Basic CHORD PROGRESSIONS Nice tncioe ave ene the base chords and memorized ther shapes anc nies, it's time to put them into practice. Chord progressions are basically chords put into an ‘order that works sonically, like a song! You can experiment with strumming these chords any way you like at this stage. The aim {s justo ger the hang of playing through each chord to the next; we will cover strumming, ‘concepts litle later in the book. Run through each of these chard progressions, saying ‘each chord’s name as you ply it. C major Aminor E minor G major xo x0 © 29 000 0 00 Q o 00 9 6 6] | [oe E minor @ maior Daminor Arminer 02 000 0 00 xx0 x00 0 CY) 9 @ 60 @ CT} 9 G major Aminor C major 200 x00 x0 0 0 oo 9 090FINGER STYLE PATTERNS ‘ere are 8 different fingerstyle patterns using the chord progressions learned on page 24. Notice how the tab is more for the right hand, as the chores are inccated above the tab ‘which the left hand plays. This type of tab will generally not deviate from the confines of the specific chords written above, ‘The small numbers indicate which fingers to use on the FIGHT HAND. T indicates thumb. C major Aminor E minor G major avaoga E minor G major D minor Aminor aaa D minor Aminoro . avaoagg D major . E major D minor G major C major Aminor C majorFREQUENTLY ASKED QUESTIONS * When should I change my guitar strings? ini’ oot ie to change your ngs fen as posible Don ave unl our sings go lack and kr barbed ‘wigebefore you change ther {actual change my sings dor vey i. + How long unt | get calluses on my fingertips? “at pens on ow mth ou play. you pa ay tas les tine Ta ee oi aly ales afew ont cs laying aren he is cou ges peer So cracking! * Can a guitar ever be perfectly in tune? ‘is youve gpd qual guitar ait has ban setup rope, you should be abet ache pert tune ila On the ips, you want gt scientific tunes probably reer opel atanabe down tote mot minute lee, bo the Fruman ea ill sound in tune * How do | play faster? ny opinion, plying fs s more shout peeing so paying, then gradually increasing ped. Thee ae a fw explanations sboutthapicsophy Fst econ means eet cig fram bth hans with eb presi, Sean graualy increasing speed ay be done ove te couse of mary maths, pot one hour Pepe win can pay lar tthe spend ct igh sxe jisthe sae 8 ou, ony they have tana hinges and bran to eect playing with eat precio. is jus. lite leasng how o walk using eter sls —you star out wobbly and end up dong wth eae, bu takes lot oie and Abc o practic * How do you write songs? ‘Tesh answers, anyway ou ie | ahraselae music cocking — if you nw howto cok you krow thal tain spies nding complemen each the Tiyoudort know howto cok, you mayen up stumbling On an aruaing creation or make someting hat hess wou at Ny abies tostart senng ard ying acl sang thal you lve and nd at wy you lovee. Why does thatchord ‘workso well ith hat her cod? Why esta mela sounds grea fr that cho? To gt ayer in msi hin you ‘have always ask tof questions and yan se the thing that ape to you + Why does my guitar always go out of tune? “There to dflrent ways yur gitar can go ot of tan. Exposing your guitar to achangein climates probly ene ofthe mast commn resors. Everytime you ais, you can fate toring Uf your gars in asta anf at ha cas, tie bagean ouch the ining keys ae put tout fre Obs you bump the tuning es ochave peor quay tuning ays tha ie oar ce it can alle the tuning Fou change the gauge (hicks) of rings without having tse up fr that ‘gauge, youcaputstes on the nec, which wll male the gutar go out tne ‘Does guitar get harder from the level | am at now? Guitarcan be as complica s you wank You cul vas eam mor play more play beter en he rete gutarss.on carts ave challenges — thy just ier as you prog + How long does it take to be as good as the rock stars? ‘oa would be supied how mary profsional guitars aretha oo ts more abou ntrpretation ad rg in sme xe, ann som cass eter To anser your queso, tll depen on which rock tas you aren! would vif Team romp each and practi gros you old be plying like some of tay rock ssn acouplec yeas.THE CATERPILLAR Frets bestnnes his exercise can be the guitar equivalent ofa headache and endless resuns of your worst nightmare! No, i's not that bad really. Just remember. no pain, ‘0 galnt The great thing I have found about the ol'‘Caterpilac'is that if s practiced Chily and with the technique fundamentals outlined on the previous page, it can really accelerate your playing ability substantially, 0600. 6000— ‘As you can sce by the tablature above, it looks quite simple, but here's the trick: avaoaga 1. Play each note without removing any of your fingers until they are needed to play another note, 2. Keep all of your fingers down so that you only move one finger at a time, 8. Ifyou hear a buzz, or an inconsistency in the sound, or forget to implement the rules outlined on page 18, START OVER! =I Repeat these steps until you can play owt apply the same method to the through this exercise ten timesatasiow next three strings, and remember if you pace without any mistakes. Do this make mistake, slow dawn and start religiously at east two minutes a day, then from the beginning unl You find a speed Ssradually Increase the pace ata rate you that enables you to run through the ‘can handle, Caterpillar perfectly,Comparative Note Values ONE WHOLE NOTE TWo HALF NOTES FOUR QUARTER NOTES Qa .a iS ‘The HALF NOTE od receives 4 BEATS 3 receives 2 BEATS. (4 counts). The QUARTER NOTE receives 1 BEAT. double bar tine BAR LINE BAR LINE means the onc. divided into equal parts called MEASURES. INE MEASURI RE To indicate the number of beats in each measure, we use © Time Signature ; «—— four beats in each measure, The TIME SIGNATURE or means 4—— a beat on each quarter note, For each note value, there ie 2 comparative REST sign. RESTS 1 2 a 4 WHOLE NOTE =P WHOL Rest HALEREST =e oC + Use only the down- Pt WLY AND EV stroke indicated by py "LAY SLOWLY AND EVENLY nh Cen s on Aas ener 3 ©: cher 2 FRET 3 @> e F 5 a T AND AWAY WE GO “Use open string eeSeD AT THE © Copyriunt MCMLIK By ALFRED MUSIC €2,, ine:MORE STILL MORE ' NO MOREFRET 2 FRET 2 FRET 3 TWO-STRING POLKA BAR LINE:THE GREY GOOSE ar BLUE BIRD WALTZ 5 «1 c JINGLE BELLS ‘These letters are chords for the instructor who may use them es @ 2nd part.e Third String (G) 1 Mile @ i ee a F Ml i seas = oA aac n 5 oe FRET 3 I G a ‘TWO SOLOS ON THE THREE HIGHEST STRINGS AU CLAIR DE LA LUNE Use down-stroke only These are notes. SHOO FLY 10THE ROAD HOME EAST SIDE, WEST SIDE 3. or ¢ Fe o7 e 7 HOP-A-LONG A g ° bt @ br @DANCE MARY, DANCE e orHOP, HOP, HOPFRET 1 FReT 2 FRET 3 OLD MAC DONALD HAD A FARM 4 c 6 DOWN IN THE VALLEY ae or c on 14REUBEN REUBEN abr COME TO THE SEA BOHEMIAN FOLK SONG t 6 f z ¢ 15Introducing Chords ° Lmneso roe or mote neers nn oe a whole note have a stem going up or down. e struck together as a CHORD, they are connected by the same stom: (Not to be played) ——_ Preliminary Study Two-nete chords on the open strings. ‘Two-note chords with D as 2 bass note. LEARN THE ROTATION OF THE STRINGS THOROUGHLY. PLAY WITH THE WRIST FREE AND RELAXED. KEEP YOUR EYES ON THE NOTES.cmons NOBODY KNOWS “common time" tthe same as § time) THE TROUBLE PVE SEEN 5 Review Divide into measures counts per measure. ours pal estire $= iia 17CAMPTOWN RACES (introducing chords with ene note fingered) Allegro, o 7 & Moderato DAISY BELL 2. ¢LAUGHING POLKA Moderato LIEBESTRAUM 21PS Se ee A-TISKIT, A-TASKIT Moderato ¢ F ¢ F a THE YELLOW ROSE OF TEXAS Allegro isi 6 c +N HOLD SIGN (Fermata): This sign indicates that the time value ‘of the note Is lengthened (epproximately twice its usual value). WHOLE MEASURE | LAST sting wary . le 23I’M A-LEAVIN’ CHEYENNE Moderato ee ce oh es LIGHTLY ROW Moderato 4S or ‘ ma e THE BLUE DANUBE WALTZ nh ¢ or 25The Dynamics The signs showing how SOFT or LOUD to play the music ere called the DYNAMICS. The principal dynamics are: q & (mezzo-forte) MODERATELY LOUD (fortissimoy VERY Loup | 27CARRY ME BACK TO OLD VIRGINNY Andante hoo poo ee (P wcans SHORTNIN’ BREAD Allegro oan 6 P _SEA CHANTEY 29THE BIG CORRAL Moderato ay P Speed Drill No.1 Speed dria ore forthe development of technic end should be practised day. Startall speed dis slowly and be sure thet eacn note is clear anc astinet. On each repetition incweace the temp my 13 ok a4 ° aios Be: Mode: _ BURY ME NOT ON THE LONE PRAIRIE =f The sign ———— or the word crescendo, means GROW LOUDER, _ The sign ————— or the word diminuendo, means GROW SOFTER. 33The Chromatic Scale The CHROMATIC SCALE is formed exclusively of HALF STEPS. Ascending, the CHROMATIC SCALE uses SHARPS, (#), the descending scale uses FLATS, (). ASCENDING CHROMATIC SCALE: gk OU 2 3 6 DESCENDING CHROMATIC SCALE: 1 oS 1 (G string) (© sting) (A String CHROMATIC WALTZ Moderato Oo 4 P _ HEAR ME LITTLE ONE Allegro con 5 nf 37‘An important point of technique is that it is often not necessary to take a left hand finger away when moving to a higher note on the same string, as may be seen by playing this example a In the above the Ist finger, after playing the F, should remain on the string for two Teasons: 1. It is easier to put the 5rd finger on the G when the Ist finger is in place, 2. The Ist finger is in position for the F at the end of the measure without having to move, Exercise 18 oe oa1 0 Exercise 19 NOTES ON THE FRETS As a general rule it is easier to find a note when at least one finger is already on the finger- board since this finger holds the left hand in position, NOTES ON THE SECOND STRING Now lean these notes on the 2nd string, and try the practice exercises below. Note that special care is needed when coming from the Ist string to the D on the 2nd string Although difficult at first, it soon becomes easier with practice, Ist fret ard fret POF2 NOTES ON THE FRETS Exercise 24 Exercise 25 st 41 Oy ae Exercise 26Exercise 51 TIED NOTES — In the above example the F is played on the count of four and held through the first count of the next measure. Exercise 32 In the succeeding exercises it is suggested that you count them through first, then try to count and play simultaneously. In Exercise 37 pay particular attention to the right hand fingering where the ring (a) finger is introduced in places where the simple alterna- tion of iad m would be awkward.60 NOTES, RESTS, AND THES Exercise 38 Exercise 3950 An important point of technique is that it is often not necessary to take a left hand finger away when moving to a higher note on the same string, as may be seen by playing this example. oo. 8 a SS In the above the Ist finger, after playing the F, should remain on the string for two reasons: 1, It is easier to put the 3rd finger on the G when the Ist finger is in place. 2, The Ist finger is in position for the F at the end of the measure without having to move. Exercise 18 o NOTES ON THE FRETS As a general rule it is easier to find a note when at least one finger is already on the finger- board since this finger holds the left hand in position. NOTES ON THE SECOND STRING Now learn these notes on the 2nd string, and tay the practice exercises below. Note that special care is needed when coming from the Ist string to the D on the 2nd string. Although difficult at first, it soon becomes easier with practice. ‘Open 1st fretNOTES ON THE FRETS Exercise 20 Exercise 21 Exercise 22 oat Exercise 23NOTES ON THE FRETS Exercise 23 (continued) ol) ~y ~ FFP Exercise 24 =e Exercise 25 + Exercise 2656 Exercise 29 (continued) NOTES, RESTS, AND TIES NOTES ON THE FOURTH STRING a Open 2nd fret Sed fret In Exercise 31 use arpeggio technique-free strokes with the fingers. RESTS Each period of silence in music must be as accurately indicated as a note, The silence is Exercise 30 o 23 2 © known as a rest, and the rests are named like notes of similar time value. = Whole note rest = Halfnote rest (d) 2 Quarter note rest wy TIES ‘A note may be sustained from one measure to the next by use of the “tie” sign. The first note only should be played, but it is held for the total duration of the two notes.NOTES, RES AND TIES Exercise 31 TIED NOTES In the succeeding exercises it is suggested that = you count them through first, then try to count —_—* —s SE and play simultaneously In Exercise 37 pay particular attention to the In the above example the F is played on the right hand fingering where the ring (a) finger count of four and held through the first count is introduced in places where the simple alterna- of the next measure tion of i and m would be awkward. ih Exercise 82NOTES, RESTS, AND TIES 59 Exercise 35 (continued) Exercise 36 Exercise 37 aimiomiom i om imiao mimi ome60 NOTES, RESTS, AND TES Exercise 38 Exercise 39NOTES AND REVIEW SPANISH STUD} Free stroke throughoutLESSON 3 - THE THREE LOWER OPEN (ass) STRINGS 4th. string D Sth. string A 6th. string E PROCEDURE: ’ Use ONLY the right hand THUMB for the three lowerbass string: For the present,to assist in holding the right hand steady whil stroking the thumb, try resting the first three fingers upon th ard., 2nd. and ist. strings. Allow the thumb to stroke the string to be sounded and glid OVER the next higher string. It is most important when strokin As written the thumb that it be kept STRAIGHT across the string and com Satie stave. to rest ‘outside’ the first finger. ‘The string should be allowed to vibrate for the full value of th note. a — {110 ba “ham, ff “mh

6th, STRING A-bth. STRING D-4th, STRING A couNT 1 2 38 4 — simile count: 1 2 3 4 4859LESSON 4 0) jo/ os COMBINING BASS AND SOLO STRINGS In the following studies use the THUMB (f for the BASS strings. (Notes with stems pointing down are played with the thumb) For the SOLO strings use the 1st. finger alone, then ‘2nd. finger alone, and then alternate Ast. and 2nd, fingers. ‘Also try alternating 2nd, and 3rd. fingers. Leara to feel the position of the string’s. Eyes on the music, not on the instrument. Practise dili- gently on this page to make the following pages easier. Note these studies are two lines long. | 4 aA wll counr:?h 2 8 4 ile y m J U , 0 = count: 712 8 4 1 2 8 & — simile é court: 42 8 4 1 2 & 4 — simileLESSON 4 COMBINING BASS AND SOLO STRINGS In the following studies use the THUMB (# for the BASS strings. (Notes with stems pointing down are played with the thumb.) For the SOLO strings use the 1st, finger alone, then 2nd. finger alone, and then alternate ist, and 2nd. fingers. Also try alternating 2nd. and ard. fingers. Learn to feel the position of the strings. Eyes on the musio, not on the instrument, Practise dili- gently on this page to make the following pages easier. Note these studies are two lines long. ® counT: count: 742 8 4 1 2 8 4 simile — couNT: 2 8 4 1 2 8 4 © simite 485932e///OS LO, AY con / LESSON 9 SONGS TO PLAY USING THE THREE SOLO STRINGS Work on these tunes until you can play them smoothly without looking ateither hand for fingering or plucking. IMPORTANT: Play as indicated plucking with the 1st. and 2nd.fingers,then using the 2nd, and 8rd. fingers 4 9 MOUNTAIN TUNE a ne mint L® o 4 0 8 8 5 8 4 ow rer COUNT: 1 26814 roux sona \/ WvloS sme mime menn fm simile r fe 30 138 a ea 8 FOLK SONG Same song as No. 2 (different hey) / bmi mim a fom i simite44 LESSON 10 FINGERING NOTES ON THE THREE LOW BASS STRINGS Draw thumb slightly under the neck, moving wrist outward to permit greater faci on these tower strings. PROCEDURE: (a) Recite letter names of notes in strict rhythm. (6) Recite fingering in rhythm, (c) Play and count without hesitating, play slowly at first. Right hand thumb ONLY is used to pluck the bass strings. Press lefthand fingers firmly upon the strings just below (nof on) the frets. Note that the fingers used for these notes are the same as the fret muiabers. Slizlos NOTES ON THE LOW E, 6th.STRING ast fret E F o_oeF E ty in finger action moll == 4 NOTES ON THE LOW A, 5th. STRING A B eB A NOTES ON THE LOW D, 4th.STRING D E FE D ast fret @) ng: | | | enatret |_| rate "Held fingers down 48503