DON COMANDA’S GROUP STUDY FOR THE (2nd PHASE) (This book completes the course for group guitar.)

FOREWORD

This book, the second phase of Don Comanda's Group Study for the guitar, completes the course for group guitar as written by Mr. Comanda. It is a direct continuation of group study, 1st phase. Many , finger picking techniques, rhythms, and chords are thoroughly explained and applied throughout this 2nd phase. Chord progressions, chord families, runs, key signatures, scales, and transposing are also explained and applied.

All books in the group study were classroom tested through many hours of teaching in classrooms with students of all age levels. (The various classes included students at adult education centers.) Great care was taken in the preparation of this book. It is certain to serve both teacher and student well and will encourage many students to continue their study of guitar with further private instruction. Here's to the many hours of pleasure the guitar will give you!

Copyright © 1980, Don Comanda, 1197B Rockland Ave Staten Island, NY 10314-7700 International Copyright Secured Made in U.S.A. All Rights Reserved Published by Royal Fireworks Press, PO Box 399, 41 First Avenue, Unionville, NY 10988-0399 (845) 726-4444 fax: (845) 726-3824 email: [email protected] website: rfwp.com ISBN: 978-0-88092-993-6 Printed and bound in Unionville, New York, on acid-free paper using vegetable-based inks at the Royal Fireworks facility. 2 CONTENTS (SONGS LISTING)

Accompaniments Melodies (words with chords) ALL GOD'S CHILDREN GOT SHOES . 63 . . 200 AMERICA, THE BEAUTIFUL . 58 .. 58 A-ROVING ...... 162 . .222 BLOW THE MAN DOWN. . 106 . . . . 106 BUFFALO GALS. . . . 65 . ..201 CINDY ...... 98,99, 100 .. 98 CORRINA, CORRINA. . . 41 .194 CRAWDAD SONG, THE . . Ill ..208 DIXIE .. . . . 56 . . 198 ERIECANAL ...... 114 . .210 E-RI-E CANAL . . . . . 126 ...... 212 GIVE ME THAT OLD TIME RELIGION. . 80 . . . . 79 GO TELL IT ON THE MOUNTAIN. . 70 ...... 202 HEI':RYMARTIN ...... 132 ...... 216 HOLD HIM JOE ...... 88 ...... 204 I KNOW WHERE I'M GOING . . 104 ...... 205 JOHNHENRY ...... 94, 96 ...... 94 JOSHUA FOUGHT T~ BATTLE OF JERICHO . . 108 ...... 206 LI'L LIZA JANE ...... 117,118 ...... 211 WNESOME ROAD...... 85 ...... 85 MAN WITHOUT A WOMAN, A . 59,60 ...... 199 MARINE HYMN, THE. . 73 ...... 73 MARYANN...... 83 ...... 66 MEET ME IN ST. LOUIS. . 84 ...... 84 MOCKING BIRD. . . . . 105 ...... 105 MY CHRISfMAS PRESENT . 122 ...... 213 MY OLD KENTUCKY HOME. . 142 ...... 218 MY WILD IRISH ROSE . . . . 110 ...... 207 OH HAPPY DAY...... 18 ...... 190 ONE OF THE ROVING KIND. . 158 ...... 221 ON TOP OF OLD SMOKY . . . . 62 ...... 62 POLLYWOLLY DOODLE .. . 82 ...... 223 POOR WAYFARING STRANGER. . 34 ...... 192 ROCK-A MY SOUL...... 116 ...... 211 SAINT JAMES INFIRMARY ... . 39 ...... 193 SHE'LL BE COMIN' 'ROUND THE MOUNTAIN . 48 ...... 195 SHENANDOAH ...... 130 ...... 215 SHIP THAT NEVER RETURNED, THE. .150,152 ...... 220 SHORTNIN' BREAD . . . 24 ...... 191 SIXTEEN TONS . . . . . 77 ...... 203 SWEET ROSIE O'GRADY . 50 ...... 50 TAKE FIVE ...... 26 TAVERN IN THE TOWN. 52 ...... 196 THIS OLD MAN . . . . . 113 ...... 209 THIS TRAIN ...... 128 ... ..214 WABASH CANNON BALL . . 144 . .. . .219 WAIT TILL THE SUN SHINES, NELLIE . 124 .124 WHEN THE SAINTS GO MARCHING IN . 49 .. . 49 WHILE STROLLING THROUGH THE PARK . 102 .. . 102 WORRIED MAN BLUES ...... 112 . . . 209 3 INDEX TO MATERIAL COVERED

BASS, ALTERNATE BASS. . 51' 54 , THE . . . . . 14 BASS RUNS, CHROMA TIC. . 146 BASS RUNS, SCALE WISE. . 139 BASS RUNS, SCALES & CHROMATIC . . 154 BRUSH AND SLAP . 87 CHORD DIAGRAM. . . . . 16 CHORD FAMILIES. . . . . 172 CHORD PROGRESSIONS . . 174 CHORDS, GWSSARY OF . 224 CHORDS, I, IV, V7 CHART . 31 CHORDS, REVlEW. . 81,90 CUTTIME ••...... 93 DOTTED NOTES...... 135 DOUBLE PICK AND HAMMER . . 188 EIGHTH NOTE TRIPLETS. . 119 INTROS .... . 27 KEY SIGNATURES. 20 MUFFLED STRUM . 75 NOTENAMES ... 8 ONE (1), FOUR (IV), FIVE SEVEN (V7) CHART . 30 PICK AND HAMMER . . . . . 44 PICK AND HAMMER (DOUBLE) . 188 PICKING, DOWN r1 AND UP V 14 REPEAT SIGN ...... 12 RESTS ...... 36 RESTS & RHYTHM DRILLS . .37, 38,64, 86, 137,138,165 RHYTHM REVIEW...... 167 SCALES .. 21 A (F#m) . 91 B!J (Gm) 92 C(Am). 21 D (Bm). 43 E~ (Cm) . 160 E (C#m) . 161 F (Dm). 42 G (Em). 21 SIXTEENTH NOTES 67 SIXTH STRING 61 SLUR, THE .. . 13 STAFF, THE .. . 7 STARTING NOTE 12 STRUMS FROM lst PHASE 15 STRUMS (MORE) . 180 SYNCOPATION . . 164 TIE, THE .... . 134 TRANSPOSING . . 170 TRANSPOSING CHART . . 171 4 HOW TO HOLD THE GUITAR

. The guitar is held in position either on the left or the right leg, whichever IS more adaptable to the student, or how the teacher suggests. The hand which will finger the notes is bent at the wrist to allow for maximum range in fingering.

THE PICK ()

The pick is held with the thumb and index finger. The index finger is bent a little less than half-way and the pick is placed on the side of the finger. Close thumb over the pick to assume position shown at left. "Glide," do not push pick when playing.

The pick hand rests lightly on the guitar, so that the hand is supported, but not restrained in any way. (Resting lightly on the tops of your nails, with the wrist bent slightly, will allow maximum freedom when picking.)

The movement when picking should come from the wrist. (Try to picture a pendulum on a grandfather clock, swinging back and forth ar,d how it would look if it were tick­ ing while laying on its side.) The movement of your wrist should be the same, only of course not as broad.

The pick should fall and rest on the string below the one you play. Do not allow the hand to sweep up and away from the guitar.

As you pick from one string to another, allow your hand to move freely toward or away from the strings so that your fingers are not crowded together. 5 FINGERING THE STRINGS

The strings are numbered as shown STRINGS ARE NUMBERED: to the right. Numbers of frets, (spaces) are also shown.

1st Fret ~1-L...j~--1 2nd Fret l--W~t:t---2 3rd Fret l....WU:lt:t---3 4th Fret ~~~--4 etc. U::::t::t::t::::r--5 J:::t::t:t::~-- 6

The thumb is placed in position on FINGERS ARE NUMBERED: the neck of the guitar, under the first fret. 2 3 1

... ,, ~ z 0 C"-\ Cl) Cl) ~ ~ ( ( )

EACH FINGER HAS ITS OWN FRET IN WHICH TO PLAY

The first finger may play any string in the first fret. The second finger may play any string in the second fret. The third finger may play any string in the third fret. The fourth finger may play any string in the fourth fret. FINGER YOUR STRINGS WITH THE BALL, END, OF EACH FINGER. 6 THE PARTS OF THE GUITAR HEAD~------~

.,______MACHINE HEADS (tuning keys) NUT------• +------FRETS

---NECK FINGERBOARO-----­ (top flat part of neck)

ITUNINGI ONE METHOD OF TUNING the guitar is ANOTHER METHOD OF TUNING. with a PITCH PIPE, which can be acquired Tune 1st string to a clear medium high pitch, then: through your teacher or at a local Place your finger in the 5th fret of the second string. Strike the second string, then the first. Both should store. sound the same. If not, raise or lower the 2nd string accordingly. 5 4 6th th th Blow the pitch pipe one note at a THEN: time, un til each stnng.. Is th e same lPiace your finger in the 4th fret of the 3rd string. It m·in sound to the corresponding should sound like the second. (If not, adjust 3rd string.) h . h . IPlace your finger in the 5th fret of the 4th string. It Jrd 2nd 1st note on t e p1tc pipe. should sound like the Jrd. (If not, adjust 4th string.)

1 Place your finger in the 5th fret of the 5th string. It j E (highest in pitch) to the lst string should sound like the 4th. (If not, adjust 5th string.) 8 (second highest in pitch) to the 2nd string Place your finger in the 5th fret of the 6th string. It I should sound like the 5th. (If not, adjust 6th string.) Continue in the same way- ~ G to the 3rd string ~ ~ 1 D to the 4th string c~· r I A to the 5th string 2 E to the 6th string Frets 3 4 4~-+ 654321 s~o... .. ~ .. (Thickest string lowest 6 5 4 3 '1 I in sound) Strings 7

THE G or TREBLE

(G or Treble Clef)

THE STAFF

THE STAFF IS MADE UP OF FIVE LINES AND FOUR SPACES.

5 LINES 4 SPACES

Music for the guitar is written using the G Oef on the staff. This is referred to as the Trcb]c CJef.

INOTESI

Notes may be made in different ways. Three types of notes arc shown bdow.

J.- Stem J/ Stem 0 i/ i/ WHOLE NOTE HALF NOTE QUARTER NOTE Made Open Made Open Made Closed (with a stem) (with a stem) 8 jLEARNING NOTES BY LETTER NAMEI

Notes have different names. They get their names from the positions in which they are placed in the staff.

The notes are placed on the lines of the staff, in the spaces of the staff, and above and below the staff.

Notes are named by letters of the alphabet. The musical alphabet is made up of the first seven letters of the alphabet.

A B c D E F G

!NOTES ON THE LINESI

E G B D F

lli]very ~ood l!!]oy rnloes [!line

The notes on the lines can be memorized by learning the sentence: "Every Good Boy Does Fine." The first letter of each word is the same as the name of the note.

!NOTES IN THE SPACES! We cover one note above the staff at this point, "G~" "G" "sits" right on top of the staff. J F A c E G D (> u l1 (I n 0 t Notice that the notes in the a We also cover one note below the staff spaces spell the word I"FACE."I ~·::} at this point, "D." 9 IBAR LINESI

A Bar Line is the line drawn straight up and down through the staff.

Bar Line / + I I ' I

The spaces formed in the staff, between the bar lines are called "meastres." These spaces may also be called "bars."

BAR LINES

jTIME SIGNATURE!

Songs and exercises are divided into measures (bars). Th'c time signature determines the number of counts for each measure. There is more than one time signature. One time signature covered will be l.

The top number of a time The bottom number of a signature tells us how many ---.4 time signature tells us how beats (counts) there are to much each beat (count) is each measure. 4~ worth.

j time equals 4 heats to each measure ( 4 counts). each heat (count) is worth one auarter. 10 THE TIME VALUE OF WHOLE, HALF AND QUARTER NOTES

11 2 3 41 [!]][UJ ITI0li10 0 i J J i The Whole Note The Half Note Ther Quarter NoteJ 0 f I 4 Beats 2 Beats I Beat (4 Counts) (2 Counts) (I Count)

I 1 2 3 4 I Whole Note u

(1 21 13 41 Half Note ~ rJ

ITJ [l] Quarter Note r J 11 COUNTING TIME

Remember: The whole note is made open with no stem.

(WHOLE NOTEJ__. o The whole note will receive 4 counts.

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 I) e I) e

The Half Note is made open with a stem.

IHALF NOTEJ __. j J The half note will receive 2 counts.

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 'j F j IF r 1r J IF F j

The Quarter Note is made closed with a stem.

!QUARTER NOTE I-+- j ~ The quarter note will receive I count.

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 Ct c J r r 1 c c r J 1 c r c r I J r E r I 12 THE REPEAT SIGN (DOUBLE BAR LINE (Thick and Thin) WITH TWO DOTS)

Repeat everything between the double bar line with the dots to the left and the double bar line with two dots to the right. II= I I =II &i@) In cases where the double bar line with the dots to the right does not appear, go back to the very beginning of the song.

THE STARTING NOTE: In order for your voice to blend with the chords used for , it is necessary to start singing on the proper note. The note or notes which appear at the very beginning of the songs will serve as the Starting Note. Play the note first, before singing; then matching your voice to the starting note, play the chords and sing.

D ~,-~#~~-¥§J±33~33Ietc. 1s t s t nng,· 2 n d f re t . StartmgNote Skip , Skip,

NOTES ON THE FIRST, SECOND, THIRD AND FOURTH STRINGS.

IFIRST STRING I ISECOND STRING I ITHIRD STRING II FOURTH STRING I 3 *0 1 0 1 3 0 2 0 2 3 0 0 0 0 0 0 '' 0 () 0 0 J E F G B c D G A D E F

*0 =open-pick string with no fingers on it.