rhythm guitar playing book 1
TRANSCRIPT
8/16/2019 Rhythm Guitar Playing Book 1
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RMfuffi
Geltar
FfuGmg
Book
1
Th E/",1^/
qrilu
An
invaluable
aid
in
preparing
for
the
Registry
of Cuitar
Tutors
electric
guitar
exams.
Prrl;"r^:",a,r^r
qr/^/"
l.o,
qril.
2
An
innovative
and
helpful
book
for
all
modern
guitar
players
who
want
to
improve
their rhythm
guitar
playing.
Rrury
egistry
of
Guitar Tutors
8/16/2019 Rhythm Guitar Playing Book 1
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Rkm'runru
qurryAnPunYtw@
BOOKONif,
gV
gHfuZHART
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A CIP
record
for
this
publication
is available from
the
British
Library
ISBN:
1-898466-{4-9
Published
in
Great Britain
by
Registry
Publications
Ltd.
Registry
House,
Churchill
Mews,
Dennett
Rd,
Croydon,
Surrey CRO3JH
Printed
and
bound
in
Great
Britain
by
Gemini
press.
WARNING
PHOTOCOPYING
OF
ANY
PART
OF
THIS
BOOK
IS
ILLEGAL
Breach
of
copyright,
by
photocopying
or any
other means,
rnay
esult in
botr
a
claim for
civil
damages
and
criminal
prosecution.
@opyright
2002
by Registry
Publications
Ltd.
ALL
WORLDWIDE
RIGHTS RESERVED
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f,ORflWO8D
Ttre
negistry
Of
Guitar
Tutors,
in
association
with
the London
College
Of
Music,
first
began
to offer
grade
examinations
in
electric
guitar
playing
in
1993.
Since
that
time
the
examinations
have
proved
to
be
highly
popular
with
students
and
teachers
alike.
However,
the RGT has
repeatedly
had
requests
for
additional
course
materiat
to
accompany
the
Rhythm
Guitar Playing
section
of the
examinations.
This
series
of
three
books
by
Chaz
Hart,
one of the
RGT's
senior
electric
guitar
examiners,
has
been
especially
designed
to
fulfil that
need.
Each
book
provides
a
wide
range
of
musical
examples
that clearly
demonstrate
the
type
of
chord
progressions
that
will
appear
in
each
grade
of
the
examinations.
In
addition,
Chaz
has
thoughtfully
provided
Playing
Tips
with
each
piece.
These
give
advice
on the
most
common
problematic
areas
and
offer
suggestions
on
how
to
gain
those
extra
elusive
marks.
Because
of Chaz's
wide
experience
as a teacher
and examiner,
these
comments
are
always
insightful
and
poignant.
0\erall
the
series
provides
a
structured
and
progressive
way
of
approaching
the
study
of
rhythm
guitar
playing
and
will
undoubtedly
provide
a valuable
study
method
for
atl
students
of
guitar
-
whether intending
to
take
the
examination
or
not.
In
addition,
the
series
serves as an excellent
teaching
resource
which
guitar
teachers
can
use
to
compliment
their
teaching
progranrme.
4^\{t"*u
Tony
Skinner
Director
-
Registry
Of Guitar Tutors
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RruYr'+Enru
@ulryA&
punYuwe
tsooK
n
flto*
my
experience
as
a
teacher
and
electric
guitar
examiner,
I've
found
that
one
of the
main
difticulties
that guitar
players
have
is not
having
enough
chord
charts to practise
in
a
full
range
of keys.
This
book
aims
to alleviate
that
difficulty.
All of
the chord
charts
have
been
officially
approved
by
The
Registry
of Guinr Tutors
for use
in
their
electric
guitar
examinations,
which
are organised
in
association
with the
London
College
of Music.
Wi,rr
each
piece
I
have
tried to
include
a
few tips
that may help
head
off
potential
difficulties.
Please
look
back over
these
as
you progress
further
through
the
grades,
because
the
tips
will
help with
more than
one piece.
You
can
never
have
too
much
material to
read,
so I
suggest
that to
further
supplement
this
book
you
obtain any
of the
'busker-style'
books
n.hich
have a
song
on
one
or two
pages
maximum.
This
enables
you
to
plal'"
the chords
without
having
to
flick
pages.
Don't worry
if
some
of
the
chords
are
outside
your
brief for
the
grade.
If you
don't know the
chord,
play
one
that
is
as near
as
you
can to
it: if
it reads
GmajT
-
play
G,
until
you
learn
the full
chord
and
carry
on.
The important
thing
is:
DON'T
STOP
@hK/,
e/*tVantLRAM
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Introduction
Note
values
To
play
any
rhythm, it's useful
to know
the
different
musical
signs and
symbols that are
universally
used. This
will
help
you
to
play
through
any
time
signature, and more
importantly, to eventually
make up your
own
rhythms.
The following
notes and
their
rhythmic
equivalent are
shown together
with
the
direction
of
the
strum
that
you
need:
CROTCHET
(QUARTER
NOTE)
In
a
X
time bar
you
would
normally
find four
of these,
with
one beat
on
each.
All the
stums
would be
down.
These
are
shown:
D,
D, D,
D.
MINIM
(HALF
NOTE)
In
a
X
time
bar
you
would
play
two
of
these.
The
strums
would
both
be down,
but with
a
gap
of
one
beat
between
each
strum.
QUAVER
(EIGHTH
NOTE)
In a
X
bar
you
could
play
eight
of
these.
The strums
would be
down
and up
strokes, and
are usually
shown as:
Down/up,down/up
down/up
down/
up
or:D/U,
DN
,DN,DN
SEMTBREVE
(WHOLE
NOTE)
In
a
X
bar
you
would
only
find
one
of
these
lasting the
whole
bar.
Try
to
let
the
chord
ring on
for
the
whole
four
beats.
Crotchet
Count
1
)
I
Quaver
StrumDlU
D/U DIU
D/U
and
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Strum
Patterns
The
following
strum patterns
are
probably the
most
commonly
used
rhythms.
Start by
practicing
chords
that
you
know
over
these
pattems.
Try to
keep
a
strong
beat,
and
accent
(play
louder)
the
first
beat
in
every bar.
Count
1" 2
3
(4)
sim.......
Strum
D,
D,
D,
(let
ring) sim....
Pattern
(b)
Count
1
2and
3
4
Strum
D,
D
lU
D,
D.
Pa,ttern
(c)
Pattern
(a)
't
i/
v
v
Count
L
Z
3and
4
Strum
D,
D,
D
lU
D.
Pattem (d)
Count
I
Zand
3and
4
Strum
D,Dru
DN
D.
Note:
In
the
Registry
of
Guitar
Tutors examinations
the rhythm pattern
that
you
play
will
not
be
notated.It
is
up to
you
to
have practised
a
repertoire
of
useful
rhythmic
pattems
from
whir
you
can select an
appropriate
one
for
the style
of
the piece.
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Preliminary
Grade
As
outlined
in
the
Registry
of
Guitar
Tutors examination
handbook,
all
the pieces
for this
grade
are
in
X
time,
so to
begin with
play
four
beats
to
the
bar
(four
down
strums) whilst
you
pr*ti..
slowly
through
this
first
piece.
Try
to keep
going
at the
chord changes.
As
soon
as
you
can,
look
at
the tempo
and
style markings
at the
beginning of
each
piece.
1.
Tin
.
Note
that
the
double dots
at
the
end
of
the
6th
bar mean:
"Repeat
r' rl"
from
the
beginning", if
there
are
no
previous
double dots.
Moderate
tempo
a
a
***x***********x********'**{<**{.*t<{.*{.*******d<*******************'F{€{<***
2.
With
a
swing
Tip:
The
double
dot
signs
are shown
at
the
beginning
of
the
5th
bar
and,
the
end
of
the
6th
bar,
so
this
two
bar
section
is the
bit
that
you
repeat
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3.
Tip:
If
you
find
that
you
just
cant
keep
the
four
strums
going
whilst
you
change the
chords
in
time,
practise
strumming
on
the
ftrst
three
beats
of
the
bar
and
then change the
chord
during
the 4th
beat.
Not
too
slow
I
*
*
* *
* * * *
*
*
* * * *
*
* * * * {. * t {. *
*
*
{<
* * * * * * * *
:*
t * * r(
d.
'F
,k
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+
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4.
n-t.
If
you
feel
more confident,
as
you
start
the
chords
for
the
second
time
on
f
lp:
the
repeat,
ftt
in
an
extra
strum so
that
the
rhythm
starts
to
build. Make
sure that
you
keep a
good
strong
accent
on
the
ftrst
beat
of
each
bar.
With
movement
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5.
Moderate
Tenderly
Ti
,t.
Use
a
'medium'or
'light'gauge
pick initially,
as this will
lt'
travel
easier than
a
heavy'
gauge
pick
across
the
strings.
a
*****************x***********t<*******x********{<*{<r<*{<******************rc{<
6.
rFi,^
.
Try
moving
only
your
third
finger
when
changing
from
r ll|'
Am to
C chord. Watch
out
for
the repeat
signs
tll
I
a
t
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7.
i*.
Think
of
your
favourite
rhythm
and
blues
piece
whilst
'Y'you
strum
this,
and try
to
reproduce
that
rhythm
here.
.
When
you
play,
keep
the
pick
tip
as
straight
as
you
can
lp'.(at
a right
angle
to
the
strings)
so
that
up strokes
are
as
easy
as
down
strokes.
In
a
blues
style
Not
too
fast
****d<******,k{<*********'k*'k'k**************<*'kd.*****{.*tc****************
8.
arTl
t
aa,
I
a
10
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9.
Mournfully
Ti
,r.
When playing
the
Dm
chord, try
using
your
4th
finger,
p.
instead
of
your
3rd,
to
hold
the note
on
the second
string.
nr.
If
you
are tending
to
hit
too
many
bass
notes,
making the
I
lp'.
chords
sound
muddy,
try aiming
for
one
string
LESS than
you
need
to
play
the
chord.
********>k*********x************x*****************'k***********************
10.
In a
blues
style
/-lltl
rll
r
/l
-^-
HTIT
a atl
tt.,
a
a
t
1t
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Grade
One
Timing
O.K.,
now we
are
starting
on
Grade
One
and the
time signature
(the
numbers
at the beginning
of
each
chord
chart)
is
still
X.
fnis
means
that
you
can count
four
beats
in
each
bar
of
music and that
each
beat
would
be
worth
a
%
(crotchet).
With
your
strumming,
you
could
play
four
down
beats
across
the
strings -
but this
doesnt stop
you
strumming
the
strings
on the
way back up
as well
So, some
basic
X
timings could
be:
D ow
n
-
Down-
Down-
Down
I
Up
D.D.
DIU
D
Practise
this
on
one
string
of
a chord, using
down
and up
strokes, then gradually
strum
more
strings.
D-DIU
D-
D
DIU
D-D
-D
'*******************************t<*****d.****d<d<*d<d<d<****************{<*r<********r.**
Dynamics
fhis
involves
a
simple, yet
effective,
technique,
and is one
of
the
most
OVERLOOKED
sections
of
the
examination
-
which
means
that
it
is
a
good
place
for
you
to
pick
up
extra
marks
There
are
3 main
symbols
that
you
need
to
know
for
this
grade,
and
these
are
shown
below
with
their
meanings.
Try and
play
along
following
the
dynamic
markings.
P
blay
softty)
(Gradually
play
louder)
(Gradually
softer)
l-
"f
eny
budty)
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Ti
n.
Play
the
repeat,
with
a
variation
in
your
p
o
strumming,
but keep
the
same
tempo
of
course
1.
Uptempo
blues
style
ar
a
l?
I
*)k'l'**************x**{<**********:k***x*** k k*******{€********4<**d<****:k*****jtc
Ti
n.Tr
to play
the
dynamics.
Look
back
to the
introductory
page
P'on
Grade
One
if
you
need a refresher.
2.
Slowly
p
a
a
I
p
1,3
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3.
Moderate
tempo
4.
Slow
blues
style
Tip:
:;::; f;':,::;",r"::;
righ'l
number
of
n:ro*^
Make
sure that
your
fingers
are
as close
to
the
frets
f lp
Z
as
possible,
as
ihis
oroia"
unwanted
fretbuzz.
p
********************************d({<'F****{<{<**{<****t<+********;k'&*'k***************
p
ara
II
a
ll--
T
'III
1.4
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5.
Up tempo
6.
Slowly
Tip:
You
can
use either
a
pick (plectrum)
or
your
flngers
to
strum.
If you
use
a
pick,
don't hold
it
too
tightly,
as
this
will
lead to
muscular
tension
in
your
hand.
Tip:::ir,i:,T,,:,::::;:l::"1;:":#' ;i":i: 'lhegui'lar
X****{<*{<*{<t<******{<****,k********************{.**:k*******{<X't€*'F'F***************'k***
a
-,
p
)'
l5
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ripz1,?lf
l:"xi'::f
:;;:,r#I#bandrorennger'
7.
With movement
B. Fast
*{<>F{<*cr.*********************+******************('k*********************,&{<*{.{<*d.*****
Tip:ff
n::;*,iX:',:;{: ;y,/::r":;,', :;i:;#,,needed
p
I
-
t.
l6
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9.
Up
tempo
Ti
Strive to play
the FIRST
chord
of
each
bar in
time
-
p'.
even
if, at
first,
this
results
in
ctipping
the
previous
chord.
on
the
4th beat.
ALWAYS
look through
the
sequence
before playing.
Tip:
This
way
you'll
r", ihirh
chords are
ciming
up, oia
you
can
take
note
of any dynamics and repeat
marl<s.
*
* {<
,k
*
*
* * * x
*
*
* * t
* * *
*
,k
* * *
* * *
* * x
*
*
* *
* *
*
{< * * *
*
* * *
*
*
*
* * * *
*
*
*
* * * * *
* * *
*
* * * * *
* *
*
* *
*
*
*
*
:t
*
* *
10.
In
a
ballad
style
p
I l-- _-
t'
a
17
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New
Chords,&
Tips
on practising
them
1
-
tn
this grade
we
have
many
new
chords
including
the
'small barre'shapes.
This is where
you
place
and
hold
your
first
finger
across
more
than
one string.
This
causes
the
problem
of holding the
finger
straight
and
bending
all
the
others,
because
the
brain
has
been
conditioned
to
use
itt
ttt"
fingers
in
the
same
way.
So...dont
use
too much
force
to
hold
down the
barre,
but
practise
changing
from
a non-barre
chord
many times
to
re-educate
the
brain messages.
Even
if the
sound
of
the
barre chord
has
fret-buzz
-keep
practising
-
Place
the
fretting
finger
across
two
strings
and
slide
from
the
1st
to the
9th
fret, holding
the
finger
down,
so that you
create
a
glissando
effect.
(Slide
quickly
at first)
When
you
can do
this
and
hear
all the
notes
on each
fret,
try this
exercise
holding
down
three
stringi.
-
If
you
experience
any
cramp
or
tightness
in
your
left
hand -
STOP
PLAYING
and relax your
hand
loosely
by your
side, and shake
lightly for thirty
seconds.
-
Now
we're
ready
to practise
chords
with a
small
barre
holding
two
strings.
Start with
the
Am7 chord
and practise
changing
to
Dm7,
repeat
up to ten
times:
5 -
No*
try
this
next
sequence
with
the
F
chord,
which
is an extension
of
the
Dm7
chord:
6
-
No*
practice
the
Dmaj7 chord
with
a
small
barre
across
three
strings
on
the
2nd
fret,instead
123
fingers
that
you
would
have
used
for
Grade One:
-
Now
try the
F#m
chord,
which
is
an
extension
of
the
new
version
Drnaj?
chord:
Repeat
all
of
these
sequences
up
to ten
times.
a
a
I
a
I
19
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Two
chords
in
a
bar
In
this next
sequence
you
will
notice that some bars contain
two
chords.
These
are known
as
'split'
bars. Each
split
bar chord has
a
dot after it
which
indicates
another
beat. To begin
with,
just
use
downstrokes
in
the
bars
with
two
chords and
try varying
the strum
in
the single chord
bars.
Below
is
an
introductory
piece
to
get
you
into
the
two
in
a
bar'changing routine.
* * * *
d<
* * * * * * * * * * * * * * * * *
:k
*
d<
* * * * *
{.
{<
* * * * * * * *
d<
>t<
d<
* * * *
d<
*
'1.
* *
x
* *
:k
* *
:e
* * * *
:&
r.
* *
{.
t * * *
d<
* * * * * * * *
Variations
in
strumming
In
this
next
example
experiment
by
varying
the
strum that
you
use
during
your
playing
of
the
repeated
section.
For example,
the
first
time
you
could
play:1,2&3y',
(Down,
down/up
down, down),
for each
of
the
first
four bars,
and then:
1,2&3&4,(Down,
down/up down/up
down),
during
the repeat
of these
four
bars.
.r
t
H
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Dynamics
The
dynamics
for
this
grade
are
shown
below, with
their
meanings
in
brackets.
The
sequence
has
been
written
with
straightforward
chord
changes to
allow
you
to
practise
one
technique,
without
getting
bogged
down
with any
other
The
letters p
and
f,
stand
for
piano
-
forte
respectively,
and
this is
how
the piano
got
its
name.
The
soft
-
loud instument
?
(play
softly)
tt
-^^
f---f
I
rI I I
t
H^^^,
f
@rav
loudly)
?
(softly)
(get
softer
gradually)
***************************'F****{<****************x*****X***************:1.{<*:k:t't:*:k*
More
strum
patterns
On
page
6
there are
some
strum patterns,
but
here are
some new ones. These
could
be
used
on the
repeat
bars, or
all the
way through,
for
a
completely
different
feel.
Again,
easy chords
have
been
selected
to
give
you
a
chance
to practise
this new technique.
I
have
written
the
count
undemeath
the
strikes. Note that
the beats
in
brackets
are
NOT
played,
but
just
counted.
T.y
to
keep
all
the
main
beats
as
DOWN strums, and
all the
'and'beats
as
UP strums.
Em7
(get louder
gradually)
2 and
(3)
and 4
3 and
(4)
and
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nr._^
^
Don't
forget
that, any
chords
from
the
previous two
f lp'.
grodu
,i, olro
be i-ncluded
in these
,iqunrrur.
1.
Moderate
tempo
p
r I
8{<rrrF**d<X<{<rF{<{<16lF*******r,<*{<***t<t<t<{<{<{<rrrr{<*rr*********'.<*X<****{<tr******rr**X<*rF****rFrrrF*{<{<{<**
Tip
I
nizf:;:;'"YW
touder)
thefirst
2.
With a
bounce feel
n
p
/ a^ '
a
I
tlt
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3.
Uptempo
Tip:
Try
to keep
the
wrist
loose and relaxed.
Ti
Note how
for
sll
of
these
chords the
first finger
stays
Di
on
the
ftrst fret. Always
lookout
for
relationships like
I
this to
make chord
changes easier.
p
;r F
,F
*
*
*
* * * * * *
* *
,F
* *
*
*
* * * *
*
{. *.
* * * *
{c
't
* * *
:F
* * * * * * *<
r<
*c * * *
'F
* *
>R
*
*
* *
* * * d< * * * * {. * * * * * * *
d.
*
*
* * * * *
4.
With
animation
I
rr---
-
-:
r
I a
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*
i< d.
* * * * * {<
{. * * t * {€ * * * {. {< *
t< rc
*
t<
{< {< {. {. *
{c
* * *<
>1.
* * * * * * * * * {<
*
*
*
* * * * * * t * * * {< * * {. *
* * * * * * t *
* * {< * * *
* *
Tip:
Try to keep
the
first
finger
completely
flat
against
the
fingerboard
when
playing the
F#m chord.
Dont worry
if
all
the
notes
don't
come out
clearly at
first.
Tip:
Only
strike
the
strings
that
you
need
for
each
particular
chord, e.g.
with
C7,
omit
the 6th
string.
6. In a
blues
style
Slowly
I
p
a
r-,
l?t
I
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7.
With
movement
Ti
Try not to
'overgrip'with
the
left
hand thumb
at
the
back
of
pr';:;X':
-
this
witt
ontv
take
strength
awav
from
the
fretting
Tip:
Never
'rush'your
practice; if
need
be,
play
the
split
bar
sequence at
a slower speed
than
a
sequence
with
one
chord in
a bar.
{<***********************,k********************{<****{.***€***'k***d<************;***{c**
B.
Moderate
tempo
n
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9.
Not
too
fast
in.
AM
interest
to
your
rhythm playing
by
varying
rP'
the
slrum in
the repeat
section.
Ti
Don't
forget
to
practise the
dynamics; if
p'.
necessar ,
So
back to
page
20
for
a refresher
before
starting
this
sequence.
,F
* *
*
* *
'F
*
*
:*
* * * *
d.
*
'1.
* * * *
*
* * *
*
* * t * {. d<
t< *
*
* * * * *+k * *
r(
* * * *
{. 4.
'k
{.
'r
".
{<
* *
*
* * * * *
*
* *
||c
{. *
*
* *
* *
*
* {. * *
10.
With
a
beat
M^L^'
t
r_^_
_-:r
t
-
n
,
at-,
I
t tt t
p
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Glossary
of
musical
terms
Accent
Crotchet
Dynamics
Frets
Fretbuzz
Minim
Plectrum/Pick
Quaver
Semibreve
Sim.
Split-bar
Syncopation
Tempo
Time
signature
beginning
of all
Play
louder
on
a
particular
beat.
A
note
that
lasts
for
one
beat
in
a bar
of
X
time.
AIso
known
as
a 'quarter
note'.
Changes
in volume.
Metal strips
which
divide
up
the
fingerboard.
The buzzing
sound
that occurs
if
you don't
press
the
strings
firmly
and close
to
the
frets
with
the
tips
of
your
fingers.
A
note
that
lasts
for two
beats
in
a bar
of
X
tim".
Also
known
as a
half
note.
A
triangular
object (usually)
made
of plastic,
that
is
used
to strike the
strings.
A
note
that
lasts
for
Vza
beat
in
a
bar
of
t
time.
Also
known
a
s
an
eighth
note.
A
note
that
lasts
for
four
beats
in a
bar
of time.
Keep
playing
in
a similar
fashion.
Where
two
or more
chords
occur
in a
single
bar.
Featuring
the
off
beat
as
a
main
accented
part.
Overall
speed.
The
numbers
which
occur at the
written
music
that
inform
you
of
the
number
of
beats
per
bar.
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Chord
Summary
xx
o
ooo
xxo
oo
oo
xx o
A
CmajT
DmajT
o oooo
xx
o
xx
o
ooo
ooo
GmajT
majT
F#m
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C/4HaA
is
an
experienced
and
versatile
guitarist.
He
has
enjoyed
a
20
year
career as
a
successful
session musician;
recording
many
popular
television
themes,
and
has
also
released
three
instrumental
guitar
albums
under
his
own name.
e
Chaz
has
worked
with
a
wide
variety
of rock
and pop
bands
and has
had
record
contracts
with
major
labels.
Since
gaining
his
teaching
diploma
from
the
Royal
Academy
of Music,
Chaz
has
developed
a
highly
successful
teaching
practice
in
Surrey.
-
Chaz
has
been
actively involved
with
the
London College
of
Music and
Registry
of
Cuitar
Tutors' guitar
examinations
for
many
years
and
is a
senior
examiner
in
electric
guitar playing.
46
ISBN
I-898,