Hargreaves G - Guitar Academy. 2 (2004) PDF

unit ll
month one
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UNIT ll finger picking style
Month 1 - Week One
unit one revision

finger picking
Fingers
I have illustrated both hand to make clear
the difference between them, however you M
should know the fingers of the left hand by now. I A
L
P = primary
I = index
M = middle P
A = annular
L = little
The finger names are important.

Above the tab you will see something written like P I M I this tell you which finger to use.
fig.1 fig.2
fig.1
1 The thumb rests on
the string.
fig.2 The thumb plucks

the string downwards
towards the floor.
fig.3 fig.4
fig.3
3 The fingers rest on
the string.
fig.4
4 The fingers pluck
upward toward the roof.

time signatures
The time signature tells the musician how the tune should be counted. They look like a fraction.
4
4
The way to interpret the information given in a time signature is as follows.
The TOP number represents the number of beats in the bar.
The BOTTOM number represents the value of beat.

For example we have use 4/4 time in many of the tunes you have learned, and 4/4 time is in the
example above. The top 4 means that their are 4 beats in the bar, the bottom 4 tells us that the beat
value is four or a crotchet. So 4/4 time means that their are 4 crotchets per bar.
List of note Values

1 semibreve
2 minim
4 crotchet
8 quaver
16 semiquaver
32 demisemiquaver
examples
4 Four crotchets in a bar

4
3 Three crotchets in a bar
4
2 Two crotchets in a bar
4
6 Six quavers in a bar
8
2 Two minims in a bar
2
6 Six semiquavers in a bar
16

tune
Snowfall - Sad Fantasy
P I M A M I
Fmaj7 Fmaj7 Em Em
0 0 0 0
1 1 1 1 0 0 0 0
2 2 2 2 0 0 0 0
3 3 2
2
Dm Dm C C
1 1 0 0
3 3 3 3 1 1 1 1
2 2 2 2 0 0 0 0
0 2
0 3
Fmaj7 Fmaj7 Em Em
0 0 0 0
1 1 1 1 0 0 0 0
2 2 2 2 0 0 0 0
3 3 2
2
Dm Dm C
1 1 0
3 3 3 3 1 1
2 2 2 2 0 0
0
0 3 3
Em Em Am Am
0 0 0 0
0 0 0 0 1 1 1 1
0 0 0 0 2 2 2 2
2 2 0 0
G6 G6 Am Am
0 0 0 0
3 3 3 3 1 1 1 1
0 0 0 0 2 2 2 2
0 0
3 3
Em Em C C
0 0 0 0
0 0 0 0 1 1 1 1
0 0 0 0 0 0 0 0
2 2
2 3

P I M A M I
Dm Dm Fdim
1 1 1
3 3 3 3 0 0
2 2 2 2 1 1
0 0 0 0
Fmaj7 Fmaj7 Em Em
0 0 0 0
1 1 1 1 0 0 0 0
2 2 2 2 0 0 0 0
3 3 2
2
Dm Dm C Cadd9
1 1 0 0
3 3 3 3 1 1 3 3
2 2 2 2 0 0 0 0
0
0 3 3
Am Am Em Em
0 0 0 0
1 1 1 1 0 0 0 0
2 2 2 2 0 0 0 0
2
0 2
0
Am Am Em
0 0 0
1 1 1 1 0 0
2 2 2 2 0 0
2
0 2 2
Fmaj7 Fmaj7 Em Em
0 0 0 0
1 1 1 1 0 0 0 0
2 2 2 2 0 0 0 0
3 3 2
2
Dm Dm C
1 1 0
3 3 3 3 1 1
2 2 2 2 0 0
0
0 3 3
This is the symbol for pause,

or take a breath.

Month 1 - Week Two
3/4 time patterns
Three four time tunes can usually be easily recognized. One of the most common 3/4 time styles is the waltz.
Whilst it is most commonly associated with the dance the waltz style is also used frequently in fun fair music
and in beer gardens.
Exercise 1 Waltz
P I M A I M A
D D A A
2 2 2 2 0 0 0 0
3 3 3 3 2 2 2 2
2 2 2 2 2 2 2 2
0 2
0 2
D D A
2 2 2 2 0 0
3 3 3 3 2 2
2 2 2 2 2 2
0 2
0 0 2 4
G G A A
0 0
0 0 0 0 2 2 2 2
0 0 0 0 2 2 2 2
0 0 0 0 2 2 2
2 0
3
G G A A
0 0 0 0 2 2
0 0 0 0 2 2
0 0 0 0 2 2
2 0 0
3
G G A A
0 0
0 0 0 0 2 2 2 2
0 0 0 0 2 2 2 2
0 0 0 0 2 2 2
2 0
3
D A D
2 2 0 0 2 2
3 3 2 2 3 3
2 2 2 2 2 2
0 0 0
0

Note that with the following exercises, the thumb or primary finger is used twice.
Exercise 2
P I M I P I
F C
1 0
1 1 1 1 1 1
2
3 2
3
Dm C
1 0
3 3 3 1 1
2
0
3 3
F C
1 0
1 1 1 1 1 1
2
3 2
3
Am Dm
0 1
1 1 1 3 3 3
2
2 0
0
Exercise 3
P I M A P I
D E
2 0
3 0
2 2 1 1
0
0 2
0
G A
3 0
0 2
0 0 2 2
2
2 0
3
D
2
3
2 2
0 0
0

Exercise 4
P I M I P I
C G6 Am
0 0 0 0
1 1 1 3 3 3 1 1 1 1 1 1
2
2 0 2 2
3 2 0
C G6 Am
0 0 0 0
1 1 1 3 3 3 1 1 1 1 1 1
2 0 2 2
3 2 0 0
F C Dm
1 0 1 1
1 1 1 1 1 1 3 3 3 3 3 3
2 2 2
3 2 0 0
3
F C Am
1 0 0 0
1 1 1 1 1 1 1 1 1 1 1
2 2
3 2 2 2
3 0
C G6 Am
0 0 0 0
1 1 1 3 3 3 1 1 1 1 1 1
2
2 0 2 2
3 2 0
C G6 Am
0 0 0 0
1 1 1 3 3 3 1 1 1 1 1 1
2 0 2 2
3 2 0 0
Am
0 0
1 1 1 1 1 1
0
2 2
0 0 0

Month 1 - Week Three
The Major scale
Open G major scales
Lower, one octave Upper, one octave 2 octave

G major scale G major scale G major scale
1 1
2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3
4 4
Barre G major scales
Lower, one octave 2 octave

G major scale G major scale
1 1 1 1 1 1
2 2 2 2 2 2
3 3 3
4 4 4 4 4 4 4 4
Tonics and octaves
As with barre chords the root or tonic is the note that gives the
scale its name. In the scales above the tonic note is G, and in
the illustration to the right you can see where the G notes are
relative to the scales. The major scale will always start on the
tonic.
Octave
An octave is the gap between the two closest notes with the
same name, or in this case an eight note gap between three
tonic notes.

Major scale theory and key signatures
The major scale can be considered as the DNA of western music, virtually every scale
you use has either come directly from, or has some connection with the major scale.
Most people know the sound of the major scale from
DOH RAY ME FAH SOH TE DOH.
The major scale is simply a pattern of tones and semitones.
The pattern in semitones is
2 . 2 . 1 . 2 . 2 . 2 . 1
The pattern in tones and semitones is
TONE TONE SEMITONE TONE TONE TONE SEMITONE
Exercise
Play the pattern above. (A semitone is a gap of one fret and a tone is a gap of two frets)
Note
This pattern is so important to the fundamentals of music that the layout of a keyboard has been designed
around it. If you play this pattern from C to C on a keyboard you will notice that a black note appears everywhere
a tone is played or in other words you will only play white notes.
Try to play the following pattern starting on any open string
tone tone semitone tone tone tone semitone
open fret 2 fret 4 fret 5 fret 7 fret 9 fret 11 fret 12
Key signatures
The key signature tells us what key the tune is in, or in other words which major scale the
tune is based around.
When playing the major scales in different positions on the neck, the number of sharps and
flats played in the scale changes depending on where we play the major scale. Each
major scale has a unique number of sharps or flats in it and when reading music, one of the
first things on the staff is the sharps or flats for that tune. From the list of sharps of flats on the
staff we know key the music is in, or what major scale was used when the music was written.

List of key signatures
Exercise
It is possible to improvise using the major scale in the same 2 octave

way as you improvised using the blues scale. It will take a little C major scale
more concentration, as it is not quite so easy to make the
improvising fit as with the blues scale.
1 1 1 1
1. Practise the scale until it is fluent
2 2 2 2
fret 8
2. Improvise using the backing. 3 3
For the improvisation backing track in the key of C major (no 4 4 4 4 4
sharps or flats), the chords are as listed here.
| Am / / / | C / / / | F / / / | Dm / / / | G / / / | G / / / |

Month 1 - Week Four
Moving bass lines
Exercise 1
P P P I M A M I
G Em
3 0
0 0 0 0
0 0 0 0
0 2 3 3 2 0
Exercise 2
P I M A M I M A
C C
0 0 0
1 1 1 1 1
0 0 0 0
3 3 3 2
Am Am
0 0 0
1 1 1 1 1
2 2 2 2
2
0 0 0
Dm Dm
1 1 1
3 3 3 3 3
2 2 2 2
0 0 0
0
G7 G7
1 1 1
0 0 0 0 0
0 0 0 0
2
3 3 3

Exercise 3
P I M A P I M A
G G
3 3 3 3
0 0 0 0
0 0 0 0
0
0 2
3
C C
0 0 0 0
1 1 1 1
0 0 0 0
0 2
3 3
Dm G7
1 1 1 1
3 3 0 0
2 2 0 0
0
0 2
3
C Am
0 0 0 0
1 1 1 1
0 0 2 2
2
3 2 0
Dm G7
1 1 1 1
3 3 0 0
2 2 0 0
0 0
0
3
Am Am
0 0 0 0
1 1 1 1
2 2 2 2
2 2
0 0
Dm G7
1 1 1 1
3 3 0 0
2 2 0 0
0
0 2
3
C C
0 0 0
1 1 1
0 0 0
3 2 3 3

tune
Only you - Vince Clarke
Verse
P I M A P I M A
C G6 (B bass) Am Am (G bass)
0 0 0 0
1 3 1 1
0 0 2 2
3 2 0
3
F C G
1 1 0 3
1 1 1 0
2 2 (2) 0 0
3
1 3
C G6 (B bass) Am Am7 (G bass)

0 0 0 0
1 3 1 1
0 0 2 0
3 2 0
3
F C G
1 1 0 3
1 1 1 0
2 2 (2) 0 0
3
1 3
Chorus
P I M A I M A
F G
1 1 3 3
1 1 0 0
2 2 0 0
1 3
C G6 (B bass) Am Am (G bass)
0 0 0 0
1 3 1 1
0 0 2 0
3 2 0
3

F G
1 1 3 3
1 1 0 0
2 2 0 0
1 1 3 3
C C
0 0 0
1 1 1
0 0 0
3 3 3 3
Arrangement
Verse - chorus - verse - chorus - verse - chorus - verse - chorus
New chords
G (B bass) Am (G bass) Am7 (G bass)

1 1
2 2 3 2
4 4 4
Alternative fingering
G (B bass) Am (G bass) Am7 (G bass)
1 1
1 2 2
3 3 3

unit ll
month two


Month 2 - Week One
4/4 time patterns
Four / four time is sometimes also called common time. It is called common time because it
is indeed common. Probably 95 percent of all modern music is written in four / four time and
a large percentage of old and even classical music is written in this time signature.
Exercise 1
P I M I A I M I P I M I A I M I
0 0
0 0 0 0
0 0 0 0 0 0 0 0
0 0
Exercise 2
P I M I A I M I P I M I P I M I
G G
3
0 0 0 0
0 0 0 0 0 0 0 0
2
3 3
C C
0
1 1 1 1
0 0 0 0 0 0 0 0
2
3 3
D D
2
3 3 3 3
2 2 2 2 2 2 2 2
0 0
0
G
3
0 0
0 0 0 0
3 3

4/4 Study
P I M I A I M I
C Em
0 0
1 1 0 0
0 0 0 0 0 0 0 0
3
0
Am F
0 1
1 1 1 1
2 2 2 2 2 2 2 3
3
0
C Em
0 0
1 1 0 0
0 0 0 0 0 0 0 0
3
0
Am Am
0 0
1 1 1 1
2 2 2 2 2 2 2 2
0 0
F G
1 3
1 1 0 0
2 2 2 0 0 0 0 0
3
3
Am Em
0 0
1 1 0 0
2 2 2 2 0 0 0 0
0
0
F G
1 3
1 1 0 0
2 2 2 0 0 0 0 0
3
3
Am Am
0 0
1 1 1
2 2 2 2 2 2
0 0

tune
Every breath you take - The Police
Fill P I M I A M I M
A
6
7 7 7
7 7 7
5
Verse
A A F#m F#m
6 6 2 2
7 7 7 7 7 7 4 4 4 4 4 4
7 7 7 7 7 7 4 4 4 4 4 4
5 5 2 2
D E F#m F#m
7 9
7 7 7 9 9 9 2 2
7 7 7 9 9 9 4 4 4 4 4 4
5 7 4 4 4 4 4 4
2 2
D E A A
7 9
7 7 7 9 9 9 6 6
7 7 7 9 9 9 7 7 7 7 7 7
5 7 7 7 7 7 7 7
5 5
D D A A
7 7
7 7 7 7 7 7 6 6
7 7 7 7 7 7 7 7 7 7 7 7
5 5 7 7 7 7 7 7
5 5
B7 B7 E E
9 9
8 8 9 9 9 9 9 9
7 7 7 7 7 7 9 9 9 9 9 9
9 9 9 9 9 9 7 7
7 7

A A F#m F#m
6 6 2 2
7 7 7 7 7 7 4 4 4 4 4 4
7 7 7 7 7 7 4 4 4 4 4 4
5 5 2 2
D E F#m F#m
7 9
7 7 7 9 9 9 2 2
7 7 7 9 9 9 4 4 4 4 4 4
5 7 4 4 4 4 4 4
2 2
Chorus
F5 F5 G5 G5
3 3 5 5
3 3 5 5
1 1 3 3
F5 F5 A5
3 3 7 (7)
3 3 7 (7)
1 1 5 (5)
Arrangement fill - verse - chorus - fill - verse - chorus
Note. because it is all bar r e chor ds, this tune is ver y testing on the left
hand (the chor d hand). So dont feel you ar e cheating if you skip on to
the next lesson.
The D major and E major

chords can be played in
the following way. 1 1
or
3 3

Month 2 - Week Two
Exercise 1 3/4 time patterns
P I M A M I A M
C G
0 0 3 3
1 1 1 0 0 0
0 0 0 0
3
3
Am Em
0 0 0 0
1 1 1 0 0 0
2 2 0 0
0
0
Am C
0 0 0 0
1 1 1 1 1 1
2 2 0 0
0 3
G C
3 3 0 0
0 0 0 1 1 1
0 0 0 0
3
3
C G
0 0 3 3
1 1 1 0 0 0
0 0 0 0
3
3
Am Em
0 0 0 0
1 1 1 0 0 0
2 2 0 0
0
0
F C
1 1 0 0
1 1 1 1 1 1
2 2 0 0
3
3
G C
3 3 0 0
0 0 0 1 1
0 0 0 0
3
3

Exercise 2
Practise exercise 1 until you can perform the chord changes reasonably well. The
chords in the exercise are as follows.
C G Am Em Am C G C
C G Am Em F C G C
Exercise 3
Try playing the same chord sequence, but this time using the following 4/4 time finger
picking patterns.
1. P I M A M I M A
C G
0 0 3 3
1 1 1 0 0 0
0 0 0 0
3
3
2. P A M I A M I A
C G
0 0 0 3 3 3
1 1 0 0
0 0 0 0
3
3
3. P I M A M I M I
C G
0 0 3 3
1 0
0 0 0 0 0 0 0 0
3
3
4. P I M A M I P I
C G
0 3
1 1 0 0
0 0 0 0 0 0
2
3 2
3
Exercise 4
Once you have practised these 4/4 finger picking patterns, try to write your own. Note
that if the time picking rhythm remains uniform their will almost certainly be eight notes in
each bar.

Half bars
The goal of the previous exercises this month and the following exercises is to become inde-
pendent when adapting a tune to a finger picking style. The choice of cheap song books
which contain just the chords for lots of popular tunes is great, and the ability to adapt a
tunes to finger picking from just the chords in the book is a useful skill to have.
The only thing that may trip you up now is Half bars or when a chord changes halfway
through the bar. The most obvious way to deal with half bars is just to cut the finger picking
pattern in half, so you play the first half of the pattern twice, however it is good to experiment.
Exercise 1
P I M A M I A M
D A
2 2 0 0
3 3 3 2 2 2
2 2 2 2
0
0
P I M A P I M A
Em A D
0 0 2 2
0 2 3 3 3
0 2 2 2
0
0
0
D A
2 2 0 0
3 3 3 2 2 2
2 2 2 2
0
0
Em A D
0 0 2
0 2 3
0 2 2
0
0
0

Exercise 2
C Em
P I M I A I M I
0 0
1 1 0 0
0 0 0 0 0 0 0 0
3
0
C Am F
P I M I P I M I
1
1 1 1 1
0 0 2 2 2 2 2 0
3
3 0
C G
0 3
1 1 0 0
0 0 0 0 0 0 0 0
3
3
Am Em Am
P I M I P I M I
1 0 1
2 2 0 0 2 2
0 0 0
0
Exercise 2a
C Em
P I M I A I M I
0 0
1 1 0 0
0 0 0 0 0 0 0 0
3
0
C Am F
P I M A P I M A
0 0 1
1 1 1 1
0 2 2 2 2 0
3
3 0
C G
0 3
1 1 0 0
0 0 0 0 0 0 0 0
3
3
Am Em Am
P I M A P I M A
0 0 0
1 0 1
2 0 2
0 0 0
0

tunes
Take these tunes from unit 1 and adapt them to finger picking
unit one revision
Candle in the wind - Elton John
verse
G C G C C
G G C C
G G C D7
G C G C C
chorus
D D G C
G G D D
C C Em Em
D C C C
instrumental
G G D D7
G D C G
coda
Em D C c
Arrangement
verse - chorus - verse - chorus - instrumental - verse - chorus - coda

HEY JUDE - the beatles
verse
D A A D
G D A D
chorus
D7 G Em A7 D
D7 G Em A7 D
D7 A7 A7
coda
D C G D repeat and fade
arrangement verse - verse - chorus - verse - coda
Yesterday - The Beatles

verse
F A7 Dm Bb C
F Dm G7 Bb F
chorus/coda
A7 Dm Gm C F
A7 Dm Gm C F
F A7 Dm Bb C
F Dm G7 Bb F F G7
Bb F
arrangement verse - verse - chorus/coda

Month 2 - Week Four
tune
Across the lines -Tracy Chapman
Their are two ways you could play the finger picking pattern in this tune.
P M I M P M I M or P A M A I A M A
Intro
9 9 9 9 7 7 7 7
12 12 10 10
11 9
9 7
7 7 7 7 5 5 5 5
10 10 7 7
7
9
5 5
Chorus
F#m E Bm D
2 0 2 2
2 0 3 3
2 1 4 2
4 2 4 0
4 2 2
2 0
F#m E A
2 2 0 0
2 2 0 2
2 2 1 2
4 4 2 2
4 4 2 0
2 2 0
Bm D E
2 2 0 0
3 3 0 0
4 2 1 1
4 0 2 2
2 2 2
0 0

Verse one
A A
5 5 5 5 5 5 5 5
5 5 5 5
5 5
A A
5 5 5 5
5 5
6
7
5 5
F#m E Bm D
2 0 2 2
2 0 3 3
2 1 4 2
4 2 4 0
4 2 2
2 0
Verse two
G6 A
0 0
3 3 2 2
0 0 2 2
0 0 2 2
2 2 0 0
3 3
F#m E Bm D
2 0 2 2 2
2 0 3 3 3
2 1 4 2 2
4 2 4 0 0
4 2 2
2 0
Coda
G6 A
0 0
3 3 2 2
0 0 2 2
0 0 2 2
2 2 0 0
3 3
Arrangement
Intro - intro - chorus - intro - verse 1 - chorus - intro - verse 2 - chorus - intro - coda
Intro chords over the page > > > >

Intro chords
Bars 1 Bar 2 Bar 3 Bar 4
F# sus E sus Bm7 D
1
fret 5
1 1 4
fret 7
1 3 3
fret 9
4 4
tune
Mr. tambourine man - Bob Dylan
Try improvising your own strumming pattern for this tune and then finger pick this tune from
just the chords, it is in 4/4 time.
Chorus
G A D G
D G A A
G A D G
D G A D

Verse
G A D G
D G D G
A A G A
D G D G
D G A A
Arrangement
Chorus - verse - chorus - verse - chorus - verse - chorus - verse

unit ll
month three

Month 3 - Week One
Triplet group exercises
Exercise 1
P I M P I M P I M P I M
Dm Am
1 1 1 1 0 0 0
3 3 3 3 1 1 1
2 2
0 0 2
0 0 0
Am Dm
0 0 0 0 1 1 1
1 1 1 1 3 3 3
2 2
2 2 0 0 0
0
C Em
0 0 0 0 0 0 0 0
1 1 1 1 0 0 0 0
0 0
2 2 2
3 2
0
Am Dm
0 0 0 0 1 1
1 1 1 1 3 3
2 2
2 2 0 0
0
Dm Am
1 1 1 1 0 0 0
3 3 3 3 1 1 1
2 2
0 0 2
0 0 0
Am Dm
0 0 0 0 1 1
1 1 1 1 3 3
2 2
2 2 0 0
0

Exercise 2 - study
P I M P I M P I M P I M
Dm G7
1 1 1 1 1 1 1 1
3 3 3 3 0 0 0 0
2
0 0 0
0 2 2
3
C Am
0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1
0 2
2 2 2 2
3 0
Dm G7
1 1 1 1 1 1 1 1
3 3 3 3 0 0 0 0
2
0 0 0
0 2 2
3
C C
0 0 0 0 0 0
1 1 1 1 1 1
0
2 2 2
3 3 3
G7 G7
1 1 1 1 1 1 1 1
0 0 0 0 0 0 0 0
0 0
0 0
2 2
3 3
C Am
0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1
0 2
2 2 2
3 3 0
G7 G7
1 1 1 1 1 1 1 1
0 0 0 0 0 0 0 0
0 0 0
0 0
2
3 3
C C
0 0 0 0 0 0
1 1 1 1 1 1
0 0
2 2
3 3 3

tune
Foreclosure of a dream - Megadeth
Intro
P I M P I M P I M P I M P M P M
0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
10 7 8 4 5 1 10 7 13 8 10 13
0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
10 7 8 4 5 1 3 2 1
3 1 1
Verse
H H
0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
3 2 1 1 3 3 2 1 1 3
3 1 3 1
look at fig. 1
0 0 0 0 0 0
5 5 5 5 0 0 0 0 0 0
7 6 5 4 3 2 5 5 5 5
7 6 5 4 3 2
0 0 0 0 0 0
0 0 0 0
5 3
6 5 3 1
Chorus
G5 F5 pm. C5 Bb pm.
5 3
5 3 5 3
5 3 3 1 1 1 1 1 1 1
3 1 1 1 1 1 1 1
G5 F5 pm. C5 Bb C5 C#5
5 3
5 3 5 3 5 6
5 3 3 1 3 4
3 1 1 1 1 1 1 1

Bridge
This style of tab is often used when two guitar parts are playing simultaneously, note how
the line at the beginning and the end of each line of tab joins the tabs together. In this
case guitar one is on the top and guitar two is on the bottom line.
0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
10 7 8 4 5 1 10 7 13 8 10 13
5 5
5 5
3 3
0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
10 7 8 4 5 1 3 2 1
3 1 1
8 7 6
8 6 6
5 4 3
5 3 3
Arrangement
Intro - verse - chorus - bridge
Fig.1
1 1 1 2 2
This pattern repeats a string down for the next bar (bar 4, verse)

Month 3 - Week Two
Playing double notes (pinching)
In the following exercises you will have to use the fin-
ger and the thumb in a pinching manner to achieve a
double note effect. This type of picking is commonly
used in all styles of music, but particularly in classical
tunes or where it is important to keep a solid bass line
going.
The Thumb (primary finger) plucks the bass strings in an

downwards direction whilst the fingers pluck the appro-
priate string in an upwards direction. This is why this
method of playing is sometimes called pinching.
A bar above the finger pattern, P A signifies the two

fingers being used at the same time.
Exercise 1
P A I M A M I M
G D
3 3 2 2
0 0 0 3 3 3
0 0 2 2
0
3
Em Em
0 0 0 0
0 0 0 0 0 0
0 0 0 0
0 0
F C
1 1 0 0
1 1 1 1 1 1
2 2 0 0
3
1
G D
3 3 2 2
0 0 0 3 3 3
0 0 2 2
0
3

Study
P M I I I I I P A I I I I I
C G6 Dm Am
1 0
1 3
0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2
0
3 2 0
C G6 Am Am
1 3 1
0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2
3 2 0 0
Dm Am Dm G6
1 0 1
3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0
0 0
0 2
C G6 Dm Am
1 0
1 3
0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2
0
3 2 0
C Em Am Am
1 0 1
0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2
3 0 0
0
C G6 Dm Am
1 0
1 3
0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2
0
3 2 0
C G6 Am Am
1 3 1
0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2
3 2 0 0
Am
2 2 2 2 2
0 0

Month 3 - Week Three & Four
This exercise should take you two weeks.
Choose at least two of the following tunes and practise them until you they sound fluent. The
Chord names above the score are only suggestions. In this style of music it isnt always nec-
essary to play the complete chord shape. If you find them easy, practice all of them.
tune 1
Silent Night
E E
0 2 0 0 2 0
1 1
0 0 0 0
B E
2 2 0 0
4 0
2 2
0 0
A E
0
2 2 4 2 0 2 0
1
0 0
0 0
A E
0
2 2 4 2 0 2 0
1
0 0
0 0
B E
2 2 5 2 0 4
4
2 2
0 0
E B7 E
0
0 0
1 2
4 2
2
0 0

Silent night - some chord observations
These observations may help you to play the tune more easily.
Bars 1 to 4 Bars 5 & 6 Bar 22

1 E B B7
this note is to achieve the This is the
2 3 1 2 2nd fret notes 1 3
added and best way to
removed it is necessary to finger this
use a barre. section.
3 4
tune 2
Away in a Manger
C C
0 0 1 3 3 5
1 1 3 1 1
0 0
2
3 3 4
G C
1 0 1 1 3 0 0 0
3 1 3 1
2
0 0 3 4
2 3
C C
0 0 1 3 3 5
0 1 1 3 1 1
0 0 0
2
3 3 4
(3)
G C
1 0 1 1 3 0 0
3 1 1 3 0
2
0 0 3
2 3 0
3
1
2
Notes over page >>>>

Away in a Manger - some chord observations
Bars 4 & 12 These bars can be played two ways depending on your preference.
Option one Option two
If you can, Slide

the whole chord up
1 2 frets maintaining 1
its shape.
3 3
1 1
3 3
Bar 8 Bar 16
1
1 1
2 3 2 3 3
tune 3
The First Noel
0 2
0 0 1 3
2 0 2 0
2
3
3 2 0 0 2 3 2 0
3 1 3
4
5 2 0
3
first time
0 2 3
3 3 1 0 0
2
0
2 3 0 2
3
second time
0
0

The First Noel - chord observation
Bar 5
Option one Option two
G major (half barre)
Whilst the full chord is

1 a half barre chord as 1
illustrated in option
2 2
two, their is no need
3 to play the full chord. 3
tune 4
Beathoven - Minuet
0 0 2 3
3 0 1 3 1 3
0 2 0 0 0 0
0 2 3 2
3
1 3 1 0 0 1 0 0
2 2 0 0 2 0 2
4 0 0
0 5 2 3 2 0
3 3
0 0 2 3
3 0 1 3 1 3
0 2 0 0 0 0
2 0 2 3 2
3 3
1 3 1 0 0 1 0 0
2 2 0 2 2 0 0
0 0 4
0 2 3
(2) 3 3

unit ll
month four

Month 4 - Week One
unit one revision

finger picking . two or three stings
It is not uncommon to play two or three notes at once when finger picking. This can be done by sim-
ply picking the two strings at the same time with different fingers. We can show this in the finger pick-
ing pattern like this
PIM Here you can see the index and middle fingers both play strings at the same time.
exercise 1 P IM IM
C Dm
0 0 0 0 1 1 1 1
1 1 1 1 3 3 3 3
2 0
3 0
G7 C
1 1 1 1 0 0
0 0 0 0 1 1
2 3 3
3
exercise 2 P I MA I
C Am
0 0 0 0
1 1 1 1
0 0 0 0 2 2 2 2
2 2
3 0
Dm G7
1 1 1 1
3 3 0 0
2 2 2 2 0 0 0 0
0
0 2
3
C
0 0
1 1
0 0 0 0
2
3 3 3

exercise 3 P IMA IMA
A7 A7
0 0 0 0
2 2 2 2
0 0 0 0
2
0
D7 D7
2 2 2 2
1 1 1 1
2 2 2 2
0
0
G7 G7
1 1 1 1
0 0 0 0
0 0 0 0
0
3
C E7
0 0 0 0
1 1 0 0
0 0 1 1
3 2
A7 A7
0 0 0 0
2 2 2 2
0 0 0 0
2
0
D7 D7
2 2 2 2
1 1 1 1
2 2 2 2
0
0
G7 G7
1 1 1 1
0 0 0 0
0 0 0 0
2
3
C
0 0
1 1
0 0
3 3

Picking exercises
Exercise 1
P I MA I
Dm Am C Dm
1 1 0 0 0 0 1
3 3 1 1 1 1 3
2 2 2 2 2 2 2 2 0 0 0 0 2 2
0 0 0 0
0 0 3 3
F G Am Dm
1 1 3 3 0 0 1
1 1 3 3 1 1 3
2 2 2 2 4 4 4 4 2 2 2 2 2 2
3 3 5 5 0 0
0 0
Exercise 2 3/4 time

Dm G6 Am
1 0 0
3 3 3 3 1 0 1
2 0 2 2 2
0 0 2 2
0 0
3
First time
Dm G6 Am
1 0 0
3 3 3 3 1 1
2 0 2 2
0 0 2 2
0 0
3
Second time
Am Em Am
1 0 0
2 2 0 0 2
2 2 2
0 0
0
Exercise 3
P I MA P
C F G F Fsus2 F
0 1 3 1 3 1
1 1 3 1 1 1
0 2 4 2 2 2
3 3 5 5 3 3 3
3 3
C F G F
0 1 3 1
1 1 3 1
0 2 4 2
3 3 5 5 3
3 3

Study with blocks
P I MA I MA I
F F C C
1 1 1 1 0 0 0 0
1 1 1 1 1 1 1 1
2 2 2 2 2 0 0 0 0 0
3 3
3 3
Dm Dm Am Am
1 1 1 1 0 0 0 0
3 3 3 3 1 1 1 1
2 2 2 2 2 2 2 2 2 2
0 0
0 0
F F C C
1 1 1 1 0 0 0 0
1 1 1 1 1 1 1 1
2 2 2 2 2 0 0 0 0 0
3 3
3 3
Dm Dm Dm Dm
1 1 1 1 1 1 1
3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2
0 0 0 0
F F C C
1 3 3 1 0 0 0 0
1 1 1 1 1 1 1 1
2 2 2 2 2 0 0 0 0 0
3 3
3 3
Dm Dm Am Am
1 0 3 1 0 0 0 0
3 3 3 3 1 1 1 1
2 2 2 2 2 2 2 2 2 2
0 0
0 0
F F C C
1 3 3 1 1 0 0 0
1 1 1 1 1 1 1 1
2 2 2 2 2 0 0 0 0 0
3 3
3 3
Dm Dm Dm Dm
1 0 3 1 1 1 1 1
3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 2
0 0 0 0

Month 4 - Week Two
tune
The Jazz man - Sad Fantasy
C7 Dm7
6 6 5
5 5 5 6 6
5 5 5 5 5
5 5 5 7 7
5
A7 Dm7
5 5
5 8 8 6 6
6 6 5 5
5 5 7 7
7 7 5
Em7 Dm7
7 5
8 8 8 6 6 6
7 7 7 5 5 5
9 9 7 7
7 7 5 5
A7 Dm7
5 5
5 8 6 6
6 6 5 5
5 5 7 7
5
5 5
Em7 Dm7
7 5
8 8 8 6 6 6
7 7 7 5 5 5
9 9 7 7
7 7 7 5 5 5
A7 Dm7
5
5 8 8 6 6
6 6 6 5 5
5 5 7 7
5 5
5 5

Chord fingering
C7 Dm7 Am7 Am7
Bar 1 Bar 2 Bar 3
1 1 1 1
fret 5 fret 5 fret 5
2 2 2 2
3 3 3
Revise rhythms
one beat one beat half beat two half beats two beats
staccato
unit one revision

Reading rhythm
4 beats
1 semibreve
2 beats
2 minim
1 beat
4 crotchet
1/2 beat
8 quaver
1/4 beat
16 semiquaver
1/8 beat
32 demisemiquaver

tune
Half bars
316 - Van Halen
sl.
let ring let ring
2 3 3 5 2 2
2 2 2 4 2 2
2 4 4 6 2 2
0 0 0
sl. sl.
let ring let ring
3 3 5 2 2 3 3 5 2 2
2 2 4 2 2 2 2 4 2 2
4 4 6 2 2 4 4 6 2 2
0 0 0
let ring let ring
3 2 0 0 0 2
2 2 1 1 1 1 2 2
4 2 2 2 2 2 0 0
0 0 0
2 2 2
sl.
sl. let ring let ring
2 2 3 3 5 2 2
2 2 2 2 4 2 2
0 0 2 4 4 6 2 2
0 0 0 0
2 3 2 0
H P let ring let ring
3 2 3 2 0 0 0 2
2 2 1 1 1 1 2 2
4 2 4 2 2 2 2 2 0 0
0 0
2 2 2
sl.
2 2 3 3 5 2 2
2 2 2 2 4 2 2
0 0 2 4 4 6 2 2
0 0 0 0
2 3 2 0
let ring let ring
3 2 0 0 0 2
2 2 1 1 1 1 2 2
4 2 2 2 2 2 0 0
0 0 0
2 2 2

sl.
2 2 3 3 5 2
2 2 2 2 4 2 0 0
0 0 2 4 4 6 2 2 2
0 0 0 0
2 3 2 0
(0) 5 5 5 5
(2) 4 4 3 3
0 0 0 0 0 0 0
sl.
1/4 let ring let ring
2 3 3 5 2
(5) 2 2 2 4 2 0 0
(3) 2 2 4 4 6 2 2 2
0 3 3 0 0 0 0
(0) 5 5 5 5
(2) 4 4 3 3
0 0 0 0 0 0 0
sl.
1/4 let ring let ring
2 3 3 5 2 2
(5) 2 2 2 4 2 2
(3) 2 2 4 4 6 2 2
0 3 3 0 0 0 0
let ring let ring
3 2 0 0 0 2
2 2 1 1 1 1 2 2
4 2 2 2 2 2 0 0
0 0 0
2 2 2
sl.
2
2
0 0
0
2 3 2 0
Chord fingering
Bm7 C#m7
Bar 2
Bar 1 A
This note isnt
played, but 1
1
it is fingered slide
anyway. 2
3 1

Month 4 - Week Four
tune
Gymnopedie #1 - Erik Satie
4 4 4 4
5 4 5 4
6 4 6 4
0 0
0 0
4 7 5 4 4
5 4 4 4 5 4
6 4 6 6 4
0 0
0 0
4 4 4 4
5 4 5 4
6 4 6 4
0 0
0 0
4 7 5 4 4
5 4 4 4 5 4
6 4 6 6 4
0 0
0 0
4 2
4 5 2 5
4 6 2 2
6
4
4 2 2
0
0 2 3 7 5 5 3 2
0 4 4 6 6 4
2
0 0 0

2 3 5 7
5 5 3 5
4 4 4
5 5
0 0 0 0
5
7 5 5 5 2
6 6 4 4 2
5 5
0 0 0 2
4 2 2
4 4 5 4 5
4 6 4 6
6 4 4
4
4 2 2
first time second time

2 4 10 12 12
5 7 9 12
7 9 12
4
2 7 0 12
Chord fingering
Bar 1 Bar 2 Bar 17 Bar 18
1 1 1 1
2 2
3 3 3
Bar 19 Bar 24 Bar 35 -37

1 1 1
fret 2
3 1 3 4 3
fret 4
4 2 3 4

unit ll
month five


Month 5 - Week One
tune
Vicent - Don McLean
Intro x
1
G Gsus4 Gsus4
0 1 The best way
2
0 0 to play the G
0 0 3
and Gsus4.
3 3
Verse
G G Gsus4
0 0 0 1
0 0 0 0 0 0 0 0
3 3 3 3
G Am Asus2
0 0 1 0
0 0 0 0 2 2 2 2
0 0
3 3
Am Asus2 C Cmaj7
1 0 1 0
2 2 2 2 2 2 2 2
0 0 3 3
D7 G
1 1 0 0
2 2 2 2
0 0 0 0 0 0
3 3
G Gsus4 G
0 1 0 0
0 0 0 0 0 0 0 0
3 3 3 3
Am Asus2 Am
1 0 1
2
2 2 2 2 2 2 2 2
0 0 0 0

C Cmaj7 D7
1 0 1 1
2 2 2 2
2 2 2 2 0 0
3 3
G
3
0
0 0
3
Chorus
G Am
0 1 1
2 2 2
0 0 2 2
0
3
D7 G
2 2
1 1 1 0 0
2 2 0 0 0
0 0 0
3
Em Am7
0 0 1 1
0 0 0 0 0 0
2 2 2 2
0
0
D7 Em on last chorus go to coda
2 0
1 0
2 0
0 2
2
0
A7 Am7 D7
2
2 2 1 1
0 0 0 0 2
2 2 2 0
0 0
G
3
0
0
3

Bridge
Am7
0 0
1 1 1
0 0
0
D7 G F#bass
2 2
1 1 1 0 0
2 2 0 0
0 0 0
3 2
Em Am7
0
0 0 1
0 0 0
2 2 2
0
0
Cm G Fmaj 7
0
4 0 1
5 0 2
5 0 3
3
3
E7 Am7
0
0 1 1
1 0 0 0
2 2
0
0
C D7
2
1 1 1
0 0 0 2
2 2 0
3
G
0 1
0 0 0 0
3 3
x x
1
F#bass Fmaj7
2 2

Coda
A7 Am7 D7
2
2 2 1 1
0 0 0 0 2
2 2 2 0
0 0
G
3
0 0
0
0 0 0
3 3
Arrangement
Verse - chorus - verse - chorus - bridge - verse - chorus - coda

Month 5 - Week Two
Two finger exercises
Exercise 1
First practise B major G# minor 1 1 1
these two scales. scale scale
1 1 3 3 3
The following exercise uses the Bmajor 2 2 4 4

and G# minor scales. Play the finger Fret 7
picking part with the Primar y finger and 3
the middle finger.
4 4 4
P M P M P M P M
0 0 0 0 0 0 0 0
6 8 9
6 7 9
7 9
0 0 0 0 0 0 0 0
4 6
4 6 7
4 6 7
Exercise 2 - variation on a section of toccata and fugue J.S. Bach
0 0 0 0 0 0 0 0
0 5 7 8 0 7 8 10
0 0 0 0 0 0 0 0
0 8 10 12 0 10 12 13
0 0 0 0 0 0 0 0
10 12 8 10 7 8 5 7

0 0 0 0 0 0 0
4 5 0 1 0 0 0
2
8 8 8 8 7 7 7 7
10 10 10 10 8 8 8 8
5 5 5 5 3 3 3 3
7 7 7 7 5 5 5 5
First time
3 3 3 3 5 5 5 5
5 5 5 5 7 7 7 7
7 7 7 7
8 8 8 8 8
Second time
3 3 3 3 2 2 2 2
5 5 5 5 3 3 3 3
0 0 0 0
5 5 5 5 5

tune
Half bars
Spanish study
P A P A P A P A
0 0 0 0 0 0 0 0 0 0 0 0
2 3 0 2 2 3 0 2
0 3 0 3
0 0 0 0 0 0 0 0 0 0 0 0
2 3 0 2 0 0
0 3 2 3
3 1
P M P M P M P M
0 0 0 0 0 0 0 0 0 0 0 0
2 3 0 2 2 3 0 2
3 3
0 0
0 0 0 0 0 0 0 0 0 0 0 0
2 3 0 2 0 0
3 2 3 2 3
0
0 0 0 0 0 0 0 0 0 0 0 0
2 3 0 2 2 3 0 2
0 3 0 3
Am
0 0 0 0 0 0 0 0 0
1
2
2 3 0 2 2
0 3 2 3 0 0
E Fmaj7addB E
0 0 0
0 0 0
1 2 1
2 3 2
2 3 2
0 0

Section Two o - Repeat these two lines lots of times.
Start very slowly and then build up the speed until you are going as fast as you can. without
making too many mistakes.
0 0 0 0 0 0 1 1 1 1 1 1
0 0 1 0
1 1 2 2 0
2 2 3
0 0 0 0 0 0 1 1 1 1 1 1
0 0 1 0
1 1 2 2 0
2 2 3
E Fmaj7addB E
0 0 0 0 0 0 0
0 0 0 0
1 1 2 1
2 2 2 3 2
2 3 2
0 0
Fingering notes
E Fmaj7addB
1 x
2 3 1
2 3
Section Two
It may be easier for you to use chord shapes tin the repeating section to develop speed
Bar 1 Bar 2a Bar 2b Bar 2c

1 1
1 1
2 2 2
3 3 3

Month 5 - Week Four
tune
Allegro
P I M I A I M I P I P I P I P I
Am Dm
0 1
1 1 3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 2 3 0
0 0 2 3 0
E C G6
0 0 0
0 0 1 1 3 3
1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0
2 2 3 2 0
3 2
Am Dm
0 1
1 1 3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 2 3 0
0 0 2 3 0
Am Am9 E
0 0 0 0
1 1 1 1 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2 1 1 1 1
2 2
0 0
Am Am(Cbass) E E7 Am Am(Cbass) E E7
0 0 0 0 0 0 0 0
1 1 0 3 1 1 0 3
2 2 1 1 2 2 1 1
0 3 2 0 3 2
0 0
Am Dm
0 1
1 1 3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 2 3 0
0 0 2 3 0

E C G6
0 0 0
0 0 1 1 3 3
1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0
2 2 3 2 0
3 2
Am Dm
0 1
1 1 3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 2 3 0
0 0 2 3 0
Am Am9 E
0 0 0 0
1 1 1 1 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2 1 1 1 1
2 2
0 0
Am E7 Am E Am E7 Am
0 0 0 0 0 0 0
1 3 1 0 1 3 1
2 1 2 1 2 1 2
0 0 0 0 0
0 0 0
Fingering notes
G6 Am9 Am(Cbass) E7
x x x x 1 1
3 2 3 2 2 3
4 3 4

unit ll
month six


Month 6 - Week One
tune
Street Spirit (Fade out) - Radiohead
Intro
P I A I M I A I M I A I M I P I
Am Am
0 0 0 0 0 0
3 1 0 3 1 0
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
2 2
0 0
Verse
Am Am
0 0 0 0 0 0
3 1 0 3 1 0
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
2 2
0 0
Em Em
0 0 0 0 0 0
3 1 0 3 1 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
2 2
0 0
Am Am
0 0 0 0 0 0
3 1 0 3 1 0
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
2 2
0 0
Chorus
C Em
0 0 0 0 0 0
3 1 0 3 1 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
2 2
3
0
Am Am
0 0 0 0 0 0
3 1 0 3 1 0
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
2 2
0 0

C Em
0 0 0 0 0 0
3 1 0 3 1 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
2 2
3
0
Fill 1
Am Am
1 0 0 1 1 0 0 1
2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0
Coda
Am let ring
0 0 0
3 1 0
2 2 2 2 2 2 2 2
2
0 0
Arrangement
Intro - verse - chorus - verse - chorus - fill 1 - chorus - verse - chorus - fill 1 - chorus - fill 1 -
chorus - end
Fingering notes
A add Bb Am A add 9
x x 1
x
2 3 2 3 2 3
C add 9 C C Maj 7 Em7 Em6 Em

x x 1
x x x 1
x
2 2 2 2 3 2 3 2 3
3 4 3 3 4

Month 6 - Week Two
tune
Green Sleeves - Traditional
P I P I M A M I P I P I M A M I P P P I M A M I P I
C G
0 0 3
1 1 1 1 0 0
0 0 0 0 0 0 0 0 0
0 2 3 2 0
0 3 2
G C Am E7
3 0 0 0
0 0 1 1 1 1 0 0
0 0 0 0 0 2 2 1 1 1
0 2 3 2 0 0 2
3 3 4
E7 C G
0 0 0 3
0 0 1 1 1 1 0 0
1 1 0 0 0 0 0 0 0 0 0
0 2 3 2 0
0 3 2
0
G C E7 Am
3 0 0 0 0
0 0 1 1 0 0 1 1 1
0 0 0 0 1 1 2 2
0
0 2 3 2 0 2 0
3 4
G (half barre) G7
3 3 3 1
3 3 3 3 3 0 0
4 4 4 4 0 0 0
5 5 4 2 0
0 2
G7 C Am E7
1 0 0 0
0 0 1 1 1 1 0 0
0 0 0 0 0 2 2 1 1 1
0 2 3 2 0 0 2
3 4 4
E7 G (half barre) G7
0 0 3 3 3 1
0 0 0 3 3 3 3 3 0 0
1 1 4 4 4 4 0 0 0
5 5 4 2 0
2
0

G7 C E7 Am
1 0 0 0 0
0 0 1 1 0 0 1 1 1
0 0 0 0 1 1 1 2 2
0 2 3 2 0 2 0
3 4
Notes on the next lesson - Romanza

You should be able to play the first page of this tune , however the second page is a little advanced for a gui-
tarist at this stage in the course. With perseverance however it would be possible if you want to play it.
1 1 1
fret 5 fret 5
Page 1 line 3
4
1 1 1
fret 7 fret 7
Page 1 line 4 2 2 3 2
Page 2 line 3
1 1 1
fret 2 fret 2
Page 2 line 2 2
3 3 4 3
1
Page 2 line 4 fret 7 fret 7
2 3 4 2 3 2 3
fret 9
1 1 1
Page 2 line 5 fret 9 fret 9
2
D.S. al Coda
a
1 1 1
Page 2 line 4 fret 5 fret 5 Repeat to the sign
2 2 2
and then go to the
3 coda when you reach
the sign.
4

Romanza - Traditional
PA M I A M I A M I
7 7 7 7 5 3
0 0 0 0 0 0
0 0 0 0 0 0
0 0
3 2 0 0 3 7
0 0 0 0 0 0
0 0 0 0 0 0
0 0
12 12 12 12 10 8
0 0 0 0 0 0
0 0 0 0 0 0
0 0
Barre 5th fret
8 7 5 5 7 8
5 5 5 5 5 5
5 5 5 5 5 5
5 5
Barre 7th fret
7 8 7 11 8 7
7 7 7 7 7 7
8 8 8 8 8 8
7 7
7 5 3 3 2 0
0 0 0 0 0 0
0 0 0 0 0 0
0 0
B7 to coda
2 2 2 2 3 2
0 0 0 0 0 0
2 2 2 2 2 2
1
2
0 0 0 0
0 0 0 0
0 0 0 0
2
2
3 0

PA M I A M I A M I
4 4 4 4 2 0
0 0 0 0 0 0
1 1 1 1 1 1
0 0
Barre 2nd fret
5 4 4 4 3 4
2 2 2 2 2 2
4 4 4 4 4 4
2 2
Barre 7th fret
9 9 9 9 11 9
7 7 7 7 7 7
8 8 8 8 8 8
7 7
9 7 7 7 9 11
9 9 9 9 9 9
9 9 9 9 9 9
0 0
1/2 Barre 9th fret
12 12 12 12 11 10
9 9 9 9 9 9
9 9 9 9 9 9
0 0
1/2 Barre 5th fret
9 9 9 9 7 5
5 5 5 5 5 5
6 6 6 6 6 6
0 0
4 4 4 4 5 2
0 0 0 4 4 4
1 1 1 2 2 2
2 2
2nd time D.S. al coda

0 0 0 0 3 5
0 0 0 0
0 0 0 0
2
2
3 0
0 0 0 0
0 0 0 0
0 0 0 0
0 2
2 2
3 0

Month 6 - Week Four
unit 1 - Revise Half barres

F shape half barre chords
F Fm F7 Fm7
X X 1 X X 1 X X1 X X1
2 2
3 3
You might have noticed that two of these chords appear in the open chord chart
you were given in the first lesson. The F major half barre chords often appears in
open chord charts though strictly speaking a chord should contain an open string to
be a true open chord. The reason it appears in open chord charts is that there is no
open chord alternative for an F chord.
A shape half barres

Bb Bbm Bb7 Bbm7
x x 1
x x 1
x x 1 x x 1
2 2
2 3 4 3 4 3 4 3
The Bb major chord can be played with a number

Bb Bb
x x x x of fingering options. Try to find the one you are
1
most comfortable with and stick with it.
This chord shape isnt one of the most important
3 4 2 3
you will come across and therefore this chord is a
rare exception where I say . . . If you have a lot of
trouble playing them, skip them.
note map for the bottom two strings
A A# B C C# D D# E F
E F F# G G# A A# B C
1 2 3 4 5 6 7 8

Notes - Stairway to heaven
1 1
fret 5 fret 5
Page 1 bar 1 2
3 4
1 1
fret 5 fret 2
Page 1 bar 2 2
open open To achieve the correct

Page 1 line 6 bar 2 sound and speed for this
1 2 1 2
Page 2 line 6 bar 2 bar i t i s necessar y to
hol d the chor d dow n
3 4 3
before attempting the
pull off. The pull off will
then flow smoothly into
the chord.
open x open x
Verse 2 Bar 1 1 1
Look at the tab carefully
Am7 2 Am7 2 because their are two
different Am7s.
4
open open open

Verse 2 Bar 2
Fll 2 1 1 2 1 2
Dsus2 D Dsus4
3 3 3 4
Verse 2 Bar 4
Em D C
1 1 1
2 2 2
3 3 4 3 4

tune
Stairway to heaven - Led Zeppelin
PART ONE - intro
Am half barre C half barre D half barre
5 7 7 8 8 2 2
5 5 5 3
5 5 5 2
7 6 5 4
F maj 7 Em Am sl.
0 0
1 1 1 0 1 1
2 2 0 2 2
3
2 0 0 0 8 7

7 7 8 8 2 2
5 5 5 3
5 5 5 2
7 6 5 4
0
F maj 7 Em Am
0 0
1 1 1 0 1 1
2 2 0 2 2
3
2 0 0 0 2
C D F maj 7
0 2 2 0 0
3 1 0
0 2 2 2
2 0 3
3 0 0 2
C G Dsus P D
3 3 3 2 2 2
1 1 0 3 3
0 0 2 2
2 0 0 0
3 0 2
3
C D F maj 7
2 2 0 0
1 3 1 0
0 2 2 2
2 0 3
3 0 0 2
C D F maj 7
2 0 0 0
1 3 1 1 1
0 2 2 2 2
2 0 3 3 3
3

PART TWO - verse one

5 7 7 8 8 2 2
5 5 5 3
5 5 5 2
7 6 5 4
F maj 7 Em Am
0 0
1 1 1 0 1 1
2 2 0 2 2
3
2 0 0
5 7 7 8 8 2 2
5 5 5 3
5 5 5 2
7 6 5 4
F maj 7 Em Am
0 0
1 1 1 0 1 1
2 2 0 2 2 0
3
2 0 0 0 2
C D F maj 7
0 2 2 0 0
3 1 0
0 2 2 2
2 0 3
3 0 0 2
C G Dsus P D
3 3 3 2 2 2
1 1 0 3 3
0 0 2 2
2 0 0 0
3 0 2
3
C D F maj 7
0 2 2 0 0
3 1 0
0 2 2 2 0
2 0 3
3 0 2
C D F maj 7
2 2 0 0 0
1 1 3 1 1 1
0 2 2 2 2
2 0 3 3 3
3

5 7 7 8 8 2 2
5 5 5 3
5 5 5 2
7 6 5 4
F maj 7 Em Am
sl.
0 0
1 1 1 0 1 1
2 2 0 2 2
3
2 0 0 0 8 7
PART TWO - Fills
Fill one
5 7 7 8 2
5 5 5 5 5 3 3
5 5 5 5 5 2 2
7 6 6 5 5 4 4
F maj 7 Em Am
0 0
1 1 1 0 1 1 3
2 2 2 0 2 2 0
3 3 3 0
2 0 0 2
Verse 2
Am7 Dsus D Dsus2 D

Omitted in some version
3 3 3 3 0 3 2 0 2 2 2
1 1 1 1 1 3 3 3 3 3 3
0 0 0 0 0 2 2 2 2 2 2
2 2 2 2 2 0 0 2 0
0 0 0 0 0
Am7 Em D C D Half barres
3 3 3 3 0 7 5 3 5
1 1 1 1 1 8 7 5 7
0 0 0 0 0 9 7 5 7
2 2 2 2 2
0 0 0 0 0

C G6 Am
H
1 3 0 1 1
0 0 2 2
2 0 2
3 2 0 0 2
C F maj 7 Am
0 0
1 1 1
0 0 2 2
2 0 3 2
3 2 0 0 2
C G6
1 3
0 0
2 0
3 2
Fill two
D Dsus2 D Dsus Dsus2 D Dsus Dsus2 D Dsus Dsus D

2 0 0 2 3 0 0 2 3 0 0 2 3 3 2
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
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Cadd9 Cadd9 Dsus2 D Dsus Dsus2 D

2 2 2 0 2 2 2 0 0 0 2 3 0 0 2
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2
2 0 0 0 0 2 0 0 0 0 0 0 0 0 0 0 0
3 3 3 3 3 3 3 3
Dsus Dsus2 D Dsus Dsus D Cadd9 G6 G6 G6

3 0 0 2 3 3 2 2 2 2 0
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 2 0 0 0 0 0 0 0
3 3 3 3 2 2 2
Arrangement
intro - verse 1 - fill one - verse 2 - verse 2 - verse 2 - verse 2 - fill two - >>

unit ll
month seven


UNIT ll plectrum style
Month 7 - Week One

using a pick (plectrum)
How to hold your plectrum
There is no right or wrong way to hold your plectrum. Everyone will prefer
there own style and sound of guitar music. There is however a standard
method to work from. Dont feel you need to copy this method exactly it is
just a good starting point.
1. Bend your fingers into a fist and lift your thumb.
2. Place the plectrum on the first knuckle of your index finger

so that it points towards the guitar.
3. Hold the plectrum firmly in place using your thumb.
When playing with a pick the motion should come from the wrist, the whole
arm should not move up and down. When strumming the motion comes
more from the elbow.
For stability and to aid with locating the strings without needing to look
down, some players either rest the hand or arm on the guitar. Another
approach to to rest your fingers on the guitar, scratchplate or place your lit-
tle finger on a pickup if you have an electric guitar.
Which plectrum to use.

Plectrums come in all sorts of shapes and sizes, but they are usually marked
with the thickness, which is helpful. Remember though that the thickness is
just a guide, plectrums will play differently depending on what material they
are made of. At this stage of your learning it is probably a good idea to
buy a several to find out which one is best for you.
1mm is a common thickness of plectrum. It is a good all round plectrum.
Plectrums over 1mm will not bend very much, if at all. They produce a more
bassy tone and they can be more difficult for strumming.
Plectrums under 0.7mm bend easily. They produce a brighter tone and are
ideal for strumming as they are more forgiving if your plectrum accuracy
isnt perfect.
IMPORTANT
As you get use to your pick look at the position youre holding it in every time you practise.
If the pick position changes every time you play it will take you a lot longer to get used to it.

the blues scales
Exercise 1
In unit l one of the scales you learned was the blues scale,
practice playing it with the plectrum or with your finger
if you prefer. 1 1 1 1 1 1
3 3 3
4 4 4 4
Exercise 2
Once you feel you can 1 1

remember, and play the 1 1
2 2 2 2 1
first blues scale y ou
l ear ned, tr y these tw o 3 1 1 1 1 1 1 2 2 2 2
Fret 5 Fret 8
new blues scales.
4 4 4 4 4 4 2 3
Fret 5
3 3 3 4 4 4 4 4
4 4 4 4
These three blues scale are all part a single family of blues
scales. In this case they are all based in A minor. Because
the three blues scales are in the same key you can use them
together to improvise or write solos.
See how the scales join together and even overlap in places
to for one large scale.
Exercise 3
Practise all three scales until you are happy with them
Exercise 4
Try to improvise using these three scales using the backing

track. If you need to revise this is covered in more detail with
video in unit one month 8.

Month 7 - Week Two
revise lead techniques
Hammering on
A hammer on is when you pick a note, and then play the next one or more notes by plac-
ing your fingers down with enough speed and force to create a tone.
(see month 11 - unit one)
H H
H
A hammer on 5 7 Two hammer ons in succession 5 7 8
Pulling off
A pull off is when you pick a note, and then play the next one or more notes by pulling your
finger away, picking the string with your left hand as you release the first note (for right
handed people). This is covered in more detail with video in unit one month 11.
P P P
7 5 8 7 5
A pull off Two pull offs in succession
Slides
A slide is when you move between notes using the same finger. A slide can be heard or
unheard. In other words when you slide your finger from one position to the next, you can
allow the note to continue ringing, or you can mute the first note and repick the string on
the second note. Slides can also take place between several notes.
sl sl
sl
A slide 5 7 A slide with a repick 5 7 or 5 (7) 7
Bends
A bend is when you physically bend the string, causing the pitch to shift up. It is recom-
mended that you bend the top three strings downwards and bend the bottom three strings
upwards to avoid coming off the neck, however this is not a rule. Remember that a bend
should always reach a note, otherwise it will just sound like your guitar is out of tune.
This is covered in more detail with video in unit one month 12.

Bend up and then kill the note Bend up and release the bend Bend up and then hold
5 5 (5) 5
Staccato
Staccato is when a note is muted almost as soon as it is played. The note should be short
and sharp with no after ring. To achieve this sound you can either mute the strings with the
right hand soon after playing the note, or lift the fingers of your left hand until the tone is
silenced. Staccato is usually signified by a dot over the note to be played staccato.
H H
5 7 5 7
all staccato some staccato
Palm mute
Palm muting is when you touch the strings slightly with

the palm of the right hand, whilst playing the strings.
The hand should touch the strings very lightly so as to
mute the strings without reducing the note to a click.
It is most easily achieved by touching the strings as
closely to the bridge of the guitar as you can get.
Even though it is called palm muting, you actually
mute the strings using the edge of the hand.
Note how the side of

the hand rests on the
strings, so that it is at
the end right against
the bridge.
pm pm
pm = palm muting
5 7 7 7 5 7 7 7 5 7 8 5 5 7 8 5

tune
Apache - the Shodows
1 sl 1 sl
3 5 3 3 5 3
1 3 3 1 5 1 3 3 1 5
2 2 2 2
2 2 2 2
2 4 2 0 2 2 4 2 0 2
3 3 0
2 2 2 0 2 2 2
2 2 4 2 2
pm
333 33 333 33 333 33 3 3 3 2

3 3 3 3 0
pm
333 33 333 33 333 33 3 3 3 2

3 3 3 3
0
1 1 3 3 1 1 1 3
2 4 2 2 4 0
3 3
optional
sl sl
0
8 11 1 1 3 3 1
7 9 9 12 12 2 4 2
3
pm
333 33 333 33 333 33 3 3 3 2

3 3 3 3 0
pm
333 33 333 33 333 33 3 3 3 2

3 3 3 3 0

pm
7 777 77 7 7
7 7 7 7 9 999 99 7 7 5 5 7
pm
7 777 77 7 7
7 7 7 7 9 999 99 7 7 5 5 7
7 7 7
7 7 7 9 999 99 7 5 7
pm
0
1
2
7 777 77 7 7 2
7 7 7 7 9 999 99 7 7 5 5 7 0
0
1 1 3 3 1 1 1 1 3
2 4 2 2 4 0
3 3
0
1 1 3 3 1
0 0 0 0 0 1 0 1 0 2 4 2
3
pm
333 33 333 33 333 33 3 3 3 2

3 3 3 3 0
sl sl sl
3 333 33 8 888 88 7
1 111 11 5 555 55
1
sl 1
sl
3 5 3 3 5 3 0
1 3 3 1 5 1 3 3 1
2 2 2 2
1 1
5 3 0
1 3 3 1 1 1 3 3 3 1
2 2 2 2 2 2

Chord theory - Fifth chords
Fifth chords are also sometimes called power chords because the fact that they sound pow-
erful, even though only a small number of strings are generally played. virtually all rock
music contains a large amount of fifth chords.
Fifth barre chords
First position alternative Second position alternative

E rooted fingering A rooted fingering
x x x x x x x x x x x x
1 1 1 1
3 4 3 3 4 3
These are used in the same way as standard barre chords. To create different 5th chords
simply move the chords to different positions on the neck. the fret you play the chords in will
be the name theat gives the chord its name.
1 2 3 4 5 6 7 8
The fifth chord is so called because of its structure: The fifth chord does not consist of a
triad like the major and minor chords we have looked at in unit 1. The fifth chord consists of
a diad, which is two notes, the fist note of the scale and the fifth note of the scale.
i.e. The structure of the C5 chord
1 2 3 4 5 6 7 8
The C major scale C D E F G A B C
The tonic (root) or first note of the scale is C and the fifth is G. The C5 chord consists of just
these two notes. These notes can repeat, which is why the chord can be played across
three or more strings.

C5
x x x
The notes being played for the C5 chord are;
C E C
1
fret 3
This is why the chord is called C5, because it consists of C and
3
the fifth note of the scale. The same theory applies to all the fifth
chords, however you would obviously use the appropriate scale
for each chord.
With fifth chords their is no major or minor chord, or in other words their is no such chord as
Cm5 or Am5. The reason for this phenomena is that the third note of the scale isnt played,
and it is the third note of the scale which makes the difference between a major and minor
chord.
i.e. 1 2 3 4 5 6 7 8
A major scale A B C# D E F# G A
1 2 3 4 5 6 7 8
A minor scale A B C D E F G A
You can see with the two triads above that the only differing notes are C and C#, which are
the third note of the scale. If you therefore omit the third note from the triad there is no differ-
ence between the major and minor fifth chord.
Try the following Fifth open chords
G5 A5 C5 D5 E5
x x x x x x x x x x x
1
1 2 1 1 2
2 3 3 4 2
Note.
When a string is not played that is surrounded by notes that are played, it should be muted
using one of your left hand fingers.
Example - Playing C5.
Place your fingers on the strings as if you were about to play a standard C major open
chord. Next, add the fourth finder to play G on the top E string. Finally lift your second fin-
ger very slightly so it mutes the D string.

Fifth chord exercises
play the following chords as first and second position barre chords.
If the chord name is underlined then it should be played as second position.
Exercise 1
A5 - D5 - A5 - D5 - C5 - A5 - D5 - E5
Exercise 2
A5 - Db5 - G5 - Cb5 - A5 - Db5 - G5 - Cb5 - A5
Exercise 3
A5 - D5 - F5 - C5 - G5 - A5 - D5 - F5 - C5
Practise these chord movements until you can play them fluently. If its possible try them
with overdrive or distortion, so you can appreciate the power chord sound.
1 2 3 4 5 6 7 8
Exercise 4
Since youve been gone - Rainbow
G5 G5 G5 D5 D5 E5 E5 E5 C5 C5
12 12 12 9 9 9
12 12 12 12 12 9 9 9 10 10
10 10 10 12 12 7 7 7 10 10
10 10 8 8
G5 G5 G5 D5 E5 C5 C5 C5 D5 D5
sl
12 12 12 9
12 12 12 12 9 10 10 10 12 12
10 10 10 12 7 10 10 10 12 12
10 8 8 8 10 10

tune
Lithium - Nirvana
Intro
G#5 C#5 A5 C5 D5 B5 D5
sl sl
6 7
6 6 7 5 5 5 7 7 4 4 4 7 7 7
6 4 7 3 3 3 5 5 0 2 2 2 5 5 5 0
0 x 0 4 0 0 5 0
Verse x4 times
G#5 C#5 A5 C5 sl D5 B5 sl D5
6 7 4 4 7 7
6 6 6 7 5 5 5 7 7 7 4 4 4 7 7 7
6 4 7 3 3 3 5 5 5 0 2 2 5 5 0
0 x 0 4 0 0 5 0
Chorus x3 times
E5 G#5 C#5 A5 C5 sl D5 B5 D5
sl
6 6 6 2 2 2 5 5 5 5 7 7 7 7 4 4 4 4 7 7 7 7
2 2 2 6 6 6 6 6 6 2 2 2 5 5 5 5 7 7 7 7 4 4 4 4 7 7 7 7
2 2 2 6 6 6 4 4 4 0 0 0 3 3 3 3 5 5 5 5 2 2 2 2 5 5 5 5
0 0 0 4 4 4
Bridge
x4 times
A5 C5 A5 C5 A5 C5 A5 C5
2 2 2 5 5 2 2 5 2 2 2 5 5 2 2 5 5 5
2 2 2 5 5 2 2 5 2 2 2 5 5 2 2 5 5 5
0 0 0 3 3 0 0 0 0 3 0 0 0 3 3 0 0 0 0 3 3 3 0
0 3 4
D5 B5 1/2
7 7 7 7 7 7 4 4 4 4
7 7 7 7 7 7 4 4 4 4
5 5 5 5 5 5 0 2 2 2 2
0 3 0
Lead arrangement of the bass solo

sl sl
7 7 6 6 4 4 10 10 12 12 2 2 5 5 5 5
5 3 5 5
Coda
Arrangement
B5
intro - verse - chorus
4 4 4 4 verse - chorus - bridge
4 4 4 4
2 2 2 2 verse - chorus - bridge - coda
0 3 0

Month 7 - Week Four
Plectrum accuracy exercises
When playing partial chords and fifth chords or tines where you are expected to strike two, three or four string
without sounding the remaining string. One of the most important things is plectrum accuracy. Practice the fol-
lowing exercises paying particular attention to the number of stings you are sticking.
Exercise 1
Two notes
Am Am
5 5
5 5 5 5 5 5 5 5
7 7 7 7 7 7 7 7 7 7 7 7
7 7 7 7 7 7 7 7
5 5
Dm Am
6 6
7 7 7 7 7 7 5 5
7 7 7 7 7 7 7 7 7 7 7 7
5 5 7 7 7 7 7 7
5 5
Exercise 2
Three notes
G5 A5 C5 G5
5 5 5 5 5 5
5 5 5 5 5 5 7 7 7 7 7 7 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 7 7 7 7 7 7 3 3 3 3 3 3 5 5 5 5 5 5
3 3 3 3 3 3 5 5 5 5 5 5 3 3 3 3 3 3
D5 C5 G5
7 7 7 7 7 7 5 5 5 5 5 5
7 7 7 7 7 7 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 3 3 3 3 3 3 5 5 5 5 5 5 5 5 5
3 3 3 3 3 3 3 3 3
Exercise 3
Four notes
G7 G7
3 3
3 3 3 3
4 4 4 4 4 4
3 3 3 3 3 3
5 5 5 5
3 3
Cm7 Fm7
3 1
4 4 4 1
3 3 3 1 1 1
5 5 5 1 1 1
3 3 3 3
1 1

tune
No woman no cry - the Fugees (Bob Marley)
Intro
C G Am (F)
0 0
1 0 1
0 0 2
2 0 2 0 2 3 3 2 2
3 2 3 0
0 1 3
Verse
C G Am (F) x8 times
0 0
1 0 1
0 0 2
2 0 2 0 2 3 3 2 2
3 2 3 0
0 1 3
Chorus (t) = use the thumb

C5 Am Fmaj7
(t)
3 0 0
1 1 1
0 2 2
2 2 3
3 2 3 2 0
1
C C5
0 3
1 1
0 0
2 3 2 0 2
3 3 3 0 2
3 3
Bridge / last chorus

C G Am (F) x7 times
0 0
1 0 1
0 0 2
2 0 2 0 2 3 3 2 2
3 2 3 0
0 1 3
(C) (G) (Am) (F)
0 2 3 3 2 2
Arrangement Intro - verse - chorus - bridge - chorus =>

tune
Talkin bout a revolution - Tracy Chapman
Theme one
G C Em D Dsus4 D
0 3 2
0 1 1 1 0 3 3 3
0 0 0 0 0 0 0 2 2 2
0 0 2 2 2 2 0 0 0
2 3 3 2 2
3 0
Theme two
G C Em D Dsus4 D
0 0 2 3 2
0 1 1 1 0 3 3 3
0 0 0 0 0 2 2 2
0 2 2 2 0 0 0
2 3 3 2
3 0
Arrangement
Play Theme one 10 times - play theme two through to the end
Revision from unit 1

Try revising these tunes previously covered in unit one, but this time pay particular attention to
your plectrum accuracy.
The Spirit in the sky - Norman Greenbalm
G C Bb G Bb C
5 3 3 5
5 5 5 5 5 5 3 5 5 5 5 5 3 5
5 5 5 5 5 3 5 5 5 5 5 3
3 3
Typical Van Halen style riff
H H
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 3 3 3 0 3 3 3

unit 1 tune
Smoke on the water - Deep purple
intro
G5 C5 G5 C#5 C5 G5 C5 C5 G5
3 5 3 6 5 3 5 5
5 3 5 5 3 6 5 5 3 5 5 5
5 3 5 4 3 5 3 3 5
3 3 3 3
verse
Gm F Gm
3 3 3 3 1 1 3 3
3 3 3 3 1 1 3 3
3 3 3 3 2 2 3 3
5 5 5 5 3 3 5 5
5 5 5 5 3 3 5 5
3 3 3 3 1 1 3 3
Gm F Gm
3 3 3 3 1 1 3
3 3 3 3 1 1 3
3 3 3 3 2 2 3
5 5 5 5 3 3 5 5
5 5 5 5 3 3 5 5
3 3 3 3 1 1 3 3
chorus
C5 G#5 G5 C5 G5 C#5 C5
5 3 5 3 6 5
5 6 5 3 5 5 3 6 5
3 6 5 3 5 4 3
4 3 3
C5 G#5 G5 C5 G5 C#5 C5
5 3 5 3 6 5
5 6 5 3 5 5 3 6 5
3 6 5 3 5 4 3
4 3 3
G5 C5 C5 G5 arrangement
intro
verse - chorus
3 verse - chorus
5 5
5 3 5 5 5 verse - chorus
5 3 3 5 instrumental
3 3 verse - chorus
intro - intro

unit ll
month eight

Month 8 - Week One

Rock structure - riffs
A riff is the name given to a pattern of notes and/or chords which is used in a piece of music.
A riff can be used once of over and over again all the way through the tune.
Exercise 1
The chain - Fleetwood Mac
0 0 2 3 2 0 0 2
3 0 (0)
Exercise 2
Johnny B Goode - Chuck Berry
5 7 7 7 7 7 7 7 7 7 7
5 7 7 7 7 7 7 5 0 7 7 7 7 7 5 0
7 7
B5
7 7 7 7 7
7 7 7 7 7 5 0
7
9
9
7
Exercise 3
The joker - Fatboy slim (or The Steve Miller Band, if your older)
1 1 1 2
1 1 1 3
3 3 1 1 1 1 0
1 3 3

tune
Day tripper - The Beatles
Intro
x4 times
E H H
2 0 4 0 2
2 2 2
0 3 4
Verse
E H H
2 0 4 0 2
2 2 2
0 3 4
A H H
2 0 4 0 2
2 2 2
0 3 4
E H H
2 0 4 0 2
2 2 2
0 3 4
Chorus
F#7 F#7 F#7 F#7 F#7 F#7 F#7 F#7 F#7 F#7 F#7 F#7 F#7 F#7 F#7 F#7
A7 G#m7 C# B
Arrangement (Hendrix version)

Intro - verse - chorus - verse - chorus - solo - verse - chorus - solo - coda

Month 8 - Week Two
Percussive strumming - clicks
Clicking is when you pluck a string or strike a chord whilst the string or strings are being muted by the left hand.
It should sound just like a click, hence the name. (revise unit 1 - month 6). Even though they sound easy, clicks
can to difficult to achieve and more difficult when you have to alternate between sounded notes and clicks.
Play the following exercises. Dont worry too much about the rhythm but try to get the exercises smooth.
1 - First position chords

Dont be to concerned about playing the exact amount of strings for the clicks
A5 A5
x x x x x x x x x x x x
7 x x x x x x 7 x x x x x x
2 - Second position chords
D5 D5
3 - Open chords
Open chords are the most difficult chords to click well, you may need to lay your left hand over the strings to
achieve a good click.
E5 A5
x x x x x x 2 x x x x x x
0 x x x x x x
Exercise 1
Am Am Am G
5 5 5 5 3
5 5 5 5 3
5 x x 5 x x 5 x x 5 4
7 x x 7 x x 7 x x 7 5
7 x x 7 x x 7 x x 7 5
5 x x 5 x x 5 x x 5 3
Am Am F G
5 5 5 1 3
5 5 5 1 3
5 x x 5 x x 5 x x 2 4
7 x x 7 x x 7 x x 3 5
7 x x 7 x x 7 x x 3 5
5 x x 5 x x 5 x x 1 3

Exercise 2
A5 C5
7 x x 7 x x 7 x x 7 7 10 x x 10 x x 10 x x 10 10
7 x x 7 x x 7 x x 7 7 10 x x 10 x x 10 x x 10 10
5 x x 5 x x 5 x x 5 5 8 x x 8 x x 8 x x 8 8
D5 A5
12 x x 12 x x 12 x x 12 12 7 x x 7 x x 7 x x 7 7
12 x x 12 x x 12 x x 12 12 7 x x 7 x x 7 x x 7 7
10 x x 10 x x 10 x x 10 10 5 x x 5 x x 5 x x 5 5
E5 D5
9 x x 9 x x 9 x x 9 9 7 x x 7 x x 7 x x 7 7
9 x x 9 x x 9 x x 9 9 7 x x 7 x x 7 x x 7 7
7 x x 7 x x 7 x x 7 7 5 x x 5 x x 5 x x 5 5
A5 Am A5
5
5
5
7 x x 7 x x 7 x x 7 7 7 7
7 x x 7 x x 7 x x 7 7 7 7
5 x x 5 x x 5 x x 5 5 5 5
Exercise 3
A5 C5
x x x x 5 x x 5 x x
5 x x 5 x x 5 x x 5 x x
5 x x 5 x x 3 x x 3 x x
3 x x 3 x x
F5 Bb5
x x x x 3 x x 3 x x
3 x x 3 x x 3 x x 3 x x
3 x x 3 x x 1 x x 1 x x
1 x x 1 x x
Exercise 4
A5 D5 G5 C5 F5 Bb5 E5
7 x x 5 x x 3 x x
7 x x 7 x x 5 x x 5 x x 3 x x 3 x x 2 2
7 x x 5 x x 5 x x 3 x x 3 x x 1 x x 2 2
5 x x 3 x x 1 x x 0 0
A5 D5 G5 C5 F5 G5 A5 sl
7 x x 5 x x
7 x x 7 x x 5 x x 5 x x 3 x x 5 x x 7 7
7 x x 5 x x 5 x x 3 x x 3 x x 5 x x 7 7
5 x x 3 x x 1 x x 3 x x 5 5

unit 1 tune
Revise this tune from month 6 of unit 1. Focus your attention on plectrum accuracy
and getting clear, crisp clicks with no after ring.
Smells like Teen Spirit - Nirvana
intro
semi acoustic
F Bb G# C# F Bb G# C#
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
3 3 6 6 3 3 6 6
xx xx 3 3 xx xx 6 6 xx xx 3 3 xx xx 6 6
3 3 xx xx 1 1 6 6 xx xx 4 4 3 3 xx xx 1 1 6 6 xx xx 4 4
3 3 xx xx 6 6 xx xx 3 3 xx xx 6 6 xx xx
1 1 4 4 1 1 4 4
electric repeat x 4
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
3 3 6 6 3 3 6 6
1 1 4 4 1 1 4 4
verse repeat x 3
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
1 1
1 1
chorus
Fm Fm Fm Fm
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
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
3 3 3 3 3 3 3 3
repeat x 6
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
3 3 6 6 3 3 6 6
1 1 4 4 1 1 4 4

F F# F Bb F F# F Bb
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
3 3
3 3 1 3 3 1
3 3 3 4 3 3 3 3 1 3 3 3 4 3 3 3 3 1
3 3 3 4 3 3 3 1 3 3 3 4 3 3 3 1
1 1 1 2 1 1 1 1 1 1 2 1 1 1
solo
1 1
1 4 4 4 2 1 2 1 1
1 3 1 3 3 1 0
1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0
3 3
coda
Fm Fm Fm Fm
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
3 3 3 3 3 3 3 3
3 3 6 6 3 3 6 6
1 1 4 4 1 1 4 4
F feedback
3
3
1
arrangement intro - verse - chorus - verse - chorus - solo - verse - coda

tune
Spaceman - Babylon zoo
Intro
C5 E5 C5 E5 x4 times
9 9 9 9
10 10 9 9 9 9 10 10 9 9 9 9
10 10 10 10 7 7 10 10 10 10 7 7
8 8 8 8
C5 E5 x3 times C5 E5 x4 times
9 9 9 9 7 7 9 9 9 x x
10 10 x x x x 9 9 9 9 7 7 10 10 10 10 9 9 9 x x
10 10 x x x x 7 7 7 7 10 10 10 10 7 7 7 x x
8 8 x x x x 8 8 8 8
Pre-verse
C5 E5 x3 times C5 E5
9 9 9 9 7 7 9 9 x x
10 10 x x x x 9 9 9 9 7 7 10 10 x x 9 9 x x
10 10 x x x x 7 7 7 7 10 10 x x 7 7 x x
8 8 x x x x 8 8 x x
Verse
A5 G5 F5 G5
7 7 x x x x 5 5 x x 3 3 x x x x 5 5 x x
7 7 x x x x 5 5 x x 3 3 x x x x 5 5 x x
5 5 x x x x 3 3 x x 1 1 x x x x 3 3 x x
A5 G5 F5
7 7 x x x x 5 5 x x 3 3
7 7 x x x x 5 5 x x 3 3
5 5 x x x x 3 3 x x 1 1

Chorus
A5 C5 F5 D5
10 10 x x x x 7 7 x x
7 7 x x x x 10 10 x x 10 10 x x x x 7 7 x x
7 7 x x x x 10 10 x x 8 8 x x x x 5 5 x x
5 5 x x x x 8 8 x x
A5 C5 F5 D5
10 10 x x x x 7 7 x x
7 7 x x x x 10 10 x x 10 10 x x x x 7 7 x x
7 7 x x x x 10 10 x x 8 8 x x x x 5 5 x x
5 5 x x x x 8 8 x x
Solo
E5 sl. sl. sl. E5 sl. sl. sl.
9 9 7 7 9 9 7 7 6 6 9 9 7 7 9 9 7 7 6 6
9 9 9 9 9
7 7 7 7
C5 sl. sl. sl. C5 sl. sl.
10 10 10 10 9 9 7 7 9 9 10 10 10 10 9 9 7 7
10 10 10 10
8 8 8 8
C5 sl. sl. sl. sl. C5 sl. E5
9
10 10 10 10 9 9 7 7 9 9 10 10 10 10 10 9 9 9
10 10 10 10 7
8 8 8 8
Arrangement
Intro - verse - chorus - solo - 1/2 intro - pre verse - verse - chorus - (chorus repeat and fade)
Note, some parts of this tune have been adapted for the guitar.

Month 8 - Week Four
Modes
Modes are scales that start and finish on different root notes relative to the key signature.
Modes can be created by changing the start and end note of a scale, whilst maintaining
the key signature. Modes can be useful when improvising, or some old, and ethnic music
is based on the modal scales.
Below is an example of modes using the key of C major as the root scale or keysignature.
Mode 1 - C D E F G A B C - C Ionian
Mode 2 - D E F G A B C D - D Dorian
Mode 3 - E F G A B C D E - E Phrygian
Mode 4 - F G A B C D E F - F Lydian
Mode 5 - G A B C D E F G - G Mixolydian
Mode 6 - A B C D E F G A - A Aeolian
Mode 7 - B C D E F G A B - B Locrian
During the course we have encountered three modal scales.
Ionian 1 Mixolydian Aeolian

1 1 1 1
or 1 1 1 2 1 1 1 1 1
or
major. natural
2 2 2 2 2 2 2 2 1 1 minor.
3 3 3 3 3 4 3
4 4 4 4 4 4 4 4 4 4 4 4 3
Exercise
play the following scales noting how they are all steps in the diatonic major pattern.
(Diatonic = 2 octave)
C D E F G A B C
Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian Ionian
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
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
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
8th fret

Exercise
Play the following diatonic modes.
C Ionian D Dorian E Phygian

1 1
1 1 1 1 1 1 2 2 1 1 1 1 1 1 1 1
10th fret 12th fret
2 2 2 2 2 2
8th fret
3 3 3 3 4 4 3 3 3 3
4 4 4 4 4 4 4 4 4 4 4
F Lydian (barre and open)
1 1 1
1 1 1 1 1 2 2 2
2 2 2 3 3 3 3
13th fret
3 3 3
4 4 4 4
G Mixolydian A Aeolian B Locrian
1 1 1 1 1 1 2 1 1 1 1 1 1 1
5th fret 7th fret
2 2 2 1 1 2 2 2 2
3rd fret
3 3 3 3 4 3 3
4 4 4 4 3 4 4 4 4 4 4 4 4

tune
Inside - Stiltskin
Note; the notes in brackets are optional, but I would recommend to play them
Intro
D5 A5 E5
9
(4) 4 5 7 9
5 (5) (5) (5) (4) 4 5 7 7
5 (5) (5) (5) 0
Verse
E5 C5 A5 C5
5 2 5
2 5 5 2 2 5 5
2 2 3 0 3
0
Chorus
E5 G5 A5 C5
2 2 x x x x 5 5 x x x x 7 7 10
2 2 x x x x 5 5 x x x x 7 7 10
0 0 x x x x 3 3 x x x x 5 5 8
D5 A5 E5
9
(4) 4 5 7 9
5 (5) (5) (5) (4) 4 5 7 7
5 (5) (5) (5) 0
D5 A5 E5
9
(4) 4 5 7 9
5 (5) (5) (5) (4) 4 5 7 7
5 (5) (5) (5) 0
Fill one
E5
7 7 7 7 7 7 7 7
0 0 0 0 0 0 0 0

Solo
sl. sl. sl.
2 2 0 (2) 5 2 0 (2) 5 2 0 (2) 5 7
Coda
E5 G5 A5 C5
2 2 x x x x 5 5 x x x x 7 7 10
2 2 x x x x 5 5 x x x x 7 7 10
0 0 x x x x 3 3 x x x x 5 5 8
lead arrangement of bass part
Em G Asus G
2 0 0 0
2 2 2 2 4 4 2 2
0 3 5 3
D5 A5 E5
9
(4) 4 5 7 9
5 (5) (5) (5) (4) 4
5 (5) 5
(5) 7
(5) 7
0
Arrangement
Intro - verse - chorus - fill one - verse - chorus - solo - coda
Alternative way to play the verse

Em C Am C
0 2 0
2 2 2 2 2 2 2
2 2 3 0 3
0

unit ll
month nine

Month 9 - Week One

Plectrum exercises
Plectrum directions
to develop a fast and accurate guitar technique it is important to pay attention to plectrum
directions. Using alternating and where appropriate raking plectrum strokes will make your
guitar playing sound fast, smooth and accurate
Up until now we have used arrows to denote plectrum directions, however their is a universal
method of denoting plectrum directions. This method of showing directions actually comes
originally from the violin, with a pointed end and a square end to the bow.
Down strum Up strum V
Exercise 1
V V V V V V
7 8 9 8 7 8 9 8 7 8 9 8
Keep repeating, slowly increasing the speed
Exercise 2 - C major scale

V V V V
5 5 7 7 8 8
5 5 6 6 8 8
5 5 7 7
8 8 7 7 5 5
8 8 6 6 5 5
7 7 5 5
Exercise 3 - Triplet groups
V V V V V V V V
7 7 7 7 7 7
5 5 5 5 5 5 3 3 3 3 3 3 3 3 3 3 3 3

Exercise 4 - variation on a Spanish scale
V V V V
10 11 12
10 12 13
10 12 13
10 11 13
V V V V V V
10 11 13 13 11 10
10 11 13 13 11 10
V V V V V V V V
12 11 10
13 12 10
13 11 10
13 11 10
Exercise 5 - Chromatic steps
V V V V
8 9 10 11 8 9 10 11
Exercise 6 - Chromatic steps within steps
10 11 12 13 12 11 9 10 11 12 11 10 8 9 10 11 10 9 7 8 9 10 9 8
6 7 8 9 8 7 5 6 7 8 7 6 4 5 6 7 6 5 3
Exercise 7 - Extract form the flight of the wounded bumble bee (Extreem)
12 13 14 11 12 13 10 11 12 9 10 11
8 9 10 7 8 9 6 7 8 5 6 7

Exercise 8 - alternating open string
V V V V V V V V V
12 0 0 10 0 0 8 0 0 7 0 0 0 0 0 0 0 0
V V V V V V V V V
8 0 0 7 0 0 5 0 0 7 0 0 0 0 0 0 0 0
Exercise 9
0 5 0 7 0 8 0 0 0 8 0 10 0 12 0 0
0 12 0 13 0 15 0 0 0 15 0 13 0 12 0 10
0 13 0 12 0 10 0 8 0 12 0 10 0 8 0 7
5 0 0 5 0 0 0 5 (5)
Exercise 10
0 2 0 2 0 2 0 2 0 4 0 4 0 4 0 4 0 5 0 5 0 5 0 5 0 7 0 7 0 7 0 7

Exercise 11 - alternating open string
V V V V V V V V V V
12 0 0 0 0 7 0 0 0 0 8 0 0 0 0 5 0 0 0 0 7 0 0 3 0 0
5 0 0 0 0 2 0 0 0 0 3 0 0 0 0 5 0 0 0 0 2 0 0 3 0 0
12 0 0 0 0 7 0 0 0 0 8 0 0 0 0 5 0 0 0 0 7 0 0 3 0 0
5 0 0 0 0 2 0 0 0 0 3
3 3
2 2
0 0
Exercise 12
2 - variation on Malaguenia
V V V V V V V V V V V V V V V V
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 5 7 8 0 7 8 10 0 8 10 12 0 10 12 13
V V V V V V V V V V V V V V V V
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
10 12 8 10 7 8 5 7 4 5 0 1 0 0 0
2
Important
Your accuracy and speed is directly proportional to the time you spend practising. Choose two or three of
these exercises and practise them until you can play them quickly and accurately. It may take weeks, so
dont be impatient.

Month 9 - Week Two

tune
Run dont walk - Johnny Smith
Intro
A5 G5 F5 E5
7 7 7 5 5 5 3 3 3 2
7 7 7 5 5 5 3 3 3 2
5 5 5 3 3 3 1 1 1 0
Verse
5 5 7 8 7 5
5 6 8 8 5 6 8
5 7 5 7
5
8 8 6 5 5 6 5 5 6 5
7 7 7
1st time
5
5 7 5 7
2nd time
8 8 8 8 8
5 6 8 8 8
4 5 7
5 7
8 5 8 5 8 5 8 5 8 5 5 5 5
5 5 5 5 6 6 6
5 5

7 7 7 8 0
9 9 9 3 1 0
9 9
verse two
H H
5 5 7 8 7 5
5 6 8 8 5 6 8
5 7 5 7
H
5
8 8 6 5 5 6 5 5 6 5
7 7 7
5 5 5 5 5 5 5 5
5 5 5
7
Coda
H H
5 5 7 8 7 5
5 6 8 8 5 6 8
5 7 5 7
H
5
8 8 6 5 5 6 5 5 6 5
7 7 7
5 5
5 5 5
7 5
3
Arrangement intro - verse - verse 2 - verse - coda

Plectrum arpeggiation exercises
When using plectrum arpeggiation, your goal is to make the plectrum strokes sound as smooth and uniform
as is possible. In many cases the plectrum arpeggiation should sound as smooth flowing as finger picking.
Ie try the following using Em

V V V V V V V V
0 0
0 0
0 0 0 0
2 2 2 2
2 2
0 0
Exercise 1
Dm Am
V V V V V V
1 0
3 3 1
2 2 2 2
0 2
0
Dm Dm
V V V V V V
1 1
3 3 3 3
2 2 2 2
0 0
F G
V V V V V V
1 3
1 1 3 3
2 2 4 4
3 5
Dm Am
V V V
1 0
3 3 1
2 2 2
0 2
0

Exercise 2
C Am
V V V V V V V V
0 0
1 1 1 1
0 0 2 2
2 2 2 2
3 0
Em Em
0 0
0 0
0 0 0 0
2 2 2 2
2 2
0 0
C Am
0 0
1 1 1 1
0 0 2 2
2 2 2 2
3 0
Em F
0 1
0 1
0 0 2 2
2 2 3 3
2 3
0 1
C Em
0 0
1 1 0
0 0 0 0
2 2 2 2
3 2
0
Am
0 0
1 1 1
2 2 2
2 2 2
0 0

tune
The house of the rising sun - The Animals
Plectrum style
Em G (barre)
V V V V V V
0 3
0 3
0 0 4 4
2 5
2 5
0 3
Verse (chords)
Em - G - A - C - Em - G - B7 - B7
Em - G - A - C - Em - B7
Em - G - A - C - Em - B7 - Em - B7
Arrangement verse - verse - verse - verse - verse - verse
This tune can be used to practice tune interpretation from chords. The tune can be played
a number of ways without deviating to far from the well known Animals version of the song.
Exercise
PLAY THE TUNE
1. as all open chords
2. all bare chords
3. using a Em open chord and all the rest barre chords
4. using just first position barre chords
5. using first and second position barre chords
Finally revise the finger picking version we looked at in unit one.

unit one revision - tune
House of the rising sun - The Animals
PIMAMI
Am C
0 0
1 1 1 1
2 2 0 0
0 3
D F
2 1
3 3 1 1
2 2 2 2
0 3
Am C
0 0
1 1 1 1
2 2 0 0
0 3
E7 E7
0 0
0 0 0 0
1 1 1 1
2
0
Am C
0 0
1 1 1 1
2 2 0 0
0 3
D F
2 1
3 3 1 1
2 2 2 2
0 3
Am E7
0 0
1 1 0 0
2 2 1 1
0
0
Am E7
0 0
1 1 0 0
2 2 1 1
0
0

Month 9 - Week Four

tunes
We are the champions - Queen
Verse
Cm Gm
3 3
4 3
5 5 3
5
3 5 5
3 3
Cm Gm
3 (3)
4 (3)
5 5 (3)
5
3 5 5 5
3 3 3
Eb Ab
4
4
8 8 5
8 8
6 6 6
4
Eb Ab
6 4
8 4
8 8 5
8 8
6 6
4
Eb Bb5 C5 F5
8 5
8 8 5 3
6 8 3 3
6 1
Bb7 Bb
7
6 8 8
8 8 8
6 6 6
C5
5
5
3

Chorus 1 and 2
F5 A5 D5 F5 C5
7 7 3 5
3 3 7 7 7 7 3 5
3 3 7 7 5 5 1 3
1 1 5 5
F5 A5 D5 D#5 D5
8 7
3 3 7 7 8 7 6 5 8 7
3 3 7 7 8 7 6 5 6 5
1 1 5 5 6 5 4 3
Gm Bb dim
3 3 3
3 2 2
3 3 3 3
5 5 2 2
5 5
3 3
F Gm9 Ab Bb7
1 5 4 6
1 3 4 6
2 3 5 7
3 5 6 6
3 5 6 8
1 3 4 6
C5
5 5
5 5
5 5
3 3
Bridge
Fm Bb
1 1
1 3
1 3 3
3 3
3 1
1
Fm Bb
1
1
1 3
3 3
3 1
1
Arrangement
verse 1 - chorus - bridge - verse 2 - chorus 1 - chorus 2 - coda

tunes
Dont cry - Guns n Roses
Intro
Am Dm G5
0 1 3
1 3 3 3
2 2 2 2 0 0 0 0
2 0 0 0 0 0
0 0 2 0 3 2 3 2
3 3
Am Dm G5
0 1
1 3 3
2 2 2 2 0
2 0 0 0 2
0 0 2 0
3 2 3 4
Verse
Am Dm G5
0 1 3
1 3 3 3
2 2 2 2 0 0 0 0
2 0 0 0 0 0
0 0 2 0 3 2 3 2
3
Am Dm G5 C
3 0 1 3
1 3 3 3
2 2 2 0 0 0 0
2 0 0 0 2 0
0 0 2 0 3 2 3 2
3
Am Dm G5 C
0 1 3
1 3 3 3
2 2 2 2 0 0 0 X X
2 2 0 0 2 X X
0 0 2 0 3 2 X X
3
Chorus
F G5 Am H
1 1 3 3 0 0
1 1 3 3 1 1 0 1
2 2 0 0 0 2 2 2 0
3 3 0 0 0 2 2
3 3 2 2 3 2 0
1 1 3 3
F Am
1 1 1 1 1 0
1 1 1 1 1 1 3 1 0
2 2 2 2 2 0 0 2 2 2 0
3 3 3 3 3 0 0 2 2 2 0
3 0
1

F G5 Am
1 1 1 3 3
1 1 1 3 3 1 1 1
2 2 2 0 0 0 0 0 2 0
3 3 3 0 0 0 2 0 2 0
2 2 3 2 0 2
3 3 3
F G5 Am
1 1 3
1 1 3 1 0
2 2 0 0 2 2 2
3 3 0 0 2 2 2
2 0
3
Solo
1 1 1 P 1 1/4
P 1/2
8 8 8
7 7 (7) 5 7 7 (7) 5 7 7 (7) 5
7 5
5 3
sl. sl. H sl. H sl. H 1
15
7 9 9 10 10 12
10 12 12 14
5 7 7 8 8 10 10 12
1/4 H P P P P P 1/2 P
13
14 12
14 13 14 13 12 13 12 10 12 10 10
12 10 12 10 12
1 1
P sl.
15 15 15 15 15
15 15 (15) 13 15 15 (15) 13 12 12 15
13
14
1 1 1
P 1 P
13 5
13 12 13 13 15 15 15 (15) 13 8 8 5 XX 8
14 7 (7) 5 XX 7
15
Arrangement
verse - chorus - verse - chorus - solo - verse - verse - chorus

unit ll
month ten

Month 10 - Week One
unit one revision
repeats and terminals
Up until this point we have been simply writing repeat above the place in the score at which you
should go back and repeat. The correct way to denote repeats is probably easier to understand
and it is a clearer where you repeat from. The repeat sign is the same in tab as it is in music and it is
denoted by a double dot and double line.
repeat from here repeat to here a terminal is the end of a line or phrase
To make this completely clear look at these examples. The bars have been marked with letters and
then the order they should be played in is marked underneath.
example 1
A B C D
A B C D A B C D
example 2
A B C D
A B C D C D
example 3
A B C D
A B C B C D
example 4
A B C D
A B C B C D A B C B C D

unit two Repeats
D.C.. (Da capo) Repeat to the top or beginning.
D.S.. (Dal segno) Repeat to the sign.
D.C. al Fine
e (Da capo al fine) Repeat to the top and then go to the end
at the sign.
D.S. al Coda
a (Dal segno al coda) Repeat to the sign and then go to the
coda when you reach the sign.
D.C. Da Capo
D.C.
A B C D
played A B C D A B C D
D.S. Dal Segno

D.S.
A B C D
played A B C D B C D
D.C. al Fine (Da capo al fine)

to Fine
A B C D
D.C. al Fine Fine
E F G H
played A B C D E F A B C D G H
D.S. al Coda
a (Dal segno al coda)
to Fine
A B C D
D.S. al Fine Fine
E F G H
played A B C D E F B C D G H

Plectrum exercises
Combining strumming with arpeggiation is one of the primary reasons for using a plectrum
where under normal circumstances finger picking seems more logical.
Exercise 1
D A
V V V V V V V V V V
2 2 2 0 0 0
3 3 3 2 2
2 2 2 2 2 2
0 2
0
Em A
0 0 0 0 0 0
0 0 2 2
0 0 2 2 2
2 2
2 0
0
D D
2 2 2 2
3 3 3 3
2 2 2 2
0 0
Exercise 2
Am C
V V V V V V
5
5 5 5 5
5 5 5 5 5 5
7 7 7 5 5 5
7 7 3 3
5
G G
3 3 3 3 3
3 3 3 3 3 3
4 4 4 4 4 4 4
5 5 5 5 5 5 5
5 5 5 5 5 5
3 3 3 3 3
F G
1 1 1 3 3 3
1 1 1 3 3 3
2 2 2 4 4 4
3 5
3 5
1 3
Am Am
5 5 5 5
5 5 5 5
5 5 5 5
7 7
7 7
5 5

Exercise 3
Am F
V V V V V V V V
5 5 1 1
5 5 1 1
5 5 2 2
7 7 3 3
7 7 7 7 3 3 3 3
5 5 5 5 1 1 1 1
G E
3 3 0 0
3 3 0 0
4 4 1 1
5 5 2
5 5 5 5 2 2 2 2
3 3 3 3 0 0 0 0
F G
1 1 3 3
1 1 3 3
2 2 4 4
3 3 5 5
3 3 3 3 5 5 5 5
1 1 1 1 3 3 3 3
E Am
0 0 5
0 0 5
1 1 5
2 7
2 7
0 5
Exercise 4
C Am
V V V V V V
0 0
1 1
0 0 2 2
2 2
3 0
Dm G7
1 1
3 3 0
2 2 0
0 0
2
3
C C
0
1 1
0 0 0
2 2
3 3

tune
Ill be missing you - Puff Daddy
Their are two ways of playing this tune. You can either play the C and D add 9 as open chords or as barre
chords. Try both ways of playing the tune, however you only need to practise one way.
Open chord version

G add 9 Em add 9
0 0
2 2 2 2 2 2 0 0
0 0 0 0 0 0 4 4 4 4 4 4
2 2 2 2 2 2
3 3 0 0
C add 9 D add 9 G add 9

0
3 1 3 0 0
0 0 2 2 2 2 2 2 2 2 2 2
2 2 2 0 0 0 0 0 0 0 0
3
3 3
Barre chord version

G add 9 Em add 9
0 0
2 2 2 2 2 2 0 0
0 0 0 0 0 0 4 4 4 4 4 4
2 2 2 2 2 2
3 3 0 0
C add 9 D add 9 G add 9

3 5 0 0
5 7 2 2 2 2 2 2
5 5 5 5 7 7 7 7 0 0 0 0 0 0
3 3 5 5
3 3
G add 9 Em add 9
Chords X Note. G add 9
The G add 9 chord we
use here is a cut-down
1 1 version on the full chord. 1
It is OK to simplify
2 chords when you only 2 3
play a part of that chord.

3
C add 9 D add 9
X X X X X1
1
3rd fret 5th fret
2 1
3 4 2 4 3 2 4

Month 10 - Week Two
Aeolian mode
We have looked at how we can create a new set of scales from
the major scale, revise MONTH 2 - WEEK 4 of this unit. These C
scales are called the modes, and whilst they are all different B D
from the major scale they all carry the same key signature.
A E
To create the modes we start and end on different notes, whilst
maintaining the notes from the major scale. G F
The Aeolian is the relative minor
The sixth mode is the Aeolian mode, which is also the natural minor scale. Because for
example, the A Aeoian scale comes from the scale of C major scale and is therefore in the
same key, it is the relative minor of C minor. Every major scale or key has a relative minor.
The red notes in the illustrations bellow are the roots of the scale, or the notes that give the
scales their names. C is the 8th fret on the Bottom E string and A is the fifth fret on the bot-
tom E string.
C Ionian A Aeolian
1 1 1 1
or 1 1 1
or
C major. A natural minor.
2 2 2 2 2 2 2 1 1
8th fret 5th fret
3 3 3
4 4 4 4 4 4 4 4 4 3
A List of key signatures and their relative minors
Key signatures with sharps Key signatures with flats
Key signature Relative Key signature Relative

(major scale) minors (major scale) minors
C Am F Dm
G Em Bb Gm
D Bm Eb Cm
A F#m Ab Fm
E C#m Db Bbm
B G#m Gb Ebm
F# D#m Cb Abm

Shuffle styles
A shuffle is when you play rapidly alternating chords or variations on a chord. Shuffles are
used to add rhythm and interest to chords. Revise MONTH EIGHT - UNIT ONE where we did a
number of blues style shuffles. Some bands like Status Que have made a career out of play-
ing rock shuffles, whilst other bands use more sparingly to add subtal variation to their tunes.
Exercise 1 - Whatever you want, Status Quo

Dsus4 D Dsus4 D
3 3 3 2 2 3 3 3 2
3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 4 2 2 2 2 2 2
0 0 0 0 0
D Dsus4 D Dsus4 D Dsus4 D

2 3 3 3 3 2 3 3 3 3 2 3 3 3 2
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
2 2 4 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0
D G A G
2 3 3 3 0 3 3 3 0
3 0 0 0 0 2 0 0 0 0
2 2 4 2 2 0 0 0 0 2 0 0 0 0
0 0 0 0 0 2 2 4 2 2
0 0 0 0 0
D Dsus4 D Dsus4 D Dsus4 D

3 3 3 2 2 3 3 3 3 2 3 3 3 3
2 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 2 4 2 2 0 0
0 0 0 0 0
D
2
3
2 2 4 2 2
0 0 0 0 0
Exercise 2
First position barre shuffle (G) Second position barre shuffle (C)
5 5 7 7 5 5 7 5
5 5 7 7 5 5 7 5 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
The above shuffles can be played in the same way as barre chords, where the root is on the
E string and A string respectively.

Verse shuffle Chorus riff
5 5 7 5 5 5 7 5 12 12 10 10
3 3 3 3 3 3 3 3 10 10 8 8
Silver machine - Hawkwind can be played using the above rock shuffles.
Intro
o G G G G
Verse G A C D
Chorus/solo
o repeat chorus riff 34 times
Exercise 4 - Supersonic, Oasis

Intro
F#m11 Asus2 B7 F#m11 Asus2 B7
V V V V V V V V V V
0 0
0 0 0 0 0 0
2 2 2 2 2 2 2 2
4 4 2 1 4 4 2 1
4 0 0 (0) 2 4 0 0 (0) 2
F#m11 Asus2 B7 F#m11 Asus2 B7 1/2

0 0
0 0 0 0 0 0
2 2 2 2 2 2 2 2
4 4 2 1 4 4 2 1
4 0 0 (0) 2 4 0 0 (0) 2 2 0
Verse
F#5 Eb F#5 A B5
2
2 4
4 4 4 4 4 4 2 2 2 4 4 4 4
4 4 4 4 4 4 4 4 0 0 0 2 2 2 0
2 2 2 0 2 2 2 0
E shuffle F#5 shuffle
2 2 4 2 2 2 4 2 2 2 4 2 2 2 4 2 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 0 2 2 2 0 2 2 2 0 2 2 2 0 2
E shuffle C#7

4
6 6
4 4
6 6 6
2 2 4 2 2 2 4 2 2 2 4 2 2 2 4 2 4
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
sl. sl. sl. sl.
2 2 2 2
2 4 4 2 0 0 2 4 4 2 4 4 2 0 0 2 4 4
2 2


Plectrum exercises
Playing the root before the chord
D A C G
5 5 3 3
7 5 5 3
7 6 5 4
7 7 5 5
5 7 3 5
5 3
Playing the chord broken into three

Am G F
5 5 3 1
5 5 3 1
5 5 4 2
7 7 5 3
7 7 5 3
5 5 3 1
Exercise 1
C Em
0 0 0 0
1 1 0 0
0 0 0 0
2 2 2 2 2 2
3 3
0 0
Am Am
0 0 0 0
1 1 1 1
2 2 2 2
2 2 2 2 2 2
0 0 0 0
Dm Am
1 1 0 0
3 3 1 1
2 (2) 2 2 (2) 2 2
0 0 2 2 2
0 0
Dm G
1 1 3
3 3 0
2 (2) 2 2 (2) 0
0 0 0
2
3

Exercise 2
C Am
3 3 0 0
5 5 1 1
5 5 2 2
5 5 2 2
3 3 0 0
F G
1 1 3 3
1 1 3 3
2 2 4 4
3 3 5 5
3 3 5 5
1 1 3 3
Exercise 3 - Smoke on the water, Deep Purple
Gm Gm
3 3 3 3
3 3 3 3
3 3 3 3
5 5 5 5
5 5 5 5
3 3 3 3
F Gm
1 1 3 3
1 1 3 3
2 2 3 3
3 3 5 5
3 3 5 5
1 1 3 3
Exercise 4 - Nothing else matters, Metallica
Em D C
7
8 7 5
9 7 5
9 7 5
7 5 3
0
Em D C
7
8 7 5
9 7 5
9 7 5
7 5 3
0
G B7 Em
0
4 0 0
4 2 0 0
5 4
5 2
3 0

tune
Purple Haze - Jimmi Hendrix
Intro riff
sl. H H
8
7
7 9 7 5 7 0
5 7
0
1/2
5 7 7 5 5
7 0
0 3
1/2 H sl.
7 7 9
5 7 7 7 5 7 9
7
Chord intro
E7#9 G A
3 3 3 3 5
3 3 3 3 5
1 1 1 4 6
2 2 2 5 7
2 2 2
0 0 0 0 3 3 5 5
Verse
E7#9 G A x3 times
3 3 3 3 5
3 3 3 3 5
1 1 1 4 6
2 2 2 5 7
2 2 2
0 0 0 0 3 3 5 5
sl.
9 11 9 7
7 7 9 7 5
0
sl. Two ways to play E7#9

8 8 1 1
7 7
7 9 9 3 2 3 2
4 2 4

Month 10 - Week Four
unit one revision

Improvisation
Improvisation
Improvisation is the art of making it up as you go along. This may sound like some-
thing only gifted musician can do, who have been playing for many years, but that
isnt the case. To improvise effectively you just need to know what scale to use with
what chord sequence and this can be learned by anyone.
How to Improvise with the blues sequence in A.
1. make sure you can play the blues scale up and down from memory.
2. play the blues scale in A along with the extended blues backing. Note how it fits
perfectly even if you start late or early.
3. try taking the noted of the scale out of order, perhaps in a similar way to the pre-
vious exercises, or use bits of the exercises if you want.
4. you are now improvising. Just keep practising, taking the scale out of order to
produce what you are happy with. Remember everybody finds their own way to
improvise and their own riffs and note preferences.
Hints.
Dont be scared to try new things
You dont have to stick tightly to the rhythm. Make some notes long and others short,
holding a note for a time can give you time to think about your next move.
Dont worry about repeating the same notes several times, this is a technique used
by most good guitarists.
Listen to your favorite guitarist and see if you can pick out what they do.

tune
The man who sold the world - Nirvana (David Bowie)
Intro
H P H P
x3 times
2 2 2 0 232 0 2 2 2 0 232 0 2 (2)
Verse
A mute open mute open Dm
V V V V V V V V
X X
X X
A F
X X
X X
C A
X X 2 4
X 4 4
Dm C
X X
Chorus
C Mixolydian Bb Major
2 3 5
2 3 5 0 2 3 3 0 2 3
3 5 0 1 3 4 4 0 1 3
1 3 1 3
2 3 5
2 3 5 0 2 3 3
3 5 0 1 3 4 4
1 3
Fill one
H P H P H P
2 2 2 0 232 0 2 2 2 0 232 0 2 2 2 0 232 0

Fill two
H P
2 2 2 0 232 0
0
Guitar solo
H P sl. sl.
2 2 2 0 232 0 2 2 2 0 2 9 10 9 9 9 9
H P sl. sl.
2 2 2 0 232 0 2 2 2 0 2 4 10 10 10 10 10 10 10 10 10 10 10 9
sl. sl. sl.
9 7 7 7 7 7 7 7 7 7 9 9 9 9 9 9 9 9 9
H P sl. sl.
2 2 2 0 232 0 2 2 2 0 2 2 10 10 10 10 10 10 10 10 10 10 10 9
sl. sl. sl.
9 7 7 7 7 7 7 7 7 8 9 9 9 9 9 9 9 9 9 9
H P H P
2 2 2 0 232 0 2 2 2 0 232 0 2
Arrangement
intro - verse - chorus - intro - verse - chorus - fill one - chorus - fill two - solo
note.
Because of the improvisational nature of the solo, dont be to worried about the rhythm.

unit ll
month twelve

Month 12 - Week One
unit one revision

pulling off
Pulling off is in effect the reverse of hammering on. To pull off you have to pluck the string with your
left hand (fingering hand) as you take your finger off the note, remembering to have the next finger in
place to allow the note to ring. P
.
example 7 5
To pull off from the 7th fret to the 5th fret as is required
by this tab. Place both the first and third finger in place
then play the 7th fret note. Soon after pull the third fin-
ger away plucking the string as it leaves.
exercises
Note.
The H and P symbol can appear on the tab itself or above the tab, this depends
on the publisher of the music you are reading. The difference is only small and the
meaning is the same.
exercise 1 - Second finger to first finger.

P
P P
6 5
6 5 P
6 5 P
6 5 P
6 5
6 5
P
P P P P P
6 5
6 5
6 5
6 5
6 5
6 5
exercise 2 - Second finger to fist finger.
P
P P
7 5
7 5 P
7 5 P
7 5 P
7 5
7 5

exercise 3
Fourth finger to first finger.
P
P P
8 5
8 5 P
8 5 P
8 5 P
8 5
8 5
exercise 4
The G pentatonic scale
H
H H H H H
3 6
3 6
3 5
3 5
3 5
3 6
P
P P
6 3
6 3 P
5 3 P
5 3 P
5 3
6 3
exercise 5
the A blues scale
H H H H H H H
5 8
5 7 8
5 7
5 6 7
5 8
P
H
P P P
5 8 8 5
8 5
8 7 5
P
P P
7 5 P
7 6 5
8 5
Note.
in this exercise you are having to hammer on and pull off two notes in a row. This
can be very difficult, especially in pulloffs, so be patient and practice this exercise
over several weeks or months if necessary.

The ultimate Pull off exercise
Study - Classical pull offs
p p p p p p p p
16 13 16 13 16 13 16 13 16 13 16 13 16 13 16 13
13 13 13 13 14 14 14 14
p p p p p p p p
18 15 18 15 18 15 18 15 15 12 15 12 15 12 15 12
16 16 16 16 13 13 13 13
p p p p p p p p
16 13 16 13 16 13 16 13 16 13 16 13 16 13 16 13
13 13 13 13 14 14 14 14
p p p p p p p p
15 12 15 12 15 12 15 12 15 12 15 12 15 12 15 12
13 13 13 13 13 13 13 13
p p p p p p p p
15 12 15 12 15 12 15 12 15 12 15 12 15 12 15 12
12 12 12 12 13 13 13 13
p p p p p p p p
14 11 14 11 14 11 14 11 14 11 14 11 14 11 14 11
12 12 12 12 12 12 12 12
p p p p p p p p
15 12 15 12 15 12 15 12 15 12 15 12 15 12 15 12
12 12 12 12 13 13 13 13

p p p p p p p
14 11 14 14 14 11 14 11 14 11 14 11 14 11 12
12 12 12 12 12 12 12
p p p p p p p p
19 15 19 15 19 15 19 15 20 15 20 15 20 15 20 15
17 17 17 17 17 17 17 17
p p p p p p p p
17 14 17 14 17 14 17 14 19 14 19 14 19 14 17 14
15 15 15 15 15 15 15 15
p p p p p p p p
15 12 15 12 15 12 15 12 17 12 17 12 17 12 15 12
13 13 13 13 13 13 13 13
D.S. al Coda
a
p p p p p sl
sl
14 11 14 11 14 11 14 11 14 11 11 14 17 19
12 12 12 12 12
Coda
p p p p p
14 11 14 11 14 11 14 11 15 12 12
12 12 12 12 12 12 12
12 12
14

Month 12 - Week Two
tune
Hey Joe - Jimi Hendrix
Intro
E sl sl E sl
0 0 0
3 5 3 0 0
4 2 0 1 4 7 7 6
2 2 5 5 4
2 2 5 5 4
0 0 0 0
E H H
0
0
1
2 0 0
2 0 2 0 2
0
Verse - this is a guide, improvise around these chords and this structure.
C G D A
3 5
5 3 7 5
5 4 7 6
5 5 5 7 7 7
3 3 5 5 5 5 7 7
3 5
E H H sl E H
0
9 9 0
9 9 7 7 1
9 9 7 9 7 9 9 2 0 2 0
7 7 2 0 2 2
0
C G D A
3 5
5 3 7 5
5 4 7 6
5 5 5 7 7 7
3 3 5 5 5 5 7 7
3 5
E H H sl E H
0 0
1 1 1
2 2 2 2 2
2 2 5 5 2 2 0 2 2
0 0 5 7 5 7 7 0 0 0

Solo one
1 1 1
H H
12
15 15
12 14 14 12
12 14 14
H H
12
12 14 14
12 14
1 1 H 1 1 1
12 12
12 15 15 12 12 12 12
14 12 14 14 14
12 14
1
12 1 12 1
12 12
14 12 14 14 14
Fill
3 2 3 4 5 4 5 6
0 1 2 3 2 3 4 5
0
1 1
2 2
2 2
0
Arrangement Intro - verse 1 - verse 2 - solo 1 - fill - verse 3 - solo 2 - fill
Verse 1 = 4 phrases
Verse 2 = 4 phrases
Verse 3 = 6 phrases

Improvising using the Major scale 2
In the same way as it is possible to improvise with the blues scale, it is possible to improvise
with the major scale. You must be sure to use the correct scale for the key signature how-
ever.
1 1 1 1
ie. the key signature of C should use the scale of C major.
2 2 2 2
Fret 8
3 3
As with this example above, once you have identified the key signature
4
of the piece you would like to improvise with, simply use the major scale 4 4 4 4
withe the same name as the key signature.
You may find it useful to revise Month one , Week three of this unit.
Once you feel you can improvise with the major scale, you can advance your skills by
improvising with the modes. Start with the Aeolian scale or the relative minor and then use
more modes as you feel comfortable.
The modal scales joined
5th fret
8th fret
10th fret
12th fret
13th fret
15th fret
18th fret

The notes you can use in the key of C major
The red notes are where the root occurs
Fret 5
Fret 8
Fret 10
Fret 12
Fret 15
Fret 17

Speeding up
exercise 1
Month 9 - week one

Select one or two of these exercises and practise them with the metronome.
Start with a speed you can easily cope with and then build up the speed until you are
struggling to keep up. Then practise at this speed until you are ready to speed up again.
You may find the x2 (double time) setting on the metronome for these exercises.
Exercise 1
V V V V V V
7 8 9 8 7 8 9 8 7 8 9 8
Exercise 6 - Chromatic steps within steps
10 11 12 13 12 11 9 10 11 12 11 10 8 9 10 11 10 9 7 8 9 10 9 8
6 7 8 9 8 7 5 6 7 8 7 6 4 5 6 7 6 5 3
Exercise 7 - Extract form the flight of the wounded bumble bee (Extreem)
12 13 14 11 12 13 10 11 12 9 10 11
8 9 10 7 8 9 6 7 8 5 6 7

Exercise 9
0 5 0 7 0 8 0 0 0 8 0 10 0 12 0 0
0 12 0 13 0 15 0 0 0 15 0 13 0 12 0 10
0 13 0 12 0 10 0 8 0 12 0 10 0 8 0 7
5 0 0 5 0 0 0 5 (5)
exercise 2
Speed up these scales in the same way as the previous exercise
Major shape Minor shape
Blues scales
1 1
2 2 2 2 1 1 1
3 1 1 1 1 1 1 2 2 2 2
Fret 5 Fret 8
4 4 4 4 4 4 2 3
Fret 5
3 3 3 4 4 4 4 4
4 4 4 4

Month 12 - Week Four
tune
Fade to black (intro) - Metalica
sl sl
7 7 8 10 8 10
7
9 9
P P sl H P
12 10 8 10 (10) 12 10 8 7 8 7 7
9
H sl sl
(7) 8 7 7
9 9 7 7
7 9 (9)
P sl
8 7 (7) 8
6 (6) 7 6
P
1
14 19 14 15 14
10 15 15 15 17 15 14
16 14 16 14
H H H P H
14 15 14 15 14 14 15
(14) 14 16 14 16 16
14 14 16

19 17 15 15 17 14 14 15
14 15
16
14 14 15 14 17 15
15 15
14
(14) 14
12 14
12 14 15
12 14 15
H P
12 13 15 13 15 13 17
12 13 15 15
Hopefully, by showing you how the scales are used in some tunes, you will realize how
important it is to learn and practise the scales until they are fast and fluent.
The Scales in this tune
The key signature is predominantly D majpr (F# and C#).

From the 17th to the 19th bar the key changes to C major (nor sharps or flats
Signature scale Bars 1-9 Bars 9-17 Bars 17-19

D Major B minor F# Phrygian E Phrygian
3 1 1 1 1 1 1
fret 14
1 1 1 1 2 2 1 1 2 2 2 2 1 1 1 1 1
2 2 2 2 1 2 3 3 2 2
3 3 4 4 4 4 4 4 4 4 2 3 3
4 4 4 4 4 1 1 4 4 4 4 4 4

tune
Bohemian Rhapsody (solos) - Queen
1/2 sl sl
11 8 13 13 15 16 13 15 16 18
10 10 8
8
H p
sl H p
15 16 18 20 18 16 15 16 15 15
18 18 18 16 18 16 15
17
H p
15 16 18 15 17 18
16 15 16 15 15 15 16 18 15 16 18
17 15 15 17 15 17
20
15 16 15 16 15 16 18 18
17 17
15 16 18
sl. pm.
18 18 18 6 2
18 2 2 2 2
0 0 0 0
Bars 1 and 2 Bars 3 - 12 Bars 13 and 14

C blues scale G# Lydian A# Major
1 1 1
fret 15
1 1 1 1 1 1 1 1 1 1 1 1 2
fret 8 fret 15
2 2 2 2 3 3
3 3 3 3 3 3 4 4
4 4 4 4 4 4 4 4 4

pm. sl.
6 3 5 6 6 3 6 3 5 6 8 5
3 4 6 3 4 6 6 3 4 6 5 6 8 8
Bb5 Eb5 Bb5 p

Bb5
H sl.
8 8 8 6
8 8 8 8 8 8 8 6 8 6 8 8
8 8 6 6 6 8 8 4 8
6 6 6 6
Bb5 Eb5 Ab5 G5 F5 Bb5

sl. p
3 8 8 8 3
3 8 8 8 6 6 5 3 3 5 3
1 6 6 6 6 6 5 3 1 5 3
4 4 3 1
Bb5 Bb5 Bb5
sl. p
3 3 3
3 3 5 3 3 3
1 (3) 5 5 1 1
1 1 1
6 3 5 6 6 3 6 3 5 6 8 5 7 8
3 4 6 3 4 6 6 3 4 6 5 6 8
H H H H H
3 4
3 3 3 4 6 4 6
3 5 5 6 6 6 8 9 3 5 5
4 6 6 8 8 6 7 9 9 3 4 3 4 6
6 7 9 3 4 6
4 6
6 6
Bars 1-5 & 17-22 Bar 22 Bar 23

G Phrygian E Ionian G# Mixolydian
1 1 1 1 1 1 1 1 1 1 1 1
fret 3
2 2 2 2 2 2 2
fret 7 fret 4
3 3 3 3
4 4 4 4 4 4 4 4 4 4

Guitar theory
units l & ll
Contents
Major scale
Key signatures
major chord
modes
relative minors
minor chord
fifth chord
major seventh chord
minor seventh chord
dominant seventh chord


The Major scale
Open G major scales
Lower, one octave Upper, one octave 2 octave

G major scale G major scale G major scale
1 1
2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3
4 4
Barre G major scales
Lower, one octave 2 octave

G major scale G major scale
1 1 1 1 1 1
2 2 2 2 2 2
3 3 3
4 4 4 4 4 4 4 4
Tonics and octaves
The tonic or root

The root or tonic is the note that gives the scale its name. In the
scales above the tonic note is G, and in the illustration to the right
you can see where the G notes are relative to the scales. The major
scale will always start on the tonic, so for example the tonic note of
the G major scale is G.
Octave
An octave is the name given to the gap between the two closest
notes with the same name. In the case of the major or minor scales
an eight note gap between the tonic notes, hence the name Octave
(oct being eight).
An octave major scale has eight notes in it and a two octave scale
has fifteen.

Major scale theory and key signatures
The major scale can be considered as the DNA of western music, virtually every scale
you use has either come directly from, or has some connection with the major scale.
Most people know the sound of the major scale from the doh ray mes.
DOH RAY ME FAH SOH TE DOH.
The major scale is simply a pattern of tones and semitones.
The pattern in semitones is
2 . 2 . 1 . 2 . 2 . 2 . 1
The pattern in tones and semitones is
TONE TONE SEMITONE TONE TONE TONE SEMITONE
Exercise
Play the pattern above. (A semitone is a gap of one fret and a tone is a gap of two frets)
Note
This pattern is so important to the fundamentals of music that the layout of a keyboard has been designed
around it. If you play this pattern from C to C on a keyboard you will notice that a black note appears everywhere
a tone is played or in other words you will only play white notes.
Try to play the following pattern starting on any open string
tone tone semitone tone tone tone semitone
open fret 2 fret 4 fret 5 fret 7 fret 9 fret 11 fret 12
Key signatures
The key signature tells us what key the tune is in, or in other words which major scale the
tune is based around.
When playing the major scales in different positions on the neck, the number of sharps and
flats played in the scale changes depending on where we play the major scale. Each
major scale has a unique number of sharps or flats in it and when reading music, one of the
first things on the staff is the sharps or flats for that tune. From the list of sharps of flats on the
staff we can tell what key the music is in, or what major scale was used when the music was
written.

List of key signatures
Exercise
It is possible to improvise using the major scale in the same 2 octave

way as you improvised using the blues scale. It will take a little C major scale
more concentration, as it is not quite so easy to make the
improvising fit as with the blues scale.
1 1 1 1
1. Practise the scale until it is fluent
2 2 2 2
fret 8
2. Improvise using the backing. 3 3
For the improvisation backing track in the key of C major 4 4 4 4 4

(no sharps or flats), the chords are as listed here.
| Am / / / | C / / / | F / / / | Dm / / / | G / / / | G / / / |

Proving key signatures
The best way to prove that key signatures work, and to understand them is to use a keyboard.
On the keyboard layout shows sharps and flats can clearly be seen, as they are the black
notes.
Use the pattern 2 2 1 2 2 2 1
C major middle C
C D E F G A B C
G major middle C
G A B C D E F# G
D major middle C
D E F# G A B C# D
A major middle C
A B C# D E F# G# A

Chord theory
the major chord
All major chords are made up of TRIADS. The triad of a chord is the FIRST, THIRD and
FIFTH note of the scale with the same name.
The note names are marked
For example, the notes of the C major scale are; on this chord map. You can
1 2 3 4 5 6 7 8 see that all the notes in the
chord are from the triad.
X G E
The
C
C major
1st 3rd 5th chord E
The triad is the FIRST, THIRD and FIFTH note.
C
triad = C D G
examples
D G B
G major
G A B C D E F# G
B
First, third and fifth note or triad = G B D
G G
X X D
D major
D E F# G A B C# D
A F#
First, third and fifth note or triad = D F# A
D
X A E
A major
A B C# D E F# G# A
E A C#
First, third and fifth note or triad = A C# E
E B E
E major G#
E F# G# A B C# D# E
B E
First, third and fifth note or triad = E G# B

Modes
Modes are scales that start and finish on different root notes relative to the key signature.
Modes can be created by changing the start and end note of a scale, whilst maintaining
the key signature. Modes can be useful when improvising, and a great deal of theory can
be explained using modal scales.
Below is an example of modes using the key of C major as the root scale or keysignature.
Mode 1 - C D E F G A B C - C Ionian
Mode 2 - D E F G A B C D - D Dorian
Mode 3 - E F G A B C D E - E Phrygian
Mode 4 - F G A B C D E F - F Lydian
Mode 5 - G A B C D E F G - G Mixolydian
Mode 6 - A B C D E F G A - A Aeolian
Mode 7 - B C D E F G A B - B Locrian
During the course we have encountered three modal scales.
Ionian 1 Mixolydian Aeolian

1 1 1 1
or 1 1 1 2 1 1 1 1 1
or
major. natural
2 2 2 2 2 2 2 2 1 1 minor.
3 3 3 3 3 4 3
4 4 4 4 4 4 4 4 4 4 4 4 3
Exercise
play the following scales noting how they are all steps in the diatonic major pattern.
(Diatonic = 2 octave)
C D E F G A B C
Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian Ionian
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
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
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
8th fret

Improvising using modes
In the same way as it is possible to improvise with the blues scale, it is possible to improvise
with the major scale. You must be sure to use the correct scale for the key signature how-
ever.
1 1 1 1
ie. the key signature of C should use the scale of C major.
2 2 2 2
Fret 8
3 3
As with this example above, once you have identified the key signature
4
of the piece you would like to improvise with, simply use the major scale 4 4 4 4
withe the same name as the key signature.
Once you feel you can improvise with the major scale, you can advance your skills by
improvising with the modes. Start with the Aeolian scale or the relative minor and then use
more modes as you feel comfortable.
The modal scales joined
4th fret
7th fret
9th fret
11th fret
12th fret
14th fret
17th fret
Improvising is an important step towards writing your own tunes.

The notes you can use in the key of C major
The red notes are where the root occurs
Fret 5
Fret 8
Fret 10
Fret 12
Fret 15
Fret 17

Demonstrating modes using a keyboard
Again, the best way to demonstrate modes is to use a keyboard map, this is because it is
clear what key signature you are playing in as the sharps and flats are the black notes. For
these examples we will us the key signature of C major, because you never play a black
note in the key of C.
middle C
C Ionian
C D E F G A B C
middle C
D Dorian
D E F G A B C D
middle C
E Phrygian
E F G A B C D E
middle C
F Lydian
F G A B C D E F
middle C
G Mixolydian
G A B C D E F G

middle C
A Aeolian
A B C D E F G A
middle C
B Locrian
B C D E F G A B
Notice how even though these scales start and end on different notes, they still maintain
the key of C major, ie. none of these scales have any sharps or flats.
Aeolian mode and relative minors

The Aeolian is the relative minor
Every major scale or key has a relative minor. In the previous examples because the A
Aeoian scale comes from the scale of C major scale and is therefore in the same key, it is
the relative minor of C major.
The red notes in the illustrations bellow are the roots of the scale, or the notes that give the
scales their names. C is the 8th fret on the Bottom E string and A is the fifth fret on the bot-
tom E string.
C Ionian A Aeolian

1 1 1 1
or 1 1 1
or
C major. A natural minor.
2 2 2 2 2 2 2 1 1
8th fret 5th fret
3 3 3
4 4 4 4 4 4 4 4 4 3

A List of key signatures and their relative minors
Key signatures with sharps Key signatures with flats
Key signature Relative Key signature Relative

(major scale) minors (major scale) minors
C Am F Dm
G Em Bb Gm
D Bm Eb Cm
A F#m Ab Fm
E C#m Db Bbm
B G#m Gb Ebm
F# D#m Cb Abm
Chord theory
the minor chord
The principle is the same for minor chord as it is for the major chord, however for a
minor chord it is essential to use a minor scale. A major scale produces a major
triad and chord, and a minor scale produces a minor triad and chord.
For example, the notes of the A minor scale are; A minor
1 2 3 4 5 6 7 8
X A E
C
E A
1st 3rd 5th
The minor triad is still the FIRST, THIRD and FIFTH note.
triad = A C E
examples
X X D
D minor F
D E F G A Bb C D
A
First, third and fifth note or triad = D F A
D
E G B E
E minor
E F# G A B C D E
B E
First, third and fifth note or triad = E G B

The fifth chord (power chords)
The fifth chord is the chord mostly used in rock and grunge. Because of the sound it pro-
duces it is also known as the power chord and certainly in barre chord form, it deserves this
name. We have already used power chords in the rock section of this course, though with-
out referring to them by their correct name 5th chords.
With fifth chords their is no difference between major chords or minor chords, or in other
words there is no such chord as a minor fifth .
The theory behind the fifth chord.

The fifth chord only has two notes in its structure, the FIRST (root) note and the FIFTH note.
C major scale 1 2 3 4 5 6 7 8
1st 5th
Why their is no fifth minor

A major scale 1 2 3 4 5 6 7 8
You can see clearly that
the note that makes the
1st 5th difference between the
major and minor chord
is the thir d, so if we
A minor scale 1 2 3 4 5 6 7 8 r emov e the thi r d, the
two chords can no lon-
ger be di ffer enti ated
between.
1st 5th
example chords
G5 A5 C5 D5 E5
X X X X X X 1 X X X X X X
1 2 1 1 2
2 3 4 3 4 3
First position Second position

(E rooted) (A rooted)
X X X X X X
Muting strings in the middle of chords.
Let a finger rest to the string to be muted or hang
1 1
over onto it from the next string on. This will take
some practice because you need to maintain
the pressure on the fingered notes at the same
3 3 time as muting.

Seventh chord theory
the major seventh chord
The major seventh chord like all major chords starts with the major triad, however this time
we find the seventh note of the same major scale we got the triad from and add it to the
chord.
For example, to create a Cmaj7 we start with the The note names are marked
scale of C major, then we find the first, third and on this chord map. You can
fifth notes so we have the triad. Finally we find the see that all the notes in the
seventh note so we have a Cmaj7. chord are from the triad.
The notes in Cmaj7 are C E G B. X G B E

The
Cmaj7'
chord E
C
1st 3rd 5th 7th
Amaj7 Dmaj7 Emaj7 Fmaj7
X 1 X X 1
X X 1
examples
2 3 1 2 3 2 2
the minor seventh chord

The minor seventh chord follow exactly the same pattern of logic Am7
as the major seventh chord with the exception that you have to X A G E
use a minor scale rather than a major scale. C
For Example, to create an Am7 we start with the scale of A minor, E

then we find the first, third and fifth notes so we have the triad.
Finally we find the seventh note so we have an Am7.
The notes in Am7 are A C E G

Am7
X A
C
1st 3rd 5th 7th E A
This is why you can have several variations of one chord, but they G
will all contain the same notes.

Am7 Dm7 Em7 Em7
X 1 X X 1
examples of
minor sevenths 2 2 1 2 1
the dominant seventh chord

The dominant seventh chord is without doubt the seventh chord we use the most, however
it has the most complex theory of all the seventh chords. So, for the sake of the first year
of the course we will use a simplified theory.
The dominant seventh can be created in the same way as the major and minor seventh,
however we use the mixolydian scale as its source.
G7
For Example, to create a G7 we star t with the scale of G
mixolydian, then we find the first, third and fifth notes so we have D G B
the triad. Finally we find the seventh note so we have a G7. F
B
The notes in G7 are G B D F
G
1st 3rd 5th 7th

examples
A7 A7 B7 C7 D7 E7
X X X 1
X 1 X X 1 1
1 2 1 2 3 4 2 2 3 2
2 3 4
fret map
E F F# G G# A
B C C# D D# E
G G# A A# B C
D D# E F F# G

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unit ll

All rights reserved, unauthorized copying, reproduction,

© copyright G C Hargreaves 2004

unit one revision

The finger names are important.

fig.2 The thumb plucks

© copyright G C Hargreaves 2004

The way to interpret the information given in a time signature is as follows.

The TOP number represents the number of beats in the bar.

The BOTTOM number represents the value of beat.

List of note Values

4 Four crotchets in a bar

© copyright G C Hargreaves 2004

© copyright G C Hargreaves 2004

This is the symbol for pause,

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© copyright G C Hargreaves 2004

© copyright G C Hargreaves 2004

Lower, one octave Upper, one octave 2 octave

Barre G major scales

Lower, one octave 2 octave

Tonics and octaves

© copyright G C Hargreaves 2004

Most people know the sound of the major scale from

DOH RAY ME FAH SOH TE DOH.

The major scale is simply a pattern of tones and semitones.

The pattern in semitones is

The pattern in tones and semitones is

TONE TONE SEMITONE TONE TONE TONE SEMITONE

Try to play the following pattern starting on any open string

tone tone semitone tone tone tone semitone

open fret 2 fret 4 fret 5 fret 7 fret 9 fret 11 fret 12

© copyright G C Hargreaves 2004

It is possible to improvise using the major scale in the same 2 octave

© copyright G C Hargreaves 2004

© copyright G C Hargreaves 2004

© copyright G C Hargreaves 2004

C G6 (B bass) Am Am7 (G bass)

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G (B bass) Am (G bass) Am7 (G bass)

© copyright G C Hargreaves 2004

All rights reserved, unauthorized copying, reproduction,

© copyright G C Hargreaves 2004

© copyright G C Hargreaves 2004

© copyright G C Hargreaves 2004

© copyright G C Hargreaves 2004

Arrangement fill - verse - chorus - fill - verse - chorus

The D major and E major

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© copyright G C Hargreaves 2004

© copyright G C Hargreaves 2004

© copyright G C Hargreaves 2004

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unit one revision

Candle in the wind - Elton John

© copyright G C Hargreaves 2004

arrangement verse - verse - chorus - verse - coda

Yesterday - The Beatles

arrangement verse - verse - chorus/coda

© copyright G C Hargreaves 2004

© copyright G C Hargreaves 2004

Intro chords over the page > > > >

Barre G major scales

Tonics and octaves

DOH RAY ME FAH SOH TE DOH.

The D major and E major

The following exercise uses the Bmajor 2 2 4 4