presents - r basra q = 88 figure 8 eighties hard rock let ring throughout g 21 34 g 3 2 0 0 3 3 3 3...
TRANSCRIPT
p r e s e n t s
q = 88
FIGURE 8 Eighties hard rock
let ring throughoutG
2 1 3 4
G
320033
3
30
3 33
0
Cadd92 1 3 4
Cadd9
33
0
3
32033
3
30
3 33
0
G2 1 3 4
G
33
0
3
320033
3
30
3 33
0
33
0
3
F
F
69
69
2 1 3 4
3233
Cadd92 1 3 4
Cadd9
3233
3233
3233
32033
G2 1 3 4
G
32033
32033
32033
320033 3
30
3 33
0
33
0
3
FIGURE 33 combining chordal arpeggiation w/pedal tones and sixths
Combining Chordal Arpeggiation w/Pedal Tones and Sixths
N.C.(Dm)
014
13
014
13
14
13
012
12
012
12
12
12
010
10
010
10
10
10
09
8
09
8
9
8
07
7
07
7
7
7
05
5
05
5
5
5
04
3
04
3
4
3
02
1
02
1
2
1
FIGURE 34 James Taylor-style
D
5
3 4(1)
5fr
D5fr
1
D
7
07
5 5
4 3 2
A
.4
(1)
4fr
A
755
7 57 6
0
5 5
Gmaj7
2 3 1
Gmaj7
45
6 47
3
03
G6
2 3
G6
23
0
0 03
03
A
2 1 3
AAA
03
0
0
(4)
( )
220 2
2 23
22 0
2
G
2 3
G
20 2
D/F#
D/F#
Th
T 1 3
3
003
21023
A
2 3 4
A
000222
0222
3 3
q = 88
FIGURE 8 Eighties hard rock
let ring throughoutG
2 1 3 4
G
320033
3
30
3 33
0
Cadd92 1 3 4
Cadd9
33
0
3
32033
3
30
3 33
0
G2 1 3 4
G
33
0
3
320033
3
30
3 33
0
33
0
3
F
F
69
69
2 1 3 4
3233
Cadd92 1 3 4
Cadd9
3233
3233
3233
32033
G2 1 3 4
G
32033
32033
32033
320033 3
30
3 33
0
33
0
3
FIGURE 33 combining chordal arpeggiation w/pedal tones and sixths
Combining Chordal Arpeggiation w/Pedal Tones and Sixths
N.C.(Dm)
014
13
014
13
14
13
012
12
012
12
12
12
010
10
010
10
10
10
09
8
09
8
9
8
07
7
07
7
7
7
05
5
05
5
5
5
04
3
04
3
4
3
02
1
02
1
2
1
FIGURE 34 James Taylor-style
D
5
3 4(1)
5fr
D5fr
1
D
7
07
5 5
4 3 2
A
.4
(1)
4fr
A
755
7 57 6
0
5 5
Gmaj7
2 3 1
Gmaj7
45
6 47
3
03
G6
2 3
G6
23
0
0 03
03
A
2 1 3
AAA
03
0
0
(4)
( )
220 2
2 23
22 0
2
G
2 3
G
20 2
D/F#
D/F#
Th
T 1 3
3
003
21023
A
2 3 4
A
000222
0222
3 3
CONTENTS P. 14
P. 31
P. 40
P. 73
P. 21
1FOUR TYPES OF GUITARS• Parts of the electric guitar: Gibson Les Paul and
Fender Stratocaster• Parts of the acoustic guitar: nylon-string and
steel-string
2GUITAR bASICS• Playing when sitting and when standing• Positioning your fretting hand• Holding the pick• How to read TAB• Chord frames
3FIRST ESSENTIAL CHORDS• Open-position major chords• Open-position minor chords
4HOW TO READ RHYTHMS• Reading rhythms: “slashes”• Practicing strumming in time• Reading rhythms: TAB
5YOUR FIRST SCALES• E minor pentatonic scale, first position• C major scale, first position• Reading two-, three- and four-note groups
and chords
FOUR TYPESOF GUITARS
• Parts of the electric guitar: Gibson Les Paul and Fender Stratocaster• Parts of the acoustic guitar: nylon-string and steel-string
[ CHAPTER ]
PARTS OF THE
ELECTRIC GUITAR
CHAPTER 1
BODY: Carved maple top and mahogany back
NECK: Mahogany
FRETBOARD: Rosewood or ebony, with 22 frets, 12-inch radius and 24.75-inch (629 mm) scale length
HEADSTOCK: Three tuning machines (a.k.a. keys) per side
CONTROLS: Two volume, two tone, three-way pickup selector toggle switch
PICKUPS: Two humbucking-design pickups, producing warm tone and low noise
BRIDGE: Gibson Tune-o-matic with chrome plating
POPULAR USES: Rock, blues, jazz, hard rock, heavy metal
GIbSON LES PAUL
CHAPTER 1
NEck
ANd
FRE
TbO
ARd
HEA
dSTO
ck
bOdy
Pickguard
Pickups
bridge
Pickup Selector Switch
Volume control
Tone controls
Output Jack
Tuning keys
Nut
Fret
Position Markers
GUITAR bASICS• Playing when sitting and when standing
• Positioning your fretting hand• Holding the pick• How to read TAb
• chord frames
[ CHAPTER ]
CHAPTER 2
rest the weight of the guitar on your right leg while holding it lightly against your body. A well-made guitar will feel naturally well-balanced when held in this position.
When sitting,
CHAPTER 2
it is important to determine the height at which the guitar feels most comfortable to you. The height can be easily adjusted by changing the length of the guitar strap.
Whether sitting or standing, remain relaxed and comfortable.
When standing,
The fingers are numbered 1 through 4, starting from the index finger to the pinkie. Arch your fingers and press
down firmly right behind each fretwire.
CHAPTER 2
43
2 1
When using a traditional grip, place the fret-hand thumb squarely on the back of the neck and do not allow the palm to touch the underside of the neck. Many guitarists prefer to wrap the thumb over the top of the neck, with the palm pressed lightly against the back of the neck.
Traditional thumb-over
CHAPTER 2
Audience View Player’s View
Hold the pick with the thumb and index fingers without squeezing too hard, and allow just the tip of the pick to strike the strings. Find your
most comfortable pick-hand position, either lightly resting the palm on the bridge, resting your fingers on the pickguard, or keeping the pick-
hand suspended above the strings.
CHAPTER 2
CHAPTER 2
HOW TO READ TAbGUITAR MUSIC IS MOST OFTEN written using a system of notation known as tablature, or TAB. The TAB system consists of six horizontal lines, each line representing one of the strings. The bottom line represents the sixth, or lowest string, and the top line represents the first, or highest string. When an unfretted—or open—string is picked, a “zero” (0) is indicated on the horizontal line. When a fretted note is played, the TAB number (1, 2, 3, etc.) indicates at which fret the string should be depressed using a fret-hand finger.
CHAPTER 2
1
2
3
4
5
6
TAB
Diagram of open (unfretted) strings
6
5
4
3
2
1
ddie
te
ynamite
ood
ye
ddie
CHAPTER 2
ALSO KNOWN AS “Chord diagrams,” chord frames show which strings and frets are used to play a chord. The horizontal lines indicate fret positions, while the six vertical lines represent each of the guitar’s strings. Black circles indicate fretted notes, and white circles show open strings, while Xs mark strings that are not sounded. Numbers below the frame indicate which fingers to use when fretting strings.
FRETS
1st fret
NUTCHORD FRAMES
3rd fret
2nd fret
CHAPTER 2
Tablature
open strings
fretted notes
CHORD FRAMES
fret-handfingers
open string
chordframe
chord name
1 2 3 4 5 6strings
E
2 3 1
E
022100
(chord name)
fret indications
1st fret2nd fret3rd fret
1st fret2nd fret3rd fret
nut
nut
6th string (low E)5th string (A)4th string (D)3rd string (G)2nd string (B)1st string (high E)
Tablature
open strings
fretted notes
CHORD FRAMES
fret-handfingers
open string
chordframe
chord name
1 2 3 4 5 6strings
E
2 3 1
E
022100
(chord name)
fret indications
1st fret2nd fret3rd fret
1st fret2nd fret3rd fret
nut
nut
6th string (low E)5th string (A)4th string (D)3rd string (G)2nd string (B)1st string (high E)
FIRST ESSENTIAL CHORDS
• Open-position major chords• Open-position minor chords
[ CHAPTER ]
CHAPTER 3
When learning hoW to play the guitar, it’s best to start with the five essential open-position major chords: E, A, D, G and C (see FIGURE 1). These chords are referred to as “open-position”
because each utilizes at least one open string in its formation. In addition, each is played within the first three frets of the guitar. These chord formations lay the groundwork for learning about the fretboard’s layout. They are commonly called “cowboy” chords as they are the bedrock of campfire songs such as “On Top of Old Smoky” and “Streets of Laredo,” but they can also be heard in early rock hits such as “Hey Joe” and “Gloria,” and are equally essential to other forms of music, such as blues, pop, punk and metal.
CHAPTER 3
CHAPTER THREE
E
2 3 1
E
022100
(or 2 3 4)(or 1 1 1)
A
1 2 3
A
02220
D
1 3 2
D
0232
(or 3 2
G
2 1 3
G
320003
4)
C
3 2 1
C
32010
F
3 4 2 1 1
F
33211
FIGURE 10 open minor chords
Em2 3
Em
022000
Am3 2 1
Am
02210
Dm2 3 1
Dm
0231
Fm
4fr
3 4 1 1 1
Fm
33111
Gm3 4 1 1 1
Gm
55333
Cm3 4 2 1
Cm
5543
1
Rhythmic “slashes” whole note = 4 beatsCHAPTER FOUR
*
* = downstroke
E2 3 1
E
(2 3 4)
OR
1
E
022100
(2 3 4)
CHAPTER THREE
E
2 3 1
E
022100
(or 2 3 4)(or 1 1 1)
A
1 2 3
A
02220
D
1 3 2
D
0232
(or 3 2
G
2 1 3
G
320003
4)
C
3 2 1
C
32010
F
3 4 2 1 1
F
33211
FIGURE 10 open minor chords
Em2 3
Em
022000
Am3 2 1
Am
02210
Dm2 3 1
Dm
0231
Fm
4fr
3 4 1 1 1
Fm
33111
Gm3 4 1 1 1
Gm
55333
Cm3 4 2 1
Cm
5543
1
Rhythmic “slashes” whole note = 4 beatsCHAPTER FOUR
*
* = downstroke
E2 3 1
E
(2 3 4)
OR
1
E
022100
(2 3 4)
CHAPTER THREE
E
2 3 1
E
022100
(or 2 3 4)(or 1 1 1)
A
1 2 3
A
02220
D
1 3 2
D
0232
(or 3 2
G
2 1 3
G
320003
4)
C
3 2 1
C
32010
F
3 4 2 1 1
F
33211
FIGURE 10 open minor chords
Em2 3
Em
022000
Am3 2 1
Am
02210
Dm2 3 1
Dm
0231
Fm
4fr
3 4 1 1 1
Fm
33111
Gm3 4 1 1 1
Gm
55333
Cm3 4 2 1
Cm
5543
1
Rhythmic “slashes” whole note = 4 beatsCHAPTER FOUR
*
* = downstroke
E2 3 1
E
(2 3 4)
OR
1
E
022100
(2 3 4)
CHAPTER THREE
E
2 3 1
E
022100
(or 2 3 4)(or 1 1 1)
A
1 2 3
A
02220
D
1 3 2
D
0232
(or 3 2
G
2 1 3
G
320003
4)
C
3 2 1
C
32010
F
3 4 2 1 1
F
33211
FIGURE 10 open minor chords
Em2 3
Em
022000
Am3 2 1
Am
02210
Dm2 3 1
Dm
0231
Fm
4fr
3 4 1 1 1
Fm
33111
Gm3 4 1 1 1
Gm
55333
Cm3 4 2 1
Cm
5543
1
Rhythmic “slashes” whole note = 4 beatsCHAPTER FOUR
*
* = downstroke
E2 3 1
E
(2 3 4)
OR
1
E
022100
(2 3 4)
CHAPTER THREE
E
2 3 1
E
022100
(or 2 3 4)(or 1 1 1)
A
1 2 3
A
02220
D
1 3 2
D
0232
(or 3 2
G
2 1 3
G
320003
4)
C
3 2 1
C
32010
F
3 4 2 1 1
F
33211
FIGURE 10 open minor chords
Em2 3
Em
022000
Am3 2 1
Am
02210
Dm2 3 1
Dm
0231
Fm
4fr
3 4 1 1 1
Fm
33111
Gm3 4 1 1 1
Gm
55333
Cm3 4 2 1
Cm
5543
1
Rhythmic “slashes” whole note = 4 beatsCHAPTER FOUR
*
* = downstroke
E2 3 1
E
(2 3 4)
OR
1
E
022100
(2 3 4)
CHAPTER THREE
E
2 3 1
E
022100
(or 2 3 4)(or 1 1 1)
A
1 2 3
A
02220
D
1 3 2
D
0232
(or 3 2
G
2 1 3
G
320003
4)
C
3 2 1
C
32010
F
3 4 2 1 1
F
33211
FIGURE 10 open minor chords
Em2 3
Em
022000
Am3 2 1
Am
02210
Dm2 3 1
Dm
0231
Fm
4fr
3 4 1 1 1
Fm
33111
Gm3 4 1 1 1
Gm
55333
Cm3 4 2 1
Cm
5543
1
Rhythmic “slashes” whole note = 4 beatsCHAPTER FOUR
*
* = downstroke
E2 3 1
E
(2 3 4)
OR
1
E
022100
(2 3 4)
CHAPTER THREE
E
2 3 1
E
022100
(or 2 3 4)(or 1 1 1)
A
1 2 3
A
02220
D
1 3 2
D
0232
(or 3 2
G
2 1 3
G
320003
4)
C
3 2 1
C
32010
F
3 4 2 1 1
F
33211
FIGURE 10 open minor chords
Em2 3
Em
022000
Am3 2 1
Am
02210
Dm2 3 1
Dm
0231
Fm
4fr
3 4 1 1 1
Fm
33111
Gm3 4 1 1 1
Gm
55333
Cm3 4 2 1
Cm
5543
1
Rhythmic “slashes” whole note = 4 beatsCHAPTER FOUR
*
* = downstroke
E2 3 1
E
(2 3 4)
OR
1
E
022100
(2 3 4)
CHAPTER THREE
E
2 3 1
E
022100
(or 2 3 4)(or 1 1 1)
A
1 2 3
A
02220
D
1 3 2
D
0232
(or 3 2
G
2 1 3
G
320003
4)
C
3 2 1
C
32010
F
3 4 2 1 1
F
33211
FIGURE 10 open minor chords
Em2 3
Em
022000
Am3 2 1
Am
02210
Dm2 3 1
Dm
0231
Fm
4fr
3 4 1 1 1
Fm
33111
Gm3 4 1 1 1
Gm
55333
Cm3 4 2 1
Cm
5543
1
Rhythmic “slashes” whole note = 4 beatsCHAPTER FOUR
*
* = downstroke
E2 3 1
E
(2 3 4)
OR
1
E
022100
(2 3 4)
E A D
Figure 1 (part 1 of 2)
CHAPTER 3
OPEN-POSITION MAjOR CHORDSlET’S BEgIN wITH E, A and D. For each of these chords, place the fretting fingertip firmly on the correct string, just behind the fret indicated in the chord frame. This is also shown in the tablature (or TAB), a transcription system that is explained in detail in chapter 4. Once the fret-hand fingers are in place, strum gently across all of the strings, starting with E, and be sure that each of the six strings is sounded clearly. Now do the same with A, which is fretted by using either the index, middle and ring fingers (indicated as 1 2 3) or the middle finger, ring finger and pinkie (2 3 4), or by laying the index finger flat across the D, G
and B strings at the second fret. Then do the same with the D chord form.
Now try the same with G and C. Also included in these first essential chords is F, which is in part sounded by laying the index finger across the top two strings at the first fret. Using one finger to cover more than one string at a given fret is known as a barre or partial barre. When playing these chords, note that some of them do not include all six strings and that it is important to carefully avoid strumming any strings that have an X over them in the chord frames and for which there is no TAB number.
CHAPTER 3
CHAPTER THREE
E
2 3 1
E
022100
(or 2 3 4)(or 1 1 1)
A
1 2 3
A
02220
D
1 3 2
D
0232
(or 3 2
G
2 1 3
G
320003
4)
C
3 2 1
C
32010
F
3 4 2 1 1
F
33211
FIGURE 10 open minor chords
Em2 3
Em
022000
Am3 2 1
Am
02210
Dm2 3 1
Dm
0231
Fm
4fr
3 4 1 1 1
Fm
33111
Gm3 4 1 1 1
Gm
55333
Cm3 4 2 1
Cm
5543
1
Rhythmic “slashes” whole note = 4 beatsCHAPTER FOUR
*
* = downstroke
E2 3 1
E
(2 3 4)
OR
1
E
022100
(2 3 4)
CHAPTER THREE
E
2 3 1
E
022100
(or 2 3 4)(or 1 1 1)
A
1 2 3
A
02220
D
1 3 2
D
0232
(or 3 2
G
2 1 3
G
320003
4)
C
3 2 1
C
32010
F
3 4 2 1 1
F
33211
FIGURE 10 open minor chords
Em2 3
Em
022000
Am3 2 1
Am
02210
Dm2 3 1
Dm
0231
Fm
4fr
3 4 1 1 1
Fm
33111
Gm3 4 1 1 1
Gm
55333
Cm3 4 2 1
Cm
5543
1
Rhythmic “slashes” whole note = 4 beatsCHAPTER FOUR
*
* = downstroke
E2 3 1
E
(2 3 4)
OR
1
E
022100
(2 3 4)
CHAPTER THREE
E
2 3 1
E
022100
(or 2 3 4)(or 1 1 1)
A
1 2 3
A
02220
D
1 3 2
D
0232
(or 3 2
G
2 1 3
G
320003
4)
C
3 2 1
C
32010
F
3 4 2 1 1
F
33211
FIGURE 10 open minor chords
Em2 3
Em
022000
Am3 2 1
Am
02210
Dm2 3 1
Dm
0231
Fm
4fr
3 4 1 1 1
Fm
33111
Gm3 4 1 1 1
Gm
55333
Cm3 4 2 1
Cm
5543
1
Rhythmic “slashes” whole note = 4 beatsCHAPTER FOUR
*
* = downstroke
E2 3 1
E
(2 3 4)
OR
1
E
022100
(2 3 4)
CHAPTER THREE
E
2 3 1
E
022100
(or 2 3 4)(or 1 1 1)
A
1 2 3
A
02220
D
1 3 2
D
0232
(or 3 2
G
2 1 3
G
320003
4)
C
3 2 1
C
32010
F
3 4 2 1 1
F
33211
FIGURE 10 open minor chords
Em2 3
Em
022000
Am3 2 1
Am
02210
Dm2 3 1
Dm
0231
Fm
4fr
3 4 1 1 1
Fm
33111
Gm3 4 1 1 1
Gm
55333
Cm3 4 2 1
Cm
5543
1
Rhythmic “slashes” whole note = 4 beatsCHAPTER FOUR
*
* = downstroke
E2 3 1
E
(2 3 4)
OR
1
E
022100
(2 3 4)
CHAPTER THREE
E
2 3 1
E
022100
(or 2 3 4)(or 1 1 1)
A
1 2 3
A
02220
D
1 3 2
D
0232
(or 3 2
G
2 1 3
G
320003
4)
C
3 2 1
C
32010
F
3 4 2 1 1
F
33211
FIGURE 10 open minor chords
Em2 3
Em
022000
Am3 2 1
Am
02210
Dm2 3 1
Dm
0231
Fm
4fr
3 4 1 1 1
Fm
33111
Gm3 4 1 1 1
Gm
55333
Cm3 4 2 1
Cm
5543
1
Rhythmic “slashes” whole note = 4 beatsCHAPTER FOUR
*
* = downstroke
E2 3 1
E
(2 3 4)
OR
1
E
022100
(2 3 4)
CHAPTER THREE
E
2 3 1
E
022100
(or 2 3 4)(or 1 1 1)
A
1 2 3
A
02220
D
1 3 2
D
0232
(or 3 2
G
2 1 3
G
320003
4)
C
3 2 1
C
32010
F
3 4 2 1 1
F
33211
FIGURE 10 open minor chords
Em2 3
Em
022000
Am3 2 1
Am
02210
Dm2 3 1
Dm
0231
Fm
4fr
3 4 1 1 1
Fm
33111
Gm3 4 1 1 1
Gm
55333
Cm3 4 2 1
Cm
5543
1
Rhythmic “slashes” whole note = 4 beatsCHAPTER FOUR
*
* = downstroke
E2 3 1
E
(2 3 4)
OR
1
E
022100
(2 3 4)
CHAPTER THREE
E
2 3 1
E
022100
(or 2 3 4)(or 1 1 1)
A
1 2 3
A
02220
D
1 3 2
D
0232
(or 3 2
G
2 1 3
G
320003
4)
C
3 2 1
C
32010
F
3 4 2 1 1
F
33211
FIGURE 10 open minor chords
Em2 3
Em
022000
Am3 2 1
Am
02210
Dm2 3 1
Dm
0231
Fm
4fr
3 4 1 1 1
Fm
33111
Gm3 4 1 1 1
Gm
55333
Cm3 4 2 1
Cm
5543
1
Rhythmic “slashes” whole note = 4 beatsCHAPTER FOUR
*
* = downstroke
E2 3 1
E
(2 3 4)
OR
1
E
022100
(2 3 4)
CHAPTER THREE
E
2 3 1
E
022100
(or 2 3 4)(or 1 1 1)
A
1 2 3
A
02220
D
1 3 2
D
0232
(or 3 2
G
2 1 3
G
320003
4)
C
3 2 1
C
32010
F
3 4 2 1 1
F
33211
FIGURE 10 open minor chords
Em2 3
Em
022000
Am3 2 1
Am
02210
Dm2 3 1
Dm
0231
Fm
4fr
3 4 1 1 1
Fm
33111
Gm3 4 1 1 1
Gm
55333
Cm3 4 2 1
Cm
5543
1
Rhythmic “slashes” whole note = 4 beatsCHAPTER FOUR
*
* = downstroke
E2 3 1
E
(2 3 4)
OR
1
E
022100
(2 3 4)
G C F
Figure 1 (part 2 of 2)
EXPERT ADVICE
Take Care of Your HandsYou can finger notes more easily if you keep the nails on your fret hand trimmed short. Leave the nails on your picking hand slightly longer to facilitate plucking the strings. Rough edges on your nails will impair the tone of
your playing, so be sure to use a good set of clippers and an emery board to maintain smooth nail tips. Wash your hands prior to playing—clean hands transmit less dirt and help maintain string life and tone.
CHAPTER 3
CHAPTER 3
Figure 2 Open-position minor chords (part 2 of 2)
Fm Gm Cm
�
FIGURE 10 open minor chords
� 3
Em
022000
3 � 1
Am
02210
� 3 1
Dm
0231
3 4 1 1 1
4 fr
Fm
33111
3 4 1 1 1
Gm
5333
5
3 4 � 1
Cm
5543
FIGURE 9 modern rock/pop w/sus2 chords = 88C
32010
G
320003
F
33211
Fsus2
33011
C
32010
FIGURE 8 hard rock = 128
(w/dist.)A
02220
D
0232
G5
3X0033
D
0232
(play 4 times)A
02220
C
32010
G
320033
D
0232
C
32010
D
0232
G
320032
G
320003
D
0232
FIGURE 7 a la the Who, AC/DC,
= 128
� 1 3 4
G
320033
Judas Priest
E
022100
FIGURE 6 a la Traffic/Allman Bros./Led Zeppelin = 84
D
0232
sim.C
32010
�
FIGURE 10 open minor chords
� 3
Em
022000
3 � 1
Am
02210
� 3 1
Dm
0231
3 4 1 1 1
4 fr
Fm
33111
3 4 1 1 1
Gm
5333
5
3 4 � 1
Cm
5543
FIGURE 9 modern rock/pop w/sus2 chords = 88C
32010
G
320003
F
33211
Fsus2
33011
C
32010
FIGURE 8 hard rock = 128
(w/dist.)A
02220
D
0232
G5
3X0033
D
0232
(play 4 times)A
02220
C
32010
G
320033
D
0232
C
32010
D
0232
G
320032
G
320003
D
0232
FIGURE 7 a la the Who, AC/DC,
= 128
� 1 3 4
G
320033
Judas Priest
E
022100
FIGURE 6 a la Traffic/Allman Bros./Led Zeppelin = 84
D
0232
sim.C
32010
�
FIGURE 10 open minor chords
� 3
Em
022000
3 � 1
Am
02210
� 3 1
Dm
0231
3 4 1 1 1
4 fr
Fm
33111
3 4 1 1 1
Gm
5333
5
3 4 � 1
Cm
5543
FIGURE 9 modern rock/pop w/sus2 chords = 88C
32010
G
320003
F
33211
Fsus2
33011
C
32010
FIGURE 8 hard rock = 128
(w/dist.)A
02220
D
0232
G5
3X0033
D
0232
(play 4 times)A
02220
C
32010
G
320033
D
0232
C
32010
D
0232
G
320032
G
320003
D
0232
FIGURE 7 a la the Who, AC/DC,
= 128
� 1 3 4
G
320033
Judas Priest
E
022100
FIGURE 6 a la Traffic/Allman Bros./Led Zeppelin = 84
D
0232
sim.C
32010
�
FIGURE 10 open minor chords
� 3
Em
022000
3 � 1
Am
02210
� 3 1
Dm
0231
3 4 1 1 1
4 fr
Fm
33111
3 4 1 1 1
Gm
5333
5
3 4 � 1
Cm
5543
FIGURE 9 modern rock/pop w/sus2 chords = 88C
32010
G
320003
F
33211
Fsus2
33011
C
32010
FIGURE 8 hard rock = 128
(w/dist.)A
02220
D
0232
G5
3X0033
D
0232
(play 4 times)A
02220
C
32010
G
320033
D
0232
C
32010
D
0232
G
320032
G
320003
D
0232
FIGURE 7 a la the Who, AC/DC,
= 128
� 1 3 4
G
320033
Judas Priest
E
022100
FIGURE 6 a la Traffic/Allman Bros./Led Zeppelin = 84
D
0232
sim.C
32010
�
FIGURE 10 open minor chords
� 3
Em
022000
3 � 1
Am
02210
� 3 1
Dm
0231
3 4 1 1 1
4 fr
Fm
33111
3 4 1 1 1
Gm
5333
5
3 4 � 1
Cm
5543
FIGURE 9 modern rock/pop w/sus2 chords = 88C
32010
G
320003
F
33211
Fsus2
33011
C
32010
FIGURE 8 hard rock = 128
(w/dist.)A
02220
D
0232
G5
3X0033
D
0232
(play 4 times)A
02220
C
32010
G
320033
D
0232
C
32010
D
0232
G
320032
G
320003
D
0232
FIGURE 7 a la the Who, AC/DC,
= 128
� 1 3 4
G
320033
Judas Priest
E
022100
FIGURE 6 a la Traffic/Allman Bros./Led Zeppelin = 84
D
0232
sim.C
32010
�
FIGURE 10 open minor chords
� 3
Em
022000
3 � 1
Am
02210
� 3 1
Dm
0231
3 4 1 1 1
4 fr
Fm
33111
3 4 1 1 1
Gm
5333
5
3 4 � 1
Cm
5543
FIGURE 9 modern rock/pop w/sus2 chords = 88C
32010
G
320003
F
33211
Fsus2
33011
C
32010
FIGURE 8 hard rock = 128
(w/dist.)A
02220
D
0232
G5
3X0033
D
0232
(play 4 times)A
02220
C
32010
G
320033
D
0232
C
32010
D
0232
G
320032
G
320003
D
0232
FIGURE 7 a la the Who, AC/DC,
= 128
� 1 3 4
G
320033
Judas Priest
E
022100
FIGURE 6 a la Traffic/Allman Bros./Led Zeppelin = 84
D
0232
sim.C
32010
�
FIGURE 10 open minor chords
� 3
Em
022000
3 � 1
Am
02210
� 3 1
Dm
0231
3 4 1 1 1
4 fr
Fm
33111
3 4 1 1 1
Gm
5333
5
3 4 � 1
Cm
5543
FIGURE 9 modern rock/pop w/sus2 chords = 88C
32010
G
320003
F
33211
Fsus2
33011
C
32010
FIGURE 8 hard rock = 128
(w/dist.)A
02220
D
0232
G5
3X0033
D
0232
(play 4 times)A
02220
C
32010
G
320033
D
0232
C
32010
D
0232
G
320032
G
320003
D
0232
FIGURE 7 a la the Who, AC/DC,
= 128
� 1 3 4
G
320033
Judas Priest
E
022100
FIGURE 6 a la Traffic/Allman Bros./Led Zeppelin = 84
D
0232
sim.C
32010
�
FIGURE 10 open minor chords
� 3
Em
022000
3 � 1
Am
02210
� 3 1
Dm
0231
3 4 1 1 1
4 fr
Fm
33111
3 4 1 1 1
Gm
5333
5
3 4 � 1
Cm
5543
FIGURE 9 modern rock/pop w/sus2 chords = 88C
32010
G
320003
F
33211
Fsus2
33011
C
32010
FIGURE 8 hard rock = 128
(w/dist.)A
02220
D
0232
G5
3X0033
D
0232
(play 4 times)A
02220
C
32010
G
320033
D
0232
C
32010
D
0232
G
320032
G
320003
D
0232
FIGURE 7 a la the Who, AC/DC,
= 128
� 1 3 4
G
320033
Judas Priest
E
022100
FIGURE 6 a la Traffic/Allman Bros./Led Zeppelin = 84
D
0232
sim.C
32010
HOW TO READ RHYTHMS
• Reading rhythms: “slashes”• Practicing strumming in time
• Reading rhythms: TAb
[ CHAPTER ]
CHAPTER 4
noW that you have learned a handful of essential major and minor chord shapes, the next step is learning how to play these chords in time—that is, along to a specific beat or tempo. This is your
introduction to reading written music. To begin, let’s become familiar with the use of rhythmic slashes. This approach serves as an effective shortcut to learning to read written music.
READING RHYTHMS: “SLASHES”IN THE FOllOwINg examples, rhythm slashes are used to indicate how long a chord should be held, or allowed to ring, across a specific number of beats. Before playing, set your metronome at a
slow-to-moderate tempo, or just tap your foot evenly in time at a slow-to-moderate tempo.
In the first example (FIGURE 3a), an E major chord is shown above a hollow,
CHAPTER 4
diamond-shaped rhythmic slash. This represents a whole note, which means the chord is held for four beats in 4/4 time (the whole bar). Count out loud, “ONE-two-three-four, ONE-two-three-four,” and so on, and then strike the chord on “ONE” and allow it to ring through “two-three-four.” This is also shown in the TAB.
In the second example, FIGURE 3b, a vertical line, or stem, is added to the left side of the diamond shape. This represents a half note, which means the chord is held for only two beats, or half of the bar. Again, this is illustrated in the TAB.
CHAPTER THREE
E
2 3 1
E
022100
(or 2 3 4)(or 1 1 1)
A
1 2 3
A
02220
D
1 3 2
D
0232
(or 3 2
G
2 1 3
G
320003
4)
C
3 2 1
C
32010
F
3 4 2 1 1
F
33211
FIGURE 10 open minor chords
Em2 3
Em
022000
Am3 2 1
Am
02210
Dm2 3 1
Dm
0231
Fm
4fr
3 4 1 1 1
Fm
33111
Gm3 4 1 1 1
Gm
55333
Cm3 4 2 1
Cm
5543
1
Rhythmic “slashes” whole note = 4 beatsCHAPTER FOUR
*
* = downstroke
E2 3 1
E
(2 3 4)
OR
1
E
022100
(2 3 4)
CHAPTER THREE
E
2 3 1
E
022100
(or 2 3 4)(or 1 1 1)
A
1 2 3
A
02220
D
1 3 2
D
0232
(or 3 2
G
2 1 3
G
320003
4)
C
3 2 1
C
32010
F
3 4 2 1 1
F
33211
FIGURE 10 open minor chords
Em2 3
Em
022000
Am3 2 1
Am
02210
Dm2 3 1
Dm
0231
Fm
4fr
3 4 1 1 1
Fm
33111
Gm3 4 1 1 1
Gm
55333
Cm3 4 2 1
Cm
5543
1
Rhythmic “slashes” whole note = 4 beatsCHAPTER FOUR
*
* = downstroke
E2 3 1
E
(2 3 4)
OR
1
E
022100
(2 3 4)
Figure 3a Whole note = 4 beats
CHAPTER 4
1
Half note = 2 beats
E2 3 1
E
(2) 3
(4)
OR
1
E
022100
(2) 3
022100
(4)
1
Quarter note = 1 beat
E2 3 1
E
2
3
4
OR
1
E
022100
2
022100
3
022100
4
022100
count: 1
Eighth note = 1/2 beat
* = downstroke
*E
2 3 1
E
an
2
= upstroke
an
3
an
4
an
OR
count: 1
E
an
2
an
3
022100
022100
022100
022100
an
4
an
022100
022100
022100
022100
1
Half note = 2 beats
E2 3 1
E
(2) 3
(4)
OR
1
E
022100
(2) 3
022100
(4)
1
Quarter note = 1 beat
E2 3 1
E
2
3
4
OR
1
E
022100
2
022100
3
022100
4
022100
count: 1
Eighth note = 1/2 beat
* = downstroke
*E
2 3 1
E
an
2
= upstroke
an
3
an
4
an
OR
count: 1
E
an
2
an
3
022100
022100
022100
022100
an
4
an
022100
022100
022100
022100
Figure 3b Half note = 2 beats
NOw lET’S TRy playing quarter notes, which are held for only one beat (there are four of them per bar). This means we’re going to strum a chord on each beat in the bar. As shown below in FIGURE 3c, an E major chord is formed, and, in the TAB, a diagonal slash is joined by a vertical stem to indicate that the chord is to be struck and held for only one beat.
Continuing to divide the value of each rhythm in half, eighth notes are held for
only half a beat each, meaning there are two of them per beat and eight per bar (8/8 = 1). Eighth notes are indicated in a way similar to quarter notes, except groups of four slashes are joined together by a horizontal line known as a beam (see FIGURE 3d). A single beam indicates a rhythm of eighth notes, and each beat is counted as “ONE-an,” followed by “TWO-an,” “THREE-an” and “FOUR-an.”
CHAPTER 4
1
Half note = 2 beats
E2 3 1
E
(2) 3
(4)
OR
1
E
022100
(2) 3
022100
(4)
1
Quarter note = 1 beat
E2 3 1
E
2
3
4
OR
1
E
022100
2
022100
3
022100
4
022100
count: 1
Eighth note = 1/2 beat
* = downstroke
*E
2 3 1
E
an
2
= upstroke
an
3
an
4
an
OR
count: 1
E
an
2
an
3
022100
022100
022100
022100
an
4
an
022100
022100
022100
022100
1
Half note = 2 beats
E2 3 1
E
(2) 3
(4)
OR
1
E
022100
(2) 3
022100
(4)
1
Quarter note = 1 beat
E2 3 1
E
2
3
4
OR
1
E
022100
2
022100
3
022100
4
022100
count: 1
Eighth note = 1/2 beat
* = downstroke
*E
2 3 1
E
an
2
= upstroke
an
3
an
4
an
OR
count: 1
E
an
2
an
3
022100
022100
022100
022100
an
4
an
022100
022100
022100
022100
1
Half note = 2 beats
E2 3 1
E
(2) 3
(4)
OR
1
E
022100
(2) 3
022100
(4)
1
Quarter note = 1 beat
E2 3 1
E
2
3
4
OR
1
E
022100
2
022100
3
022100
4
022100
count: 1
Eighth note = 1/2 beat
* = downstroke
*E
2 3 1
E
an
2
= upstroke
an
3
an
4
an
OR
count: 1
E
an
2
an
3
022100
022100
022100
022100
an
4
an
022100
022100
022100
022100
1
Half note = 2 beats
E2 3 1
E
(2) 3
(4)
OR
1
E
022100
(2) 3
022100
(4)
1
Quarter note = 1 beat
E2 3 1
E
2
3
4
OR
1
E
022100
2
022100
3
022100
4
022100
count: 1
Eighth note = 1/2 beat
* = downstroke
*E
2 3 1
E
an
2
= upstroke
an
3
an
4
an
OR
count: 1
E
an
2
an
3
022100
022100
022100
022100
an
4
an
022100
022100
022100
022100
Figure 3c Quarter note = 1 beat
Figure 3d Eighth note = 1/2 beat
CHAPTER 4
CHAPTER 4
EXPERT ADVICE
Work on Your RhythmIt’s tempting to focus your efforts on your lead playing, but don’t neglect to work on your rhythm playing in equal amounts. Guitarists play a supportive role most of the time, so it’s vital that you keep your rhythm chops honed.
PRACTICING STRUMMING IN TIMENOw THAT wE HAvE covered the essential open-position major and minor chord shapes, as well as how to read rhythmic slashes, let’s play some exercises combining these elements. As shown in the next six examples (FIGURES 4a–f), each of these major chord voicings is played in a rhythm of steady quarter notes for two bars. Sound each chord by strumming in a downward motion across the indicated strings. (Remember not to strum any strings that are not included in the chord voicing.)
CHAPTER 4
count: 1
Chords Played in Quarter NotesFIGURE 8a
E
2
3
4
1
2
3
4
FIGURE 8b
A
(repeat previous bar)
FIGURE 8cD
FIGURE 8d
C
FIGURE 8eG
FIGURE 8f
F
FIGURE 9aE
simile
A
FIGURE 9bA
D
count: 1
Chords Played in Quarter NotesFIGURE 8a
E
2
3
4
1
2
3
4
FIGURE 8b
A
(repeat previous bar)
FIGURE 8cD
FIGURE 8d
C
FIGURE 8eG
FIGURE 8f
F
FIGURE 9aE
simile
A
FIGURE 9bA
D
Figure 4a Figure 4b
CHAPTER 4
E A
jIMI HENDRIXON
PersistenceSometimes you want to give up the guitar— you’ll hate the guitar. But if you stick
with it, you’re gonna be rewarded.”
CHAPTER 4PH
OTO
BY
TOM
CO
PI/M
ICH
AEL
OCH
S AR
CHIV
ES/G
ETTY
IMAG
ES
CHAPTER 4
READING RHYTHMS: SINGLE-NOTE TAb
TODAy, mOST guITAR transcriptions are written using TAB, which, as mentioned earlier, is short for tablature. TAB is a six-line grid that represents the six strings of the guitar, the lowest (bottom) line representing the sixth, or low E, string, and the highest (top) line representing the first, or high E, string. A zero on the TAB line means that the string is picked open (i.e., unfretted). If a number
is shown on the TAB line, the number indicates the fret at which a finger should be placed on the string.
Just as with rhythmic slashes, we read single notes on the guitar by using the TAB system, and the symbols we use mirror those that are employed for rhythmic slashes. As shown in FIGURE 9, a whole note is indicated by a circle around a specific note (TAB number), in this case,
CHAPTER 4
the open low E string. The string is struck once with the pick and allowed to ring for four beats. Half notes are indicated by a circle with a vertical stem attached, and quarter notes are indicated simply by
adding a stem below the TAB number (no circles included).
As with rhythmic slashes, eighth notes are indicated by connecting the stemmed notes with a single horizontal line, or beam.
count: 1
!
FIGURE 17 notes
Understanding Rhythms
whole note = 4 beats
0
(2 3 4) 1
!
half note = 2 beats
0
(2) 3
!0
(4) 1
quarter note = 1 beat
0
2
0
3
0
4
0
beat:
1
eighth note = 1/2 beat (2 eighth notes per beat)
1
an 2
2
an 3
0 0 0 0
3
an 4
4
an
0 0 0 0
FIGURE **in time:
low E string:
0 0 0 0
A string:
0 0 0 0
D string:
0 0 0 0
G string:
0 0 0 0
B string:
0 0 0 0
high E string:0 0 0 0
B string:
0 0 0 0
G string:
0 0 0 0
D string:
0 0 0 0
A string:
0 0 0 0
low E string:
0 0 0 0
FIGURE 13c fret indications
fret-handfingering:
low E stringopen
0
1
1st fret
1
2
2nd fret
2
3
3rd fret
3
3
3
2
2
1
1 0
A string
0
1
1
2
2
3
3
3
3
2
2
1
1 0
low E string
0
1
1
2
2
3
3
3
3
2
2
1
1 0
Figure 9 notes
CHAPTER 4
EXPERT ADVICE
Train Your EarsIt can take years of practice before you can identify intervals, chords and scales by ear. Fortunately, a number of resources—including courses and online exercises—are available to help you train your ears. This skill is especially
useful for working out riffs, licks and songs, and it can also help you sing what you play and play what you sing, just as guitarist George Benson does when he sings and plays lines in unison or harmony.
PHO
TO B
Y JE
REM
Y DA
NGE
R
jOHN PETRUCCIDream TheaTerON
Using a Metronome
Use a metronome, a drum machine or a sequencer. Whatever you use is fine;
what’s important is that you learn how to play in time.”
CHAPTER 4
Copyright © 2012 Time Home Entertainment Inc. Published by Time Home Entertainment Inc.135 West 50th Street • New York, NY 10020 All instructional material by Andy Aledort. Some of the material in this book was previously published in Guitar World magazine, and is reprinted with permission by Time Inc.
All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. eISBN: 978-1-6032-0431-6
We welcome your comments and suggestions about Time Home Entertainment Books. Please write to us at:Time Home Entertainment Books, Attention: Book Editors, P.O. Box 11016, Des Moines, IA 50336-1016
If you would like to order any of our hardcover Collector’s Edition books, please call us at 1-800-327-6388, Monday through Friday, 7 a.m. to 8 p.m., or Saturday, 7 a.m. to 6 p.m., Central Time.
Cover/book design: Alexis CookCover/book photography: Jimmy Hubbard
EDITORIAL EDITOR-IN-CHIEF BRAD TOLINSKI
MANAGING EDITOR Jeff Kitts
EXECUTIVE EDITOR Christopher Scapelliti
MUSIC EDITORS Andy Aledort, Jimmy Brown
CONSULTANT Paul Riario
ARTDESIGN DIRECTOR
Alexis CookPHOTOGRAPHY DIRECTOR
Jimmy Hubbard DIGITAL IMAGING SPECIALIST
Evan Trusewicz
PRODUCTION PRODUCTION COORDINATOR
Nicole Schilling
CONSUMER MARKETING CONSUMER MARKETING DIRECTOR
Crystal HudsonAUDIENCE DEVELOPMENT COORDINATOR
Kara TzinivisFULFILLMENT COORDINATOR
Ulises CabreraMARKETING COORDINATOR
Dominique Rennell
NEWBAY MEDIA CORPORATE PRESIDENT & CEO Steve Palm
CHIEF FINANCIAL OFFICER Paul MastronardiCONTROLLER Jack Liedke
VICE PRESIDENT-PUBLISHING DIRECTOR, MUSIC GROUP Bill AmstutzVICE PRESIDENT OF DIGITAL MEDIA Joe Ferrick
VICE PRESIDENT OF AUDIENCE DEVELOPMENT Denise RobbinsVICE PRESIDENT OF CONTENT & MARKETING Anthony Savona
VICE PRESIDENT OF HUMAN RESOURCES Ray Vollmer
TIME HOME ENTERTAINMENTPUBLISHER
Richard FraimanVICE PRESIDENT, BUSINESS DEVELOPMENT & STRATEGY
Steven SandonatoEXECUTIVE DIRECTOR, MARKETING SERVICES
Carol PittardEXECUTIVE DIRECTOR, RETAIL & SPECIAL SALES
Tom MifsudEXECUTIVE PUBLISHING DIRECTOR
Joy ButtsEDITORIAL DIRECTOR
Stephen KoeppEDITORIAL OPERATIONS DIRECTOR
Michael Q. BullerdickDIRECTOR, BOOKAZINE DEVELOPMENT & MARKETING
Laura AdamFINANCE DIRECTOR Glenn Buonocore
ASSOCIATE PUBLISHING DIRECTOR Megan Pearlman
ASSISTANT GENERAL COUNSEL Helen Wan
ASSISTANT DIRECTOR, SPECIAL SALES Ilene Schreider
SENIOR BOOK PRODUCTION MANAGERSusan Chodakiewicz
DESIGN & PREPRESS MANAGER Anne-Michelle Gallero
BRAND MANAGER Katie McHugh
ASSOCIATE PREPRESS MANAGER Alex Voznesenskiy
SPECIAL THANKS
Christine Austin, Jeremy Biloon, Jim Childs, Rose Cirrincione, Lauren Hall Clark, Jacqueline Fitzgerald, Christine Font, Jenna Goldberg, Hillary Hirsch, Suzanne Janso,
David Kahn, Mona Li, Amy Mangus, Robert Marasco, Kimberly Marshall Amy Migliaccio, Nina Mistry, Dave Rozzelle, Adriana Tierno, Vanessa Wu
SUBSCRIBER CUSTOMER SERVICE: Guitar World Magazine Customer Care, P.O. Box 6305, Harlan, IA 51593-1805
ONLINE: www.guitarworld.com/customerservice PHONE: 1-800-456-6441 EMAIL: [email protected]
BACK ISSUES: Please visit our store: www.guitarworld.com/store
EDITORIAL AND ADVERTISING OFFICES 28 East 28th Street, 9th Floor, New York, NY 10016 (212) 768-2966; FAX: (212) 944-9279
NEWBAY MEDIA, LLC 28 East 28th Street, 12th Floor, New York, NY 10016 www.nbmedia.com