Beginner Guitar Method Book

The Method for Beginning Guitarists

Kale Good Part I.

The Basics

2 Lesson 1 Adduction

• The object of this exercise is to adduct the fingers, that is to pull them toward each other as you use them, and topass smoothly from finger to finger with no excess motion. • Only the very tips of the fingers should touch the strings. • The arm should hang relaxed directly below the hand at all times, the wrist should remain as unbent as possible throughout, much as it is when the arm hangs at rest at your side. • The lower finger is slowly placed on the string while the higher note is still sounding and the higher finger isgently relaxed just as the lower note is played. (lower and higher = pitch!) • Each time you cross to a new string the arm moves slightly up or down from the elbow, carrying the relaxed finger over the new string, while the previous note is still sounding; the arm’s motion will carry the thumb along with it. • The thumb will remain lightly held approximately behind the second finger, the thumb’s tip joint unflexed! • The thumb should not be opposed, that is rolled inward toward the center of the palm, if the thumb is pressed atall it should roll slightly away from the center of the palm, so there is no pressure on the carpal tunnel. 4 4 2 4 4 2 4 2 4 2 4 2 2 �� 2 4 2 4 2 4 2 4 2 � �� 2 � � � � � � � �� 3 2 1 2 3 �� 8 4 � 5 4 4 5 � 6 �� 6 ��

• This example is about as high a fret as is practical on an acoustic or classical guitar. One may begin on even smaller frets with an electric guitar or a guitar with a cut-away. • Continue on the next lower fret: 4 4 2 4 4 2 4 2 4 2 4 2 2 �� 2 4 2 4 2 4 2 4 2 �� 2 �� 5 � 3 2 1 2 3 ��5 � 8 4 ��6 � 4 4 ��6 �

• Move down one fret at a time until you you finish at the first fret: 4 2 4 2 4 2 4 2 4 2 4 2 �� 2 �� 1 8 4 ��4 �� 2 ��5 �� 3 ��6 � 7 4 2 4 2 4 2 4 2 4 2 �� 8 2 ��4 �� 3 ��5 �� 6 �

3 1. Adduction

• When appropriate, continue high on the neck in whole tones, moving gradually down the neck as above. Most people can play 4 to 1 in whole tones almost immediately. 4 4 1 4 4 1 4 1 4 1 4 1 1 � � 1 4 1 4 1 4 1 4 1 � � � � � � 2 � �� 5 � 3 2 1 2 3 �5 � 8 4 �6 � 4 4 �6 �

• 3 to 1 will take a little longer, 3 3 1 3 3 1 3 1 3 1 3 1 1 � � 1 3 1 3 1 3 1 3 1 � � � � � � 2 � �� 5 � 3 2 1 2 3 �5 � 8 4 �6 � 4 4 �6 �

• And finally, 4 to 2 will take considerable time and patience to progress to the whole tone, 4 4 2 4 4 2 4 2 4 2 4 2 2 � � 2 4 2 4 2 4 2 4 2 � � � � � � 2 � �� 5 � 3 2 1 2 3 �5 � 8 4 �6 � 4 4 �6 �

• Eventually, you will want to master 4 to 1 at a minor third. 4 1 4 1 4 1 4 1 4 1 4 1 4 1 4 1 4 1 4 1 4 1 � 2 � � � � � � � � 4 �5 � 3 2 �� 2 �� 5 � 8 �6 � 4 1 3 � �4 � �6 �

• These exercises are only played with the non-adjacent pairs of fingers; 4 to 2, 3 to 1, and 4 to 1. Once fluent theycan be reverse; 2 to 4, 1 to 3, and 1 to 4.

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2.1. A Song on Two Strings Ode To Joy Beethoven � = 100 0 0 1 3 3 1 0 0 0 � 3 1 1 3 3 3 � � 5 0 0 1 3 3 1 0 0 � 3 1 1 3 3 1 1 � � 9 0 0 1 0 0 1 0 � 3 3 1 3 1 3 3 1 3 � 0 � 13 0 0 1 3 3 1 0 0 � 3 1 1 3 3 1 1 � �

2.2. Tuning the guitar

There are three basic pieces of knowledge you need before you can tune your guitar successfully. In addition to these three pieces of knowledge, there are some tips and pointers that will help you succeed in tuning your own guitar. First, you need to understand how to read a tuner. The fuel-gauge graphic Figure 2.1 shows a typical tuner. The string is in tune when the tuner is centered. If it is on the left, the string is flat. This means it is too low in pitch and Figure 2.1.: A Basic Tuner needs tightening. If the string is on the right, the string is sharp. It is too tight and needs loosening. Next, you need to know the names of the strings. Figure 2.2 has the name of each string listed at the top. Finally, you need to know how to adjust the tension on the strings. This is done by turning the tuners, located on the headstock. Turning the tuners counter-clockwise tightens. Clockwise motion loosens the strings.

Basic Procedure 1. Play a string.

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A A � /B � B C C � /D � D D � /E � E F F � /G � G G � /A � A

Table 2.1.: All The Notes

2. Make sure that the note indicated on the tuner is the correct note for the string you are tuning.

3. Observe the tuner’s reading and adjust accordingly. Repeat until you are in tune

If the tuner displays an incorrect note, use Table 2.1 to correct it. The table lists all the notes from low (flat) to sharp (high). If you are tuning to E and the tuner reads D, you’re very flat. Tighten the string until the gauge reads E, then use the basic procedure until you are in tune (notes joined by “/” indicate a single note that has two names).

Tips

• Tuning your guitar every day will make the tuning task easier and faster, as well as making you sound better.

• Make sure that you are turning the right tuner! This can be done by following the string up to the correct tuning peg. I advise doing this until you are very comfortable. If you don’t, you might have the same experience that I had when I was learning: Broken Strings!

• Some tuners don’t have a gauge, but use blinking lights in- stead. The faster the light is blinking, the further out of tune you are. As you get closer to in tune, the blinking will slow down.

2.3. Using the Metronome Figure 2.2.: String Names Talk about how to use a metronome and metronome marks. This should really come after the exercise, but I’m having some formating issues.

2.4. Finger Independence The Creepy Crawler Exercise � = 80 � � 10 9 8 7 9 8 7 6 8 7 6 5 7 6 5 4 6 5 4 3 5 4 3 2 �

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2.5. Technical Goals of Book 1

Exercise Completion Adduction Exercises Tuning Using an Electric Tuner Chromatic Finger Permutations 7th Chords: A7, E7, D7 D Major Scale Using a Metronome Strumming Patterns: 8ths & Ties Alternate Picking Major Chords: A, D, E Major Chord G Scale: C Major Strumming Variations: Boom-Chuck

7 Lesson 3 i

3.1. Developing Pick Accuracy Prelude Kale Good � = 88 3 3 2 2 5 5 3 3 � 0 0 0 0 0 0 0 0 � 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 � 5 7 7 5 5 8 8 7 7 � 0 0 0 0 0 0 0 0 � 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 � 9 10 10 12 12 10 10 7 7 � 0 0 0 0 0 0 0 0 � 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 � 13 8 8 5 5 2 2 3 3 � 0 0 0 0 0 0 0 0 � 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 �

3.2. Lateral Independence 5 Chord Prep Exercises: Level One 2 2 2 3 2 � 2 2 2 2 2 1 1 2 � 2 2 2 2 � 2 2 2 Achieve buzz tones and bell tones while switching between note-pairs within a bar. Note that these are three separate exercises rather than one continuous exercise.

3.2.1. Under Pressure I can still vividly remember my time in college driving to my guitar instructor’s house for our weekly lessons. Most of the year I drove there with the heat blazing, trying to make sure my fingers stayed warm so that I could play my best. Regardless of how well I had prepared, I always seemed to play the small (and large) mistakes that I fixed over the course of the week. Now that I’m a teacher, I see this often with my own students. One of the most common comments I get is “I played this better at home”. Students often feel like this is the musician’s version of “The dog ate my homework” (and seem toworry that I don’t believe them), but the truth of the matter is that every musician has experienced this in their own lessons. I’ve found that it is relatively easy to tell the diﬀerence between a student who has not practiced and a student who is having diﬃculty. Which is to say: Relax, I believe you when you tell me you had it right at home!

8 3. i

There is a saying that the best playing gets done in the practice room, and its true! As soon as we step outside of thepractice room, we are under pressure to perform according to the exceptions of the audience, whether it is a teacher, some friends, or an arena of adoring fans. While there is a lot to be said for learning to deal with the nervous feelings and nervous energy that accompany a performance, today I want to focus on a diﬀerent way that you can prepare for outside-the-practice-room playing. In this newsletter, I want to show you how you can practice playing under pressure. This is, after all, the situation we encounter as soon as we leave the warm, comfortable cocoon of our practice room.

• Record yourself: Knowing that you’ll have to listen back to yourself playing, mistakes and all, is a great way to add some pressure (it also has a ton of other benefits)

• Play x-number of times in a row, without mistakes: If you’ve told yourself that you won’t stop practicing until you play 10 times in a row without mistakes, you’re going to be under a lot of pressure by the time you play 9 times in a row correctly. Number 10 better be right, or else your back at 0!

• Play Cold: Our best playing happens when we’re all warmed up; unfortunately, guitar lessons usually get started oﬀ cold. Find out what happens when you try to play without any warm up, and investigate how you can prepare for playing cold.

• Tell a partner/roommate/parent that you will do a chore for them for a week (or a few days, depending on the chore) if you make a mistake while playing the piece: This makes you accountable to someone else, much like a lesson or performance. For added diﬃculty, tell them that you have to play x number of times in a row!

These four pointers can help you prepare for under-pressure situations from lessons to performances and beyond. Usethem to help avoid the biggest source of in-lesson frustration.

9 Lesson 4 i

4.1. More Fingers, More Strings Aura Lee Traditional � = 144 � 1 0 1 3 3 1 0 0 1 � 0 2 2 � 5 � 1 0 1 3 3 1 0 0 1 � 0 2 2 � 9 0 0 0 0 0 0 0 0 � 3 1 3 � � 13 0 0 1 0 0 � 3 3 1 0 3 1 � 2 �

10 Lesson 5 Four Finger Chromatic Ex- ercises in Scales

The following groups may be played from the sixth string to the first and back, beginning in the high positions near the body and working gradually downward to 1234 2341 3412 4123 the first position. 1324 2413 3241 4132 • Keep the weight of the arm under your hand at all times, with the thumb approximately behind the second finger. 1423 2314 3142 4213

• Keep the weight on each finger until the next is placed, then relax it. There is 1342 2134 3421 4213 no need to actively “pick up” – that is to say to extend – the relaxing finger. 1243 2431 3124 4312 • When changing strings, shift the whole arm straight up and down from the 1432 2143 3214 4321 elbow; the thumb will follow. There is no need to bend the wrist or lift the elbow outward.

• Place each finger on its tip, adducting it. As you progress to the wider frets you may place the first finger flat, in a “hinge bar.” This will help keep the forearm suppine, the elbow relaxed, and make placement of the fourth finger much easier, in addition to being a valuable skill in itself.

• A number of diﬀerent right hand techniques may be used over time as the left hand becomes more fluent.

• One may also combine these with slurring, shifting or other left hand skills.

11 Lesson 6 i

A7 E7 ��

V Chord IV Chord

Table 6.1.: Your First Chords

6.1. Introduction To Rhythms

wave your arm around and say these rhythms:

Figure 6.1.: Basic Rhythms D Major Scale � 0 2 3 2 0 0 2 2 0 � � � � � � 0 2 4 4 2 0 � � � 8 � � � � � � � 8 � � � � � � � 8 � � � � � � � � 8

Figure 6.2.: Apple Pie Rhythms

12 Lesson 7 i Irish Song Traditional � = 100 0 2 3 2 0 0 2 0 0 0 2 3 2 0 0 2 0 0 � 0 0 0 0 3 0 0 0 0 0 3 0 � � 5 7 5 3 2 0 7 5 0 0 2 3 2 0 0 2 0 0 � 0 0 0 0 0 0 0 0 0 0 0 3 0 � � 9 0 2 4 2 0 0 2 0 0 0 2 4 2 0 0 2 0 0 � 0 0 0 0 4 0 0 0 0 0 4 0 � � 13 7 5 4 2 0 7 5 0 0 2 4 2 0 0 2 0 0 � 0 0 0 0 0 0 0 0 0 0 0 4 0 � �

5 Chord Prep Exercises: Level Two 2 2 2 3 2 3 3 2 � 2 1 1 2 1 � 2 2 2 2 2 � 2 2

13 Lesson 8 i Wildwood Flower A.P. Carter �� 8 � � � 0 3 � 0 2 0 � 4 4 4 2 4 2 0 � 5 � � � � � � � � � � � � � 8 � � � 0 3 � 0 2 0 � 4 4 4 2 4 2 0 � 10 � � � � � � � � � � � � � � � � � 8 � 2 2 0 3 3 0 3 0 � 2 2 2 � 2 � 15 � � � � � � � � � � 8 � � � �

� 2 � 4 4 2 4 4 2 4 2 0 �

Name Note Rest Value Whole Note/Rest � � 4 Pies

Half Note/Rest � � 2 Pies

Quarter Note/Rest � � 1 Pie

Table 8.1.: Notes, Rests, and Their Time Values

14 8. i

?????? ????? ?? �� 8 � �

� 2 0 0 0 0 � 4 4 4 4 4 4 4 0 2 4 � 6 � � � � � 8 � � � � � � � � � � � � � �

� 0 2 � 4 4 4 4 2 2 4 2 4 4 4 4 4 4 � 11 � � � � � � � � � � � � � � � � � 8 � � � �

� 2 0 0 0 0 0 2 2 0 � 4 0 2 4 4 4 4 2 0 �

15 Lesson 9

Kale! Centerline Images!

I Chord V Chord IV Chord (The Tonic Chord) (The Dominant Chord ) (The Subdominant Chord)

Table 9.1.: Primary Chords in A Major

9.1. Chords: An Introduction

The names above the chord charts in Table 9.1 are the absolute name of the chords. These chords are always A, D, and E, no matter what key you play in. The names below are the relative names of the chords when playing in the key of A.These names tell us about the relationship between the chords. These relationships will change depending on what key we are in. Consequently, the relative names will change to fit the key we are playing in. To sum it up, the absolute name can never change, the relative name can. Place your fingers on the frets and strings indicated. Strum through the strings, being careful to play the open strings indicated by an ”o” above the nut and avoiding open strings with an ”x” above the nut. These chord diagrams have the root note indicated in red. The root note is the note from which the chord gets itsname; the root note of the A major chord is A. Some chords seem to have more than one root note indicated; the duplications are simply the root note in a higher or lower octave. The basic chords are made of a root note, a third, and a fifth. We’ll talk about this more when we look at intervals and minor chords

9.2. Chord Exercises: Changes

Talk about it. 1 minute changes primarily.

9.3. Tone Production on The guitar

Talk about it. Also, talk about reviewing previous songs

16 9. Thee Little Birds Bob Marley

Intro AAAA Verse 2 Rise up this mornin' smiled with the risin' sun, Chorus Three little birds pirtched on my doorstep. AA Singin' sweet songs of melodies pure and true, Don't worry about a thing, Sayin' "This is my message to you-ou-ou" D A 'Cause every little thing gonna be alright. Chorus: Repeat and Fade AA Singin' don't worry about a thing, Structure: D A 'Cause every little thing gonna be alright. Intro Chorus Verse Chorus Verse Chorus Intro A B A B A Verse 1 A E Key: A Major Rise up this mornin', smiled with the risin' sun, A D Chord Progression: Three little birds pirtched on my doorstep Intro: I I I I A E Chorus: I I IV I 2x Singin' sweet songs of melodies pure and true, Verse: I V I IV 2x D A Sayin "This is my message to you-ou-ou:" Chorus

Figure 9.1.: Your First Lead Sheet

9.4. Lead Sheets

Using the lead sheet in Figure 9.1, you can play along with Bob Marley’s Three Little Birds. Count along as you listen for the chord changes. Tohelp you find the changes, the chords are written above the lyrics. Start by strumming a chord on beat1, then work towards playing on beats 1 and 3 (and then on all 4 beats if you are adventurous). Notice that Verse 2 lacks any chord indications; this is because the chords are the same as in the previous verse. A lead sheet typically consists of the melody, lyrics, and harmony written as chords above the staﬀ. Lead sheets are a bare-bones way of notating music and are very common in small jazz ensembles; they hold just enough musical information to make the song work. They are also known as “Fake Sheets”, giving rise to the name of “Fake Books”, collections offake sheets. This name comes from the idea that “I don’t know the song but if you hum a few bars I can fakeit.”

17 9. Stir It Up Bob Marley

Intro Chorus ADE \\\\ | \\ \\ | 4x Verse 2 I'll push the wood, I'll blaze your fire, Chorus Then I'll satisfy your, your heart's desire. ADE Said I'll stir it, yeah, ev'ry minute, yeah. Stir it up. Little darlin', All you got to do, honey, is keep it in. ADE stir it up. \\\ Come on and Chorus ADE stir it up, little darlin', ADE Instrumental ADE stir it up. | \\ \\ | \\\\ | \\ \\ | 8x Verse 1 A Verse 3 It's been a long, long time Oh, will you quench me while I'm thirsty? DEA DE Or would you cool me down when I'm hot? since I've got you on my mind. | \\ \\ | Your recipe, dariling, is so tasty, A DE And you sure can stir your pot. And now you are here I say, it's so clear A E Chorus repeat and fade see what we can do, honey, just me and you Come on and

18 Lesson 10 song

0 0 0 0 0 0 0 0 0 0 0 0 � 1 1 2 2 4 4 2 2 � 2 4 6 4 � 5 0 0 0 0 0 0 0 0 0 0 0 0 � 1 1 2 2 4 4 6 6 � 2 4 6 7 � 9 0 0 0 0 0 0 0 0 0 0 0 0 � 6 6 4 4 9 9 8 8 � 7 6 11 9 � 13 0 0 0 0 0 0 0 0 0 0 0 0 � 6 6 4 4 2 2 1 1 � 7 6 4 2 2 �

10.1. D Major: More D Major Extension 0 2 3 5 3 2 0 � 3 3 2 0 2 3 � �

10.1.1. G major Chord Prep Exercises Here they are!

19 Lesson 11 i ??? ??? ????? ????? �� 8 � � � � � 0 2 3 0 � 2 2 2 0 0 � 0 0 4 4 2 2 0 � 5 � � � � � � � � � � � � � 8 � � � � � � � �

� 2 2 2 0 0 2 2 2 0 0 � 4 4 4 2 4 4 4 2 � 9 � � � � � � � � � � � � � � 8 � � � � � 0 2 3 0 � 2 2 2 0 0 � 0 0 4 4 2 2 0 �

Name Note Rest Value Whole Note/Rest � � 4 Beats

Half Note/Rest � � 2 Beats

Quarter Note/Rest � � 1 Beat � � Eighth Note/Rest � 1/2 Beat Table 11.1.: Notes, Rests, and Their Time Values

20 11. i

???? ??? ? ?????? ???? �� 8 � � � � � �

� 2 2 � 4 2 0 2 4 4 4 2 2 2 4 � 5 � � � � � � � � � 8 � � � � � � � � � 4 2 0 2 4 4 4 4 2 2 4 2 0 �

21 Lesson 12 i

Figure 12.1.: Basic Rhythms C Major 0 1 0 � 0 2 2 0 � 0 2 3 3 2 0 � � �� 3 3 � � 8 � � �� 8 � � � � �� 8 � � � � � �� 8

Figure 12.2.: Ties

22 12. i

23 Lesson 13 Primary Chords in The Key of G

G Major D Major C Major � � ��

I Chord V Chord IV Chord (Tonic) (Dominant) (Subdominant)

Table 13.1.: Primary Chords in G Major

The Primary Chords in the Key of G require the largest amount of cross-fretboard finger independence yet! The Gchord has many varieties; I’ve chosen one here that will allow you to keep a finger down, at least between some of the changes! Use the skills and tool-sets you’ve acquired in improving your other chord changes; 1-minute changes and using chord changes during your rhythm guitar practice are both great ways to get these changes integrated into your playing. As you might of guessed by now, we’ll be looking at some songs with these chords in them in a few weeks, but this time, it will be Choose Your Own Adventure! The songs are really exciting (read: they are by people who aren’t old enough to be your grandparents-or even your parents). But until then, you can do rework some of the songs we previously learned and play them with your new chords. Check it out below.

Figure 13.1.:

24 13. Primary Chords in The Key of G What I Got Sublime

DG It come back to you Early in the morning You're gonna get what you deserve Chords continue throught Try'n test that Rise up to the street Your bound to get served Light me up that cigarette and I'll slap shoes on my feet Love's what I got Got to find a reason Don't start a riot Reason thing went wrong You'll feel it when Got to find a reason the dance get's hot why my money's all gone Love is I got a dalmation What i got I can still get high I said remember that I can play the guitar Love is Like a motherf**kin' riot What I got Now remember that Life is too short So love the one you got I don't cry Cause you might get run over When my dog runs away or you might get shot Don't get angry Bout the bills I have to pay Never start static Don't get angry I just get it off my chest when my mom smokes pot Never had to battle with my Hits the bottle bulletproof vest and goes right to the rock Take a small example F**k it fight it Take a tip from me It's all the same Take all of your money Livin with Louey Da's ??? Give it up to charity The only way to stay sane Chorus Let the lovin' Love is what I got Let the lovin come back to me Is with in my reach the sub rock styles dealt straight from Long Beach Structure:Strophic Key: D Major Chord Progression: I IV

25 13. Primary Chords in The Key of G

Bad Moon Rising Creedence Clearwater Revival

DAGD Chorus I see A bad moon rising DAGD DAG D I see trouble on the way Hope you got your things together DAGD DAG D I see earthquakes and lightning Hope you are quite prepared to die DAGD DA GD I see bad times today Looks like we're in for nasty weather DAG D Chorus One eye is taken for an eye G Don't go around tonight Chorus D Its bound to take your life Chorus AG D Structure: Theres a bad moon on the rise Verse Chorus Bridge Verse Chorus DAGD Verse Chorus Chorus I hear hurricanes A blowing DAG D I know the end is coming soon Key: D DAGD I fear rivers overflowing Chord Progression: DAG D Verse:I V IV I I hear the voice of rage and ruin Chorus: IV I V IV V

26 Lesson 14 i Soldier's Joy Traditional � � � � � � � � � � � � � � � � 8 � � � � 0 3 3 0 � 2 2 2 2 2 2 2 � � 4 4 4 4 � � 4 � � � � � � � � � � � � � � � � 8 � � � � � � 0 2 0 0 0 3 3 3 2 � 2 2 2 2 � 2 2 2 4 4 � 8 1. 2. � � � � � � � � � � � � � � � � � � � � � � � 8 0 2 3 5 2 � 3 3 3 0 3 3 3 0 2 3 � 2 � � � � � 11 � � � � � � � � � � � � � � � � � � � � � � � � 8 0 2 3 0 0 2 3 5 2 0 0 2 3 5 2 � 3 2 0 2 3 � 2 � 15 1. 2. � � � � � � � � � � � � � � � � � � � � � � � 8 0 2 3 0 2 0 0 � 3 2 3 3 3 0 2 3 3 3 � � � �

27 Lesson 15 i East Virginia Blues A.P. Carter � � � � � � � � � � 8 � � � ��

� 2 2 2 � 4 0 2 4 2 0 0 4 � 5 � � � � � � � � � � � � � 8 � � 0 � 2 2 2 2 � 4 4 � 9 � � � � � � � � � � � � � 8 � � �� 0 � 2 2 2 � 4 2 0 4 0 � 13 � � � � � � � � � � � � � � 8 � � � � �

� �2 � �2 � � 2 0 4 4 2 0 �

28 Lesson 16 i C D E F G Note Names � � � � 8 � � �3 0 2 3 Estudio 1 � � � � � � 8 �5 � � � �4 � � � � � � � 0 3 2 0 3

� �3 � � � � � � � 8 4 � � � � � � � � �5 � � � � 3 0 2 3 0 3 2 0 3 Estudio 2 � � � 3� � 8 �5 �4 � 4 � � �5 3 0 2 3 0 Estudio 3 � � � � �3 � 8 �5 � �4 � � � 3 2 0 3 � � � 8 4 � � � � �5 � � � � 3 0 2 3 0 Estudio 4 � � � � �3 � � � 8 �5 � �4 � � � 3 2 0 3

�3 � � � � 8 4 � � � � �5 � � � � 3 0 2 3 0 3 2 0 3 Estudio 5 � � � �3 � � � � � 8 �5 �4 � 4 � � �5 � � 3 0 2 3 0 3 2 0 3

�� 3 � � � � � 8 5� �4 � 4 � � �5 � �

29 16. i 3 0 2 3 0 2 3 0 2 3 Estudio 6 � � � 8 5 �4 � �� 5 � �4 � �5 � �4 � 0 3 2 3 2 0 2 0 3 3 3

� 3� � � 8 4 � � � � �5 �� 4 �5 3 3 3 3 Estudio 7 � � � 5� � 5� � 8 �5 � � �5 4 � � � 4 � 4 � 3 � � � � � 8 4 � 4 � � � � � � �5 3 2 0 3 2 0 3 2 3 2 0 3 2 0 3 Estudio 8 � � � 3� � � 3� �4 8 �5 �4 � � 4 � �5 �4 � � 0 3 2 3 2 0 2 3 0 2 0 3 3 0

� � 5� � � � 3� �3 � � 8 4 � � � � �4 � �5 �5 2 0 0 0 3 0 2 0 3 0 2 0 0 0

� �3 � � �3 � � �4 �3 � � 3� �4 3� 3� 3� 8 �4 �4 �4 �4 �4 2 0 3 0 2 3 2 0 3 2 0 3 2 3 2 0 3 3

� 3� 4� 3� � �5 � � 8 �4 �4 �5 �4 � � 4 � � � � �5

30 16. i

16.1. Rhythms

Name Note Rest Value Whole Note/Rest � � 4 Beats

Half Note/Rest � � 2 Beats

Quarter Note/Rest � � 1 Beat � � Eighth Note/Rest � 1/2 Beat � � Sixteenth Note/Rest � 1/4 Beat Table 16.1.: Notes, Rests, and Their Time Values 4 4 We will start with rhythms4 in , often called common time and indicated by this symbol 4at the beginning of the staﬀ: � Most music is in 4 , test the theory by counting 1 2 3 4 along with your favorite songs. In 4 , there are 4 beats in a measure and the quarter note gets the beat. In the following pages, you’ll see some of the following notes, each of indicates a diﬀerent duration.

� � � � � � � � � � � � 8 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

Figure 16.1.: 4 beats in each measure Figure 16.1shows 3 measures. In each measure there are four beats, but they are split up differently each time. You can take the idea of divi- sion one step further; you can apply it to individual notes. Figure 16.2 � shows how one beat can be subdivided into 4 equal parts and different � 1� e & 2� e &� 3� e� &� � 4� e &� � 8 a a ways that these subdivisions can be played; its almost like the beat is a a a a mini-measure. The relationship of one note to another is absolute; the quarter note Figure 16.2.: Subdivisions of the beat will always be worth one quarter of the whole note. The relationship of a note to the time signature is relative; different time signatures can give the half, eighth, or any other the beat. When this happens, you will need to recalculate what portion of the beat each note gets. This sounds complicated but will become second nature.

�� 8

Figure 16.3.: Basic Quarter Note Rhythm Figure 16.3 All quarter notes and happens on beats 1, 2, 3, and 4. Write these numbers under the corresponding note. These notes are all on “downbeats”; they sound best when played with a little more weight �� and volume. You can achieve this very easily by simply playing all down � � strokes. You won’t even need to try to emphasize them if you use this 8

Figure 16.4.: Basic Eighth Note Rhythm

31 16. i technique. Notice the little “hats” that all the notes are wearing. guitarist’s borrowed these hats from violinists; they simply mean that the note should be played with a down stroke. The symbol in the second and third measures tells the musician (you!) to repeat what happened in the previous measure. Figure 16.4 All eighth notes, happens on 1 & 2 & 3 & 4 &. Write the numbers and “ands” out underneath the corresponding note. This rhythm is a combination of downbeats (1, 2, 3, and 4) and upbeats (the � � � � � � &’s the happen between the notes). To get the right musical feel for � 8 this, simply play the downbeats as down-strokes and the upbeats as upstrokes. Simple! Notice that the hats have a new companion; little ar- � � � � � � rows. Also borrowed from violinists, these tell us to play upstrokes. This � process of alternating between up-strokes and down-strokes is known 8 as alternate picking. It is an essential guitar technique because it dou- � � � � � � bles the amount of notes we can play. Notice that the strokes are not � randomly or arbitrarily alternating; the stroke direction corresponds to 8 upbeats and downbeats. � � � � � � � Figure 16.5 These three rhythms combine quarter notes and eighth � notes. Stick with a proper alternating strumming technique; use down- 8 strokes on the downbeats and up-strokes on the upbeats. To be certain that you are playing the right pattern, number the rhythms out as we Figure 16.5.: Combining Quarter and Eighth did previously and write in the correct up and down strokes. Make sure Notes that you give each note its entire value. In some instances, you won’t be playing the upstrokes. Make sure to keep your arm moving by doing a “fake” upstroke; simply miss the strings. While this may be difficult at first, it is far, far easier in the long run. Rhythm Four can be played with Bob Marley’s Three Little Birds and Johnny Cash’s I Walk the Line. Rhythm Five teaches you to alternate between two strumming patterns; this is a very useful skill. Too much of one pattern gets boring, learning how to change patterns can keep things interesting. Figure 16.6 These four rhythms introduce the tie. It is the curved line you see between two notes. It is very simple to play the tie; don’t attack (attack= to hit the strings) on the second note of the tie. For a �� guitarist, this is easy; just don’t play the second note. For a trumpeter � � 8 or flautist, the meaning of “don’t attack the second note” is slightly different. The tie is often confused with the slur because they look exactly �� the same! The only difference is that the tie joins two notes of the same � pitch while the slur joins two notes of a different pitch. We’ll look at 8 slurs in the future. Most guitarists call slurs hammer-ons and pulls offs, and they’re a very expressive way to enhance both your chord and solo- � � � � � � � � ing skills. The first two exercises have the strokes written in. As always, � 8 keep your arm moving up and down even if it isn’t attacking the strings. Number out the final two exercises and determine the pick direction � � � � � � on your own. Rhythm Nine can be played with The Kingsmen’s Louie � Louie with chord changes on beats 1 and the upbeat of beat 3. 8 Note To Kale: Mention Repeat Signs and play with chord changes. Room at the bottom of the page here to put in chord changes; maybe I Figure 16.6.: Ties should do that.

16.2. Puttin’ It Together!

Once you get comfortable with the basic strumming patterns, start throwing in chord changes. You can work with just 2 chords to begin with; A to D, A to E, and D to E all work (but the first two will sound best). The goal eventual goal isto be comfortable changing chords every measure. If you can’t swing right away, start oﬀ with one chord change every two

32 16. i

� � � � � � � � � � � � � �� 8 5 � � � � � �� 8 9 � � � � � � � � � � � � � � �� 8

Figure 16.7.: Campfire Guitar 101: Basic Strumming & Changes

measures. As you get more comfortable, work a progression of chords into it, still giving one measure for every chord.A DEA will sound great. So willAEDA. Getting comfortable strumming rhythmically while changing chords is absolutely essential to your feelings of success and accomplishment as a guitarist. You’ll never be able to strum guitar around a campfire without this skill. And always, always, always keep your arm moving. Never stop your arm. Even if your chord change comes down a little late. Never. Ever. Stop. Moving. Your. Arm. (until I say so, which is much, much later). The examples in Figure16.7 are a great starting point. Notice how the last example has a diﬀerent strumming pattern in the last measure. It is super-important to vary your strumming patterns; otherwise, things get boring. You can’t just do it randomly, however. You need to do it musically. We’ll talk more about that in future lessons.

33 Lesson 17 Alternate Picking G A B C D Note Names � � � � � � � 8 0 2 0 1 Estudio 1 � � � � � � � � � � �3 � � � � � � � 8 2 3 1 0 2 0 � � � � � � � � � � � � � �3 � � � � � � � � 8 2 0 2 0 31 1 0 2 0 Estudio 2 � � � � � � � � � � � 8 3 2 3 3 2 0 1 1 Estudio 3 � � � � � � � � �3 � � � 8 2 0 2 0 � � � �3 � � � � � � 8 2 3 2 0 1 3 Estudio 4 � � � � � � � � 8 �3 � � � �2 � 1 0 2 0 � � � � � 8 2 � � �3 � � � � � � 0 2 0 1 3 1 0 2 0 Estudio 5 � � � � � �� 3 � �3 � � � 8 2 0 2 0 1 3 1 0 2 0 � � � � �� 3 � �3 � � � 8 2

34 17. Alternate Picking 0 2 0 0 2 0 0 2 0 1 Estudio 6 � � � � � � �3 � 3 �� 3 � � 8 2 2 2 3 1 0 1 0 2 0 2 3 0 � � � � � � � � 3� �3 � 3� 8 2 2 2 0 0 2 1 0 20 3 1 0 3 1 0 Estudio 7 � � � � � � � � � � � 3� �3 � �3 � 8 2 2 2 0 3 1 0 1 0 2 1 0 2 0 3 � � � � � � � � � � 3� 3� 3� 8 2 2 2 0 0 2 1 0 3 1 0 0 0 2 1 0 3 1 Estudio 8 � � � � � � � � � � � � � 3� 3� 3� 3� 8 2 2 2 2 2 2 3 1 0 1 0 2 0 3 0 2 01 0 0 � � � � � � � � � � � � � � 2� �3 � � 8 2 2 2 2 0 3 2 3 1 3 0 3 31 0 3 2 3 � � � � � � � � � � � � � � � � � � � 3� 3� 8 2 2 2 0 3 1 3 2 0 0 2 1 0 3 1 0 1 0 2 3 0 � � � � � � � � � � � � � � � 3� 3� 3� 3� 8 2 2 2 2 Over the past few lessons, you’ve been developing your strumming while working with up and down strokes. You’ve also been increasing your picking hand comfort and accuracy by playing arpeggios. It is time to combine these skills into Alternate Picking. Up to this point, you have played single-line melodies, like Ode to Joy and Aura Lee, exclusively with downstrokes. This is all well and good, but the truth of the matter is that any accomplished guitarists utilizes upstrokes in chord strumming and melodies. Using both the downstroke and upstroke effectively doubles the number of notes you can play with a very minimal increase in effort on your part. While there are many different ways to combine pick directions for different musical affects and speed requirements, the foundation for them all lies in a strict alternation pattern. Playing consistent up and down strokes is more accessible when the exercise and music is restricted to one string; for this reason, your first developmental exercises with this will be on one string only. One this is comfortably developed, you will working on maintaining strict alternate picking while switching strings. The playing action of alternate picking is slightly different than that of strumming. While both rely on a wrist motion of “flicking off the water”, the strumming motion requires more elbow motion than alternate picking. You’ll also experience difficult if your pick hits the strings flat. Make sure the pick is hitting the strings at a slight angle so that the curved part

35 17. Alternate Picking of the pick acts as a ramp for the string. Slightly pivot your wrist so that one side of the pick is closer or further from the floor. There is no “correct” angle, so you can find what works for you. If you find that you’re having trouble playingthe upstroke portion of the exercises, check to ensure that you are giving the string a “pick ramp” on the upstroke as well as the downstroke. The key to developing a good alternate picking technique is repetition; play it and play it and play it and play it.Be- gin to develop your alternate picking abilities on each of the open strings using the rhythm in 17.1. Eventually, you’ll get bored of this; this is very understandable. Unfortunately, you need to keep playing alternate picking to continue to develop. Fortunately, we can add interest and utilize your time by adding in fretting hand exercises and playing them with alternate picking. One way to spice up alternate picking patterns is to revisit the Chromatic Finger Exercise in Section??. Previously, we simply play a quarter note rhythm where each note had one � � � � � � � � � downstroke. Start by playing each note for four beats. Since � 8 we are playing eighth notes each note will get four upstrokes and four downstrokes over the course of four beats. As you Figure 17.1.: Basic Eighth Note Alternate Picking Rhythm get more comfortable with this exercise, decrease the number of beats each note receives. Once you get comfortable (or bored, whichever comes first) with alternate picking on the chromatic exercise, you can continue to develop your skills using the finger combinations in 17.1. This diagram introduces a plethora of diﬀerent diatonic finger combinations. If we were to put the Chromatic exercise into this chart, it would be indicated as 1 2 3 4. Startby playing these finger combinations on the 7th fret, 6th string. Work your way across the strings, then move down by 1 fret, as you did with the stretching exercises. Keep in mind that I am not requiring you to learn all of these finger patterns and become proficient in them (yet). I’ve introduced them here so that you can have some other fretting-hand fodder for your your alternate picking practice. They are very useful and will take many weeks to get proficient at, so feel free to work on only 2 or 3 patterns for a few days ata time. Be sure to practice these exercises with a metronome; a good target is to be able to play eighth notes at 120 bpm. At this speed, you’ll be playing one note every .25 seconds! Figure 17.2 shows a song that has alternate picking mixed in with regular eighth note patterns. Although you don’t understand everything in the standard notation (yet!), you do know how to read all the rhythms in this piece of music. Your mission, should you choose to accept it, is to decipher the melody of this song using a combination of your ability to read tablature and your ability to read rhythms. Using the skills developed while strumming rhythms, decode the picking directions from the rhythm and write it above the music. Then, apply these rhythms, withe the correct pick direction, onto the notes indicated in the tablature. Note the extremely high tempo; you may need to move at a brisk pace before you can completely decipher the coded message. The best gadget for this mission is a metronome; please try to return it in one piece! (keep workin’ your stretches!)

36 17. Alternate Picking

� = 264 � � � � � �� 8 � � � � � � � � � � � � � � � 0 1 2 1 � � � � � � 0 2 2 2 2 0 0 0 0 3 3 3 3 8 � � 8 � � � � � � � � � � �� 3 2 2 2 0 2 2 2 2 0 0 0 0 3 3 3 3 2 2 2 0 2 2 2 2 14 � � 8 �� 1 0 2 0 2 � 2 0 0 0 0 3 3 3 3 2 1 0

Figure 17.2.: An International Song of Mystery

37 17. Alternate Picking

38 17. Alternate Picking

17.1. Scales: Exercise of The gods

Eddie Van Halen: ”Rock & Roll is feeling, and after you know most of the basics ... chords, rhythm, scales and bends ... getting that feeling is just about the most important aspect of playing guitar.” Andres Segovia: ”The student who wishes to acquire a firm technique on the guitar should not neglect the patient study of scales. If he practices them two hours a day, he will correct faulty hand positions, gradually increase the strength of the fingers, and prepare the joints for later speed studies. Thanks to the independence and elasticity which the fingers develop through the study of scales, the student will soon acquire a quality which is very diﬃcult to gain later: physical beauty of sound.” Barney Kessel: ”Playing scales is like a boxer skipping rope or punching a bag. It’s not the thing in itself; it’s preparatory to the activity.” Julian Bream: ”... I practice more than ever ... mostly scales and arpeggios ... and anything I can’t do ... ”

Neck diagrams can be used to represent both chords and scales. When a neck diagram is representing a scale, it will have multiple notes indicated on a single string. Youmay also notice that it has more notes that you have fingers, which indicates that it can’t be played as a chord! Toplay the scale in Figure 17.3, start with the lowest note. The lowest note is on the thickest string and located closest to the nut. In this scale, it is indicated as an open circle. Ascend to the highest note, playing each note individually and being careful to use the correct fingerings. When you have reached the highest note (located on the thinest string, closest tothe

39 17. Alternate Picking body of the guitar), turn around and descend to the low note. Then congratulate yourself on a successful playing of the scale and consider what you could do to improve next time you are playing. Here are some suggestions:

• Eﬃciency of Motion: Minimize excess motion in both hands

• Comfort of Motion: Minimize tension and Maximize relaxation.

• Beauty of Sound: Work towards a beautiful tone

• Rhythm: Improve your ability to play precisely with the metronome.

• Speed: Increase the tempo for greater fluidity

The lowest note in this scale is also called the Root Note. Knowing the root note of the scale is very useful whensoloing. The lowest note of the scale and the root note are often the same but occasionally will be diﬀerent notes. Play this at 120 bpm.

First Finger 2x Second, Third Finger 2x Fourth Finger 2x 1 2 1 4 2 1 2 4 4 1 4 2 1 4 1 2 2 4 2 1 4 2 4 1 1 3 1 4 3 1 3 4 4 1 4 3 1 4 1 3 3 4 3 1 4 3 4 1 2141 1 2 4 2 1 4 2 4 4121 4 2 1 2 2 4 1 4 3141 3 1 4 1 1 4 3 4 4131 3 4 3 1 3 4 1 4

Table 17.1.: 3 Note, 4 Beat Diatonic Finger Combinations

40 17. Alternate Picking

Figure 17.3.: Your First Scale