
4
beyond that. Notice that we number
each fret starting with one at the
5
head of the guitar.
6

String Numbers 6 54 321


EADGB E Tuning

13
Note that each string on the guitar is numbered. When you hold your guitar in
the casual playing position, the 1st string is at the bottom and the 6th string
is at the top.

Notice also the term ‘Tuning’ at the bottom of the above diagram. Tuning refers to the notes
that the guitar strings are tuned to. In the previous diagram, I have given a very common
tuning called standard E tuning that consists of the notes E, A, D, G and B. Strings 1 and 6
are both tuned to the note E. The open 6th string is called low E. The open 1st string is called
high E as it is two octaves higher than the 6th string open E. I will explain notes and octaves
to you later in this book, but for now, you only need to know the names of the notes in
standard open E tuning.

To get a better grasp on this, open the Jamorama Guitar Tuning software and
set it to standard open E tuning. Listen to each note as you play it in the tuner.
To continue in this book, you need to tune your guitar to that tuning (for more
help on tuning, see our book - ‘How to Tune your Guitar’).

We will stick to standard E tuning throughout this book, and you can find other tunings to play
in the Jamorama Tuning Software.

Intoduction to Chords
The first things that we will look at in this book are chords. Guitarists use many different
chords to make progressions or riffs that can then be used to create songs. If you are not
familiar with some of these terms, it’s ok. We will cover everything that I am talking about in
good time.

A chord is defined as a combination of three or more notes played together. To examine this,
I want to take a look at chord diagrams. Chord diagrams are used to illustrate how a chord is
played. They are very easy to use because they look very much like the neck of the guitar. In
fact, the Jamorama chord diagram is a guitar neck.

14
Chord Diagrams
Frets
5th 4th 3rd 2nd 1st
6
5 We use a photo of a guitar neck
Strings
4
3 for our chord diagrams so they
2 are very easy to relate to.
1
Jamorama Chord Diagram
Versus Standard Chord Diagram
1st Fret

For educational purposes, this is what a standard


chord diagram looks like. We won’t be using them 2nd Fret
in the Jamorama guitar course.

3rd Fret

4th Fret

As stated above, the Jamorama chord diagrams are going to be pictures of an ‘actual’ guitar
neck so it’s easy to make the connection between strings and fingering. There is also a picture
of the type of chord diagram that appears in most other Guitar learning guides. I want you to
be aware of that form of ‘standard’ chord diagram because you may want to use it when
writing up chords on your own paper.

So, now that you know what a chord diagram looks like and how it matches with the neck of
your guitar, it’s time to come back to what I said earlier about a chord being a combination of
three or more notes played together. Finger placing symbols are added to the chord diagram
so we know which notes to play. To start with, let’s look at your fingers.

1
2

We give each playing


3
finger a number that
we can then match up
4
on the chord diagram
(see next page).

15
And now, let’s look at a full chord diagram. We will use the example of the A major chord:

Chord diagram - A major chord


In the chord diagram below you can see that the A major chord uses fingers 1, 2, and 3. Take
note of how this chord diagram looks - we will use this style from now on.

The A major chord is constructed


of the notes A, C# and E. We will
2 cover notes a little later. For
1 now, we will make chords without
3
knowledge of individual notes.

Note that there is a red dot marking the nut of the 6th string on the above
chord diagram. The red dot tells you that you are not to play that string. The
sixth string of the A major chord is not played, but you play the rest.

Throughout this course, every chord diagram will be accompanied by a picture of the chord
being held on the fret board and video of the chord being played for you to check with.
Pictured below is the A major chord being played.

A major chord

Exercise: Playing the A major Chord


Position each finger with care, according to the above diagram. Make sure that each fingertip
is placed as close as possible to the fret. Firstly, pluck across the strings one by one with your
pick, checking that each string rings clearly and is not muted or buzzing. Play the first video
example to hear how the chord should sound.

Now that we’ve looked at chord diagrams, I want to move on to strumming.

16
Introduction to Strumming
In a strum there are two types of guitar stroke. They are the up stroke and the down stroke.
Throughout this book these strokes will be notated as follows:

Up stroke

Down stroke

When you play a stroke, you strum across the strings just in front of the bridge of the guitar
with the pick in your strumming hand. When strumming a chord, make sure that you play all
the necessary strings in the chord. The stroke direction will depend on which stroke is
indicated; up or down as shown above.

Exercise: Strumming the


A major Chord A major chord
Position each finger with care,
according to the chord
2
diagram (right). Make sure 1
that each fingertip is placed 3
as close as possible behind the
fret. Firstly, pluck across the
strings one by one with your
pick, checking that each string
rings clearly and is not muted
or buzzing. Once you are sure
that you are holding the A
major chord correctly,
practise strumming the chord
in single downward strokes as
indicated below:

A major
Stroke
Count 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

While you play this, see if you can say out loud an even 4 count. Another option is to use the
jamorama metronome - it will help you to stay in time.

17
44 A Major

0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2
T 2 2 2 2 2 2 2 2
A 2 2 2 2 2 2 2 2
B 0 0 0 0 0 0 0 0
X X X X X X X X

You can listen to the audio CD to hear a recorded example of the last exercise.
Try your best to start from the fifth string each time you strum. A major doesn’t
sound bad if you accidentally hit the top string, but if you want your music to
sound professional, you’ll want to play this chord properly. Remember to stay
relaxed. Your fingers may hurt a little but they will get stronger.

Now that you are playing the A major chord properly, let’s take a look at
strumming another chord - D major.

Exercise: Strumming the The D Major Chord


D Major Chord The D Major Chord is constructed of the
notes D, F# (F sharp) and A. It is played
using fingers 1, 2 and 3:
Position each finger with
care, according to the chord
diagram (right). Make sure
that each fingertip is placed
directly behind the fret. 1
Firstly, pluck across the 3
strings one by one with your 2
pick, checking that each
string rings clearly and is not
muted or buzzing. Watch the
first video example to hear
how the chord should sound.
Practise strumming the D
major Chord in single
downward strokes as
indicated below:

18
44 D major

2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3
T
2 2 2 2 2 2 2 2
A
0 0 0 0 0 0 0 0
B X X X X X X X X
X X X X X X X X

Note: The top two, or fifth and sixth strings are not played in the D major
chord. Make sure that you start your stroke from the fourth string each time
you strum D major. It doesn’t sound bad if you accidentally hit the fifth string,
although as with A major above, if you want your music to sound professional,
you need to play this chord properly.

D major
Stroke
Count 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

As before, see if you can say out loud an even 4 count as you play or use the Jamorama
metronome.

19
Lesson Two
Hi there and welcome to Lesson Two - I’m glad to see that you are still with us. The next few
lessons are very important, so you may want to go back and make sure that you are taking
note of everything that I am teaching you. In this lesson, we are going to get you learning
about something called tablature... I hope you’re ready for it!

Keeping an Open Mind


Learning to play the guitar might not be what you had expected. Just remember
to keep an open mind and try to forget any preconceived notions that you may
have had about learning an instrument. Things might be harder to learn than you
first anticipated and you may find yourself less motivated to continue practising.
You need to counter this by taking up the challenge and enjoying it. Try different
things to keep your practise interesting and most importantly, have fun with it.

Reading Guitar Tablature


Guitar tablature (also known as tab) is probably the easiest and most used method for guitar
notation. On the internet, you can find guitar tab notation for almost any song that you want
to learn. Tablature is easier to learn than traditional music notation because it relates directly
to the fret board of the guitar, indicating where your fingers should be placed. Although it is
an easier method to learn it still has its weak points, the main one being that you can’t
easily indicate rhythm on tablature. This means that when you learn a song you have to learn
the strum from the song itself.

The following diagram shows you how tablature relates to the guitar fret board:

Fret number: 1 2 3 4 5 6 7 8

1
2
3
Strings

4
5
6

The word TAB at the Tablature has six


beginning of the tablature lines that indicate
score is the abbreviation the six strings of
for tablature. the guitar.

Tablature score: 1
2
T
3
A
4
B
5
6
20
We use numbers to indicate the string and the fret position that you are supposed to play.
Each fret is numbered, starting at the nut of the guitar at O and moving upwards towards the
bridge of the guitar. The following diagrams demonstrate this principle.

T
A
B
3 Tab. diagram 1

The 3 on the above tablature score (Tab. diagram 1) indicates to you that you place a finger
on the third fret of the sixth string. It is the note G.

1
T
A
B
Tab. diagram 2

The 1 on the above tablature score (Tab. diagram 2) indicates to you that you place a finger
on the first fret of the second string. It is the note C.

T
0
A
B
Tab. diagram 3

The O on the above tablature score (Tab. diagram 3) indicates to you that the third string is
to be played open. This means that you don’t need to place a finger on it. It is the note G.

Chords and Tablature


Chords are indicated by a set of numbers that tell you which frets need to be played and
which don’t. The following diagram on the next page demonstrates how an open A major
chord is constructed with tablature.

21
The A Major Chord

O
2
T
2
A
B 2
O
X

The first and fifth strings are played open while the second, third and fourth strings are
played at the second fret. The sixth string is not played in the A Major Chord and this is
indicated by an X.

Often tablature is written beneath traditional music score or stave. The two together look
like this:

4
4
T
A
B

Now that we have looked at that, let’s take a look at playing the A major and D major chords
together.

Exercise:
Practise strumming the A major and the D major chords to the following down stroke
pattern. Strum four down strokes over the A Major chord and then four down strokes over
the D Major chord and then repeat. You should aim to get a smooth change between the two
chords so that the whole piece flows and is in time. Play along to the video or metronome
until you have mastered it. The tablature for this exercise is on the next page.

22
Chord A D A D

Stroke

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

44 A D A D

0 0 0 0 2 2 2 2 0 0 0 0 2 2 2 2
2 2 2 2 3 3 3 3 2 2 2 2 3 3 3 3
T
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A
2 2 2 2 0 0 0 0 2 2 2 2 0 0 0 0
B
0 0 0 0 X X X X 0 0 0 0 X X X X
X X X X X X X X X X X X X X X X

This exercise may be difficult on your first few attempts. You may find that
your fret hand struggles to co-ordinate each chord change with your strumming
hand. This is natural and will take a bit of practise to break. Try to focus on
getting strumming hand consistency first and your fret hand should follow with
practise.

23
Jam Track No. 1

At Jamorama, we believe that there is no point learning chords and techniques if you
never get to put them into practise with a band. For this reason, I want to introduce
you to the idea of contextual learning. Throughout the Jamorama course, we will take
what you have learned and use Jam Tracks to put it into ‘context’. So here we are,
you have been invited into the ‘Jamorama Band’ as the rhythm guitarist. Below is TAB
of what you need to play (note that each Jam Track will only use skills that you have
already learned). There are two audio tracks for each Jam Track, one with your guitar
part being played and one that you can play along with where the rhythm guitar has
been left out. Okay lets get started.
Strum

Count 1 2 3 4

A D A D
0 0 0 0 2 2 2 2 0 0 0 0 2 2 2 2
2 2 2 2 3 3 3 3 2 2 2 2 3 3 3 3
T
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 2 2 2 2 0 0 0 0 2 2 2 2 0 0 0 0
B 0 0 0 0 X X X X 0 0 0 0 X X X X
X X X X X X X X X X X X X X X X

A D A D
0 0 0 0 2 2 2 2 0 0 0 0 2 2 2 2
2 2 2 2 3 3 3 3 2 2 2 2 3 3 3 3
T
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 2 2 2 2 0 0 0 0 2 2 2 2 0 0 0 0
B 0 0 0 0 X X X X 0 0 0 0 X X X X
X X X X X X X X X X X X X X X X

A D A D
0 0 0 0 2 2 2 2 0 0 0 0 2 2 2 2
2 2 2 2 3 3 3 3 2 2 2 2 3 3 3 3
T
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 2 2 2 2 0 0 0 0 2 2 2 2 0 0 0 0
B 0 0 0 0 X X X X 0 0 0 0 X X X X
X X X X X X X X X X X X X X X X

A D A D
0 0 0 0 2 2 2 2 0 0 0 0 2 2 2 2
2 2 2 2 3 3 3 3 2 2 2 2 3 3 3 3
T
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 2 2 2 2 0 0 0 0 2 2 2 2 0 0 0 0
B 0 0 0 0 X X X X 0 0 0 0 X X X X
X X X X X X X X X X X X X X X X

24
A D A D
0 0 0 0 2 2 2 2 0 0 0 0 2 2 2 2
2 2 2 2 3 3 3 3 2 2 2 2 3 3 3 3
T
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 2 2 2 2 0 0 0 0 2 2 2 2 0 0 0 0
B 0 0 0 0 X X X X 0 0 0 0 X X X X
X X X X X X X X X X X X X X X X

A D A D
0 0 0 0 2 2 2 2 0 0 0 0 2 2 2 2
2 2 2 2 3 3 3 3 2 2 2 2 3 3 3 3
T
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 2 2 2 2 0 0 0 0 2 2 2 2 0 0 0 0
B 0 0 0 0 X X X X 0 0 0 0 X X X X
X X X X X X X X X X X X X X X X

A
0
2
T
2
A 2
B 0
X

25
Lesson Three
Now that we have integrated both chords and strum, I want to take a look at some musical
theory and apply it to the guitar.

The following table details the types of notes that we will be using throughout the course. At
this stage you do not need to know the theory behind these notes, just make sure you know
what the notes look like and what ‘beat’ or ‘count’ value they represent. You will be able to
refer back to this table as you see fit:

4 counts  whole note (semibreve)

2 count
  half note (minim)

1 count
    quarter note (crotchet)

1/2 count
 eighth note (quaver)

Adding a dot (.) to a note adds half that notes value:

 = 3 counts  = 1 1/2 counts

Notes on the Treble Clef


A clef tells you which notes are represented by each line and space on the musical stave. We
will look at the G clef or treble clef. It looks like this:



The clef is placed on the stave at the very beginning of a piece of music. When it is the treble
clef, the stave is called the treble stave. Treble stave looks like this:


F
D E
B C
G A
E F

There are seven notes in the musical alphabet. They are: A, B, C, D, E, F and G.

These notes are indicated by the placement of musical notes on the lines and spaces of the
treble stave. Using the treble clef, the bottom line on the stave represents the note E. The
subsequent notes, F G A B C D, continue up the stave so that F sits in the space above E, G
sits on the line above F, A sits in the space above G, and this continues up the stave until E is
reached, near the top of the stave and then the cycle starts again. Notes can be placed off
the stave on what are called ledger lines (see the following diagram).The following diagram
will help you to remember the notes on the treble stave.

26
   
  
B


A

  
F G


E


D

 
C
A B
G
F
E
C D

Please note that ledger lines can go


Ledger Lines above or below the stave depending on
how high or low the notes are played.

The notes in the above diagram (e.g.  ) are called quarter notes.

Four Four Time Signature


Time signatures tell you what time you are to play a piece of music in. They are written as

44
two numbers, one above the other. This is the four four time signature:

The diagram on the next page shows you where the time signature sits on the stave. There
are some other things on the diagram that you should note.

44

Four four time This is a bar line. Bar lines This is a double bar line.
signature. are used to divide the stave Double bar lines indicate
into sections that are called the end of a piece of
bars or measures. music.

In a time signature, the upper number specifies the number of beats there are per bar. In the
above example: the upper number is 4 which tells us that there are 4 beats allowed per bar.
The lower number specifies the note value that is equivalent to one beat in the bar. In the
above example: the lower number is 4. Because a time signature is a fraction, we can read
the bottom number in the above example as ¼; a quarter. Therefore, in the above four four

example, a quarter note (e.g. ) holds for, or is equivalent to, one beat in the bar.

So, four bars of quarter notes of E in four four time would look like this:

44
     

27
Now that you have some knowledge of music on stave, I want you to go and open
Jayde Musica. Jayde Musica is a fantastic tool for learning how to sight read music
and not to mention a heap of fun to use. Try to use this great musical game for
10 minutes each day and you will see some fantastic results.

Let’s now apply some of that music theory to the guitar fret board.

Notes on the First String


Knowledge of the notes that are on each string is necessary for understanding guitar theory.
The first string is also known as the high E string. The main notes in the first position on the
first string are E (open), F (1st fret) and G (3rd fret). The first position refers to the first 4
frets of the guitar.
Fret 5 Fret 4 Fret 3 Fret 2 Fret 1

3 1 0

We will use the notes in the above example to introduce to you the concept of note
picking.

Exercise:
Note picking is a skill that is used in all types of music. For now, we will use it to
familiarize ourselves with the note names on each string in the first position. Pluck these first
string notes with a downward picking motion. Notice that your fingers should match the fret
number when playing in the first position:

44          

O O O O 1 1 1 1 3 3 3 3 3 3 3 3
T
A
B

Count: 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
Fingering: none 1 3 3

5
28
Notes on the Second String
The second string is also known as the B string. The main notes in the first position on the
second string are B (open), C (1st fret) and D (3rd fret).

Fret 5 Fret 4 Fret 3 Fret 2 Fret 1

3 1 0

If you are having trouble getting each note to ring out clearly, try placing your
fingers directly behind the fret, applying pressure until it starts to produce the
crisp, clear sound that you seek.

Exercise:
Pluck these second string notes with a downward picking motion:

44          

T O O O O 1 1 1 1 3 3 3 3 3 3 3 3
A
B

Count: 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
Fingering: none 1 3 3

It’s a fact that Jimi Hendrix actually preferred right-handed guitars.


Despite being left handed, Jimi found that playing Fender Stratocasters
upside down meant that he was able to use the controls and tremelo
arm, hence then being at the top, in his own unique way.

29
Jam Track No. 2
Strum

Count 1 2 3 4

3 3 3 0 3 3 3 0
T
A
B

3 3 3 0 3 3 3 0
T
A
B

3 3 3 0 2 2 2 0
T
A
B

3 3 3 0 2 2 2 0
T
A
B

0 0 0 2
3 3 3 0 2 2 2 0 3 3 3 0
T
A
B

0 0 0 2
3 3 3 0 2 2 2 0 3 3 3 0
T
A
B

3 3 3 0 2 2 2 0
T
A
B

0 2
3 3 3 0 2 2 2 0 2 3
T
A
B

0
T
A
B

30
Lesson Four
Well, you’ve made it through to Lesson Four - nice work. In this lesson, we are going to add to
your memory store of chords by introducing to you the chords E, G and C and later in
Lesson Five we will take a look at the concept of the turn around progression that will greatly
increase the number of chord progressions you are able to play!

Patience and discipline


Patience and discipline are two qualities that all great musicians have. You
should try to nurture these qualities in yourself. Do not be discouraged by any
signs of slow progress. It takes time to learn the guitar. Be patient and clock
up those consecutive days, even if it is only 15 minutes a day. At the very least,
you should keep your brain thinking about the guitar every day. Enjoy the thirst
and hunger that you have for knowledge and experience. At the end of the day,
you are the one responsible for your own practising.

Learning the guitar is like learning a language. Those who speak great English
speak it everyday. Those who speak broken English probably don’t use it as
much, or have not used it for as long as others. The same goes for guitarists.
Those who play great guitar, practise everyday. Those who play average guitar
are probably not practising as much as they should.

The E Major Chord

The E Major Chord is constructed of the


2
3 notes E, G# (G sharp) and B. It is played
1 using fingers 1, 2 and 3:

31
Exercise:
Practise strumming the E Major Chord using the following strum.

Chord E

Stroke

Count 1 2 3 4
Remember to start slowly. It is easier to pick up on any mistakes when you play slowly.

44 E

0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
T
1 1 1 1 1 1 1 1
A 2 2 2 2 2 2 2 2
B 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0

The Repeat Sign 7

This sign is used to inform you that instead of finishing on the last bar you go back and repeat
the piece from the beginning.

Exercise:
Practise strumming A, D and E to the suggested strum. Note that there is a repeat sign after
four bars which means that you go back to the start and repeat the piece.

Strum:

Count: 1 2 3 4

44 A D A E

0 0 0 0 2 2 2 2 0 0 0 0 0 0 0 0
2 2 2 2 3 3 3 3 2 2 2 2 0 0 0 0
T
2 2 2 2 2 2 2 2 2 2 2 2 1 1 1 1
A 2 2 2 2 0 0 0 0 2 2 2 2 2 2 2 2
B 0 0 0 0 X X X X 0 0 0 0 2 2 2 2
X X X X X X X X X X X X 0 0 0 0

8
32
Maintaining a high level of motivation.

Motivation is your set of internal systems that drive you to achieve your goals.
When you lack motivation, your practise will be lacking also. Think about
yourself for a second. What is your motivation for learning to play the guitar?
Maybe you want to impress your boyfriend/girlfriend. You might be motivated
by fame or success. It could be a desire to fit in. Whatever it is that drives you
to learn, that is your starting point. It is from there that you will progress and
your motivation for learning will change. You will find that the act of learning
the guitar will motivate you to learn more. It is true that the people who simply
can’t live without the guitar and who live for their musical passion are the ones
who may have the staying power to progress onto becoming an elite player. With
enough passion and practise, you can become an elite player.

Jam Track No. 3

How are you enjoying these Jam Tracks? Playing as part of a band is one of the best ways
to improve your skills as a musician. Usually the most common reason people want to
learn guitar is so that they can play songs to their friends or with their friends in a band
situation. Hopefully these Jam Tracks will help you with that. They enable you to hear the
other instruments and to keep in time with the drummer.

Keep on rockin’!

Strum

Count 1 2 3 4

A A
0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2
T
2 2 2 2 2 2 2 2
A 2 2 2 2 2 2 2 2
B 0 0 0 0 0 0 0 0
X X X X X X X X

A D A E
0 0 0 0 2 2 2 2 0 0 0 0 0 0 0 0
2 2 2 2 3 3 3 3 2 2 2 2 0 0 0 0
T
2 2 2 2 2 2 2 2 2 2 2 2 1 1 1 1
A 2 2 2 2 0 0 0 0 2 2 2 2 2 2 2 2
B 0 0 0 0 X X X X 0 0 0 0 2 2 2 2
X X X X X X X X X X X X 0 0 0 0

33
A D A E
0 0 0 0 2 2 2 2 0 0 0 0 0 0 0 0
2 2 2 2 3 3 3 3 2 2 2 2 0 0 0 0
T
2 2 2 2 2 2 2 2 2 2 2 2 1 1 1 1
A 2 2 2 2 0 0 0 0 2 2 2 2 2 2 2 2
B 0 0 0 0 X X X X 0 0 0 0 2 2 2 2
X X X X X X X X X X X X 0 0 0 0

A D A E
0 0 0 0 2 2 2 2 0 0 0 0 0 0 0 0
2 2 2 2 3 3 3 3 2 2 2 2 0 0 0 0
T
2 2 2 2 2 2 2 2 2 2 2 2 1 1 1 1
A 2 2 2 2 0 0 0 0 2 2 2 2 2 2 2 2
B 0 0 0 0 X X X X 0 0 0 0 2 2 2 2
X X X X X X X X X X X X 0 0 0 0

A D A E
0 0 0 0 2 2 2 2 0 0 0 0 0 0 0 0
2 2 2 2 3 3 3 3 2 2 2 2 0 0 0 0
T
2 2 2 2 2 2 2 2 2 2 2 2 1 1 1 1
A 2 2 2 2 0 0 0 0 2 2 2 2 2 2 2 2
B 0 0 0 0 X X X X 0 0 0 0 2 2 2 2
X X X X X X X X X X X X 0 0 0 0

A D A E
0 2 0 0
2 3 2 0
T 2 2 2 1
A 2 0 2 2
B 0 X 0 2
X X X 0

A D A E
0 0 0 0 2 2 2 2 0 0 0 0 0 0 0 0
2 2 2 2 3 3 3 3 2 2 2 2 0 0 0 0
T
2 2 2 2 2 2 2 2 2 2 2 2 1 1 1 1
A 2 2 2 2 0 0 0 0 2 2 2 2 2 2 2 2
B 0 0 0 0 X X X X 0 0 0 0 2 2 2 2
X X X X X X X X X X X X 0 0 0 0

A D A E
0 0 0 0 2 2 2 2 0 0 0 0 0 0 0 0
2 2 2 2 3 3 3 3 2 2 2 2 0 0 0 0
T
2 2 2 2 2 2 2 2 2 2 2 2 1 1 1 1
A 2 2 2 2 0 0 0 0 2 2 2 2 2 2 2 2
B 0 0 0 0 X X X X 0 0 0 0 2 2 2 2
X X X X X X X X X X X X 0 0 0 0

A
0
2
T 2
A 2
B 0
X

34
It is normal for your fingers to ache. However, if you practise each day your
fingers will become strong and more used to the movements required to play
the guitar.

Notes on the Third String


The third string is also known as the G string. The main notes in the first position on the third
string are G (open), A (2nd fret) and B (4th fret)

Exercise:
Pluck these third string notes with a downward picking motion.

Fret 5 Fret 4 Fret 3 Fret 2 Fret 1

4 2 0

4
4                
T
O O O O 2 2 2 2 4 4 4 4 4 4 4 4
A
B

Count: 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
Fingering: none 2 4 4

Many people believe that when Chuck Berry released the song ‘Maybellene’ in
1955, it was the birth of rock’n’roll. It combined elements from both country
music and blues in a completely new way.

35
Lesson Five
The key to good practise
Be sure to allow enough time for practise. In your busy and complex life, it can
be very hard to find some time to sit down and work on your guitar. You need
to stick to a plan. A routine means that you have designated practise times for
each day. If you know the times that you will practise during the week, you will
be able to maximize your practise productivity and maintain a constant rate of
learning.

Of course, there will be times when your plan gets interrupted by the unexpected.
You might have friends drop by or a party to go to or a doctor’s appointment
to attend. These things will never stop. You really just need to have a flexible
plan so that your practise fits in with your life. The amazing thing is that over
time, your lifestyle and friends will change because of your practise and your
passion for music.

The G Major Chord


The G Major Chord contains the notes G,
B and D. It is played using fingers 1, 2 and
3.
2
1

Note that finger 1 plays a B note, finger 2 plays a G note, and finger 3 also plays
a G note. According to music theory a G Major chord MUST contain the notes B,
D and G. In the above G major chord diagram, the D note is sounded by the open
D string (4th string). Remember to consider that open string notes are included
in chord make-up and not just the notes played by your fingers.

Remember to watch for chordslike this one throughout the course.

36
Exercise:
Play the following:
G major chord

44 G

3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 0
T
0 0 0 0 0 0 0 0
A
0 0 0 0 0 0 0 0
B
2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3

10
The C Major Chord
The C Major Chord is constructed of the
notes C, E and G. It is played using fingers
1, 2 and 3.

3
2
1

11
Exercise:
Play the following:

44 C

0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1
T
0 0 0 0 0 0 0 0
A
2 2 2 2 2 2 2 2
B 3 3 3 3 3 3 3 3
X X X X X X X X

37
Jam Track No. 4

Okay, you are really starting to get some great things happening! What I want you to try
and do next time you have a spare 40 mins is go back through the last 4 Jam Tracks and
play them again, over and over and over. Listen to the drums, listen to the lead guitar
and the bass. Start to learn and know the Jams inside out, become familiar with them,
get confident with them. Confidence is a major factor in playing with other people. Once
we’ve built your knowledge and practise up, your confidence levels with naturally grow.

Keep going, you’re doing REALLY well!


Stroke

Count 1 2 3 4

D A C G
2 2 2 2 0 0 0 0 0 0 0 0 3 3 3 3
3 3 3 3 2 2 2 2 1 1 1 1 0 0 0 0
T 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0
A 0 0 0 0 2 2 2 2 2 2 2 2 0 0 0 0
B X X X X 0 0 0 0 3 3 3 3 2 2 2 2
X X X X X X X X X X X X 3 3 3 3

D A C G
2 2 2 2 0 0 0 0 0 0 0 0 3 3 3 3
3 3 3 3 2 2 2 2 1 1 1 1 0 0 0 0
T 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0
A 0 0 0 0 2 2 2 2 2 2 2 2 0 0 0 0
B X X X X 0 0 0 0 3 3 3 3 2 2 2 2
X X X X X X X X X X X X 3 3 3 3

D A C G
2 2 2 2 0 0 0 0 0 0 0 0 3 3 3 3
3 3 3 3 2 2 2 2 1 1 1 1 0 0 0 0
T 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0
A 0 0 0 0 2 2 2 2 2 2 2 2 0 0 0 0
B X X X X 0 0 0 0 3 3 3 3 2 2 2 2
X X X X X X X X X X X X 3 3 3 3

D A C G
2 2 2 2 0 0 0 0 0 0 0 0 3 3 3 3
3 3 3 3 2 2 2 2 1 1 1 1 0 0 0 0
T 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0
A 0 0 0 0 2 2 2 2 2 2 2 2 0 0 0 0
B X X X X 0 0 0 0 3 3 3 3 2 2 2 2
X X X X X X X X X X X X 3 3 3 3

D
2
3
T 2
A 0
B X
X

38
Exercise:
Practise strumming D, A, C and G to the rhythm below.

Strum:

Count: 1 2 3 4

44 D A C G

2 2 2 2 0 0 0 0 0 0 0 0 3 3 3 3
3 3 3 3 2 2 2 2 1 1 1 1 0 0 0 0
T
2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0
A 0 0 0 0 2 2 2 2 2 2 2 2 0 0 0 0
B X X X X 0 0 0 0 3 3 3 3 2 2 2 2
X X X X X X X X X X X X 3 3 3 3

12

Notes on the Fourth String


The fourth string is also known as the D string. The notes in the first position that are on the
fourth string are D (open), E (2nd fret) and F (3rd fret). It is played using fingers 2 and 3:

Fret 5 Fret 4 Fret 3 Fret 2 Fret 1

3 2 0

Exercise:
Pluck the fourth string notes with a downward picking motion.

44
    
T
A
B
0 0 0 0 2 2 2 2 3 3 3 3 2 2 2 2

Count: 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
Fingering: none 2 3 2
13
39
Jam Track No. 5

The Jam Tracks throughout the book are designed to be of numerous different musical
styles and flavors. The reason for this is to firstly broaden your musical horizon and
secondly to show you that any style of music is actually MUCH easier to play than you
probably once thought. For example, this next example is in the style of ‘Dance’ or ‘Drum
and Bass’.

Now, let’s crank this Jam up.


Strum

Count 1 2 3 4

T
4 4 4 3 2 2 2 2
A
B

T
4 4 4 3 2 2 2 2
A
B

T
4 4 4 3 2 2 2 2
A
B

T
4 4 4 3 2 2 2 2
A
B

0 0 0
4 3 3 3 3
T
A
B

Continued next page...

40
0 0 0
4 3 3 3 3
T
A
B

T
4 4 4 3 2 2 2 2 2 2 2 2 2 2 2 2
A
B

T
4 4 4 3 2 2 2 2 2 2 2 2 2 2 2 2
A
B

T
4 4 4 3 2 2 2 2 2 2 2 2 2 2 2 2
A
B

T
4 4 4 3 2 2 2 2 2 2 2 2 2 2 2 2
A
B

T
4 4 4 3 2
A
B

41
Lesson Six
What is Talent?
Talent is a term that we attach to people, or to skills that people have, when
we believe that they are really good at what they do. Sometimes it seems that
some people have talent, or an advantage or strength at a particular skill due to
some innate force. Although it may appear this way, the chances are that they
were not born with their talent. It is more likely that they had to learn it.

Talent is gained through complex interactions between an individual and their


environment over a period of time. Children who are brought up in a musical
environment are more likely to become talented musicians than children bought
up in a less musical environment. If you were constantly surrounded by music
as you grew up, you will probably have a good mental database of sounds. It is
your database of sound that influences your playing and creating of music.

A good database of sound is important if you want to be a great musician, but


it won’t make you talented on its own. There are other factors that contribute
to being talented such as discipline and a sense of artistry.

Think about these questions: When you like something, do you do it a lot? Do
you put all of your energy into it? Do you try to extend yourself both physically
and mentally?

If you answered yes to these questions, then you may have the discipline it
takes to become a talented musician. Discipline is important because without
it, you will not practise and without practise you will not have the practical
skills to be talented.

So you have a good database of sounds and you feel that you have the discipline
that it takes to be great, but do you have a sense of artistry? Well, let’s see.
Think about the following questions: Do you experiment with what you already
know in order to learn new things? Do you try to be creative for the sake of it?
Do you have a vivid imagination when it comes to sound? Do you feel a need to
be original? If you answered yes to these questions, then you are well on your
way to being talented!

Hard work is where it’s at. Practise, listen and experiment with your music.
Like a sponge, you really just need to soak it up. Any musical knowledge that
you don’t already know is out there for you to learn. Learn it and work hard
on it, and you will be talented.

42
Minor Chords
So far, the chords that you have learned have all been major chords. Major chords give music
a happy feel. Minor chords, on the other hand, lend a sad or melancholy feeling to music.
Minor chords are constructed in the same way as major chords except that the third or middle
note of the chord is flattened (something that will be explained in full later in this book).

Exercise:
In this exercise I want you to first play the A major chord followed by the A minor chord.
Listen and hear the difference in ‘feeling’ between the two chords.

A major chord The A Minor Chord


The A Minor Chord is constructed of the
notes A, C and E.

2
1 2
3 3
1

Exercise: 14
Strum the A minor chord as indicated by the tab below:

44 Am

0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1
T
2 2 2 2 2 2 2 2
A
2 2 2 2 2 2 2 2
B 0 0 0 0 0 0 0 0
X X X X X X X X

15
43
The E Minor Chord 
The E Minor chord is constructed of the
notes E, G and B.

2
3

In the following exercise watch me first play the E major chord and then the E minor chord,
listen to the difference in the sound again. I will then strum the E minor chord along with the
metronome and I want to you play along with me.

Exercise:
Play the following:

44 Em

0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
T
0 0 0 0 0 0 0 0
A 2 2 2 2 2 2 2 2
B 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0

16

Exercise: Turnaround Progression


A turnaround progression is a sequence of chords that can be continually repeated due to
‘strong’ sounding chord movement between the ending and starting chords. What exactly
does ‘strong’ sounding mean? Well the technical musical terminology is that the progression
has been resolved, which means that the end chord of the progression and the starting chord
of the progression have a close ‘obvious’ sounding musical relationship.
I want you to try the following turnaround progression:

44
In this example, a strong sounding chord change between A and D resolves the progression
back to its starting point.

Strum:

Count: 1 2 3 4

44 D G Em A

2 2 2 2 3 3 3 3 0 0 0 0 0 0 0 0
3 3 3 3 0 0 0 0 0 0 0 0 2 2 2 2
T
2 2 2 2 0 0 0 0 0 0 0 0 2 2 2 2
A 0 0 0 0 2 2 2 2 2 2 2 2
0 0 0 0
B X X X X 2 2 2 2 0 0 0 0
2 2 2 2
X X X X 3 3 3 3 0 0 0 0 X X X X

17

Exercise:
Play the following progression.

Once again a strong sounding chord change (D to G) resolves the progression back to
its starting point.

Strum:

Count: 1 2 3 4

44 G Am C D

3 3 3 3 0 0 0 0 0 0 0 0 2 2 2 2
0 0 0 0 1 1 1 1 1 1 1 1 3 3 3 3
T
0 0 0 0 2 2 2 2 0 0 0 0 2 2 2 2
A
0 0 0 0 2 2 2 2 2 2 2 2 0 0 0 0
B 2 2 2 2 0 0 0 0 3 3 3 3 X X X X
3 3 3 3 X X X X X X X X X X X X

18

45
Jam Track No. 6

Strum

Count 1 2 3 4

G Am C D G Am C D
3 3 0 0 0 0 2 2 3 3 0 0 0 0 2 2
0 0 1 1 1 1 3 3 0 0 1 1 1 1 3 3
T
0 0 2 2 0 0 2 2 0 0 2 2 0 0 2 2
A 0 0 2 2 2 2 0 0 0 0 2 2 2 2 0 0
B 2 2 0 0 3 3 X X 2 2 0 0 3 3 X X
3 3 X X X X X X 3 3 X X X X X X

G Am C D G Am C D
3 3 0 0 0 0 2 2 3 3 0 0 0 0 2 2
0 0 1 1 1 1 3 3 0 0 1 1 1 1 3 3
T
0 0 2 2 0 0 2 2 0 0 2 2 0 0 2 2
A 0 0 2 2 2 2 0 0 0 0 2 2 2 2 0 0
B 2 2 0 0 3 3 X X 2 2 0 0 3 3 X X
3 3 X X X X X X 3 3 X X X X X X

G Am C D G Am C D
3 3 0 0 0 0 2 2 3 3 0 0 0 0 2 2
0 0 1 1 1 1 3 3 0 0 1 1 1 1 3 3
T
0 0 2 2 0 0 2 2 0 0 2 2 0 0 2 2
A 0 0 2 2 2 2 0 0 0 0 2 2 2 2 0 0
B 2 2 0 0 3 3 X X 2 2 0 0 3 3 X X
3 3 X X X X X X 3 3 X X X X X X

G Am C D G Am C D
3 3 0 0 0 0 2 2 3 3 0 0 0 0 2 2
0 0 1 1 1 1 3 3 0 0 1 1 1 1 3 3
T
0 0 2 2 0 0 2 2 0 0 2 2 0 0 2 2
A 0 0 2 2 2 2 0 0 0 0 2 2 2 2 0 0
B 2 2 0 0 3 3 X X 2 2 0 0 3 3 X X
3 3 X X X X X X 3 3 X X X X X X

G Am C D G Am C D
3 3 0 0 0 0 2 2 3 3 0 0 0 0 2 2
0 0 1 1 1 1 3 3 0 0 1 1 1 1 3 3
T
0 0 2 2 0 0 2 2 0 0 2 2 0 0 2 2
A 0 0 2 2 2 2 0 0 0 0 2 2 2 2 0 0
B 2 2 0 0 3 3 X X 2 2 0 0 3 3 X X
3 3 X X X X X X 3 3 X X X X X X

G
3
T0
A0
0
B
2
3

46
Notes on the Fifth String
The fifth string is also known as the A string. The main notes in the first position that are on
the fifth string are A (open), B (2nd fret) and C (3rd fret).

Fret 5 Fret 4 Fret 3 Fret 2 Fret 1

3 2 0

Exercise:
Play these fifth string notes with a down/up picking motion.

Down/up picking:
Down Up Down Up

 44
       
T
A
B O O 2 2 3 3 2 2

Count: 1 3 2 4 1 3 2 4
Fingering: none 2 2 3 3 2 2

19

The 1978 album ‘Van Halen’ has become one of the most influential albums
for guitarists since Hendrix’s ‘Are you experienced?’ Eddie Van Halen’s use of
guitar sound, rhythm, right hand tapping, harmonics and control of feedback all
combine in a musical style that many guitarists have since tried to emulate.

47
Jam Track No. 7
Strum

Count 1 2 3 4

1 1
T 4 0 4 0 4 0 4 0 0 0 4 0 4 0
A
B

0 3
1 3
T 2 2 4 0 4 0 4 0 0
A 0 0
B

1 1
T 4 0 4 0 4 0 4 0 0 0 4 0 4 0
A
B

1 0 1 3
T 2 2 4 0 4 0 4 0 0
A 0 0
B

48
Lesson Seven
In this lesson, I want to introduce to you the concept of Eighth note Rhythm and by the end
of the lesson you will have a whole lot more to play with. Before that however, I want you to
read a few words on healthy learning.

Healthy learning
The basis of good learning is good health. On average, people who lead healthy
lifestyles have a much higher rate of learning. What type of lifestyle do you
promote? Do you have a healthy lifestyle or do you live like there is no
tomorrow? In the end, only you can decide what is right and what is wrong for
you, but if you want to learn well, it pays to live well.

Good food in your diet is essential. Eat plenty of fruit and vegetables and make
sure that your body gets all the nutrients that it needs to function well. Your
diet should be all about balance. Adding a little sport to your week will keep
you fit and feeling good. Try 45 minutes a day of exercise and you will start to
notice a change in your energy levels quite quickly. A daily walk will help your
body’s metabolism and maximize the goodness that you get from nutrients in
your diet.

Sleep is important. You need at least eight hours a night to be at your best. Try
changing your sleeping patterns so that they are regular and consistent. This
way, your body learns to get the most out of sleep and you will feel far more
alert from the moment that you wake to the moment that you sleep. It could
be the best thing you will ever do for yourself.

Remember, life is a long journey. If you want to maintain a long musical life,
look after yourself.

Eighth Note Rhythm Patterns


So far we have used rhythms that follow a quarter note pulse. It is counted 1 2 3 4.
For example:

Note    
Count 1 2 3 4

The quarter note becomes an eighth note when halved. The eighth note looks like this:

 = Eighth Note
In terms of time, a quarter note is the equivalent of two eighth notes:

 =   (two eighth notes)


49
By halving the quarter note pulse we can make an eighth note pulse. It is counted as follows:
1+2+3+4+

Note        
Strum

Count 1 + 2 + 3 + 4 +
and and and and

The F Major Chord


The F major chord requires you to hold
down the first and second strings with
your first finger. You will need to play
these strings with the flat of your finger
rather than the tip.

3
2
1

Exercise:
First I will play through the F major chord in a standard quater note strum, then I will play the same
chord but in an eighth note strum pattern. Follow along on the video.

F major chord in quarter note strum: 20


44

1 1 1 1 1 1 1 1
1 1 1 1 1 1 1 1
T
2 2 2 2 2 2 2 2
A 3 3 3 3 3 3 3 3
B X X X X X X X X
X X X X X X X X

50
F major chord in eighth note strum:

Strum

Count 1 + 2 + 3 + 4 +

44

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
T
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
B 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

Exercise:
Play the following chord progression. Notice the chord changes between chords C and G.
These changes take place halfway through bars 2 and 4.

Strum

Count 1 + 2 + 3 + 4 +

44 F C G

1 1 1 1 1 1 1 1 0 0 0 0 3 3 3 3
1 1 1 1 1 1 1 1 1 1 1 1 0 0 0 0
T
2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0
A 3 3 3 3 3 3 3 3 2 2 2 2 0 0 0 0
B X X X X X X X X 3 3 3 3 2 2 2 2
X X X X X X X X X X X X 3 3 3 3

21

At first it will be hard to land that F chord and then change to C and G and back to F. Don’t
worry, a little practise each day will improve your new skill.

51
The Chromatic Scale
The chromatic scale is based around the seven notes of the musical alphabet (A, B, C, D, E, F
and G), however, it contains a few extra musical notes. In its entirety it runs as follows:

A#/Bb C#/Db D#/Eb F#/Gb G#/Ab


A B C D E F G

You have probably noticed that some of the notes in the chromatic scale have two note
names. These notes are called accidentals. They can either be sharp notes, in which case we
we use the symbol #, or flat notes, in which case we use the symbol b. This can be more
easily seen on the keyboard diagram below:

C#/Db D#/Eb F#/Gb G#/Ab A#/Bb

C D E F G A B C D E F G A B C D

On the piano keyboard, the black keys are the sharp/flat notes. The note name that you use
depends upon the key that you are playing in. We will look at keys and scales later in this
book. For now, just realize that these notes can either be flat or sharp.

The chromatic scale applies to your guitar in the same way as it does a piano:

First Position

Fret 1 Fret 2 Fret 3 Fret 4 Fret 5 Fret 6 Fret 7 Fret 8 Fret 9 Fret 10 Fret 11 Fret 12

G#/Ab A A#/Bb B C C#/Db D D#/Eb E


E F F#/Gb G
B C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B
G G#/Ab A A#/Bb B C C#/Db D D#/Eb E F F#/Gb G
D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B C C#/Db D
A A#/Bb B C C#/Db D D#/Eb E F F#/Gb G G#/Ab A
E F F#/Gb G G#/Ab A A#/Bb B C C#/Db D D#/Eb E

Each string on the guitar follows the


chromatic scale going up the guitar
neck. Once you get to the 12th fret on
each string, the scale repeats itself.

At this point, take some time to familiarize yourself with the above diagram.
Once you know how the chromatic scale concept works, you can start to use
the whole fret board of the guitar.

52
Lesson Eight
Dominant 7 Chords
So far we have looked at major and minor open chords. Some of these chords can be made
into dominant seventh chords by changing the shape of the chord on the guitar. Dominant 7
chords (often called sevenths) are built by adding the minor seventh note of the major scale
to the major chord. For example the A major becomes A dominant 7th if you add a G note to
the chord (G is the minor seventh note of the A major scale).
Exercise:
In this exercise I want you to first play the A major chord followed by the A7 chord (shape 1).
Listen and hear the difference in ‘feeling’ between the two chords. In the second part of the
exercise, I want you to strum the A7 chord (shape 1) as indicated by the tab below:

A major chord The A7 Chord (Shape 1)


The A7 chord consists of the notes A, C#,
E and G

2
1
3 1
3

Strum

Count
22
1 + 2 + 3 + 4 +

44 A7 (shape 1)

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
T
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X X X X X X X

53
The open A7 chord comes in two shapes. Both shapes consist of the same notes that make up
the A dominant 7th chord. The first shape adds a finger, changing the open E (1st string) to a G
and creating the minor seventh in the chord. The second shape removes the note A on the 3rd
string and therefore becomes G which is the open string. In this way both shapes have added
a G to the A major chord to become A dominant 7. The second shape is shown below:

The A7 Chord (Shape 2)


There is an alternative way to play the A7
chord. It still consists of the notes A, C#,
E and G.

1
3

Strum

Count 1 + 2 + 3 + 4 +
23

4 A7 (shape 2)
4

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
T
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X X X X X X X

This particular A7 chord is most commonly used version of the A7. It is generally easier to
play than the first example that I have shown you, however they are both correct. Simply, you
should play the version that you find easiest.
The following exercises introduce some more some open dominant seventh chords for you
to learn. You will see that the dominant seventh adds a nice blues sound to your chords and
progressions.

54
Exercise:
Play the following:

Strum

Count 1 + 2 + 3 + 4 +

44 A A7 (shape 2)

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
T 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0
A 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X X X X X X X

24

Positive Thinking
A lot can come from positive thinking. People treat you kindly when you are
positive. You’ll also find that positive thinking will help you be more productive
when you are learning guitar. More productivity means better practise and that
leads to a better band, a better recording and a better record contract. If you
want to go anywhere with music it pays to think positively about it.

Born in 1944, Jimmy Page is referred to as one of the major players to emerge
from the 1960s, He has been credited with defining the sound of progressive
heavy rock. Initially Page started out as a session musician recording tracks for
other bands then went on to play with ‘The Yardbirds’. In 1968 Page formed
the hugely influential ‘Led Zeppelin’ with fellow members Robert Plant, John
Bonham and John Paul Jones. Led Zeppelin was one of the first modern sounding
heavy rock bands, a sound where the guitar was supported by a rhythm section
with low, thick-textured bass and drum sounds.

55
The D7 Chord
The D7 chord consists of the notes D, F#,
A and C. Note also that the fifth and sixth
strings are not played on this chord.

2
1
3

Exercise:
Play the following (note on the video, I play the major chord first as to compare with the
dominant 7 sound):

Strum

Count 1 + 2 + 3 + 4 +

44 D7

2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
T
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 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

25

56
Exercise:
Play the following:

Strum

Count 1 + 2 + 3 + 4 +

44 D D7

2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3 1 1 1 1 1 1 1 1
T
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 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

26

The E7 Chord (shape1) The E7 Chord (shape2)


The E7 chord consists of the notes E, G#, There is also an alternative way to play
B and D. It is played using fingers 1, 2, 3 the E7 chord. It still consists of the notes
and 4. E, G#, B and D.

2 2
3
1 1
4

57
Strum

Count 1 + 2 + 3 + 4 +

44 E7 (shape 1)

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
T 1
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
A 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

27
Seventh chords can be used in place of major chords to add variation to a piece of music.

Exercise:
Play the following:

Strum

Count 1 + 2 + 3 + 4 +

44 E7 (shape 2)

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
A 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

28
Once again the second variation of this chord is the easiest to play and usually the most
commonly played version. But again, learn both and you decide what is best for you.

58
Exercise:
Play the following:
Strum
29
Count 1 + 2 + 3 + 4 +

4 E E7
4

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 3 3 3 3 3 3 3 3
T
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
A 2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2
B 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Exercise:
Play the following using shape 1 of the chord A7 and shape 2 of the chord E7:
There is an uneasy sound created between the first and seventh notes of the dominant seven
chord. This is known as dissonance. Also, note that we are using a new strum pattern here,
listen to the example and play along, it will be much easier than you think.

Strum

Count 1 + 2 + 3 + 4 +

44 A A7 D D7

0 0 0 3 3 2 2 2 2 2
2 2 2 2 2 3 3 3 1 1
T 2 2 2 2 2
2 2 2 2 2
A 0 0 0 0 0
2 2 2 2 2
B X X X X X
0 0 0 0 0
X X X X X X X X X X

44 A A7 E E7

0 0 0 3 3 0 0 0 0 0
2 2 2 2 2 0 0 0 0 0
T
2 2 2 2 2 1 1 1 1 1
A
2 2 2 2 2 2 2 2 0 0
B 0 0 0 0 0 2 2 2 2 2
X X X X X 0 0 0 0 0

30
59
Exercise:
Play the following:
Strum
31
Count 1 + 2 + 3 + 4 +

44 D G E A7

2 2 2 2 2 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0
3 3 3 3 3 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2
T
2 2 2 2 2 0 0 0 0 0 1 1 1 1 1 0 0 0 0 0
A
0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2
B 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0
X X X X X
X X X X X 3 3 3 3 3 0 0 0 0 0 X X X X X

Exercise:
Play the following:
Strum

Count 1 + 2 + 3 + 4 +
32

44 G E C D7

3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1 1 1 1 1
T
0 0 0 0 0 0 1 1 1 1 1 1 0 0 0 0 0 0 2 2 2 2 2 2
A
0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0
B 2 2 2 2 2 2 2 2 2 2 2 2 3 3 3 3 3 3 X X X X X X
3 3 3 3 3 3 0 0 0 0 0 0 X X X X X X X X X X X X

Strum
33
Count 1 + 2 + 3 + 4 +

44 A C G E7

0 0 0 0 0 0 0 0 0 0 0 0 3 3 3 3 3 3 0 0 0 0 0 0
2 2 2 2 2 2 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0
T
2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1
A
2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0
B 0 0 0 0 0 0 3 3 3 3 3 3 2 2 2 2 2 2 2 2 2 2 2 2
X X X X X X X X X X X X 3 3 3 3 3 3 0 0 0 0 0 0

60
Jam Track No. 8

Stroke

Count 1 2 3 4

This Jam Track is in a ‘Jazz’ style. Here you will be playing single notes on single strings,
much like a basic lead line.

1
T
2 0 2 0 2 2 0
A
3
B

1
T
2 0 2 0 2 2 0
A
3
B

1
T
2 0 2 0 2 2 0
A
3
B

1
T
2 0 2 0 2 2 0
A 3
B

1
T 2 0 2 0 2 2 0
A 3
B

1 3 1
T
2 0 2 0 2 2
A
B

61
Lesson Nine
This next lesson is a short one, and it is very important. By the end you will be
playing with some complex rhythm patterns and expanding your musical horizons. Let’s get it
on!

Silent Stroke Symbol


In Lesson Seven we covered an eighth note strum pattern that involved a continuous down/up
strum pattern:

1 + 2 + 3 + 4 +
We will now introduce the idea of a silent stroke and incorporate it into this continuous
down/up strum pattern.

When you see these symbols: you do not stroke the strings but let your strumming
hand continue to move over the strings so that the down/up pattern of strum is not broken.
This is something that you are already doing natually, we just haven’t notated it yet. Silent
stroke symbols allow us to write more complex strumming patterns because we can start to
miss out those strokes that fall on the beats 1, 2, 3 and 4 as the following exercise
demonstrates.

Exercise:
Play the following chords using the strum provided. Make sure that you don’t hit the strings
on beats + of 1 and 3, this is called an ‘off beat’. On beat refers to the beat when it falls ‘ON’
the count i.e. the 1, 2, 3, or 4 count. The off beat refers to when the beat falls ‘OFF’ the
count i.e. all the + (and) beats.

Strum

Count 1 + 2 + 3 + 4 +
34

44 Em D Em D

0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2
0 0 0 0 0 0 3 3 3 3 3 3 0 0 0 0 0 0 3 3 3 3 3 3
T
0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2
A
2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0
B 2 2 2 2 2 2 X X X X X X 2 2 2 2 2 2 X X X X X X
0 0 0 0 0 0 X X X X X X 0 0 0 0 0 0 X X X X X X

62
Jam Track No. 9

1 + 2 + 3 + 4 +

Em D Em D
0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2
0 0 0 0 0 0 3 3 3 3 3 3 0 0 0 0 0 0 3 3 3 3 3 3
T 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2
A 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0
B 2 2 2 2 2 2 X X X X X X 2 2 2 2 2 2 X X X X X X
0 0 0 0 0 0 X X X X X X 0 0 0 0 0 0 X X X X X X

Em D Em D
0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2
0 0 0 0 0 0 3 3 3 3 3 3 0 0 0 0 0 0 3 3 3 3 3 3
T 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2
A 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0
B 2 2 2 2 2 2 X X X X X X 2 2 2 2 2 2 X X X X X X
0 0 0 0 0 0 X X X X X X 0 0 0 0 0 0 X X X X X X

C A
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1 1 1 1 1 2 2 2 2 2 2 2 2 2 2 2 2
T
0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2
A
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 3 3 3 3 3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 X X X X X X X X X X X X

C A
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1 1 1 1 1 2 2 2 2 2 2 2 2 2 2 2 2
T
0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2
A
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 3 3 3 3 3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X X X X X X X X X X X X X X X

Em D Em D
0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2
0 0 0 0 0 0 3 3 3 3 3 3 0 0 0 0 0 0 3 3 3 3 3 3
T 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2
A 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0
B 2 2 2 2 2 2 X X X X X X 2 2 2 2 2 2 X X X X X X
0 0 0 0 0 0 X X X X X X 0 0 0 0 0 0 X X X X X X

Continued next page...

63
Em D Em D
0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2
0 0 0 0 0 0 3 3 3 3 3 3 0 0 0 0 0 0 3 3 3 3 3 3
T 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2
A 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0
B 2 2 2 2 2 2 X X X X X X 2 2 2 2 2 2 X X X X X X
0 0 0 0 0 0 X X X X X X 0 0 0 0 0 0 X X X X X X

C A
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1 1 1 1 1 2 2 2 2 2 2 2 2 2 2 2 2
T
0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2
A
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 3 3 3 3 3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X X X X X X X X X X X X X X X

C A
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1 1 1 1 1 2 2 2 2 2 2 2 2 2 2 2 2
T
0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2
A
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 3 3 3 3 3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X X X X X X X X X X X X X X X

Em
0
0
T 0
A 2
B 2
0

64
Notes on the Sixth String
The sixth string is also known as the low E string.

3 1 0

Exercise:
Pluck the following notes. This time, play the notes with a down/up picking motion.

44
 
 
T
A
B
O O O O O O O O 1 1 1 1 1 1 1 1 3 3 3 3 3 3 3 3

Count: 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
Fingering: none 1 3
35

Jam Track No. 10 1 + 2 + 3 + 4 +

G E G E
3 3 3 3 3 3 0 0 0 0 0 0 3 3 3 3 3 3 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T
0 0 0 0 0 0 1 1 1 1 1 1 0 0 0 0 0 0 1 1 1 1 1 1
A 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2
B 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 0 0 0 0 0 0 3 3 3 3 3 3 0 0 0 0 0 0

G E G E
3 3 3 3 3 3 0 0 0 0 0 0 3 3 3 3 3 3 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T
0 0 0 0 0 0 1 1 1 1 1 1 0 0 0 0 0 0 1 1 1 1 1 1
A 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2
B 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 0 0 0 0 0 0 3 3 3 3 3 3 0 0 0 0 0 0

Continued next page...

65
D C D C
2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0
3 3 3 3 3 3 1 1 1 1 1 1 3 3 3 3 3 3 1 1 1 1 1 1
T
2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0
A 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2
B X X X X X X 3 3 3 3 3 3 X X X X X X 3 3 3 3 3 3
X X X X X X X X X X X X X X X X X X X X X X X X

D C G C
2 2 2 2 2 2 0 0 0 0 0 0 3
3 3 3 3 3 3 1 1 1 1 1 1 0
T
2 2 2 2 2 2 0 0 0 0 0 0 0
A 0 0 0 0 0 0 2 2 2 2 2 2 0
B 0 0 0 0 0 0 3 3 3 3 3 3 2
X X X X X X 0 0 0 0 0 0 3

G E G E
3 3 3 3 3 3 0 0 0 0 0 0 3 3 3 3 3 3 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T
0 0 0 0 0 0 1 1 1 1 1 1 0 0 0 0 0 0 1 1 1 1 1 1
A 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2
B 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 0 0 0 0 0 0 3 3 3 3 3 3 0 0 0 0 0 0

G E G E
3 3 3 3 3 3 0 0 0 0 0 0 3 3 3 3 3 3 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T
0 0 0 0 0 0 1 1 1 1 1 1 0 0 0 0 0 0 1 1 1 1 1 1
A 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2
B 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 0 0 0 0 0 0 3 3 3 3 3 3 0 0 0 0 0 0

D C D C
2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0
3 3 3 3 3 3 1 1 1 1 1 1 3 3 3 3 3 3 1 1 1 1 1 1
T
2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0
A 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2
B X X X X X X 3 3 3 3 3 3 X X X X X X 3 3 3 3 3 3
X X X X X X X X X X X X X X X X X X X X X X X X

D C D C
2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0
3 3 3 3 3 3 1 1 1 1 1 1 3 3 3 3 3 3 1 1 1 1 1 1
T
2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0
A 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2
B X X X X X X 3 3 3 3 3 3 X X X X X X 3 3 3 3 3 3
X X X X X X X X X X X X X X X X X X X X X X X X

G
3
0
T
0
A 0
B 2
3

66
Lesson Ten
Progress and Motivation
An old piano teacher of mine used to record my playing at different times
throughout my term’s work. At the end of the term she would give me a tape
that contained a selection of pieces that I had played running from work that I
had completed early in the term to the things that I was working on at the end
of the term. I would take this tape home and I would play it to my friends and
family. People listening to the tape would say, “Man, you’re getting good”.
This did two things for me. First of all, it made me go back to my teacher for
more lessons. Secondly, it made me practise more because I could see the
benefits of working on something over time. Basically, the progress that I could
hear on the tape motivated me to progress further.

I strongly recommend that you begin to record your practise sessions for future
reference.

The G7 Chord The C7 Chord


The G7 chord consists of the notes G, B, The C7 chord consists of the notes C, E,
D and F. It is played using the fingers 1, 2, G and Bb. It is played using fingers 1, 2, 3
and 3. and 4.

3
2 3
2
4
1
1

67
Strum

Count 1 + 2 + 3 + 4 +

44 G7

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

36

Strum

Count 1 + 2 + 3 + 4 +

44 C7

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
T 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
A 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
X X X X X X X X X X X X X X X X

37

Two Bar Rhythms


So far, the rhythm patterns given play for one bar only and are then repeated for every
following bar. We will make things a little trickier now by introducing some two bar rhythms.
A two bar rhythm is a rhythm phrase that lasts for two bars, see the following exercises.

68
Exercise:
Play the following chord progression using the two bar rhythm provided. Note that both F and
C are held for two bars each.

Strum

Count 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
Bar 1 Bar 2

44 F C

1 1 1 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
T 0 0 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0
A 3 3 3 3 3 3 2 2 2 2 2 2 2 2 2
3 3 3 3 3 2 2
B X X X X X X X X X X X 3 3 3 3 3 3 3 3 3 3 3
X X X X X X X X X X X X X X X X X X X X X X

38

Exercise:
Here are some more two bar rhythms. This time we use two new chords, G7 and C7.
Notice that in this exercise, there are chord changes that occur half way through the two bar
rhythm. This could be hard to coordinate at first. Stay with it though and remember to keep
your strum hand consistent.

Strum

Count 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
Bar 1 Bar 2

44 A7 D7 G7 C

0 0 0 0 0 0 2 2 2 2 2 2 1 1 1 1 1 1 0 0 0 0 0 0
2 2 2 2 2 2 1 1 1 1 1 1 0 0 0 0 0 0 1 1 1 1 1 1
T
0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0
A
2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2
B 0 0 0 0 0 0 X X X X X X 2 2 2 2 2 2 3 3 3 3 3 3
X X X X X X X X X X X X 3 3 3 3 3 3 X X X X X X

39
69
Strum

Count 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
Bar 1 Bar 2

44 C7 F D7 G

0 0 0 0 0 0 0 1 1 1 1 1 1 2 2 2 2 2 2 2 3 3 3 3 3
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 0 0 0 0 0
T
3 3 3 3 3 3 3 2 2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0
A
2 2 2 2 2 2 2 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0 0 0
B 3 3 3 3 3 3 3 X X X X X X X X X X X X X 2 2 2 2 2
X X X X X X X X X X X X X X X X X X X X 3 3 3 3 3

40

Your Gear
Buy the best gear that you can and maintain it. Good gear is definitely good for
motivating yourself when it comes to practise time. If you save your money you
will be able to reward yourself for reaching your practise goals. To keep things
interesting, try going through the routine that you’ve been playing using a new
guitar effect. Practising with a delay or distortion effect on, for example, may
change the way that your fingers play something.

Always keep your gear in tune. Practise is never good when your gat is out of
tune, especially if you’re in a band situation. Good habits during practise will
strengthen your motivation.

70
Lesson Eleven
Good to see you are still with us. In this lesson we are going to look at a blues progression
which is very exciting as blues has played a big role in forming music as we know it today. You
are doing well with the lessons, keep up the good work!

The Musical Language


It’s amazing how people will argue over tab and traditional notation. You might
hear things like,“Tab is best for guitarists” and things like “Classical notation
is good if you want to be a session musician”.

The truth is, for every positive point that tab has, traditional music notation
has an equally positive point. The idea is to use both. Tab can be an extremely
useful tool to learn some skills fast and easily. Traditional notation, on the other
hand, relates to every instrument. Knowing it enables you to relate to all types
of music and musical instruments, also it is much easier to note down melody
ideas on stave music than it is to TAB out on guitar TAB everytime. Realize that
at some point along the way, you are going to learn all the ways that you can
communicate music. Do not ever limit yourself. Learn it all!

The B7 Chord
The B7 chord consists of the notes B, D#,
F# and A. It is played using the fingers 1,
2, 3 and 4.

2
1
3
4

71
Strum

Count 1 + 2 + 3 + 4 +

44 B7

2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
B 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
X X X X X X X X X X X X X X X X

41

Exercise: Blues in E major


Now that we have covered the basic open dominant 7 chords we can play a blues in E major.
Use the suggested strum and make sure that you keep the chord changes smooth and clear.
Start out slow and as you get better, increase the speed of your strum.

Within this piece there are two endings, a first ending (1) and a second ending (2). Once the
first ending has been played, the piece is played again from beginning (this is indicated by the
repeat sign ) and ends after the second ending has been played (indicated by a double bar
line ), i.e. you don’t play the 1st ending ,(1), the second time around.

Strum

Count 1 + 2 + 3 + 4 +

44 E E7 E E7

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
A
2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0
B
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

72
44 A A7 E E7

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0
T
2 2 2 2 2 2 0 0 0 0 0 0 1 1 1 1 1 1 1 1 1 1 1 1
A
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0
B 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2
X X X X X X X X X X X X 0 0 0 0 0 0 0 0 0 0 0 0

(1)

44B7 A A7 E B7

2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2
0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0
T
2 2 2 2 2 2 2 2 2 0 0 0 1 1 1 1 1 1 2 2 2 2 2 2
A
1 1 1 1 1 1 2 2 2 2 2 2 2 2 2 2 2 2 1 1 1 1 1 1
B 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 X X X X X X 0 0 0 0 0 0 X X X X X X

(2)

44B7 E

2 2 2 2 2 2 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0
T
2 2 2 2 2 2 1 1 1 1 1 1
A 1 1 1 1 1 1 2 2 2 2 2 2
B 2 2 2 2 2 2 2 2 2 2 2 2 42
X X X X X X 0 0 0 0 0 0

73
Jam Track No. 11

1 + 2 + 3 + 4 +

A
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
T 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X X X X X X X X X X X X X X X

D A
2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0
3 3 3 3 3 3 3 3 3 3 3 3 2 2 2 2 2 2 2 2 2 2 2 2
T 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2
B X X X X X X X X X X X X 0 0 0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X X X X X X X X X X X X X X X

E D A E
0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 3 3 3 3 3 3 2 2 2 2 2 2 0 0 0 0 0 0
T
1 1 1 1 1 1 2 2 2 2 2 2 2 2 2 2 2 2 1 1 1 1 1 1
A
2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2
B 2 2 2 2 2 2 X X X X X X 0 0 0 0 0 0 2 2 2 2 2 2
0 0 0 0 0 0 X X X X X X X X X X X X 0 0 0 0 0 0

Pete Townshend started out by learning the Banjo and joining a New Orleans
Jazz band. Throughout the 60s Townshend became well known for his use of
controlled feedback through his amplifier, his onstage antics including the
‘windmill’ arm swing and the smashing of musical equipment. He is also credited
with the invention of the ‘rock power chord’ (Book Two) that is widely used
today in modern rock music.

74
Lesson Twelve
Practise tips
The place where you practise is very important. Your practise room needs to be
free of distractions and a place you can feel totally comfortable in. The best
advice is to set up a permanent practise space in an area that is free from all
audio distractions. You want to be able to leave your gear there exactly how
you want it when you return. Get yourself a table and a comfortable seat and
make sure that you have everything you need available to you. Make sure that
you have the right amount of light so that you aren’t straining your eyes when
reading music.There are some helpful tools available to you that make practise
a lot better. A tuner will make things a lot easier and sound a lot nicer. A stereo,
tape recorder, metronome, music stand, and instrument stand are also essential
to good practise.

Notes on Stave: first position


0 1 2 3 4
T 0 1 2 3 4
A 0 1 2 3
0 1 2 3 4
B 0 1 2 3 4
0 1 2 3 4

      
        
      

      
String: 6 6 6 6 6 5 5 5 5 5 4 4 4 4 4 3 3 3 3 2 2 2 2 2 1 1 1 1 1

Note:       
E F F# G G A A B C C D D E F F G G A A B C C D D E F F G G    
Fingering: * 1 2 3 4 * 1 2 3 4 * 1 2 3 4 * 1 2 3 * 1 2 3 4 * 1 2 3 4

Exercise:
The notes written above can all be found within the first position on the guitar fret. To get
familiar with them, start on the low E note and play up to the top G note. From G play each
note back to the low E note naming each one as you play it. Play this with an down/up picking
motion. Remember to play each fret with it’s corresponding finger (e.g. 1-1, 2-2, 3-3, 4-4)

43

75
Tab
01234
01234
T 0123
A
01234
B
01234
01234

43210
43210
T
3210
A
43210
B
43210
43210

As you worked through that last exercise, you may have noticed that the space
between the notes B and C, and the notes E and F, is only a fret. This space is
called a semi-tone. All the other notes on the fret board are two frets apart
- called a tone. Keep this in mind as we will come back to it when we cover
scales in another few lessons.

Bass note picking


Bass notes are those notes that are played on the 4th, 5th and 6th strings. Bass note picking
is a technique where single bass notes are played and then followed by a full chord. See the
following exercise.

Exercise:
In this progression, see if you can play the bass notes while holding each chord shape with
your left hand for the full 4 counts of each bar.

Strum:
Count: 1 2 3 4

44C Am F G
    
   
X 0 0 X X 0 0 X X 1 1 X X 3 3 X
X 1 1 X X 1 1 X X 1 1 X X 0 0 X
T
X 0 0 X X 2 2 X X 2 2 X X 0 0 X
A X 2 2 2 X 0 0 X
X 2 2 2 3 3 3 3
B 0 0 0 X X 2 2 2
3 3 3 X X X X X
X 0 0 X X X X X X X X X 3 3 3 X

44
76
Lesson Thirteen
Caring for your Gear
As I mentioned earlier, when you buy gear, get the best that you can afford.
You definitely get what you pay for when it comes to musical equipment. Only
share your gear with people you really trust. Most people won’t look after your
gear like you would.

Protect your gear. An excellent practise habit is to place your guitar in a stand
when it is not in use. If you are really passionate about music, you’ll probably
end up spending a lot of money on it, so invest in some protection. Get a hard
case for your gat, one that can handle a few knocks. Keep a nice clean cloth to
wipe down your strings after practise. When you clean your gat, remember to
push down firmly on the strings and don’t neglect any place along the fret. Keep
the surface of your guitar clean. Clean, shiny guitars look beautiful.

Keep a moisture-collecting pad in your case and change it regularly. Have a spare
packet of strings at all times. If your guitar gets broken, pay a professional to
fix it.

You are one of a new breed of guitarist, one who knows all the details of how a
guitar is made and maintained. Learn about your guitar. Take a day trip to the
library and read some books about guitar craft, pickups and electronics. This
way, you will always have well-maintained and reliable gear.

Time Signature
A time signature denotes two numbers (e.g. 4/4). The upper number specifies the number of
beats per bar and the lower number specifies the note value of each beat.

Example: 4 indicates 4 beats per bar


4 indicates that the
beat value is a quarter note (crotchet)

Therefore, a bar of 4/4 (in its simplest form) would look like this:

 44    
Count: 1 2 3 4

Another term for 4/4 is ‘common time’ It is written with the letter ‘C’

C
77
3/4 Time
Until now, all exercises have been written and played in 4/4.
Let us now take a look at 3/4 time signature.

3 indicates 3 beats per bar.


4 indicates that the beat value is a quarter note (crotchet)

Example:
34      

Count: 1 2 3 1 2 3

Exercise:
Play this 3/4 rhythm over the E major chord.

Strum:

Count: 1 + 2 + 3 +

E
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
T 1 1 1 1 1 1 1 1
A 2 2 2 2 2 2 2 2
B 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0

Exercise:
Play the following chord progression using the 3/4 strum provided.
Strum:
45
Count: 1 + 2 + 3 +

34 E C G B7

0 0 0 0 0 0 0 0 3 3 3 3 2 2 2 2
0 0 0 0 1 1 1 1 0 0 0 0 0 0 0 0
T
1 1 1 1 0 0 0 0 0 0 0 0 2 2 2 2
A 2 2 2 2 2 2 2 2 0 0 0 0 1 1 1 1
B 2 2 2 2 3 3 3 3 2 2 2 2 2 2 2 2
0 0 0 0 X X X X 3 3 3 3 X X X X

78
Jam Track No. 12

Note: This Jam Track is in 3/4 time. 1 + 2 + 3 +

Am C
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
T 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0
A 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 0 0 0 0 0 0 0 0 3 3 3 3 3 3 3 3
X X X X X X X X X X X X X X X X

D
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
T 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 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

Am C
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
T 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0
A 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 0 0 0 0 0 0 0 0 3 3 3 3 3 3 3 3
X X X X X X X X X X X X X X X X

D
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
T 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 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

Exercise: Bass note picking in 3/4

34 A G C D

  

0 0 3 3 0 0 2 2 2
2 2 0 0 1 1 3 3 3
T
2 2 0 0 0 0 2 2 2
A 0 0
2 2 2 2 0 0 0 0
B 0 0 2 2 3 3 3 X X X
0
X X 3 3 3 X X X X X

46
79
Jam Track No. 13

Note: This Jam Track is in 3/4 time. 1 + 2 + 3 +

G C G
3 3 3 3 0 0 0 0 3 3 3 3
0 0 0 0 1 1 1 1 0 0 0 0
T
0 0 0 0 0 0 0 0 0 0 0 0
A 0 0 0 0 2 2 2 2 2 0 0 0 0
B 2 2 2 2 2 3 3 3 3 3 2 2 2 2
3 3 3 3 3 X X X X 3 3 3 3 3 3

D G C
2 2 2 2 3 3 3 3 0 0 0 0
3 3 3 3 0 0 0 0 1 1 1 1
T
2 2 2 2 0 0 0 0 0 0 0 0
A
0 0 0 0 0 0 0 0 0 0 2 2 2 2 2
B X X X X 2 2 2 2 2 3 3 3 3 3
X X X X 3 3 3 3 3 X X X X

G D G
3 3 3 3 2 2 2 2 3 3 3 3
0 0 0 0 3 3 3 3 0 0 0 0
T 0 0 0 0 2 2 2 2 0 0 0 0
A 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 2 2 2 2 X X X X 2 2 2 2 2
3 3 3 3 3 3 X X X X 3 3 3 3 3

C G D
0 0 0 0 3 3 3 3 2 2 2 2
1 1 1 1 0 0 0 0 3 3 3 3
T 0 0 0 0 0 0 0 0 2 2 2 2
A 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0
B 3 3 3 3 3 2 2 2 2 X X X X
X X X X 3 3 3 3 3 3 X X X X

80
Lesson Fourteen
Good Technique
Good technique is the result of regular practise of exercises such as scales,
licks and arpeggios. Because these skills can be played in different timings and
at different speeds, achieving good technique requires loads of practise.

Take the example of a turn-around chord progression like one of those that
you have learned already. It could be put into a 4/4 time and be very simple
and easy to play, but how does the same progression sound in ¾ or with a
reggae strum or with jazz chords? At the end of the day, the more techniques
you have the better your technique will be and the more versatile your song
writing will become.

Someone with good technique will be able to play a progression fast or slow or
with a different feel and still play with precision and clarity. You must realize
that speed comes from practise. To gain speed initially, you need to start slow
and build up slowly. It’s best to cement a particular skill by playing it slowly.
Then once it has stuck, you should practise it at speed to enable yourself to
perform that skill at any speed you like. This produces precision. Without
practise, you will find that most people have a speed/accuracy trade off. The
faster you go the bigger the mess.

Suspended Chords The Asus4 Chord


Suspended, or sus chords are used by
The Asus chord consists of the notes A, D
guitarists because they provide an open
and E. Notice that the 3rd finger remains
and incomplete sound. There are two
on the 2nd fret even though the 4th finger
types of sus chord. One type is sus4
is placed on the 3rd fret of the same
and the other is sus2. Sus chords are
string. The reason for this is that it allows
built the same way that major chords
you to move easily between the Asus and
are built except that their middle note
the A chord.
changes from that of the major chord.
Major chords are built from notes 1, 3
and 5 of the major scale (we look at the 1
major scale later in this Lesson). The 2
middle note in a sus chord, however, is 4 3
replaced by either notes 2 or 4 of the
major scale, hence the name Sus2 and
Sus4. Sus4 is made of the notes 1, 4 and
5 of the major scale and sus2 is made of
the notes 1, 2 and 5.

Because the middle note in the sus


chord is different to that of a regular
major chord, there is an unresolved feel
to its sound.

81
Strum

Count 1 + 2 + 3 + 4 +

44 Asus4

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
T 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X X X X X X X

47

The Dsus4 Chord


The Dsus chord consists of the notes D, G
and A. Notice that once again there is a
double-up of fingers on the same string.
This is common and you will see it in
other chords. Usually it makes movement
between certain chords easier.

1
3
4 2

82
Strum
48
Count 1 + 2 + 3 + 4 +

44 Dsus4

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
T
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 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

The Esus4 Chord


The Esus chord consists of the notes E, G,
A and B.

2
3
4 1

Strum
49
Count 1 + 2 + 3 + 4 +

4
4
Esus4

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
83
Exercise:
Strum

Count 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +

44 A Asus4 A D Dsus4 D

0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 3 3 3 2 2 2
2 2 2 2 2 2 3 3 3 2 2 2 3 3 3 3 3 3 3 3 3 3 3 3
T
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A
2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0
B 0 0 0 0 0 0 0 0 0 0 0 0 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

44 A Asus4 A E E

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 3 3 3 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0
T
2 2 2 2 2 2 2 2 2 2 2 2 1 1 1 1 1 1 1 1 1 1 1 1
A
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2
X X X X X X X X X X X X 0 0 0 0 0 0 0 0 0 0 0 0

44 D A E Esus4 E

2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
3 3 3 3 3 3 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0
T
2 2 2 2 2 2 2 2 2 2 2 2 1 1 1 1 1 1 2 2 2 1 1 1
A
0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B
X X X X X X 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2
X X X X X X X X X X X X 0 0 0 0 0 0 0 0 0 0 0 0

50
84
Jam Track No. 14
Strum

Count 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +

A Asus4 A D Dsus4 D
0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 3 3 3 2 2 2
2 2 2 2 2 2 3 3 3 2 2 2 3 3 3 3 3 3 3 3 3 3 3 3
T 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0
B 0 0 0 0 0 0 0 0 0 0 0 0 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

A Asus4 A E Esus4 E
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 3 3 3 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0
T 2 2 2 2 2 2 2 2 2 2 2 2 1 1 1 1 1 1 2 2 2 1 1 1
A 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2
X X X X X X X X X X X X 0 0 0 0 0 0 0 0 0 0 0 0

D A E Esus4 E
2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
3 3 3 3 3 3 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0
T
2 2 2 2 2 2 2 2 2 2 2 2 1 1 1 1 1 1 2 2 2 1 1 1
A 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B X X X X X X 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2
X X X X X X X X X X X X 0 0 0 0 0 0 0 0 0 0 0 0

D Dsus4 D A Asus4 A
2 2 2 2 2 2 3 3 3 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0
3 3 3 3 3 3 3 3 3 3 3 3 2 2 2 2 2 2 3 3 3 2 2 2
T 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2
B X X X X X X X X X X X X 0 0 0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X X X X X X X X X X X X X X X

E Esus4 E Esus4 E
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 1 1 1 1 1 1 2 2 2 1 1 1 1 1 1 1 1 1 2 2 2 1 1 1
A 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

D Dsus4 D A Asus4 A
2 2 2 2 2 2 3 3 3 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0
3 3 3 3 3 3 3 3 3 3 3 3 2 2 2 2 2 2 3 3 3 2 2 2
T 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2
B X X X X X X X X X X X X 0 0 0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X X X X X X X X X X X X X X X

85
E Esus4 E Esus4 E
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 1 1 1 1 1 1 2 2 2 1 1 1 1 1 1 1 1 1 2 2 2 1 1 1
A 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Scales
A scale is defined as an ascending or descending collection of pitches proceeding by a
specified scheme of intervals. Let’s take a look at one particular type of scale - the Major
Scale.

The Major Scale


The major scale is probably the most common scale used in music. It has a happy quality
about it. It feels complete, with no need for resolve. An example of a major scale is shown
below.

    
   
T O 1
A O 2
O 2 3
B 3
1 2 3 4 5 6 7 8
Tone Tone Semi- Tone Tone Tone Tone Semi-Tone

86
Exercise:
Play the above scale from start to finish and then play the scale in reverse, back to the
starting position on C on the fifth string.

Each note in a scale is given a number. You may notice that between the notes 3 and 4, and
the notes 7 and 8 there is a distance of one fret; this is a semi-tone. All the other notes are
separated by two frets or a whole tone. This is the case for all major scales.

44      
   
  
1 2 3 4 5
  
6 7 8 8 7 6 5 4 3 2 1

0 1 1 0
T 0 2 2 0
A 0 2 3 3 2 0
B 3 3

51

Brian May, guitarist for Queen, built his own guitar to use in live gigs and for
recordings. Rather than using a standard plectrum Brian prefers to use an old
English sixpenny piece.

87
Jam Track No. 15

This Jam Track utilizes the C major scale. It’s quite funky and hopefully by
the end of this you will be an expert on your C Major Scale.

T
A
0 2 0 2
B
3 3 3 3

T
A
0 2 0 2
B
3 3 3 3

0 1 0 1
T
0 2 0 2
A
0 2 3 0 2 3 0 2
B
3 3 3 3

0 1 0 1 0 1 0 1
T 0 2 0 2 0 2 0 2
A 0 2 3 0 2 3 0 2 3 0 2 3
B 3 3 3 3

T
A
0 2 0 2
B
3 3 3 3

0 1 0 1 0 1 0 1
T 0 2 0 2 0 2 0 2
A 0 2 3 0 2 3 0 2 3 0 2 3
B 3 3 3 3

88
Lesson Fifteen
The Rounded Musician
Apart from lessons and exercises, what else should you do to learn your craft?
One idea is to build a library of music books. These could be anything that you
are interested in, from flute to old piano music. Many books can be found at
garage sales or second hand bookshops. Collect old and new. Keep updated by
reading guitar magazines.

If you love an artist, buy the official book, listen to the CD and play along. An
excellent skill is to be able to play a song all the way through with a CD on in
the background, especially when the tune pushes your ability.

Start a black book. Alphabetically file every new scale and riff or lick you are
learning and have mastered. Take a lick or scale every once and a while and
use it in your practise. Play the lick all over the guitar. Start slow and play
until your fingers are breaking the sound barrier. For those who wish to push
their brain, try to play every lick or solo or scale you have learned, in reverse
(a couple of months’ work right there).

The Asus2 chord


The Asus2 chord consists of the notes A, B
and E.

1
2

89
Strum
52
Count 1 + 2 + 3 + 4 +

44 Asus2

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X X X X X X X

The Dsus2 Chord


The Dsus2 chord consists of the notes D, E
and A.

1
3

Strum
53
Count 1 + 2 + 3 + 4 +

44 Dsus2

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
T 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 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
90
Exercise:
Try the following progression. It uses both types of sus chord and major chords.

Strum:
54
Count: 1 + 2 + 3 + 4 +

44 A Asus2 A Asus4

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2 3 3 3 3 3 3
T 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X X X X X X X X X X X X X X X

44 D Dsus2 D Dsus4

2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
T
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 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

Jam Track No. 16

2 0 2 3
T 2 2 2 2
A 2 2 2 2
B 0 0 0 0

2 0 2 3
3 3 3 3
T 2 2 2 2
A 0 0 0 0
B

91
2 0 2 3
T 2 2 2 2
A 2 2 2 2
B 0 0 0 0

2 0 2 3
3 3 3 3
T 2 2 2 2
A 0 0 0 0
B

A Asus2 A Asus4
0 0 0 0 0 0 0 0 0 0
2 2 0 0 2 2 3 3 3 3
T
2 2 2 2 2 2 2 2 2 2
A
2 2 2 2 2 2 2 2 2 2
B
0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X

D Dsus2 D Dsus4
2 2 0 0 2 2 3 3 3 3
3 3 3 3 3 3 3 3 3 3
T
2 2 2 2 2 2 2 2 2 2
A 0 0 0 0 0 0 0 0 0 0
B X X X X X X X X X X
X X X X X X X X X X

A Asus2 A Asus4 A
0 0 0 0 0 0 0 0 0 0
2 2 0 0 2 2 3 3 2 2
T
2 2 2 2 2 2 2 2 2 2
A
2 2 2 2 2 2 2 2 2 2
B
0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X

A
0
2
T
2
A
2
B
0
X

Congratulations on making it to the end of Book One!

You can now move on to Book Two.

92
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93
Supplementary Chord Reference
Major chords in open position.

A A#/Bb B
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

2 2 2
1 3 3
3 4 4
1 1

C C#/Db D
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

3
2 4
1 1
1 3 3 1
2 2

D#/Eb E
Fret 5 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

2
3 3
1
2 1 1 1

F F#/Gb G
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1
2
1
3 3
2 2
1
1 1 3

94
Minor chords in open position.

G#/Ab Am A#m/Bbm
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

2 3
3 4
1 1 2
4 1

Bm Cm C#m/Dbm
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

3 1 2
4 1
2 2 3
1 4

Dm D#m/Ebm Em
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

2
3 3
2 2
3 4
1 1

Fm F#m/Gbm Gm
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

3 3

1 1 1

95
Dominant Seventh chords in open position.

A7 A#7/Bb7 B7
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

2
2 1
1 3
3
2 4

C7 C#7/Db7 D7
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

3
2 2
4 3 2
1 1 1
4 3

D#7/Eb7 E7 F7
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1

2
1
3 1 2
2 1
4

F#7/Gb7 G7 G#7/Ab7
Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1 Fret 4 Fret 3 Fret 2 Fret 1
3
2
3
2 1
1
1 2

96