PRIVATE LESSONS UITAR BASICS by Bruce Buckingham “This book is dedicate to my wife, Kim, the love of my if” ISBN 0-7935-733-b HAL*LEONARD® Sep ty HAL LEXAR COREORATIN \naueres copy, arangng adaping,ecrdr opie peomarc en guano oprahTable of Contents CHAPTER 1 - Chords in Open Position . The Diogrom . (Open Position Major Chords Chord Pairs ‘More Chord Pairs Rhythm, Time, and Groove, Strumming Getting in Rhythm Points to Remember Progressions for Proctice Tunes: CHAPTER 2 - Scales in Open Position... Scale Shapes Picking Different Keys. Sixteenth Notes CHAPTER 3 - Practice Tips Proctice Space Shot Practice Sessions CHAPTER 4 - Moveable Chords and Scales Noming Barre Chords Moveable Chords with Fifth String Roots ‘TwoChord Progressions FourMeasure Progressions. @No owe 12 13 4 4 16 18 18 19 19 20 2 22 23 24 24 28 26 7 Moveable Chord Exercise \Weiting Your Own Progressions Power Chords Boogie Boss Patterns More Practice Progressions Moveable Pentotonie Seales Keys CHAPTER 5 - The Blues . ‘The Blues Form Typical Ending Other Keys. Subsivie “Color” Chords The Turnaround Blues Rhythm Patterns CHAPTER 6 - Rhythm Playing Three String Triads The Backbeat Minor Triad lnversions More inversions Progressions for Practice “Suspended” ond “Add” Chords Progressions for Practice (CHAPTER 7 - Songs and Progressions Review and Practice ‘Audio Index 28 28 29 30 30 31 31 32 32 32 33 34 35 35 «36 36 37 37 38 39 40 a 42 a7About the CD TT 1e accompanying CD provides a practice tool that includes fullband backing for each of the examples inthis book. The diamond audio icons (@) correspond with the CD track numbers. Use track 1 fo tune Each track begins with one measure played by the drums. Listen closely fo these “pickup” measures in ‘order fo accurately adjust 1o the tempo and eighthnote feel (straight or shufle). Count 1, 2, 3, 4; 1, 2, 3, 4; then join the band at a volume slightly below the volume of the CD. Use the CD to memorize all the chords, stimulate your own thythms, and to proctce “locking in” with a rhythm section.Preface FUN 2220 222 e208 feenerng exam the guior vt aly someing chs ond ‘hey see some logic 1 the way the neck is laid out and some never do see i). Ths is dve primarily to the lack of « clear and concise introduction tothe basics. Iris my purpose to present beginning through advanced studies emphasizing the fundomentals—chords, scales, improvisation, and basic theory. This will enable the student to build a strong foundation of fretboard knowledge, technique, and musical awareness. Having taught at Musicians Insitute for 17 years and writen curriculum for a wide variety of subjects at different levels of ability, it has become apparent that the most progress is made by the student who is sufficiently selfmotivated and has a clear course of study. A student that practices on a regular basis can mark progress by how relaxed they play and how well they "sée" the neck (tis “seeing” also exists in the mind's eye). In this book then, are the most practical chord voicings, scale shapes, chord progressions, and rhythm Patterns. I would ask you to master each example and review them often. Memorize each example as you are practicing i isten to and play along with the CD to get the rhythmic feel and dynamics (loud, soi st con ploy. As ‘Again, the purpose isto present essential infrmation—the kind of things that every 9) ‘result, we can learn a vocabulary that is essential to all guitar styles. ‘Good luck wih the Book and keep practicing! Bruce BuckinghamChapter 1 Chords in Open Position AT brome atone primarily through his or her understanding of chords; both their structure on the instrument and in music theory. Phase 1 Phase 2 The firs steps for guitarists con be The next steps explore the neck through o variety coutined as. of sysams that each shore insight tothe inner workings ofthe fretboard. Some might be. BY Open position (essential chords) Bx tnversions Bx Moveable chord forms fbarte chords) BY Power chords Br strumming Bx Substitution Bx Progressions Br Chordal Embellishment Bx Repertoire (memorized songs) BH Sting combinations Br Mpegaios ‘You've probably heard most of thse terms before and you may understand a few of them. tis not the intention ofthis book to introduce all ofthese subjects, bu rather to give you the basic chords and scales and folk about their application, How many chords you lean ond how quickly you learn them is based on practice habits ond time itself. More important is what you do with the chords and scales you can play! Well sort by learning an area ofthe guitar called open position. Here we'll play 21 chords that are the ‘mos! practical ond bestsounding inthis postion But first e's learn how to interpret the typical guitar diagram. The Diagram The vertical diagram pictures a fivefret area and is used to show where and how to play notes and chords on the guitar. The frets are the wires, however the “fret area” (the space between one fret and the next) is generally referred to 0s the “het.” Frets are numbered from the lowes (#1) all the way up the neck (toward the guitar's ody’ to the highest. The strings ore also numbered. The highest pitched sting is sting 1 and the lowest pitched string is string 6. The note picured in Fig. | is the “third string, fourth fret.” Finally, your lefthond fingers ore numbered 1-4 asin Fig. 2 ont lysing 2 pay open ting 88 = traeOpen Position Major Chords The fist 21 chords well earn are major, minor, and dominant chord types built from the seven natural root notes (AB-CD-EF.G]. These are termed “natural” since their leer names are not used in combination with « sharp (t} or flat (b}. The leer is also called the root, The oat gives the chord is name ond also functions as the first note in the respective chord’ scale. ‘Memorize each chord with its correct name. Learn fo interpret the diagram ond utilize the fingerings given, Try other fingerings that seem reasonable and find your personal preference. ao 2 tap Dominant 7th Foe oi. AT Minor eto cm Te NOTE: The chords above ore the most common and practical chord shapes in open position. Chords that have sharps or flats in the root (e.g. Abm) are best dealt with as “barre” or “moveable” chord forms,Chord Pairs (Once you'te comfortable fingering chords, try using them in combinations. As you practice switching between the two-chord examples inthis lesson, observe the following: Getting a Smooth Connection 'As you switch from chord to chord, determine the common lones (iF any) within each fingering. fone or two fingers remain on the same nol, allow them to stay pressed os you change chords. c Am 38 ——_ ‘Troubleshooting the Fretting Hand Most obvious flaws can be attributed to one of the following problems: 1. Missed note SOLUTION: Be sure to strum through all the notes inthe chord. 2. Wrong placement of your finger in the fret SOLUTION: Always place your finger in the middle ofthe fret, or fowards the front pat just behind the next fret 3. Part of one finger is blocking another (or two Fingers on the some sting) SOLUTION: Arch your fingers more by bringing your wrist further under the fingerboard. 4. String(s} not pressed down hard enough SOLUTION: Use leverage from both your fingers and thumb to press down harder. Proctice playing the following chord pairs beginning with simple quarternote srums fone stum per beat) Listen to the recording ond try different rhythms as you become more comfortable. Use 0 metronome and proctice daily!---More Chord Pairs The importance of chord pair exercises cannot be overemphosized. No matter how complex a chord progression is, it sill breaks down to movements from one chord to the next. If you struggle playing full progressions or songs in the future, isolate the chord moves that are problematic and rehearse that change Unil you're able to ploy it well. However, practicing open chords os a daily ritual (at least 15 minutes) will eventually make the chords “second nalure”(you'l instantly react when you see a chord symbol (C7} rather than having to think of each fingering and note placement. Now try five more two-chord progressions fio. 2 Qos Practice Tips ‘Play each chord pair as many times as possible in one practice session; pick up the nex! day where ‘you left off (The band on the CD only plays each pair four times due to lime restraints) * Check the freting hand regulary. Ifyou hear a bad note, pluck through the chord one sting at a time to find the troublesome string. Wiggle your fingers into place, don't muscle it * Alter @ couple of weeks, try making up more pairs. Find some that sound good and some that sound a title unusual. This i the start of your composition and improvisation sil. ‘= Work on keeping the “time” steady. Relax and make music out of e simple exercise. Also, ry varying the dynamics loud and sof)Rhythm, Time, and Groove Rhythm, time, and groove are the glue that holds the music together. The term “rhythm” refers 10 @ song's stoody pulse; its the foundation that should be unshokable. “Time” refers to your rhythm as compared 40 metronome. Staying eccurate 10 the metronome translates to “good time,” or in slang, “tight” to the beat. Finclly, a “groove” happens when rhythmic patterns repect. A “good groove" is created if the patterns compliment one another, offering a relaxed, inthe-pockst patern. To practice these elements, start by learning to play accurate quarter note rhyhm using downstrokes in the strumming hand. In other words, attack the chords on each of the beats (1...2...9...4..8 called @ downbeat"): r.2D Am F e c coe take Fe8§ Oy on oom oD > 9253S SS SSS < cote rr eee Nex! ry eighth notes {hwo strums per beat). Be sure to keep your foo! tapping on the downbeats Fos OD 6 ' eee cot ye 2 ks hse oe [Now strum only the “upbeots,” or the beats in between the downbeats. They occur on the “and” of the beat when your foot is oll the way up. Practice this example over and over until you're able to keep accurate conitol over the chords even as you continue fo tap your foot on the downbeat 0.6 O an an re mr Aaa a = ce tageaasew 10Figure 7 introduces a repeated figure, or groove. Use a downstroke for the first strum and an upstum for the second, Then try hwo downstrokes—experiment Fi. 7 @ 5 Now i's time fo combine the elements you just learned into the following chord pairs. Listen along with the CD nd then try strumming along. Star with simple rhythmic patterns and later progress to improvising some of your own. Above cll stay in the groovel ras D al DrStrumming [Good strumming technique involves a relaxed and even attack. If your srum is ewkward, the music won't ‘groove—so keep your foot tapping and your right hond in a constant downyp motion. Practice the one-measure patterns below using one chord, then two chords, and finally @ full chord progression 1 = down she 869 O Crease noon Now apply each of the patterns above tothe following chord pairs. Afterward, begin to improvise your ‘own summing voriations. re 2Getting in Rhythm Rhythmically speoking, there are two different accompaniment “feel:” BY The straight eighth-note feel uses regular even eighth notes using equol subdivision. od i] edhe 1 2 3 4 BY The shuffle or swing cighthnote feel is derived from a “tiplet” feel, slicing the beot into three equal port. The actual shuffle or swing strum applies the triplet feel with the middle riplet omitted. The result is @ very recognizable “long, short long, short” sound that is especially prominent in blues music mOVRlvmovA ly mam may may eh 2 cone 2 3 4 Play and memorize each of the patterns below. On the CD, both straight eighth ond shufle rhythms are demonstrated.“ Points to Remember Bx Musical sivles are often defined by the hythmic feel or “sub-division” ofthe beat Of course, this is @ general statement about the syle. There are blues tunes that use straight eights, Rock—straigh eighths Blues—shutle eights CCouniry-—siraight eighths with on emphasis on the upbeat) Joz2—shufle (or swing eighths Reggoe—shufle eights wth on emphasis onthe upbeat) ‘Ska—straighteighths Loatin—straight eighths or sixteenth Funk—sraight eighths or sistenths R&B—shroight and shuffle eighths or sindeonths Hiphop—shufflesindeonths Pop—everything ‘ond rock tunes that use shuffle eighths or Be oe Be aware of the tempo (speed) and rhythmic syle of the music you listen to. Practice improvising your summing by changing the patterns, dynamics, and accents Don't get bored with repetition, Repeat progressions many, many times to build your consistency, endurance, and thythmie vocabulary. {BE Wie dovnolo estom pater you know; Ison ecard end make up ome more. Progressions for Practice Chord progressions provide the harmony for songs. Play the examples on the next poge along with the CD; then practice them clone and carty the groove all by yourself. Agoin, repetition will build strength and stamina in your freting hand, Notice the number of beots per chord varies—everything isnot four beats per chord. This is referred to as ‘a progression’s harmonic rhythm.Fig. 12 ==——= SSE‘Tunes Figs. 13-15 are 16measure progressions. Play them as a song using the suggested accompaniment strums, Listen fo the CD to hear how style ond dynamics are implied with the guar, bass, ond drums together SAMPLE SONG #1 Thisis@ steight chead pop tune in 4/4 ime. Suggested strum #1 Suggested strum #2 mony omy mony von j, FF ) 1 Fig. 13D > o Far c G ar > op SAMPLE SONG #2 The next example is in 3/4 fime—that means there are three beats per measure. Suggested sum #1 Suggested stum #2 non on myn 6SAMPLE SONG #3 This tune features @ reggaetype feel using eighth-note shulle sums on the second ond fourth beats of each measure. Follow the rhythm indicated inthe firs! measure, then continue in a like manner (simile) for the remainder ofthe song. Mute the stings so there is silence with your summing hand on beats 1 end 3. Fig. D> ‘nile 7Chapter 2 Scales in Open Position cerning the names of the notes on the fretboard is essential for all players. To begin, let's review the seven letters of the musical alphabet: ABCDEF.G. As you learned in Chapter 1, these notes are referred 10 os natural since they do not contain a sharp (#) or fat (b). Chromatic notes are located between the natural notes and may be writen using @ sharp oF fla. For example, the note between A and B can be named either At or B. However, a chromatic note does not appear between the notes B and C, or E ond F. As ‘a result, there ore twelve diferent notes or pitches] in music. Observe the diagram below: Fig. 1 . at ¢ bt A ot A—+—B—C—+—D—}+—-E——~F-+—G—+—A o D> B e a This is oso visually displayed on the piano. The white keys ore the natural notes and the black keys ore the chromatic notes: Fig. 2 ABCDEFGA Scale Shapes In open position, the natural notes give us the shape and pitches for the key of C major, Memorize the _genecal pater, the oot (tonic), and fingering, as well os he individval notes themselves note names C major scale shope EApGaE EE + circled note isthe tonic or root [lst note ofthe major scale) + numbers cepresent finger fond fret numbers 8Picking Practice scales using quarter notes with @ downpick motion. That is, the pick strikes the sting with a downward motion. Once the scale is memorized, alternate using « downpick forthe first note ond an uppick for the second. This is referred fo os alternate picking Different Keys Different keys require the use of sharps or fats. To play in the key of G mojo, raise Fto Ft note names G major scale shape The key of D major retain the Ft from ‘A mojor retains the two sharps from D major G moor and adds one new one (C4) cand adds one more ofits own (G4). D major Rene Practi ig Scales Practice these four scales dail in order to + Memorize the notes on the fretboard. * Leain the shape for each key. * Develop coordination between the picking and fretting hands, * Obterve the theory (which sharps are added) * Gain control over quarter notes and eighth notes by using a metronome 19Sixteenth Notes Sindeenth notes further sub-ivide the bea into four ports. They ate twice os fst as (or double) the pulse of ‘on eighth note Fas PV my vy vy vy yy = aoe tehazeaae eka ‘The following patterns and exercises are designed to get you famiior with various sixteenth note rhythms, ‘and help you increase your coordination and picking skill. You don’t need fo read music—just uso one note, follow the paterns and picking dtections, and use,the CD to help you memorize the sound by ear, Then Practice the patterns at various tempos. Start slow dnd even! Alter this become comfortable, practice the *hythms along withthe scales learned earlier. Play the scales up and back using allernale picking. Repeat as many times os possible >Now use sixteenth rhythms as strumming exercises. Play the rhythms below using different chord progressions and tempos. (The CD demonstrates the rhythms using on E chord only) You've been exposed to many rhythms so far. However, “good rhythm” con only be achieved through constant repetition. As you progress through the rest of ths book, review the basic rhythm patterns offen and try to incorporate them into the chord pairs and songs you may be working on. Also, be creative and write some progressions of your own. Remember, hythm is all around you in the music you listen to. Copy i, repeat it, ond use itl aChapter 3 Practice Tips tis difcul for student to stay on top of al the information nd technique without some method of practice nd regular review. Unfortunately, most players tend not to develop good proctice habits until they become more advanced (if they get that far). Players who develop good pracice skills from the beginning progress much more rapidly Below are five important keys fo making your practice sessions @ success. “BY. Learn new material: Repetition is important. However, too much repetition can lead fo boredom. ‘Avoid practicing old ideos you can already play withou! any problem. The key is to know when to let something go and when to stimulate your learning process with new material. Vary your practice topics: Stive for steady progress in all creas of your playing. Spend time working on physical skills (technique drills, scales, picking exercises), chords, theory, and repertoire (songs licks, ifs, ete) Review: Regular review must be quick and eaty retained earlier concepls, but don't allow the re ‘Organize your goals and see fo i that you fllow them, Jmportant to look back and moke sure you've Ww process to extend further than it needs fo. P: Spontancous tdacs! Caplilice on ney ast halipop cat whet ieee phiyn, ‘Write them down, extend them further, and work them into your own “style.” Have Fun: Alvays make sure you're having fun. Go cheod ond lear few of your Favorite songs (or set aside time for your awn private “jam session ” 4 Practice Space In order to occomplish your goals as a guitarist set side @ practice area that is ell music (idealy al ‘your own). That is, the space cannot double as the TV room, bedroom, or place where others work. Have the Tight tools and keep them set up all he time, ready to go. Your time is valuable, so get the most out of it! Here are the tools you should have in your practice space: + Good musie stand + Good chair + Good lighting + Paper, pencil, and eraser ** Metronome (eventually a drum machine and/or sequencer) + Tope deck (eventually a 4- or Birack) + Quiet! Loosen up physically with stretching and divide your rehearsal time between standing and siting, This helps out your back (siting) ond at the same time simulates a performance seting (standing)Short Practice Sessions ‘Short time frames of 10 to 30 minutes are ideal. If you switch subjects every 10 to 30 minutes, you'll will keep 0 fresh ear and outlook. Stand up between subjects and stretch, walk around, or maybe find something to drink. n the long run, short sessions will be more efficient and less boring. Below is @ sample practice schedule foro session that extends about on hour and 1.5 minutes. OF course, ‘your personal routine ean ond will change ccording othe your job and social schedules, but the fact remains the more you practice the faster you will gain skills. As a result, be aware of your own time management and make practicing the guitar « priority. Other Projects: Keep a music journal with thoughts and observations about: + what you ore proctcing + your strengths and weaknesses + tempos for practicing progressions and scales + other observations concerning your practicing and music in generalChapter 4 Moveable Chords and Scales oveable chord forms, or barre chords allow you to ansfer @ common shape up end down the neck The location of the shape’s root note on the neck determines the chord’s leer name. To stor, practice borring your fis finger across al ix rings: Now try adding other fingers for your frst three barre shopes. dominant seventh major 13 Ty + + + C ‘As we discussed earlier, the root of a chord is the note that names the chord. Inthe shapes above, the ‘001s located on he sixth, or lowest string. Use the fretboard diagram below to help you memorize the notes con the sith string. fret 3 5 z ° 2 F G GA MB ad op pork a ab B D B Naming Barre Chords Ifthe mojor barre chord shape above is played beginning at the fith fret, it would be an A major chord [Fig. 1]. A chord at the third fret using the minor shape would be Gm (Fig. 2], ond a dominant seventh shape at the first fret would be F7 [Fig. 3}. Fig. 1 Fig.3 FT. _ DON'T GIVE UP: Barre chords take a couple of weeks to get the hang of. Practice in short spurts and © fake brooks ofen fo lel your hand res listen fo the sound you are projecting from the inskumen. Are _ 80h of the notes ringing out clearly® Perseverance isthe key and repeliion isthe teacher.Moveable Chords with Fifth-String Roots ‘Memorize the shapes and fith-string roots below: major, minor dominant seventh + Now look at the chart below. Make sure you understand how and why each chord is labeled as i is. ‘Then test yourself and make a practice exercise out of naming barre chords as quickly as possible. You can start by playing @ chord and trying Yo name it, or thinking of a chord name and trying to locate it26 Fat Oo os s i ‘Two-Chord Progressions Practice making the connection between two barre chord shapes in the progressions below. Look at the roo's and say the name of each chord as you move from one fo the next. Star with quarternote strum (all dovnstrokes) and move to eighthnotes when the switching becomes more smooth. Then play along with the CD and improvise your strums with the groove. Daily practice will smooth out the chord transitions, ond playing with a metronome will keep your “ime” awareness sharp. Do « nen a nen IEEE 3 ot TF in A Ay PZ a a am as HH aan oe iH CHa HEE cca E gFour-Measure Progressions Now iy some longer progressions using barre chords. Follow the information below the staf telling ‘which sting the root in on. Relax and concentrate on accuracy. Remember, barre chords are essential to guitar playing and one of he frst major obstacles to get over. Keep practicing! ad ia hn D Hn A a a re oot = 6 at Sat, sor, Ei Sat at arWriting Your Own Progressions You're now ready to begin composing your own progressions. Simply moke up any combination of chords and play. Don't worry ifthey are “correc”, just lsten—if he chords sound good to you, then play ‘em. ‘As you learn more songs and understand more theory, you can put more thought inlo what you want to do. For now, anything goes. Few things improve your musical skis more than waiting. ‘You can also create progressions that attack your sengihs and weaknesses. Use chords that fall naturally under your fingers, and combine them with one or two thal seem awkward. Eventually all he chord shapes will feel comfortable,Power Chords Power chords are two-note chords built from the root and fifth of the scale. Commonly used with distortion, they offer @ unique texure that has become the standard tone for most rock ond blues guitarists Below are two common power chord voicings. root on string 6: root on string 5: m 3 Now try playing the fourmeasure progressions below. Use a clean sound at first and then try a distorted tone. Attack the srings using all downsrokes in a sleody eighthnote groove. Mule the unwanted stings with the remaining fingers on your freting hand. Also note that the writen chord symbols use the number 5 after the leer (roo name. Fig. 7 cs, 4, Bs cs ad & # 4s cS, 45 Ds, ES, AS Sex Shr Bux Phe 2 EaBoogie Bass Patterns Below are two variations of the power chord shape. The first adds the pine hyo frets above the fifth; the second odds the pinkie three frets above the fith. Practice alternating these shapes withthe basic power chord shapes learned earlier, Use all downsrokes and listen closely to the resulting distinctive rock ‘rll boogie sound, > cee eon a Variation 2 More Practice Progressions Now incorporate these boogie variations into the following progressions. Also try each of the examples using different root locations. In other words, play C5 ct the third fret (fifthsting rool) and ot the eighth fret (sixthstring roo Fig. 10Gs Ds Gs 6S SSF] Moveable Pentatonic ‘Scales As their name suggests ("penta” means five), pentatonic scales contain ony five diferent tones. They are commonly used in nearly all styles of music, especially rock and blves. Memorize the shopes below and Prectice playing them using alernate picking. Since there are only two-nclespersting, pentatonic scales oro Perfect for developing your technique (first down, second up]. like moveable chords, moveable scoles ore named by their root, of tonic. Major Pentatonic ‘Minor Pentatonic ; Continue practicing ot a steady ond even pace at leas fifteen minutes a day. Use @ metronome, relax your fingers, and make sure you stay onthe tps of your fingers. Keys Use the major pentatonic scale when you're in a major key, and the minor pentatonic scale when you're in a minor key. However, sometimes the minor pentatonic works better in majorbased blues and rock tunes, Use your ear and switch fo what sounds best Although soloing (lead guitar) goes beyond the scope of this book, jamming on these scales will immediately benefit your technique and ears. Tein on the radio and try improvising along using one ofthe ‘moveable scales above, Think rhythm ond tap your foot atChapter 5 The Blues The Blues Form The most common blues form extends twelve measures and is referred to as the twelve-bar blues. It continues to have @ profound impact on rock, jazz, couniry, pop, and of course, blves music throughout the world. Let’ toke a look at what this progression consists of, First ofall, there are three main chords * The “one” chord, or (In the key of A, the A chord.) + The “four” chord, oF IV. (In the key of A, the D chord) * The "five" chord, or V. (In the key of A, the & chord.) Now that we have the basic chords, we can toke a look at the progression itll. The example below is @ twelvebar blues inthe key of A, F.1D 0 a CS = ——— ow o br x aS F a — » « © » = o x = GT DTA Memorize the Form Commit the order of chords in the twelvebar blues to memory. You'll recognize there are three, fourbar phrases. listen os you play along ond memorize the sound as well. Tty diferent tempos ond feels—learn to immediately know where you are in the progression without following it on paper. Typical Ending The “five” chord is not played during the las ime through the progression (end of song). Instead, use the standard ending writen below: fia? @ oe meanness nA?Other Keys Now try transposing the twelvebar blues form fo the keys of “E" and "C.” Notice the I, 1V, and V chords ‘ore sill ranged the same, jus! moved to @ new key cenier. Practice playing along with the examples below using open chords, barre chords, and power chord “boogie” patterns, sd = Blues in CSubstitute “Color” Chords Certain musical styles are defined by the particular chord types used. For exomple, you already learned that rock relies heavily on power chords (and open chords) with distortion. So far in this chapter about blues music, you've exclusively used dominant seventh chords. However, two other chord types play an important part in the "sound" ofthe blues: the sith and dominant ninth chords. lets take a look ot the basic chord shapes: Sixth Chords Dominant Ninth Chords * sixh-string root fifth.string root **sixthstring root fifth-sring root . c TH at 32a wea vee4 2488 "Don't pay the snthtring root~it is used only a8 0 reference spot The sith string root ie optional The dominant seventh, sixth, and dominant ninth chords can be exchanged for one another during blues progression to add variety and flavor. Memorize the shapes and practice working them into your rhythm vitor playing, Below is an example ofthis concept in the key of A. 5D, Do HE ae Ten Sea Se a F 3 9 be 2 Ao ” tom om 0 Tp Se FF 6 =The Turnaround The turnaround refers to the last two measures of the twelve-bar blues progression. The chord moves below ore the most common turnaround variations. listen to the CD and play clong with each one. Then try moving them to other keys, Fe Do © o 3, & abe _p- oo i _ Fe7 Dy ~ © » co 2s 2 Ge be Blues Rhythm Patterns Here ore three more important blues rhythms that con be applied to either the I, IV, or V chords. The frst two involve the sliding sixth chord and the third is on interpretation (via a “rif of the dominant seventh chor. ‘You can play ony of hese rhythm patterns when you see a dominant seventh on the chord chart 9 Qs ~ ® 35Chapter 6 Rhythm Playing Three-String Triads Guitarists offen use smaller chord shapes as an effective rhythm tool. These three-ring chord shapes, or inversions, ore fragments of larger chords you already know. Take « look at the following three-string mojor Wiods @ = root ood = thd fit of od 0 = lager chord shape #1 #2. #3 (root on top) (hird’on top) (fifth on top) 5 r 3 ot ‘ (oot I In the key of “A” major, he three shopes would appeer across the neck os such “ #2 #3 Chord Exercise Write out the shapes for C major, D major, and G major: cThe Backbeat Beats two and four {in 4/4 time] are known as the backbeat. Practice tapping your foot on every beat (1, 2, 3, 4) and striking chords on the backbeat (2 & 4]. Experiment with different inversions of each chord fo see how they connect. The CD plays each progression two limes; once using o staighteighth fel and again using ca shuffle feel. a2, Minor Triad Inversions Now conver the major iriad “partials” from the previous page to minor. Study the new shopes below ond compare the results. You'll notice only a onenote diference in each chord (he third chord tone is lowered one half sep} #1 #2 #3 {root'on top) (hied’on top) (fithon top) a ao 231 a1 The three shapes of an A minor riad would oppeor across the neck as such: #2 8 Chord Exercise \Weite out the shapes for G minor, D miner, and E minor: Gm‘Two more common inversion shapes are located on stings 2-5 CE DIF ort “slash” chord symbol refers to the type of inversion. For example, “C/E" means a C triad withthe E (third in the bass. Itis usually pronounced °C over E,” However, guitarists often use these inversions even if the chord symbol does not call for it Remember, the boss player should be playing lower notes than the guitar Try playing the examples below. ras a FIA cre, ‘The next one uses added notes along with the original inversion shape. Fea ® Gy os @7 C0 07 CG patna et i - iProgressions for Practice Play along withthe progressions below using as many strum and chord variations as possible. Try open chords, barre chords, power chords, three-string triads, and inversions. Work on one set of chord forms and inkoduce one new shape when you're ready. Remember, repetition is the key to improving your endurance and memorization skills. r0.5 Dy rat @ tarda Drymen om oe A Cm D A hm DA. playstines A“Suspended” and “Add” Chords ‘Most modern guitarists also use two other chord shapes called suspended and add (sometimes called "2" chords] chords, These chords expand the sound of the basic triad by adding on extra note. In fac, suspended ‘ond add chords are really just one-note variations on triad shapes you've already learned. ‘Memorize the shopes below and listen o their sound. rigid molr inal major ‘rod shops. ed "od tape usd ‘Another type of suspended chord replaces the third with the second, resulting inthe formula (1-2-5. 302, 02 eat 13a ciginal mojor exiginal major cxiginal mojor ‘rod shops add Wiad shape odd ted shore add? sen Sen TH th te Hes ctiginal minor original minor tiga minor ‘red shops, nfadd9) Wd shape ‘ted shape plod) nent nim sr aire see TeesProgressions for Practice roo ® , tn : sat G D © Bm Am Gaus Fo D onion ” bw) on Dm(ada9) F c Ar Dam(eda) aChapter 7 Songs and Progressions Track #1 This progression iso baie rock groove with ostaighteigh fel. Practice with the CD; then hy ion your own ot diferent fempos. Use eighth notes wit all downstokes, distortion, and sigh! polm muting. Stive for clockike precision and a rock-solid attack on each chord, cs Gs Fs eS >- SFT Tr SS cs Gs AS a= Se eae ~ cs os Fs 4 DT PDT a a eae =| cs Bs cs Bers CTF ag a 42Track #2 Try using open postion chords or moveable chords for this progression. The rhythm demonstrated inthe figure below is generic to many styles. Concentrate on a steady groove and follow the suggested dynamics.Track #3 This somple song features tree definitive blues rhythm guitar styles ino sixteen bar blues! Work on each part separately and then smooth out the ransitions. Also, iy substituting other voicings forthe ones writen for you Fe. 39 Biues-Rock Shute (77 =195) ‘a7 ET &Track #4 Track #4 features a simple reggae groove using steady backbeat accents and o shuffle feel. Use tree: string triads throughout. Play the upbeat eighth notes using a staccato attack to help the part “swing, 08D cane peas jt [op46 Review and Practice It tokes time to be able to play music in a convincing manner. Be patient, stay relaxed, and play ceverydoyl Review Chapter 3 about practice tips and reod through the addiional practice ideas below. Good luck ond have fun! Begin to "jam" and use your bosic chord and scale shapes fo improvise. Listen to records! Find transcriptions of your favorite songs and learn them. Find other players to “jam” with, ‘Compose your ewn melodies and chord progressions. Test yourself onthe names of he notes onthe retboard ‘Work with « metronome to improve your speed and technical ability... and conviction!Audio Index Track # Description Tuning (open strings) ten chord pairs CAFC D7-A7-G7-£7 FGA ‘AmEmDm (upbeat eighths) EDCA ten chord pairs 9 eight sums 10 ten chord pairs 11 stright eighth-note example 12 eighthnote triplet example 13 shuffle eightnote example 14 five sums ployed straight, hen as a shufle 15 E-A-£-D (shufl) 16 Em-C-E-£7 (chute) 17 GDC {straight eighth) 18 D-A-G-D (straight eighth) 19 Em-Am-Em-B7 (straight eighth) 20 C-AmF-G (shuffle) 21 D7-A7-G7-7 (shuffle) 22 G-D-C-£m [shaight eighth) 23 ADLE straight eighth) 24 Dm-Gm-Dm-A7 (shuffle) 25 sample song #1 26 somple song #2 27 sample song #3 28 eighth and sixteenth notes 29 sxteenthnote example 30 sixteenthnote example 31 sixteenthnote example 32 sixteenthiote example 33 sixeenthnote example 34 sixfeenthnote example 35 sixteenthnote example 36 sixloenth:note exomple 37 sxteenthnote sum example 38 sixfeenthnote sum example 39 sixfeenthnote sum example 40 sixleenthnote strum example 41 sxteenthnote stm example 42 sixteenthnote strum example 43 sxfeenth:note strum example 44 sxfeenthnote sum example 45 seven chord pairs with barte chords 46 —A-Ci-D-Fim (barre chords) Track # Description a7 48 rt 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 7 8 oo 70 7 72 73 74 75 76 7 78 79 80 81 82 83 a 85 86 7 88 89 90 a CF-B-AS (barre chords) ‘Am-Em-Dm (barre chords) D-8m-G-A (barre chords) 87-D-A7-E (barre chords) Gm-B-Cm-F (barre chords) moveable chord exercise power chord progression power chord progression power chord progression power chord progression boogie boss pattern (variation #1) boogie bess pattern (variation #2} boogie bass progression boogie bass progression boogie bass progression boogie bass progression boogie bass progression blues in A blues ending blues in E blues in C blues in A with “color” chords tumaround example tumaround exomple tumaround example blues rhythm guitor pattern blues rhythm guitar patern blues rhythm guitar pattern backbeat example backbeat example thythm part using inversions thythm part using inversions practice progression practice progression proctice progression practice progression sus chord practice progression ‘add9 chord practice progression mm{add9) chord practice progression sus chord practice progression power chord rock tune sample groove rock/eouniry tune blues tune reggoe tune a7YESS Musicians Institute Press is the official series of Southern California’s renowned music school, Musicians Institute. 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