Rhytm guitar begining and advanced

D

INTRODTJCTIONProgressive Rhyttrm Guitar will provide you with an essential guide into the styles andtechniques of rhythm guitar playing. As a rhythm guitarist you will be required to: -

(a) Play chords to accompany a vocal or instrumental melody line, andO) Help establish the beat of a particular song. (e.g. rock, reggae, wallz etc.)

Within the three main sections of this book a lesson by lesson structure has been used togive a clear and carefully graded method of study. No prior knowledge on your behalf isassumed.

Aside from the specific aim of teaching rhythm guitar, basic music theory has beenintroduced to help you understand the material being presented. Theory can often beapplied to solve practical problems and hence aid in your future development.

From the beginning you should set yourself a goal. Many people learn guitar because of adesire to play like their favourite artist, or to play a certain style of music (e.g. rock, folk,reggae etc.). Motivations such as these will help you to persevere through the more difficultsections of work. As you develop it will be important to adjust and update your goals.

It is important to have a correct approach to practice. You will benefit more from severalshort practices (e.g. 1$30 minutes per day) than one or two long sessions per week. Thisis especially so in the early stages, because of the basic nature of the material being studied.In a practice session you should divide your time evenly between the study of new materialand the revision of pastwork. It is a common mistake for semi-advanced students to practiseonly the pieces they can already play well. Although this is more enjoyable, it is not a verysatisfactory method of practice. You should also endeavour to correct mistakes andexperiment with new ideas.

It is the author's belief that the guidance of an experienced teacher will be an invaluable aidin your progress.

6

SOLID BODY EIECTRIC

PICK.UP SWITCH

PICK.UPS

BRIDGE

VOLUME & TONE CONTROH

STEEL STRING ACOUSTIC

SOUND HOLE

PICK GUARD

TUNING KEYS

BRIDGE

SEATINGBefore you commence playing, a comfortableseating position is required. Most modernguitarists prefer to sit with their right legraised, as shown in the photograph. The guitarshould be held close to the body, and in avertical position. The main aim is for comfortand easy access to the guitar.

THE PICKThe contact between the right hand and the strings is made with the use of a pick (alsocalled a plectrum), which is held between the thumb and index finger:

f f i ",a

h.

T \

1. Index fingercurved.

Picks are usually made of plastic, and come ina variety of different shapes and thickness.(fiT a .46 mm light gauge Jim Dunlop).

2. Pick placed onindex finger with itspoint about l/ 4 inch(1 cm) past thefinger-tip.

3. Thumb clampsdown, holding thepick in place.

. -{,,1:}o

s

I

LESSON ONECHORD DIAGRAI\,ISA chord can be defined as a group of 3 ormore different notes played together.Chords can be illustrated by the use ofchord diagrams, which involve a gridpattern of strings (vertical lines) andfrets (horizontal lines).

Upon chord diagrams dots are written toindicate the positioning of the left handfingers, which are numbered as such:

NUT

l._*f1 l

65432r

STRINGS

6 5 4 3 2 1

STzuNGS

----+%'q

4

CHORDS: AMAIOR, D MAIOR

A*

A broken line indicates that a string is not to be played, i.e. in theD chord only the first 5 strings are strummed.

Position each chord carefully, placing the first finger down, then the second, finally thethird. Each finger must be placed directly behind the fret, and on its tip (this usuallymeans t}rat the last finger joint is bent). Check with the photographs to ensure that thecorrect fingering is being used.

{his is a shorthand metiod of writing A major. It applies to all major chords.

10

Now thatyour left hand is correctly placed (e.g.on the A chord), strum across the strings withyour right hand. The coffect position of theright hand at the commencement of a strum isillustrated in the following photograph:

TROUBLE.SHOOTINGDo the chords sound clear? Try strumming them again, but this time very slowly so thatthe pick glides across each string individually. If you hear buznng or deadening soundson any string, check the following points:

Fingers on their tips (compare with photographs).F ingers directly behind fi ets - not on the fret, or too far behind it.Pressure applied firmly and continuously (do not release the pressure on the stringsuntil you are about to change chords).Thumb NOT hanging too far over the top of the neck.Guitar in tune (see Appendix One).

1 .2.3 .

4.5.

1 l

LESSON TWOMUSICAL 1ERMSSongs can be written in the form of a chord progression, which makes use of various musicalterms that vou will need to know:

Bar or Measure/-/\{r-\

-/Double/Bar Line

Statr 'G' or Treble Clef

Stafr- consists of 5 parallel lines, between which there are 4 spaces.

Treble Clef- (sometimescalled'G'clefl asignplacedatthebeginningof eachstaffof music.

Time Signature- consists of 2 numbers; the top one indicating number of beats per bar, andthe bottom one indicating type of beat. (Its use will become clearer to you as chordprogressions are introduced. For now, you can think of the time signafure as being thedeciding factor in whether a song has a rock, waltz or march beat.)

Bar Line - a vertical line drawn across the staffwhich divides the music into sections calledbars or measures.

Double Bar Iine - marks either the end of the progression, or the end of an importantsection of it.

RI]YTHM PATTERNS

This is a wedge mark, which indicates one down strum. The rhythm paffernbelow shows 4 down strums per bar. To help keep the beat, tap your foot asyou count and strum. Remember to count in groups of 4.

1 BAR

COUNT

\TimeSignature

4

*A more complete definition for these new terms can be found in the Glossary on pages 13&144.

L 2

CHORD PROGRESSIONUsing the given rhythm pattern, play the following chord

STRUM

COUNT

TROUBIE-SHOOTING1. Memonze each chord as it is introduced. Be careful2. Play slowly at first, concentrating on chord changes.3. Tap your foot with the beat and count 1 . . . 2 . . . 3 . .

progression:

.1-Z D{ERCISEI

to use the correct fingering.

. 4 aloud.

v4

v3

V2

V1

v4

V3

v2

v1

V4

v3

V2

v1

v4

V3

v2

v1

Pivot Finger: When changing from A to D, the first flnger remains in position on the 2ndfret of the 3rd string, and acts as a pivot around which the other fingers move. This is animportant technique, making many chord changes easier and smoother.

Timing is of the utmost importance, so keep a slow, steady count. Smooth chord changesare far more desirable than speed at this stage of your development. Speed will come withtime and practice Oe patient).

1 3

E CHORD

The following progression uses the 3 chords studied so far: A, D and E.

LESSON THREE

STRUM V

COUNT 1

Music Repeat Sign - This indicates that the progression is repeated from the beginning.After the repeat, finish on a single strum of the opening chord (in this case, an A chord) . Thispractice will apply to most progressions in this book.

Slide Finger - When changing from an A major chord to an E major chord the first flngerslides to the new position without being lifted off the third string. The same slidingtechnique is used between the D and E chord changes.

12 BAR BLUESt2 Bar Blues is a pattern of chords which repeats every 12 bars. This progression isinvaluable to the rock guitarist because of its use in many songs. For example, songsperformed by Elvis Presley, Chuck Berry and the Beatles, such as 'Hound Dog', Johnny B.Goode' and 'Roll Over Beethoven'are all based upon aL2bar progression (see AppendixTwo).

E

v4

v3

v2

@ DGRCTsE2

MUSIC ./

REPEAT SIGN

L 4

@ DGRcISE3

You will notice that in the first line there is no chord symbol written over the 2nd, 3rd and4th bars. Itis unnecessary to repeat a chord symboluntil an actual chord change occurs (e.g.at the Sth bar). This rule applies to all chord progressions studied in this book'

NE:w RIIYTTIM PATTERNSYou are alreadyfamiliarwith the down strum symbol, V, which was introduced in the lastlesson. To make rhythm patterns more interesting, a combination of down and up strumscan be used. An up strum is indicated by an inverted wedge mark, A , and will follow a downstrum. Try the following rhythm using an A major chord. End each rhythm pattern with asingle strum.

EXERCISE 4

V N V N V A V A End with a singlestmm of theA major chord.

A

On the'number'count a down strum is played, and on the'and'count (indicated +) an upstrum is played. The down strum corresponds with the foot tap ('on' the beat) and the upstrum corresponds with the raising of the foot ('off the beat). Thus there are two strumsfor every beat. Here is a variation on the above rhythm, using the down/up strum on the

@ n>.nRCTsEs

l z .

sPoKEN 1 and 2 and

W R I T T E N l + 2 +

3 and 4 and

3 + 4 +

l v1

Memorize and practise this rhythm, holding the A chord. Once this is done, you canapply it to the chord progression in Exercise 2.Wa+'ch your timing.{his is a repeat sign indicating an exact repeat of the previous bar.

Znd beat only. A

l v v n v vcouNT 1 2 +

STRUM

15

@ D.'RCISE6

Suggested Rhythm v A

2 +

V A

3 +

v v A v

1 + 2 3 + 4

V A V A V v A v

2 + 3

v A

2 + 3 + 4 +

v A v A v A v A v A

1 + 2 + 3 + 4 3 + 4 +

Experiment with any other combinations that you can think of. Try one new rhythmpattern each day.

TROUBLE-SHOOTINGDoes your rhythm strumming sound even and pleasant to the ear?Check the following points:

1. Guitar in tune (see Appendix One)

2. Strum lighfly and smoothly, with a combination of arm and wrist movement. Alighfly held pick will encourage light strumming.

3. Keep wrist relaxed, to gain maximum movement.

E

v v3 4

V

1

RIIYTHM VARIATIONSHere are some of the variations using down and d.own/up strums. You will be able toapply these rhythms to most chord progressions in fr time. Play each rhythm pattern fourtimes and end each by a single strum of the A major chord.

A

V A@o2

@

@

1 6

LESSON FOTJRCHORDS G A},{D C

G

@ DGRcISEz

Suggested Rhythm v A v A

1 + 2 +

You can also use any of the t rhythm patterns intoduced in Lesson Three. Remember tofinish the progression on a single strum of the opening chord (G). Use the pivot fingerprinciple for the chord change A to C (i.e. 2nd finger pivot.)

NOTES ON THE FIRST STRINGA basic knowledge of notes and their position on the staff is important to help youunderstand the theory discussed throughout this book. Notes in the first position (i.e. thefirst 4 frets) will gradually be introduced over the next T lessons.*

- Open

- 1st Fret

V V

3 4

NOTE

FRET

FINGERING O- 3rd Fret

General rule: For first position playing, the finger number and fret number will be thesame; e.g. notes on the first fret are played with the first finger. 'O' indicates an openstring.

*lt is not the aim of this book to cover note work in a comprehensive manner, since rhlthm guitar predominantly involves chord work.Notes are covered fully in Progressiue Guitar Method.

G

3

3

F

1

1

E

0

t 7

a Thisis a quarter note, or crotchet, worth one count. Notes should be played with adownward motion of the pick. The quarter note has the same timing as one down strum;both are worth one count. Once again, remember to keep the count even.

COUNT 1 4 etc.

Try some other combinations of first sfing notes, saying the names of each note aloud asyou play them. This will help you learn the note names, as well as their positions on theguitar. Note exercises will also help to'loosen up'your fingers.

TABIAIT.JRE

Under the music notes you will notice a method of notafing music called tablature (lAB).

Tablature is a method of indicating the position of notes on the fretboard. There are six'tab' lines, each representing one of the six strings on the guitar:

STRINGS

*Note readers may need to refer to the tablature to determine the position of an exercise.

When a number is placed on one of the lines, it indicates the fret location of a note, eg.

This indicates the 3rd fret of the first string (a G note)

This indicates the first string open (an E note).

123456

a

a

a)

T

tla

t{

NUT

You can read the time values by following the count written beneath the tablafure.

TURI\AROUND PROGRESSION NO. 1The turnaround is another very importantprogression for you to become familiar withbecause, like 12 bar blues, it is the basis of manysongs (seeAppendixTWo). In this turnaround, a newchord, E minor, is introduced (the abbreviation'm'isused to indicate a minor chord).

1 8

LESSON FT\M

@ ''.'RcrsEsEm

Suggested Rhythm v A v

2 + 3

Try any of the other rhythm patterns introduced in lcsson Three. Remember to repeatthe progression, and then finish with a single strum of the first chord (G).

NOITES ONTHE SECOND STRING:

DCG

V

4

V

1

NOTE

FRET &

FINGERING

Second string exercise:

COUNT 4

a

a

a)-r

Aa

EI

Try a combination of the first and second string notes:

d r l I I ' l l

- r ^ ul \ r l \ , v

I

tl

EI

19

TROUBLE.SHOOTINGNote playing can presentyouwith newproblems notpreviouslyencountered in chordwork.The following points should be observed:1. Fingers on tips and directly behind frets.2. Hold strings firmly against fretboard.3. Use correct fingering (first finger - first fret, second finger - second fret, etc.)4. Left hand fingers mustremain close to the strings at all times; e.g. when an open string

is played, your fingers should still be in close proximity.

20

LESSON SD(F CHORD

In the F chord the first flnger bars across two strings, tilting slightly to the left. This is adfficult chord to play, and will need much practice. Try combining it with the chordsalready studied; making up your own exercises, or trying simple songs.

TURI\AROUND PROGRESSION NO. 2@ DGRcrsEe

Em

Suggested Rhythm v v A v A v1 2 + 3 + 4

This turnaround is in the key of C major. The key of a song is generally indicated by theopening chord, e.g. Turnaround No. 1 (ksson Five) is in the key of G major.

See fupendix Two for examples of songs using this turnaround.

NOTES ON THE THIRD STRING:

NOTE

FRET &

FINGERING

F

G

G

0

2L

You now have two G notes; one on the fust string and one on the third string. Thisrepetition occurs with all notes, since the musical alphabet only contains seven letternames (A to G). The two G's that you now know are said to be one octave apart.

1OC-TAVE

d This is a half note, or minim, worth two counts. TWo haH notes make up a completebar in ft time, and in the example below (bar 2) notes are played on the first and thirdcounts.

couNr 1 2 3 4 1 z 3 4 1 2 3 4 1 2 3 4

Hold the half note for its full value of two counts. Tap your foot with the beat.

\ 1 ,

a)

T

l r

G A B C D E F G

v rJ

A

ED

- - C, 1 - - --a)

T

A v - v 3 3 3 e i

EI

22

LESSON SE\IENcHoRDS 47,D7 AND E7*There are three main types of chords, namely, majors, minors and sevenths. So far you havehad examples of majors and minors; three seventh chords are introduced below: -

A7 D7 E7

The first finger bars 3strings as shown in the photo.

The use of seventh chords as substifutions for major chords can make theprogression more interesting: .->

2A7A7

Suglglested Rhythm v A v1 + 2

You will notice in bars 9 to 12, that there are two chords per bar. Each chord is given twocounts. Once the suggested rhythm pattern has been mastered, try some other variations(more dfficult) of down and down/up strumming.

{he correct name for these chords is 'Dominant Seventh'. however the name is often abbreviated to 'Seventh' and written assuch.

\2 bar blues

E)(ERCISE 10

A

V

4

v3

In any turnaround a seventh chord may be playedchord; e.g. Turnaround No. 1 in the key of G: -

23

in the last bar, in place of the major

cG Em@ DGRcrsElr

D7

Suggested Rhythm V V V V A

1 2 3 4 +

This seventh chord (D7) will'resolve' (i.e. lead back) to the first chord (in this case, G).

NOTES ON THE FOURTTI STRING

NOTE

FRET &FINGERING

Exercise:

COUNT

D

0

I

a

a

a)

d o -- o

T

^ .i ,) n a

a

H

24

LESSON EIGHTCONTINUOUS RIGHT IIAND MOVEMEITTAll of the rhythm patterns that you have so far studied involve continuous right handmovement. This right hand movement can be represented thus:

Ifyouconsiderthemostbasicrhyttrm I v v v v I therighthandisactuallyplayingfour down strums across the strings (producing the sound) and also playing four up strumsaway from the strings. The up strums, which produce no sound, are represented by brokenwedge marks ..i . Hence the basic rhythm can be represented thus:

v ,'1. V ,i'. v ,.1. v .i..

illustrating continuous right hand movement. This principle is important in the followingrhythm, where a down strum is played awayfrom the guitar on the third beat (indicated bythe broken wedge mark):

v ^ v ^ v ^ v ^ |1 + 2 + 3 + 4 +

G

l v ^ v ^ Y ^ v ^ |I t + 2 + 3 + 4 + ,

Say Aloud: 'Down Up Down Up . . . Up Down Up'

End with a singlestrum of the Gmajor chord.

to all progressions so far

/'-:\{& HERCTSE 12

D7

z l l

This rhythm is extremely important, and should be appliedstudied. You should not proceed until it is mastered.

Em

Suggested Rhythm

NOTES ON THE FIFTH STRING

FRET& O 2 3FINGERING

CG

v A v A i . r ^ v A1 + 2 + 3 + 4 +

The notes on the ffih string use leger lines, which are small horizontal lines upon whichnotes are written when their pitch is above or below the staff.

25

\J' This is an eighth note, or quaver, worth half a count.Two eighth notes, which are sometimes joined by abar, J .l have the same value as aquarter note (1 beat). Eighth notes are counted:

l J - . : n nn4 +1 + 2 + 3 +

which can be compared to the timing of abar of down /up strums:

II v A v A v A v AI

1 + 2 + 3 + 4 +

@ n>rERcrsEl3

c o u N r l 2 + 3 + 4 1 2 3 4

aI

I

a) J t t r r t J t -+e

T

A a

a\ a

FI

26

LESSON NII\EAXTERNATIVE CHORD FINGERINGSIn many sifuations the standard fingering for a chord can be altered to make a specificchord progression easier to play. Consider Turnaround No. 1 in the key of G:

If the Em chord is played with the first and second fingers (instead of the second andthird), then the pivot finger principle can be applied as such:

G to Em: First finger acts as a pivot, remaining on the fifttr string at the second fret.Em to C: Second finger acts as a pivot, remaining on the fourth string at the

second fret.

This will make these chord changes easier and smoother.

You must select alternative chord fingerings carefully. In most cases the conventionalfingering will be best; any other fingerings used will be determined by either thepreceding or following chords.

CHORDS G7 AT{D C7

G7 C7

When playing the G7chord make sure that thefirst string sounds clear.

The C7 chord can beformed from a C chord byadding the fourth finger.

27

AUIERNATIVE CHORD FORMSThere are many different ways of playing the same chord, for example, in manyprogressions the following shapes for A7 and E7 may be more suitable:

A7 E7

Try the following progressions, using these two shapes, andthe new chords GT and C7.

@,,."RcrsE14

G7

Suggested Rhythm I Un VI

1 + 2

@ n<nRcrsElb

suggestedRhythm I un vA .r..4 v' l

1 + 2 + 3 + 4

TWO BAR RHYTHMSIn all of the rhythms studied so far, the same pattern is repeated for every bar. Thusthese patterns are referred to as 'one bar rhythms.' However, during the course of a songor chord progression, the rhythm pattern may change. For example, a two bar rhythmpattern may be used throughout -

D(ERCISE 16.q,

A i . t n

+ 3 +

V A

4 +

V

2

v A v

3 + 4

v A . ' j n v

2 + 3 + 4

l v1

28

Applied to the chord progression in Exerciseas such:

A7

14, this two bar rhythm can be represented

@ nrERCrsE168

G7c D7

v1

v2

v1

v2

v1

v A v3 + 4

v vA vA v1 2 + 3 + 4

V A V3 + 4

i.'A V

3 + 4

vA2 +

Experiment with other two bar rhythm combinations.

B729

A7

@ nlrnRcISEIz

E7

LESSON TENBLUES IN EBlues in E introduces a newchord , B-7, and an alternativefingering for the A7 chord.

l r .87

lE .87

VA vA i.;n v2 + 3 + 4

This blues introduces 'first and second endings'. On the first time through, ending one isplayed(ll. gZ

-T ), then the progression is repeated (as indicated by the repeat sign,)

and ending two is played(l L BZ E ). Be careful not to play both endings together.

When changing tom E7 to BZ (and vice versa) the second finger acts as a pivot (see lcssonTwo). You should be constantly looking for 'short cuts' in chord changes, such as this pivotfinger principle.

1 +

NOTES ON THE SXTH STRING

NOTE

FRET &FINGERING

Suggested Rhythm

30

ro This is a whole note, or semibreve, worth 4 counts. In f time it is held for a full bar.

A dot, placed after a note, increases the value of that note by a half;I

e.g. a dotted half note j. will be worth 3 counts.

l , l l l). has the same value as ) ) )

A dotted quarter note will be worth 1i counts.

). has the same value as ) ) ,|)

Thus the dot itself does not have a specific value, it depends upon which note it follows.

3 1

LESSON ELE\IENNOTE SUMI\{ARY: OPEN POSITIOI{

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

srRrNG 6 6 6 5 5 5 4 4 4 3 3 2 2 2 1 1 1

FREr& 0 1 3 0 2 3 0 2 3 0 2 0 1 3 0 1 3FINGERING

The open position on the guitar includes all the notes so far studied (as written above).You will need to be familiar with all of them, as they will be used in future exercises.Starting from the bass note E, play up to the top G and back down again, naming eachnote aloud as you play it. Keep a slow, steady beat.

By playing through the notes you will notice that B to C and E to F are only one fretapart (called a semitone), whereas all other notes are two frets apart (called a tone). Thedistance between notes of the musical alphabet can be set out as such:

A B C D E F G A\-/ \-/

\) = a semitone (i.e. one fret apart)

It is essential for you to remember this pattern of notes.

NOTE VALUESThe following table gives a summary of note values so far studied:

4 COUNTS o

I2 COUNTS d

lcouNr ) ) ) ) euARrERNorE(cRorcHEr)

wHoLE NOTE (SEMIBREVE)

Id HALF NOTE MIMIM)

j couNr EIGHTH NOTE (QUAVER)

Timingvalues ofthree counts and one and ahalfcounts can be represented by dotted notes:I

3couNTS= d. ri couxrs= J.

I

. , 1 - -

n ; - l � n n

32

BASS NOIE PICKINGBass note picking involves a single bass note followed by strumming a chord. Bass notesare generally regarded as being notes on the fourth, f,fth or sixth strings.

In this turnaround, the bass notes are played on the first and fourth beats of each bar,and the written chord is strummed on the second and third beats. Even when the singlebass note is played, the full chord is held in preparation for the strums to follow; e.g. inthe first bar hold a C chord for all four counts.

@ nrERcrsEls

Em

c o u N r 1 2 3 4 e t c .

In the following exercise a bass note is picked on the first and third beats. This 'pick-

strum'method of playing is very common in'country flavoured'songs. You will noticethat the bass notes alternate between 2 strings for each chord.

@ D*R.ISE re

C F C G T

C o u N r 1 2 3 4 e t c .

C F G7

TROUBLESHOOTING 1 2 3 4

1. Fingers on their tips (this is particularly important in bass note picking styles).2. Continual revision of all notes and chords (at least once a week you should go back

through all the lessons).3. Watch timing and tap your foot with the beat, for both chord and note work.4. Finish chord progressions on a single strum of the opening chord (this will apply in

most situations).

GFC

c

a

v v v v v v l .

a) J J t t e-+e +

i+T

.?

I t I t I t a

a

H

I

l, l' l, l' l, v l,l'-a) J e J

-t

T

,l ^ I t I t I t I t I tI ta - A

H

l' l' l ' l , v

d J e +-

t J

T

tl I t l , I t l , l , I t I t l , I to

33

LESSON TWEL\IETIIETIME SIGNATUREAtime signature consists of two numbers, which indicate the number of beats perbar andthe value of each beat.4 - this represents { , which indicates the number of beats per bar (4).4 - this represents i , which indicates thatthe beats are quarter notes (crotchets).

ft time isalso referled to as 'Common T'rme'which is represented by a 'C'.

Most rock songs are in ft time.

Play each rhythm pattern four times and end each by a single strum of the C major chord.

Rhythm Variations in fl time.

7- TIMEMany popular songs are written inthree quarter notJeats per bar I

? tirn.. Tli. is often called WaltzTime'and indicatesv v v I Accent folay louder) the first beat.1 2 3

/=>\z l

@ l Y l y.';>\,7 l v v

(0) ' 1 2

far studied.

c@tc lY t

%ttv A v2 + 3

-=^? l

@ l Y I v3

v n3 +

v A v A2 + 3 +

v A v2 + 3

v A v A2 + 3 + %t;

Apply theserhythms to the turnaround progressions so

Em

Suggested Rhythm v A2 +

@n><nRCISE20GFc

v3

B,tss NorE PICKING ( e TIME)The progression below combines an alternating bass with a 2 bar rhythm.

EDA@A

E)(ERCISE 21

Elt tl l, l , l , l, l, l t r l l , l, l, lr ra It l r l r .

a) eJ

e +J

t e +J

TY ' I U l ' l t v t l u Y U l ' n l ' l ' l t l r l '

,l

l{

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

LESSON THIRTEENCHORDS Am and D

The following progression uses the above chords, and is played inof three, and accent the first beat.

Am Dm

m

Am

C

7- time. Count in groups

@ nrnRcrsuzzG7

Suggested Rhythm I

v1

v A2 +

v ^ |3 +

BASS NOIE RUNSA bass note run is a series of single notes played on the bass strings. They are used toconnect two chords, adding interest to a given progression.

A combination of bass note runs and bass note picking can be applied to the newprogression inkoduced above. For example:

@ '.nRCISE,'

Am Dm G7C

at - T

a) J aJ J e t

I

A I t I t l , I t I t a

ED

LESSON FOTJRTEENCHORDS C IUAIOR 7 AI,[D F MAIOR 7

C m a j T

Do not confuse the major 7 chord (e.g. C major 7, written above as 'C maj 7) with thedominant 7 chord (e.g. C dominant 7th, written as'C7').

SXIEENTH NOTE RIIYTIIM PATTERNIn musical notation, a sixteenth note has the value of half an eighth note and is indicated assuch i (also called a semiquaver). Thus 2 sixteenth notes equal an eighth note and 4sixteeith notes equal a quarter note.

- = ha a a

:

)) ) ) ) =

Strum equivalent of sixteenth notes are written as such: v n v A

So9"unt ol" '"1' "lo 'u?'

The syllables '1 e + a' are used to represent each of the 4 quick strums.

The example below uses the sixteenth note rhythm on the 3rd beat:

D(ERCISE 24CmajT

v v v A v A v1 2 3 e + a 4

z

In order to play this rhythm correcfly, you will have to keep the beat slow. As the timing isdfficult, try clapping the rhythm first.

35

Fmaj 7

36

Apply this new rhythm to the following major 7th chord progression:.>'z) D(ERCTSE 25

CmajZ FmajT CmajZ Fmaj 7

TROUBLE-SHOOTING

1. Observe the time signature of a progression before you commence playing.2. Tap your foot with the beat only (especially with sixteenth note rhythms).3. Make full use of pivot and slide techniques.4. Memorize chord shapes as they are introduced and do not confuse dominant 7 with

major 7 chords.5. Practice playrng songs from sheet music.

LESSON FIFTEENCHORDS, A MAIOR 7, D MAIOR 7 A}'[D G MAIOR 7

maj 7

A cross placed above a string indicatesthat its sound is to be 'deadened'. Thisdeadened sound is achieved by touchingthe string without applying pressure. Inthe G major 7 chord the sth string isdeadened by the second finger, as shownin the photo:

v A1 +

I\,I^{IOR 7 PROGRESSIONPlay this progression using the following 2bar rhythm pattern. Make full use of slide andpivot fingers.

37

D m a j T

maj 7

Bar 1st fingeracross 3 strings.

GX

V3

v1

v3

v A2 +

V A2 +

@ DGRcrsE26

DmajT

FmajT

*In the last bar of this exercise, the C chord is played only on the first beat, and then held for the remaining two beats, asindicated by the count.

38

THE CHROMANC SCALEA scale can be defined as a series of notes in alphabetical order, going from any one noteto its octave. Each scale is based upon a set pattern. In ksson Ten you were introduced tothe notes of the musical alphabet set out as such:

E F G

In this scale, B to C and E to Fwere said to be a semitone apart, with all other notes beinga tone apart. In the chromatiC scale, however, all notes are separated by a semi-tone, givingthe following pattern:

A f i ; B C S i D B ; E F i l G f f AThe new notes that the chromatic scale introduces are called sharps and flats.

fi indicates a sharp, which raises the pitch of a note by one semitone(see the fretboard diagram)

h indicates a flat, which lowers the pitch of a note by one semitone.

Thus it is possible for the same notes to have two different names. (e.g. Ff has the sameposition on the fretboard as Gb). Below is a representation of the chromatic scale on thefretboard, in the lst position.

E A D G B E

B C

*1?

sharpsraise thenotes'pitch.

bflatslower thenotes'pitch.

3rd

b4th

39

LESSON SXTEENCHROIVIATIC NOTTE SUMI\,IARY: FIRST POSITION

In music notation, sharps and flats areplaced in front of the notes they affect;e.g. F sharp is written on the staff thus: -

The sharp or flat sign must be placed on the same line or space as the note.

Here all sharps and flats.

fDil Ebl

trlf Bbl

Dbl Gb Gil

For the relafive positions of these notes on the fretboard, refer back to the fretboarddiagram in the last lesson. The notes marked in brackets are called enharmonic notesbecause they have the same pitch, but different names; e.g. A$ and B have the sameposition on the fretboard, but dffierent positions on the staff.

is the full range of notes in the first position, including

E F fffiil G tril- Atl A

Ti]

FEDcB

ffi-cBA

GFflF

trli- AblG

fDT ElD

d +7

-T--

+= ilc bJ +u fiJ bJ e ilr br

Ef

It I t

\ 1 , , r | | l L I L . d -

.?

l l 1 i | ^ 1 r Atl

I

I r l t - - fl

h . i / - v 7 l -\ t . , v - -

I l la r r

T , . = = r 1 2v v

FI

I r - -

\\V 7

F Ia t { . \ . \ 4 ,

A

tt

40

PROGRESSION INAThe following progression uses chromatic notes as part of theand 6.

bass note mns in bars 2

.=^Z DGRCISEzT

2 + + 3

1 2 + 3 1 2 3 1 2 +

In the last bar of this exercise, the A chord is played only on the first beat, and then heldfor the remaining two beats, as indicated by the count.

DPERIMENTS IN BASS NOTE PICKINGIn the following progression, the bass notes have been left out intentionally, so that youmay experimentwith your own combinations. Bass notes are to be played on the first andfourth beats, with strums on the second and third beats. There are two main rulesgoverning the choice of bass note to be used: -

1. They must be chosen from notes on the fourth, fifftr and sixth strings(the bass strings).

2. They must only be selected from notes found in the chord(as written next to each chord).*

DA

1

A+

E

G (G-B-D) Em (E-c-B) C

Theoretically, there are many possible combinations of bass noteexercise. However, you must take into consideration the overall soundcombinations will sound better than others.

*Do not confuse bass note picking with bass note runs, which may use notes not found in the chords.

J

r r l t A l t l , I I t l , l l ,r t l t f a t t f t l I

\ 1 , .Tr l

a) J l t l eo

J

T

A V A V A T ' A I ' l t l l tA t a l t

I 3 T v

l t l l t l r A l t I t a

aI t

d +J J E i l J e

T

, t l r ^ l t V A I ' I t

FI

(c-E-G) D (D-Ff;-A)

picking with thissince some of the

4 I

LESSON SE\IENTEENBm CHORD Bm

Both the fifth and sixth strings are not played in this Bm chord.Try Turnaround No. 2 in the key of G:

@ D.'RcISE28

Bm

Sulflested Rhythm v A i . t ^ v A

2 + 3 + 4 +

Unlike 12 bar blues, where the progression occurs over a fixed number of bars, thefurnaround progression may vary in lengttr. In the example above, turnaround 2 occurs oversix bars; notice however, that the chord sequence remains the same (thus it is the sequence ,not the length, that makes a progression a turnaround).

TRIPLET RIIYfiIMIn triplet rhythms, three evenly spaced strums are played in each beat. This is bestilluskated by the following exercise:

@ DGRCISE2e

Bm

v v v

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

Keep the beat (represented by the foot tapping) very slow, and make sure that the foot tapswith the beat, not with the number of strums played. There are twelve strums per bar, butonly four beats. You should accent (play louder) each strum that occurs on the beat(indicated by the arrowhead).

DcG

v1

v v v v v v

ACCENT

/

v v v z

a

42

Apply the triplet rhythm to Turnaround No. 2 in G; using all down strums.

@ n."RcISE3o

D

COUNT

V V V

1 + a

v v v v v v v2 + a 3 + a 4

v v+ a

In this exercise, each chord is played for two beats (i.e. 6 strums). The overall feel' of thetriplet rhythm is that of a fastwaltz.

TURNAROUND NO. 1 IN DThe introduction of the Bm chord now enables you to play turnaround 1 in the key of D.

@ nGRCISE3T

Suggested Rhythm v v v v v v v1 2 + a 3 + a

This rhythm pattern combines the triplet strum (2nd and 3rd beats) with the basic downstrum (1st and 4th beats).

A

V

4

43

LESSON EIGHTEENCHORDS E6 AND A6

E6 ^46

An alternative fingering for thischord is to bar across all4 stringswith the first finger.

BLTJES IN EThe 12 bar blues below combines major chords, sixth chords and seventh chords. Whenchanging from the sixth chord to the seventh chord, the little finger utilizes the slidingtechnique introduced in Lesson Three. This technique is essential to make the sixth toseventh chord change sound smooth.

@ DGRcISE32

E E 6 E 7 E 6

A A 6 A 7 4 ' 6 E E 6 E 7 E 6

AA6 A7 ^46 E E 6 E 7 E 6 R7

Except for the two bars of 87, you are changing chords on every beat (i.e. 4 chord changesper bar). This will be dfficult, so use an easy rhythm; e.g.

z

'/

v v l3 4

l v v' 1 2

44

THE MAIOR SCAJTIn l.esson Fifteen a scale was defined as being a set pattern of notes, in alphabeticalorder, going from any one note to its octave. The most common scale in music is calledthe major (or ionian) scale, which is idenfified by the familiar sound:

DO

CRE

DMI

EFA

FSO

GLq,

ATI

BDO

CPLAY THESE

NOTES: I 1OC'TAVE

C MAIOR SCALE

The C major scale can be written on the staff as such:

@ DGRCrsE33

,a

a) J a

D

--/

E

I

B

I

cNOTE NAME C F G A

T

Av 3 9 a

E'

ROMANN U M E R A H I I I M r y V V I V I I V I I I

1st 2nd 3rd 4th sth 6th 7th sth\ r / \ , ' / \ , " \ r / \ r / \ / ' \ , /

T T S T T T S

S = SemitoneT = Tone

Each note of the scale can be identified by using Roman numerals. Thus F is said to bethe 4th of the C scale, G is the 5th and so on.*

You will notice that between the 3rd-4th and the 7th-8th notes there is only a distance ofone fret (i.e. a semitone, indicated by the curved line). All other notes are separated byone tone (2 frets). This pattern of tones and semitones remains the same for every majorscale (which will be explored in more detail when other major scales are introduced.)

"This Roman Numeral representation can also be applied to chords and chord progressions.

45

LESSON NINETEEN.ROCK CHORDS'In ksson One a chord was defined as being a group of 3 or more notes; however, rockguitarists often use a technique of strumming only 2 strings of a chord. Although this istheoretically not a chord, it shall be referred to as one. The following 'rock chords' involveplaying the Sth and 4th strings only.

Alr2 STRING FORMil

Dil2 STRING FORMTI

Try the following exercise, using both A and 4.6 chords, 2 string form.

@ nrnRcrsE34

Repeat this exercise until you are familiar with its sound, remembering that the first fingermust remain in posidon at all times, even when the A6 chord is being played, (as indicatedby the open circle O). To get the correct sound both the Sth and 4th strings must bestrummed together. Do not use the 4th finger for the A6 chord.

Â6ilz STRING FORMil

D6ilz STRING FORMTI

46

This D chord shape is the same as the A chord shape, but moved across one string. Hereis the same exercise as before, but this time using D and D6 chords.

1 + 2 + 3 + 4 +

Once again, be sure only to play 2 strings (the 4th and the 3rd strings). Avoid hitting the 5thor 6th strings.

The E chord shape is played using the 6th and Sth strings, as such:

EII2 STRING FORMII

E6II2 STRING FORMII

@ DGRCr'E36E E 6

12 BAR IN AThe 2 string rock chords that you have been studying are usedConsider the following blues in A.

in many

@

12 bar songs.

E)(ERCISE 37

@ nrnRcISEBs

3 +

47

In this L2 bar pattern for each bar of A play I

r D D 6 D D 6 |l v v v v v v v v l a n d f o r E p l a y

Av v

t3

A 6 A ^ A 6v v v v v v I

E 6 E E 6v v v v v v v

for D play

.ROCK CHORD' VARIATIONTry the following rock chord variation against the L2 bar blues in A.

@ DGRcrsE38

A A 6 A

48

LESSON TWENTTSUSPENDED CHORDS: A sus, D sus and E sus

A sus D sus E sus

In sheet music the suspended chord is often written as 'Sus 4' e.g. A sus' and A sus 4' arethe same chord.

Suspended chords are often used in conjuction with major chords to add interest to aprogression, as illustrated in the following example. The sus chords are played on the upstroke of the 2nd beat in each bar'

@D."RcrsE se

A Asus A

G MAIOR SCALEFrom l,esson Eighteer, o major scale can be represented by Roman numerals as such:

1 OCTAVE II

VII VIII\--l

semitone

I representsthefirstnoteofthescale,calledtheroot(orkey)note,e.g.intheCmajorscaleC is the root note. In the G major scale, G is the root note, i.e.:

D

IT II VIM T V T

\---l

semitone

Dsus

49

T T S T T T S/ \ / \ / \ / \ / \ / \ , , , / \

G A B C D E F ' f , G

l n m r y V u w w I

T = Tone

S - Semitone

By definition, for this major scale to have the correct sound, the 3rd-4th notes and Tttt-8thnotesshouldbeseparatedbyonlyonesemitone.F{ mustthereforebeusedtocomplywiththe correct sequence, i.e. a tone between the 6th-7th notes and a semitone between the 7th-8th notes.

@ DGRCrsE4o

t t 7-^ a

- a

Ia)

A

T v a o

a v z a

ET

Do Re Mi Fa So Ia Ti Do

Play up and down this G scale slowly, listening for the major scale sound(Do, re, mi etc.).

50

LESSONTWENTT ONETHE IIAMMER ONA'hammer on' refers to the technique of sounding a note without acfually picking thestring with the pick. The sound is produced by striking the string with one of the lefthand fingers. To play a hammer on, first hold an Am chord:

Keeping the first and third fingers in position,lift the second finger off the fourth string. Pickthe open fourth string, then bring the secondfinger down firmly and quickly to its position onthe second fret, (an E note) without picking thestring again. This action should produce the Enote quite clearly. After this hammer on hasbeen completed strum the Am chord.

In music notation, what you have justplayed is written as in Exercise 41:The hammer on effect is indicated bYthe curved l ine, and the small 'H'

between the two notes in question.Remember that the second note (E) isnot picked; the sound is Producede n t i r e l y b y t h e s e c o n d f i n g e r'hammering' on to the string.The hammer on is most effective whenused in conjunction with strummingand bass note picking. You must bevery careful with the timing of thehammer on. Both the D and E notesare eighth notes and each should haveequa l t ime va l ue when P laYed( rega rd l ess o f t he hammer ontechnique).

The hammer on is an extremely popular technique which canany chord shape. It can also be played with any finger holdingAm you could hammer on with the first or third fingers as such:

Am

COUNT 1 2 3 + 4 1The combinations of hammer on, bass note picking andendless, so you should experiment as much as possible.

Am ,& DGRcrsE4r

COUNT 1

Am

COUNT 1 2

/'-AzH

@ ,,."RCr'E42

3 + 4

be played with virtuallya note of the chord. For

D(ERCISE 43

3 + 4bass note runs are virtually

Y - Y vt

a) e H-+e

*t

Tl , I t v l ,

^ Y L , t a

H v U

HAMMER ON E>(ERCISEIn order to play the following progression smoothly, you shouldsection individually..MINOR BLUES'

practise

.->\z

5 1

each chord

E}GRCISE 44

Am Dm

COUNT 2 3 + 4 e t c .E7 Dm Am

THE PULL OFFThe pull off is a technique often used in conjunction with the hammer on. It involves thefinger flicking the string as it pulls away from it, creating the sound of the note.The pull off is indicated as such: l-

Here is an example, using the G chord:

In this exercise the hammer on and pulloff are played on the 3rd beat. Thisinvo lves the use o f t r i p le t no tes(indicated by ?), which have the sametiming as that of the triplet rhythm,introduced in ksson Seventeen.

.->\Z EIGRCISE4S

COUNT + a

Remember to acfually pull the string as you pull your finger away, as opposed to justlifting the finger off the string. Try the following exercise, involving hammer ons, pulloffs and triplet notes.

@ ,,.,RC'sE46

Em Gmaj7

1Am

DCG

l , l ,-

d j - i - t t jr n - t t tr a J - i H- - H

T

A Y

I t I t

\ 1 ,

a J J tH

J - a J J ' / -- i-

H- t J 7r 7 d

-rI t I t I t

A

EI

3 3I t

d J l t l -H P

= 177 'i

--l \-

PH

e ?z-r-,tH P

J J - ' - L_- /_ 1H P d

I tll al

ta

52

SECTION ONE ST]MMARYYou have now completed the first section of this book, and written below is a summary ofwhat has been studied. You should revise the contents of this list thoroughly beforecommencing Section Two.

Chords: A Am, A7, A6, Amaj7, Asus, Bm, 87, C, C7, Cmaj7, D, Dm, D7, Dma17, Dsus, E,Em, E6, E7, Esus, F, Fmaj7, G,G7,Gmaj7.

Rhy thms : v vA vvv vAvAI 1 + l + a l e + a

one strum two strums three strums four strumsper beat per beat per beat per beat

(triplet rhyttrm) (sixteenth note rhythm)

Techniques: Bass note picking. Bass note runs. The hammer on. Pull off.

Theoryt Basic musical terms (i.e. Staff, Treble Clel Bar, Bar line,Double Bar line etc.)Notes in the open position.Time signatures: f and f,Chromatic scale.

-

Major scale.

Also read APPENDICES 1. 2 and 3.

DilRA PROGRESSIONSThe following extraprogressionswilladdvarietyandfurtheruse ofthe chords, rhythms andtechniques studied in Section One.

@ Progression 1. suggested Rhythm I v A1 +

vA i . t n v2 + 3 + 4

El r .

A m El l 2 .

E C 7E7 A C7 87 H - 7 E

53

@ Progression 2.

C E m F G C E m F Ga

Y YI t -

d r t +I

r t +T

a v v U Y v l t Y YFi a

Am Em Am

\ 1 ,

d J t U JH

e

l , , ^ l ,

ED

Em Am Em

t t t l I t t t l Y\ 1 ,

d t U JH

J t

A l , ' A l , T ' AY

ED

G Cl , I t

t

\ t ,

d t J J I e - J HH

4

A l , t tt t r l u Y t

@ Progression 3.

COUNT

A3 + a 4'3-' -3--

-{ _{t t I t I t I tY Y t t

t t t l l l t t t l l ld rbrJ Jll J ,or 1 =y= =T

I t I t I t I tA I I I t

r.t { at A ' A

E l a ^ n . t r t . |

r) g

\\t t I t I t l ,

! t I ! t I

/ 9 t z I t h z

d - V - O J J J _ v _ r J t J

- l , I t I t I t

t l ! ! A ' v v A ' A

4 a a , t a t . |

FI

:{ :{

\\Y Y Y Y

t t t t t t t f l -d rbr J Jtl Jr , - r - n J J

TI t I t I t I t

A ! ! U Y t 6 a n

a { A

ED c) .\ ar

@ Progression 4.

SuggestedRhythm I UnUnI

1 e + av A2 +

v ^ v ^ v I3 e + a 4

56

LESSON TWENTTTWOfiIE BAR CHORDUp to this point, all the chords you have studied are referred to as 'open chords' i.e. theycontain at least one open string. A bar chord, however, has no open strings, due to the factthat the first finger 'bars' across all six strings. This is illustrated with the F major chordbelow:

In playing this chord, the first finger holds down all six strings, while the second, third andfourth fingers hold an E major chord shape (see photo). Strum the F chord, and concentrateon producing a clear sound from all six strings. As with the open chords, bar chords will bedifficult in the early stages and will need much practice.

ROOI 6 BAR CHORDFrom the photo above, you can see that the F major bar chord is acfually an open E majorchord moved up one fret, with the first finger replacing the nut. The root note (the note afterwhich the chord is named, i.e. F), can be found on the sixth string; hence the name'Root6bar chord'*. When this chord shape is moved up and down the fretboard its name changesbut the basic shape does not. The chord's name is taken from the note on the sixth string,(i.e. the root note) so you must become thoroughly familiar with all of these notes.

F

*Root 6 bar chords can also be called E formation bar chords, because they are based upon an E chord shape.

c t

E{

'Gb\f

'Ab

\

Bb

t\

,Db

)

Eb

At the third fret, the root 6bar chord shape becomesa G chord.

At the fifth fret, the root 6bar chord shape becomesan A chord.

NUT

F#

Gf

Af

Cf

rG

D#

By following through this procedure, the root 6 bar chord gives you at least 8 major chords,some of which are completely new to you (e.g. Ff on the second fret, Ab on the fourth fret,Bb on the 6th fret etc.)*. The actual number of bar chords you can play will depend on thetype of guitar you have. If you have a classical guitar, you may only be able to bar up to theeighth fret, whereas on an electric guitar you should be able to play up to the 12th fret.

ROOT 6 BAR CHORD PROGRESSION

A (nen srH FRET) G (eAR 3RD FRET) F (BAR lsr FRET)@ ,,."RCISE4'

E (OPEN)

SuggestedRh),tlm lV V V V

I1 2 3 4

In this exercise a slide technique is used when changing from one chord to the next. Thistechnique involves the fingers releasing pressure, but not losing contact with the stringsduring the changes. While changing, the fingers should maintain the basic chord shape. Forease of playing, the open E chord is played using the second, third and fourth fingers. Thiswill enable the slide technique to be used from F to E and E back to A

'In learning these chords, relate their fret locations to the position marker dots on your guitar.

58

LESSON TWENTTTHREEPROGRESSION IN F

Bb

Suggested Rhythm

AslowbeatmustbemaintainedinthisprogressionsothatthelongslidebetweenFandBh isachieved without a break in the rhvthm.

THE PERCUSSM STRUM (Bar Chords)The technique known as percussive strumming is one of the most common techniques usedby rhythm guitarists. Hold an F bar chord shape, but apply no pressure to the strings. Yourleft hand fingers should be just touching the strings (to deaden them) . When you strum thestrings the resulting sound is known as a percussive strum.

A percussive strum is indicated by a cross placed above the wedge mark, thus:i

The following rhythm has percussive strums on the second and fourth beats./.-_\z) D(ERCrSE 4e

FI

I v ^1 +

@DGRCISE5oApply th isrhythmtotheprogreSsion inFabove.

THE PERCUSSIVE STRUM (Open Chords)The percussive strum technique introduced above can also be applied to open chords. Withopen chords the deadening is achieved by releasing pressure on the fretted notes, and tiltingthe left hand (see photographs below) to cover the other open strings.

The thumb is used to deadenthe sixth string.

F

V A

1 +

V A

3 +

v2

; i l l z I4

XV

2

v A3 +

C chord before deadening C chord after deadening

59

Try the following exercise:

(OPEN CHORDS)

C l

Suggested Rhythm

@ n>rrRcrsEsl(BAR CHORD)

F

v A

1 +

xv A

2 +

V A

3 +

XV

4

60

LESSON TWENTT FOT.]RBAR CHORD PROGRESSIONThe following chord progression utilizes the percussive strum technique in associationwithroot 6 bar chords.

@ DGRCrsEs2

Suggested Rhythm V A

3 +

V A1 +

X Xv A4 +

X Xv A2 +

As rhythms become more advanced it will be necessary for you to practice each chordprogression and its rhythm pattern separately (i.e. practice the chords using an easyrhythm, and then practice the given rhythm using just one chord.) This should be donethoroughly before combining the two.

KEY SIGNATURESMelodies of songs are constructed from notes within a given scale. Occasionally 'outside'notes are used, but generally most notes in a melody will come from within the scale; e.g.a rnelody in the key of C major will use the notes from the scale of C.

A melody in the key of G major will use the notes from the G scale:

G A B C D E F # G

where F sharp will occur rather than F natural*. Instead of placing a sharp sign in front ofevery F note, a key signature is used. Every major scale has a different key signafure whichshows the number of sharps or flats contained within the scale. The key signature is writtenatthe beginning of each stave of music (direcfly afterthe treble clefl. Forthe key of G major,a sharp sign is written on the F line, indicating that all F notes are to be played as F sharp:

Therefore, the key signature of G major contains one sharp, Ff,.

The C major scale contains no sharps or flats, hence the key signafure will also contain nosharps or flats, and is represented thus:

(all natural notes)

BAGDC

'A natural is a note that is neither sharpened nor flattened. Natural signs( ! ) are used in music to cancel the effect of a sharp or aflat.

6 1

LESSON TWENTT FT\IEROOT 6 MINOR BAR CHORD

Fm

The F minor bar chord is actually an open E minor chord moved up one fret, with the firstfinger barring across the fust fret. This minor chord can be formed from the root 6 majorbar chord by simply lifting offthe second finger. Like the major chord, the basic shape canbe moved up and down the fretboard; its name once again being taken from the 6th stringnote, e.g. Fm on the first fret, Gm on the third fret, Am on the fifth fret and so on.

MINOR BAR CHORD PROGRESSIONS@ ,,.'RCISE'B

A (strr FRET) F#m (2nd IRET) Bm (zft FRET) E (opptrl)

ISuggestedRhfhm I V V V V

1 2 + a

This rhythm uses a triplet strum on the second beat. Refer back to l.esson Seventeen torefresh your memory on the triplet strum, remembering that your foot taps only with thebeat, and that the triplet rhythm uses all down strums.

@ n."RcISEb4

Gfm F#m (2nd FRET) B (zttr FRET)

Suggested Rhythm v A

1 +

The suggested rhythm above is a variation of the basic down/up pattern introduced inksson Eight. There is a down strum played away from the guitar on the second and thirdbeats. Continuous right hand movement must be maintained.

v4

v3

E (opnN)

, , tA i . tn v

2 + 3 + 4

62

IESSON TWENTT SD(TWO BAR PERCUSSI\IE RI{YTHM

The following percussive rhythm is commonly used by rock guitarists:

Am GAR cHoRD)X

v A v A v v A

3 +

XA V A

+ 4 +

V A

1 +

XV A

2 +

xV A

@ n>rnRcrsE56

1 + 2 + 4 + 1

Try this rhythm with the following chord progression; using bar chords.

Am

Notice that the chord change (from Am to F and F to C) is on the 'and' section of the 4thbeat.

63

SUMMARY OF SCALES AND KEY SIGNATURESEach majorkeyhas aspecificnumberof sharps orflats contained in itskeysignafure. Listedbelow are 8 scales (together with their key signatures) , which are the most commonly usedin sheet music and general playing.

Bb

A summary of the above scales is ouflined in the table below. Make a special effort tomemorize these key signatures.

T T S T T T S/ \ / \ / \ / \ / \ / \ / \

C D E F G A B C

^b

E Ffr cila B cil DilE

d c >C MAJOR

D E F f r G A B c i l D

o < >MAJOR

A B cil D E Ffr cfre

KEY SHARPS KEY FIATS

C

G

D

A

E

Ffir'il, cilnH, cil, c#rfi, cil, cfr, uil

cF

BbF}

ruBb, sBb,s, fu ,

64

LESSON TWENTT SE\MNDOMINAI',JT TITI BAR CHORD (ROOT 6)

F 7 *

The 7th chord can be formed by holding a root 6 major bar chord and moving the fourthfinger to the second string, as shown in the photo above. The F7 is a difficult chord to fingerbecause of the stretch required to cover four frets, but as you move down the fretboard (toBb7 afi C7 shown below) the flngering becomes easier.

The following exercise uses the root 6 major and seventh bar chords.

*An alternative shape for the dominant 7th root 6 bar chord is:

This chord shape is based on the alternative E7 chord introduced in lesson Eleven.

BLUES IN F:F

Bb

WHOLENOTE

vALUE: 4 (COUNTS)

WHOLE NOTEREST

Bb

3 4 1 2

Suggested Rhythm

FI.ALFNOTE

3

V A

1 +

4 etc.X

v A v v3 4

@ ,,."RcrsE5z

SXTEENTHNOTE

2 +

This 12 bar pattern substitutes the iV chord (Bb ) in the second bar for the I chord (F). Thisis a common practice that can be applied to all previous 12 bar blues to add variety.In bars 9 to 10 a passing chord principle is used. The basic progression is C to Bb, howeverthe passing chord B is used on the last beat of the 9th bar. As a general rule, any two chordsthat are one tone apart can be connected by moving the chord shape in semitones. Thepassing chord will usually occur on only one beat, for example:

t Bb ^ Arn Gfm

1 2 3 4

RESTS IN MUSICA rest in music represents a period of silence. For every note value there is an equivalentrest value; this can be summarized in the following table:

QUARTERNOTE

EIGHTHNOTE

I ( !

HALF NOTE QUARTER NOTE EIGHTH NOTE SXTEENTH NOTEREST REST REST REST

It is important to remember that the beat remains the same regardless of whether you areplayrng notes or rests.

COUNT

66

LESSON TWENTT EIGIITRIGIIT IIAND DEADENING TECHNIQUEIn chord playrng, rests are achieved by deadening the strings with the righthand. Hold anopen A chord and strum all 6 strings, then, without releasing left hand pressure, deaden allthe stringswith the side ofyourrighthandpalm, as illustrated inthe photographbelow.Thisdeadening should be done on the next beat.

Apply the following rhythm pattern to the progression below. Play it very slowly at first.

@ nGRCrsEbs

zV

4

)c3

)c2

AV

1

OPEN CHORDSA

Strum chords on the firstsecond beat (which is also

and fourth beats; deadenheld for the third beat).

@ n>rERcISEse

A7

I t .E7

chords (with the right hand) on the

67

This right hand deadening technique should also be applied to bar chord progressions' Trythe new rhythm with the following turnaround in the key of C (using bar chords)'

BAR CHORDS@ n>rnRcrsEooG

Make sure that you deaden the strings with the right hand, and not with the left hand (byreleasing pressure on the chord shape).

C

Now try the following rhythm variation:Am (sttrv l1 z

EIGIITH NOTE RESTSPlay the following rhythm, as studied in ksson Eight:

.->\zFRET)

v A v

D(ERCISE 61

l z I3 +

v ^ |4 +

E)(ERCISE 62

Am (sth FRET) G (sra FRET) F lrst FRET) E7 (opEN)

C (opsN)I v n v Î

1 + 2 +

Instead of holding the chord shape on the '3'

the right hand deadening technique:

C (oppN)

v A v A1 + 2 +

count, use an eighth note rest. This will involve

i.r n

3 +

'/ h3 +

@ nGRcISE63

^ l+

zv4

Apply this rhythm to the following exercise:

(OPEN CHORDS)

C E m@ nGRcrsE64

G7

68

LESSON TWENTT NINESTACCANO STRUMMINGA further application of right hand deadening is used in staccato strumming. 'Staccato'

means to cu1 short, and a staccato strum is indicated by a dot placed above the wedge markthus: i

St rumaGmajTchordthe right hand.

(open), and immediately after strumming, deaden the strings with

zG majTa a a a

V V V V

1 2 3 4

G maj7o

V V A zi , v3 4

@ n<nRCISEos

Unlike the exercises in the last lesson, where the deadening occurred on the beat, instaccato strumming, the deadening occurs immediately after the strum - before the nextbeat. In the example below, the G maj 7 chord is strummed on the first beat and is deadenedimmediately after; creating a definite period of silence before the second beat.

@ nrERCISEoo

2 e

v A

+ a

Apply this new rhythm to the following open chord progression:

@ ''."RcISEoz

GmajT CmajT

When the staccato technique is being played correcfly, the right hand motion involves arapid flicking of the wrist in order to cut the strum very short. Try this new rhythm with thefollowing bar chord progression.

@ nlrrRclsEos

Db

69

LESSON THIRTTROOT 5 BAR CHORDThe three bar chord shapes you have so far studied (major, minor and dominant 7th) haveall had their root note on the sixth sking. Bar chords with their root note on the fifth stringshall now be studied. As with the root 6 chords, you will need to become familiar with thenotes on the fifth string in order to name each root 5 bar chord. These chords can also becalled A formation' bar chords.

Bb

A#,'F,b

I\

C#,'Db

)

D#,Eb\{

\(

F#'Gb

( 1

l

G+,'Ab

I \

This Bb major bar chord can be regarded as anopen A shape moved up one fret. However,instead of using three fingers, as is the case withthe open A chord, the third finger is used to bar allthree notes (see photo).

At the third fret, the root 5 bar chord shapebecomes a C chord, at the Sth fret it becomes a Dchord, at the 7th fret it becomes an E chord, and soon.

The root 5 major chord shape is perhaps the mostdfficult one you have studied so far. It will takemuch patience and perseverance to master. Themain problem that you may encounter isaccidental deadening of the first string with thethird finger. The ability to overcome this dependson the flexibility of the last finger joint of the thirdfinger. It is essential to produce a clear sound fromthe remaining five strings, even if the first string isdeadened.

NUT

70

12 BAR IN GThis 12 bar blues uses a combination of root 6 and root 5 bar chords.

ROMANNUMERAIS:

G Goor o)

(ROOT 5) G Goor o)

D (noor s) C Goor s) G Goor o) D (noor s)

0l) 0l)

Underneath each chord, Roman numeralswritten to indicate the basic chords used inbe set out thus:

(as introduced in ksson Eighteen) have beenL2 bar progressions. The resulting pattern can

m)

@ ( v )

It is important for you to remember that 12 bar in any key uses the three chords, I , Na n d v .

7 L

LESSON THIRTT ONEBASIC PATTERNSAs a competent rhythm guitarist you will need to be able to play the 12 bar blues progl,essioninanykey.Fromthelastlesson,thechordstobeusedfor12bararethe L IV andV .Asbarclords, these chordsform definite patterns onthefretboard,which canbe movedup anddown, enabling you to play in any key. (Ihis process of changing keys is calltransposition).*

consider a blues in G, using all root 6 bar chords. The three chords, G, c and D(L IV and V ) are found atthe 3rd,8th and 10th frets respectively. The pattern formed bythese chords can be summarized thus:

BLUES PATTERI'{ NO. 1 (All root 6 bar chords)

FRET

UP FRETS

UP FRETS DOWN 2 FRETS ORIGINAL FRET UP FRETS

This pattern is most convenient for the keys of E, F, Gb,G, Ah, and A

Another basic pattern involves the use of both root 6 and root 5 bar chords. Using the keyof G as an example once again, the three chords, G, C and D are located at the 3rd, 3rd and5th frets respectively (see last lesson's blues). The basic pattern for these chords is:

AIVY

ORIGINAL FRET

*See Appendix 3.

72

BLUES PATTERI''{ NO. 2 (using root 6 and root 5 bar chords)

(ROOT 5) (ROOT 6)

SAME FRET

(ROO[ 5)

SAIVIE FRET

(ROOT 6)(ROOT 5) (ROO[ 5)

UP 2 FRETS ORIGINAL FRET ORIGINAL FRET UP 2 FRETS

This pattern is most convenient for the keys between F and C.By using basic patterns such as these, you will only need to locate the root 6 position of theI chord in order to play the whole 12 bar progression.Practice playrng 12 bar as much as possible, using the 2 patterns so far described (you willbe working in the keys of E to C). This is an ideal opportunity to revise all rhythms studiedto date.

73

LESSON THIRTYTWODAMPENING TECHNIQUEA 'dampened' sound can be created by resting the right hand on the strings whilestrumming. This sound can only be achieved by placing the right hand close to the bridge,as illustrated in the photographs below.

Right hand lightly touching string close to the bridge.

In rhythm notation, the dampening technique is indicated by a small D placed above thestrum symbol, as such: f,

The dampening technique is often used in conjunction with bar chords, playrng only twobass strings. For root 6 bar chords, play the 6th and 5th strings, and for root 5 bar chords,play the 5th and 4th strings.Hold a G bar chord and apply the dampening technique as such:

@ nrnRcrsEoeGD D D D

V V V V

1 & 2 &

D D D D

V V V V

3 & 4 &

z

Try the following progression using the above rhythm. You will notice that the Ff, and B arepassing chords, played only on the 'and' portion of the 4th beat.

@ n>rERcrsEzoE* loeEN) r#c cB

3

*For the open E chord, play only the 6th and Sth strings.

3 + 4 +

74

LESSON THIRTT THREE.ROCK CHORDS'In l,esson Nineteen you were introduced to 'rock chords' as used in 12 bar blues. The sameprinciple can now be applied to bar chords. Using root 6 bar chords, the G and G6'rockchords' are played with the following fingering.*

G6

3rd jF'RET

*An alternative fingering used by many rock guitarists for these chords is as such:

G6

3rdFRET

G

G

3rd -->FRET

t 5

These 'rock chord' shapes can be regarded as root 6 chords because G and G6 are at the 3rdfret; C and C6 are at the 8th fret; and D and D6 are at the 10th fret.

@ ,,.,RCrsEzr

Play a blues in G, using these chords, and the same rhythm pattern used in lesson Nineteen(Exercise 38)

G GV V

1 +

G 6 GV V

2 +

G GV V

3 +

G 6 GV V

4 +

BLUES PATTERI\ NO. 3

The 2 blues patterns studied in Lesson Thirty One enabled you to play blues in the keys ofE to C. For the remaining keys (tb ,D, Eh), these two patterns become awkward to play,hence a third pattern is commonly used. This pattern starts on a root 5 bar chord:

(ROOT 6) (ROOT 5)

2 FRETS ORIGINAL FRET

(ROOT 5)(ROO[ 6) (ROOT 6) (ROOT 6)

ORIGINAL FRET DOWN 2 FRETS ORIGINAL FRET ORIGINAL FRET

This pattern can be used for the keys C to G. To be a versatile rhythm guitarist you must beable to play 12 bar blues in any key, and the 3 basic patterns now enable you to do so. Writtenbelow is a summary of the keys that best suit each pattern.

PATTERN KEYS

1 E - A

2 F - C

3 C - G

(ROOT 5)

Where the keys overlap, either pattern can be used.

76

LESSON THIRTT FOUR

The root 5 minor bar chordexercise:

ROOT 5 MINOR BAR CHORD

Bbm

is derived from the open A minor shape. Try the following

.->\z E)(ERCrSET2

B Goor 6) Df,m (noor s) A Goor o) Cfm (noor s)

G (noor o) Bm (noor s) F#7 (noor 6) B 6oot s;

Suggested Rhythm v A v A i . i A V A V

1 + 2 + s + 4 € * a

The suggested rhythm uses sixteenth note strums as introduced in Iesson Foufteen.

ROOT 5 MINOR BAR CHORD PROGRESSION @ n>rnRcrsnz3

Em (Roor s) D 6oor sy C(ROO[ 5)

Suggested Rhythm

1 2 + 3 4 +

The rhythm used in this progression involves a percussive strum on the '1' and '4' counts.

X Xv v A v v A

(ROOT 5)

77

LESSON THIRTT FT\IEA. BASIC TURNAROUND PATTERNSIn l.essonsThirty One andThirtyThree you were introduced to three basic patterns for theblues progression. These patterns enabled you to play a blues in any key. The sameprinciple ofbasic patterns can be used in turnarounds. Consider furnarounds 1 and 2 in thekey ofA:

TURNAROUND T

BASIC PATTERN ONE (Stafting on a root 6 bar chord)(ROOT 6) (ROOT 6) (ROOT 5) (ROOT 5)

AI\iY FRET DOWN 3 FRETS ORIGINAL FRET UP 2 FRETS

BASIC PATTERN TWO (Starting on a root 5 bar chord)(ROO[ 5) (ROOT 5) (ROOT 6) (ROOT 6)

AI{Y FRET DOWN 3 FRETS ORIGINAL FRET

TUR}IAROUND 2

BASIC PATTERN THREE (Starting on a root 6 bar chord)(ROOT 6) (ROOT 5) (ROOT 5) (ROOT 5)

AI{Y FRET ORIGINAL FRET UP 2 FRETS

BASIC PATTERN FOUR (Starting on a root 5 bar chord)(ROOT 6)

ORIGINAL FRET

(ROOT 5) (ROOr 6) (ROOT 6)

7A

There are two patterns for each turnaround, enabling you to play them in any key. Here isa surnmary of the keys in which each pattern may be used:

Pattern 1 G t o D Cfurnaround 1)

Pattern 2 C t o F Cfurnaround 1)

Pattern 3 F t o D Cfurnaround 2)

Pattern 4 C t o F (lurnaround 2)

You should practise turnarounds in all keys, using different rhythms. Try some of the songslisted in Appendix Two.

79

LESSON THIRTT SD(RIGIIT IIAND RHYTHM TECHNIQUESThe right hand techniques of staccato strumming 0rsson Twenty Nine) and dampening(t esson Thirty Two) can be combined to create some very popular and interesting rhythms.Try the following rhythm, using the dampening technique on the'1 +'and'3 +'beats, anda staccato up strum on the 2nd and 4th beats. When playing the staccato up strum, only hitthe first and second strings.

E lorrNyD D

v v1 +

. D D o I^ v v ^ | z2 3 + 4

@ nrnRcrsEZ4

Apply this new rhythm to the following progression:

The same techniques are used in the following variations:a-:\Z DGRCISET6

l z l

Remember to hit only the 1st and 2nd strings when playing the staccato up strum.

@ ElrnRcrsEzs

E (opBtu) G (noor o) A (noor o) G 6oor oy

; D 0 ' D D o P D

I v v A v v A v vI

1 + 2 + 3 + 4 +

I ii l1 +

o D

A V2 +

.->\Z DGRCISETT

' i i i i l z I3 + 4 +

80

LESSON THIRTT SE\IENLEFT & RIGIIT IIAND RIIYTIIM TECHNIQUESIn the following exercise percussive strums are used, involving the left hand deadeningtechnique.

-:

F lnnn cHoRD ) @ 'GR.ISE 78

x x x x xv v v v v v v v1 + 2 + 3 + 4 +

Apply this rhythm to the following blues progression, using all root 6 bar chords.

@ nrrRcISEZe

G7

7.

Bb7

If this rhythm is applied to an open A'rock chord'the Sth shing would be left open, whilethe 4th string is deadened by the left hand.

zA (opnN RocK cHoRD)

X X X X XV V V V V V V V1 + 2 + 3 + 4 +

AD D

v v v v1 + 2 +

zD D

V V3 +

@ DGRcrsEsl

D

V V4 +

@ DGRCrsEs2

@ n>rnRcrsEso

The 5th string is referred to as a'droning'string, with its sound continuously maintained.Play this rhythm with the 12 bar blues outlined in l.esson Eighteen.

The dampeningtechnique (righthand) can also be used inthe above rhythm, in place of thepercussive strum technique Qeft hand). This creates a different sound because the A stringno longer drones.

Apply this rhythm to a L2 bar blues in A (see ksson 19)using open chords.

81

CHORD CONSTRUCTION - MAJOR CHORDSEvery chord is based upon a specific formula which relates back to the major scale afberwhich it is named (revise l,esson Twenty Six). The formula for a major chordis l- III -v,hencetheCmajorchordconsistsofthefirst,thirdandfift]rnotesoftheCmajorscale, i.e. C-E-G.Asyouknow, achordmustcontainatleast3 notes, andanyof thesethree may be repeated. In the open C chord illustrated there are 3 E notes, 2 C notes and 1G note.

C

Now consider the D major chord, which is constructed from the D major scale:

DVIII

The same formula applies(I - m -vl, so the notes of a D major chord will be D - Ff -A@ay an open D chord and check for yourself).

It is important for you to revise all major scales studied so far. Once you have done this,construct the following major chords:

NOTES IN THE CHORD

ECGEcE

p E I t c A B c #I i l M I V V V I V I I

CHORD I m V

D D Ff A

G

F

A

E

Bb

82

LESSON THIRTT EIGHTDOMINAI',IT TfiI BAR CHORD (ROOT 5)

RbT *

The root 5 dominant 7th bar chord can be formed from the root 5 major shape by addingthe litflefinger, as shown inthe photograph.Itis abarchord extension ofthe openAT chord.Play the new shape up and down the fretboard, naming each chord as you do so.

BLUES IN G D(ERCISE 83

C (noor s) G (noor o) G7 Goor 6)

C (noor s) C7 (noor b) G (noor o) G7 (Roor 6)

(ROOT 5)

D7 Db7 c7

3 4

Suggested Rhythm

(ROOT 6)

nbz c(ROOT 5)

D7

2

V V

1 +

xV V

2 +

Xv v3 +

XV V

4 +

"A common alternative fingering for this chord shape is an extension of theopen alternative A7 chord glven in l,esson Nine.

BEITS 1

r,bz

83

REGGAE RIIYTHMSIn ft time there is a main accent on the first beat, and a secondary accent on the third beat.To iet the feeling of this, you should try counting aloud, and then accent these two beats(i.e. say them louder). This is the usual'feel'of f; time.

Some rhythms, however, have the emphasis placed on the second and fourth beats. Theseare referred to as'reggae'rhythms' Consider the pattern below:

@ DrnRcISEs4

Gm (Roor G)

l v ^ l1 2 + 3

On the third beat the rest is achieved with right hand deadening, and on the 4th beat astaccato strum is played. Try this rhythm with the following progression:

@ DGRcISEss

Gm Goor6)

Here is avariation of the reggae rhythm introduced above, using bass note picking on thefirst beat (as indicated by the note symbol).

@ nrrRclsEso

Gm) v ^ | i1 2 + 3 4

The bass notes played will be on the 6th string for the Gm chord (root 6) and on the 5thstring for the Cm, Dm and D7 chords (root 5).

Another variation of this reggae rhythm is to play a percussive strum on the first beat, inplace ofthe bass note.

zv4

Gm (Roor 6) Cm (Roor 5)

7

@ nGRCISEsT

l ^3 4

GmXv1

v A2 +

Dm Goor b) Cm Goor 5) Gm (Roor 6) D7 Goor 5)

z

84

LESSON THIRTT NINEARPEGGIO PICKINGArpeggio picking involves playing chords in single notes rather than strums. For example,hold an open C chord and pick each string in the following order:

/=>\ -z LXERCISE aA

C (oppls)5 3 2 1 2 3 5 3 2

PICK MOTION: vvv AAA vvv1+a 2+a 3+aCOUNT:

(Note that a hiplet rhythm is being used)

This technique can be applied to either open or bar chords. As a general rule the first notepicked (the bass note) will be the root note of the chord, followed by the first three stringsas in the order above (3 2 1 2 3) . Try the following exercise, using arpeggio picking and openchord shapes.

@ DGRCISE8e

5 3 2 1 2 3 s 3 2 1 2 3 4 3 2 1 2 3

STRING:I

1 2 3 l S g Z 1 2 3I

AAA VVV AAA

4+a 1+a 2+a

5 s 2 1 2 s lI

vvv AAA3+a 4+a

STRING:

4 3 2

85

ARPEGGIO VARIAIIONSArpeggio patterns can be used in combination with chord strumming. Try the followingpattern, using a triplet rhythm:

c (opmD @ DrrRcrsE eoSTRING

COUNT

5 V V 1 2 3

1 + a 2 + aA A A PickMotion

The strums occur on the 'and a' of the first beat. They are preceded by a bass note, andfollowed by arpeggio picking (on the second beat). Try this new pattern with a turnaroundin C using open chords.

@ nrcRcrsEer

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

z

G

n3 2

4 +

Apply this variation to the following chord progression.root note of the chord. Use open chords.

The bass note used should be the

@ r>rnRcISEeB

Am

7.

Here is another arpeggio variation. -,& n>rnRcISEe2

STRING

COUNT

Dm (oPEN)

) n n4 2 3 1 2

1 2 + 3 +

Create your own arpeggio variations and apply them to any progression in this book.

86

LESSON FORTTARPEGGIO PICKINGWTIII BASS NOTE RUNSThe following exercise uses a combination of arpeggio picking and bass note runs. Thearpeggio picking pattern involves playing the root note, followed by the strings in a setorder: 3 2 | 2 3 (as studied in the last lesson). This pattern remains the same for everychord in the exercise. The bass note runs occur on the 4th beat of each bar.

@ DGRCrsEe4

Em

BASS NOTE RUN

In the last bar, a glide technique on the strum is used, as indicated by the wavy line I v.This technique involves gliding the pick across all 6 strings, as if strumming slowly.

CHORD CONSTRUCTION - MINOR CHORDSIn ksson Thirty Seven the formula for the major chord was introduced (i- ur- yl. fneformula for a minor chord is I-bru - v. Thus the only difference between a major and aminor chord is the flattened third note; e.g. consider the C and Cm chords:

C : C E GNow looking at the E major scale:

C m : C E b G

CG

GD

E F f r d A B d D i l EThe E major and E minor chords contain the notes:

E : E G f i q E m : E G BI n v r b n v

Construct the following minor chords:Am Dm Gm Fm

a --A V - l V

\ 1 , - - - -u - T

T T = = 1 7 4 t

tJ - 4r

T A a Y a

A v v A

A

EI

sta

- aI t

a) e\ = =

T e JT a

A I ta

I

1 2 3 4

LESSON FORTT ONEMINOR 7TH

(oPEN)

CHORDS

F;m7*

kading to:-----;>

87

(Roofrol Fm7

(OPEN) Ann7*

(oPEN)

E

(Roors) Bbml

kading to:______>

Play the following exercise, using minor 7th chords:

(ROO[ 6)

Ffrm7(ROOT 5)

87

Alla7

tT-l-6'liT66I-tu-tl-i6ff-[-r-[]

Enn7r-T"r"r"r''']!t+-l+t o o | l[-iT6-][T-t-fTl

(ROOT 6) (ROOT 5)

F D m T l

{hese two shapes relate direcfly to the bar chord form,but as open chords the following shapes are more commonly used.

(ROOT 6)

F

GfmT GmZ

Dm7 DbmT CmT

88

CHORD CONSTRUCTION - DOMINANT 7TH AND MINOR 7TII CHORDSSo far you have sfudied major and minor chord construction. The dominant 7th chord isformed by adding a flattened 7th note to the major chord, i.e. i - n -V - hf4l

A: A cf E ^L7zA d E G_L m V I m V bw

The addition of this flattened 7th note can be easily seen when comparing the A and A7chords: an A 7

E A E A C * B

Construct the following dominant 7th chords:

C7 E7 G7 Bb7

Remember to check the sharps or flats involved in each scale when working out the notesof a chord.

The minor 7th chord is formed by adding a flattened 7th to the minor chord, gMng thefollowing formula:

The Am7 chord illus

I -b1IL-T-bwis:trates th

Am Amz

E A E A C E

Am7:A - C E

I b _ t t r vConstruct the following minor 7th chords:

E A E

G

bur

CmT

GCA

E A E A C # G

EmT Gm7 Fm7

LESSON FORTTTWOIT,IAIOR 6TII CHORDS

F6 r�boIn the root 6 6thchord, the fourthstring is deadenedby the third finger.

F C A D F

The formula for a6th chord isl - ru -V- vI, sothe notes containedwill be:

F 6 t h * : F A C De b o t h : B b D F G

The followin g L2 bar blues uses 6th chords in conjunction withchords.

(ROOT 6) (ROOT 5)

G G 6 G 7 G 6 C C 6 C 7 C 6 G6 G7 G6

c c 6

(ROO[ 5)

D D 6 D 7 D 6 c c 6 c 7 c 6 G

Suggested Rhythm

*lfyou compare the notes ofthe F6 chord with the notes of a Dm7 chord (se last lesson) you will notice that they are the same, butarranged in a different order:

F6: F A C DDm?: D F A C

Thus the m{or 6th chord and its relative minor 7th are interchangeable (for information on relative minors see Appendix 5).

89

I

The root 5 Bh 6chord is anextension of the Bbmajor chord, withthe third finger barextending to coverthe first string.

in the two chords above

major and dominant 7th

E)(ERCISE 96

z

F B b F B b D G

V V V V

1 2 3 4

90

SEVENfiI CHORDS -'ROCIC FORMIn 6ssonThirtyThreeyouwereintroducedto two stringmajorand major6th'rockchords'.The dominant 7th'rock chord'can also be used in conjunction with these chords.

A7

sth iFRET

A common rock progression uses the above chords as such:

A

@ DGRCISEeT

A ,{6A A7 A A64.l u v v v v v v v I z .l l

1 + 2 + 3 + 4 +

@ DGRCISEes

Applythese chord shapesto a 12 barbluesinA, usingbluespattern No. 1 (See kssonThirtyone). The D and E chords use the same shapes at the 10th and 12th frets respectively.

9 1

LESSON FORTTTHREEROCKRIIYTTIMThe following triplet rhythm is commonly used in rock songs. Apply it to the two string rockchords, thus:

@ ,,.'RCISEee

I P BI V V

1 + a

8 6 BV V

2 + a

BV

+ aV

a

q6_V

4 +

PV

3

; Staccato Strum| (deaden withI i r r i \right hand).

@ D*R.ISE 1oo

Now try a blues in B using this rhythm. (Use blues pattern No. 2) . For the E and F { chords(root 5 bar chords) the two string form involves playrng the fourth and ffih strings thus:

E6

The Ff major and f'#O chords use the same shapes at the 9th fret.

This new triplet rhythm should also be applied to the chord progression outlined in the lastlesson (Exercise 97).

E

A A ^ A 6 A A 7 AV V V V V V

1 + a 2 + a 3 + a

@ ,,."RCISE 1o1

^46A

; . : I z I*Although the 6th string is not played, for ease of changing from root 6 to root 5 rock chords, the first finger remains barring boththe sth and 6th strings.

92

LESSON FORTT FOURTIME SIGNATURES - SIMPLE AND COMPOUND TIMEIn l.esson TWelve the time signature was defined, and examples of ? and f; ti*" *"."given. These are both illustrations of what is called simple time.Simple time occurs when the beat falls on undotted notes (quarter notes, half notes, eighthnotes etc.) and thus every beat is divisible bytwo. In ft time the basic beat is a quarter note,which can be split into groups of two thus:

QUARTER NOTE )

Other common exa4rples of simple time are ? "na E . ? n^"indicates 2 quarter notebeats per bar, and $ time indicates 3 eighth note beats per bar (rhythmically similarto i time).

Abeat can also occur on a dotted note, (revise l.essonTen), making it divisible into groupsof 3. This is called compound time.

DorrEDeuARrERNorE ).

EIGHTH NOTE

SXTEENTH NOTE

Themostcommonexamplesof compoundti-"*" I und L2.th"interpretationofthesetime signatures is different from those of simple time. I does not represent 6 eighth notebeats per bar. Instead it represents 2 dotted quarter note beats per bar. This is calculatedby dMding the top number by 3, to get the number of beats per bar (6 + 3 = 2); and dividingthe bottom number by 2 (8 + 2 = 4 ) to get the type of dotted note receiving one beat. Thisresults in a different rhythm feel for compound time. Compare $ to fl time, where theyboth can contain 6 eighth notes in a bar:

7rl J-: nnl gl.l-j-l rJl I

EIGHTH NOTE

SXTEENTH NOTE- -- a - a

t lBASIC BEAT: a' a'

COUNT:I + a 2 + a

fna a a a a a

BASIC BEAT:

COUNT:

) ) )

1 + 2 + 3 +

93

D(ERCISE IN 8 NUBIn this furnaround, count in groups of six and place emphasis on the '1' and '4' counts, (i.e.,where the beat occurs). Use bar chords.

@ ElGRcrsE 1o2

The ending used in thir turnaround is a very common sequence of chords, following thepattern L- IV -I- VZ - I

G

1 2 +

(ENDTNG)

94

SECTION TWO STJMMARYIn SectionTwo youhave coveredthe chords, rhythms and techniques used bymostrhythmgrrit*i.t.. If your ambition is to join a group, now is the time to do so. The only way to

6""o^" " good.hyth- guitaristis to be a rhythm guitarist in a group. The experience of

being in a group will improve your playing immensely.

As well as being in a group, you.need to listen to and copy other rhythm guitarists. Try to

see as many 'live' groups as possible.

Written below is a summary of what has been covered in Section Two'

Chords:

Rtrythms:

Root 6 bar chords: major,Root 5 bar chords: major,'Rock'chords.

ReggaeTriplet rhythm variation

minor, dominant 7th, m7th,6th.minor, dominant7th, m7th, 6th.

Techniques:

Theory:

Also read Appendices Four and Five; and revise Section One.

Percussive strum (L/H deadening technique)R/H deadening techniqueStaccato strummingArpeggio pickingDampening technique

Key signaturestvtajoricales: C, G, D, A, E, F, * ,gbRests in musicBasic patterns: Blues & TurnaroundsChordconstruction: major, minor, dominant7th, m7th, 6thTime signatures: simple and compound time

95

@ Progression 1. 'RAGTIME BLUES'E)ilRA PROGRESSIONS

Use open chords, except for the Ab 7 inbar 12.

C E 7 A A 7 D 7 E7

C7

A7 D7

CF GG FG GG GF

C

COUNT 1 2 3

A74 etc.

D7 cA

CAF N7 E7

@ Progression 2.'ROCK BLUES'

Y Y Y Y Y Y Y Y

Use 2 string rock chords (root 6 and root 5 forms) for the entire progression.

F G G F G G G G F GG FG GG GBb

1 2 s 4 + 1 + 2 + 3 +

cc Bbc cc cBb4 + etc.

cc Bbc CC

_ T I l r l t I t I t I t

Y Y Y v Y v Y

d J J et r J J t J t

TI t

,l U U U ^ 1 , A A Y ve

t{ -

I

I - - | - -

Y Y v v v v v

d J ' J

J J J J J J J

TI t

A Y ^ l f A Y A ^ Y v v v

a l v

\ t , - L

a) | - l 2 - \DJ sthsring,

6th fret

e t

(SLIDE)e

- J

T

I t v Y v v v v v v

H

96

The following chord progression is based upon the. chord sequence _! - IIIT - I4m - I 7modulatins throush the keys of C, F, Sb ,Ab ,lb ,Ob , Ch , e, E, A, D and G.

@ Progression 3. 'CHORD M9DUIATI9N'

E7 Am C7

Gm Bb7

rbz Db

r,bz Ebm Gb7

r#z Bm D7 GD

A7

87 Em G7

Dm F7

Cm Eb7

Bbm DbT

G#m 87

c#z

98

LESSON FORTT FI\IEBAR CHORD FORMATIONSThe two bar chord shapes you have sfudied so far, root 6 (E formation) and root 5 (Aformation), involve sliding an open chord along the fetboard, i.e. E open and A openrespectively. This concept could be applied to all open chords, but due to awkwardfingerings only a few shapes are practical.

One of the most useful chords to slide up the guitar is C major. Hold an open C chord, usingthe 2nd, 3rd and 4th fingers as illustrated below.

Now slide this shape up one fret, and bar with the first finger thus:

Db

This chord shape has its root note on the 5th and 2nd strings, and shall be referred to as a'C formation' bar chord. As with the other bar chords, it can be moved along the fretboard,changing name with each new position.

C

99

Try the following exercise, using the C formation bar chord in conjunction with root 6 androot 5 bar chords. .-:^,

Z E)(ERCISE 103

Ab tau' FRET)ob tlst FRET) Bbm (lst FRET) Gb p"d FRE'I)

.C F'ORMATION'

E (+ur FRET)

A F'ORMATION'

(ROO[ 5)

C#m (4th FRET)

.E FORMATION'

(ROO[ 6)

A (stt FRET)

.E FORMATION'

B (ztr FRET)

.C FORMATION' 'A FORMATION' .E FORMATION' .E FORMATION'

G (zur FRET) Em gtr.IRET) C (sth FRET) D tloth FRET) G lzur FRET)

.C FORMATION' 'A FORMATION' 'E FORMATION' 'E FORMATION' 'C FORMATION'

ISuggestedRhythm I VVV VVV

1 + a 2 + aNote that the C formation bar chord is extremely useful in a major to relative minor chordprogression,

100

LESSON FORTT SD(SUSPENDED CHORDSIn Lesson Twenty you were introduced to open suspended chords. The formula for asuspended chord is.l - rv-v In most cases the suspended chord will resolve (lead back) toa major chord of the same name.

The 4th string isdeadened with thethird finger.

SUSPENDED EXERCISEIn the following progression the chord change occurs before the first beat of the bar (onthe second half of the fourth beat). Continuous right hand movement must be maintainedthroughout.

E)(ERCISE 1O4(ROOT 5)

tls c

4 + etc.

(ROOT 5)

Fsus Bb

*A very similar sounding chord is the 7sus,which contains the notes I - tV- V- bVII

(ROOr 6) F SUS*X

(ROOT 6)

A Asus

(ROOT 6)

Csus F

I

(Roor5) Bbsus

(ROOT 5)

D

(ROOT 6)

Dsus G

(ROOT 6)

Bbsus F

3

F�bz susF7 sus

1 0 1

LESSON FORTT SE\IENIVIAIOR SEVENTH CHORDS

(ROOT 6) maj 7

MajorTthchordsconsistof thet-rn-y-vtInotesof themajorscale.ThusFmaj Twillcontainthe notesFAC E.Theroot6majorTchordscannotbe regarded as abarchord, sincethe first finger is not barring all strings. You will notice from the photographs that the firstfinger is achrally curved, so that it plays the 6th string, and deadens the 5th and lst strings.

@ n*RcrsElos

GmaiT CmajT GmajT CmajT

Suggested Rlrythm

1 2 3 4

(ROOT 5)

This root 5 major 7th shape is derived from the open A maj 7 chord. Try the followingexercise, using a combination of root 6 and root 5 major 7th chords:

FX

a a a a

V V V V

Bbmaj 7

F

L02

(ROOT 6)

CmajT

8th FRET

(ROOT 5)

F;bmajT

(ROOT 6)

(ROOT 5)

FmajT

(ROOT 6)

Abmai7

4th FRET

(ROOr 5)

CbmajT*

SuggestedRhythm lUn VA VI

1 + 2 + 3

(ROOT 6)

GbmajTGbma!7

2nd FRET

X Xv A4 +

@ n."RCISEIoo(ROOT 6)

BbmajT

6th FRET

(ROOT 5)

DbmajT

The basic progression used in this exercise involves a pattern of fourths; i.e' F maj 7 is afourth higher than C, Bbmai 7 is a fourth higher than F and so on:

C maj 7 - F maj 7 - $ maj t - il mai Z - Ab mai 7 - b mai 7 - C$ mai 7 - Cbmai 7

This concept of progressing in fourths is particularly common with major 7th chords.

*This is the same as B maj 7.

103

LESSON FORTT EIGTITOFF BEAT RIIYIIIMSMost rhythms studied so far have had the emphasis placed on the 'on' beat (L . . . 2 . . .3 .. .4 . . . ). However, many interesting rhythms can be created by deadening the 'on'beat,

and strumming on the'offl beat, as illustrated in this example:

z

@ ''.'RCISE loz

Gv A ' / A ' / A ' � l A1 + 2 + 3 + 4 +

In this rhythm pattern the eighth note rest occurs on the beat, and is created by using theright hand deadening technique. Apply this rhythm to the following progression (use openor bar chords). ->\

2 E)(ERCISE 1o8

D

Experimentationvariations:

is the best way to discover new off-beat rhythms. Try the following

E)(ERCISE 1O9

BASS NOTE(ROOT NOTE OF CHORD) CUDE (See Exercise 94)

Play this off-beat rhythm against the following progression (use open or bar chords).

The followin g 2 bar rhythm is referred to;s a 'Bossa Nova'.

Z E){ERCISE 111

-->,, G +l . I j u n ' / ^ ' / ̂ |

, . ' 1 / 2 + 3 + 4 +

7.

Gm (Roor 6) , DmZ (Roor s)v ' / n l v l l ^ ^ |1 z + 3 4 1 2 3 4

.7zEm7

E)(ERCISE 112

(ROOT 5)Gm (Roor 6) Dm7 (Roor b) Am (Roor 6)

LO4

LESSON FORTT NINENINTH CHORDS

(ROO[ 6) GOOrI 5) Bg*

When playing the root 5 ninth chord, the third finger forms a half bar across the first threestrings. For ease of playing the third finger is positioned first. As you can see from thephotograph, the thumb is used to deaden the sixth string.

The ninth chord consists of thel-ur-v-bvr-r -D(notes of the major scale. Itcan be thoughtof as an extension of the domin-ant-sevenmlhora, with the ninth note added (in terms ofthe major scale, the ninth note is the same as the second:

CHORD SUBSTITUTIONChord substitution involves playing a different set ofchords for a given chord progression.In the two following examples, the chord substitutions used are:

major 7 for majormajor 6 for majorminor 7 for minorninth for dominant 7th

*An alternative fingering for the root 5 ninth chord involves deadening tlte fifth string and playing the sixth string, as such:

In this form the root note is omitted. For chords consisting of 5 or more notesit is permissable to omit the lst and/or the Sth note of that chord. Omitting thesenotes does not alter the characteristic sound of the chord.

i r u y b ' l gF9: F A C Eb cC9: C E G Bb D

GTVEN CHORDS:

105

TURNAROUND INASUBSTITUTIONS:

@ nrrRclsElls

(E.7)(A) (Ff,m)SuggestedRhythm lu V V

1 2 3

This type of substitution gives a jazz sound.

JAAZ BLUES IN BSUBSITUTIONS:

A maj 7 (noor o) F#m7 (Roof 6) D maj 7 Goor s) E9 (noor 5)

!nlV

4 s 6

@b7)

ebz tnoor 6)

E)(ERCISE 114

6) (RoOr 5)E9

(ROOT

nbo

GTVEN CHORDS:

(Bb7) @b7)

Ebe

(Bb)

Bbg (Roor s)

@bz) @b7) @b7)

F9 Goor s) E9 Eb I Goor 5) Bb 7 Goor 6)

ebg (Roor 6)

t.r,bzy

F9 Goor s)

(F7)1 2 3 4

@bT (F7)| . x x X . Il v v v v A v A A v A V I1 + 2 e + a 3 e + a 4 e + a

In this suggested rhythm the staccato strum on the 2nd beat is achieved by releasingpressure with the left hand. In bar 9, the passing chord principle, as ouflined in l.essonTWentySeven isused.The substitutionthatyouhavebeenusing canbe appliedto thechordprogression on page 96.GIVEN CHORDS:

Dm F7A7

SUBSTITUTE CHORDS:

C m a j Z F ; gor c6

Fmaj 7 Agor F6

F,bz tnoor 6) Bbg Goor b) Bbg Goor 6)

@b7)

Suggested Rhythm

Alon7 C9 DmT Ft)

106

This augmented chord shape actually has three differeqt names. To understand why thisis so, examine the formula for an augmented chord: I - I[ -{ v. By applying this formula totheir respective scales, it can be seen that F+, A+ and Ob+ all contain the same notes, thusthe same shape can be used for all three chords.

LESSON FIFTTAUGMENTED CHORDS

F+, A+ rDb*

The + symbol is used toindicate an augmented chord.Sometimes the abbreviation'Aug' is used.

i' l -

UI f,Y

F+ F A c f

A+ A cf n#tr l

Db* Db F A

(Db + can also be called Cf,+)

Because each shape represents three different chords, the complete range of augmentedchords is covered byusingthe shape overfourfrets.Atthefirstfretitis either F+,A+ or Db+;attheseconditisF{+,Bb +orD+; atthethirditisG+,B+,orEb+; andatthefourthitisAb +,C+ or E+. This covers all the possible augmented chords, and when you reach the fifth fretthe shape will be F+, A+ or Db again (as at the first fret).

The easiest way to remember the three different augmented names involved in each shapeis simplytoread offthe notescontainedwhenthatshape isheld; i.e. if the augmented shapeis played at the third position, and the individual notes are named (G, B, Eh , G) this givesthe three names of the augmented chord (G+, B+ and Eh +). Conversely, if you wish to playa given augmented chord (C+), all you need to do is find a C note on any of the first fourstrings, and then play the augmented shape around it (the shape you play will also producean Ab + or E+). A C note can be found on the third string at the fifttr fret, so the chord willbe formed thus:

ro7

C note

AUGMENTED EXERCISE

@ ,,.,RcISETIs

Cm7 F7 Goor 6)

Suggested Rhythm

2 3 4

The G+ used in this exercise can be played at the third fret (G note located on both the firstand fourth strings) . Since both the Cm and Cm7 chords involve barring with the first finger,you will find it easier to change chords if the bar is held through the G+ chord. When youdo this, be sure only to play the first four strings.

Do NOT play the fifthand sixth strings.

Using the first four stings only for the augmented chord results in a strong treble sound.Another way of playing it is to replace the first string note with the equivalent sixth stringnote:

C+ chord

a a a a

V V V V

(ROOT 5)

108

ITTREBLETI SOUND rlRASSll souNDX X

The bass form may be preferred in some instances, especially when bass note picking isinvolved.

LESSON FIFTT ONEDIMINISHED CHORDS

EborAo, C o, Gb"

Apart from the ', other symbolsused for a diminished chord are theabbreviation'dim', or a minus sign;e.g. 'C dim' or 'C-' represent Co.

Each diminished shape represents four different diminished chords. The formula for adiminished chord is I -b m -by- bbvll. , so an analysis of the given shape reveals:

L b i l I bt v0wl

Fjb"

A O

c o

cb'

Eb

A

c

Gb

Gb

cEb

r,bb (A)

Bbb 1,1)

Eb

C}

Dbb (c)

*b (c)

Ch

Bbb (A)

Fbb (Eb)

6Eb " can also be called D* ")

1Gh " can also be called Ff,")

Because each shape represents four diminished chords, the complete range is covered inthree frets and thus each shape repeats the same chords every three frets. Try playing theshape above at the first fret, then the fourth, seventh and tenth frets. You are playing thesame chord each time but the movement up the guitar neck creates an interesting andsuspenseful sound.

Eb' (1st Pos.) (4th POS.) (7th POS.) (loth POS.)

109

Suggested Rtrythm

COUNT

*A double flat sign ( bbl to*.rs the note's pitch by

v1

v A2 +

v A3 +

v A

4 +

one tone (two semitones). For double sharps a cross (x) is used, e.g.C X = D.

t l o

Try the following exercise, using a Bb'at the second position, and open shapes for the otherchords.

@ n>rnRcrsE 112

D7Bb"

Suggested Rhythm

Although only one shape is necessary for diminished chords, there are two others that arefrequently used by guitarists:

F o , B o , A b o , D o Gbo ,

V

1

v A

2 +

v A

3 +

F,bo, Ao, CoX X

1 1 1

LESSON FIFTTTWOROOT 6 SDffH CHORDS -ALIER}'IATTI/E FORL

G6

This sixth chord shape is frequently used in progressions which require a'jazz'flavorr.ltis often used in conjunction with the major and major 7th chords, as illustrated below:

AmajT

E)(ERCISE 118

AmajTsth FRET

A AmajT A6 AmaiT A

->-,2

A6

GO Gmaj7 G GmajT G6 Gmai7 Amai73rd FRET

G

Suggested Rhythm V V V V

1 2 3 4

When changingfromthe major 7th chord to the sixth chord the fourthfinger acts as a pivot,remaining in position on the third string. Chord changing will be much easier if thisprinciple is applied.

ROOT 6 MINOR 7TH CHORD - ATIERNATIVE FORM

Gm7

Lt2

With this minor 7th chord, and othet jazzflavoured chord studied so far (i.e. 9th' 6th andmaj 7 chords) the wrist moves into a different position, as illustrated in the photographs:

Wrist position for bar chords: Wrist position for'jazz' chords:

\ .'@

Play the following exercise, using the alternative fingering for the mTth chords:

@ ,,."RCISE lle

I r .GmaiT

(ROOT 6 )

v4

Gmai7l l 2 '

CmaiT Bm7

(ROOT 6) (ROOr 6) (ROor 6)

v A v A1 + 2 +

i'3

Suggested Rtrythm

ROOT 6 MINOR 6TH CHORD

Gm6*X

The formula for a m6th chord is_t -b tU - y- q. From this, it can be seen that the m6th is anextension of the minor chord, adding the 6th note of the scale:

! b u t uG m 6 : G B D D Ec m 6 r c B b G A

*This minor 6th chord shape is the same as the alternative given for the 9th chord in Lesson Forty Nine.

JA72, BLUES IN GThis exercise combines all Root 6 iazz flavoured chordsExperiment with different rhythms and bass note picking.

GmaiT Go

GmajT G6

Bm7 BbmT AmZ Am6 Am7

Suggested Rhythm v A v A1 e + a

so far studied

1 1 3

in this lesson.

E)(ERCISE 120

Am6

G majT

v v v2 3 4

Ab7

TL4

LESSON FIFTTTHREEDOMINAI',{T TITI CHORD -ALTERI{ATIVE FORI\{ C7 (oPEN)

In ksson Eleven you were introducedto the open C7 chord thus:

This can be converted into a moveable chord shape by repositioning the third finger ontothe sixth string, and deadening the fifth and first strings.

CZ MovEABLE)X X

The first fingerdeadens the firststring, and thethird finger deadensthe ffih string.

The re-location of the third finger does not change the chord name because it still containsthe correct notes:

i.e. !C

m l b u !G B b

By following the chromatic scale (starting on C) this chord shape can be played at anyposition on the fretboard.

e.g lst fret - C7 3rd fret - D7 6th fret - F7 etc.

lst FRET 2nd FRET

F F T B b B b M F C T F C i Z

@ nGRcISE 121

IFRET

F# dz frDz3rd

rf r#z B Bm

ISth FRETII

Ab7 Db Dbm Abgbz Ab E7 etc

This exercise follows a set pattern (over 2 bars) which moves up the fretboard one semitoneat a time.

4th FRET

ebz Ab

1 1 5

12 BAR IN DThe followin g, 12 bar blues uses the moveable 7th chord shape studied in this lesson.

Db7 D7 Db7 D7 Db7 D7

->\z E)(ERCTSELz?

Dbz Dz ebz

2 + 3 + 2 + 3 + 4 + etc.

This progression begins on the 'and' shum of the fourth beat, before the first bar. This iscalled a lead in or anacrusis (i.e. beginning before the first bar).

4 +

obz D7^ l u+ 1

obz Dz

,1x x xv n v A v2 + 3 + 4

@ n>rnRCISEl23

Db7^ l+

Try this alternative rhythm using percussive strums as indicated. To achieve the correctsound, release pressure on the chord shape.

A variation to this rhythm involves the use of a slide technique on the lst beat. This isachieved by sliding the chord shape up 1 fret, without releasing pressure. Do not strum onthe lst beat, indicated thus:;9-

@ ,,.,RCISE

obzX Xv A v A I z .3 + 4 + |

L24

I

r l r I t I t I . l ^ a I l r l r l ' . l ^ . 1 ^

, t l a t ! t l I r l t l ! ! t l I t t I a r

v - . l s v i+ ' 1 2 +

1 1 6

G (opBN)v v v v n v1 2 3 4 e * d

different patterns.

Three variations are listed below:

Am7 Goor6)v v A v v1 2 e + ? 3 +

Apply this rhythm to the following progression:

/'-^2

v v2 3

A

1

E)(ERCISE 125

v A v4 e * d

1 e + a

A etc.

1

D

@ D."RCTuEL,.

7.Xv v4 +

44

@ nlrrRCISElzs

FfmT

LESSON FIFTT FOURSDffEENTH NOTE RIIYfiIM

The above rhythm uses an up stroke on the first beat of every bar (except for the flrst bar) .Play the following turnaround, using the new rhythm and open chords.

@ DGRCrsEl26

You will notice that the chord change occurs on the second half of the fourth beat(i.e.'and a).

SXTEENTH NOTE RIIYTHM VARIAIIONSThis sixteenth note rhythm (4 strums in one beat i.e . v A v A ) can be varied to obtain many

AmZ (noor 6) F#m7 (Roor o) Am7

tt7

Exercise 128 can be made more interesting if you add bass note picking and percussivestrumming:

44

44

Amz (Roor6) @ 'GRCISE 12e| . x | - |. v A v v v ^ | z I

1 2 e + a 3 + 4 +tPlay 6th string bass note.

@ n>rnRcrsEE;m7 (noorb)v ^ v n v i l v f1 e + a 2 + 3 +

Apply the rhythm in Exercise 130 to the following chord progression:/':\2 E)(ERCISE 137

(ROOT 5)Em7 Goors) Bm7 (Roor 6) Em7 Goorb) Bm7

_C maj 7 lnoon s) Am7 lnoor oy Em7 (Roor sy Bm7 (Roor oyBm7 (Roor s)

xv v4 +

130

I7.

@ DGRcrsEl32

Iv v l z

I

4 +

@ n>rnRcrsEls3AmZ (Roor 6) G 6oor o;

Cm (Roor s) Bm (Roor s) F Goor o) DZ (Roor s) G 6oor o;

Am7 (Roor 6)h l

4 l v ^ v ^1 + 2 e + ?

v A v A3 e + a

Am7 Goor 6) G (noor o)

In this progression use the followingroot 6 m7 form:

1 1 8

SECTION THREE STJMMARYIn Section Three you have shrdied the more advanced aspects of rhythm guitar playing. Itis essential foryou nowto adaptthe materialyou have studied to the type of musicyou wishto play (in either group or solo performance) . To do this you will need to listen carefully andexperiment with everything you are playing.

Here is a summary of what has been covered in Section Three.

Chords: Alternative bar chord formations: C formation chordsRoot 6 bar chords: sus, sus7, maj7, 9th, m6Root 5 bar chords: sus, sus7, maj7,9th, m6Augmented and diminished chordsAlternative chord forms: 6th, m7, 7th

Rhythms: OffbeatrhytlmsSixteenth note rhythm variations.

Theory: Chord construction: sus, sus7, maj7, 9th, aug, dim, m6

Revise Sections One and Two. Reread all Appendices. Read Glossary of Musical Terms,Chord Formula Chart, etc.

DilRA PROGRESSIONSProgression 1. Be sure to use right hand deadening for the staccato stmms onthe second and fourth beats.

sth FRET (C7 STTAPE)

E7(ROOr 6)

A7

Srd FRET (CZ SHAPE)

D7 G C 9 G 8 9

E7 A7

Em 87 Em 87 G EZ AZDT G

r t r ') v ) v

\ /1 \ 2 / 3 4

alternat6 bass

a

t

a

Suggested Rhythm

1 1 9

@ Progiression 2.tJse jazz chord shapes fpr the G6 and Am7 chords (l,esson FiftyTwo) in this progression, and use the G{' chord with the root note (Gf,) in thebass. Experiment with bass note picking and rhythm patterns Qrsson Fifty Four) .

c#"

c#" D7 GmajT

C4 Progression 3. The Bm9 and: illustrated below (in root 6 form).FfZ+ chords used in this progression are

G9Bm9

Bm9

t t ^ - r t

l I t I t A ' - ^ ' t I t lt l ir- la l, l t l-.r' A l , a I t

a t l Y - I l . Y

I

d + + 'T U ilJ +

tJ J 'e e

J J

fl r l ' . . ' t I t l t - I f r I t I

--.- A I t l , l - - - ' I I t

A r t l t t t l t t t l r r l t a vE E l

EI (

Suggested Rhythm V1

xv v A2 3 +

xv A4 +

Ffiz*

xv A1 +

XV A2 +

v A v3 + 4

r#z *X

7th ->FRET

Bm9

120

@ Progression 4. This progession follows the pattern of fourths (see ksson 47:

every four bars. Use Root 6 and Root 5 bar chord shapes (no 'alternative

form'chords).

C+ c6 C7 F+ F7

Bb Bb+ B b 6 Bb7 Eb Eh+ Eb6 Eb7

Ab Ab+ Abo Ab7 Db D b + Db6 Db7

cb Gb+ cb6 Gb7 B B+ B6 B7

E+ E6 E7

D+ D6 D7 G+ G6 G7

C+ C6 c7 G7

F6

A7.4.6A+AE

GD

cc

\

I

!

I

t

V V

1 2

Suggested Rhythm

@ Progression 5. Use Root 6 and Root 5 'jazz'flavoured chords in this progression.

Suggested Rhythm

Em7 A7

(ROOT 6)

BmZ Am7

(ROOT 6)

Dbe

(ROO[ 5)

Gm9

The A13 chorduses this shapeat the Sth fret.

L2I:

V V

1 2

D majT

v i '3 4

F#m7Fm7 E;m7 A.13

(RooT 6)

cbo

(ROOT 5)

DmajT

(ROO[ 5)

AbmT

(RooT 6)

Dm9

(ROOT 5)

(Roor 6) F13

(ROO( 5)

AbmT

(ROOT 5)

Dbe

(RooT 5)

Gbmaj 7

(ROOT 6)

Em9

(ROOT 6)

A13

(ROOT 6)

Dmaj7

(ROOT 6)

cb6

(ROOT 5)

BbmT Bm7

(ROOT 6)

Cm7

(ROOT 6)

Fl3

(ROOT 5)

The Em9 chorduses this shapeat the Sth fret.

(ROOT 6) (ROOr 5) (ROOT 6) (ROOT 5)

(Roor6) Gm9 (Roors) Dm9

3rd +'FRET

3rd +FRET

L22

APPENDX ONE I TT]NINGIt is essenfial for your guitar to be in tune, so that the chords and notes you play will soundcorrect.The main problemwith tuningformostbeginning students is thatthe ear is notableto determine slight differences in pitch. For this reason you should seek the aid of a teacheror an experienced guitarist.

Several methods can be used to tune the guitar. These include:

1. Tuning to another musical inskument (e.g. a piano, or another Cuitar).2. Tuning to pitch pipes or a tuning fork.3. Using an electronic tuner.4. Tuning the guitar to itself.

The most common and useful of these is the latter; tuning the guitar to itself. This methodinvolves finding notes of the same pitch on differentstrings.The diagrambelowoutlinesthenotes used:

The method of tuning is as follows:

Tune the open 6th string to either:(a) The open 6th string of another guitar.(b) A piano.

tMIDDLE C

1 .

E A D G B E

E

Il IC

IThe piano note equivalent to the open 6th string is indicated on the diagram.

L23

(c) Pitch pipes, which produce notes that correspond with each of the 6 open strings.

(d) A tuning fork. Most tuning forks give the note A.

To produce sound from the tuning fork, hold it by the stem and tap one of the prongsagainst something hard. This will set up a vibration, which can be heard clearly whenthe bass of the stem is then placed on a solid surface, e.g. a guitar body.

Place a finger on the 6th string at the Sth fret. Now play the open A (sth string). If theguitar is to be in tune, then these two notes must have the same pitch (i.e. sound thesame). If they do not sound the same, the 5th string mustbe adjusted to match the noteproduced on the 6th string. Thus the 5th string is tuned in relation to the 6th string.

Tune the open 4th sfring to the note on the 5th fret of the Sth string, using the methodoutlined above.

Tune all other strings using the same procedure, remembering that the open B string(2nd) is tuned to the 4th fret (check diagram) while all other strings are tuned to the5th fret.

Strum an open E major chord, to check if your guitar is tuned correctly. At first you mayhave some dfficulty deciding whether or not the chord sound is correct, but as yourear improves you will become more familiar with the correct sound of the chord.

Tirning may take you many months to master, and you should practice it constanfly. Theguidance of a teacher will be an invaluable aid in the early stages of guitar tuning.

2 .

3.

4.

5.

L24

TTJNING HINTSOne of the easiest ways to practise tuning is to actually start with the guitar in tune and thendetune one string. When you do this, always take the sfing down in pitch (i.e. loosen it)as it is easier to tune 'up' to a given note rather than 'down'to it. As an example, de-tune the4th string @) . If you skum a chord now, the guitar will sound out of tune, even though onlyone string has been altered (so remember that if your guitar is out of fune it may only beone string at fault).

Following the correct method, you must tune the 4th sfing against the D note at the 5thfret of the 5th string. Play the note loudly, and listen carefully to the sound produced. Thiswill help you retain the correct pitch in your mind when tuning the next string.

Now that you have listened carefully to the note that you want, the D string must be tunedto it. Pluck the D string, and turn its tuning key at the same time, and you will hear the pitchof the string change (it will become higher as the tuning key tightens the string). It isimportant to follow this procedure, so that you hear the sound of the string at all times, asit tightens. You should also constantly refer back to the correct sound that is required (i.e.the D note on the Sth fret of the 5th string).

EI-ECTRONIC TUNERSElectronic Tuners make funing yourguitar very easy. They indicate the exactpitch of the string. It is still recommendedhowever, that you practice funing yourguitar by the above method to helpimprove your musicianship.

L25

APPENDD(TWO - SONG LISTIn the first section of this book two basic chord progressions are introduced; 12 bar bluesand furnarounds (1 and 2). These two progressions are the basis of many songs from theffies onwards. some of which are listed below.

12 BAR BLUESBebopa-lula - Gene Vincent/John l-ennonHound Dog - Elvis PresleyJohnny B. Goode - Chuck BerryBoppinr the Blues - BlackfeatherThe Wanderer - DionGoing up the Country - Canned HeatMakinryour mind up - Bucks FizzGreen Door - Shakinr StevensIn the Summertime - Mungo JerryRock fuound the Clock - Bill Haley & The CometsBarbara Ann - Beach Boysl,etrs Stick Together - Brian Ferryt ong Tall Glasses (I Know I can Dance) - t eo SayerBlue Suede Shoes - Elvis PresleySchool Days (Ring Ring Goes the Bell) - Chuck BerryRoll Over Beethoven - Chuck BerrySpirit in the Sky - Norman GreenbaumTurn up your Radio - Masters ApprenticesTutti Frutti - Little RichardDizry Miss Lizzy -I.:rry Williams/BeatlesGet Down and Get With It - Slade

TTJRNAROUND ONE*The night has a 1,000 Eyes - Bobby VeeItrs Raining Again - SupertrampMore - Various ArtistsTi Amo - Umberto TozziCrocodile Rock (chorus) - Elton JohnOne last Kiss - Various ArtistsStand by Me - John lennonDream- Everly BrothersReturn to Sender - Elvis PresleyTelstar - TornadoesAlways [,ook on the Bright side of Life - Monty hrthonWhy do fools fall in love - Frankie Lyman/Diana RossSarah - Reetwood MacTake Good Care of My Baby - Bobby VeelSmokieWhere have all the Flowers Gone - Various ArtistsRunaround Sue - Dion & the BelmontsTell me Why - Beatles[,et's Tlvist Again - Chubby CheckerStay 0ust a Litfle Bit l.nnger) - Four Seasons/Jackson BrownCool for Cats - U.K SqueezeY.M.C.A. - Village PeopleTired of toeinr the Line - Rocky BurnettYou Drive Me Crary -Shakinr StevensShould I do it - Pointer SistersPoor Little Fool - Rick NelsonYou Don't have to say you Love Me - Dusty Springfield/ElvisPresleyBreaking up is hard to do - Neil Sedaka/Paftridge FamilyOh Carol - Neil SedakaTlvo Faces Have I - lnu ChristieEvery Day - Buddy HollyPoetry in Motion - Johnny TillotsonSweet Uttle 16 - Neil SedakaBig Girls Donrt Cry - Four SeasonsSherry - Four SeasonsHow Do you do it -Jeny & the PacemakersShout, Shout - Rocky Sharp and The ReplaysAces With You - Moon Martin

Good Golly Miss Molly - Little RichardLucille - Littie RichardIn the Mood - Glen MillerSurfin' Safari - Beach BoysPeppermint Twist - SweetBoogie Woogie Bugle Boy - Andrew Sisters/Bette MidlerI Hear You Knocking - Dave EdmundsBoy from New York City - Darts/Manhatlan TransferMountain of [,ove - Johnny RiversI l,ove to Boogie - T-RexShake, Rattle & Roll - Bill Haleylady Rose * Mungo JerryTheme to BatmanTheme to SpidermanStuck in the Middle with you - Stealers WheelHot [,ove - T-RexThe Huckle Buck - Brendan BowerWay Down - Elvis PresleyI Can Help - Billy SwanRockinr Robin - Michael JacksonPeggy Sue - Buddy HollyJailhouse Rock - Elvis Presley

Joane - Michael NesmithGoodnight Sweetheart - Various Artiststooking for an Echo - Ol 55Summer Holiday - Clitr RichardBe My Baby- The Ronettes/Rachel SweetEverlasting l,ove - Rachel Sweet/lnve AffairI Go To Pieces (verse) - Peter & Gordonl,ove Hurts - Everly Brothers/Jim Capadi/NazarethGee Baby - Peter ShelleyClassic - Adrian GurvitzTeenage Dream - T-RexBlue Moon - Various ArtistsThe Tide is High - BlondieDennis - BlondieIt Ainrt Easy - Normie RoweMy World -Bee GeesHey Paula- Various ArtistsItrs Only Make Believe - Glen CampbellCanrt Smile Without You - Barry ManilowTake Good Care of my Baby - Bobby Vee/SmokieCrossfire - Bellamy BrothersBobby's Girl - Marcie BlaneDo that to me one more time - Captain and TenillePlease Mr. Postman - Carpenters/BeatlesSharin' the Night Together - Dr. Hook9 to 5 (Morning Train) - Sheena EastonDiana - Paul AnkaTelstar - TornadoesEnola Gay - Orchestral Manoeuwes in the DarkSome Guys have all the Luck - Robert PalmerSo Lonely - Get WetHungry Heart - Bruce SpringsteenI-and of Make Believe (chorus) - Bucks FizzDaddys Home - Clitr RichardThe Wonder of You - Elvis PresleySo You Win Again - Hot ChocolateHang Five - Rolling StonesPaper Tiger - Sue Thompson

rsome of the songs listed under 'Turnarounds' vary from the basic structure of this progressiod. For example, the tumaround progression maybe used in the verses, but not in the chorus. It is also common to have each chord in the progression lasting fot more than one bar (i.e. two barsas illustrated in Lesson 17) or less thar! ooe bar (i.e. half a bar of each chord, as in l€sson 17) .

L26

TURI',{AROUND TWOCrocodile Rock (verse) - Elton JohnI Started a Joke - Bee GeesDifferent Drum - Linda RhonstadtKey I-argo - Bertie HigginsBlack Berry Way - The MoveGeorgy Girl - SeekersWhere Do You Go to My lnvely - Peter SarstedMrs. Brown, You've Got a Lovely Daughter - Hermans HermitToast and Marmalade for Tea - Tin TinMovie Star - HarpoWhere did our l,ove Go - Diana Ross & The SupremesHurdy Gurdy Man - DonovanI Go To Pieces (chorus) - Peter & Gordon

Get it over with - AngieGoldSad Sweet Dreamer - Sweet SensationDown Town - Petula ClarkEasy - Oakridge BoysIt's a Heartache - Bonnie TylerI Don't Like Mondays - Boomtown RatsMy Angel Baby - Toby Beautând of Make Believe (verse) - Bucks FizzI'm in the Mood for Dancing - The NolansWhat's in a Kiss - Gilbeft O'SullivanMy Baby l,oves [.ove - Joe JefferiesDreamin' - Johnny BurnettCruel to be Kind - Nick lnwe

G7

SHEET MUSICYou should try to work from sheet music as much as possible. Nearly all sheet music isarranged for piano and this presents problems for guitarists. Piano music uses threestaves thus:

CHORDLINE C CF

A guitarist need only look at the top stave which contains the melody line (the tune), thelyrics and the chords. Sheet music does not indicate what rhythm the guitarist shoulduse. This is where your creatMty and background of rhythm playing (i.e. rhythms andtechniques outlined in this book etc.) must be put to use. You should generally onlyattempt songs that you know well, and listen to original recordings of these songs to gainrhythm ideas.

L27

APPENDXTHREE -MSPOSINGThe term'Transposing' is used to describe the process whereby a progression (or song)is changed from one key to another. This is done for two main reasons:

1. Singing - to sing the whole song at a lower or higher pitch (depending on the singer'svocal range).

2. Ease of playing - because of the musical struchrre of the guitar, some keys are easier toplay in than others. (e.g. Beginning students may not be able to play a song in the keyof say Eb, but could perhaps play it in the key of C.)

Consider the following turnaround in the key of C:

Am Dm G7

If you needed to transpose this progression into the key of G, the following method maybe used:

1. Write out the C chromatic* scale.2. Write out the G chromatic scale, with each note direcfly below its counterpart in the C

chromatic scale, as such:

cchromatic c c+ D D# E F r# c c# A e# B c

Gchromatic 't

"f 'l

ef B c c+ '$

o+ 'J

F F* c

3. When the given progression is transposed to the key of G, the first chord, C major' willbecome G major. This can be seen by relating the two chromatic scales via a1row one.

4. The second chord of the progession, Am, will become Em (arrow two). Although thename will change when transposing, its type (i.e. major, minor seventh etc.) willremain the same.

5. The complete transposition will be:

Key of C: C Am Dm G7

Key of G: G

c

Play both progressions and notice the similarity in sound.

*See Glossarv

124

In the early stages you will mainly transpose for ease of playing, and thus the easiestkeys for a song to be transposed into are C, G and D (for major keys) and Am, Em andBm (for minor keys). Remember to write the second chromatic scale directly under thefirst, note for note, in order to transpose correctly. Try transposing the previousprogression into the key of D major.

THE CAPOThe capo is a device which is placed across the neck of the guitar (acting as a moveablenut). It has 2 uses:1. To enable the use of easier chord shapes, without changing the key of a song.2. To change the key of a song, without changing the chord shapes.Expanding upon point 1, if a song is in a key which is within your singing range, butinvolves playrng diffrcult chords (e.g. in the key of Eb), a capo may be used.

(Capos come in various shapes and sizes.)

The capo allows you to play the song in the same key, yet at the same time use easier(open) chords. Consider a turnaround in Eb:

Eb Cm Bb

If you place the capo on the third fret, the following chords can be played withoutchanging the song's key.

Am

^b

Ab

GFc

(C chord shapewith caDo)

(Am chord shapewith caoo)

(F chord shapewith caDo)

(G chord shapewith caDo)

Eb Cm Bb

r29

If you have studied bar chords (Section Two), you will notice that the capo is acting as abar.

To work out which fret the capo must be placed on, simply count the number ofsemitones between the 'capo' key you have selected to change to* (e.g. C, as used in theabove example) and the original key (i.e. Eb as above). Hence C to S = 3 semitones, andtherefore the capo must be placed on the third fret. Expanding upon point 2, consider asong in the key of C, using the turnaround progression:

Am

A singer may decide that this key is unsuitable for his or her voice range and may wishto use the key of, say, Eb. the progression, transposed to Eb, wifl become;

Eb Cm Bb

Instead of changing to these new chord shapes (i.e. having to use bar chords), theguitarist may still play the C, Am, F and G chords, but must place the capo at the 3rd fretto do so.

GFc

Ab

(C chord shape)ORTGTNAL KEY (C)

c

(Am chord shape)

Am

NEw KEY rBblCAPO 3RD FRET

Eb Ab

Eb Cm ^b

(F chord shape)

Bb

(G chord shape)

* Remember you are not actually changing key but merely changing the chord shapes, for ease of playing.

r32

APPENDD( FIVE - MINOR KEYSIn music there are two main types of scales, namely majors and minors. The major scale isbased on the following pattern of tones and semitones:

T T S T T T S T = T o n "

C major: C D E F G A B C S= Semitone\-/ \_/

i l I m w V v t w w I

The minor scale is based upon a different pattern of tones and semitones, as outlined in theA minor scale below:

Aminor*: o f

B s

c T

o f

E s

F t j"ft

A 4 =Toneandahalf

\-/ \-/ \-/

T r m w V u w w r

In minor scales there is a distance of oneand ahaHsemitonesbetweenthe 6th and 7th notes(e.g in the A minor scale above, F to G{).

If you compare the C major and A minor scales, it can be seen that they both contain thesame notes, except for the seventh note of the minor scale, which has been sharpened.Because these two scales are so similar, they are called 'relative' scales i.e. A minor is therelative minor scale of C major and vice versa. The same principle is applied to chords; theAm chord is the relative minor of the C chord.

Every major scale has a relative minor, which is based upon the 6th note of the major scale;e.g.:

Gmajorscale: G A B C D E F,t ,G_\Z_ \--l

I I I M r y V V I V I I V I I I

E minor is the relative minor.

The E minor scale will contain the same notes as the G major scale, except for the 7th note(called the leading note) which is sharpened.

Eminorscate: e r* G A B c D# E-\-/-

I I I m I V V V I v I I V I I I

{his minor scale is refened to as the harmonic minor. There are two other types ofminor scales, namely tle natural (or'pure) minorand the melodic minor. These are discussed in more detail in Progressive Lead Guitar.

133

The following table summarizes the relationship between major and minor keys.

MAJOR I{EY: c * D Eb E F Ff G Ab A Bb B

REL. MINORKEY: Am Bbm Bm Cm C# tn Dm D#*Em Fm Ff* Gm c#-

Both the major and relative minor share the same key signature, as illustrated in theexamples below:

:

F-

ffiThe sharpened 7th notethatoccurs in the relative minorkeyis never included as partof thekey signafure. Because each major and relative minor share the same key signafure, youwillneedto knowhowto distinguishbetweenthetwokeys. Forexample ifgivenapiecewiththe key signature of Ft thus:

it could indicate the key of G major, or its relative, E minor. The most accurate way ofdeterminingthe keyis to lookthrough the melodyforthe sharpened 7th note of the E minorscale (Df,). The presence of this note will indicate the minor key. If the 7th note is present,but not sharpened, then the key is more likely to be the relative major (i.e. D natural noteswould suggest the key of G major).

Another method is to look at the first and last chords of the progression. These chordsusually ftutnotalways) indicatethekeyof the piece. If thepiece starts and/orfinisheswithEm chords then the kev is more likelv to be E minor.

C MAIORor

A MINOR

D MAIORor

B MINOR

E MAIOR

cf niixon

* MAJoRor

G MINOR

G MAIORor

E MINOR

A MAIOR

p# niiuon

F MAJORor

D MINOR

nb ualonor

C MINOR

r32

APPENDD( FIVE - MINOR KEYSIn music there are two main types of scales, namely majors and minors. The major scale isbased on the following pattern of tones and semitones:

T T S T T T S T = T o n "

C major: C D E F G A B C S= Semitone\-/ \_/

i l I m w V v t w w I

The minor scale is based upon a different pattern of tones and semitones, as outlined in theA minor scale below:

Aminor*: o f

B s

c T

o f

E s

F t j"ft

A 4 =Toneandahalf

\-/ \-/ \-/

T r m w V u w w r

In minor scales there is a distance of oneand ahaHsemitonesbetweenthe 6th and 7th notes(e.g in the A minor scale above, F to G{).

If you compare the C major and A minor scales, it can be seen that they both contain thesame notes, except for the seventh note of the minor scale, which has been sharpened.Because these two scales are so similar, they are called 'relative' scales i.e. A minor is therelative minor scale of C major and vice versa. The same principle is applied to chords; theAm chord is the relative minor of the C chord.

Every major scale has a relative minor, which is based upon the 6th note of the major scale;e.g.:

Gmajorscale: G A B C D E F,t ,G_\Z_ \--l

I I I M r y V V I V I I V I I I

E minor is the relative minor.

The E minor scale will contain the same notes as the G major scale, except for the 7th note(called the leading note) which is sharpened.

Eminorscate: e r* G A B c D# E-\-/-

I I I m I V V V I v I I V I I I

{his minor scale is refened to as the harmonic minor. There are two other types ofminor scales, namely tle natural (or'pure) minorand the melodic minor. These are discussed in more detail in Progressive Lead Guitar.

133

The following table summarizes the relationship between major and minor keys.

MAJOR I{EY: c * D Eb E F Ff G Ab A Bb B

REL. MINORKEY: Am Bbm Bm Cm C# tn Dm D#*Em Fm Ff* Gm c#-

Both the major and relative minor share the same key signature, as illustrated in theexamples below:

:

F-

ffiThe sharpened 7th notethatoccurs in the relative minorkeyis never included as partof thekey signafure. Because each major and relative minor share the same key signafure, youwillneedto knowhowto distinguishbetweenthetwokeys. Forexample ifgivenapiecewiththe key signature of Ft thus:

it could indicate the key of G major, or its relative, E minor. The most accurate way ofdeterminingthe keyis to lookthrough the melodyforthe sharpened 7th note of the E minorscale (Df,). The presence of this note will indicate the minor key. If the 7th note is present,but not sharpened, then the key is more likely to be the relative major (i.e. D natural noteswould suggest the key of G major).

Another method is to look at the first and last chords of the progression. These chordsusually ftutnotalways) indicatethekeyof the piece. If thepiece starts and/orfinisheswithEm chords then the kev is more likelv to be E minor.

C MAIORor

A MINOR

D MAIORor

B MINOR

E MAIOR

cf niixon

* MAJoRor

G MINOR

G MAIORor

E MINOR

A MAIOR

p# niiuon

F MAJORor

D MINOR

nb ualonor

C MINOR

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135

CHORD FORMUII\ CIIARTThe chart on the previous page lists chord formulas for the keys studied in this book. Otherchords not listed can be derived by applyiry the correct formula to the respective scale; e.g.B7 is based on the dominant 7 formula (!- m - V - h vtD, and the B scale:

B c f D f E F # c # A # Bt hus : I I l l yhu l

B D # F # AMajor scales not sfudied in this book can be derived by following the interval sequence tone-tone.semitonetone-tonetone.semitone. (See Lesson Twenty Six).

AUTERED CHORDSOther chords that you will occasionally see in sheet music involve a slight alteration to oneof the given formulas. The alteration is usually indicated in the name given to the chord.Consider the following examples:

c T z c E G B | c z b s z c E c $ *The C7h5 chord is just as the name implies; a C7 chord with the fifth note flattened.

G 9 : G B D F A

c z # s : c B D F A fThe G7# 9 chord involves sharpening the 9th note of the G9 chord.Another type of alteration occurs when chord symbols are written thus:Example i' C/f # 1a... ttis indicates that a G chord is played, but using an Ff note in thebass.Example 2: C/G bass. This indicates a C chord with a G bass note.Sometimes the word'bass'will not be written (i.e. the symbol will be just G/Ffi), but thesame meaning is implied.

SCAIETONE CHORDSIn any given key certain chords are more common than others. For example, in the key ofC the chords C, F and G are usually present, and quite often the chords Am, Dm and Emoccur. The reason for this is tlat each key has its own set ofchords, which are constructedfrom notes of its major scale. These chords are referred to as'scale tone'chords.Consider the C major scale:

C D E F G A B C

I I n r y y u w u !Chords are constructed by combining notes which are a third apart. For example, considerthe formula for a major chord:

interval ofa third

interval ofa third

l i l y

Using the C major scale written above, scale tone chords can be constructed by placing 2third intervals above each note. This is illustrated in the following table:

136

v G A B C D E F G

m E F' G A B C D E

C Scale: c D E F G A B C

ChordConstructed: C Dm Em F G Am BO C

) rni.a interval

) rnira interval

Notice that the chords are named according to their root note (and hence use the root note'sscale). However, they are all C scale tone chords because they contain only notes of theC scale (i.e. no sharps or flats).

The method used for constructing scale tone chords in the key of C may be applied to anymajor scale. The result will always produce the following scale tone chords:

Scale note: i II m tV V VI VII VIII

ChordConstructed: maJor mmor mmor major major mmor diminished maJor

Thus in the key of G major, the scale tone chords will be:

G A m B m C D E m F # " G

and in the key of Eb major, the scale tone chords will be:

E b F m G m A b * c m D o E b

L37

SCALE TONE CHORD D(ENSIONSThe scale tone chords studied so far involve the placement of two notes (separated by aninterval of a third) above a root note. This method of building scale tone chords can beextended by adding another note, illustrated in the following table:

VII B C D E F G A B

V G A B C D E F G

m E F G A B C D E

C Scale: C D E F G A B C

ChordConstructed: Cmaj7 Dm7 Em7 FmajT G7 Am7 BP T* Cmai7

*This is the symbol for a halfdiminished chord d

G Half Diminished

) Third interval

) Third interval

) Third interval

(ROOT 6) cfrzB Half Diminished

(Roorr s) gfrZ

From this example, the scale tone chords for any key will be:

I II il ry T VI VII uII

majT m7 m7 maj7 nI m7

, 7maj7

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