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THE
FENNER
GTffiMHTF#ffi BY WILL SCHMID AND GRE,G KOCH
I b
YourGuitar r r. r r r r r r r r r r r r r r r r r r r r r r r r .....2 Notgs onthg Sixth String r. , rr ,.. r. r. ., r, ..24
Tuning rr rr r rr r r r rr rr rrr r r rr rr r.r. rr r r.....3 Doo-Wop r r r. r r r r rr r. r r r r . r r r r r r ..25

Playing Position r r r r r r r ! t r r r r r r r r r r r t r r r ..,.,.4 Givg My Regards to Broadway r . . . . . . . . . .25


Bassflockr r r r r r r. Er r r r r r r r r r r r r !. r r r r ..25
Musical Symhols r r r r r r r r r r. r r r r r r r r...,.5
Half andWhole Steps r r r r, , r, r r r, ,. r,.,...26
Notgs onthg FirstString r r r r r r r r r r. r, r, , ....6
F-Sharp r r r rr r r r. r r r.rr r r. r r r r r r r r r ...26
SpanishThgmg r r r r r r r r r r r, r r r r r r r r ...1
Danny Boy (LondonderryAir) . .. . . i. r....26
NotgsonthgSgcond String ,, r,,,,, r,,, , r,..,...8 KgySignaturgs, r. r. r r r r r ! r r r r r r r r r. ..,.,27
World Bgat r r r r r r r r r r r r r r t r r r r,.....9
Shgnandoah r r r r r r t!r r r r r r. r . r r r r ....27
OdgtoJOy r rr rr r r-r r r. r r rr rr r'....10 SpyBiff . r r ! r r r r r rr r r r r r ! r r r. rr ...27
BIU8S r r r r r r r . r r r r r r r r r . r r r r r r r '. .. ,10 RgStS r ! r r r r r .r r r r r r. rr r r. r r. '..zfi
Notgs onthglhird String . r,,,, r r,,,,, r, r, r ..11 Deep Blug r r ! r r r. r r . r r r r r r. r r r r r,.28
Rockin' Robin t r r r t r . rrrrrrrrrrrrrrr ...12 Rgd RivgrValley . r r , ,. r r. r r. r r r r r..29
Yankgg Doodlg r r r r r r r r r r r r r r r r r r r r r ..12 Twang r r r r r r r r ' r r r r ! r r r r rr r. r r r ....29

SurfRock rr r! r r r rr rr rr rr r r r rr rrr r r r r ..12 flock'N' Flgst .. r r rr . r r ! r r r r r..,.,29

Au clairdg la Iung r r r r r r r r r r r. r r r r.....13


Eighth . . r t i rr . r. r r rr. r r r r r r...30
Notgs
SeaShanty r r. r rr r r r r t r rr t,....31
AuraLgg rrrrrrrrrrrrr.rrr.rrrrrr ..14
Frrg Jacques r r r . r r r ! r r r . r r r , . .31
Hg.'s aJollyGood Fgllow . r .. r,, rrr , ...14
SnakgCharmgr . r r r r r. r....3,|
.. r, r, r
Notgs on thg Fourth String,, r,, r, r , r r, ,, r ,,..15 Thg Star-Spangled Banngr .. . r. ,, ,, r, ,...32
Worrigd Man Blugs r r r r r t r r r r .. rrrrr ...16 Morgstrumming r r,,,, r r , , r, r,,rr..,.33
Playing Chords r r r r r r r r r r r r r. r. r t r r r r r ! .,17 Thg Em Chord r ., r . r,... r !. r r r r r r. r..34
Cand G7 Chords r r r r r r r r r r r r r r r r r r r ....\7 Hgy, Ho, l\lobody Homg , r., , r r,., r .....34

Tom Dooley r r r r r r r r r r r r r r r r r r r r r r ..11 Shalom chavgrim,, r, r,, r.. rrrr r,. . ",34
Gand D7 Chords r r r r: r r r r ! r r r r r r r r r r r...,.18 Thg D Chord , r r r r r r r rrrrr.r . r. rrrr...36

Pay Me My Money Down r r, rrrrr,rrrr .. ,18 Thislrain r r. r r .r r r . r r r... r. r.,36


12-Bar Rock r r r r r r r r r r r r r r r r r r r r....'l g Boogig Bass r r r. r r r. r. r rr r r r r r....37
rr

Simple Gifts r r r r r r r. r. r, r...,.....38


Amazing Grace r r r r r r r. ! r r r r r r r r r r r - r r ..20
C-Sharp t r r ! i r r.r r r - r r r r. r. r. r r. r..40
Riffin' r r r r r r r r r r r r r r r r.. r r. r r.....20
Rockin' Blugs r t. r r r . r. . ....40
r!rrr
Whgn thg Saints Go Marching ln . r . r . . . . ! . . . . .21
ThgAT Chord r r r r r: r r t r r r r, r r r r ...41
Wll thg Circlg Bg Unhrokgn ....... r.... .....21 Down inthgValley r, r r, . r r r r. r r r.. ...41
Notgs onthg Ffth String , ,,, r,, r r r, ! ,,, ...22 MinugtinG rrrrrrrrrrr rrrrrr rr r,...42
BlugsBass r r r r r r r r r r r r r. r r r r r ...,.22 llmg ls on MySide, r, r r r r r r r r r r, .,.44
Joshua Foughtthe Battle of Jericho. !...... ....23 Grand Finalg r r r r r r ! ! r r r r r r r r r r r r ! ..,,46
Gregnslggvgs t r r r r r r r r r r r r r r r r r...23 Chord Chart . r. r r r .. r r. r r r. r r r. r r r r ....47

HHet.LEoNARD'
L-coFrPoFlATIoN
. 7777 W. BLUEMOUND RD. P.O.BOX T3AI9 MILWAUKEE, W 592T9

Copyright @ 1977, 1994,2002 by HAL LEONARD CORPORATION


lnternational Copyright Secured All Rights Reserved
For all works contained herein:
Unauthorized coovino. arranoino. adaptinq, recordinq or Dublic peormance is an infrinoement of coDvriqht.
YOUR GUITAR
fI guitars
his book is designed for use with any type of guitar-acoustic steel-string, nylon-string classical, or electric. Any of thes
can be adapted for use in a wide variety of styles of music.

STEEL.STRING

Neck and
Fingerboard

Head

/
Nut
1
Fret
/
Tuni ngK
Sound Hole
Bridge Pick Guard

NYL[]N.STRING

ELECIRIC

Strap i cku ps
Button Tremolo

lnput. Pi cku p Se lecto r Switch


Volume Co ntro I
Tone Contro ls
TUNING Tuning Keys

When you are tuning your guitar; y0u will adjust the pitch (hghness
t
or lowness of sound) of each string hy turning the Gorresponding *
tuning key. Tightening a string raises the pitch and loosening it * fr
lowers the pitch. 4
The strings are numbered 1 through 6 beginning with the thinnest
t
string, the 0ne closest to your knee. Follow the instructions below to s
,
tune each string in sequence, beginning with the sixth string.

TUNING WIT{ AN ELECTHONIC TUNER


E

An electronic tuner "reads" the pitch of a sound and tells you whether
or not the pitch is correct. Until your ear is well trained in hearing
pitches, this can be a much more accurate way to tune. There are
many different types of tuners available, ard each one will come with
more detailed instructions for its use.

T[JNING TO A KEYBOARD
Middle G

lf you have a piano 0r electric keyboard nearby, play the correct key
(see diagram) and slowly turn the corresponding tuning key until the
sound of the string matches the sound of the keyboard,
lf, I f tJ lfl lf!3rd il'f
6th
stri n g
5rh
string
Znd 4th
string string string
I 1st
string

ANOTrIER WAY TO TUNE

To check or correct your tuning when no pitch source is available, follow these steps:
. Assume that the sixth string is tuned correctly to E.
. Press the sixth string at the 5th fret. This is the pitch A to which you tune y0ur open fifth string. Play the depresse
sixth string and the fifth string with your thumb. When the two sounds match, you are in tune.
. Press the fifth string at the 5th fret and tune the open fourth string to it. Follow the same procedure that you did o
the fifth and sixth strings.
a Press the fourth string at the sth fret and tune the open third string to it.
O
To tune the second string, press the third string at the 4th fret and tune the open second string to it.
a Press the second string at the Sth fret and tune the first string to it.

E 1st string
\\s\\\\\:\:i\isr).\\N.N-",," /-l
B 2nd string
ti\rti\rli{i\si,tirtX{ritriir:isUo,r.rUU,,fil

G 3rd string
@
,tit,:+:u,i,rs:r.oi,:,,i.,:,.:,.,o,.,0,r-,,(C

D 4th string
iriiriiiiiiiiii\*:t\:iiii:i,i!rii*nUU,a*a.afD
A 5th string

r-t
EI iiirl::\i:ii$itt\rsr:r:!::!:i.:is
" " " -.\
.
'i]ll1sn:]{!]!.\A,/
6th string

nut 5th fret


PLAYING POSITION
There are several ways to hold the g u rtar comfortably. 0n the left is a typical seated position, and on the right is the
standing position. Make sure you practice sitting and standing. 0bserve the following general guidelines in forming your
playing postu re:

Position your body, arms, and legs in such a way that you avoid tension.

lf you feel tension creeping into your playing, you probably need to reassess your position.

Tilt the neck upwards-never down.

. Keep the body of the guitar as veftical as possible. Avoid slanting the top of the guitar so that you can see beiter.
Balance your weight evenly from left to right. Sit straight (but not rigid).

Left-hand fingers are numbered l through 4


(Pianists: Note that the thumb is not number 1 .)
Place the thumb in back of the neck roughly
opposite the Znd finger. Avoid grpping the neck
like a baseball bat wth the palm touching the
back of the neck.

These photos show the position for holding


a pick and the right-hand position in relation-
ship to the strings. Stnve for finger effictency
and relaxation in your playing.
MUSICAL SYMBOLS
t'/ usic is written in notes on a staff . The staff has f ive lines and four spaces between the llnes. Where a note is written 0n
the staff determines its pitch (hghness or lowness). At the begrnning of the staff is a clef sign. Guitar music is written in the
treble clef.

STAFF TREBLE
CLEF

Each Iine and space of the staff has a Ietter name. The lines are, (from bottom to top) E-G B- D- F,whichyou can remem-
ber as Every Guitarist Begins Doing Frne. The spaces are, (f rom bottom to top) F - A C - E, which spells "Face."

LINES SPACES
EGBDF
The staff is divided into several parts by bar lines. The space between two bar lines is called a measure (also known as a "bar").
To end a piece of music a double bar is placed on the staff.

[-MEASURE--_-l
BAR LINES
BAR LINE BAR LINE DOUBLE BAR

Each measure contains a group of beats. Beats are the steady pulse of music. You respond to the pulse or beat when you tap
you r foot.

The two numbers placed next to the clef sign are the time signature.
The top number tells you how many beats are in one measure.

I
TIME FOUR BEATS PER MEASU RE
SIGNATURE QUARTER NOTE
a'llcETSoNE BEAT
(

I
Th e bottom number of the time srgnature tells
y0 u what kind of note will receive one beat.

l',1 otes indicate the length (number 0f c0unts) of musical s0und.

O ) )
NOTES WHOLE NOTE - 4 beats HALF NOTE = 2 beats QUARTER NOTE = 1 beat
NOTES ON Tl.lE FIRST STRING


ffi
1
OPEN

cr
V 3rd FRET
3rd FING

dc
E F

-o'=* -l$Ffi,=J="

This sign (n) tells you to strike the string with a downward motion of the pick.

1
Hold down 1st finger -- r

COUNT: 1- 2 - 3 r 4 1i2r3r4 1r2- 3- 4 1 2 r 3 - 4 2r 3 r4

rl
t t, 2 2 ., ., (D
4
rl,
+
2 lr, + I I I

2 3 4 2 3 4 2 3 4 2 3 4 2 3 4

- - -]
Vl,
ru I a a a 7
- - J J 7 a a 2
3
At f irst practice the exercises slowly and steadily. When you can play them well at a slow speed, gradually increase the
te rn po (speed).

7/a
rrrlrl
- a - - - a J o J ()
L
I

rr 7/
t
I

+l/ L I
I
I I I I I

12 34
Touch only the tips of the fingers on the strings.

t L
7/aa v a - c - - ()
4 I

7/l
.\ \r/ L I
I I I I

Keep the left hand fingers arched over the strings.

t L
7/a - o o - - o
I
I
2 2
fiF\ // I

lr, L I I

Some songs are longer than one line. When you reach the end of the f irst Iine of music, continue on to the second Iine without
stoppng. Gray letters above the staff indicate chords to be played by your teacher. Measure numbers are given at the
beginning of each new line of music

GO ON TO THE NEXT LINE


i.,r*

SPANISHTHEME

+/,l, a) 2 - 7
- 2 2 7
- -
r
al,/ + I I I I I I
NOTES ON THE SECOND STRING

t
OPEN

l st FRET 3rd FF
V OPEN
3rd Fll
^ l st FINGER

a'c
\v

aiB

I
Hold down 1st finger -

COUNT:1 r2 t3-4 1 r 2 r 3 - 4 1 a2 2 r3r 4 3! 4

T--W -)
L A/^ 7 {J -)
7 7 )

10 , I
/L
7,
T
7 J

I2 T4 -4 r3 !4
Always practice the exercises slowly and steadily at first. After you can play them well at a slower tempo, gradually increase the
spee. lf some of your notes are fuzzy or unclear, move y0ur left-hand finger slightly until you get a clear sound.

t .- ) )_
2
r-
V
,t
T-
- J
O uo -a )O
7
-e ^.
---v
.ir+
7/

?t
Z oo )7O
3 lr,rl,+ J J -)
^
--v

srHlru..G.l.. .
ffi.I .ffi...
.t .. ...l..l...

FINGER: O ..G. 1st ..,6 F,,,


3.,f.d:

Vf, 2 2 ,
7-) o ., 2
re
l5 lr, + L, ., ^., (2 2
A

WORLD BEAT

T
7\+-O )
7
- )-O-, -) Z TO ) O -
.J

6 /, + - J
- 7

tl/ I I
I
Practice these songs played on strings 1 and 2. Always begin slowly and then gradually
increase the tempo. Gray chord syn
instructo. '
bols are used throughout the book to indicate that the chords shoul be played-by the -

ODE TO JOY

17

BLUES
NOTES ON THE THIRD STHING
G

t
OPEN

F"'='F;l:Ffifl* G A

Keep the fingers arched over the strings at all times so they will be in position to finger the next note.

t
r9 2() o rJ tu -
l/ ^ L

a 7/
L

l0 \ 7/- O ) o - - a ,. a - /\
\\ ,L tl-' r-u t-,
- IJ \_,7

THREE-STRING REVIEW
i i :,:
,, , , .. ,
,,:,,,.:

Fl e re arc al I t h e : ,n:G.t.B ,
,. W8i':E.. ..:l.:fi:F1r.B. ..
,,,
i.
0.
:.
ffi..fi,
The following S0ngs uSe notes 0n Strings 1, 2, and 3.

J
R[)CKIN'RI}BIN Thomas

T - *
7r-f /^,
J
- ai .-
t
w I

YANKEE DOODLE
i.,,

r o--) -a -1
-JC 7 ,
L
- - .J
F
I L
t/ L

G7
TO ^, ,-
,.a , I I

v
,I

SUHF ROCK
A duet is a song that has two pas that can be played together. Practice both pafts of the following duet. Ask your instructor
or a friend to play the duet with you.

AU CLAIR DE LA LUNE France

sss sr

,IL
I 7/

aao ,^
, o .,
?r
a a)) - 7 ()
1
l^ 7/II I

\!7 L I I I
I I I I

AJ
I I

t
t
A
7/aaa ^- o -)
-, o a).- - J ()
L I

2 t\ 7/ll
I I I

L' L I I
i I
I

I I

PBASTICETIP

=:,i tl'zr lr"CtiCe


-Jei!t F,
\ iS hours elrer,\, fcur Ca\rs, Find a
-
AUHA LEE

\\ ..\\\\\\\

\\.\

t 7/ ,-
, A
.,
25
L a)O a ) .- (2 a .-
VL
\ 7, ,a
lU
J I - U
<,
,- -
lU

tr.tf,...ffi.e..r..... B Enrs.nrn.1.ih4.8ffi s URE

RIE R N 0T,E (.',.{:'.'


ffiffi$*5ffi*$* ber t4|,,tH,,,s,, H ftH,u*,,i *u,u :.ll.'. l..:...'.,l. .0U..A

ffiffi
. .:.'...l

.:.l'll..l.:...::...:.lll,llll...::.,,,G,ETS 0 N E.::,.B:.lEAt'.::l.:,.. .

A dot after,,a fl:,oto:


r::.: :: : :: :: i:: i:r::t !r: I !: r:::r:r!:: r::r:::r: r: :rt :l

b. lQlE
it l,. I n
,::,I::,i:.:::,,
l. :

?r ,suo-
ll
fl
i.f.ii.iiiiii[..
$'. .. .lif
lncreas,9,s:,
(
..
..|.. ..

t. ) .etth.ibe.ts.
=,,.. ;:' :

note
..,0.tt,B.. ,,,...,.,.lf .::: :::li:li::li::li;iili:i:'ii.ll::.l.:. l, .:
,,. ,,,,,,.,.,,,Oili''ii' "
..,..ffi..H....',.,.... . \O-l l ,.l l .. ..,, .'...... ..'i .i.i . l ., ....,. .., ...,. .i .,i..i.l.lii..ll.illii.lli...li..ii..i..i.ii.l.i.l .

fi...i..Higfit ,,l,lllli:,::::'l:.:::l:ll :l::ii iEl t i

COUNT: 11 2 1 - 2 ',3 2-3 1 r' :Q,,,; -',,,"""',-'",$

HE'SA JOLLY GOOD FELLOW Engl

-r\\\
x\\\\
\\\s'r\\ tottt''

27 a
-)
^ ) ) )
^., )
\\
I
t+
7/ 7
- - - a O .1

r\\

N\\\\'
NOTES ON THE FOURTH STRING

m
D

m
t
OPEN

V 3rd FRET
3rd FINGER

dF
D E

- -2noF,GE

Practice each exercise carefully. Remember to keep your fingers arched over the strings.

l8
Hold 2nd finger down --I
I2 3 -4

)o
,f/
M usic d oe,''h't
pickup notes, t,w.',.,,xa,nn.ulet,,,,of F.i,c,kuF, n.otes,,,,,,,c,0u.,n,t,,,th*.,,.i,.*,iss,,i,ng beats out loud

'-
3 4 3 4

When a song begins with pickup notes, the last measure will be short the exact number of beats used as pickups.

WORRIED MAN BLUES Iradltlonal

PICKUP **

t
4 +t,t
31 ,+ -
-
It takes a wor - ried man to sing a wor - ried song. It
COUNT: 4 1

takes a wor ried man wor - ried song.

v - - - 7 a
takes a wor - ried man to sing a wor - ried song. l'm wor ried

now, yes now, but won't be wor ried long.

CO U NT:

I
4
I

()
,. C l-- I
PLAYING CHORDS
A chord is sounded when more than two notes or strings are played at the same time. To begin you will be playing chords on
three strings with only one finger depressed. Disregard the light gray finger numbers on strings 4,5, and 6 until you can eas-
ily play the one-finger versions of the chords below.

The C Chord The G7 Chord


x oo ooo

rto"
Study the illustrations for the chords above. An above a string indicates that the string should be played "open" (not
('tx"
depressed by a finger). An above a string indicates that the string shou Id not be stru m med. Refer to the hand positions in
the photos below for additional visual guidance.

Depress the strings indicated with the tips of your fingers. Arch your fingers to avoid touching strings that are to be played
open. Strum overthe strings with a downward motion. All strings should sound as one, not separately.

Practice the following exercise strumming once for each slash mark. Keep a steady beat, and change chord fingerings quickly.

c G7 c G7 c
-

Now apply this strum to the song below.

TOM DOOLEY Tra: i ni


Irlext, let's try two more chords. G and Dl . Notice that the G chord can be played two different waYS.

Ihe G Chord The G Chord The [)7 Chord


(alternative fingeilng)
ooo ooo x x o

Strum once for each slash mark below.

35

Review the fingering for the C chord and then practice Exercise 36 until you can play it well. Whenever you are moving between
the C chord and the D7 chord, keep the first finger down.

G c D7 G

36

PAY ME MY MONEY DOWN teoruia Sea ls


''
G D 7

I L A o -) ) -) )7 )
37 4 4 V ) 7
.,
-) - 7
- - c
,R I,
v+ -
Pay me. oh pay ffie, pay me my mon ey down.
G
'$fi
::'
..ti' ,..p,.'..'tt ,..'.i' $tt,'t.t,..'i'.. 31 4I 1I2 |{
: ti. i :r . "
;""
::,:: :::: , :.
1 2 r 3 r 4
t

4 BEATS
',,,i 2 g:lEgf
5 BEATS

practice trading off on melody and chords in these pieces.

r
I
AMAZING GRACE Traditional

43
grace, how SWEET the s0 -,' l
D7 G

1r 2I3 I 1 I 2
SAVEd wretch like me. once was :s but

c G D7 G

now am found; was blind, but now see.

RIFFIN'

N^ :\-

).- \^ ) ,-
r--
44 v- A
ta ,,1

,,/
7 a 7 J J a
FO
WHENTHE SAINTS GO MARC{ING IN Iraditional

G
7/ ,/ ..- n/ \^
r5
L )a \-.7
- D a \-t
- ,^ a
,. -
--
7 7
tv+'-
7/

-
(1) 2 3 4 12 3 4 12 34 1 2 3 4 1 234
Oh when the sants go march - ing in oh when the
D7 G

1 2 3 4 23 4 12 3 4
saints go march ing in Lord, I want to
D7

12 34 -2 3 4 1 2 3 4 1

be in that num-ber when the sants go march ing in.

WILL THE CIRCLE BE UNBOHKEN [ountry tospel

Will the cir cle be un bro ken, by and


G

by, Lord, by and by? There's a

bet ter home a wait ingi in the


D7 G

A
)
7 ) ^-
^
r- \-/ J
I
\_,
l-\
--..
\ - - /'t

sky, Lo rd in the s ky.


I
NOTES ON THE FIFTH STRING

m
m
OPEN 2nd FRET 3rd FR
2nd FINGER 3rd Flt

O . Ledger lines

47

Hold 2nd finger down - - - -l

BLUES BASS

TI,
7(+
48 rl,
I

L7 +
Practice these familiar melodies until you feel comfortable playing them. Remember to look ahead as you play so you can
prepare for the next notes.

JOSHUA FOUGHTTrlE BATTLE OF JEHICHO Spiritual

GREENSLEEVES Inuland

;0 a ) I

,FT 7/ ,.
lU - -
\-, )
!/ L
-
NOTES ON THE SIXTH STRING
E

t
OPEN

1st FRET 3rd FRET


OPEN
l st FINGER 3rd FINGt

o o
o A
tr
E F

After you play these exercises, write the letter names below each n0te.

51
'1 -ue o
1st finger down - - ----r
[)[)[).W[)P

GIVE MY REGARDS TO BROADWAY Georue fill [ohan

**- .. -......

55

(fI_ o

BASS HOCK
F-SHARP 1 r# ) 3 F;s
When a sharp ( # ) is placed in front of a note, the note is raised a half step and played one
fret higher. A sharp placed before a note affects all notes on the same line or space that fol-
low in that measure. Following are the three F#s that appear on the fretboard to the right:

1st STRING
2nd FRET 4th STRING
,#e
4th FRET 6th STRING
2nd FRET

Practice each 0f these finger exercses many times.


also
"T'o also
sharp

57

7-

DANNY BoY (LoND0NDERRY ArR) lreland

58

c G D7 G
t a
A
7---F
-,. v a- r-L ) a Y - )
Va.a
SHENANDOAH Sea Shanty

G J
*t
a - ,J -)
-u
-
59 ,IFT
v+ lU lJ \J lJ
a -
oh Shen an doah I long to see you,

G C

-
way you roll - ing riv er, Shen - an doah

D7 G

-
I Iong to see you, way we're bound a

Em

-
way a cross the wide Miss ou

SPY BIFF
Half uarter

# '
t_
I

o
t-
.I
l_ I
'

4::heats 2 beats 1 beat

A rest often requires that you stop the sound of your guitar strings with your right
hand as is shown in the photo to the right. This process is called dampening the
strings. Use the edge of your right palm to touch the strings, and work for little
unnecessary movement.

As you play the following exercises that contain both notes and rests, count aloud
using numbers for the notes and say the word, "rest," for each beat of silence.

t/,O o o a a a a o ,)
4 + I

61 !7 +
\L, A t\ A A
\

COUNT: 2 3 Rest Rest 3 Rest Rest 2 3 4 2 E est Rest

The letter R is used in place 0f the word "rest."

t
4 +t ) )
r
62 llr-
Vr+tulr
\ lJ -
lJ -
lJ -
IJ
\ -
lJ
rl
IU
.?
.J
A

A
2 R R R 2 3 4 R R R R R 3 2 3 R

DEEP BLUE
HED RIVER VALLEY [owboy Song

G c
*+ 7/

,l -

-, ,- I

64 t - a
-- - - -
7
./
\\ ,L \J lJ
,. \-,

Come and St by my side you love me.


D7

Do not has ten to bd dieu.


G G7 c

But re mem ber the Red Riv er Val ley,


D7 G

and the cow boy who loved you so true.

TWANG

65

ln f a complete measure of rest (3 counts) is written as a whole rest (-r- ).

R[)CK'N'REST

eI
t I r
66 rt
f/ L
7/
I
:t::t::il:t:tt::it:::::::li::::;t:::it::ii:i:::i::::i::::t::i:i::i:l:1::::::i:::it:ti
I i.:.ttut:t:t t.::tur I :t::tt!ti!u !t:

.ii.ii.iffifiilii
: :, ,.,
,.,,,,. ,,, ,, , ,.,,.,,.,,,,., .
.
i
:X:::::i::::::::::::::::r:

,,,,,,,,,,,iiii,,,,:,,,,,,,,,:,,,,i::,ili,,i'il,,i,:,,,i,,.,ii,,,,l::,,

..llffimlffi l*lllili::i:i:i::i:
:;: H:EtlHllr ::::i:ti:.::t:tilti::::::t:t::i

.li'.*.i..l..lili.
.'.,I}*|.'ot......, ,
::::i::,t::::i:,I,ii::i::::::1i:::t::X
::lil:i:l:i:!:::!:::i:!:::l:::li!:i:!:lr!;!:ll ffi6t#i i

i;;ii;1iH;|1 |;;eli fi1 .fi.HfiB

eighth notes are c,or'rnected with a beam,


:$i:l or
divide the beat into tW:0:;::,::lit0
:T0..:C:'0iUn.t...e.i.CI: .:[fi,.,,.ni
tel,;,
thg me,fg t0
6..5'..:,rr4h0,,",.b,6,t ,0g6l:,::l[::9:i.bd..t$,t C,0U'nt
the right aloud while tapping y0ur foot on the beat. #f oo
&4

Eighth notes are played with a downstroke (l''1 )of the pick on the beat and an upstroke ( Th is is called
alternate picking.

Playing the following exercise using alternate picking for all eighth notes and strictly downstrokes for a r otes. Practice
slowly and steadily at first; then gradually increase the speed.

-V-Vrt \/
V l.l

68
& 2 & 3 & & 3 4 &

&4 &3 4&


- V V V-V l'''l V '\r/ ll
s a repeat sign and it tells ;,cu to pia',,the mustc a secon,J ilme

SEA SHANTY
Dm -.+s\\

- -V nV - -1 n
Vt 7
'.4

4 L
69 I
r-\l,r7 L
7,
t
a aa -t ) a a )
lU
,1
lJ lJ - ,.
lJ
)
u
a
lJ -
t-
I

,.

Repeat Sig n

FRERE JACOUES Fra n i,

G
L
L ) ) ) ,,
-) ) )
70 l.\ , L
7/ )
lJ
) - v - ,.
r- - a
IJ - -
Fr re Jac ques, Fr re Jac ques, dor mez vous? Dor mez vous?
Are you sleep ing? Are you sleep i ng? Broth er John, Broth er John,

V-

Son-nez les ma - tin - es, son -nez les


ma -tin - es, din, din, don; din, din, don.
Morn-ing bells are ring-ing, morn-ing bells are ring-ing, ding,dong, ding; ding, dong, ding.

SNAKE CHAHMER

Try playing "Snake Charmer" again, this time on the higher strings. Begin an octave higher with the A note on the second f ret
THE STAH.SPANGLED BANNER (ey/Smith

,5
- a.- a
2 -
I

4?
72
I

I 7/) .- r1 ?,
".JVu - ,a
!7+-) ,a
u
.a TI

ffiG

C Am Rs*

pause -

*.
>r
(\ \\ ''\\
ffi?C
MORE STRUMMING
The alternatng down-up stroke pattern you have already played on eighth notes can also be applied to strumming. As you prac-
tice the following exercse, keep y0u wrst relaxed and flexible. The down-up motion will be much faster and easier if you use
motion of the wrist only, rather than of the entire arm. This wrist motion feels a little like shaking water off the hand.

BASIC DOWN.UP STRUM

c
- V l,t V rl V rl V
//
L
(,/ )
73 fFr
VL
//
,/
/ ,/ (./ ,/
/./ a
./
/./ /./ (./ / ,/ (,/ / ,/ / .l / ,/

& 2 & 3 & 4 &


G
a
,/ ,/ ,/ ./ ,/ ./ ,/ ) ,/ ,/ ./
\
1,,
^/ ^/ ^/ ^/ ^/

STRUM VARIATIONS

A variation of the basic down-up strum misses the upstroke or "and" of the first beat. Remember to keep the down-up motion
going and miss the strings on the "and" 0f beat one.

G c
- Miss V - V n V
t++/,
4+ ./ ./ ./ ./ ,/ ./
74 ,/ ./
a (./ a
./
(./ (^/ /,/ /,/
L7 + I I

(&) 2 & 3 & 4 &

G D7
+

/./ /^/ (./ I


./
/,/ / ./ / ^/ // /^/ ^/
a
./ ,/
/
.l
I
./ a

,
o

t-\ I

This variation misses two upstrokes. Continue io strum but miss the sirings on the "and" 0f beats one and three.

G c

(&) (&)
THE EM CHOHD

Em
o oo o

e(

The E minor chord is one of the easiest chords on the guitar. Arch your fingers and play on the : :s .: i": : touching the
other open strings.

HEY, Ht}, Nt)Bt)DY H)ME England

Em

Hey, ho, no bod y home. Meat, drink, nor

mon - ey have none, yet will be mer r y,,r

SHALOM CHAVERIM lsrael

(Peace, My Friend)
Em
a+ 7/ I
I I

,-
). .-
.^ 7
78 I 7/ ,. - - a - J

j/7 L ) - lJ
- IJ IJ

Sha Iom, cha- ve - rim! Sha lom, cha- ve - rim! Sha lom, sha
CHORD PAIHS

ffi ;1$ :1lU1ffi.UlUBl.1.:i.'..betwe e n d iffe re nt chords. if one or more ....t.i:n.Url:IfU:: $:I.:: :l.:::t ..$Ii:. lffilHl
,::::.l..U
il:0tl.i:.li.:H.lrli
. ;,l..t .. ..m....t0.r........t
y ,:prressed aS y0u
.#.it0..H..*$q,
.ic I n the follor,ving progression there is a .E ,..ffi...ffi [il.l.f..i., ...$..B..f...ll.gt# .l i...t. i.H .G......A.fi.d .8,ffi,.'.Bh. .. . ..,.,:,, . , COmm0n finger
, .t ,, l:fi:i:::l:il:H:
fl d D 7 C h O f d S
:.l:.:C::,::, .

F :..: : ::: :

G . .,,,
,
tJIl.,,,. ,,' ,,,,,,' ,

: :: iiiii::iii:i:ii:iilli:li::::li .'t
o o o
::'t :i I i

Q: .Q g XXQ

ffi
ffi
G .E c D'7.

5
u9 }.l T
a
,, ,, ,, , f.. ,, rT ,, a,
, , ,f
a ,, ,,
V

Practice the f ollowing chord progressions until you can play them steadily and without any hestation between chord changes.
Try to move your fingers to a new chord as a unit instead of "letting your fingers do the walking" one at a time.

]1

You can vary the strumming by alternating between a bass note (usually the Iowest note of a chord and the name of the chord)
and the remainder of the chord. This style of accompaniment is referred to as the bass note strum, or "boom chick' rhy'thm

G Strm top four strings c Strum top four strings D7 t 'i: toP three
JJ Tnn"
l2

Bass Strum Bass Strum


G G7

l3
I

TI-IE D CHORD
ilffi

D
x x o

THIS TBAN African America

86
This train bound for g lo this train.

This train is bound for glo this train .

G G7 c

This train is bound for glo - ry, if you want to ride it you must be ho - ly.

G G
BOOGIE BASS
G
l't V - V - V V

tt+'- L
87 l/ I
,.
u
.- I I
^ L I
I
a
- V
- ,1 t- I I
- -

The next example uses a variation on the bass note strum technique. This time, strike the bass note and then strum the remain-
der of the chord twice.

88
Practrce these strums before playing "Simple Gifts."

G Em G

,-/
il V l'1 VrlV- - I
V n V
./ ./ ,/ ./ ,/ ./ ,/
89 ,FT
l/7
,./
^/ ^/ ^/ ^/ ^/ ^/

2 & 3 & 4 &

0n "Simple Gifts" you can playthe melody (Part 1), the harmony line (Part 2), orthe chordal accc-:.- -.':

SIMPLE GIFTS Shaker SnU

G Em G

Y*lt,
a ) ^- a
tfL
a ,. ,1 - .)
f frF
\-t/7 +
1,,
- - IJ
,. r-
- ,1
tU
IJ r-
- I

91
do I

-
At+
v*tt, I
t4 I
44
-- I

2
7\ a a ) - -
,. -
- - - --
1-
t_, I
\L/ + lU lJ lJ lU ) )
C-SI{AHP (C#)

C#

2nd STRING
2nd FRET
2nd FINGER

) )
ry.-
ftt,
I

I
-T,O
r-L
7

92 I // r1
- t --T! Tr
-
r-
\ l-,7 L ) TI
t- .a

R[)CKIN'BLUES
THE A7 CI.IOHD

A7
xo o

D A7
5
) ,
,, ,, ,,
:
,,
7--------7
95 ,, ,, ,, ,,
a
rLrr/
L/
a,

DOWN IN THEVALLEY T,.i i -""


I l:i .

)7

)
Down in the val ley, val ley SC
Hear the wind blow, dear, hear the \r,'r-^l
" l il-l

low,
blow,
hang your head
D
MINUET IN G J S BAII
Repeat to
top of page
TIME IS ON MY SIDE Jerry HaUovoy

Time

side.

Time

side.

f Now you al ways say


t You're search in' for good times.
A7

that you wan na be


But j ust wait and

You come run nln


run nin'

run - nin'

Time,

side.

Time,
" 100
Tnu GuxrAR hdH,TFrOm is
FEI{mH,R
designed for anyone fust learning to
play acoustic or electric guitar. It is
based on years of teaching guitar
students of all ages, and it also reflects
some of th-e best guitar teaching ideas
from around the world.

BOOK I ThICLUMH,S:
o Tuning
. Playing Position
o Musical Symbols

,.? Notes in*Fi*st Position


' o C, G, G7, D, D7, A7, and Em Chords
''* o Rhythms Through Eighth Notes
*. 4 rL L
J
r-^
^J_-l_r!,
r . lI \-,

. Strumming and Picking


o 100 Great Songs, Riffs, and Examples
p
'Yt
..,'
L

099-5003-000