Express Guitar™ Volume 2

EXPRESS GUITAR Vol 2 : The Advancing Guitarist

Mike Hayes

PRESENTS Express guitar ™

Volume 2

The advancing guitarist

THIS DOCUMENT IS NOT FREE! This book is for personal use only. Any unauthorised use, sharing, reproduction or distribution of these materials by any means, electronic, mechanical, or otherwise is strictly prohibited. If you received this book without paying the publisher for access, you possess an illegal copy and we require you to report the source of distribution to us immediately, at [email protected] so that we can take appropriate action to preserve our brand, and to ensure that we preserve the exclusive nature and value of this product in the interest of our paying customers.

Furthermore, you are given a non-transferable, “personal use” license that DOES NOT include any sort of “resale rights” license or “private label” licensing whatsoever.

Legal action will be taken against anyone who violates our copyright owernership.

COPYRIGHT NOTICE: © 2012 Mike Hayes. All rights reserved. Any unauthorized use, sharing, reproduction or distribution of these materials by any means, electronic, mechanical, or otherwise is strictly prohibited. No portion of these materials may be reproduced in any manner whatsoever, without the express written consent of the publisher. EXPRESS GUITAR Vol 2 : The Advancing Guitarist

To Pippa

Page 3

Contents

Contents …………………….…………………………………………………………………….. 4 How to use this book ……………….…………………………………………………………….. 6

Part 1 INSTANT GUITAR Essential information for new players…………………………………. 7 x Guitarists Directory………………………………………………………………………... 8 x The Learning Process ……………………………………………………………………… 9 x The Doo Wop Chord Progression………………………………………………………….. 10 x Expanding Your Chord Vocabulary………………………………………………………... 11 x New Chord Shapes - Key of “ G ”………………………………………………………… 12 x New Chord Shapes - Key of “ D ”………………………………………………………… 13 x New Chord Shapes - Key of “ A ”………………………………………………………... 14 x New Chord Shapes - Key of “ E ”…………………………………………………………. 15 x The Three Essential Doo Wop Progressions……………………………………………….. 17 x Chord Progressions overview……………………………………………………………… 19 x The Cycle Of Fifths………………………………………………………………………... 20 x Two Chord Songs…………………………………………………………………………... 21 x Three Chord Songs…………………………………………………………………………. 23 x Accelerated Learning Projects……………………………………………………………... 24 x The Verse/Chorus song form………………………………………………………………. 25 x The 32 Bar AABA song form……………………………………………………………… 26 x The “Bridge”……………………………………………………………………………….. 27

Part 2 EXPRESS GUITAR ™ Learn 30 Hit songs FAST……………………………………………. 28 x Master Song Index (30 Hit Songs)………………………………………………………… 29 x Blues Progression Songs (12 Hit Songs)…………………………………………………... 32 x Road Maps - Double Bar lines……………………………………………………………... 46 x Road Maps - Repeat Signs…………………………………………………………………. 47 x Road Maps - 1st and 2nd Endings………………………………………………………….. 48 x Slash Chords………………………………………………………………………………... 49

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Part 3 DOO WOP PROGRESSION SONGS - 18 Hit Songs x Doo Wop Progression Songs index(18 Hit songs)…………………………………………. 50 x Blue Moon………………………………………………………………………………….. 52 x Dream………………………………………………………………………………………. 54 x Every Breath You Take…………………………………………………………………….. 58 x Everyday…………………………………………………………………………………… 61 x Hungry Heart……………………………………………………………………………….. 67 x Last Kiss……………………………………………………………………………………. 16 x Let’s Twist Again…………………………………………………………………………... 68 x Return To Sender…………………………………………………………………………... 74 x Should I Do It………………………………………………………………………………. 80 x Stand By Me………………………………………………………………………………... 16 x Stay…………………………………………………………………………………………. 82 x The Wonder Of You………………………………………………………………………... 84 x Ti Amo……………………………………………………………………………………... 86 x Tired Of Towing The Line…………………………………………………………………. 87 x True Blue…………………………………………………………………………………… 88 x People Get Ready…………………………………………………………………………... 89 x Y M C A……………………………………………………………………………………. 93 x You Make Me Feel Like Dancing………………………………………………………….. 97

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How to use this book.

Welcome to Express Guitar™ Volume 2.

This volume will provide the reader with a greater understanding of the elements that make up the vocabulary of the language of music. The advancing guitarist will benefit in a practical way from its contents, and will be able to apply this information in everyday musical situations.

The Express Guitar™ series are specifically designed to change the pace of your learning and enjoyment of music.

Please keep in mind that efficient learning involves :

“ learning what you want to learn, when you want to learn it ! ”

Start anywhere in the book on any subject that interests you.

Decide whether it is a data memory skill or motor skill and design your practice session appropriately.

Remember that playing the guitar is an accumulative process, regular review and application of material is a must in the learning process.

As always, have fun and enjoy your guitar playing.

Page 6 Mike Hayes

Instant Guitar

Chord Progressions Part 2

*The Doo Wop Chord Progression

Page 7

EXPRESS GUITAR Vol 2 : The Advancing Guitarist

Guitarists Directory

All of the songs in the Express Guitar 2 - the Advancing Guitarist manual can be found at http://YouTube.com

Simply go to http://www.YouTube.com type in the song title and follow the printed arrangement in this manual.

Mike recommends

 Maria Muldaur - Vocal Style and Performance (instructional video) available at http://www.guitarcoaching.com/sheetmusic.htm

 Seth Riggs - Singing For The Stars (Book and 2 Compact Discs) available at http://www.guitarcoaching.com./sheetmusic.htm

Mike recommends

 Yamaha acoustic guitars, Fender electric guitars, and Peavey amplifiers available at http://www.guitarcoaching.com/instruments.htm

 Printed sheet music at http://www.guitarcoaching.com/sheetmusic.htm

Page 8

The learning process

We hear music everyday, most of the time however, we are not really concentrating on what we are hearing, it’s more of a pleasant backdrop to our daily life.

Our brain acts like a giant digital recorder automatically recording and storing every sound you hear.

People who are said to have a “good ear for music” in reality have a refined memory for sound. Your ear simply sits on the side of your head and picks up the audio signals.

The great news is your “memory for sound” can be developed and refined.

You already have an excellent memory for sound that’s how you remember the sound of the words we use in our conversations, the sound of the phone ringing etc.

By making a conscious effort to focus on the sound of each chord progression (as it is presented clearly to you in this course) you will quickly develop the ability to recall the information you need when you want it.

The songs and chord progressions in this book are designed to be the perfect compliment to the material you have already studied in EXPRESS GUITAR™ Volume 1.

The material included in this volume will take your guitar playing and musicianship, to the next level and enrich your performance repertoire with contrasting material (different chord textures, tempo, mood etc,) to maintain maximum audience interest and participation.

The learning process is generally regarded as a conscious activity, involving the study and processing of information via various external media (computer programs, printed material, television broadcasts, etc)

It is important to keep in mind that while this forms a valid, time honored concept of learning, it fails to acknowledge the enormous potential of our subconscious, even unconscious means of learning.

The trick is to have the conscious mind notice the information

Again, we will focus on the sound of each chord progression until you can recognize the sound.

As you play these songs you will develop your relative pitch.

Relative Pitch : Without relative pitch, music can seem like a jumble of tones - like watching a fuzzy TV. With a poorly tuned ear, you receive only a blurred impression of the music; the details are lost. Relative Pitch enables your ear to FOCUS on the tones - so you get sharp detail of what’s happening.

Page 9

The Doo Wop Chord Progression This progression is one of the most used chord progressions in the world.

It has been called as the “Heart and Soul ” Progression, the “Blue Moon” progression, and other names.

Musicians know it by the formula ( 1 6 4 5 )

The Doo Wop Progression was used extensively during the Doo-Wop era from 1958 to 1963, and is still used to create hit songs today.

As nothing succeeds quite like success, there are numerous examples of hit songs written with any of the 24 possible combinations of these four chords.

It is important to note that this chord progression existed and was popular with the public long before the Doo-Wop era.

For example the song “Blue Moon” written by Richard Rodgers and Lorenz Hart (originally entitled “Prayer ”) was composed in 1933 and was based on the 1 6 4 5 progression.

Our current project is to assist you to recognize chord progressions when you hear them on the radio, television, CD’s etc. The songs selected for the early stages of the course are hit songs from the top 40 charts of recent years .

The chord progressions you are studying are extremely versatile and exist in a wide variety of musical styles.

To illustrate my point, let’s say your main interest in music is in the realm of Jazz.

A short list of songs from the Jazz repertoire that use the 1 6 4 5 progression would include :

I Got Rhythm Stars Fell On Alabama The Way You Look Tonight Cheek To Cheek Blue Moon I’ll Take Romance Gypsy In My Soul Don’t Be That Way etc, etc

If you turn the Television on and watch “The Flintstones ” cartoon series, there it is again. (The Flintstones theme is based on the 1 6 4 5 progression).

Jack Johnson makes use of the 1 6 4 5 progression in his song “Dreams Be Dreams ”.

Country music tunes that feature this progression include Crystal Gayle’s hit “Don’t It Make Your Brown Eyes Blue ”, and Dolly Parton’s “I will Always Love You ”.

At certain stages of the course I will recommend websites and products that specialize in each musical style that way you can work specifically on the music that interests YOU.

Page 10

Expanding Your Chord Vocabulary

The chart below identifies the 1 6 4 5 progression in the most common keys for guitar.

1 6 4 5 (Doo wop) progression in the 4 “Guitar Friendly” Keys

The 1 6 4 5 progression (STANDARD VERSION)

A very common variation of the 1 6 4 5 progression is the 1 6 2 5 progression.

The 1 6 2 5 progression

Select a key and practice the new shapes on the following pages, remember to play the chords in the sequence (progressions) shown above e.g., G, Em, C, D or D, Bm, G, A etc., always keep in mind that we are listening to the complete chord progression.

Page 11

Key of G G

Play 4 strings

Play 6 strings

Play 4 strings

Check out your Chord Wizard Bonus for alternative chord shapes for this key.

Page 12

Key of D D

Play 4 strings

Play 5 strings

Check out your Chord Wizard Bonus for alternative chord shapes for this key.

Page 13

Key of A A

Play 5 strings

F#m

Play 3 strings

Play 4 strings

Play 6 strings

Check out your Chord Wizard Bonus for alternative chord shapes for this key.

Page 14

Key of E E

Play 6 strings

C#m

Play 4 strings

Play 5 strings

Check out your Chord Wizard Bonus for alternative chord shapes for this key.

Page 15

The song LAST KISS played by Pearl Jam and Ben E King’s song STAND BY ME are examples of the Doo Wop progression.

I have previously used these songs in the “How To Remember 1,000 tunes” free course.

If you don’t have a copy pick up your free course at :

http://www.guitarcoaching.com/freecourse.htm

The full arrangements of these songs are included below.

Song Title -

Last Kiss

Artist - Pearl Jam

Key - G No Capo

The Arrangement :

Doo Wop 1 x 2 Drum break x 2 bars Doo Wop 1 x 4 Drum break x 2 bars Doo Wop x 2 More Doo Wop songs on Page 52 Drum break x 2 bars Doo Wop x 5 Drum break x 2 bars Doo Wop x 2 Drum break x 2 bars Doo wop x 4 Last chord “G”

Song Title -

Stand By Me

Artist - Ben E King

Key - A

Capo - 2nd fret

The Arrangement:

Doo Wop 2 x 10 Page 16

The Three Essential Doo Wop Progressions

The following examples are in the key of “G” refer to the 1 6 4 5 chart on page 11 to convert these progressions into the other guitar friendly keys of “D”, “A” and “E”.

Page 17

Time To Play!

The next few pages contain a lot of very important new data memory information.

I recommend balancing your practice sessions with lots of songs so you have time to absorb, analyze and apply the new information.

*To play and expand your Doo Wop song repertoire turn to page 52.

*To Play and study fresh Blues tunes refer to page 34.

Enjoy your playing!

Page 18

Certain songs have only “one” chord e.g., Born in the USA by Bruce Springsteen

Whole Lotta Love by Led Zeppelin

Other songs feature “three” chords such as : Sweet Home Alabama by Lynard Skynyrd

Bad Moon Rising by Creedence

If your favorite song does not appear on our list at present it most likely will be documented in a future edition, please keep in mind we are cataloguing songs via chord progressions for long term memory association and high speed recall.

How chord progressions work

Chord progressions play a vital role in creating a musical setting for a song and conveying a certain sentiment.

Playing music is really about storytelling.

It’s about telling a story, and as any good storyteller will explain, it is important to “set the scene” or “create an atmosphere” to invite the listener into your world.

The following analogy should help to give you an insight into the important role chord progressions play in presenting music to your listener.

If you where to think of the melody of a song (the tune you whistle or hum) as a pearl necklace on display in a jewelers window. The background of the display (red, black, green velvet and a variety of display lighting etc.,) could be thought of as the CHORD PROGRESSION.

Depending on the color, texture and lighting of the background the necklace would “appear” to be different.

Each “pearl” in our imaginary necklace could be thought of as a single note we sing and when we “string” the words together we have our completed necklace.

Our music system contains only twelve different notes, it is the chords and chord progressions (HARMONIC BACKGROUNDS) used in tandem with these twelve notes that give the variety in music. The other element of course is rhythm.

There are a number of different types of popular chord progressions .

EXPRESS GUITAR™ Volume 1 focused on the 12 bar blues progression and it’s basic variations, additional variations are included in this edition.

We will focus on the “Doo Wop” chord progression and it’s variations in this book. Page 19

The Cycle Of Fifths

The cycle of fifths (sometimes referred to as the circle of fifths) is a convenient mnemonic device (memory aid) designed to arrange all of the twelve notes in our language of music, into a perpetual series of fourths, or fifths, depending on whether the distance of the notes are counted upwards or downwards (clockwise or anti-clockwise.)

From C up to F, for example, spans four notes - C D E F, but from C down to F spans five notes, - C B A G F. The cycle therefore, could be called a cycle of fourths or a cycle of fifths.

It’s originator, Johann Heinichen, though, called it a cycle of fifths.

The cycle of fifths is best graphically illustrated, as a clockface with the sharp keys on the right hand side and the flat symbols on the left.

Our imaginary musical clock has a single hand that moves in an anti - clockwise direction.

C G F

Bb D

Eb A

Ab E

B Db F#

The movement around this circle, (anti-clockwise) generates a special tonal pull, not unlike the downward pull of gravity.

The natural movement around the circle is felt as a downward movement.

Page 20

Structured progressions

Learning music via structured progressions gives the musician the ability to predict what chord comes next in a song with a 90 % accuracy rate.

Two chord songs

If you were playing guitar in a group specializing in country music or folk music many of the tunes would contain only two chords.

Country hit recordings such as : “Jambalaya,” “Tulsa Time” are examples of two chord songs.

The ability to predict the next chord before you have to play it is an essential skill.

It’s easy to find the correct chords that work together if you understand how to use the cycle of fifths.

The following two chord progression in the key of “ E” .

Could be illustrated visually on the cycle of fifths like this :

Key

Page 21

Remember the single hand of our clock moves in an anti-clockwise direction.

You can quickly understand how two chord song progressions work in any key if you visualize the cycle in the following manner :

1. Select a key (you can start on any note you wish).

2. Imagine you are pulling the single hand in a clockwise direction to the next note against it’s natural flow.

3. If we picture the hand of our musical clock attached to a tight spring that always wants to return the hand to it’s starting position. You will instantly see how the two chord songs are written.

Here is another two chord progression (this time illustrated in the key of G) for you to study.

Key

Page 22

Copyright © 2005 Mike Hayes - All rights reserved. www.guitarcoaching.com EXPRESS GUITAR Vol 2 : The Advancing Guitarist Three Chord Songs Using the cycle of fifths, we can instantly learn and remember which chords are used in three chord songs (most of the songs in Volume 1 contain three chords).

1. Select a key (start on any note you wish). 2. The two additional chords (apart from your key chord) are conveniently situated on either side of your initial choice.

Example in E

Key

Example in G

Key

Two and Three chord songs will be studied in more detail later in the EXPRESS GUITAR™ series.

Accelerated Learning Projects :

1. Using the new chord shapes you have just learnt go back to EXPRESS GUITAR™ Volume 1 available from www.guitarcoaching.com and play your favorite songs with different chord shapes.

Refer to pages 59 to 65 Vol 1, write out the chord shape combinations you prefer.

Keep in mind that I have presented all of the material in the key of E so that you may study the similarities of these songs, as we progress through the course and our chord vocabulary increases you may prefer to use alternative chord shapes to get the best sound for your performance.

2. Play the songs that use the Blues progression templates in this book on pages 35 - 48 study their similarities with the blues progressions in EXPRESS GUITAR ™ Volume 1, and note their differences.

3. REVIEW ALL MATERIAL covered in this ebook before preceding. You have learnt a great deal of new DATA MEMORY information in this book it’s important to balance this with an equal amount of practical application i.e., PLAYING SONGS and cultivating ACTIVE LISTENING habits.

Many guitarists play the progressions that have been presented to you in this course up to this point, however,

VERY FEW guitarists understand WHY they play them.

Congratulations you are making excellent progress, enjoy your playing !

Page 24

The Verse/Chorus song form

Most popular songs from the classic rock period forward are written in the verse/chorus song form that has been around since the mid-nineteenth century.

The verse/chorus form consists of two or three verses that alternate with a second musical section referred to as the chorus.

The chorus usually contains the song’s main message and title. It is differentiated from a bridge (see page 27) in that it sounds complete on a stand-alone basis.

As with the blues progressions, not all verse/chorus songs are found in the typical 12 or 16 bar length. Verses and choruses can be any length, however, most are four, eight, twelve, sixteen or twenty-four bars long.

Examples of eight-bar verses and choruses include :

Hotel California - Eagles Proud Mary - Creedence Clearwater Revival

Typical Verse/Chorus song format is shown below :

Format # 1

Verse 1 (8 Bars)

Chorus (8 Bars)

Verse 2 (8 Bars)

Chorus (8 Bars)

Verse 3 (8 Bars)

Chorus (8 Bars)

Common Variations of this format are as follows :

Format # 2 Format # 3 Format # 4 Format # 5 Verse Chorus Verse Verse Chorus Verse Verse Pre - Chorus * Verse Chorus Chorus Chorus Chorus Verse Verse Verse Bridge Chorus Chorus Pre - Chorus * Chorus Chorus Chorus

* Pre-Chorus is a short section between the verse and the Chorus that increases tension by delaying the start of the chorus. Page 25

The AABA song form

The AABA song form, is sometimes referred to as the American popular song form. This is one of the most commonly used forms in both Jazz and popular music.

Examples of the AABA song form are :

Somewhere Over The Rainbow - Harold Arlen/Yip Harburg

Yesterday - Paul McCartney

The B section is also known as the bridge, middle eight, or release.

The typical AABA song form is shown below.

The BRIDGE

The bridge (also known as the break, middle eight, release, channel, or inside) is the eight-bar B section of a 32-bar AABA song form.

You will also find bridges of various lengths in the verse/chorus/bridge and blues with a bridge song forms.

Regardless of the song form, the purpose of the bridge is to provide a contrast to the surrounding sections.

The contrast is usually created by introducing a new chord progression or temporally changing the key (musicians refer to this process of changing key as modulation).

The bridge usually occurs only once, is generally not longer than eight bars, has a different melody from the other song sections, and contains two or four lines of lyric that do not include the song title or hook.

Mike hayes EXPRESS GUITAR ™

Learn 30 Hit Songs

Page 28

Master Song index (Alphabetical Listing)

Song Titles - Index Category Page

1/ Birthday - The Beatles Blues 33

2/ Blue Moon - Grease Soundtrack Doo Wop 52

3/ Can’t Buy Me Love - The Beatles Blues 34

4/ Dream - Everly Brothers Doo Wop 54

5/ Every Breath You Take - Sting Doo Wop 58

6/ Everyday - James Taylor Doo Wop 61

7/ Guitar Boogie Shuffle - Arthur Smith Blues 35

8/ Hungry Heart - Bruce Springstein Doo Wop 67

9/ I Can Help - Billy Swann Blues 36

10/ I Hear You Knocking - Dave Edmonds Blues 37

11/ Keys To The Highway - BB King / Clapton Blues 38

12/ Last Kiss - Pearl Jam Doo wop 16

13/ Let’s Twist again - Chubby Checker Doo Wop 68

14/ Living In The U.S.A - Linda Ronstadt Blues 39

15/ My Baby Left me - Elvis Presley Blues 40

16/ Nadine - Chuck Berry Blues 41

All of the songs in Express Guitar can be found at http://www.youtube.com

Simply go to http://www.youtube.com/ type in the song title and follow the printed arrangement in this manual.

Master Song Titles - Index Category Page

17/ Rave On - Buddy Holly Blues 42

18/ Return To Sender - Elvis Presley Doo Wop 74

19/ Stand By Me - Ben E King Doo Wop 16

20/ Stay - Dirty Dancing Sound Track Doo Wop 82

21/ Should I Do It - The Pointer Sisters Doo Wop 80

22/ The Sky is Crying - Stevie Ray Vaughan Blues 44

23/ The Wonder Of You - Elvis Presley Doo Wop 84

24/ Ti Amo - Laura Branigan Doo Wop 86

25/ Tired Of Towing The Line - Rocky Burnett Doo Wop 87

26/ Travellin’ Band - CCR Blues 45

27/ True Blue - Madonna Doo Wop 88

28/ People Get Ready - Rod Stewart/Jeff Beck Doo Wop 89

29/ Y M C A - Village People Doo Wop 93

30/ You Make Me Feel Like Dancing - Leo Sayer Doo Wop 97

All of the songs in Express Guitar can be found at http://www.youtube.com Mike recommends music downloads of these songs by the original artists from Simplyhttp://www.guitarcoaching.com/mp3.htm go to http://www.youtube.com/ type in the song title and follow the printed arrangement in this manual.

Blues Progression Songs

I've included these songs in this volume for several reasons:

1. To reinforce the material you have already studied in volume 1.

2. To introduce more complex variations on the blues progressions e.g., blues progressions with a bridge section (I Can Help p 40), 8 bar blues (Keys To The Highway p 43)

3. To increase the velocity of our learning and communication.

For example if you were at a party, band rehearsal, jam session or gig and you were able to recognize that the following songs were all blues 2 progressions: x Wipe Out (key of C, capo - 8th fret) x C Jam blues (key of C, capo - 8th fret) x The original theme from Batman (key of G, capo - 3rd fret)

etc, etc ...... you would:

(a) have a lot more fun

(b) be very relaxed and confident (because you would know the progression in advance)

Page 31

Blues Progression Songs

Song Titles Index Category Page

1/ Birthday - The Beatles Blues 1 33

2/ Can’t Buy Me Love Blues 2 (variation) 34

3/ Guitar Boogie Shuffle - Arthur Smith Blues 1 35

4/ I Can Help - Billy Swann Blues 2 36

5/ Hear You Knocking - Dave Edmonds Blues 2 (variation) 37

6/ Keys To The Highway - BB King / Clapton 8 Bar Blues 38

7/ Living In The U.S.A - Linda Ronstadt Blues 1 / Blues 2 39

8/ My Baby Left Me - Elvis Presley 10 Bar Blues / Blues 2 40

9/ Nadine - Chuck Berry Blues 2 41

10/ Rave On - Buddy holly Blues 1 42 / 43

11/ The Sky Is Crying - Stevie Ray Vaughan Blues 4 44

12/ Travellin’ Band - CCR Blues 2 (variation) 45

Page 32

Song Title - Birthday

Artist - The Beatles

Key - A Capo - 5th fret

The Arrangement :

Blues 1 x 2 Drums - 8 bars Pre-chorus x 1 Chorus x 1 Blues 1 x 1 Guitar solo - 4 bars Chorus x 1 Blues 1 x 1 Tag x

Lead Guitar Scale :

A minor Pentatonic (5th fret) or A Blues scale (5th fret)

Additional comments :

Note use of pre-chorus section to build tension.

Page 33

Song Title - Can’t Buy Me Love

Artist - The Beatles

Key - C Capo - 8th fret

The Arrangement : Intro x 1 Blues 2 (variation) x 2 Chorus x 1 Blues 2 (variation) x 1 Guitar solo (blues 2) Chorus x 1 Blues 2 (variation) x 2 Tag

Lead Guitar Scale :

C minor Pentatonic (8th fret) or C Blues scale (8th fret)

Page 34

Song Title - Guitar Boogie Shuffle

Artist - Arthur Smith

Key - E Capo - No Capo

The Arrangement : Intro x 2 Bars of E chord Blues 1 x 12

Lead Guitar Scale :

E minor Pentatonic (12th fret) E Blues scale (12th fret) or E major Pentatonic (9th fret)

Will work with this song.

Page 35

Song Title - I Can Help

Artist - Billy Swann

Key - C Capo - 8th fret

The Arrangement : Intro x 1 Blues 2 x 2 Bridge x 1 Blues 2 x 1 Solo x 1 Bridge x 1 Blues 2 x 1 Solo x 1

Lead Guitar Scale :

C major Pentatonic (5th fret) or C minor Pentatonic (8th fret)

Will work with this song.

Additional comments :

1) Either the major pentatonic or minor pentatonic or a com- bination of both of these scales will work for this song.

2) Note the sound of the B+ chord in the bridge.

3) (+) sign = Augmented chord i.e.,

B+ = B augmented chord.

Page 36

Song Title - I Hear You Knock- ing

Artist - Dave Edmonds

Key - E Capo - No capo

The Arrangement : Intro x 1 Blues 2 (variation) x 2 Solo x 1 Blues 2 (variation) x 1 Solo x 1 Blues 2 (variation) x 1

Lead Guitar Scale :

E minor Pentatonic (12th fret)

Additional comments :

Note the modified version of the Blues 2 chord progression template in bars 9, 10, 11 & 12.

Page 37

Song Title - Keys To The Highway

Artist - Eric Clapton / B.B King

Key - A Capo - 5th

The Arrangement :

8 bar Blues 2 x 9

Lead Guitar Scale :

A minor Pentatonic (5th fret) or A Blues Scale (5th fret)

Additional comments: Check out the Pro Charts bonus for a full professional version of this song complete with slash chords optional chord shapes and blues turnaround chords.

Page 38

Song Title - Living In The U.S.A

Artist - Linda Ronstadt

Key - G Capo - 3rd fret

The Arrangement :

Intro x Blues 1 Verse x Blues 1 Chorus x Blues 3 Piano solo x Blues 1 Chorus x Blues 3 Guitar solo x Blues 1 Chorus x Blues 3 Verse x Blues 1 Verse x Blues 1 Verse x Blues 1

Lead Guitar Scale :

G minor Pentatonic (3rd fret) or G Blues Scale (3rd fret)

Additional comments :

Page 39

Song Title - My Baby Left Me

Artist - Elvis Presley

Key - A Capo - 5th fret

The Arrangement :

Intro x Drums 4 bars x Bass 2 bars x guitar 2 bars Vocals = 10 bar blues x 2 Solo = Blues 2 x 1 Vocals = 10 bar blues x 2 Tag x 1

Lead Guitar Scale :

A minor Pentatonic (5th fret) or A Blues Scale (5th fret)

Additional comments :

Note the use of a 10 bar version of Blues 2 for the vocals.

Solos revert back to the standard 12 bar version of Blues 2.

Page 40

Song Title - Nadine

Artist - Chuck Berry

Key - Bb Capo - 6th fret

The Arrangement :

Intro E x 2 bars Verse x 1 Chorus x 1 Verse x 1 Chorus x 1 Verse x 1 Chorus x 1 Verse x 1 Chorus x 1 Chorus x 1

Lead Guitar Scale :

Bb minor Pentatonic (6th fret) or Bb Blues Scale (6th fret)

Additional comments :

Note elongated verse / chorus song form (extra verse & chorus)

Page 41

Song Title - Rave On

Artist - Buddy Holly

Key - G Capo - 3rd fret

The Arrangement :

Blues 1 (with E A7 E B7) x 1 Blues 1 (with E A7 E) x 1 Chorus x 1 Tag x 1

Lead Guitar Scale :

G minor Pentatonic (3rd fret) or G Blues Scale (3rd fret)

Additional comments :

Please refer to your Pro Charts bonus for a more professionally written version of this same song using new symbols such as repeat signs first and second endings, double bar lines etc

PLEAS NOTE: The chorus and tag for RAVE ON is on page 43.

Page 42

Song Title - Rave On

Artist - Buddy Holly

Key - G Capo - 3rd fret

The Arrangement :

Blues 1 (with E A7 E B7) x 1 Blues 1 (with E A7 E) x 1 Chorus x 1 Tag x 1

Lead Guitar Scale :

G minor Pentatonic (3rd fret) or G Blues Scale (3rd fret)

Additional comments :

Please refer to your Pro Charts bonus for a more professionally written version of this same song using new symbols such as repeat signs first and second endings, double bar lines etc.

Page 43

Song Title - The Sky Is Crying

Artist - Stevie Ray Vaughan

Key - B Capo - 7th fret

The Arrangement :

Blues 4 x 5 times

Last chord = E7 Lead Guitar Scale :

B minor Pentatonic (7th fret) or B Blues Scale (7th fret)

Additional comments :

Note the use of turnaround chords in bars 11 nd 12.

Page 44

Song Title - Travellin’ Band

Artist - CCR

Key - F# Capo - 2nd fret

The Arrangement :

Intro x 1 Blues 2 x 3 Bridge x 1 Blues 2 x 1 Bridge x 1 Blues 2 x 1 Tag x 1

Lead Guitar Scale :

F# minor Pentatonic (2nd fret) or F# Blues Scale (2nd fret)

Additional comments :

Note the use of the B7 chord in bar 11 to modify the standard blues 2 format.

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Theory Update : Music Road Maps.

Please read the following information carefully to ensure you can follow the Doo Wop arrangements correctly.

Understanding these new symbols will : x Help you to quickly identify the form of a song A A B A (refer to pages 25 -26) x Save unnecessary page turns when reading and writing music. x Prevent you from losing your place in the song when you are playing lead guitar.

Double Bar lines : Two vertical lines placed close together represent the DOUBLE BAR which indicates the completion of a section of music.

Double Bar

Page 46

Theory Update : Music Road Maps.

Repeat Signs : Double dots (:) placed beside the double bar lines indicate that the music is to be repeated.

repeat sign

Page 47

Theory Update : Music Road Maps.

1st and 2nd Endings : Sometimes, when a piece of music repeats itself, 1st and 2nd endings are used, in order to save space.

- play the piece through ending 1 to the double dots, repeat the measures indicated, then skip ending 1 and finish the piece by playing ending 2.

omit these two bars the second time through

play these two bars the second time through

notice the double bar lines to indicate the end of a section Page 48

Theory Update : Slash chords.

Slash chords : Play an extremely important role in converting a simple chord progression into a full professional arrangement.

The primary function of Slash chords are:

1. To be used as connecting chords in a chord progression.

2. To create an ambiguous sounding chord as a contrast to the major, minor and dominant 7th chords.

3. To add tension points to a chord progression.

Slash chords are notated as follows:

chord name bass note

This chord would be described as a “C” chord with a “D” bass.

Another example of slash chords, this time shown as connecting chords in a chord progression.

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1 6 4 5 (Doo Wop) Progression Songs

Song Titles Index Category Page

1/ Blue Moon Doo wop 3 52

2/ Dream (analysis version) Doo Wop 3 54

Dream (practical version) Doo Wop 3 56

3/ Every Breath You Take Doo Wop 2 (variation) 58

4/ Everyday (analysis version) Doo Wop 3 61

Everyday (practical version) Doo Wop 3 64

5/ Hungry Heart Doo Wop 1 (variation) 67

6/ Last Kiss Doo Wop 1 16

7/ Let’s Twist Again (analysis version) Doo Wop 2 68

Let’s twist Again (practical version) Doo Wop 2 71

8/ Return to Sender (analysis version) Doo Wop 1 74

Return To sender (practical version) Doo Wop 1 77

9/ Should I Do it Doo Wop 1 (variation) 80

10/ Stand By Me Doo Wop 2 16

All of the songs in Express Guitar can be found at http://www.youtube.com Mike recommends music downloads of these songs by the original artists from Simply go to http://www.youtube.com/ type in the song title and follow the printed http://www.guitarcoaching.com/mp3.htm arrangement in this manual.

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1 6 4 5 (Doo Wop) Progression Songs

Song Titles Index Category Page

11/ Stay Doo Wop 3 82

12/ The Wonder Of You Doo Wop 1 (variation) 84

13/ Ti Amo Doo Wop 1 (variation) 86

14/ Tired of Towing The Line Doo Wop 3 87

15/ True Blue Doo Wop 1 (variation) 88

16/ People Get Ready (analysis version) Doo Wop 3 89

People Get ready (practical version) Doo Wop 3 91

17/ Y M C A (analysis version) Doo Wop 1 (variation) 93

Y M C A (practical version) Doo Wop 1 (variation) 95

18/ You Make Me Feel Like Dancing Doo Wop 3 97

You make Me Feel Like Dancing Doo Wop 3 99

All of the songs in Express Guitar can be found at http://www.youtube.com

Simply go to http://www.youtube.com/ type in the song title and follow the printed arrangement in this manual.

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This is a professional chord chart arrangement please note the following: x The capo marking at the top left hand side of the title page (52).

x The repeat sign at bar eight directs you back to bar one and then take the second time ending when you repeat. x The A A B A form of the song is indicated the markings at bars 1, 11 & 27.

x The thick double bar at the very end of the piece indicates the end of the song.

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Song Title - Hungry Heart

Artist - Bruce Springstein

Key - C# Capo - 6th fret

The Arrangement :

Doo Wop 1 x 11 Solo x 1 Doo Wop 1 x 9

Lead Guitar Scale :

C# major Pentatonic (6th fret)

Additional comments :

Note the use of the 1 6 2 5 variation of the Doo Wop progression.

The C/D slash chord in bar 4 functions as a 5 chord e.g., C/D is a substitute chord for D.

The solo section uses the same chord progression as the original theme only transposed into another key.

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This is a professional chord chart arrangement please note the following : x The capo marking at the top left hand side of the title page (82).

x The repeat sign at bar eight directs you back to bar 1 and then take the second time ending when you repeat. x The repeat sign at bar thirty four directs you back to twenty seven and then take the second time ending to the end of the piece. x The A A B A form of the song is indicated the markings at bars 1, 19 & 27.

x The thick double bar at the very end of the piece indicates the end of the song.

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This is a professional chord chart arrangement please note the following : x The capo marking at the top left hand side of the title page (84).

x The repeat sign at bar eight directs you back to bar one and then take the second time ending when you repeat. x The A A B A form of the song is indicated the markings at bars 1, 11 & 27.

x The thick double bar at the very end of the piece indicates the end of the song.

x Two chords to the bars means two beats on each chord.

Page 85

Song Title - Ti Amo

Artist - Laura Branigan

Key - F Capo - 10th fret

The Arrangement :

Intro x 1 Doo Wop 1 x 13

Lead Guitar Scale :

F major Pentatonic (10th fret)

Additional comments :

Note the use of variation of the “Doo Wop 1” please refer to page 11 “the 1 6 2 5”.

I’ve included a second version of Ti Amo using “E” shapes that will sound better and be easier to play…..remember to place the capo on the 1 st fret when using the “E” shape version.

Page 86

Song Title - Tired Of Towing The Line

Artist - Rocky Burnett

Key - G No Capo

The Arrangement : Doo Wop 3 x 6 Bridge x 1 Doo Wop x 4 Bridge x 1 Doo Wop x 2 Bridge x 1 Doo Wop x 9

Lead Guitar Scale:

G Major Pentatonic 12 th fret

Additional comments:

Page 87

Song Title - True Blue

Artist - Madonna

Key - B Capo - 4th fret

The Arrangement :

Intro x 1 Doo Wop 1 x 13

Lead Guitar Scale :

B major Pentatonic (7th fret)

Additional comments :

Note the use of C/D slash in bar four of intro.

True Blue’s main theme consists of a double bar version of the Doo Wop 1.

Notice the use of the C Major 7th in the bridge section.

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