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HAL• LEONARD•
 LESSON 1
The power to move!
Let's begin with something fun and easy-more power chords! A power chord Is one of the
most common components of rock and pop guitar playing. So, let's get started ..

In Book 1, we learned three two-note power chords: E5, A5 and D5. Using the new power
chords introduced below, you'll be able to play the restl That sou nds like a lot, but the basic
shapes below are mova bl e. That is, you c.3n use the same hand position and move up and
down the neck of your guitar to play many, many more power chords. Here's how ..

Look at the photos and diagrams below. For now, it doesn't matter which fret you begin on.
Simply observe the two- and three-note shapes and their respective root s (lowest strings):

Sixth string root Fifth string root

I I
xxxx X X XX
Two-note
version

~'i

I I
'" '
Three-note
vers ion

'"
OPTIONS: Choose either the two- or three-note version. Both are essential ly the same
chord , 50 U5e whichever sound5 better or feels more comfortable to you.

Give it a name .. .

A power cho~d is named by its root note; the suffix used is "5." (f you want to play C5.
loca~e C on_e'.ther string 6 or string 5 and apply the correct shape from above. Move to D5
by simply sliding up two frets. That's the !ogic behind mova ble chords.

The fingerboard chart below gives you all the notes on the first twelve frets of strings 5 and 6:
 Get a grasp . ..

To make sure you understand all this ''movable" stuff, we'll explain a bit further. Take a look
at the chords below, paying special attention to their given name& and root po sitions.

Chord Root String Root Fret Diagram

F5 6 I
II
l 3'

II...
----
G5 6 :3

13 4

A5 6 5
ltr
m
or or "'
5 open

"
Bl 5 5

or
I

or
11...
l 3'

6 6
11··
l 3'

Let 's jam!

FRIENDLY flP: Make sure you only play the strings your left hand is pree,sing. And one more
thing-turn it up!

Take the Stage

,'fH"lti LftJ rn IT=mtrrrrc1.rm 3

G5 F5 GS 3 b5 GS

11

Ii l l ! ! i--l -1::;-l l l~ 1,l l ~- l -! l l l I! ! ! :II

A void cramp ing by releasing the left-hand pressu re sligh tly
as you s lide from one power chord to t he next.

:3
 Now try a few that change between str ings 5 and 6 . . .

It Used to be Mine
8>5 C5 F5
F5

'50s Pop
A5 D5 E5 D5 A5

~½"'H~~~'=!': c~Ett=~ =-a1

1 + 2 + 3 + 4 +
I

i- ~- l ~I -fl=J1-..: _=_d__ff,-
Rock All Night

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

Sweet and Low

A5 D5 C5 GS Al

~- :l - -., .!' ccI - =-1 =!L " "--JI

. - ,I J. -:' - -0-
1 + 2 + 3 + 4 +
T
A
.B :11 7
5

4
 You·ve got the hang of it, so let's take the next one a li tt le faster! Play the three-note
shapes on this one ..

Alternative Gu it ar

liflffll®Mih&i',~
Palm m utine means to use the heel of your picking hand to muffle

.
A
(or "mute") the strings. Use this technique when you see the abbre-
viation P.M. under the notes (between the staff and the TAB ). You'll
notice a thicker, more percussive sound as you play.

Palm muting sounds REALLY cool with power chords and some distortio n. (If you don't have
an electric g uitar or a distortion pedal-no problem] It's still a cool sound.) Let's try it
loud ..
Muted Groove
G5 C5 U•5 G5 F5 G5

_-:- ~ =in~v~ ffj 1=l1-1l3 d1+1 ~1

··I l'.M ·-·I P M. ·---- ·-··-·I

T
A
-8 - 71
A n acce nt ma rk (>) written above or below a note means exactly what it s ounds like-
accent itl That is, play the note or chord slightly louder than the others.

Su mmer Lovin'
U5

-, J H I
=II I
'
-~ 0

~3J
-
_ _ _ PM
>
~ ii.I

-
>
l'.M
>
l',\1

__:_-:_~=5~-
---:,=._ 7-=-- 7 7 7 7-
5 r! :II JI
5
 ABIT FASTER NOW
What if you want to play faster than eighth notes but in the same tempo? Welcome to the
world of sixteenths.

i-icitMHtw~M!4¥
The se have two flags or beams:

Sixteenth rests look like eighth rests but with two flags : :,

Yuck, more math ...

Two sixteenth s equal one eighth Uust like fractions), and four sixteenths equal one quarter.
Here's a diagram showing the relationship of all the rhythmic values you've learned :

To count sixteenths, d ivide the beat into four by counting "1 e & a , 2 e & a, 3 e & a, 4 e & a":

.fjfj .rrn .rm .rm

1 e &a 2 e & a 3 e & a 4 e & a

Listen to Tra ck 10 (with steady quarter note clicks throughout) to hear this new faster
rhyt hm.

Progressively Faster

cou nt 1 (&) 2 (&) 3 (&) 4 (&) 1 & 2 & 3 & 4 & 1 (2,3. " )
1 e & a 2 e & a 3 e &a 4 e & a
0 0 0 0 0 0 0 0 0 0 0 0
T O O O 0 o 0 0 oo 0 0 0- 0 0 0 0- t O
A
B

Now t ry pl aying it. Remember to play slowly at fir st and s peed up the tempo only as It
becomes ea si er,

6
 That's a little hard on the right hand, huh1 EASY SOLUTION : alternate downstrokes (r-i ) and
upstrokes (V) on the next example.

An Alternate Way
AS
l""I r"l \l r"I V l"'i V l"'i \' l""I V -, V 1""1 \l r"i V l""I V l""l V l""I V l""I V l""I V r", V r,

~~dJJJffi1m~ 41~ H'i dcT J J ; --fll- ~Sffi

PM O- ½+O~ -H ~ ~ O =-.~ ~O
=~~~r§
Try sixteenths with two of your power chord s . ..

Power Sixteenths
m o m o m

l~L-ITT=~w~~fi-l=:
l~:l;-l-l~l~~~:~-~bH~;:-i-i-1~~ l;M
-~l-~ =i
Of course, yo u can app ly t he sixteenth rhythm t o all six string s. Try out your down~stroke/
upstroke pattern with a fe w full cho rds from Book 1:

Sixteenth Strumming

C G Am

Dm G C

We like t o en co urage breaks on a regula r b8 sis, and t his is no exception.

fake f ive and we'll see you back here fo r Lesson 2.

7
 LESSON 2
Guitars were made for strumming .. .
I n Book 1, you learned several open chords (chords that contain some open strings): C, G,
D, Em, Am and Dm. Open chords are the most fundamental chords to all styles of guita r
playing. So, what do you say to learning some new ones'?

New Chords: E and A

These two are easy, but they stretch a little-be patient . .

I
0 00

This one is simi!ar t o Em , but we

include fret 1 an stri ng 3:

', ,

I
A
Your finge r s may feel sort of crowded
on th is one.

, 23

EASY OPTION: If your :ingers feel too crowded on the A chord , consider an option many rock
players use-flatten finger 1 across strings 1~4 and don't strum string 1.

Try out your new chords with some old ones:

Want to look up even more chords?

Buy Fas tTrac_kT'-' Guitar Cho rd e & Sca les, an excellent supplement book
with over 1.400 chord diagrams and much more.
8
 When playing chords, it's a good idea to vary your strum pattern. But let's not get ahead of
ourselves-we'll start with a few common (and easy) strumming patterns. Pay close
attention to the stroke indications (~ and V).

Strum pattern #1 etrum !"I l"I V l"I l"I \I

This one works great with almost any tempo.

Apply it to the chord progression in track 15.
=
,~F d -r-- 1 2 & 3 4 &

, trom l"I l"I V V l"I V

Strum pattern #2

Try this one with medium to faster tempo songs.

Listen to track 16 to get the feel. wun t . 1 2 & (3)
r~cY1
& 4 &.

Strum pattern #3 etrum, l"I l"I !"I \I l"I l""i !"I \I

This one uses sixteenth notes, so be careful with the counting.

It worke; best with a e;lower tempo like that in track 17. 4t( (Jj ( (Jj I
count: I 2(e) & 11 3 4(e)& ,i

r~~- ai~ijki~m
Acoustic Ballad
G D C D G

~1 ! I!!!/_fTI ~ l i•l !~' I II 11

U-L~ u u111-111 111 H 11 i ii i i ii :JHJI

9
 I"\ I"\ V I"\ V
Strum pattern #4

Let's not forget 3/4 meter.

l
LJLJ l
2 & 3 &
Take your pick- they both work fine.

Mixing it up ...
Notice how the strumming pattern changes in the next example. (Pay close attention to the
down stroke and upstroke markings.)

That's What I Like

MORE MUTING
Instead of palm muting, try simply releaslng the leftwhand pressure as you strum the chords.
Notice the muffled, percussive sound. This may feel tricky at first, but practice with patience.

NOTE: The "X" in both the notation and TAB tell you when to apply muting.

Mute This!
Am Dm

T
A
,_ ,
1
3
'
'
B 1
0 '

10
 Now that you have the hang of strumming, let's add another chord-F major. A H a long, we've
said to arch your fingers when playlng chords. Well, it's time to break the rules ...

New Chord: F 7
F major requires a new technique-the use of a Uarre (pronounced like .. bar"). Barring is
done by flatten ing the specified finger on more than one string at a time.

Flatten finger 1 acrosei eitringe, 1 and 2

at the same time and place fingers 2
and 3 in their propu places.

CAREFUL: Make sure you're pressing evenly and firmly with the barre finger. If the chord
sounds bad, play each string one at a time to determine which eitring isn't being barred
correctly.

The barring technique comes in very handy throughout your guitar-playing career (especially
when we get to Lesson 7), so practice this until it becomes almost second nature.

i-f?l Hl'l1rw n111t-m ,m/#~ mi fll

Dark Rock
A Dm

11 ~1
1 =

1i 1i 1111111 t.1111n1
3 3
} 3 3 3 3 3 3 3 0 0 0 0 0 0 ~:/f-l II
11
 IF IT AIN'T BROKE ..• BREAK IT!
Guitarists o~en prefer to play bro ken cho rd s rather than stru~. A broken chord. (or
··arpeggio," if you prefer the Italia n word) offers a lighter accompaniment and works nicely
with ballads.

The next example uses the same chord progression as track 21 from the previous page. But
this time use the broken chord technique.

Brea kin' Up Ain't Hard to Do

~-2J-rJ7 rrn t ffJ7 J Ll 1-;-1 f-1=-,c~~B 1

T
A
._ '---1- , l _. --1 1- 0 3- '_ 1 - _ ' - 2 ' 1
-1 2-- - 2-
---- 3- -
B
C G C

~-u rf-ITfh-J ri-1::_J)J}r JJJ:J

- 3
2-
1
. - r- ., .
- 2 2
3-
2
-
--
-
0
-
aj-= ---,-, ,- j
-
2-
-
0
0
0
0
- 0V
- 2- - -
- - -J- -
- JI
--3 - - -- - -

PLAYING TIP: You don't really have to look at the notation. Simply follow the chord symbols
and play the strings of the chord one at a time up and the n down.

Easy enough? Now mix some broken chords with some full-strummed chords . .

Hey, Jim
C

r~j fll7 :
G

-!;: J
D
~-
i 1ft I J .j i- 1J J
3
' - 2

]
0
A j - ,~8 - 3
!
B -3
I ' 3
I, - 0

! -1~ -1?
E

j ] ] ~J
t
'
12
-;

I, 1- !
0

2
0 -1 0
1p !i ]

:II
 LESSON 3
Back to the baeice ...
V ery briefly, let's take some time to review the note positions we learned in Book 1 (and add
some finishing touches) . .

First Position Review

The area of the guita r neck from the open st.rings

to fret 4 is called first po si tio n. The diagram
and note chart below cover all of the notes in
this area.
B
E
G~ GI/AiA
O
A
E
FFl/GIi Gt
C

D1/ E~
Al tfll
f
Cl /~

E
B
f l/G~
D
AIJBI
F
C
G
'l
D1/E~
B
f l/@
cltD'
GI/A~

E F F:/G) G Gi/A~ A Ai/8 ~ 8 C C~/ D~ D Of/E~ E F Fi/G~

:,· ; -'~~ -.. =-..,: __;;:,;;.; - : -,;.c,-j.>- c-~-:,rj~

~ 0

~
¥=-o~~
- - -- -- - - 0 - -1 - 2---- 3
- 0- - 1- 2- -3 - 4
0 - 1 --3- -4- ----

G GI/A~ A AI/B~ B C Cl!D~ D D1/E~ E F F;/G~ G Gi/A~

3 06:o ~ ~ ~o~_ o£*-==-~ b_o ~ o - o

- - - -0 1 2- 3 - - 4 - o- -1 - 2 3 4_ JI
-1 - - 2 -3 --- -
-- ----
--- --- -
0
!hl!!not.e,an.1l!lo<lb-eplayed ont.hethr<IMrl"'1, four't-nfrc~

-:-f f IMPORTANT: So me notes can have different names but occupy the same fret (for example,
F# and G~). Thee,e are referred to as enharmonic equiva lent s . Either spelling is acceptable.

Let's try some songs using the notee, from first position ..

Deuces

I UlJI-" bd. I LLD Ur I u~r II

I , •. __, • 0 1 3 1
1 • •
II

13
 Fur Elise

Ji U- l lYJ_r 1U I J. J~ J1 l r· Ji ~J1 J ~ )-LS I

= , 1•
J
2 --
-
2 ,• ['
-
- 2
--
·- •1

1 2
. _ 1. .
4 - 4 0 3 1
I 2- -,-
__
, 1 ·- 2 1 - ·J 2

Boogie Woogie

J7R- rm ' -1~1 J ;J n-n.1r;rra rTTI -1

T
A
B , ••• , I , ••• , I O 4 2 4 0 4 2 4 J
0 4 4 0 4 - - -4 -

' ~ -fTTl I ~m-f]"JJ =II =o=- ii

•. , . • • , . I , , • , , . , , I , • . , , •• , :II • I
We kne w you 'd ace this Lesson , so here's a treat-a new kind of rhythm . . .

14
 EVERYTHING AND THE KITCHEN SYNC
Let·s take a minute to learn one of the most essential (and fun) rhythmic concepts in
music ...

™™
Syncopation is simply playing note5 ..off the beat." It makes the music sound le55 pre-
dict.able (and , hey. it's great to dance to). li5Un to a non-s,yncopated example:

Not Quite

,1 (-(r- R A D A

1 =cz 13
EA

( (- (
D

r 1r F f-
A

Now, listen to the same example with syncopat.ion:

Just Right
D A A D A

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

You can still feel the Peat, but it certainly has a hipper groove to it.

This bluesy ditty has plenty of syncopation.

In Sync

p J }_} J bJ~f J- Jd 1J I Ji J }_) J b.i\J_) 1 p J 1 + 2 + 3 + 4 +

J l
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +

T
A
B
' 0 0 ' I I 0 3

' JJJ;]JTTl I J FJ J) d. I JJJJ ·, Jt ., ~P I J\ J

1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
1 + 2
P - II
+
1 + 2 + 3 + 4 +

0 0 1 2 3 0 I
15
 The next sontJ has a 1st and 2nd ending (i ndicated by brackets and the number y1" and "2").
Play th e song once to th e repeat s ign (1st end ing), then repeat from mea sure 2. The second
time thro ugh, skip th e 1st end ing and play the 2nd (last) ending.

4 + 1 + 2 + 3 + 4 +

.Et_gJ"J tq:;:~ fEJl ~ F]"Jp D=H -~ =-~r.G=¥'

l
- , • ,_~, ;-;-1
- -I = - • • , I_, 3 •-j , . . _ , I
3~--1I ,=, , __ 2

DlJ u..u Fr~ JJJk~-rfllir I cf.HLI1· 1.i r T d i

j \ \ , I , , , , , , I, ~ , ,-_--J
O 1 3 0 3 1 -3 1
-2
I o 4_ o _ 2
2 2

1
0

+ 2 +

T ime for another break.

Do s omething that doesn't Involve counting-you know, like you r taxes or something'?!

16
 LESSON 4
Keye, pleaee ...

A song's key is determined by the scale used to create t.he song. For example, a song based
on the C major scale is said to be in the key of C. Since /e.3rning about keys requires a good
knowledge of scales, let's learn more about just that-scales!

What's in a name?
Two things give a scale its name: the scale's root note (the lowest note, just like with power
chords) and the pattern of whole steps and half steps used. (REM INDER: from one fret. to
the nex-t on your guitar equal5 one half step.)

Here's a look at the two most important scale patterns:

Ma'o 5 I Patte

NOTE: The root note is C here, so it is t.he C major scale.

T- -
A - -o ----2- -3 -
B 3__ ~ - - -

Minor Scale Pattern

NOTE: Although the root is the same (C), the different step pattern makes this a C minor
scale .

• I;_ -.a-=-'--./ 0 _
-......._,
-:,

!'}t,cp!'} W H W IV IV IV

T -
A -
B '

qt
, .½ ~EARN IT BY EAR: Without checking the pattern, you can hear the difference between a major
and minor scale. L!ke chords, a major 5cale sounds "happy;" a minor scale e,ounds "sad."

Sharps and flata are unavoidable .. .

Depending on the root note used, most scales contain sha rp s or flats. (There are two
exceptions: C major and A minor have no sharps or flate,.) S ince keys and 0cales are
related , a key will have the same number of sharp5 or flats ae, Its corresponding scale.

17
 Sign in, please .. .

A key sign ature is used at the beginning of each line of mu s ic to tell you two important
thing s :
I
) ( Notes to play sharp or flat throughout the piece

I
7
,J, ( Song's key

For example, the key of G contains F#. so its key signature will have one sharp on the F-line.
This tel ls you to play all Fs as f # (unless, of course, you see a natural sign ~).

Here are some common scales and keys ..

Ke ofC
Based on the C major scale, which has no sharps or ~~ - D=J- LJ7 - 1 I
--0-11
flats:

t: A
T
B
0-
- - 0-------2---
2 3- -
_ _ _-_-_-_-

I've Been Rocking on the Railroad

r&
A~: Ji r ·- J.h r--rr=r Ir ,- 1-4
7 4 r L _-@=r ; ~
0

Ii " ii · r , , l . _ ,- . , .
J rr II r{ r i;,~

]'
r vu..u 1° 1Jvu.:_r 1J r I
, , , , , I. I , . , .. , I .
I
NOTE: The key of C looks like t here is no key s ignature, s ince th ere are no s harp s or flats.

18
 Di-ii#
Based on the G major scale, which has one sharp-F #:

'H
~ u-r U J 1J f{H r IH(c , L:q1u1 I :~~:t Jamaica Farewell

i:-~~=St~--= _J•-3-1-1-117 ~' '---= /_ _'!___ '_' i 3

J ' • '-tLu~
\l_~ ~j 1=1.;f=--E:.W -"1~-=- .J:"l.-dm
r1
-= ~-rf -r·7 1 u=r
---=1d i'.l
--=-1.::J -1:.-~ -=1
- --.-==1"lJ -+c

=J ,,
- - ---
--
11I o- _~-,-
---
2 0
- -
o • l o1
- o-o- - -
----
2-
- -
-
--
-
l 4-
0 2
-
2 I

~- , 3~- ,- o-o~- -- -0-1 111Iooo, ---0 - -

0- 0-2_ ---=---=-o_
-- -
o_
- -
~-
-
_!- 2~ -
- - - -
---
2
1
2 o o
I
~ey ~i<3nat ur.: Bio

tfQ -J-f~ r FI r II
Ba 5ed on the (you gue55ed it!) F major 5cale, which ha5
1
I
one flat-Bl:

America
r
-T
A
B '
o 2 , 1- J O

J .::J. l J. _)JJ _-r J . i -J_:: ~-J I J J J IJ

I Ii rr I
' . 4J
T
A _
-
3
-
3
0- r , ' 0
l· 2
- 3
I, 0 3 I0 3 2 I, 11 1 1
B
-
• i. VJ n n I J. H I (J J J I d- I
I r i i c.Lr· J, J I J
I, ,-, , ,. 1, ,, I , , I' ,, I I 0
1
0

1
_ 1 ,, ,

19
 Enhance your new knowledge of keys with a new type of chord-a dom inant eeventh cho rd .

1~mmmm•m1;e1;,1a,,-
There are three categories of chords: major, m i nor and dominant. With t hese three
categories you can play nearly any pop or rock song. Here are a few common dominant
seventh "open·· chords ..

Track 37 is a compa rison of a G major and G7 (dominant) chord:

Notice how the G7 sounds "unresolved?" A dominant chord adds a bit of musical '"tension"
and makes the ea r ~ant musical "relief." This relief can come from a major or minor chord
played aner the dom inant chord. like in the last two measures of the next example:

Seventh Heaven
C I r C

d ; ;-; I j_j-j i ta
C G7

' 1. ; j ; ;-i; ll I I _L~ II

l l 11 1
I" 1 II
0- 0 0
T- -~
I I-! I
1 1

I
1 1 1
A o 0 0 - 0
! ! 1_ 1 ill
B j l -! !

20
 Or you ca n play songs that sort of " leave you hanging" by never resolving t.he dominant
chord:
Bluesy Sevenths

-
0- 0 - 0- 0 - 0- o~
0 - 0- 0 0- 0 0
o2 -2o o2 0- 0 - 0 o o0
2 - 2- 2- ~0
0- 0-
0- 0-
0
0
o0 l o0- o- o o - o-
0- 0 0 0
o0 j
-a--6-- -6=- 6 a a-
T

4-#ig n~.I
1- 1 1 1- 1- -1- 0 0 0 0 0 - 0- 1 - 1- 1 1 1 1 1 1 - 1 - 1- 1- 1-
A
B
g gO= g0-- 0g-=g0--=--g
o 0
- -- - -
_g- 0g--=g
- 0
g=- g0~- g0
0- 0
g 0g g0 - 0~_- g0- g
0 0
=-

1il~ i~W¥H m .ffi ffic0Qo-g 1 01

ss
r- -----=g
-
=-g
0-
-
-
_1 g- 0g 0~
0-0- 0
2-
0-
2-
0
2 - 2
0- 0-
-
2
0
-
2-
O
~- 0g=-g0---=g_
2- 2
O- 0-
0-
2-
0-
g0-----0
_-g_~ g1 -81=81- 8-
2
0-
-
1
81=81-
2- 2
0- 0-
- - o
0-
2-
0-
2
O
0
2
O
0
2
O
0-
2
O
0-
2--- -
O
1
2-
0-
1-
0-
2--
0-
1
0-
2
0-
g1
0
2
0
1
0
2
0
1
0
2-
0

: ~rf-~:'t ~1r,, : :::-~ni~:-,

Ragtime Rhythm
C7 E7 A7

1
A 3 3 , - ,_ , , 1? - 1 I O O O O I O O O O O I
f
1
2 2- 2- 2 0 0 0 0- 2 2 2 2 2 2 2 2 2
B- - 3- 3 3 - 3 - 2 2 2 g 2- o o o o o- o o- -o o
- 0 0 0 0 0
G7 C7
D7

II
0 - 0
1 1

,- ,
2
3 '2

REMINDER: For more scales and dominant chords, buy

IGr' FastTrackTM Guitar Chords & Scales. It's an excellent supplement book
with a n in-depth look at what we in t rod uced in this Lesson.

21
 LESSON 5
Yo u've go t the b/ue5 .. .

Ifyou haven't heard of the blu es, then wh ere have you been? It's been around for ages and
ha s been used by s uc h mu sic legends as B.B. King, Eric Clap·ton, and Muddy Waters. Blues is
fun (and easy) to play.

12-Bar Form

The mo s t typical blues uses a form called 12 - Pa r form . This doesn't mean that the song is
only twelve bars (measures) long . Rather, the song uses several 12-bar phrases (or
sections) repeated over and over.

Generally. blues songs use only three chords: the fi rst . f ourth, and fif t h chords of the key
(indicated with Roman numerals I, IV and V). To find these three chords. count up the scale
from the root of the key:

Key Chord I Sca le To ne

I IV V
B lues in ·•c" C D E F G A B C
Blues in ·•F" F G A B> C D E F
Blues in ''G" G A B C D E Fl G
Blues in " D" D E F; G A B cl D

Listen to the fo llowing exa mple of 12-bar blues in "G " on Track 41. Then stru m along.

Blues in G
ii)
G
I I I I I I I I I I I
"
I I I I I I
(I V) 111
C (;

I I I I I I I I I I I I II I I I

;:?
( V) (IV ) ii ) (I)
D C (j
G
I I I I I I I I I I I I I I I I I :ii II
IMPORTANT: Notice the number of measu re s each chord is played during th e 12-bar form.
This is the most common 12-bar blues chord progression.

<~:; Chord
I
IV
I
M easu r es
four
two
two
V one
IV one
I two
22
 Turnaround, sit up, and play . ..
The last two bars of the 12-bar blues progression are sometimes called the turn a ro und,
since it "turns" the form back "around" to the beginning. Musicians often vary the
turnaround, using different chords or even a written out r iff.

The most co mmon turnaround variation uses the V chord in the last measure like in the
example below:

The Sky Is Wh ining

( I)

-&,-4- L ~~c__J
C
_I I - J _ 1==~ _J -1- ,;;:-L I =L --=' --=I -
,J
(IV) (I )

t
F C
-~ - 1 --'~ 1 E=T L=3 -=l-=7 1_.1 J- lr 1 1 _ 1 ---=I
(IV) (1) (V) ( I)
F C G C

, ~- t=j=-T z...:T:J~L--=1 r - 1 [ ,
L -- - - - t.umaroun.J - - - - -~
11

Minor chords and seventh chords are also very popular in blues prog ree;sions ..

Minor Blues

Am
Dm
I I .3--t I
, _ Ir I I I

E7 Am
Em Dm Am
~- _/ =-/ I _I _J._ J _- I __ J - -/ - j- 1 L- I - , I I I I ~I <>

Another variation is to play the IV chord in mea5ure 2. This [s called the q uick change , since
you "change" to the IV and ''quickly" return to the I.

Quick Change Artist

E7
A7

12
E7
-I I I
---
I I 1-,-- I I I I I I I I
'.? I
I I I I
l__- (\lJICI Chll"').': ___j
E7

,-
A7

-&- I I I I I I I -I I I I I I I I I I

E7 137 E7
A7

i" - ,----r
B7

'=- I =II II
I I I I I I I I
F J / j J
23
 Track 45 employs another popular blues rhythm accomp animent . · Chuck Berry and other
early rock 'n' roll players used this " back and forth " rhythm extensive 1y.

Rock 'n' Roll Rhythm

A5 D5 AS ES AS

1 ~ri ~ , ' I-~rJTTJ

=- =- _,_,_ 1 ¾~-l~-¾ -l-r ~-""1 dfi='.]
__; ~
, , ~o-=1
:e:
1

-xB - I!._
,-;-~=;-=;;:: i -!-3=-: i~
o--{) o- o o o -o-
:-=% -i- : =-~:-~~,- ;~~ ~I
:=-!-=-i ~ - f1 o- o- o o- o- o

Ju5t add the pinkie ...

The rhythm you just played can be applied to power chords very easily Play the power chord,
then keep your fingers in the same shape and add your pinkie (finger 4) two frets above your
th ird finger. This will take a little stretching, but it's worth It.

HELPFUL TIP: If you're having problems making the stretch ,

try moving you r wr ist further beneath the gu itar neck
(shown in the photo).

w
Rockin' and Compin'

,rm nn I rm Jm l m
, #~tm-=1m~_
GS

~1B - 5
3
5 7
3 3
!J-!
73 l - 35 37 7 ~--; 5 7
3 --3 3 3
7 5
3 3
5 7
3 3
7 1
3
5
3
5 - 7 -7- 5- 5 7
3- 3- 3 - 3 3 3
5 7- ; 5
3 3 -3--3
5 7 7-1
3 3 ---3

l l i- i l l l l Ii l l l l l l l Ii i l i-i l l l Ii l l i i -i l l I
, # rm m1 rm
DS

1
CS

nTI-1 1rr1fTTl 1·, £1 ~nj =II

GS CS C'S D5 GS

~= 1
91-5-j
-

24
-7
5
9 9 7
5 5 5 5 3
7
3
5
3
5 7
3- 3
Il i i l i- l 1- i ~ 1-i_ll
 If you want to spice up a blues jam, try soloing ovu the 12-bar section using notes from the
blu es sca le.

This scale is popular in rock , jazz, and (you guessed !t) blues music. First observe the scale's
st ep pattern, then learn its fretboard pattern.

Blues sca le (Fae root) Moval;,le fretboard

pattern
o = root

As with the major and minor scales you learned, the blues sca le pattern can be used on any
root note. Commit this pattern to memory and use it to form some great riffs and solos
like this next one:

Playin' Lead Guitar

rt 1 ~3-
--
4
--
,--;=:- ,
------
- -3- 1
7
3 1 3

(3) ,, I 4 3 1
1 3 1- ,-3 , ,, I 4 3 1
,, I

., b
& -J
•I
bJi u I br lrr ' br Lr bWJ I II
1 , ,I. 4 1 4 1 4
(3)
I
W hen playing the blues. almos t any note sound s good,
s o don't wo rry if you play a wrong note occasiona lly.

25
 SHUT UP AND SHUFFLE!
The shuffle feel is a very common element of rock, blue s, pop and jazz music. It uses a new
rhythmic value called a triplet.

mmt
By now you know that two eighth notes equal one quarter, and four efghth notes equal one
half. Guess what'? Three eighth notes played in the durat io n of one beat (or one quarter
note) is an eighth-note triplet.
3
A trip let is beamed together with a number 3: J'TJ o, W =J :1

To count a triplet. simply say the word ··t r i-pl-et"" during one beat. Tap your foot to the beat
and count out loud as you listen to tra ck 49:

Tri-pl-et
:1 J :1 :l

•- - I CE£:IffimL JJtl=fil=JE:@
~CC1i I
1 2 tn · pl· lct 4
2 l.. tri · pl -let. 4

Heres a perfect example of triplets used in a well-known cla ssical piece. Keep tapping your
foot as you listen to and follow the song:

'L~ ID-r.µ
Jesu, Joy of Man's Desiring

c_µ- _j qi-lµ- th ~ w,-c.v-m I JJ1 fJ1 fu 1

° J
3

ll1-
3 2 3
T _o o-3 1 1 3 3 3 o o 3 °- 3- 1 o
A
B
- o 2 - , o 2 2 ° o I ,- o 2 0 4
21 0 2 1

FJl c..f-J C+J' ~ -lµ rh I fh .rh-m1-J J II

3 2 3
3 3 0 O
0 2 3 1 0 o- - o -1o-
I I 2 2
0 4
I
Now play it yourself. Keep thinking ""trl-pl-et, tri-pl-et, tri - pi-et, tri-pi-et" as you tap yo ur
foot to the beat.••

You can also use the word "cha-co-late" to help you c ount triplets.
(Of course, this could make you really hungry after counting a long song?I)

26
- Movi ng up a few centuries in music • le t's Pay
I some triplets
. .1n a rock-style shuffle:

Three of a Kind
AS . . CS D5 AS GS AS

J- £11,J ] @ ·
L =-1 IDI-m=J r 1i
1

PM .-----1 P M -- - ---f
JJ
T
A-
B 2 -- --L2
0 _ 02 0 0 - 0 0 0 --{I
j
Triplets can also include rests. Most common is t-0 have a rest within the triplet (between
two eighth notes):

Once you get the hang of t,his " bouncy" foel , you'll never forget it . .

Berry-like

~i, ~i0~,t1PJ,m1M PJ,PJ 1

• • 4- -4- 2 _
2
• t. . 4
2
• I•o - • 2 4 2
I

2 4

~-JTl _rf-,J M#rn

-r -J ~r -
I rnJ~M Ai7 r rh tJrh -Jrhh.JrhJ
-J
1

- 0 0 4
2 4
I o
-
- o - 4- 4
2- 2- 4 2
L.. 2
•
A5
I

:ii 0 II
u=

:II I
27
 3/4, 4/4, 12/8?
Until thi s page, you·ve been playing with time signatures in wh ich the quarter note equa ls
one beat. Let's learn something new (change is good!) :
12 beats pe r mca9ure
eighth note (1/8) = one beat

All note s and rests are relative to the value of an eighth note in 12/8 meter:

Ji o, J o, J. o, f·
eighth = OM beat quarter = t wo beats dot ted quartu = t hree beat s

In 12/8 meter, an eighth note equals one beat and there are twelve beats per measure. But
the rhythm ic pulse fee ls like there are only four beats per measure. Listen and count a long
to track 54, and you'll see what we mean:

· ~jJJjJJ ;, £J Ll
3, (7 8) 9, 10 12

Now try a few riffs in your new meter ...

Delta Blue5

=-11
Berry-like in 12/8

Ji i Ji l
T- - -
4 - 2
A- - - - 2 2- 4
B o -o • , --
AS

Ji J F ~j~-fJ f $ J -'F Ji ~J Ji :ii o'

-O·
- 11

2--2- -2--1 4
0- 0- 4- -4 2- : I 2
0- I
LISTE N AND COMPARE: The rhythmi c feel of track S6 and t ra ck S3
(on the previous page) sou nd the sa me. That's because 12/B meter Is
divided into groups of three, just like triplets in 4/4 meter.
28
 LESSON 6
A little bit higher . . .
I n Lesson 3 we reviewed all the notes in first po~ ,· t·,on. Of course, not every song can be
played down there, so let's learn some higher notes ...

F'fth P, ' '

Except for the po~er ch~~ds, you've been playing mostly on the first four frets. To play notes
above fret 4 requires sl1d1ng up to fifth poeition, aptly named because you move up to the
fi~h fret.

Slide your hand up the guitar neck

and place finger 1 on fret 5 to play
high A.

NOTE: To help you quickly find this positoion, you'll notice a little white dot at fret 5 on your
guitar neck. It's easier than counting, right?

Take a few minutes now to review the diagram and exercise below. Make sure you spend time
learning where the notes are on botoh tohe fretoboard and the staff. (Tell your fingers what
you're playing-say each note out loud as you press it.)

~A
i 1,!Bl ciltD
E F
t1Fl/GI G GI/A

!l
C cltol D DI/El E
G GI/Al A - AltBI B

fret-5.
I I I D
A
DI/El
AltBI
7
E
B
F
C
Fl/GI
cltol
9

Fifth Position Chromatics

J=°~~d~r ~
:r=-~J- qr r J~ _ -~J- 1J r
T
.A
8-
- ---
-
- -5 - 6 - ~ - --;-_ -
-1·- -
9
---=.. -- -
- 5 -6
l 8 r
II
l~ip=J= =i rx
l -------- -
-- - , l
29
 To get a better grip on this new position, try a few scales ..

Two-octave C Major Scale

~-1-iJJJ-fDl -1 r r r r I U.Lr lW LJJJJ J II

5 6 8 5 7 8 7- 1 5865 - 1-
T
A - - -
_ -
~ -----,=_ 9 7 - 7 5
B
- -• s--1 a-
--
-- - - - - ~5 8 1_: a- 11

Two-octave A Minor Scale

,c=fJcJF J:;.1-11 ~E..L[] ~-f[liJ I J J JJ, ~ I

- ,- , 1. 5 7 5 6 8 8 1--' 5 7 ~ .- , 5 -1=- --= 71
5- 7 8 5 7 8 I 8- 1= 7- 5 8 II
1- , --

Sca les are good exercises, but riffs sound great up here, too ..

Water Chestnut

J Jd j j- :I1

:[I

The next one uses an open string (low E) while you r le~ hand stays in finh position for the
rest of the riff:

Zodiak

-, ~\r •!

Ji j J
j J IJ .,
} j J ] J ,11
0
II
""f~
-A- -
B o-
5
I, :II 0 I
30
 When you think you know the n
fifth position notes-d 't l'dewb notes well enough, try some songs. (IMPORTANT: Use only
on 5 1 e ack to open position on these songs.)

Shenandoah

,
6 --~~-- =- -~
2 , , , , , 1 8-= ~w=-8
1,1,_ ~ ~r c t ~~tr£r~ ~ rff ~1
~~~?=--=¥=~1~'- ~5=_J
Oh, Sw;;annah

T ~ ~ - 5 5 ~ 5 7- -5 - ~ - 1- 5 - , 5 -
A __:__ ' :..__- _- -- 7~ - - - 1-
8 -
-
-
-- -- -- _ - - -

-, ,- ,I J _ f. l 7 7
I
- - - _1 -
• , 7 7 7 , , 8- 7
7 -- - 7 _ _ - - 7 -- -

- - - -

II

I
d O n't ~et frustrated I
Keep it slow and fun , so you

31
 When to change ...

Generally speaking, if yo u're going u, play up high for a while. stay in fifth position. Too much
unnecessary sliding wil l tire you out (and sou nd clumsy).

If you don't have TAB to show you the convenient positi ons to play a song , it's a good idea
t o s urvey each song before you play and mark appropriate spots to change posi ti ons.
Players often use Roman numerals (I and V) to mark the se spots-in fact, so do we ..

Arkansas Traveler

:!~a 1J.0Jw .I J 1 j IJ J J ¼ ££.l j J=Jd

I
.;,I j tutct1JJJ j U 1

~cl r r rer r ctE.f:d::1 rJL

---=ef'=trcJ i r cr±r=epg

El

Squeaky clean . ..

You may notice your hand making a little "s queaking" sou nd as you move between positions.
Don't worry about it . In fact, you'll notice this sound is pretty com mon in alm ost all g uitar
record ings. ( But don't cause a blister-release left-hand pressure as you move between
positions.)

f ake a break-call a friend and have them learn an other FastTrackn"' instrument.
But don't dial too fast ... you 're supposed to rest those fingers!

32
 LESSON 7
Grin and barre it ...

R emember the barre technique we learned for the F chord on page 11'? This technique is used
very often. In fact, it will allow you to form movable barre chords, so you can play all around
the neck with your fingers in the same shape.

"E"l B Ch i::l

By definition, barre chords are chords in which two or more strings are depressed using the
same finger. In general, there are two types of barre chords: those with their root on string
6 and those with their root on string 5. (Sound familiar? That's right-just like power
chords!)

I
Forming a barre chord is a three-step process, so hang in there ..
t,am~ ~ymt,o!

STEP ONE : Flanen finger 1 and barre all six strings

on the first fret. Strum all six strings and readjust
your finger until every string sounds clearly.

1 1 1 1 1 1

I
E
0 00
STEP TWO: Stop barring and use fingers 3, 4 and 2
to position for an E chord. Smack that chordl (Yes,
you 're right-normally you'd use fingers 1, 2 and 3

J 342
for E, but we need finger 1 for the next step.)

STEP THREE: Now slide this chord shape up to fret

=i:LJ ""
3 and barre fret 1 with finger 1 (as in Step One).
Strum all six strings. This Is an F major barre
chord.

Essentially, your new F major barre chord is an E major chord played one fret higher.
(Because, as you know, one fret higher than E Is F.) Therefore, some players refer to this
chord shape as the "E" type t,arre chord .

N eed a little help?

Turn finger 1 slightly to the side when using it to barre, as in the photos above.

33
 Give your new barre chord a whirl with track 65:

The Corner Barre

F {!.>Drre) E F

i- ~i J-=i
~
-= ]
J I
T
A
B -i=
1 , _ f_
o
=--1
The same barring tec hnique can be employed for minor chords, too. We used the E major
sha pe for the major barre chord , so we'H use E minor's shape for the minor ones (makes
sense, huh?). Like the major one, this one also uses a sixth string root ..

I
l~ -- STEP ONE: Just like before, use finger 1 to barre all
six strings on fret 1.

1 11 1 I I

~I
Em
STEP TWO: Stop barring and use fingers 3 and 4 to
position for an open Em chord. Smack that chord ,
too l

~ i adding) finger 2 ...

STEP THREE: Slide the Em shape up one fret and
add the barre on fret 1. Play all six strings and hear
an F minor barre chord .

Now try switching between your two major and minor barre chords. It's as ea sy as 1i~lng (or

All-Holds-Barred
F Fm

I qj
F Fm F Frn
..IH
t ..
'
b~ bl I q~ b~ II

A
B
T
j I I I j II
34
 Movin' on up ...
Remember, we said barre chords are movable. One fret up from F is F:, 50 the "E" and "Em"
t~pe barre cho rds moved up one fret from F (so that finger 1 now bar-res fre t 2) produces an
F barre chord . But don't stop there-move up and play G, A>, A, B>, etc.

H~re's a heavy metal- style tune using your minor barre chord shape. starting with Am
(finger 1 barres fret 5) ..

Mother May I?

~~ ~ ~-~11·
Fm Em Fim

r
- -3 3-----3 X X 3 X- 3 r 2 - 2 2 1
- 3 3-----3 x- x- 3 x 3 - 2 2- 2
3
5
J-- 3-
5 -5
x- x-
X - X
3 x
5- X
a
5
2
4-
2
4
2
4
- l
s s s x- x s - x- s 4 4 4- 3
- 1
- -3 - 3- 3 X X 3- X- 3 - 2 2 2

TROUBLESHOOTING
Make sure each string rings out clea rly. To check yourself, strike each note in the chord one
at a time and determine which strlng(s) are (accidentally) muted . The cause of the "muted"
sound (if any) is usua lly one of the following:

11 ( Strlng(s) aren't being pressed down hard enough .

,..,., SOLUTION: Use leverage from both your finge rs and thumb to press down harder.

\ Part of one finger is blocking an adjacent string.

}( SOLUTION: Readjust your wrist furt her under the neck to arch your fi ngers (all

except finger 1).

35
 th
Just as you converted the E and Em chord shapes into barre chord shapes, do e same
thing with A and Am chord shapes ...

This barre chord shape uses a finh string root (so don't play stri ng 6) .

I
Open A chord shape .. . .. . converted barre chord s ha pe

I
XO 0

2 ,, t 333 1

Instead of squeezing your fingers together on the fretted notes, just make another barre by
bend ing t he knuckle (ouch!) of finger 3 and laying it across strings 2-4. (NOTE: If you have
difficulty playing string 1, you can leave it out and simply play str ings 5-2.)

It may feel awkward for a while, so relax-try barring with finger 3 by itself and add finger 1
later when it feels more comfortable. (Hey, no pain ... no gain!)

Another finh string root. Notice how it looks just like the "E" type barre chord but moved
over one string.

I
Open Am chord 5ha pe ... , . .co nverted barre chord e hape

I
XO 0

2, ' I 342 1

RELAX: Barre chords aren't that easyl Sometimes barre chords take weeks of practice,
so be patient. Just relax and keep working 'em.

One fret higher than A is B-flat, so your new barre chords are B• and B>m, respectively. Try
'em out ...
Just B(e) Flat
Bl B~m

&
;i'
bll
b::!
bb§
b-~- =II

T
A
B :II
36
 ·1
Here's an exercise combining all four barre chord shapes you j ust learned. Take it slowl

Ii 1 3 4 2 1 1 134111
13331
·1·
1 3421

1r:~·~~l-r -~ ,
Barre Exam

L~
J~-=9
=i==i ~ t -=f3 l~I :~J-11
Keep it moving ...
Don 't forget-barre chord s are cool 'cause they're mova~le. Move all four shapes anywhere
on the fingerboard to produce a new chord na me at each new fret location.

IMPORTANT: Pay special attention to whic h string (fifth or sixth) the root is on, and which
quality (major or minor ) that barre shape yields.

(j
: - GAME BREAK: NAME THAT CHORD!
Use the chart below to help you locate the roots and name each ch ord below:

G 1---=t-===j-====t====r---+--t----t-----t-:----:-i-
E - F

I I " I 1··
2 :3, _ _ 4, _ _

134 2 1 1 1 342 1

wa ·v •g ·.; •wa ·z '£) ·1 'S~3t.1GNV

'37
 You 've been patient , so here are t wo fu ll pages of songs and riffs wit.h barre chords . ·

'~
If It Moves You
F' G G' A

i . I I . I ,~i I
!J i.j I I ~
-- ij
,;~ i i I 3 !i
I J .'~ ~i i.
::, 3
I I J
I
O ·

rn.,_ II
' ''
j j -<>·

T
A
•5
4
4
4
5
5
5
6
B 6
6
•
6
6
4
l5 I

All Along the Sidewalk

11 ! njn tn
Am G G
.
Am
I
. O ·
•{
i =II §
II
'
0
-0

T 5
A 5
B
:I 5
l5 I
IM PORTANT: As you play up and down th e neck, say out loud the name of the chord. You 'l l
beg in to remember which neck position prod uces which c ho rd .

Coconuts
D C I) C

~iTfl
I)

6;.
.t
!.i i
-
, =II
~8
0
II
T
A
B :II I
DON'T COUNT: Use the white dots on the guitar neck to hel p you locate t he higher frets
quickly.

38
 Livin' After Dark

'! ~+ ~L'? j 4 •l 1. f ='Jlc'! ~ .

E D A B E

i o,cf ~ ~ JI

·~-i -=i ~ L=r=-~l~t~ ==-=-;~~I -~I1-- - ~ I

PLAYING TIP: Don't allow slidi ng to interfere with correct barring. Quickly rea dj ust the
amount of pressure you 're using for the barre a~er you've s lid your hand up. If it sounds
bad, press a little harder.

Punkish

- II
6-
6
7
-8
8
6
6
7-
8
8 8
6
6-
7
8-
6
6
7
8
8
6-
6
7
8-
8
6
6-
7 -
8
8
6
6
7
8
8
66

8
7
8-
b. •- •
-
•
5
6
6-
•
5
6
6
•
4
5
6
6
4
4
4
5
6-
6
4
•
4
5
6-
6
4 II
6 6 6 6 6 6 6 6 4

Dream
Gm

ll i3 b3
Gm 13~

s~-4~3
2 l,
II
T- 1- 1
A
B ' '
3
3
3
3
II
' 1

T ime fo r another break! You owe it to you rself (and t o your poor fingers ).
Kn itting would not be a good act ivi ty during th is break ?!

39
 LESSON 8
Let't; get fancy ...

Y ou 've been so patient, learning your chords, notes, and scales. Now's a great time to
experiment and learn some " tricks of the trade"-some slur techniques that you 've
probably heard but didn 't know how to do.

Slur techniques (or "legato" u:chniques, if you prefer Italian) allow you to play more than one
note for each pick attack. In other words, you'll be able to pick the string once and ··slur" two or
morn notes, giving yo u a smooth, flowing sound . Here are a few of the most common ones ...

EMt-
Looks !ikt: this :

I i-::--J -::JI Just like it sounds-play the first note by

picking t he string , then sound the second
note by sliding the same finger up or down
T on the same string . (The second note is not
A
B picked!)

Track 76 will give you a good idea of the sound .

Now try using sl ides in some riffs ..

Up and Back

?. r-r r r c.:'r r r =II II

T 3- 5 5 - 3 3- 5

B
A
:II II
Slidin' Chords
GI Il l l'5 Ill Cl G5 C5 DI

'gn J) ' .,' n I rm~ n =II

G5

0 ,
II
u
T
A
B lu I! :II
! ! i .1 ! !
JI
Th is will take some time t o get the hang of. so d on't be t oo hard on yours elf.

40
Looks like this:

l~Lrr~~I Again , just like it soun ds ! Tho first note is picked,

then use another finger as a "hammer" to press down
onto tho fret of the second (higher) note on the same

~!-~ I string.

NOTE: You can only hammer "up" from a lower note to a higher note.

PLAYING TIP: If you hammer too hard, your fingertips will hurt; too soft and you won 't hear
anything. Practice and practice some more until you think you've got it.

Frightful
D5 N.C. D5

41

=II

Looks like this:

This o ne is the direct oppo51te of the hammer-o n.

That is, start with bath fingers on their notes, pick
the 5tring and then tug or "pull" your higher note
finger off the string to sound the lower note.

Now try It in a short riff ...

Push and Pull

,,. Wd° ·WJ WJ 1 II

_l a s a~ s- a- ~ a~ , a s a s a s a ' I s -: - -_ I
B
41
 Bend

Just like it sounds-you're going to raise or "bend" a string to a higher pitch. In general,
bending is done on the first three strings, bending up or toward the ceiling.

Most bends are one of the following two types:

Whole-step bend

-~D foll
Pick D on string 3 (fret 7) and push the
string upwards to match the sound of the
target pitch (E), which is a whole-step
T higher. (To check yourself, play Eon fret 9.)
A ,- } =-----11
B

Half-step bend
A
0 -_11 Pick Don string 3 again and push the string
not quite as high to match the target pitch
If~

,i (E') , which is only a half-step higher. (Check

yourself this time with fret 8.)

PLAYING TIP: Don't use only your third finger to bend. Add your first and second fingers for
extra strength and support. This is called reinforced bending . Add more leverage by pushing
down with your thumb on the back of the neck.

Twang It!

~?. i.... r. .r_r-Cr

c ....... .
foll f~I
r_f IL~ r r--~ -1
i
lB , ==" ,_,

You can also bend up and back down. Simply bend up. t hen release the pressure s lowly.
Sounds cool, huh?

Up and Down

lLLJ C(c r I 111

O

T
A
8 5
i ..
(71-2_
I 7-
B

Don't bend too much, or you 'll be buying a new strlngl

42
 LESSON 9
Strike up the band ...
A s in the first book, th is last section isn't a lesson . .. it 's you r jam session!

Al l the fa5tfrack'" books (Guitar, Keyboa rd, Bass a nd Drums) have the same last section.
This way, you can either play by yourself along with the audio or form a band with your friends.

So. whether t he ban d 's on the audio tracks or in you r garage. let the show begin ..

Nervous

8
8
8
I 6
4 ~__!_ 6 8
8
8
I

I
6 X X X X

-3 5 a
8
8 11
3
1I
x- x
X
X
X
X
6
I n :i q I I
1)15 a•s Fl A~S

n~TI
F5 A>5

i -l
',l
I
./ J 1 bt3 fTI ·V,3 3 3 ri I J n ~t3 J j
j j
' '
X '
j

--, 3 3
!-
6-
I
X X
X X
X- X
I -I X
x-
X

43
 5- x-x- B- ~ - x--8-
---J<-x==t= -
- x
~ i- ~---=~=t-=8----8
- x-J<- x- x- 8-8 - 8 ~ -____,_:-x- 8-
- - , -x---M--6--
[E] Breakdown
AIS 9,5 CS

~~ti~-t-ffm=-# lf:-=-~-~ q
~
3=8.=r=-~ 18 I 7

Basement Jam

IA] Intro , ,,
l\foderate Rork/S hunlc .I = 136 1fj =J ,h
f
-~t~4J B .

I I
A

ff f ff f '-r-L~(ijf- ( bl'j
.I I
E

r r~- )((.Jl'-r
L...!...l....J Ui.J LJ_t
3
IJ

I g_gg I
3
7 7 7 7 7 10
T- 7 7 7 7 7 9
3 0 0 0 O 2 0 2
A
B- -

c1I uJ u1.r1r
A

1 1
-
:1 :J

44
 #B , A r;-;-,
I- '1 tr I lliJ PfrU la(a_rd J1 1
J :J

r. A E

~--f}-#J"]J#J 1 .J t #J '/ J> I- ; ) #J j_~ J I J, ~1 · J> LIJ;TJ) ~J 1

_5- 2 - 4 2 4 l O -- 4 2 r 5 - -. I O •
D.S. al Coda
2 I 5 2- •
-$- C m/a
2 - • I
'IJJJ)
E U

'J / #j 1 )> I~ ) ~ II II

I :-I 5 2 -~ 2 - .-
6
5

!I - 2 0~ - II
O
45
 Dim the Light s

,r,
-
Intro
Slo,- Rock .. - =58

lj 1
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lil t!i ~l elodi·

3
D- -

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A
G_ _

. -.
A

:.
--
: ; -~~- j

IT l ' o
-0 2
A -t 0
:,----- 2

-
tB _ L ,- 0

D Pm Bm G A
G_ _ T! Coda $
A F' 7 Bm A5

2 ,l 2 2
2 2
3
2
3
•
-•2

~.,
2 2
I, 2 0

G A D ~ .C. (E Guitar Solo

..
., ,- . •=-.
0
a
i
J
2
2
5. 2 2 4
2 '
J 5 J 5
I. • (5) J
2' -,l
s s s •••
- • ,, .,,• •'"' -• • • j
D.S. a/ Coda
-
j·
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r .
"'1' 1~ 1
,, .- - . •,,- • • .•·
-- - .
-· ee

- J J 5 3
2'
5 i i i 5 J
9- 7 1 9
9
1 9 •
7 I_ 9 7 9
7

@Coda
F' 7
- ..
Bm A5 G ,\
o_
lb~: :• ,,
- I=
•· =: .
• I. s ..I:
,i·

- . ...
.s ..s s ...
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sss

iiiiq
J
2 d 3
2

I
2 2
s
J2l O utrn o_ r: 1 llm
Em A5
.s
G ,\
o_

,,, I -- .:;•··.!'. ::
2
•· . . .. I • ..1=
.. a=
• a-
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I. '- ! g
0 0 0 2 2 1 2

1-~ s
2 2 3

l
2 0 2 2 1 2 3 1
2
0 0

We would be sad tha~ this Y.'85 tlie end of ou.. re lationship,

b!.l!C we'll ">!:e you aga ,n in FastTrack'" Gu itar Songboo k z.
46
 AFAREWELL GIFT
( . .. it's the least we could do!)
We ~x~ect Y~_u to use th.~ entire book as a reference , but this ha s now become 8
trad1t1on-a cheat sheet with al l the notes and chords you learned D 't f
practice oftenl · on or.ge t to

Note5 in Fifth Po5ition:

l'°J- _J- J f~ - -y- d ~J J

1
J ~-J J ~J r
T
A
: - 7 - 8 ] .~ -
B - 5

r II
5 j 6
-----
' 9

I
--

Chor,fa and 5hape5:

I ..
, - - - - - Barre Shapes - -

~, mm mmlii i i
Power Shapes r - - - - - - Chords - - - - -
sixth Siri ng fifth string
roo t root E A
0 00 , o 0

3 2 11 134 2 1 1 1 3 •II 1 ! 1 333 1 1 '3 4 2 I

1 3 •I 23 1 1 23
(1 1 1}

What'5 next'?
You 've started to ma s ter the gu itar in j ust a short time, but where d o you go now?

I
) ( Practice, practice, practice. What more can we 5ay but practice every day?

\ Buy Fast:TrackrM Guitar 5ongbook6 1 and 2, featuring rock score format of hit6 from
} ( Eric Clapton . The Beatles, Elton John. and many more.

I
J( Buy FastTrackTM Guitar Chords & Scalee , an excellent referen ce book with over 1,400
gu itar cho rd s and voicings, patterns fo r eight scales and seven mode s , and a s pecia l
..Jam Ses s ion" with popula r chord prog ressions.

Enjoy what you do . If you d on 't enjoy what you 're d oing. there's no sen se in doing it.

Bye for now ..

47
 SONG INDEX
( . . .gotta have one!)
TRACK SONG TITLE PAG E TRACK SONG TITLE PAG E

1 Tun ing 47 Blues Scale Pattern 25

2 Take the Stage 3 48 Playi n' Lead Guitar 25
3 It Used to Be Mine 4 49 Td-pl·et 26
4 '50s Pop 4 50 Jesu, Joy of Man's Desiring 26
5 Rock All Night 4 51 Three of a Kind 27
6 Sweet and Low 4 52 Triplets with Rest!:;! 27
7 Alternative Guitar 5 53 Berry-like 27
8 Muted Groove 5 54 6/8 Meter 28
9 Summer Lovin' 5 55 Delta Blues 28
10 Progress ively Faster 6 56 Berry- Uke in 12/8 28
11 An Alternate Way 7 57 Fifth Posi t ion Ch romatics 29
12 Power Sixteenths 7 58 Two-octave C Major Scale 30
13 Sixt.eenth Strumm ing 7 59 Two-octave A Minor Scale 30
14 Strum Along 8 60 Wate r Chestnut 30
15 Strum, Strum, Strum! 9 61 Zodiak 30
16 Acou5t1c Rock 9 62 Shena ndoah 31
17 Acoust ic Ba llad 9 63 Oh, Susannah 31
18 1-2-3 Strum 10 64 Ad:ansa& Traveler 32
19 That\; What / Like 10 65 The Corner Barre 34
20 Mute Th is! 10 66 All-Holds -Barred 34
21 Gu itar Tw,:ing 11 67 Mother May If 35
22 Dark Rock 11 68 J u•t B(e) Flat 36
23 Brea kin' Up A in·t Hard to Do 12 69 Ba r re Exam 37
24 Hey, J im 12 70 If It Moves You 38
25 Deuces 13 71 All Along the Sidewalk 38
26 FUr Elise 14 72 Coconuts 38
27 Boogie Woogie 14 73 livln' After Dark 39
28 Not Quite 15 74 Punk lsh 39
29 Just Right 15 75 Dream 39
30 In Sync 15 76 Slide 40
31 The Enterta iner 16 77 Up and Back 40
32 Major Scal e Pattern 17 78 Slid ln· Chord s 40
33 Minor S cale Pattern 17 79 Hammer -on 41
34 I've Been Roc king on the Railroad 18 80 Frigh tfu l 41
35 Jama ica Farewell 19 81 Pull -off 41
36 l,mer ica 19 82 l"us h a nd f'u l! 41
37 G-G7 20 83 Wh ole-s tep Be nd 42
38 Seventh Heaven 20 84 Half-st ep Bend 42
39 Bluesy Seventh e 21 85 Twa n9 !t! 42
40 Ragtime Rhythm 21 86 Up and Down 42
41 Btue a in G 22 87 Nervous (fu ll band ) 43
42 The Sky Is Wh ining 23 88 Nervous ( rn inu s 9ultar) 43
23 89 Ba &ement.. Jam (full band )
43 Minor Blue :> 44
44 Qu ick Chanqe Artist 23 90 Basemen t Jam (minus guita r) 44
Rock 'n' Roll Rhythm 24 91 Dim t.he Light• (full band )
45 46
46 Rockin ' and Compin ' 24 92 Di m t he Lights (minus gu it ,3 r ) 46

48