Index

tuning fork/pitch pipe, 295 • A • wire cutters/needle-nose pliers, 295 A chord acoustic blues. See also blues; electric chord diagram, 41 blues fi ngering, 113 alternating texture, 200–201 A string, 352 defi ned, 197 A5 power chord, 121 general concepts, 197–200 A7 chord, 69–70 guitar models, 270 A-based barre chords. See also barre melody and accompaniment chords simultaneously, 197–198 alternative fi ngering, 115 open and fretted string combinations, 201 defi ned, 112 phrase repetition at different pitch, dominant 7th chords, 117 199–200 fi nding right fret for, 114 phrase repetition at same pitch, 199 fi ngering, 113 repetition, 199–200 major 7th chords, 118–119 steady bass notes with treble notes, 198 minor 7th chords, 117–118 techniques, 200–201 minor chords, 116–117 turnarounds, 202–204 progressions using, 114–115 acoustic guitars A-based movable power chord, 122 archtop, 272 accent back, 12 defi ned, 48 barre chords on, 105–106 symbol, 122 bridge pins, 12 accessories illustrated, 12 batteries, 294 laminated-wood, 272–273 bridge pins, 294 sides, 14 cable tester and volt-ohm meter, 296 solid-wood, 272–273 cables, 291 sound creation, 16 capos, 293–294 action cloths, 294 checking, 317 duct tape, 296 defi ned, 29 earplugs, 294–295 COPYRIGHTEDadd chords MATERIAL electronic tuners, 292 defi ned, 169 fuses, 296 fi ngerings and progression, 170 illustrated, 296 open-position, 170 peg winders, 295 A-family chords pencil and paper, 295 defi ned, 40 penlight, 295 fi ngering, 40–41 picks, 291 progression, 42 portable recorder, 295 strumming, 41–43 reversible screwdriver, 295 use of, 40 straps, 292–293 “All my Trials,” 225, 230–231 strings, 290–291 “All Through the Night,” 73–74, 76

335_9781118115541-bindex.indd5_9781118115541-bindex.indd 371371 88/17/12/17/12 77:44:44 PMPM 372 Guitar For Dummies, 3rd Edition

altered chords, 250–251 pull-offs, 132–136 altered tones, 257, 258 slides, 136–139 alternate picking. See also picking in solos, 167 defi ned, 61 types of, 127 downstroke, 61 vibrato, 146–148 symbols, 61 ascending immediate slides, 137–138 upstroke, 62 Atkins, Chet, 328 alternate tunings. See also modern rock audio tracks defi ned, 172 DVD, 360–367 drop-D tuning (DADGBE), 172–173 tuning with, 23 open-D tuning (DADFsAD), 173–174 “Auld Lang Syne,” 51, 54 alternation, 200–201 “Aura Lee,” 98, 100 Am chord, 46 auto-sensing, 292 Am7 chord, 71–72 Amaj7 chord, 72–73 • B • ambient music, 320 amplifi ers (amps) B string, 351 performance, 282, 283–285 Bf barre chord, 113, 115 practice, 282–283 Bf7 barre chord, 116 purchasing, 281–282 Bfm barre chord, 116 recording, 285 Bfm7 barre chord, 116 anticipated strumming, 51 B7 chord, 70 appearance, in guitar purchase, 268 balance control, 358 appointments bar lines, 42–43, 59 defi ned, 272, 276 barre chords orientation toward, 276–277 Bf, 113, 115 typical, 276 Bf7, 116 arpeggiated chords, 259 Bfm, 116 arpeggio style Bfm7, 116 classical guitar, 239, 242–243 A-based, 112–119 defi ned, 213, 242 combining, based on E, 111–112 Em, 213, 214 E-based, 104–107 fi ngerstyle position, 213 F, 105 free strokes and rest, 242–243 fretting indication, 48 “lullaby” pattern, 214–215 pressure on neck, 105 patterns, 214 progressions, 106–107 playing, 213–214 songs with, 124–126 up-and-down pattern, 214 three-string, 73 “The Articulate Blues,” 151, 152 tips for playing, 105 articulation two-string, 71 bends, 139–146 bars. See measures defi ned, 127 batteries, 294 hammer-ons, 127–132 bends. See also articulation lead guitar, 161–162 before and after, 141 muting, 148–151 defi ned, 139 in pentatonic minor scale, 161 double-stop, 145–146 playing songs with, 151–152 held, 145

335_9781118115541-bindex.indd5_9781118115541-bindex.indd 372372 88/17/12/17/12 77:44:44 PMPM Index 373

highest note, 164, 165 body caps, 273 idiomatic licks with, 142–146 bolt-on neck construction, 273 immediate, 141, 142–143 “Bourrée in E minor,” 245, 248 lead guitar, 161, 162 breaking angle, 301 measured, 141 bridge one string in two directions, 144 adjusting, 316–318 playing, 140–142 attaching strings to (acoustic and release, 143–144 guitar), 299–300 in rhythm, 141 attaching strings to (electric 7th fret note, 192 guitar), 306–307 tab notation, 140 attaching strings to (nylon-string in tune, 140 guitar), 303 types of, 142 defi ned, 12 Berry, Chuck, 329 fi xed, 319 blues fl oating, 275, 308, 319 accompaniment patterns, 183 as upgrade area, 275 acoustic, 197–204 bridge pins, 294 basics, 183–206 bridge springs, replacing, 319–320 electric, 184–196 elements of, 81 • C • key of E for, 80 lyrics, 189 C chord, 46 phrasing, 195 C7 chord, 68–69 progressions, 80, 81 cable testers, 296 slide guitar, 202 cables, 291 songs, playing, 204–206 calluses, 42, 43 songs, writing, 81 capos structure, 189 as accessory, 293 typical song key, 194 defi ned, 210 blues lead guitar engaging/disengaging, 212 blues moves, 195–196 illustrated, 211, 294 Box-IV lick with triplet feel, 191 operation methods, 210 Box-V lick with slide, 191 reasons for using, 211–212 with boxes, 189–191 Carter style, 217 defi ned, 189 cases depth with additional notes, 191–194 gig bags, 290 fl attened 5th, 192–193 hardware, 289 grid diagrams, 190 importance of, 288–289 major 3rd, 192, 193–194 soft, 289 partial boxes, 190 C-family chords short phrasing, 195 defi ned, 47 blues moves, 195–196 fi ngering, 47–48 blues rhythm guitar progression, 49 defi ned, 184 strumming, 48–49 triplet feel, 186–188 use of, 47 12-bar blues form, 184–186 chamois, 311 body, guitar, 12

335_9781118115541-bindex.indd5_9781118115541-bindex.indd 373373 88/17/12/17/12 77:44:44 PMPM 374 Guitar For Dummies, 3rd Edition

changing strings (acoustic guitar) G chord, 44 attaching to bridge, 299–300 G7 chord, 68 bass string, 301 illustrated, 353–355 breaking angle, 301 chord-melody style securing to tuning post, 300–301 defi ned, 255 step by step, 299–301 faking with three chords, 256 treble string, 300–301 playing, 255–256 tuning up, 302 substitutions, 255–256 changing strings (electric guitar) chords. See also specifi c chords and chord attaching to bridge, 306–307 diagrams fl oating bridge setup, 308 add, 169, 170 securing to tuning post, 307–308 altered, 250–251 step by step, 306–308 arpeggiated, 259 tuning up, 308 barre, 103–126 changing strings (nylon-string guitar) C-family, 47–49 attaching to bridge, 303–304 defi ned, 32 securing to tuning post, 304–305 D-family, 43–45 step by step, 303–305 families of, 39 stretching out, 305 A-family, 40–43 tuning up, 305 full, 254–255 tying off bridge end of string and, 304 G-family, 45–47 U-shaped loop, 305 inside, 251–252 “Chicago Shuffl e,” 204, 205 major, 40 chord diagrams major 7th, 40 A7 chord, 69 minor, 40 Am chord, 46 minor 7th, 40 Amaj7 chord, 72 most common, illustrated, 353–355 anatomy, 32–34 outside, 252–254 B7 chord, 70 playing, 35–36 C chord, 46 power, 104, 120–123 C7 chord, 68 progression, 42 A chord, 41 qualities of, 40 Cmaj7 chord, 72 release time, 107 common, 353–355 7th, 40, 67–81 D chord, 41 strumming, 39–56 D7 chord, 68 sus, 169–170 Dm, 48 switching, 70 Dm7 chord, 71 triads, 250 Dmaj7 chord, 72 chorus effect, 287 E chord, 33, 41 Christian, Charlie, 328 E7 chord (four-fi nger version), 70 chromatic E7 chord (two-fi nger version), 69 alterations, 175 Em chord, 44 defi ned, 292 Em7 chord, 71 chromatically moving line, 202 F, 48 Chuck Berry style, 156–157 Fmaj7 chord, 72 “Chuck’s Duck,” 177, 178–179

335_9781118115541-bindex.indd5_9781118115541-bindex.indd 374374 88/17/12/17/12 77:44:44 PMPM Index 375

Clapton, Eric, 330 neck, 273 classic rock ’n’ roll. See also rock guitar second (and beyond), 272–273 defi ned, 155–156 solid wood, 272–273 lead guitar, 159–168 contrapuntal style playing, 155–168 defi ned, 242 rhythm guitar, 156–158 exercise, 243–244 classical guitar conventions, this book, 3 arpeggios, 239, 242–243 count-off, 358 basics, 233–248 country guitar, guitar models, 270 contrapuntal style, 242, 243–244 country-rock guitar, 174–177 fi nger picking, 32 crackling controls, replacing, 320 fi nger placement, 236 “Crossroads” (Cream), 333 fi ngernails, 236–237 “The Cruel War Is Raging,” 224, 228 free strokes, 239–240 customer care, DVD, 370 guitar models, 270 holding technique, 234, 235 • D • left-hand fretting, 29–30 left-hand position, 237–238 D chord, 41 “Malagueña,” 239, 240 D string, 352 pieces, playing, 244–248 D5 power chord, 121 position illustration, 235 D7 chord, 68–69 preparing to play, 234–238 delayed vibrato, 148 rest strokes, 239, 240–241 Delta blues. See acoustic blues right-hand position, 235–236 descending immediate slides, 138 sitting position, 234–235 desiccant, 315 style, 233 D-family chords tone color, changing, 237 defi ned, 43 Classical Guitar For Dummies, 234 fi ngering, 43–44 cleaning open, 45 dust, dirt, and grime, 310–312 progression, 45 fi nish, 312 strumming, 45 strings, 310–311 digital music, DVD, 369 cloths, 294 distortion Cmaj7 chord, 72–73 defi ned, 123 commitment, in purchasing decision, 266 effect, 287 common tones, 70 power chords, 122–123 comping. See also jazz guitar Dm chord, 48 defi ned, 251 Dm7 chord, 71–72 full chords, 254–255 Dmaj7 chord, 72–73 inside chords, 251–252 do-it-yourself fi xes. See also maintenance outside chords, 252–254 action, checking, 317 concert pitch, 292 intonation adjustments, 318 connections, tightening, 316 intuitive approach, 315 construction loose connections, 316 body caps, 273 neck and bridge adjustments, 316–318 fi rst, 268 part replacement, 318–321 laminated wood, 272–273 truss rod adjustments, 316–317

335_9781118115541-bindex.indd5_9781118115541-bindex.indd 375375 88/17/12/17/12 77:44:44 PMPM 376 Guitar For Dummies, 3rd Edition

dominant 7th chords. See also 7th chords system requirements, 358–359 A7, 69–70 tempo, 358 B7, 70 troubleshooting, 370 A-based barre chords, 117 using, 359 C7, 68–69 video clips, 367–369 D7, 68–69 defi ned, 68 • E • E7 (four-fi nger version), 70 E7 (two-fi nger version), 69–70 E chord E-based barre chords, 109–110 chord diagram, 33, 41 G7, 68–69 fi nger placement, 35–36 donning, 15 open-position, barre chord, 104–106 double hammer-on, 129 E string, 351, 352 double pull-off, 134 E5 power chord, 121 double-stop bends, 145–146 E7 chord double-stop hammer-on, 129–130 four-fi nger version, 70 double-stop pull-off, 134–135 two-fi nger version, 69–70 “Double-Stop Rock,” 99, 102 earplugs, 294–295 double-stops E-based barre chords. See also barre across the neck, 97 chords basics of, 95–98 combining, 111–112 defi ned, 95 dominant 7th, 109–110 defi ning, 96 fi nding right fret for, 106 exercises in, 96–98 minor, 108–109 listening to, 98 minor 7th, 110–111 playing, 95–102 open-position E chord, 104–106 playing songs in, 98–102 playing progressions with, 106–107 riffs in, 96 E-based movable power chord, 122 scales in, 97 effects up and down the neck, 96–97 defi ned, 285 downbeat, 358 foot-accessed pedals, 286 downstroke inline devices, 286 alternate picking, 62 multi-effects processor, 285, 288 symbol, 61, 63 setup for, 286 drop-D tuning (DADGBE), 172–173 signal chain setup, 286 duct tape, 296 types of, 287–288 duration unit prices, 287 defi ned, 343 electric blues. See also acoustic blues; reading, 347–349 blues symbols and meanings, 347–349 guitar models, 270 DVD lead guitar, 189–196 audio tracks, 360–367 rhythm guitar, 184–188 contents, 359–369 electric guitars count-off, 358 action, 29 customer care, 370 bar, 12 digital music, 369 barre chords on, 105 materials for own music and chords, 369 body caps, 273 relating text to, 357–358 illustrated, 13 storage, 358 left-hand fretting, 29

335_9781118115541-bindex.indd5_9781118115541-bindex.indd 376376 88/17/12/17/12 77:44:44 PMPM Index 377

output jack, 13 fi ngerboard, 13 pickup selector, 14 fi ngering pickups, 14 add chords, 170 solid-body, 272 A-based major barre chord, 113 sound creation, 16 C-family chords, 47–48 volume and tone controls, 14 D-family chords, 43–44 whammy bar, 147 A-family chords, 40–41 electronic tuners G-family chords, 46 with acoustic guitars, 292 left-hand fretting, 60 auto-sensing, 292 pull-offs, 133–134 defi ned, 22 sus chords, 170 with electric guitars, 292 fi ngernails, 236–237 tuning with, 22–23 fi ngerpicking, 31–32 electronics, 275 fi ngerpicks elevens, 140 defi ned, 31 Em chord, 44 in playing fi ngerstyle, 209 Em7 chord, 71–72 fi ngerstyle end pin, 12 defi ned, 208 environment fi ngerpicks, 209 healthy, 314–315 illustrated, 210 humidity, 315 music notation, 209 temperature, 314 playing, 208–210 “Eruption” (Van Halen), 336 right-hand position, 209–210 exercises technique, 208–209 contrapuntal style, 243–244 fi nish, caring for, 312 creating, for strength and dexterity, 89–91 1st position double-stops, 96–98 defi ned, 60 playing in position, 86–88 with open strings, 63 expert advice, in purchasing guitars, 278 fl anger/phase shifter, 287 expression and articulation fl attened 5th defi ned, 343 creating blues scale with, 192–193 symbols, 349–351 defi ned, 192 understanding, 349–351 fl oating bridge defi ned, 275, 308, 319 • F • setting up, 308 Floyd Rose system, 308 F barre chord, 105 Fmaj7 chord, 72–73 F chord, 48 folk guitar feel arpeggio style, 213–215 defi ned, 16 basics, 207 swing, 257 capos and, 210–212 triplet, 186–188 Carter style, 217 Fender Stratocaster, 279 defi ned, 207 5th position, 85 examples of, 207 5th-fret method fi ngerstyle, 208–210 defi ned, 18 guitar models, 270 illustrated, 20 songs, playing, 224–232 steps, 19 thumb-brush technique, 215–217 Travis picking, 218–223

335_9781118115541-bindex.indd5_9781118115541-bindex.indd 377377 88/17/12/17/12 77:44:44 PMPM 378 Guitar For Dummies, 3rd Edition

free strokes Page, Jimmy, 329–330 in arpeggios, 242–243 Reinhardt, Django, 327–328 defi ned, 239 Segovia, Andrés, 327 fi nger position, 32 Van Halen, Eddie, 330 playing, 239–240 Vaughan, Stevie Ray, 330 “Freight Train,” 225, 232 guitars. See also acoustic guitars; electric frets, 13, 16, 18 guitars; strings fretted strings, 18 basics of, 11–16 fretting body, 12 classical guitar, 29 bridge, 12 defi ned, 15 end pin, 12 electric guitar, 29 fi ngerboard, 13 with left hand, 28–30 frets, 13 process, 28 hardy nature of, 309 strength requirement, 28 headstock, 13 full chords, 254–255 illustrated, 12, 13 fuses, 296 neck, 13 nut, 13 • G • parts of, 11–14 purchasing, 265–280 G chord, 44 saddle, 14 G string, 352 sound creation, 14–16 G7 chord, 68–69 strap pin, 14 gauges, string, 105, 140 top, 14 “Gavotte I and II” (Christopher Parkening), tuning, 17–23 334 tuning machines, 14, 318–319 G-family chords defi ned, 45–46 • H • fi ngering, 46 progression, 47 half steps, 16 strumming, 46–47 hammer-ons. See also articulation use of, 46 defi ned, 127–128 Gibson Les Paul, 279 double, 129 gig bags, 290 double-stop, 129–130 “Gospel Ship,” 225, 229 idiomatic licks using, 130–132 “Greensleeves,” 259, 260 lead guitar, 161 grommet, 306 major 3rd, 194 guitar foot stool, 26 from nowhere, 130 guitar language, 34 open-string, 128–129 guitarists playing, 128–130 Atkins, Chet, 328 single-note, 131 Berry, Chuck, 329 tab notation, 128 Christian, Charlie, 328 types of, 128 Clapton, Eric, 330 hard cases, 289 Hendrix, Jimi, 329 hardware King, B.B., 329 cleaning, 312 Montgomery, Wes, 328 defi ned, 274

335_9781118115541-bindex.indd5_9781118115541-bindex.indd 378378 88/17/12/17/12 77:44:44 PMPM Index 379

dipped, 312 harmonic sophistication, 250 types of, 274–275 improvisation, 249 harmonics, 222 lead, 257–259 harmonizer, 287 melodies from arpeggiated chords, 259 headphone jacks, 283 rhythm comping, 251–255 headstock, 13 rock guitar versus, 249–250 heavy metal, guitar models, 270 solo playing, 255–256 held bends, 145 songs, playing, 259–262 Hendrix, Jimi, 329 substitutions, 255–256 hex keys/Allen wrenches, 322 target notes, 257–258 “Home on the Range,” 73, 75 voice leading, 252 “Hotel California” (Eagles), 335 “House of the Rising Sun,” 224, 226–227 • K • humidity, 315 hygrometer, 315 key of E, for playing blues, 80 King, B.B., 329 • I • knurled dial, 307 “Kumbaya,” 50–51, 52 icons, this book, 7 immediate bends • L • defi ned, 141 playing, 142–143 laminated-wood construction, 272–273 in rhythm, 143 lead guitar. See also classic rock ’n’ roll; in rock solo, 142–143 rock guitar improvisation, 249 articulations, 161–162 inner voices, 208 blues, 189–196 inside chords country-rock, 174–177 defi ned, 251 highest note and, 164, 165 moves, 252, 253 jazz, 257–258 progressions, 252 pentatonic minor scale, 159–161 voicings, 251–252 picking, 30 intonation recordings, listening to, 168 adjusting, 318 solos, building, 162–163, 166–168 defi ned, 318 southern-rock, 174–177 in guitar purchase, 268 left hand muting, 149 • J • patterns for building up, 90 position for classical guitar, 237–238 jacks, loose, 320–321 strength, developing, 43 jazz guitar left-hand fretting altered chords, 250–251 classical guitar, 29–30 altered tones, 257 contrapuntal style, 244 chord-melody style, 255–256 electric guitar, 29 extended chords, 250 positions, 28 guitar models, 270 strength requirement, 28

335_9781118115541-bindex.indd5_9781118115541-bindex.indd 379379 88/17/12/17/12 77:44:44 PMPM 380 Guitar For Dummies, 3rd Edition

licks major chords, 40 based on pentatonic major scale, 176–177 “Malagueña,” 239, 240 with bends, 142–146 MAP (minimum advertised price), 280 defi ned, 57 materials with hammer-ons, 130–132 defi ned, 272, 274 with major 3rd, 194 electronics, 275 with muting, 150–151 hardware, 274–275 with pull-offs, 135–136 pickups, 275 with slides, 138–139 woods, 274 turnaround, 202–203 measured bend, 141 “Little Brown Jug,” 62–63, 64 measures locking mechanism, 307 in counting beats, 59 locking nut, 308 defi ned, 43, 59 locking Sperzels, 275 pickup, 50 long slides, 138 melodies. See also songs lullaby pattern, 214–215 with arpeggiated chords, 259 high-note, 86 • M • simple, 62–66 “Michael, Row the Boat Ashore,” 51, 55 maintenance minimum advertised price (MAP), 280 action, checking, 317 minor 7th chords bridge springs replacement, 319–320 A-based barre chords, 117–118 cleaning, 310–312 defi ned, 40 crackling controls replacement, 320 minor chords do-it-yourself fi xes, 315–321 A-based barre chords, 116–117 environment, 314–315 defi ned, 40 importance of, 309–310 E-based barre chords, 108–109 intonation adjustments, 318 sound of, 43 loose connections, 316 “Minor Swing” (Django Reinhardt), 331–332 loose jacks replacement, 320–321 “Mississippi Mud,” 204, 206 neck and bridge adjustments, 316–318 modern rock. See also rock guitar part replacement, 318–321 add chords, 169, 170 pickups replacement, 321 alternate tunings, 172–174 protecting, 313–314 slash chords, 170–171 repairs requiring a qualifi ed repairperson, sus chords, 169–170 322–323 Montgomery, Wes, 328 strap pins replacement, 319 movable patterns, 87 tools, 321–322 movable power chords, 120 truss rod adjustments, 316–317 moves tuning machine replacement, 318–319 inside, 252 major 3rd inside chords, 253 adding to pentatonic minor scale, outside chords, 254 193–194 multi-effects processors, 285, 288 defi ned, 192 music notation, 344 hammer-on, 194 music stores, 277 lick using, 194 muting. See also articulation major 7th chords defi ned, 148 A-based barre chords, 118–119 idiomatic licks with, 150–151 defi ned, 40 left-hand, 149

335_9781118115541-bindex.indd5_9781118115541-bindex.indd 380380 88/17/12/17/12 77:44:44 PMPM Index 381

palm, 151 open chords, D family, 45 for percussive effects, 149 open position reasons for using, 148 accompaniment, 156–157 right-hand, 149 add chords, 170 tab notation, 151 defi ned, 60 unwanted string noise prevention, 150 power chords, 120 sus chords, 169–170 • N • open strings defi ned, 18 neck 1st position with, 63 adjusting, 316–318 playing in position versus, 86 construction, 273 2nd position with, 63 defi ned, 13 tuning, 20 double-stops across, 97 open tuning, Travis picking, 222–223 double-stops up and down, 96–97 open-D tuning (DADFsAD), 173–174 notes on, 16 open-E tuning (EBEGsBE), 173 neck-through-body construction, 273 open-string hammer-on, 128–129 negotiating, in purchasing guitars, 278–279 organization, this book, 4–6 new age, guitar models, 270 outside chords new guitars, purchasing, 267 defi ned, 252 nines, 140 moves, 254 notes voicings, 253 accented, 122 “Over the River and Through the Woods,” B string, 351 74, 77 D string, 352 E string (high), 351 • P • E string (low), 352 fi nding on guitar, 351–352 Page, Jimmy, 329–330 G string, 352 palm muting, 151 predominance of, 165 parent major scales, 165 A string, 352 partial boxes, 190 target, 257–258 peg winders, 295, 302 nut, 13 pentatonic major scale nylon strings, changing, 303–305 chromatic alterations and, 175 defi ned, 174 • O • as fi ve-note scale, 174–175 good notes for ending solo, 176 octave pedal, 287 licks based on, 176–177 “Oh, Susanna,” 74, 79, 221 major 3rd added to, 193–194 “Old MacDonald Had a Farm,” 62 pentatonic minor scale versus, 175 oldies progression in 2nd position, 175 defi ned, 55 pentatonic minor scale playing, 55–56 with articulations, 161 songs using, 56 defi ned, 159 “On Top of Old Smoky,” 63, 65 formula, 159 “One” (Metallica), 338–339 pentatonic major scale versus, 175 one-octave scales, 87, 88 two-octave, 160 online purchases, 277

335_9781118115541-bindex.indd5_9781118115541-bindex.indd 381381 88/17/12/17/12 77:44:44 PMPM 382 Guitar For Dummies, 3rd Edition

performance amps. See also amplifi ers plucking, 35 (amps) positions, 25–32 defi ned, 283–284 pull-offs, 133–135 illustrated, 282 rest strokes, 240–241 power of, 283, 284 slides, 136–138 solid-state, 284–285 strumming, 35 tube, 284–285 12-bar blues, 80–81 phrasing without reading music, 57–66 blues, 195 playing in position slide guitar, 202 cool factor, 85–86 piano, tuning guitar to, 20–21 defi ned, 85 picking exercises, creating, 89–91 alternate, 61–62 as movable, 86 with fi ngers, 31–32 open strings versus, 86 lead, 30 scales and exercises, 85–91 with pick, 30–31 shifting positions, 88 rhythm, 30 songs for practicing, 91–93 with right hand, 30–32 plucking, 35 Travis, 218–223 portable recorders, 295 picks position shifts, 88–89 carrying as accessory, 291 positions defi ned, 30 fretting with left hand, 28–30 fi ngerpicks, 31–32 picking with right hand, 30–32 gauges, 30 sitting, 26 holding technique, 31 standing, 27 pickup measures, 50 positions, guitar pickups defi ned, 60 replacing, 321 5th, 85 third-party, 275 1st, 60 pitch open, 60 defi ned, 343 2nd, 60 reading, 345–347 shifting, 88–89 symbols and meanings, 345–347 power chords pitch pipes, 21–22, 295 A5, 121 pitch shifter, 287 A-based movable, 121 playability, in guitar purchase, 268 D5, 121 playing defi ned, 104 bends, 140–142 E5, 121 calluses and, 42 E-based movable, 121 chords, 35–36 fi ngering, 120–122 classic rock ’n’ roll, 155–168 movable, 120 double-stops, 95–102 open-position, 120 fi ngerstyle, 208–210 progressions, 123 free strokes, 239–240 songs with, 124–126 getting ready for, 25–36 three-string, 121–122 hammer-ons, 128–130 two-string, 121–122 hand and fi nger placement, 35–36 when to use, 122–123

335_9781118115541-bindex.indd5_9781118115541-bindex.indd 382382 88/17/12/17/12 77:44:44 PMPM Index 383

practice amps. See also amplifi ers (amps) double-stop, 134–135 cost of, 282 fi ngering, 133–134 features, 283 idiomatic licks with, 135–136 illustrated, 282 to open string, 133 power of, 282 as opposite hammer-on, 132 size of, 283 playing, 133–135 practicing single-note, 135 approaching, 44 strumming with, 136 importance of, 44 tab notation, 133 position shifts, 89 types of, 133 vibrato, 147–148 purchasing guitars prebend, 141 appearance, 268 pricing standards, 279–280 appointments and, 272, 276–277 progressions approach to, 265–266 add chords, 170 closing the deal, 279–280 barre chord, 106–107 commitment level and, 266 A-based barre chord, 114–115 construction and, 268, 272–273 blues, 80, 81 expert advice in, 278 C-family chords, 49 fi rst time, 267–268 defi ned, 42 intonation, 268 D-family chords, 45 materials and, 272, 274–275 with E-based barre chords, 106 models to match style, 269–270 A-family chords, 42 negotiation with salesperson and, G-family chords, 47 278–279 inside chords, 252 new versus used, 267 major, minor, and dominant 7th barre number of and types to buy, 271 chords, 117 online versus bricks-and-mortar major and dominant 7th barre sellers, 277 chords, 110 plan, developing, 266–267 major and minor A-based barre playability, 268 chords, 117 price expectation, 267 major and minor barre chords, 109 second and beyond, 271–277 minor 7th and major 7th barre spending limit and, 266–267 chords, 118 walking through process of, 277–280 minor 7th barre chords, 118 workmanship and, 272, 276 oldies, 55–56 power chord, 123 • Q • slash chords, 171 sus chords, 170 quick IVs, 186 12-bar blues, 157–158 “We Wish You a Merry Christmas,” 112, 119 • R • protecting guitars R&B, guitar models, 270 in home, 314 “It’s Raining, It’s Pouring,” 74, 78 on road, 313 ratchet set, 322 pull-offs. See also articulation reader assumptions, this book, 4 defi ned, 132 double, 134

335_9781118115541-bindex.indd5_9781118115541-bindex.indd 383383 88/17/12/17/12 77:44:44 PMPM 384 Guitar For Dummies, 3rd Edition

reading music rock guitar duration, 343, 347–349 basics, 155 expression and articulation, 343, 349–351 classic rock ’n’ roll, 155–168 guitar playing and, 2 country, 174–177 music notation elements, 344 guitar models, 270 notes on guitar and, 351–352 jazz guitar versus, 249–250 pitch, 343, 345–347 modern, 169–174 playing without, 57–66 songs, playing, 177–181 this book, 2–3 southern, 174–177 Reinhardt, Django, 327–328 rollers, 304 relative tuning, 18 the roll, 219 release time, 107 “Romanza,” 245, 246–247 releasing and bending vibrato, 148 removing strings, 298 • S • repairpersons, 322–323 repetition, in acoustic blues, 199–200 saddles, 14, 317 response, 275 scales rest strokes in double-stops, 978 in arpeggios, 242–243 one-octave, 87, 88 defi ned, 239 parent major, 165 fi nger position, 32 pentatonic major, 174–177 follow-through, 240 pentatonic minor, 159–161 illustrated, 241 playing slowly, 88 playing, 240–241 with position shift, 89 retail (list) price, 279 two-octave, 88 reverb effect, 288 screwdrivers, 321–322 reversible screwdrivers, 295 second (and beyond) purchase. See also rhythm purchasing guitars defi ned, 16 appointments (cosmetic extras), 272, picking, 30 276–277 strumming, 31 clone approach, 271 rhythm guitar. See also classic rock ’n’ roll; construction and body type, 272–273 rock guitar contrasting and complementary blues, 184–188 approach, 271 Chuck Berry style, 156–157 materials, 272, 274–275 defi ned, 156 upgrade approach, 271 open-position accompaniment, 156–157 workmanship, 272, 276 12-bar progression, 157–158 2nd position rhythm slashes C-major scale in, 87 defi ned, 35 defi ned, 60 illustrated, 35 with open strings, 63 reading, 34–35 pentatonic major scale in, 175 riffs, in double-stops, 96 Segovia, Andrés, 327 right-hand muting, 149 set-in (or glued-in) neck construction, 273 right-hand position, classical guitar, 235–236

335_9781118115541-bindex.indd5_9781118115541-bindex.indd 384384 88/17/12/17/12 77:44:44 PMPM Index 385

7th chords solid-wood construction, 272–273 defi ned, 40 solos dominant, 68–70 articulation, 167 fun with, 80–81 building, 162–163, 166–168 major, 72–73 as short phrases strung together, 167 minor, 71–72 Travis picking, 220–222 open-position, 67 songs. See also specifi c songs songs with, 73–79 “All My Trials,” 225, 230–231 12-bar blues, 80–81 “All Through the Night,” 73–74, 76 types of, 67 “The Articulate Blues,” 151, 152 using, 67–81 with articulation, 151–152 7th fret note, 192 “Auld Lang Syne,” 51, 54 7th position, 88 “Aura Lee,” 98, 100 shifting positions, 88–89 with barre chords, 124–126 shuffl e feel. See triplet feel blues, 204–206 signal chain setup, 286 “Bourrée in E minor,” 245, 248 sim. (similar manner), 131 “Chicago Shuffl e,” 204, 205 “Simple Gifts,” 91, 92 “Chuck’s Duck,” 177, 178–179 sitting position “Crossroads” (Cream), 333 classical guitar, 234–235 “The Cruel War Is Raging,” 224, 228 defi ned, 26 “Double-Stop Rock,” 99, 102 illustrated, 26 in double-stops, 98–102 skips, 250 “Eruption” (Van Halen), 336 slash chords folk, 224–232 defi ned, 170–171 “Freight Train,” 225, 232 progression, 171 “Gavotte I and II” (Christopher use of, 171 Parkening), 334 slide guitar, 202 “Gospel Ship,” 225, 229 slides. See also articulation greatest guitar, 331–339 ascending immediate, 137–138 “Greensleeves,” 259, 260 changing positions using, 139 “Home on the Range,” 73, 75 Chuck Berry-ish, 139 “Hotel California” (Eagles), 335 connecting two notes, 137 “House of the Rising Sun,” 224, 226–227 defi ned, 136 “Kumbaya,” 50–51, 52 descending immediate, 138 “Little Brown Jug,” 62–63, 64 idiomatic licks with, 138–139 with major and minor chords, 49–55 indefi nite pitch, 137–138 “Malagueña,” 239, 240 long, 138 “Michael, Row the Boat Ashore,” 51, 55 playing, 136–138 “Minor Swing” (Django Reinhardt), second note picked, 137 331–332 second note unpicked, 137 “Mississippi Mud,” 204, 206 tab notation, 136 “Oh, Susanna,” 74, 79, 221 types of, 136 oldies progression, 56 soft cases, 289 “One” (Metallica), 338–339 solid-body electric guitars, 272 “Over the River and Through the Woods,” solid-state amps, 284–285 74, 77

335_9781118115541-bindex.indd5_9781118115541-bindex.indd 385385 88/17/12/17/12 77:44:44 PMPM 386 Guitar For Dummies, 3rd Edition

playing in double-stops, 98–102 old string removal, 298 with power chords, 124–126 strategies, 297–298 practicing in position, 91–93 strings “It’s Raining, It’s Pouring,” 74, 78 bending, 139–146 rock style, 177–181 bending in two directions, 144 “Romanza,” 245, 246–247 cleaning, 310–311 with 7th chords, 73–79 defi ned, 14 “Simple Gifts,” 91, 92 extra, 290–291 with simple melodies, 62–66 fretted, 18 “Southern Hospitality,” 177, 180–181 gauges, 105, 140 “Stairway to Heaven” (Led Zeppelin), letter names, 17 333–334 numbering, 17 “The Streets of Laredo,” 99, 101 nylon, 303–305 “Surfi ng with the Alien” (Joe Satriani), open, 18 337–338 open and fretted combination, 201 “Swanee River,” 63, 66 removing, 298 “Swing Low, Sweet Chariot,” 51, 53 in sound creation, 15 “Swing Thing,” 260, 261–262 unwanted noise, preventing, 150 “Texas Flood” (Stevie Ray Vaughan), strumming 336–337 anticipated, 51 “Three Metal Kings,” 124, 126 C-family chords, 48–49 “On Top of Old Smoky,” 63, 65 chords, 39–56 “Turkey in the Straw,” 92, 93 defi ned, 35 “Walk, Don’t Run” (Ventures), 332 D-family chords, 45 “We Wish You a Merry Christmas,” A-family chords, 41–43 112, 119, 124, 125 G-family chords, 46–47 sounds with pull-offs, 136 creating with guitar, 14–16 rhythm, 31 written notes and, 15 syncopated, 51 “Southern Hospitality,” 177, 180–181 in triplet feel, 187 southern-rock guitar, 174–177 while hammering, 131 spending limit, in purchasing decision, substitutions 266–267 defi ned, 255 “Stairway to Heaven” (Led Zeppelin), different root, 256 333–334 faking with three chords, 256 standing position, 27 making, 255–256 stereo split, 358 same root, 255 stomp boxes, 286 “Surfi ng with the Alien” (Joe Satriani), strap locks, 293 337–338 strap pins, replacing, 319 sus chords straps, 292–293 defi ned, 169 “The Streets of Laredo,” 99, 101 fi ngerings and progression, 170 string retainers, 307 open-position, 169–170 string-changing sustain, breaking angle and, 301 acoustic guitar, 299–303 “Swanee River,” 63, 66 all strings at once, 298 swing feel, 257 electric guitar, 306–308 “Swing Low, Sweet Chariot,” 51, 53 nylon-string guitar, 303–305 “Swing Thing,” 260, 261–262

335_9781118115541-bindex.indd5_9781118115541-bindex.indd 386386 88/17/12/17/12 77:44:44 PMPM Index 387

switching chords, common tones and, 70 tools symbols hex keys/Allen wrenches, 322 duration, 347–349 ratchet set, 322 expression and articulation, 349–351 screwdrivers, 321–322 pitch, 345–347 top, guitar, 14 syncopated strumming, 51 traveling, protecting guitar during, 313 syncopation effects, 150 Travis picking. See also folk guitar system requirements, DVD, 358–359 accompaniment style, 220 basic pattern, 218–220 • T • defi ned, 218 fi ngering, 218 tab staff inside strings, 219 defi ned, 34 insides, 220 top line, 58 “Oh, Susanna,” 221 tablature open tuning, 222–223 bends, 140 open-G tuning, 222, 223 defi ned, 34, 57 outside strings, 219 examples, 34 outsides, 220 hammer-ons, 128 pinch, 220 illustrated, 59 the roll, 219 lines, 58–59, 60 solo style, 220–222 muting, 151 step by step example, 219 pull-offs, 133 steps, 218 reading, 2, 58–60 thumb, 220 reading from right to left, 59–60 tremolo effect, 288 slides, 136 triads, 250 starting from the top, 58–59 triplet feel vibrato, 147 boogie riff in, 188 taper, 275 defi ned, 186 target notes, 257–258 shuffl ing beat with, 186–188 temperature, 314 strumming in, 187 tempo troubleshooting, DVD, 370 defi ned, 16 truss rod, adjusting, 316–317 DVD, 358 tube amps, 284–285 “Texas Flood” (Stevie Ray Vaughan), tuning forks, 22, 295 336–337 tuning guitars texture, alternating, 200–201 with audio tracks, 23 “Three Metal Kings,” 124, 126 with electronic tuner, 22–23 thumb-brush technique to external source, 20–23 on C chord, 216 with 5th-fret method, 18–20 defi ned, 215 left hand, 20 thumb-brush up, 216–217 with piano, 20–21 ties, 48 with pitch pipe, 21–22 timbre, changing, 237 relative tuning, 18 tones with tuning fork, 22 altered, 257, 258 tuning machines color, changing, 237 defi ned, 14 common, 70 elements of, 318 replacing, 318–319

335_9781118115541-bindex.indd5_9781118115541-bindex.indd 387387 88/17/12/17/12 77:44:44 PMPM 388 Guitar For Dummies, 3rd Edition

tuning up vibrato. See also articulation acoustic guitar strings, 302–303 bend-and-release, 146, 147 electric guitar strings, 308 defi ned, 146 nylon-string guitar strings, 305 delayed, 148 “Turkey in the Straw,” 92, 93 methods for producing, 146–147 turnarounds narrow, 147, 148 acoustic blues, 202–203 practicing, 147–148 chromatically moving line, 202 releasing and bending, 148 defi ned, 186, 202 tab notation, 147 in E, 203 varying sound with, 146–148 repeating progressions with, 186 when to use, 146 12-bar blues wide, 147, 148 in blues rhythm guitar, 184–186 video clips, DVD, 367–369 chord progression in A, 184 voice leading, 252 I chord, 185 voicings IV chord, 185 defi ned, 70, 251 playing, 80–81 inside, 251–252 progression, 157–158 outside, 253 quick IV, 186 volt-ohm meters, 296 turnaround, 186 V chord, 185 • W • variations, 186 twelves, 140 wah-wah pedal, 287 two-octave scales, 88 “Walk, Don’t Run” (Ventures), 332 “We Wish You a Merry Christmas,” • U • 112, 119, 124, 125 whammy bars, 147 upstroke Wiley Product Technical Support, 370 alternate picking, 62 wire cutters/needle-nose pliers, 295 symbol, 61, 63 woods used guitars, purchasing, 267 classifi cation criteria, 274 cleaning, 311 • V • workmanship, 272, 276 written music, elements of, 343 Van Halen, Eddie, 330 Vaughan, Stevie Ray, 330

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